Adobe Photoshop CC – Advanced Training Course

1. Introduction to advanced Adobe Photoshop : Hi there, my name is Dan. I'm an Adobe Certified Instructor for Photoshop. And this is your Photoshop Advanced course. Now this is an advanced course, so it's not for beginners in Photoshop. It is for people who already understand the fundamentals of Photoshop. You have your way of working... but you know that there is a better, faster, more efficient way of working. That thing that takes you half an hour to do... you know that there's probably a one-click solution. Now if that sounds familiar, this course is for you. We'll start by learning all the best selection techniques available. I promise, by the end of this first section... what took you 30 minutes to mask will take you 30 seconds. We'll fix the hard images, we'll do the blurry images. Advanced levels and curve tricks. How to work specifically with skin, plus adjusting and enhancing colors. We'll learn the tricks for enlarging images without distorting. What to do when it all goes wrong. You'll learn to create more of something... like this grass here, where there wasn't something before. You'll learn the tricks for convincingly removing... all kinds of objects from images. In my personal favorite section... we'll show you how to distort, bend, and reshape images. We'll even make this guy dance. Hey, does he dance? You'll learn how lots more trending visual styles are created easily. Duo Tones, Glitches. Orange and Dual color grading, Double exposures, there's loads more to it. We get type nerdy, font pairing with Typekit. Getting Photoshop to guess fonts that are being used in an image. Heading Glyphs and Ligatures for fonts. Plus Variable, Open Type, and similar fonts. It's Typetastic. It's a word. You'll master Artboards while you're learning... how to make easily updatable, multiple sized social media posts. There's a big section on Advanced Retouching. Advanced Healing, Advanced Cloning and Patching. As well as face adjustments. We'll be a little bit more subtle than this. We'll master teeth and eye corrections. You'll learn how to edit videos in Photoshop. We'll also animate static images creating these parallax videos. Plus the very cool Cinemagraphs. Better known as Living Images. Really great for social media, playing on and on. You'll learn how to master 3D in Photoshop. We'll finish off the course with professional... reusable mock-up techniques and shortcuts. Now this course has a really strong focus on work flow. We're going to use practical real world projects... to learn the tips, techniques, the shortcuts... that really shave hours out of your Photoshop day. So, who am I? As well as being an officially certified Photoshop expert by Adobe... I am an 18-year Photoshop veteran. I also get to make Adobe Help videos directly for them. And again this year I'm presenting Photoshop... at Adobe's 20,000 attendee's strong conference called Adobe Max. This course comes with downloadable exercise files... so you can play along with the course. Throughout the course as well, I set class projects... so that you can practice the skills you're learning. Now if you can't remember the last time... you went through all of the updates and upgrades to Photoshop... let this course be your all-in-one professional development for Photoshop. All right, even if you consider yourself a pretty heavy user of Photoshop... I promise, you'll find stuff in this course that will blow your Photoshop mind. So what are you waiting for? Sign up, and I'll see you in there. I'm not sure why I point back there. 2. Before you started with the Photoshop Advanced course: Hi there, welcome to the course. First thing, we just need to get a few things ready before we start the course. First is, downloading the exercise files. So there'll be a link on this page here... to click and download the files that we'll use in this course. Another thing to consider here is... if you're using an earlier version of Photoshop. So this course was built in CC2018. So if you've got that or anything above that... 19, which is out really soon... it will work perfect. If you've got CS6 or CS5, a lot of the features aren't going to work here. So it's probably not going to be perfect for you. If you still want to do it, about... maybe about 60% of the course will totally work fine... but there's going to be chunks where it just relies... on features that don't exist yet. The next thing here is, we just need to reset our Workspace. Just so that we're all looking the same. So open up Photoshop, and up here, under 'Window' go to 'Workspace'. We're going to start with 'Essentials'. And maybe go back into 'Window', 'Workspace'... and just click 'Reset Essentials'. Then, just know that yours looks like mine. Up to you, you might have your own Workspace... but let's start off on the right foot. That's it for me, let's get started and actually start doing stuff in Photoshop. 3. The easiest way in the world to mask a person in Adobe Photoshop: Everyone, it is time to get started. We're going to start with something called select subject. It is an amazing tool. If you've ever spent long hours masking our people, this might make you cry. But don't worry, it's new for photoshop. I can show it to you here in about 2 seconds. Select subject. It creates a selection, and you add a mask. Is it that easy? Yes. Some of the time. Let's take this super amazing, easy to use tool. Run it through its paces, see what works easily. What takes a little bit more work. And if you've ever had to mask had a person, get ready for your life to be changed. Let's jump in now. All right. To get started, let's go to File. Let's go to Open. And in your exercise files, there is a folder called 02 Selections and Masking. Let's open up five files. I want select subject, one, two, three, four, and five. So select subject. Open all five of those. Basically, what I've tried to do is this first one here, subject one is pretty easy to do, and they slowly get harder and harder because often you see tutorials online and you're like, Yeah, use this tool, and it's amazing, and it works perfect. Then you go and use and you're like, H, am I doing it wrong, or is it too good to be true? So often with anything in photoshop, it works perfect in a perfect situation, and I will show you what happens when it doesn't and how to fix it. So we can become professionals and realistic professionals. So let's start with subject one. Everyone, little updates to this video. The technique hasn't really changed. They just change where you can access this thing called select subject. This video, and the rest of the course, I'm going to show you where select subject is, but look, they've put it handily here. Feel like, why aren't we using this version? We should be. It's exactly the same just in a different place. If I click this, I get the same selection. One other thing they've done is in this video and what we do a lot in this course is we select subject, and then hit a layer mask. Can you see there's a layer mask over here or you can add layer mask here? You can jump and cut to the chase if I go undo, undo again. I've just got the file open. If you hit remove background, basically, it's going to do select subject and add the lay mask. One, go. Look at that. Again, the technique is the same, saves on a few steps. A nice little upgrade. The other thing you'll notice is that I work through some problematic parts in this video, how to fix it with the bad selections. What you'll find in your version, and in this new version of Photoshop is that actually it does a way better job than I get in this course. I'm going to leave those in there because you will get versions that are bad and you need to know how to fix them. You'll just notice that your version of Photoshop does a better job than it line in this video, which is awesome. Good work photoshop. A little update, same techniques, but they're moved into this thing called the contextually sensitive task bar. One note, if you haven't seen it already in the essentials course, if this is jumping around too much for you and kind of following around and getting the way, you can hit this little bar here and say, let's pin this bar, grab the edge here and just say, stay over there, and it will just remain there, out of the way. All right On with the video. Look at that selection. Now, don't worry. It's not absolutely 100% perfect. It gets you 80% of the way there. Let's look at the selection by adding a layer mask. Click on that. You can see there's a few issues going on that we can fix up reasonably easy using one of the other cool new tools, called selected mask, but it's pretty amazing heard. It uses something called adobe Sense, which is Adobe's artificial intelligence machine learning. I don't really know which of those it is. It's fancy, though. It looks at lots of other images online and tries to calculate a selection based on kind of past images. To be honest, I don't know how it works, but I do know how to fix our selection because there's a few little bits that are just. You can see around the bed there. Sometimes it's just perfect. I found one that was kind of half good. It's done a pretty good job. To fix it up, what we're going to do is just make sure your mask is selected over here. Not the image, click the mask. Then click on select a mask. Another really cool feature. Now at the top here, yours is probably set to onion skin. Let's go against on black. It's going to give us a really good contrast between the background and the model. I've got my capacity write up if yours is not. Now, in these features here, yours might be all twilled up, nice and pretty like that. Okay? There is no, exact thing that I use every time? There is a lot of playing. So you might spend we spent like absolutely like 3 seconds doing the initial mask, but you might spend another minute or two dragging these sliders up and down to see what it does. Edge detection is going to work reasonably well in this one because of practiced. Basically what it does, it just gives you a kind of a fluffy edge for it to do some more calculations then. Smart radius on, smart radius off. Don't worry too much about what Smart radius does. Do Do it on and off, see, does it make it better? In my case, no. Does it make it worse? I think I'll like it on. L eaves a bit more detail here. I close up edge detection. Let's go to global refinements. Smoothing it out. It probably needs a little bit. There's a few bits that are a bit jaggedy over here. If you're like, did I make it better or worse? Se up here, it says show original. Turn it on. Turn that off. We've made it a load better. P key. You can just toggle it on your keyboard, see the thing in the brackets there. P on, P of. All right. Feather I never use. You might have an experiment with it, and you might love it. Same with contrast. Shift edge I use a bit, just to kind of tuck it in ale bit. There's a bit of ghosting around the outside. So how much Now, shift edge and this one down here called decontaminate colors. I kind of fight between. Sometimes I use this. Sometimes I use this one. Let's turn on decontaminate colors. Show. Have a look at the hair along the top, so off on, it just kind of helps extract the image from the background. Sometimes it's shifting the edge in a little bit or decontaminate colors. In this case, I'm doing a bit of both. Let's go back out. Looking pretty good. There are some manual touch ups I need to do. There's a bit of a shoulder missing. What we're going to use is this option here. The third option down, the brush tool. This is basically, I'm just going to click and drag. It just adds the background back in in one big foul swoop. Because this thing's doing so many calculations over here, my drag is taking forever to populate. I'm going to undo that. I'm going to zoom in, move down, and I'm just going to paint in with my paint brush, give it a second. I'm just going to paint in some of the poorer areas. It's looking good. There's a few bits of airs that I might touch up. With it natural, it just paints things back in. I'm going to undo that. If you hold down the old key on a PC or the option Keion a mac, it's really hard to see here on the screen, but there's a little plus that turns into a minus. I'm just going to toggle that a little bit off. From his air. That probably needs a couple of clicks, fix up the bed there. You can see it's always calculating. That's why it's a little bit hard in this area. Sorry, this mask and select program to be very quick. Depends on how fast your computer is, how big the image is, how much of these dials you've messed around with. I'm happy enough with it, it's a pretty good mask. It really depends on its final position. I'm going to put mine on the brickwork, which is subject five and it's going to be pretty forgiving. Let's click. What you'll notice is if you turn on decontaminate colors, that last little option, instead of updating your current layer mask, it'll create its own one. I want to move it to this last hab here. I can grab my move tool, click Hold drag drag drag drag drag, hold in the tab and then drag it down, and pretty awesome mask. Cool hah. Let's look at a few more examples and go a bit deeper with this kind of model selection. I'm a select subject two. Let's do the same thing. Let's go to select. Let's go to subject, kick back or relax, and be amazed. This one here is a lot different because there's a lot more like fine here, which is always a problem when you're selecting models. Even so, it's done a pretty amazing job. There's a little bit of stuff here where the color is jackets very similar to the background, but let's just apply the mask and see where we're at. Now you might decide, actually, that's it. That's good enough for me. I am out of here. It's a pretty amazing tool. Well done photoshop software engineers. But let's go into it a little bit more detail. So make sure you've got your mask selected, and let's go to select a mask. You can see against black. Okay, there's some issues. Now, if in the last image, we had a pretty consistent line around the outside. The guy had a nice clean edge and not frizzy hair like this person. Nice, easy to mask here. Is in not so easy. I find this better as a two step process. You've got global controls that does every single edge here, then you can use your brushes to do little bits. I find I get the big global stuff done first and then come back into here to do things like here. In here is a bit of experimenting, I'm just looking at some of these edges like here we go. We'll use this bit here. Radius, drag it up. I'm happy with it. It's getting better. Remember P on your keyboard. I think I liked it better before. I think it needs a little bit of smoothing. There's too many like jagged bits. I'm just going to smooth that out a little bit. There you go. Start to look nice, radius. There are no setting specific. It just depends on your image. I depends the look I'm looking for. I think that's a pretty good one. Peaky, tap it on, tap it off. Ignore the hair, but look at the edges of the jacket. It's a whole lot better. Great. So I've finished that now, I'm going to click k. Because now I want to go back into it. So the same thing again, select a mask and work on just this, because these are all reset back to zero. If you don't, and you start using this tool here, the redefine edge tool. It just becomes a bit messy. It's all trying to do this lots of things at the same time. This tool here, brilliant, wash this. Prepare yourselves, click drag, and I'm dragging and you're like, okay, not bad. Wait wait for it when I let go. Magic. So amazingly selected here. There's a little bit of ghosting around it, which we can fix, but you see all this here that doesn't exist, and it magically does. Watch this, click and drag. So good. And what am I do is there's a couple of things. One last thing. The eyebrows need, just a tiny bit of work. Okay. What am I do is smaller brush size and just kind of work them around here. And there's a bit in here. Will the refine edge work on it? Oh, it did. I thought I was going to have to jump to this plain old paint brush, but you impressed me more. Cool. From here on in, like, it depends on where you're using it again. If against black, you're gonna have to spend a bit more time in here. I want to touch on decontaminate colors. No, it's not for me. If you ever turn that on, it's gonna create this new layer with mask. I want to go back to just updating my layer mask, please, rather than a whole new layer. Okay. I am how happy am I with it? I'm going to copy and paste it onto here and chick it. Let's turn you off. Good bye Winky Man. Back to subject two. Instead of dragging it, people hate this. I hate it. It's a pain doing it that way. I'm just going to show you another way because we're here for some advanced tips. Right click Layer zero. You might read another way, got to duplicate layer, and it'll allow you to put it on anything that's open, and there's our select subject five. Click Okay. And then jump to select five, and there he is. The calling about, he comes with his layer mask, which is handy. He's a bit small for this image and the top of it's clipped. But you get the idea and look at the here. Look at the here selection. Good eyebrow selection, 100% eyebrow selection. With a bit of practice, if this is something you're doing regularly, you could imagine how fast you can make this. We've been learning it together, I've been teaching you. It's only taken a couple of minutes. All right Let's turn this feller off and get to our subject three. This guy has some issues. We not issues. Let's have a look. Let's go to select and go to subject. I want to show you what ends up happening. Okay. It's going to miss bits is what it's going to do. You can see there's a bit on the elbow down here that just doesn't match up. There's a bit that it hasn't got there. That's okay. It's done a pretty good job. It's star to stretch up these things, and that's what's the problem in this one is that the background has these streaks heading up through the wood. They are going to cause problems when we try and fix it up. So yeah, we'll just go a little bit further with this third option with a few extra issues because the first two we pretty easy. Still pretty amazing. Let's click on our layer mask. Again, you might decide, job done. With it selected though we're going to go to selected mask. A few of issues. Can we fix this up globally? It's mainly just the hair. The actual sides of him look okay. Maybe, let's do a little bit of smoothing just to even out some of that. The peaky on and off. This b here, I could use my refine edge brush. Let's go here. Let's try and drag across this. This is where we'll find It's working, but not. It's because there's a big lump of dark wood running up here. It really wants to reach into there rather than have a nice crisp edge. To get around things like that, you're actually going to have to do some actual physical painting using the brush tool. I've got the brush tool, but I want to use minus. I'm just going to manually tweak this out. Cool thing about using the brush tool and using these settings is that you're brushing, but it's also applying this smoothing to it as well. There's a bit down here that we need to get rid of, and that refined edge brush is never going to work. We're going to tidy these up manually, brush sizes. Why doesn't it work? Because I've tried it and I couldn't make it work. There is just times where you're going to have to get in there with a teeny, tiny paint brush. As long as you're inside select a mask and you've made some of these adjustments like smooth, while you are going, it's adjusting. It can slow your computer down a little bit, though. Good bye. Co. So I've done the edges. Now I want to do the hair. And what I like to do instead of going in and doing the edges of the air now, I to click k and come back in. Why? Because it's trying to do that smoothing all the time warm using my refine edge brush, and it's they're kind of fighting with each other. I don't like that. I find it doesn't give me a nice result. So I click k and then just go straight back in and everything set back to zero, see smoothing is at zero. Now I get to go to refine edge. How big is my brush? That works for me. Let's have a little look. I'm just going to rub across his bed. It's quite intimate here with the man's bed. Love to. It's all about the combination of tools in photoshot once you get to an advanced level. It's knowing which tools to use, which is the hardest thing and that's what I'm here to show you. But it's also combining them. Now, can you see here, this is a bit of a problem because there is a streak of wood that runs up there, and that's what's giving us our problems here. What we're going to have to do is just get in super tiny. This is the way to get around these issues. Getting super tiny, I'm holding down the key on a PC. When I say get in super tiny, I go get in nice and close, and I'm going to hold down the option key on my Mckeon a PC, get rid of these. Even smaller brush, And you can find you can work it back in and back out. So just small little parts. Here we go. Pike, before, after. Working around. See it looks good. I'm not sure why the beard seems more personal. Man's here. I'm sure I could. Tran's beard. You don't need to know this. All right. Now, the ear here, I'm reluctant to hit it with this tool because it'll make his ear all wishy washy. I know it's a nice solid part of skin, so I'm going to go to my brush tool and just use my minus. Let make a bit bigger, holding on the minus key or the old key, the option key on my M, the old key on my PC, I'm just going to go around here and just manually tidy it up. Alright, my friends, you're looking handsome. Let's click. Cool mask. Let's move it to this other document, and I'm going to share with you one last kind of moving it to another document, trick. Okay? So we've done the drag, we've done the duplicate. There's an old but new updated feature. Copy and paste. The reason you probably don't use copy and paste is in the past, you went slick copy paste, and it only brought through either the image or the mask. You can see it here, didn't bring in the whole little group. But that's being fixed by Adobe. Instead of doing a select all and copy, just go to. Got this layer selected. Got the that layer selected there, just go to copy. You can use your shortcut. Command CN a MAC, and then go to here and go to paste, and Magic Photoshop has fixed it, and brings through the mask and the image. No more drag drag drag into the tab. You've got an older version of photoshop, you'll still have to do it. But 2018 on, you can just go command C, command V, brings through things like Belin bosses and drop shadows and all sorts of cool stuff now, select the As you want, copy it, paste it, brings everything. Let's look at our last one, and this is the hardest of them all. Okay, it's still pretty amazing. Let's go to select subject. There's just a lot of work to do this one, I want to show you what I would do here, but there is just some manual labor. It's done a pretty good job for most of it. I'm going to add a layer mask. Now, that's not working, right? It's got a lot of it. So what I'm going to do is I'm going to instead of going in and trying to fix it all in the member of the selector mask, which we've done. We're going to utilize the Quick Selection tool. Now, if you are a old school photoshop and you're like Magic one tool, quick selection tool. We don't use them because they're rable. It is amazing. Quick selection tool. Okay. I'm going to go through do a couple of bits. First of all, I don't need any of this. What I might do is actually just start with my rectangle marquee tool, hold down the option key on my mac, in a PC, and drag a box around it to say, I do not want any of that. If you're like me, you're like, I wonder what's still selected. Probably an easy way is just to toggle that button. Kind of makes everything red to show you what you've got selected and what you don't and toggle it off. All right. So back to our quick selection tool. Turn on auto enhance, it makes it better. Not sure why it would not be on. I'm going to zoom in. I find this is a good way to get closer to where you need to be to do the final adjustments in the selector masks. So I'm going to add add Quick Selection tool is pretty amazing. It itself learns as you go. You'll find your initial selections can be okay, but as you go along, it's not actually just clicking on here. It's actually going back and looking at the rest of the selection and making adjustments, because it knows more. Man, smart. You can see that just gets better and better as it learns what I want and what I don't want. Just clicking and dragging down here, doing a bit of a loop around here. Let's grab too much in there. Now, I find as well if I did a big drag there, it started spreading out too much. I'm going to step backwards, so it step backwards a bunch of times, step backwards, I'm using that shortcut. Just clicking once and once is actually probably a nicer way of using it. I win and did it anyway. Go away. Don't listen to me. I'm holding down the option K M Mac to remove from the selection. Naturally, it wants to add to the selection, but you can't hold down the option Mac PC to remove from the selection. Get rid of the stuff. If you get lost in here, remember, just tap on this again, the quick selection. I use that for that to make it red. I don't use that tool anymore. Cool. So you can see here, blue and blue. It's pretty amazing how good it gets. There's probably going to be some issues with the shoelace. There's definitely some issues with the shoe down here. And for the moment, I'm going to ignore the shoelace. Otherwise, you'll be watching me forever. I'm just giving it a bit of a once over, looking around, looking around, anything that I do or don't want. It's a little bit in here. What I'm going to do is look get the editor speed up this last little bit because it's just me being probably a little bit pedantic. So see then. All right, you're back. And yeah, at a lot more work, but still got a lot of that got 70% of there. I'm going to add lay a mask and go into my selector mask. I'm going to look at some global overall changes, probably smooth. B a smooth it out bit. Smart radius. It's pretty good. I'm happy enough with it. I did retouching for a lot of years and you'll get 100 photos of this guy. The settings are all the same. I have to go smoothing and shift the edge, and often you'll get to the same point. You've played around with it for a while. Down the bottom here you can say remember settings. Every time you load this back. Go to remember the last thing you did, which can save yourself some time. The other thing to know is that we are in this one here, say, high quality preview is not turned on, mainly because it takes a long time to calculate, and it makes your machine run really slowly. So if you're here and you're like, Oh, man, it's you know, 95% there. Click, Okay, you might find that in that last little bit of processing, it finishes it all up for you. So it's good. Even the hair is actually fine enough for what I want to do. But now I might go back in and work on the hair. He's got a pretty easy hair style, like mine. I'm mostly bald, so masking me pretty easy. I'm asking this guy, small brush, just testing here really. I didn't practice this, I'm just going to. Do I like it? I think it adds a little bit. Test decontaminate colors. Don't like that. Remember, if you turn that on, it instantly changes at decontaminate colors, and let's lower it down a little bit. Still doing some weird stuff across here. It's mainly because the blue from the containers reaching around. I think I like it on, but with the amount down a bit. That slated there isn't new as well. Well, at least my version that wasn't there before, so it was either on or off. What you'll notice down here it says, output two. You can't go back to that original layer mask. I'll say, I'll make a layer mask, but it has to be a brand new layer. Be it does some weird stuff. First of all, I don't like it. I'm probably going to go back. You did my essentials course, you'll know that if I disable this mask, you'll see it doesn't wed stuff to the actual original image. That's why it leaves the original behind. If you're wondering like, Man, it's a pain. It just creates this new layer. It's because it actually destroys the original to make this thing happen. The decontaminate colors, which a lot of the time is pretty amazing. In this case, I don't like it, so I'm just going to go back to the original one I had a little bit soft on the edges, but I'm okay with that. Pretty cool mask. The layer selected. Remember, all I need to do is go command C, command V. Brings you the layer mask, as well as the image. If you're on a PC, it's control C, control V. And this guy here is nice. Alright, I hope you enjoyed that tool. It's called select subject. But I hope I've made it a little bit more usable when you get results that are subpar, you can fix a lot of it in selected mask. And if you've got big chunks that are missing, you can use that quick selection tool. There's a combo deal. Alright, handsome men. I'm not sure why I ended up with all guys on this one. All looking great, all looking great masks. I will see you in the next video for a little bit of project work. 4. Class Project - Select Subject: Hi there, it is class project time. Don't think of it as homework, think of it... as ways to practice what you just learned so that it sinks in there good. This project is to practice the Select Subject... we learned in the last video. To find this kind of Class Projects list, you can go into your Exercise Files... and there it is there, it's called Class Projects. Open it up, and we're going to be starting at this one here, Select Subject. So the files to use is in a folder called Project Zero. I'll show you where they are. In your downloaded 'Exercise Files', in '02 Selections'. And there it is there, 'Class Project Zero'. We're going to be using all three of these. I want you to basically just use your skills... to mask this one here on to number C, that's a letter C, Do the same thing with this B option here. So basically these two models, on to this background. So you'll have to use the Select Subject, plus a little bit of the Select & Mask. Because these are very different kind of shots of models... you're going to have to mess around with this background... to get them to kind of-- you might have to play with the levels of this one. Use your existing Photoshop skills to try and get them to blend nicely. You might have to blur the background. Up to you, but once you've got them together... and you've got a reasonably good mask, I'd love for you to share it. So up here is the ways to share, the easiest way is on the website here. Go to the Assignments part and share what you've done. Sometimes it's easier just to use the comments... but most importantly share them with me. Share them with me on Instagram, on Twitter, or my Facebook group. If you ask for criticism I will give you some polite stuff. You can just share it up there and not ask for any criticism... and just be proud of what you've done. Practice, practice. All right, go ahead and do your homework, and I will see you in the next video. 5. Select mask & change a color using Photoshop - Color Range: There. In this video, we're going to look at color range to do selections, selecting bananas. We're going to select blueberries and combine them into this magical scene and eventually into this kind of mess of things that I created to explore color range because it's an often overlooked masking technique. You might have used it to do a specific job, but it can be used for so many things. That's what we'll explore in the next couple of videos. If you use color range already, go through these videos because there's quite a few little shortcuts and tips that we'll use throughout the rest of the course. So let's get started. Alright, to get started. Let's go to file. Let's go to open. In your exercise files, there is a folder called selections and masking. I want you to open up color range one, two, and three. I'm going to start with color range one. Now before we get started, I've picked a pretty easy example, pretty consistent color. It's going to be a good way to understand Color range if you've never used it before. But later in the course, what we'll do is we'll combine color range often with other selection techniques because it gets like maybe 80% of the selection and you'll need to do touch ups with other selections. That's going to be a big difference between say my essentials course and the advanced course. We're going to start to mashing things together where there's times where you can't just do one selection technique, you need to do two or three or four. Let's understand Color range. Let's go to select and go to Color Range. Now yours by default probably just looks like that. The first thing we're going to do is we're going to click anywhere in the banana and it gives us a basic selection of the yellow. Under here where it says select, yours might have defoled to one of these colors. I find the never work, never ever. I find it best to ignore these and go straight to sampled color. Have the fuzziness at about 100. I never really change that because what happens? If I click in here and I increase the fuzziness, basically it's going to reach out and it's quite good. You can see it's going out further, further further further. But to get the whole banana, it eventually just goes too far and starts grabbing the background. In this case, it didn't get any of it. I'm going to click around, the fuzziness just expands the selection. I find I leave the fuzziness at 100. What I do is I start with an initial color and then use this little plus icon. And click once, click twice, click again. What you can do is set a clicking and just keep clicking, you can click hold and drag across stuff. Just clicking holding and dragging and give it a color. You'll notice that when I let go, it's grab a large chunk of that yellow. I hasn't got these little n parts. I can start clicking on these, but often there are some colors that actually match the background. I'm just going to tidy those up with the paint brush. If you do go too far, you're clicking in here and you click on something Kiss, started picking the background. It's a little bit hard to see I guess in this video, but I can see it here clearly. I grab the minus tool and then click in the background to get rid of stuff I don't want. Plus, pick back in here again, I'm going to click and drag and give it a wriggle, so it picks up a bunch of colors. Let's click. It's got a pretty good selection. The two ends need a little tidy up. But let's add a mask by clicking the add mask button. To tidy up the edges here, M sure you're working on your mask not your image, and let's zoom in. Find the edge here, and I'm going to paint this in. So I'm going to try and introduce lots of shortcuts, especially at the beginning, so it makes the rest of this class flow a lot faster. You have to bear with me a little bit in these first few videos to get them into our system so that we can go faster later on. Because what I want to do is working on the mask. I want to paint this out. Brush size up the top here, I go along here and I drag it up and down and I do this, M. You might know the shortcut of the I do that. The square brackets. It's next to your P key, that makes it bigger and smaller, but there is a super amazing extra one. On a mac, you hold down the command key and the option key. I'll do the PC in the set because it's quite different. Okay, so hold down command and option on your keyboard. And then click and hold down your mouse key and drag it left and right. And that does the size. I love this one. Means I can go really big and really small really quickly. If I use the up and the down, you see it does the hardness as well? So as the same keys held down, I can really get into the right size and the right hardness. If you're on a PC, it's quite different. Okay you hold down the old key on your keyboard? And then you click and hold down and drag the right mouse button, the one you never use. Hold down the old key, click hold and drag left and right and you get the same thing. Up and down does the hardness. It's really weird short cut, but really good ones to know. There will be a shortcut sheet at the end of this course, like all together in a nice little video. There'll also be a PDF on that same page there, you can download it and print it off and stick an next to computer. I'm on my Mc, I'm holding down Control and lt clicking and dragging left and right to get the rough size, and then hardness wise, I love about anywhere 85-95. Especially when I want a straight edge. I never have 100%. Why? Because There's always a little bit of give around the outside, it looks more natural, 100% hardness looks too fake. Another cool little shortcut is at the moment foreground is set to black. When I paint this, it does the wrong thing. I want to do the opposite of that. What you can do another cool little shortcut is the x key on your keyboard. See my foreground and background color here. If I tap x, just the letter x on my keyboard, it just toggles the foreground and background color. White at the front, and I'm going to paint this out. Smaller brush size, hold down my shortcuts. You can see with a few little shortcuts, you are going to be retouching. Aster. If you go too far, easy, I can zoom in and X key to switch it to black as my foreground color and just paint that out. I can do the same thing with this bottom, but I'm going to leave this in here because it looks good in my final composition, but you could now use the same thing black and just paint it out. O the top here, is this, but I want? I'm going to switch it back to white as my foreground color, X key. You can see how handy it is one of those ones worth learning. Nice. And that, my friends, is using the color range to mask an image. We had to use a little bit of brush tool to kind of fill in these black parts, but that's just part of photoshop. Very really does a tool do all the work for you. So we're going to do a lot of combinations in this course. What I'd like to do is grab my move tool, click and hold and drag drag, drag, drag, drag, drag drag into the number three, and let it go down the bottom here. And we're going to move it down here. We'll fix that up a little bit more later on. Let's learn a little bit more about color range. Let's go to Color Range two. Go back to our select, and we're going to go to Color range. Two things I want to show you. One is the localized color clusters. What that means is, if I grab my dropper tool and click on, say I want this guy, but I don't want all of his friends. I just want him plus another fellow here. You can see it's gone off and pick them because they're the same color. That's where that's localized color clusters comes in. Your range is probably set to 100%. It means it's just grabbing everything and you lower it down, you can start to see zeroes in on our little guy there, so it doesn't grab everything in the document. Now we're using fruit like this would be super useful if you are trying to select. You want to do some color adjustments to the lipstick color, but not the shoes, which are quite similar. You could click on the lipstick. Lower the range down and make that selection, and we'll ignore the other, say red things in the document. In our case, blue eres. You can add more than one. Had this little plus icon here and I want you and U. Let's pick two of these fellows. I need to tidy both of them up. That brings me on to the second thing I wanted to show you in here. Is this one here, it says selection preview, it's beyond gray scale because this little window here is far too small for working, all it really does is that he just duplicates this into the window here. Hasn't changed anything. It's just kind of, showing us how the selection works. A Zoom in, and this fellow here, I want to add some of that, some of that, click, clicking, get in there. Clicking and dragging can be super useful. If you get too much of the background, I might go in here and say minus, I want to minus a bit of that. Fix up this one as well. Grab the plus key, just drag across there. G have it as well. You can click click away, D Has content or click and drag. I'm going to click this background here. I want to get rid of it. It's pretty good. The range is probably too far now. I have to lower that range so that it's picking just this little area in here. Doing something weird there. Can I minus it out? I can. Nice. Let's click. Okay. That's at a layer mask. Like I had before, it's done a lot of the blue, but there's bits I want to touch up. Basically, I got a really good edge, but there's some middle bits that the colors were just too different. With the ma selected, I'm going to hit B on my keyboard for the brush tool. I'm going to use a lot of shortcuts. If I hover above this, can you see it says the brush tool? Anything in the brackets here means, use the B key. This one here is the V key. You can see it in brackets there. The ones that use the most you'll learn. You can just go V to move B for brush. My brush size is okay. I'm just going to tidy up, not too far, Tidy up the bits that didn't get perfectly selected. Same of this one. Nice. Because we're using that localized color, you might find that there might have been some other ghost bits out here. You might have to tie it up. You could use your X key to make it black and just grab a nice, big brush, and just tie up any of these bits that are part of the mask that you don't want. All right. Let's click hold and drag this little guy. So move tool, drag it to color range three, and let's dump a couple of blueberries in. Awesome. That's how to use color range to select physical objects and kind of cut them out onto a white background. It could be great if you're a photographer, or you do, you're shooting stuff for a website and you just want to kind of like grab something and put it onto a transparent background or a white background, just delete the background. Color range, especially if there's a color that's very contrast compared to the rest of the document. It can be super helpful and often overlooked in photoshop. Skin to the next video. We're going to still use color range, but we're going to use it in a very different kind of way. More for color adjustment. All right, I'll see in the next video. 6. Using Photoshop to selection to fix grass & sky - Color Range: Hello my friends, this video we're going to use Color Range again... but for a very different use case. Instead of masking we're going to use it to adjust the colors. It's something that I do a lot more... instead of masking it's more just adjusting things... like if you have a look at the leaves... they are kind of a browny green, and now, ooh, beautiful green! And let's look at the sea. It's gone from a blue to a kind of a nice tropical holiday cyan color. So basically we're going to use color range to make a selection of those colors... and then use adjustment layers on them. Just to fix them up, it's a really common way that I use color range. Let's jump in now and learn how to do it. So I'm going to work on the document we used in the last video. If you don't have that or you skipped it, just go to 'File', 'Open'... and open up your 'Exercise Files', and we're using 'Color Range 3'. So basically we combine Color Range 3 with 1 and 2... where we've got this kind of composition now. So what I'm going to do is just turn the Eyeball off on both of these guys... which is the banana and the blueberry. I want the background selected. I want to change the blues and the greens. Basically every landscape photograph I ever take. I want to kind of enhance the greens a little bit... and often the sky needs just a little bit of Photoshop love. And Color Range is an amazing quick and easy way... to isolate those things to make those adjustments. Very different from the last video, we were using it to completely mask it. So Background Layer selected, 'Select', let's go to 'Color Range'. Depending on what you were last doing you might have to switch back to 'None'. You might have to turn 'off' Localized Color. And you get yours looking something like mine. We'll start at a 100 fuzziness-ish. I'm going to work on the sea here... and it's got a very similar color to the sky. I'm happy to work on both of those, I'm going to click once in here. You can see, it's clicked quite a big chunk of it. Let's switch the 'Selection' preview to 'Grayscale' so we can kind of see it. Now it's grabbed most of this sea except for this chunk here, grab the '+' button... and let's go ahead with this bit, and it's got most of it. The only trouble is it's got quite a lot of the sky... so I'm going to lower the fuzziness. So when I was using my masks I don't use the fuzziness very often... but when I'm doing this kind of like subtle Hue Saturation changes. Now I'm getting mine down-ish. And there's no right or wrong, there's no magical number. What you'll find is whenever I'm doing this... I'll do it once, and see if I've gone too far or too little... and then come back and change it. So that's worked for me, let's click on 'OK'. Basically we've got a selection of all the kind of blueish bits... and I want to make them more cyan. Instead of making a mask on their own layer... the easy way now is to click on 'Adjustments'... and let's click on 'Hue & Saturation'. And what it does is it takes that selection you had... and applies it to this Hue & Saturation adjustment layer. So I can turn it on and off... and make adjustments to it without destroying the background. We love a bit of non-destructiveness. What I'm going to do is-- I love-- you know, blue, skies are blue... but actually they look really nice when they're cyan, they look tropical holiday. So I do that often with all my landscapes... is I'll go through and just add a bit more of the cyan rather than the blue. How much? Yes, it's working for me. I might bump up the Saturation just a tiny bit. Go way too far. Somewhere in here. Turn the Eyeball 'on', 'off'. So it's just a really easy way to isolate colors. Especially generic ones, like sky... where maybe making a selection can be quite tough. We do the same thing for these leaves, whenever I photograph kind of foliage... I know it should be green but it always is this kind of motley brown yellow color. That's just the way of the world... but what I want to do for this promotional image... I want it to be our lovely green, a nice rich but believable green. It's the same thing, I click on my Background layer... I'm going to grab 'Select', 'Color Range'. What I might need to do is switch it back to 'None'. Then click on one of these, and it's picked-- there's so many different kind of green browns going in here. I'm going to click, hold, and drag across a few of these... where I know it's kind of a-- It's a good representation of the whole document. I click back into here, into Grayscale. If it had to work you actually need to have this Eye dropper on the +. Just clicking and dragging across it with this first tool, doesn't work. I'm going to go back to 'None'. I'm going to say, you my friend, and I click and drag across there. And now I'm going to go back to Grayscale... and you can see I've got a pretty good selection of this. It's got probably a lot too much of the sand as well. The browns out of the leaves, same browns are in the sand. I'm going to lower the fuzziness a bit. I'm going to grab my '- Eyedropper Tool', click once in here. Click once again just to get rid of these sands in here. We're getting pretty close. All right, let's click 'OK'. So I've got my selection. Same as before, let's go to 'Adjustments', 'Hue & Saturation'. What I'm going to do is yank out the saturation really high... way past where I need it. Just so that I can know that I've got the right colors. So I want to pick a green that's not too that green, not too bluey green. I want something in the middle nice and rich... and then I can lower this down to kind of make it believable-ish. Just turn the Eyeball on and off on that layer... and you can see what I'm doing here, just moving the kind of brown greens... to a bit more lush green. Only trouble with this, I find that this island here is probably over saturated now. Often Color Range gets used in a combination... so what I'm going to do is I'm going to select on the 'Mask'... grab my 'B' key for my 'Brush Tool'. I need black as my foreground color, remember, X toggles it back and forth. Brush size, we're going to use our shortcut... and I'm just going to get rid of this. I'm going to make my fuzziness a bit higher because it's quite out of focus. Brush size down. Just to touch this up. I might have lowered the opacity of this brush so it's not such a drastic change... because now I feel like it's completely brown. Really hard to get in here... I could get in with a really small paintbrush to fix this up. Probably what I'd do is just lower the opacity of my brush... before I painted it all out. Kind of faded it into here. So let's do that before I go. I'm going to go undo a billion times till my island's back. Not too far. Here we go. So with this Layer selected, with the Mask selected, Brush tool. I'm going to show you a new little shortcut. We've let the size, left and right, up and down for the hardness. Another cool one is, see the opacity? So if you look at your keyboard, the numbers 1, 2, 3, 4, 5 along the top... not the ones on the number keypad, you might not have one of those... but the ones that are above the letters on your keyboard. Watch up here, where it says Opacity, if I type the '2' key, goes to 20%. '5' is 50%, '9' is 90%, '0' is back to 100. Weird. If you want to do it super fast, like '5', '5' together... you can see it changes the opacity here. So it's just an easy way of picking an opacity without having to toggle. I'm going to jump up here and slide it up and down. You can see what I'm doing here, I'm just not getting rid of it at all. Mainly so I can save the trouble of having to go through and paint out... between this kind of crossover of the leaves and the island. I'm going to turn my banana on, and my amazing blueberries. And that is an easy way to select... a particular Hue, often really good for landscapes, so skies... and kind of grasses, trees and stuff. Make a selection. And with that selection you just click on your 'Adjustments' panel... and that adjustment takes that selection... and turns it into a Mask for its own layers. Then you can turn it on and off. Later on, non-destructively, it's on its own layer, and is awesome. That is it for this video, I will see you in the next one. 7. How to change the color of skin in Photoshop - Color Range: Hi there, this video is all about using Color Range to select skin. We're going to make cool little masks like this. So we can isolate the skin and do things like this ready. Just give a bit more fullness to the skin. And if you ask me, do I use this technique to give myself a tan... in my profile social media photos, I'll deny it. So as long as you promise not to go out and check my social media photos... I will show you how to use Color Range to select skin. In your 'Exercise Files', open up 'Color Range 04' and '5'. These images are from Unsplash, and this one's from Scott Walters... and the next one we'll do is from Dan 7kidz; thank you, guys. So in 'Color Range 04', let's go to 'Select', let's go to 'Color Range'. And what we're going to use is the option here that says Skin Tones. So we're probably defaulting to Sample Colors, let's go to 'Skin Tones'. If yours is not by default, switch it to 'Grayscale'. Turn 'on' Detect Faces, it looks for kind of-- basically looks for two eyes and then kind of adjusts a little bit. I find, sometimes works really good, sometimes it's not. Just turn it on and off and see if your selection gets better or worse. Then it's playing around with the fuzziness. Obviously too high, it's going to have too much the background selected. So I want it to be reasonably high, and it's working okay. There's lots of similar colors in here... so my guess is, about 30 to 40 percent of images... at least the picture that I've got... this technique will work as good as we're doing here. The rest of the time there's just too much color in the image... that's very similar to skin, and this technique doesn't work. I want to give you honest examples, I guess. This one here is pretty good because there's a nice clear definition... between here in the background on most parts. Same with the shirt, there's a good enough differentiation. It's not perfect, by no means... but there's still a little bit of work to do. So let's click 'OK', so we've got a selection. What I want to do is-- adjusting skin, it really depends on what you need to do. She has a particularly fine skin tone, they're not blown out. There's no color cast so what I would tend to do is... with this selection, let's go to 'Vibrance'. I just want to like lift it up a little bit. So 'Adjustments', and we use this one here called Vibrance; I love vibrance. I think I'll go right up to show you what it does. Can you see it added like-- I've gone too far... but it's added kind of a lot of fullness to here. So I wouldn't generally have it that high... I'm just doing kind of slight adjustments. So on, off, a little hard to see. How far is too far? That's fine. The problem is it's affecting a lot of the rest of the image. You might decide, actually that's fine, nobody's going to notice... but let's say you do want to isolate it just for the face. Now what we can do is use our Brush Tool to paint it out... and I'm going to show you a nice little extra trick. If you're on a Mac, look down your keyboard and hold down the 'Option' key. If you're on a PC hold down the 'Alt' key. And what you need to do is click your mask here. The cool thing about that is... you haven't wrecked anything, or changed anything, or made it black and white. It's just showing you a big version of your mask, which makes it easy to paint. So I got my Brush Tool selected... I'm going to pick an appropriate Brush size. And Hardness, I get mine up to about 87. Make sure it blacks my fill ground color, and just kind of paint out--... I'm just showing you a lot bigger. And just paint out the bits I don't want included. So use Color Range to kind of get started and get a lot of the hard work done but... like so many things in Photoshop they're just so many like other... annoying things that ruin your perfect example. So in this case I'm just going around... there's a nice little black bleed around the edges of them. You might not get this lucky... but like I said it works for enough of the things... that I work on to give it a go... because it doesn't take very long, right? I've been teaching you how to do it... and we've only been at this a couple of minutes. Brush size down. Weird straw thing. I think we're close enough to this being okay. The Hue here is probably the worst part... because it's such a close color to the skin... but now we've just got the skin selected. So we use Color Range in skin tones to get it kind of started... and then we paint out the rest. There's a lot of this in Photoshop, where you get a selection that's pretty close... and then you tidy it up with the Brush Tool. To get it back to how it was before, the same key... so hold down 'Option' on a Mac, 'Alt' on a PC... and just click on the 'Mask' again. Now that Vibrance layer is only adjusting the skin. You'll see up here, it's disappeared... so I can click on the word 'Vibrance', and its back again. Ain't got the saturation to give her an ugly sun tan. So I use vibrance just to enhance the colors. If you're finding you've got-- you might use the same selection on say, levels or curves... depending on what you want to do to the skin. I want to show you one last little trick, A, to show you some extra shortcuts... but B, how I give somebody that-- this woman here, this girl here has a fine skin pallor. Let's say though that it's your profile photo... and you're looking pretty washed out, or don't have a tan. Let's say tan, so what we want, some richness in the skin. This is my trick for tans. So what I want to do is, I want to-- first is the shortcut. I want that selection back, that we did with... 'Select', 'Color Range', and then blacking out the background. So I don't have to do all that again. What I can do to get the selection is just hold down the 'Command' key on a Mac... or the 'Ctrl' key on a PC, and just click on the mask... and it loads it as a selection. Super handy little trick. And what I'm going to do, I'm going to go to 'Adjustments', 'Hue & Saturation'... I'm going to go to 'Colorize', yank up the Saturation... and I'm going to find a color that I want this person to be. We're going to be in the-- we don't want it to be red, we want it to be kind of like orangey yellow. I have the Saturation up high just so I can get my Hue right... because we don't want them that color. What I also want to do is play around with my Blending Modes or my Layer Modes. So with 'Hue & Saturation 01', go to 'Normal'. I find this always works with Soft Light. So it's still too high, but you can see it's blending in a lot more. I'm just going to lower the saturation until there's something-- like she had a fine old color already... so I'm not going to have to do much. So what I might do is-- I wanted to show you here-- I'm going to go quite low because she didn't really need any of this extra color. Zoom in, see how orange I've made her. You got to decide how kind of rich you think they need to be. With this layer selected as well... I'm probably going to lower the opacity a little bit. It's all about subtle adjustments, you can see that on. I'm going to turn both of these on, both of them off. So I haven't made much adjustment because the photographer, Scot Walters here... had a pretty nice original image. If you're working on your own work or your own profile photo... you might find that you need to have some of these settings a little bit higher... like Vibrance and Saturation... just to give yourself a bit of a tan, or a bit of healthiness, or color. Regardless of how you think my tan on this girl is... you might think I've ruined it. What's important is the technique, so we started with 'Select'... 'Color Range', and we use 'Skin Tones'. And like I said, it kind of works really good on about 30-40% of images. As long as there's a clear contrast with the background. Then you have to blot out the background with a big paint brush. We learned the cool shortcut... by holding down the 'Alt' key on a PC, and 'Option' key on a Mac. Just to get that one little layer selected. Makes it so much easier for tidying up masks. Same key down to click it again, to turn it off. The other really important shortcut was 'Command' key on a Mac, 'Ctrl' key on a PC. Just clicking the Mask, and you get that loaded as a selection. I'm going to use that a few times throughout this course. I'm going to 'Deselect'. The reason I got you to open up Color Range 5 is that... there's going to be lots of examples that just don't work... and this is going to be one of them. So let me show you why. Let's zoom in a little bit, 'Select', 'Color Range'. We're going to pick 'Skin Tones'. 'Detect Faces'. You can see the big problem here. Her hair is a very similar skin tone to her skin. And all the stuff in the background, that's all very similar. So I can play around with this for as long as I like... but really it's not going to give me a great example. We're going to get into something called a Channel Mask later on... which will do better for this... but I wanted to show you some kind of realistic examples wherein it doesn't work. I love Color Range, when it works. That is it for Skin Tones and Color Range. Let's get into the next example. 8. How to create an ink splash image around text - Color Range: Hi there, this video is going to take everything we've learnt with Color Range... and put it into a practical exercise. I felt like we needed this video because... learning Color Range in isolation is great... but often you'll run into issues when you're trying to combine it... with a bunch of other things, like Type here. So we'll do this exercise to kind of flash out any problems... that you will run into in the future. Plus it will allow us to practice what we've learnt so far. Are you ready to make a super smoothie ink? Well, it's meant to be banana splash thing. If you are, let's get started. So I'm starting with this example from earlier on. You could just jump in and just start with the background color. You might decide, the fruit splash stuff you don't have to actually do. You just want to do the ink with the text. Up to you, but what I want to do is... I want to open up the ink splashes, so go to 'File', 'Open'. And in you folder called 02 Selections, there's one called Color Range 6 and 7. So 6 and 7 are just variants of the same kind of ink splash. I'm going to select them. We're going to run into some issues and I'll show you how to fix them. And we'll change the colors and get it interacting with the type. So whenever you get ink splashes like this... this is from Adobe Stock and it's on a white background. Which kind of sucks, would be nice if it was clear-cut already, but it's not. Let's work with Color Splash 6. So we're going to have to use a couple of tools to make this work. Let's start with our good old faithful, 'Select', 'Color Range'. We're going to not use Skin Tones, we use Sample Colors. Click in here, and what we might do is hit the '+' button. Drag across a bit of it. Bit of that as well. You too, you, you. It's got a pretty good selection there. If you're just joining us for this video here... just make sure your selection preview's on grayscale... it gives you good kind of black and white contrast. Let's click 'OK', and let's turn it into a Mask. Now our biggest problem is, can you see, there's a white chunk in there. So it's missed that out, so when I turn it into a Mask... and click on this button here. It's cut little holes in here... and you got to decide whether it's worth fixing these up or not. I'm going to, so I'm going to use my... remember our little trick, we hold down the 'Alt' key on a Mac or 'Option' key... no, it's 'Option' key on a Mac, 'Alt' key on a PC, click on the Mask. Makes it super clear. I'm going to grab my 'Brush Tool', which is the B key. And I'm using my super shortcuts. Wrong, 'X'. So I'm using white as my foreground color... and I'm just kind of tidying up the bits that are clearly not holes. They are just things that Color Range left behind. How hard core am I going to do for this? I'm not super worried because it's-- I don't know. I know because I've practiced that already. That, nobody's going to notice any of these small bits. But I guess I'm just showing you, holding 'space bar' to click and drag around. You probably knew that already. We're getting there, Cool. Move it down. Remember, same key, hold down 'Option' on a Mac, 'Alt' on a PC. Click on the 'Mask' to go back. Now let's check this to see if we've got a good mask.. We're going to dive back into the masking technique we used... in the intro version of Photoshop course, it's called Photoshop Essentials. But I want to retouch on it because a lot of people will jump... into this advanced class and just not do Essentials... and miss out some of the super magic that happened in the Essentials course. So what I'm going to do is... with my Mask selected, I'm going to click 'Select & Mask. And what's really cool about this is, you can see up the top here... that's beyond black, and you can have the opacity right up... so you can see a nice contrast with the background. You might say, "Dan, that is a perfectly good mask." And I'd probably, lazy day, I would say... "You are right," and not hint, "Hit 'cancel', and get out of here, and use it." But let's say it's the front cover or something... and it is going on black, which would be tough. So if you use Color Range to get here, use the paintbrush to fill in some parts. Let's try and smooth this out. Smooth is a nice one in this option, so watch this, 'Smooth'. Up a bit higher, you can see, just kind of like smoothing out the edges. Making them a little fuzzy but that's okay... this image is a little out of focus as well. And that might be enough, right? So cool little shortcut is the P key, just tap it while you're in here. And it turns the original back on, original. Soft focus version, original. It's a little slow. So just tap the P key on and off to go back to the original... where you are at now. Two other things that I might do, is 'Shift Edge' just a little bit. You can see, there's still a bit of ghosting around the outside... so shift the edge in a bit. Hit the 'P' key, have I made it better, worse? It's looking okay. If that doesn't get it... I find Decontaminate Colors works really well, watch this. I'm going to put the Shift Edge back to 0. And just turn on Decontaminate Colors. You can see there, just kind of fixes up all the edges; it's pretty magic. Now you might remember from the Photoshop Essentials... if I use Decontaminate Colors it's going to create... a new layer with this mask on it... because it does some pretty serious changing of the image. So let's click 'OK'. You can see here, it's this original that I was working on... and because I used Decontaminate Colors... it says, well let's just put it on its own layer. Because what you'll find is, if I right click and disable this mask... you can see, it's done some really crazy stuff to the edges... to make it a really crisp clear selection. It's awesome. We can go back to the original... but that's why you end up with a second layer. So I'm going to grab my 'Move Tool'... click, hold, and drag, and go to my weird little... banana, blueberry smoothie thing. I'm going to add some text before I get into too much coloring for this. So I'm just going to turn all of these off. Now, cool little trick is, watch this. If these are all on, you want to turn all of them off except for the background... just click the first one, hold, hold, hold mouse, drag it down. Turn them all back on by clicking, holding, and dragging across them. Just a nice little quick way of turning just some of them on and off. So I'm going to add some Type. So you can skip along this bit, I'm just adding Type. Stick around when we go and change the colors of these paint switches. Actually what I'll do is I'll get the editor to just fast forward this bit. It's not very exciting. We're back, I put in some fonts, if you're looking for these fonts, they are... this one's Museo Sans Condensed. You can download that from Typekit, free... but you're really after this one here, right? This one here is called Machine Script... actually Remachine Script, you can see it there. Now I've included version of this font in your exercise files. Where is it? It's here, under Font. Now what you'll see is, it says, for personal use. So if you want to use this commercially, reach out to the owner of this... Google 'remachine script'. You can use something like My Fonts... to go and pay for it if you want to use it commercially. So this is the free version to use, but you can only use this personally. I love it though, such a cool font. Now I stopped here, I added a Drop Shadow, picked a color. I wanted a Drop in here because I wanted to show you just another trick. Well both of these have the same Drop Shadow. It's applied the Drop Shadow, it's super. I can right click anywhere in this kind of gray area. You can say, 'Copy Layer Style', click on 'Smoothies'... right click it and say 'Paste Layer Style'. It's a simple but helpful little trick. So now I want to go and recolor this thing. It looks like blood. It still looks like blood. So I want to make it kind of banana colored. So with the layer selected here... I'm going to go to my Adjustments Layer... I'm going to play around with Hue & Saturation. The trouble with doing this here... if I change the Hue, it's going to change the background as well. So what I can do is, see this little icon here? It's a little-- it's got a really long name... but basically it says only affect the layer just underneath. So this Hue & Saturation layer is only affecting my Color Splash now. So you can see, when I adjust it, and you do those background colors on... the green and the blue looks a lot nicer, but anyway... Hue and Saturation, I'm going to pick a color... and what you'll find is, like yellows... some of the colors are perfect, right? They just work really nice. Let's have a look at yellow. Where is yellow? I can't find yellow, where are you? There you are. Not too green. See the problem with this is that... the yellow ends up being kind of brownish, or in this case a little bit green. So what you can say, is you can say, 'Colorize'... crank up the Saturation, and then find a color. Close to it, but because of these dark colors it's just not going to work. So what we're going to do is go back to 'Adjustments'... and play around with the levels. I want to effect just the layer underneath again, so just the Color Splash. And what we're going to probably have to do... is just play around with these grays in the middle here. So there's just not so much of that dark kind of muddy yellow. Depending on what color you need it to be... you might have to adjust around with the darks and the lights... to get to kind of where you want it to be. But I'm happy enough with that. Now I'm going to select on this layer here, and I want to shrink it down. So before I shrink it down... I want to convert it into a Smart Object so that it doesn't-- So gets protected, right? Just gets wrapped up and I don't lose resolution. So I'm going to right click it, tell it to be a Smart Object. I'll use my 'Command' T for Transform. I'm going to get it to an appropriate size... and now it's just messing around a little bit of like... what I-- don't want to do. Undo, 'Command T. Shrinking down, holding 'Shift'. Hold down 'Alt', or 'Option' if you're on a Mac. Does it all from the centers, but let's say I want something like that. I want it to kind of interact with the background. Especially with Type, it's probably just easiest to grab-- here's my super layer, right? Just want it kind of poking out in front of the R instead of messing around with... selections and masking, and stuff, I'm just going to cut the R out. Move this back, you see what I'm going to do here, right? I'm going to duplicate this layer. Duplicating a layer, I can right click it and duplicate it. Extra little trick, is hold down the 'Option' key on a Mac... or 'Alt' key on a PC... and just kind of select and move it. Kind of makes a duplicate as you're moving it. I'm going to grab the 'Type Tool', select it all, maybe Left Align, capital R. Back to my 'Move Tool'. It's going to drag it behind my ink. We're not going to get too fancy with masking this out... when it's easy just to separate that text on to its own layer... to get this kind of interaction. Now to try and tie in all these different techniques... we've used out of Color Range... we can open up our file that we worked on earlier. It's this one here where we messed around with the skin, remember? So what I'm going to do is I'm going to select all of these... I'm going to right click any one of them and convert it into a Smart Object... just so they're all kind of smushed together. I can dive into it, remember, by double clicking it to get inside... but really, just so that it's just one unit. I'm going to drag it to our little exercise here, here he is. Because it's a Smart Object I can shrink it down... without kind of destroying or losing the selection. And again I want to kind of lean on... one of the masking techniques we learned in the earlier Essentials course. For the people that did that one, this is just practice. I promise there won't be too much of this through the course... but for the people just jumping into Advanced... it's a trick probably you might not know. First up, with the 'Move Tool'... I'm going to hold 'Command Shift' and square bracket... to bring it to the top of my layers. If you're on a PC, it's 'Ctrl Shift'. So square brackets, they are next to your P key. So hold them both down, and the left one sends it to the back. The right one sends it to the top. It's one I use quite often, just say, all the way to the top, please. I'm going to grab my 'Ellipse Tool', and I'm going to draw an ellipse around it. What I find is, people tend to use the... this Elliptical Marquee Tool to do round selections... but it's not what I want, it's not better, there is a better way, and this is the way. So I've got my image at the top, I've got my ellipse just underneath... and if I hold down the 'Option' key... so with this top layer selected... the long way we learned in the Essentials course... is we went to 'Layer', and we went to this 'Create Clipping Mask'. It's going to show you-- that works, totally... but I'm going to show you the pro way. All you do is hold down the 'Alt' key on a PC, 'Option' on a Mac... and just hover your mouse in between these layers, you're looking for that icon. Not that, not that, this. Just click on it, and it does the exact same thing... as going to Layer, Create Layer Mask. It's just a real quick way of doing it. And the cool thing about doing this as a mask is that these are totally separate. I can move my ellipse around, or I can move my image around. I can select both of them by clicking the top one... holding 'Shift' in the second one, and just transform them both. And I'm going to get something like that. A bit lower down here, I'll turn on my banana. Send them to the top using my shortcut. Scale him down. Now before I scale them down I'm going to convert them into a Smart Object. You can leave now. Now I'm just kind of trying to turn it into something half decent... in terms of the design. Which is going to be hard. There's that, blueberries. Where are you, blueberries? Here you are. You need to come to the top as well. Might have to duplicate that, remember our trick of... holding down the 'Option' key on a Mac, 'Alt' key on a PC to get two of them. Transform them or rotate them so we've got a few extras. I might put that under the word Smoothies. Ah, creative genius. Duplicate that 'Super', bring it to the top. This one's going to be 'Banana flavored'. It's going to be white text, thank you. Make it smaller, 'Command T'. I very often don't use font sizes... I'll use, just scaling it to get the right font size. Depends really if we're working with digital, or going to kind of print... we'll have to be a little bit more specific with font sizes probably. This is more of a splash social media graphic. Cool. And last thing is, this here, it is way down to the bottom... but with all the extra graphics. So I'm going to select this bottom one... hold 'Shift' and click this top one, and you grab the whole lot. Because they're all in the Layer Masks, and all on their own layers. Nothing smooshed together because we're pros. I can lift it up. How impressed with this am I? It looks kind of cool. Let's just say I did a practice example of this... and it looks better than that one. So I'm happy. Don't think I like the color of the pink, that my friends is a personal choice. Let's finish this here before I waff along forever. The goal of this video really was to show you... how you end up using kind of combinations of tricks. Color Range is awesome, but only when you start using it with other things... other techniques, other tips, other shortcuts. That's when you go from a beginner to an advanced user. So that's us, we'll leave it there, let's get into the next video... where we'll set a project for you to do. I'll see you there. 9. Class Project - Color Range: All right, it is class project time. Don't think of it as boring homework. Think of it as exciting ways of testing your skills... because I promise you, following along with me step by step is good... but I've taught for a long time, and the people that take that little bit... of extra time to kind of put it into practice with their own projects... are the people that will remember it for a lot longer. If you do want to go even further than that... the best way to remember it for a very, very long time... is to teach somebody else, maybe a friend, or family member... or back at work you might show somebody, but anyway, the class project is this. If you go to your 'Exercise Files'... there is a Word document in there called 'Class Projects', open that up. And here's the project we're working on now, it's called 'Color Range'. Basically we're just taking this example and making an orange version. So instead of a banana, there'll be an orange one. So requirements are thus, the first requirement is, use these images. They are in your 'Exercise Files', under '02 Selections'... there is 'Class Project 01' in there. The files that you're going to use. Use all four of these. Start with this background or pick another background, I don't mind. I want you to do a selection, like we did with the banana exercise, with this orange. There are two kind of paint splashes in here that I'd like you to mask... using the techniques we did in the last video... but I want you to make them orange. So make it orange flavored, use your own fonts. I'd like you to show me an example where the text kind of goes in and out. You see here, where the splash goes behind this letter but in front of that. That's one of the requirements as well. You don't have to use this image, you could... but when you finished it you can post it as a project on this website here... or at the top here, these are the kind of... like social media places you can send them to me. So Instagram, Twitter, or Facebook group. The links are all in here, in this Class Project. I'd love to see what you make, so do the homework, send it to me. Let me know if you'd like some criticism, I'll make sure it's friendly. All right, go off now and make your own orange smoothie poster. 10. Mask on a group rather than each layer: Hi there, this video we're going to look at adding a mask to a group. Basically we just add it to this group here... so that things that are inside... you can see, are all just masked by this one banana mask that we've made. We don't have to apply to all the different layers. If you've done it before, there's going to be a few extra little tricks... like a little Color Range trick. A shortcut for Blending Modes... plus we'll add some shadows to it to kind of make it look more realistic. Lots of value in this one. We'll start with just the simple mask and move our way through. To get started let's open up our files. It's in the 02 Selections & Masking folder. We're going to open up 'Group Mask 1', '2', '3', and '4'. Let's open all of those up. Now throughout this video you're probably going to hear some construction... because I've been waiting all day for them to finish... so I can record, there they are there. They are not going to finish anytime soon... so we're just going to have a little tapping and banging in the background. So let's start with the 'Group Mask 1.psd', remember him? The banana, we use Color Range to select him... and like we saw at the beginning... we're going to kind of combine them inside that shape. The cool thing we're going to learn is... if you're on a Mac, hold down 'Command' key. If you're on a PC, just hold down the 'Ctrl' key. And if you click on the 'Mask', it loads that mask back into a selection. You can see little ants running around, which is cool. Another cool little tip you might not know about... is you can go to 'Select' and you can 'Save Selections'. Sometimes you've been like all day... kind of getting halfway through a selection and then you have to go. You can actually save this thing. So I'm going to call it 'banana', I'm going to click 'OK'. Because what I want to do is, I'm going to go 'Select', 'Deselect'. And I'm going to turn that mask 'off'... so I'm going to right click where the Layer Mask is... and say, let's delete that Layer Mask; that hard work all gone. Don't worry because we've saved it in that selection. So what do I want to do? Let's just get started quickly so you understand the concept. So I'm going to go to 'Group Mask 2'... and my 'Command C', 'Command V' doesn't work with this. Man, it's always the bane of our life, right? The locked one. So just double click the word 'background' click 'OK'. Now we can use 'Command C', 'Command V'. And we have far too big strawberries. I'll shrink him down, and I'm just going to kind of put him-- where am I going to put him? About there to get started. Let's grab 'Group Mask 3', do the same thing, unlock the background. Or you can just get it dragged into the Tab option. I'm using the 'Command C', 'Command V'. Let's get it down to kind of an appropriate size. I'm just doing halves in halves now. It's not going to look perfect yet. I guess I want to get the concept through first... and then we'll go and finish it off. So I've got these two here. Now what we've done in the past, and what you might have done like me... is you're going to add a Layer Mask to every one of these images. So let's go to 'Select', 'Load Selection, where are you, Load Selection? Go to 'Channel', go to 'Banana', and there's my Selection Pack. So with that selection you have that layer selected, and go, you... and then you do the same thing. I'm going to use that cool shortcut, 'Command'-click or 'Ctrl'-click the mask. Click on this layer, click on Layer Mask, and it works... but you end up with like loads of these... and sometimes if you try to make kind of a collage, you'll end up with... a zillion different masks, and that's not the pro way. So we're going to go 'Step Backwards' until all that's gone. What we're going to do is, I'm just going to make a Layer group here. I'm going to call this one 'Banana Mask'. Not sure why I said banana that way. We're going to stick these two guys in it, so select both of them... and just drag them and click them on top of the folder... so you know they're in there. You know they're in there by you turning the Eyeball on and off of the folder. And now the cool thing is... is with this layer selected, I can go to my 'Select', 'Load Selection'... and 'Banana' click 'OK', and if I apply the Layer Mask to that group... they're all inside there, all happy in there. So it's just an easy way, now I can grab the blueberries, drag them in. Go back to my old ways of selection, can you see? Because it's just inside this group they all just come along for the ride. You can skip ahead now, we're going to do a little bit-- I'm going to show you some extra tricks... but if you came for the masking on a group... and you're satisfied, you can move on. There's going to be some cool extra tips coming. So I'm going to delete these two guys. The strawberries are going to kind of fill the background parts somewhere... somewhat like that. I'm going to go to my 'Group 3'. Now how would I select these guys? Color Range won't work because there is like this white piff in the middle. Not sure what you call that stuff, but it's the wrong color. So what we're going to do is use the Quick Selection Tool... and I'm going to kind of do a reverse selection. So I'm going to use the Quick Selection Tool. I'm going to make my brush a bit bigger... and Quick Selection Tool be perfect for this. High hope, I've already practiced. That's pretty amazing, I'm going to make it a Layer Mask. I go back to my Move Tool. And we go 'Command C' on a Mac or 'Ctrl C' on a PC. Jump back to this original here, and I'm going to paste it. Probably going to resize it a little bit, before I do... right click where it says 'Layer 2', make sure it is a Smart Object. So when I shrink it down I don't lose that lovely resolution that's in there. Hit 'return' on my keyboard. Let's now do the blueberries. We've played with this one before. I'm going to show you another little Color Range trick. In the last video I was just reluctant to make like a fifth video on Color Range. So I thought I'd throw it in here. Let's go to 'Select', 'Color Range'. And what you can do is, watch this... if I click on the actual blueberries and I click on +... and I add a few more to them, and I try to play with fuzziness... that works to a degree, and it worked really great... when we're doing our localized colors because we just wanted these two... but when you want the whole lot... often it-- I'm going to go to this first Eyedropper, click on the background... so in this selection we're going to be... selecting the background, but then just inverting it. So I'm going to add the little +... I'm going to say, a little bit of you in there. It's going to work for me perfect, let's click 'OK'. If I mask it now though, it's the wrong way around, so I undo. And just go to 'Select', 'Inverse'. Now I'm going to add my Layer Mask. There's a few little holes in it from the white parts. We'll learn another little trick in a minute. Go to Channel Mask, which will really fix this one up... but for the moment we're using the tools that we got. That's one worth mentioning, copy it. Jump back to the beginning here, paste it, I'll shrink it down a bit. Here we go, Blueberry goodness. You can see here, some of the centers are showing through to the orange. So I might just grab the 'Mask', grab my 'Brush Tool'. Shrink it down. Paint it with white, just to fill in these guys, nice and easy little drops. So that should be the end of this one. What I want to do though is I really want to add some shadows to it. And when I was practicing-- I guess I want to show you the trouble I ran into. You can skip ahead now, there's not anything to do with masking left. Just want to show you that-- some shadows to it. Well, bonus chapter. So what I normally do, and we did this quite a bit the Essentials course. Is I just grab this layer, I duplicate it... by dragging it on to this, like new layer icon here. Drag it to the top, come on, in there. Double click in here, I'm going to call it 'Shadow'. Name at least two of my six layers. I desaturate it by going 'Command-Shift-U' on a Mac, or 'Ctrl-Shift-U' on a PC. Or here's the long way, under 'Image', 'Adjustments', 'Desaturate'. Just gets rid of the color. Otherwise it looks weird when you start using Blending Modes, right? Kind of colors everything. So if I desaturate it first... normally what I can do is just go 'Multiply', and often that works. Cast the shadows on the background. But because the photographer of this banana... kind of spent a long time lighting it... and making it look great with no real strong shadows... I'm messing them from what I need it for. So I'm going to have to kind of accentuate. What I really want is this line through the middle. I feel like that gives the banana its banana characteristics... plus these little end pieces. I also want some kind of shading around the outside to give it some volume. I'll show you the tricks that I use to do that. So I've desaturated the layer. What I'm going to do is I'm going to use the Burn Tool. Remember, the Burn Tool makes things darker. You'll have to play around with the range at the top here. I'm going to play with shadows. Exposures, I'm trying to see. You have to play around with these settings depending on what you're working on. I've got a Brush size here, I'm just-- can you see, if I'm working with shadows, just going to accentuate those shadows. I want... to really bring that out. I'll do the same with that. I want that to be nice and strong. That's already probably fine. I won't do him anymore. Because that's a strong line here I want to do the same for the edges. So what I'm going to do is just make the brush bigger. Maybe lower the opacity a little bit, or the exposure. In this case, the mid tones is what I wanted to do. You can kind of see what I'm doing, I'm just trying to like... give it some volume around the outside, just clicking and dragging slowly. Maybe a slightly smaller button. Just to give it some depth. I'm not spending too long. So now we've got some kind of strong colors. I want to get rid of the mid tones, just want one of these black bits left. So the easiest way to get rid of midtones... is to use Levels, with this Layer selected, I'm going to use-- doesn't really matter if you use Adjustments, or the other one. I'm going to use the Adjustment Layers... because we are being super professional. I'm going to make sure the levels only effect of the layer underneath. So levels only affect the shadow, by clicking that button there. Now I'm just going to work with this. Not to make it look better, but to try and get rid of... the kind of mid tone grays. You can see, just yanking up this white slider here. Playing with the gray slider. Darken this up, so this is what I'm trying to do, right? Just add shadows. Cool. Now I'm going to click on my 'Shadow Layer'... and then just work with the Layer Modes, and figure out which one's going to work. Let's go to 'Multiply', you can see it there, Multiply is quite good. I'm going to work my way through... and if you are like me, and you hate doing this, have a look though. Going through them all, going... "Man, this takes forever," you just don't, right? So the shortcut for cycling through these, it's a cool little shortcut. You have to be on your Move Tool though. For some reason that only works when you're on your Move Tool. And you hold down the 'Shift' key on your keyboard, and tap '+'. + again, + again, so holding down 'Shift', tapping '+', that's Mac and PC... just cycles through them. Super useful, helpful tool. Now I'm actually looking, so Multiply's is good. Linear Burn's okay. Should really have checked this before you watched. Let's turn it on and off, can you see what I mean? I want to kind of add that little bit of realism in there. One last thing before I go... I've just noticed that this is kind of spilling over here. So I'm going to click on my 'Layer Mask'... and because they're all in the same group... hah, ties it back nicely. Nice work, Dan. We're going to 'Layer Mask', make sure black is my foreground color. I'm going to make the Brush size nice and big, and fluffy. I'm just going to kind of ease it in there. There you go. Good reflection. So thanks for hanging around for the bonus shadow section. A really simple thing at the beginning there. Just putting a mask on an actual layer group... and then throwing everything inside of it. All right, that is it, let's get into the next video tutorial. 11. Advanced masking using a channels in Adobe Photoshop: Hi there, it is time for another selection tool in your arsenal. And it is the mighty Channel Mask. It's been around a while, and it's perfect for when you need... to select, say out of focus grass like this. There we go, easily done... but let's say you already know how to do a Channel Mask... don't worry, there's some stuff in here for you as well. Imagine if there was a brush we could just kind of... like paint across and remove all the ghosting. It is true, my friends, this brush exists, and I will show you in this next tutorial. Let's get in there. It's getting better, we're going to love the brush. First up, let's open up our files, they're in our '02 Selections & Masking'. And it's all of these guys, it's Channel Mask 01... all the way through to 05. Quick little tip before we get going, if you hold down 'Ctrl'... and hit 'Tab' on your keyboard... you can cycle through the open tabs along the top here. That works on both formats, Mac or PC. What we really came here for is Channel Mask. Just quickly before we get started... up until Photoshop released the Select Subject... and the Select & Mask function... all I did for kind of advance masking was Channel Mask... the thing we're going to do now. Because these two options that we learnt previously are so good... I don't use Channel Mask half as much anymore. Basically I use them for the same sort of principle. I need kind of like... say this kind of out of focus, what would normally be here... but this, these two here in combination are so much better now, in my opinion. The reason I still use Channel Mask... and the reason I still include it in this Advanced course... is because, if we click 'Select' 'Subject'... It tries to find a person's face, and there is no face to be found. So couldn't find subject, click 'OK'. So there's times where I just need to-- I want to select all this grass... but it's super hard, right? Quick Selection Tool is not going to do it. Magic wand's got no hope. I might do okay with a Color Range... but there are some perks to a Channel Mask. And you need it in your arsenal to be an advanced Photoshop user. You don't want to turn up at the Advanced Photoshop party... and not know what a Channel Mask is. Even though it's getting useless it's kind of those badges of honor... like, I think the Lens Flare was when you're new. So how does this work? I'm going to do it super quick... half to impress you, half to show you how quick it is once you know the-- once you get into the flow. Then I'll back it up and go a bit more step by step. So basically we go to the Channels Panel, we pick one of these three. The one that has the most contrast, blue does. So I'm going to right click it, duplicate it, click 'OK'. Turn this on, that off, then we use levels. And I'm just trying to accentuate the contrast... between the background and the foreground. I'm lifting this up, trying to find this kind of medium ground here. Let's click 'OK', I can blot in the stuff at the bottom here. I'm using my Paintbrush Tool, set to 'Normal'. I'm using black, making it nice and big. I'm just going to kind of paint it all out. Get a bit smaller and get some other stuff in there. Spend a little bit more time. I'm not, turn it into a selection. Go back into my Layers Panel and add a Layer Mask. First of all, reverse it out, invert the selection, add a Layer Mask. And you can see that will totally kind of freak you out, how fast it went there... but I guess I just want to show you the flow... that I'm going through when I'm doing... selections for something like this, and how easy it can be... because when I teach this live often people freak out... because there are quite a few steps. Don't worry, you won't probably remember them off by heart. I only remember them because I'm a trainer and I have to teach it all the time. When I wasn't, when I was just freelancing... I would go "Okay, Channel Masks, they're good." Come back to this video, and just run through it every time you need to do it. And that's just the way it is, there's a few steps involved... but the results are pretty cool. Let me grab this... and add it to the background here. You can see, a pretty convincing mask... with very little effort put in to getting it perfect. So let's back it right up. I'll show you a cool little trick. It's 'File', 'Revert'. Because we only have so many undos, right? So if you go to 'File', 'Revert'... it goes all the way back to when the document was last saved. And in this case it's way back before I did all my channel madness. Let's look at it step by step and explain that a little bit. So it's channels that do the heavy lifting here. Basically a channel is just-- this document is RGB... you can see it up here in the tab. And that just means the computer makes all of these lovely colors... out of a mixture of red, green, and blue. Now we're really not worried about channels at the moment... we're just going to use and abuse them to get our selection. What you're doing is you're looking through all three of these... for the one that has the most contrast. In this case blue has a really clear contrast with the background. It's not always the case, sometimes it's red, sometimes green. So toggle through them all. Once you've found one you've got to duplicate it. Right-click it, 'Duplicate Channel'. I'm going to call it 'My Mask', for no reason. And I'm going to turn it on, and turn that one off. I don't want to destroy the red, green, and blue. I just want to work on this, my special little mask. We're going to delete it in a second. So with it selected, we're going to go to 'Levels'. So 'Image', 'Adjustment', 'Levels'. We're not going to use the fancy adjustment levels. We're going to use old school, destroy the layer levels, these ones here. And all we're looking to do is, you can see the sky here... it's quite gray still, so I want to kind of increase the whites. Basically you can adjust these guys any way you like. All you need to do is have a really strong white versus black. So that's all I'm doing, drag them left them right to see... like if I go too far this way, it starts kind of bleeding in. There's a little bit of like, I've done it so many times... that I kind of got a good feeling. What you might have to do is get to this point, and say... "I'm going to try this, and then come back if it's not quite right." I'm going to crank the blacks up just a little bit as well. And I should point out-- I'm looking at the edge between this and this, I'm not worried about here... because, you saw it earlier on... it's blacked that in with a big paintbrush. It's this edge, this contrast between the background and the foreground here... that I want to, I guess get as sharp as I can. It feels okay. Click 'OK'. Now what I want to do is kind of fix this bottom stuff here... because I'm going to use my paintbrush. Set it to black. What kind of hardness? Somewhere in there, '80'. I'm just going to paint this in black. I'm going to do this to-- down the bottom here, quite rough... and then as I get closer I'm going to lower my brush... and get a little bit nicer about the whole experience... because I know that that is not a hole looking through. I know that's the sky... but I know this is just light that's reflecting on the grass. So I'm going to go in here and just kind of fix this up a little bit. We'll go through in-- After we do this exercise, I'll show you a few extra little tricks... to tidy this up a little nicer. You saw the end result here, I put in less effort. And it came in still with a really good result. Channel Masks are awesome. So I got the basics in there. Now what I want to do is load it as a selection. You can click on this little icon down the bottom here. And it loads that black versus white as a selection. Now this guy here is--- his job is done. I click on 'RGB' to turn all of these on. Just make sure the eyeball is off on the mask, or you can bin it. Like we just don't need that anymore. People get a little caught up on that channel being part of it. Really we just used it to get our little Marching Ants here. Back to 'Layers', at the moment we have this sky selected. It really depends on your image. Sometimes you lever the right way around, sometimes you won't. If I click on 'Layer Mask' here, it's the opposite. So I'm going to go to select this. Now add my Layer Mask. And hey presto, you can see it was pretty bad along the top there... but it's still a pretty good mask. I'm going to grab my 'Move Tool'. I'm going to go 'Command C', 'Command V' on my Mac. Actually I probably do the other way around. I'm going to drag you, here. Use my little shortcut, 'Command-Shift-Square bracket'. 'Send to Back'. 'Ctrl-Shift-Square bracket' on a PC. You can see, a pretty convincing mask. Let's look at a couple of other things you can do with Channel Masks... to get the most from them. Let's go to 'Channel Mask 3'. And I'll lie, we're not going to do Channel Mask 3 together... because it's very similar to this first one here. I'm going to set that as your homework in the next video. You can do it now onboards if you want. What I want to do is, let's go to 'Mask', 'Channel Mask 4' and '5'. These are the ones I'm going to combine. You saw them at the beginning. We run into the same problems, we can't use Select, Subject... but we're probably going to use a little bit of Select & Mask... just to kind of push this a little bit further. So same thing as before. Channels, I use these shortcuts here. If you're on a PC, is it Ctrl 3, 4, 5? Check whatever the shortcut is there. I'm going, holding down my 'Command' key and going 3, 4, 5. I'm not looking, just toggling through them all, just seeing. And don't worry about down here... you're looking at the transition between the sky and the background. And they're all really similar actually because the background's pretty much white. I feel like... that's my one. You could argue on all the three of those ones. So I'm going to duplicate it. Duplicate, oh, don't delete it. Duplicate it. Can we give it a name? I'm not going to give it a name. Because we're going to bin it in a second... so nobody's going to know we didn't name our layers. So 'Blue copy' selected, all the rest of them off. Otherwise you get this kind of weird colors going on. Make sure it's selected, and remember, we're going to go to our Levels. And we're just looking to increase this contrast, so I'm going to zoom in a bit... and I'm just looking at-- if we go too far you'll end up with this. It bleeds over the edge, and looks not very good. So I'm going to increase the white a little bit to get the sky pure white. I feel like that's a pretty good one. Looks like it's pretty strong black versus white. Click 'OK', zoom out, and I'm going to blot in the bottom here... using my Brush Tool, nice big brush. I'm going to add a little bit extra to this one, I promise. So we've got a selection, we're going to load it as a selection. We're going to click on 'RGB', you can leave that there. There's nothing wrong with leaving it there, click 'Channels'. 'Inverse' the selection, I'm using the shortcut 'Command-Shift-I' on a Mac. That's 'Ctrl-Shift-I' on a PC. And I've applied the Layer Mask. Now let's go and add it to our background. So actually going to bring this guy in, the other one, so 'Move Tool'. You come in here, friend. Want to know a cool extra little shortcut? You don't have a choice, I'm going to show you anyway. When you're dragging from one image to another, and you kind of like... ends up in a weird places, right? If you do that exact same technique. So 'Move Tool', drag drag, hold, hold, I'm holding the 'Shift' key. Then let go, and it doesn't put it willy-nilly... it puts it exactly kind of top left. Really handy, okay, moderately handy. And move it underneath. And you can see, it did a pretty good job... but because I've gone for such an extreme background... it's gone from light to dark... you can see, they're kind of ghosting around the edges. So I'll show you two ways of fixing this type of thing. One you've learned before, one you haven't. So I'm going to click on my 'Layer Mask'. Even though we started with a Channel Mask... we delved into the channels, and messed around in there... we can still click on the 'Mask' and go to 'Select & Mask'. I'm making sure mine's against on black. And you can play around with the radius... and in this case here, Shift Edge is probably going to work. It doesn't work great though, works kind of too far down into the image here. So I'm going to hit 'Cancel'. What I want to do is show you a cool little trick. And it's to use your paintbrush, the B key. And just switch it from Normal to 'Overlay'. I'm going to make it an appropriate brush size. I'm going to make it kind of fuzzy there. Make a little bit bigger, and try and impress you. Look how good that is. I loved it when I found this option. Instead of trying to control it all with Select & Mask... you can just use your Brush Tool with Overlay... and just kind of tidy up the edges. It doesn't have to be a Channel Mask you've started with, can be with any mask. All it really does is gets rid of the kind of... in between zones, so let's undo that and kind of have a look. If you hold down the 'Alt' key on a PC, or 'Option' key on a Mac... and click on the 'Mask', it just shows you in black and white... which is handy, right? I'm on 'Overlay', I'm on 'Brush Tool', black as my foreground color. And watch this, can you see... just like shrinks it in, or at least gets rid of the kind of gray areas. Can you see this white here in the middle, and there's black there... but there's this kind of like little bits of gray. And that's what the Overlay option is doing, as a brush. I'm going to zoom out. I'm going to turn. I'm going to hold down 'Option' key on a Mac, 'Alt' key on a PC. Go back in here, and just kind of fix that up. One thing I might want to do as well, is you can use that same key. I'm going to go back into here, you can see there's some like... you see, all this kind of gray area down here, you can do the opposite. Just flick it over to white. Make an appropriate Brush size, you can do some pretty kind of easy fixes. You can see, you can get quite close to the edge without wrecking it. If you're just using a white paint brush it can be a little tricky. We're trying to go fast. This tool is perfect for it. Tidy it all up. Jump back out, back in, looking pretty cool. So that's going to be it for Channel Mask, actually, one last bit. Let's use that same little tool, back here at the beginning, click on the 'Mask'. And we're going to use our 'Brush Tool', Overlay, I've set it to black now. And I'll lower the opacity just a little bit. If you've got the Brush Tool selected... the opacity, you can drag it down, that's fine. But cool little trick is just to tap '2' on your keyboard... '4', you can see it's changing up here, '6', '7'. I'm going to lower down to maybe 30%... and just kind of work these edges a little bit. There's a couple of fluffy bits that maybe aren't super realistic. And now we're actually finished. So that is a Channel Mask. Maybe bookmark this video. I know, when I was learning Channel Mask-- They're super cool, but really hard to remember what to do. It's quite process driven, there you go. Let's get on to the next video. 12. Class Project - Channel Mask: All right, I've got an exercise for you to practice with, also a shortcut. Now I'm not sure if this is Mac or PC only, I don't have a PC here to test it on... so leave a comment to let me know whether it works on PC. So I've got my Finder open here on my Mac. And I want to open up the project file, so 'Class Project 02'. I want to select both of these... and what I'm going to do is I'm going to start dragging, hold down 'Command Tab'. 'Command Tab', but if I just hold 'Command' down... and just cycles through all the open programs. And before I let go, to go to Photoshop... I'm just going to drag it into it and let go. Is that a shortcut? It is for me, maybe it's not for anybody else. You can also do the same thing - if I undo - by dragging it down here. Just dragging it down here into the dock... and into the actual icon for Photoshop, that works as well. But I'm hoping this whole thing works for PC as well... because I know you can hold down, maybe the Control key and hit Tab to do it. You'll have to help me out because I couldn't find it online. Anyway, we've got the things open. What I want you to do is mask, using your Channel Mask amazing skills. Mask this thing out... and stick it in front of the Sunflower. Let's look at the requirements, use those images, cut out the-- We'll use the Channel Mask to get started... but you can use the Select & Mask, and the Brush Tool. Remember, we set it to Overlay to kind of fix the edges. You'll have to adjust the levels of probably the grass or the background... just to get them to look believable. Then take a screen shot and share it with me. Either in the projects here or on social media, which is all at the top. Good luck, advanced Photoshop user. I will see you in the next video. 13. How to make selections in Photoshop based on the focus area: In this video I'm going to show you how to click two buttons... Select and Focus Area It's great for selections because it's a blurry background, sharp object. It does a pretty amazing job of just grabbing it. There's a little bit of work to do... and I'll show you how to do that in this video. I'll also show you how to take that same selection... to kind of use something in focus... and turn it into an Adjustment Layer. You can see the hydrant there, just kind of... instead of masking it we're using it for Adjustment Layers. I'll also show you some harder things... where it's in focus and out of focus, but the hand's not... but I'll show you still how to get a good selection. I'll show you when it goes absolutely horribly wrong... and you end up with stuff like this. And how to get around it. Then at the end we'll do a little project where we cut this out... and we stick it on to this background. Semi, believably. Look at that, they're shadows and all. You and me, my friend, are going to continue on the Selection Path... and learn how to use Focus Area together. Let's jump in. To get started let's open up the files we're going to use. It's in '02 Selections', and go to 'Focus Area 1' to '6'. Open up them all. So we're going to start with 6, I want you to be prepared for amazingness. The reason this works is because there is... a really shallow Depth of Field; background's blurry... but the subject, in this case a flower, is in focus, so works perfect. What we'll do is work our way through. I've got some ones that are really easy, through to the ones that are quite hard. Now also note that this technique is just the starting. Like remember, Subject was great... but then we went to Select & Mask to fix it up. It's the same for this technique, it does a lot of that heavy lifting. 80% there, and then we use Select & Mask to tidy it up. So kick back, relax, and be amazed. Now you can see the edges are a bit off, we can fix that up with Select & Mask. You can jump straight to that from here, which is cool. You might have to adjust the Focal Range. So lower is a bit more exact, so it's looking for sharper parts of the image. If you raise it higher, it's a bit more forgiving, and goes... "Do you mean this, this, and this?" This one's pretty easy because it's very clear. Background's very blurry, foreground is very sharp in comparison. Things you will have to do is, you can see here... it doesn't really know what to do with this thing in the middle. So you've got these two options, you can add to the selection or remove. So basically think of this as the Quick Selection Tool... we looked at it earlier over here. So same technique, you don't have to like paint it all the way in... just kind of click a little bit... and it goes off and tries to race around and find what you mean. That's pretty much all for this particular one. Let's click 'Select & Mask'. So now we're back into that window that we've used quite a few times. It's over here, remember, our global changes. We can use our Fine Brush, so whatever you want to use now. In this case, Radius around the edges, it's doing a pretty nice job. I'm viewing mine against, what is it? Is against white, is it against black? Not on black. Sorry, 'On Black'. Looks nice, On White, looks good. Awesome. And what am I going to do with it when it's finished? I'm going to output to a Selection, no, I'm going to output to a Layer Mask... and then click 'OK'. Let's look at some harder ones, let's jump to 'Focus Area 2'. Now you don't always want to make... a complete mask like we did in this one here. Sometimes we just want to grab an area... to play around with things like the levels... or change the colors, so let's do the same technique... but let's look at using an Adjustment Layer instead. It's the same technique, 'Select', 'Focus Area'. Kick back, relax. You can do the adjustments here. It's pretty good, I'm going to add that bit... and use minus '-' to minus in there. Think of it, remember, like the Quick Selection Tool. A little bit down here to add. It's couple of bits down here. If you find it hard to, like check what's missing, what's not... play around with these different ones, so On Black, Overlay. Just try these different ones so you can see clearly what's maybe missing. And say White On, Black on White, it's pretty good here... so I'm going to add that, I'm going to add that. And we've got a good start. You can play around with Soften Edge, and it does... but it's just kind of like, it's just a one tick... where you can go in to Select & Mask... and because we are super advanced awesome people... we get to use all of these features to make it quite sweet. So which one am I going to use? On Black looks pretty clear, and Radius... yes, it's working nice. Maybe just smooth it out a little bit. You don't see me using Feather or Contrast much... it's just preference, have a play around with them, it does... and going a bit high, but it kind of feathers the edge... that might be exactly what you need. There's no right or wrong really in here. The cool thing about it is there's only about 6-7 options to play around with. So experiment on your own. When it's finished, instead of going to a Layer Mask... what I'm going to do is, I'm going to say... stay as a Selection, because-- let's click 'OK'. Now it's just a lovely selection... Now if I go to my Adjustments Panel and say, do levels or curves... if I do levels, you can see it turns my Selection into a Mask... on my Adjustment Layer, which is levels, hasn't touch the background now. So now with the levels here I can go through... and it's going to kind of balance it out a bit. I want to be really subtle in these tutorials... but it's hard when you're being subtle... because you can't see what I'm doing on the video often. You can see what I've done there, I've just darkened it up a little bit. I just wanted to show you an extra way of using Focus Area. Grab the stuff that's really close and really work on it. Maybe the same thing with vibrance, instead of levels, or a bit of both. Now let's look at some problematic abuses and how to get around them. I find this is the most valuable stuff... because not always you're going to get a perfect kind of flower on its own. So Focus Area 3, this image has-- probably the biggest problem is... that it's got a really high ISO or grain, that is kind of in the image. So it's kind of all over it, so it does find it hard... to break away from what is sharp and what is blurry, because of that grain. So I'll show you a couple of ways of getting around it. Let's go to 'Select', let's go to 'Focus Area'. If you can hear 90s dance music in the background... the construction workers that have left from yesterday... have now been replaced with shop fitters... who love the 90s dance anthems, which is cool. Not so good for you and me, recording, so enjoy the backing music. You probably can't hear it, it's probably just me. You can see here, under, against white or on white... it's just kind of grabbed this. This is the only bit I could really find that's really sharp. You might find, with a really grainy image... that this image noise level, kind of up and down, will help. Drag it up, drag it down, see if that fixes it for you. I'm yet to find it useful for me too much... but I should show you because I haven't used it enough... to say it's like good or really bad. Given adjustments and easy slider, so what we're going to have to do is... there's just a big chunk of hand missing... and the options up here are, On Black, Black and White. So it's not very handy to know what else I need to select. The only one that really works is Overlay. Overlay allows us to see kind of a ghost of the background. There's no kind of opacity slider like we have in Select & Mask. So just pick Overlay. And then let's grab the '+'... and I'm just going to kind of click along and let Photoshop do its magic. Oh, Photoshop! You're so good. Look at that. I just do little bits-- freaks out my computer a little bit... but also... squeezing the Quick Selection Tool, I find... doing smaller little chunks is easier. This bit here is a little harder. Minus, '-'. Hold down the 'Option' key on a Mac instead of coming up here to minus... or 'Alt' key on a PC to change it to minus. We're not going to spend too much longer in here... but there's two ways of kind of working through it. You can play around with the noise level... but also just add and subtract to the mask... and it's easiest done when you're on Overlay. So I'm going to go to 'Select & Mask'. I always go through Select & Mask to tidy it up... you might go, "No, I'm just going to go straight to being a Layer Mask." Awesome. Job done, and you're happy enough with it. And then later on you might come back and click on the Mask. And then go to Select & Mask to get back to where I kind of go directly. I'm going to smooth the edges, maybe Smart Overlay... and in this case I'm probably going to need to use... not this first one, not this one here... I'm probably going to have to use just a plain old Brush Tool... because this bit here, the computer is not going to be able... to work out the difference between the background-- Let's go back to 'Marching Ants'. Actually, because we're in here we can lower the opacity of that black, on black. Just to make it easier to see what's in the background here. And because we've got this Brush Tool here... I make it bigger, hardness is... I like it between 85 and 95. And hold down the 'Option' key and just kind of paint it out. Maybe the fuzziness needs to be a little bit lower... or hardness needs to be lower. Just to give it that kind of blur with the background. There's probably this one down here, actually I'm okay with that. It's pretty amazing. There's a hole in the middle, if you are getting through this course... you're like, "I can't remember, how did you do the red thing, again?" If you're on a Mac, hold down the 'Command' and 'Option' key. Just hold them down, and then click and hold your mouse... drag left and right, up and down. Gives you size and hardness. If you're on a PC, it's a bit weirder. Maybe not weird, it is hold 'Ctrl' key down on your keyboard... and then with your right mouse key... like the other one that you don't use very much, the right click... click and hold that down and go left and right, up and down. So I'm in here, I'm going to go-- This one here, so just using the Paintbrush... I'm going to use the Quick Selection Tool... because instead of trying to paint it out... because it is very clearly different from the rest of it... I can just kind of click once in there. Nice. Let's click 'OK', and a pretty sweet mask. Let's get into 'Focus Area 4', where it really doesn't work. So we're going to go to 'Select', we're going to go to 'Focus Area'. We kind of see that it is, but it's got that grain problem again... where a huge amount of grain in here... but it's making the background and foreground quite consistent... and it just doesn't work, and I'll show you a way around it, kind of. Let's go to 'Focus Area', kick back, relax. Let's just go to here, it's okay. You just want to fix it in here... you just need to, because this is a person, or a human... it works better with 'Select', 'Subject'. 'Select', 'Subject', kick back, relax. Come on, Select, Subject. You can see there; magic. So I'd start with this and add my Layer Mask... and with it selected go to 'Select & Mask', and tidy things up. We did that in an earlier tutorial, I guess I wanted to show you just... sometimes Focus Area doesn't work... you might have to look at different ways of doing it. We've looked at a few sections already. Channel Masks and Subject. Now the last one we're going to do is, we're going to cut this out and stick it... like a proper project, rather than just looking at it, and here is a mask... we're going to combine stuff and just look at a few. Tie together some stuff we've already learnt, and turned into a little project... so that in the next video I'll set a project of your own. So do this with me, and then in the next video you can do it by yourself. So I want to cut that out, stick it there. So to do that, same thing. It looks like it's clearly going to be good for the technique we're using... which is the 'Select', 'Focus Area'. Now I'm going to switch it to On White. Yes, On White's probably good, or On Black. On White's probably going to, it's a little bit clearer. Now I'm going to have to minus some parts out. Brush Hardness, down a little bit. It doesn't really matter that much when using the Quick Selection Tool. I've got the basics in there, and that's pretty cool, right? Focus Area, you rule. Let's go and fix it up a little bit. Let's go to 'Select & Mask'. It's pretty good. Comparing it against white-- I'm going to turn up the Opacity now to 100%. White versus Black. Like a white's probably a better example... of how good the selection is especially on the side. First up, I probably-- let's just see how we go with a little bit of Radius and a little bit of Smoothing. I'm okay with this, really fixed up these edges here. Remember, I'm going to zoom in. Hold 'P' key down on your keyboard. That's the original, actually don't hold it down, just tap it. On, off, on, off. Pretty amazing, huh? The other thing I want to do is-- those are actually... part of the original, right? If I turn those down... they're actually just part of the original image... but I don't want them so I'm going to go to-- these are the tools that are not going to work, right? The Refine Edge Tool, because it's such a solid thing... it's just not going to do what I need it to do. So I'm going to undo a couple of times. I'm just going to use... just a plain old paintbrush. I'm going to pick a size and hardness. Something about there, hardness. Trying to match the hardness of the edge here... of what's already there in focus. If you are sick of that shortcut with the red thing... you can just do size and hardness up here, right? But I am now going to hold down my 'Alt' key to turn it to minus. Just to kind of tap these things off. Bit of manual labor, can't be avoided sometimes. I'll speed this up because this is painful to watch. So that's going to work for me, I really like it. I still want to go and fix a few of these little edges. It's the beads of water that are on the edges... have given me lumpy kind of sides. Photography trick. I don't do the photography much, I do a lot of the retouching... but never keep it in the fridge because it ends up sweating... and leaving big pools of water when you're trying to photograph it. So what tends to happen is-- one of the tricks that we've worked with lots with food photography... is you leave it out... it's pretty much off in rank, but if you cover it in hair spray... it looks wet, moist, and new... and doesn't drip water beads everywhere. Kind of preserves it for a while so hair spray is a good trick. But we've got our mask, we want to output it to a Layer Mask. Click 'OK'. I want to add this to Focus Area 6. We're going to use our trick where we go to Move Tool, and just go... 'Command C', 'Command V'. Kind of brings through the Layer Mask. So it's in, it's not super believable, but it's pretty cool though. I'm going to do two things before we go. We'll add a Layer Mask, and one of the obvious problems is this glass. I'll show you a quick little trick for it. Let's do the Drop Shadow first, we learned this in the Essentials course... but we'll just recover it here for the people that didn't do it. It's pretty fancy, well I like it anyway. So I've got this layer selected, I'm going to go to 'fx'... I'm going to say, I'd like a 'Drop Shadow'. Not worried too much about this Drop Shadow... except I want to see it. Like that's not a realistic Drop Shadow, I know... but it's mainly just so I can see what it looks like... and play around with the opacity... the size, how fuzzy it is. That's going to work for me. Click 'OK'. You're like, "That is terrible." But remember, the people that did it, you know... you can right click the word 'Drop Shadow'... and go to this one that says 'Create Layer'. It's cryptically named, basically it means... I'm going to yank the Drop Shadow off as an effect... and look, there's its own shadow on its own layer. I'm just going to move it around. It means that we can go to 'Edit', 'Transform', and go to 'Distort'. I'm just going to use the shortcut because we're in the advanced class. So hit 'Command T' on your keyboard, if you're a Mac, 'Ctrl T' on a PC. Then just hold down the 'Command' key on a Mac or 'Ctrl' key on a PC... and instead of it just kind of like doing this... you hold down the 'Command' key or 'Ctrl' key on a PC. It just distorts it without having to go to... the official 'Edit', 'Distort', it just kind of does it all for you. So what I'm looking for now is for the shadow on both the Focus Area. Focus Area 5, you can see there's a big shadow cast this way. And in here it's pretty neutral. The photographer has probably composited this background anyway. So, because there's lots of freedom to decide where the shadow's going to go... so I'm going to Transform it, and move it around. I'll try and get the base of it there. How realistic this is going to be? Where's the light going to be coming from? I don't know whether it should be kind of coming from this way or this way. Ah, looking awesome. It's okay, I'm going to hit 'Return'. Now what I'm going to do is I'm going to do couple of things. One is, on this layer here I'm going to play with a different-- it's defaulted to Multiply. So I'm going to go through and just pick another Blending Mode. Remember, holding 'Shift' on my keyboard, make sure you're on the 'Move Tool'. Then tap the '+' key, and it just cycles through the color modes over here. That at least gets you close to where you want to be. I cut like that, but it's probably not very-- I do like what Linear Burn does to the wood. Can I find anything else that I like? No. Maybe a Linear Light, I like... but it needs to be kind of reduced... especially out here where it shouldn't be... it should be kind of maybe dark in here but not further out. So what I like to do is just add a Layer Mask to the Drop Shadow. Make sure you're working on your mask. Grab your paintbrush, just your B key. I'm going to make sure that my Blending Mode is normal. We played around in an earlier tutorial to change it to Overlay. And in terms of the opacity I'm just going to kind of like remove parts of it. But I want to turn the opacity of that brush down. We're going to use our shortcut along the top of our keyboard... just remember 1, 2, 3, 4. So maybe 30%, you see the opacity changes, 40. I'm going to practice. So I'm just going to kind of build this out. Maybe even lower, 10%, just kind of clicking and dragging, and working it. Especially maybe over here. At the back there, I'm trying to make it look realistic. I'm okay with the shadow, maybe needs another bit of blurring... so you can click on this, then go up to 'Filter' and use 'Blur'. We're going to do Blur later on... but don't worry, everyone uses Gaussian Blur. So do I. You might just blur it up a bit more. So one of the other big obvious things I can see... is that it's just got a blue cast to it. This background's got quite a warm yellow feel to it... whereas this has got quite a blue cast. It's making this stand out too much. So with this layer selected let's even name it, let's go crazy. 'Smoothie'. And with it selected let's go to 'Adjustments'... and I'm going to use Color Balance; which one is you? There he is there. Second, line sticking in, and I'm just going to shift the blue to yellow. Now at the moment it's doing it to the whole thing, so if you click on this... remember, it says, I'm only going to affect the layer just underneath me... which is Smoothie. Now I'm just going to kind of warm it up, turn it on and off. On and off, yes, getting there, so maybe a bit more red than cyan. A little bit of green for that green Smoothie. Do you like it? I feel like it sits in there a bit nicer. Next thing I'm going to do is fix up this glass. It's like really bright compared to the background. It's not showing through any texture... and you'll run into this problem with glass, glass is tough. I'm going to do kind of a caveman fix, I want to show you what I would do now. So I'm going to zoom in. What I want to do is work on the mask. I'm going to use my paintbrush. I'm going to make a nice small brush. I'm going to have the opacity at maybe 20%. How hard is it going to be? Hardness at 0, I want it nice and fluffy. So what I want to do is-- I'm going to leave a lot of the whites, it's this gray stuff. The blacks are good, the whites are good. Often when you're working with glass... it's the Mid Tones that are the background. So I'm just going to caveman it and do this. I'm just painting it out. So I'm just kind of painting it out in little parts. Why? Because it's showing through the background a little bit... bringing through that kind of ready Okla that's in there. I'm just making the glass a bit more translucent. Total cheap trick rather than getting too complicated about it. Changing the colors and stuff would work... but if we put it on a different background... at least this technique is going to show through the background a bit more. I might remove a little bit of the glass as well. I mean the highlights, just to kind of lighten it up a little bit. To show you what I mean, remember, we can hold down... 'Option' on a Mac, 'Alt' on a PC and just click on the mask... and just see what I'm doing here. It's pretty primitive, but... you can see, it's just that, now kind of blend in a bit more. If I move the background, give it a name... you can see, it just kind of moves there and kind of... takes on a bit of that background through it, and that should be it... but this bottom down here is annoying me as well. There's like a weird reflection that just wouldn't happen on this desktop, I feel. So you could work on the actual image and maybe darken it. I'm just going to work on the Layer Mask because I don't want to destroy the image. Do the same thing with my Brush Tool. I'm just going to kind of lower this a little bit, just the bits I don't like. Even though, would kind of peek through. All right, how much do I like it? I'm pretty happy. I'm okay with finished shadow doing weird stuff. One last thing, I know there's just one last thing but I-- Weird thing that happened, I created a new layer... and because it was in between my Adjustment Layer and the image... kind of did this weird thing where it became... what's called a Clipping Mask for this image, that happens all the time. Just drag underneath, make sure that is still using this option. Connected to the bottom, and my layer here is going to be 'Extra Shadow'. I always find believability in doing just a little bit of black paint brushing. So 'Brush', I'm going to have Opacity of maybe '50%', I'm going to use black. Another shortcut for you is, see my foreground and background color? One is blue, one is white. So you can click on this to force it to go black and white... but you'll see, there's my shortcut given away, 'D' key. So if I hit 'D', just sets it back to the default, black and white. X key toggles between the two. See over here, X goes foreground and background color... and D just sets it back to black and white. So here we go. I'm just going to add this on its own layer. You can see, it's kind of okay, but I probably want to set it to maybe Multiply. And maybe just lower the opacity of it down again. I like doing just that second kind of rung of super close shadow. And then there's more kind of wafty shadow. That's it for this one, let's jump into the next video. I'm going to set you a goal, to do stuff like this on your own. Really ties together a lot of the stuff we're learning so far. So I'll see you there. 14. Class Project - Focus Area: All right, I have got a fun class project for you. This tomato, that chopping board. The rules are in the Class Projects Word doc. This one here, Class Project - Focus Area. Both the files are in Project 03. And the rules of engagement are, you have to use the Focus Area to get started. You'll have to tweak it using anything you like, but probably Select and Mask. And the one that I'm interested in is how good your shadow ends up being. Not a graded test, everyone's going to do something different... but please post what you do, even if you think it's bad. It might be bad, that's okay. Your post might make somebody else feel better. If his is average, yours is bad, makes things feel good. Plus we're all here to learn, so post it and tell us what you did. How you did it, whether-- you can do the detached Drop Shadow option. Well you might just paint it in, there is no Blending Mode you used. Maybe you didn't use black for the shadow, maybe it was a brown. Try and make it look realistic. You have to work out which way the light's being cast. It looks like, from there from this one, slightly different from this one. You don't have to just use these features here, make sure you do these... but you can use anything else to kind of color grade or add noise. Anything you like for the class project, and at the end, post it... at any of these places up here at the top, I'd love to see what you do. Onward to the next video. 15. Selection trick using the smudge tool: All right, it is a little trick for doing Masks, this video. You'll be doing lots of Masking video, selections of Masking. And I heard you say, "Another one, Dan, give me one more." This is just a small one, it's a little trick... that I wanted to keep in here, because I use it all the time. It's a little hard to get placed in. So let's say we use this image in the last one and we went... Focus area, and that worked great, to a point. We minus this chunk out, went to 'Select & Mask'. Radius, Smoothing, I might shift the edge in a little bit. Kind of got it to a nice point, right?... but there's a couple of parts, this bit here is the main offender. Click 'OK'. There's one there as well. So I'm going to show you how to use the Smudge Tool. I use it because-- I'll show you why. Let's do this one first, he's the easiest one to get. Because I'm going to work on my Mask, and what people tend to do... is they grab the Brush Tool, then they just make it really small. Then how small do you make it? You keep like-- Let's actually do it so I can show you. So in here, really small. What's my Opacity? I will put it at 100%. I just get that bad, and then I make the brush a bit smaller. I'm going to get that-- you end up in this kind of like-- It always ends up looking a bit fake doing it that way. So, along comes the Smudge Tool. What does the Smudge Tool do? If I work on the actual image-- I'm going to zoom out a little bit. The Smudge Tool is this little finger here. He is normally the Blur Tool, if you hold him down, grab the Smudge Tool. Now up here, just make sure it's set to--... you might have been playing around... just pick one of these top general brushes, pick any brush. And what we'll do is, the Strength, around about 50%. And we'll set the Hardness to 0. Basically if I'm working on the actual pixels... it just smudges things, you can kind of see it there. Smudgy, smudgy, smudge, but if I undo... that same little thing, when I'm working on the actual Mask... does some really cool stuff. So I'm going to pick an appropriate Brush size... and then kind of smudge it in, and look, let go. Cool, huh? Just kind of smudges it in. I'll show you what I mean, or what it does. I'm going to hold down the 'Alt' key on a PC, 'Option' key on a Mac... just to click on the Mask to show you what it's doing, and I undo. Because the Smudge Tool-- watch this. If I make it nice and big, if I just push from the edge, watch what happens. When I click and drag... I'm just holding the mouse key down, no Wacom tablet, you can see it kind of... as it's moving along, it kind of slowly makes the radius smaller... and the effects smaller, so it's really good for pushing into those edges. Just going to turn it back on, pick a Brush size. Zoom in. And in this case I might make the Hardness just a little bit less. I'm just pushing here. You can see, it just gets in the corners really quick and easy... rather than messing about with the-- yes, making the brushes bigger and smaller. Same here as well on these corners, ah, look how cool that is. Same for this one as well, where is that one? Oh, sneaky trick there. If you hold down the 'H' key on your keyboard-- So I couldn't find where this was, right? I was down here, and I was like... we're all done, you're like, "I want to go to this other part." You're like, "Oh man, should have zoomed out," you can't find it, right? If you hold down the 'H' key on your keyboard, moves to the Hand Tool... but the extra perk for it is, if you click and hold down the mouse key... it zooms out to like full zoom. Then you can move it around and say, "I want to look at this bit." Retouch it, retouch it, fix it, hold down 'H', click. Holding the mouse key down over here... and now I'm going to kind of work in this bit here. You can see it's not starting down here... so I might have to grab my Brush Tool and just kind of start a little bit. Back to my Smudge Tool, then just kind of work this out into the gaps. You might not like it, you might do. I hope you do. I like it. Can you see those corners? Nice! Look at that. If you're using a Wacom tablet you probably wouldn't have to do this... because it's pressure sensitive, right? And you can just... just hold it a little bit lighter and it goes and pushes it out. This pesky one, and a pesky one again. Now I'm just moving around, but you get the idea, right? Smudge Tool can be handy for those kind of corners that you need to get into. Just a little, quick little bonus video. All right, let's move on. 16. Object Selection Tool in Photoshop: Hi, everyone. In this video, we're going to look at something called the Object Selection tool. It's awesome. It allows you to go through a document and actually just identify different small objects in a larger quite complex image with lots of things going on. Select subject doesn't work because there's too much going on. Things are out of focus, but I know I want to select on that, and I want to add a lay a mask. Look, object selection. Super easy to use is a couple of little tricks to finesse it to get exactly what you want. Let's jump in and do that now. To get started, go to Object select and open up this one here. Now we've learned some really cool techniques like select subject, and it works lots of the time and then sometimes it just doesn't. There's just too much going on. It doesn't know what to do. I'm going to hit D select, command D, Control D on a PC. That's where this tool is really handy. Where's this one? I can't even find it. It is actually the now the default for this group of selection. Magic one tools way back in the old days, hands up who remembers that being the tool they learned. Quick selection is really good and really useful. Object selection is a great place to get started. I'll show you some pros and cons for this one. So the cooling about it is depending on, well, one of the problems is if you've got a really slow machine, this can take a little while. Mines brand new mac. It's pretty fast. Yours might be a little bit slower at this little pink lines running everywhere. Those pink lines can become a little confusing when you're starting, you're like, what is it doing? It's trying to identify the object you want. But look at it saying, is that an object? You're like, e. Is that an object? That I'm just hovering above them. Let's say we want this lens here if I click on it once. It makes a selection. Look at that. I can hit my mask tool and I've got that thing selected. So cool. I'm going to undo it because what you can do to go a bit further is you can say, I want to shift click. Hold down the shift key, click that one and say I want the camera as well. Now I've got that. Look at that, camera and the lens. It does a really good job, but sometimes it gets confused. This is using the machine learning as well. You might find that I've got this problem here that background looks really close to that bit of let's deselect. There's something wrapped around the camera gear there a bit of and a rubber band looks so much like the background, I can't discern between the two. I can. I'm a human. I'm smart, but this thing is getting smarter as well. You might find when you're doing it, it actually picks it just fine. Let's say it doesn't. I've clicked on this once to get the selection. Object mode is a bit invasive, that pink things running everywhere it's a bit jumpy. I'm going to do is I'm going to say, I'm not going to use you object selection tool, which is really awesome. I'm going to go to this quick selection tool and get rid of the pink lines jumping everywhere. It's going to allow me just to add this last little bit. I'm on plus, my brush size is a bit small. We use my square brackets to make it bigger. Be an update video. Come in but do we do square brackets? We probably have. Next to your Pk makes the brush bigger and smaller, and I'm just going to say add that bit for me, please. Maybe a bit smaller brush and go, I need that little chunk there. If it's got bits you don't need, let's say that it pick this, but you know you don't want to pick it. What you can do is make it appropriate brush size, and then use the minus, either switch it over here, up the top here or hold down the option anomic PC and just paint in these parts. I'm going to have to get a smaller paint brush in there to get it perfect. It actually did a better job than I've done with the object selection tool. Object selection is great for picking individual parts when selection object grabs too much, but you might need to adjust it just a tiny bit, using something like the quick selection tool is what I'd use. Let's do one more. Let's add a mask. Awesome. I'm going to do that. Let me show you one more in this document that has a bit of problems, and I'll show you a different way that I'd approach it. I'm going to go back to my object selection tool. I'm going to say you. I want this pencil as well because I want this whole little thing. Hold shift, click this as well. You see this the marching ants running all the way through here, go a pink line, going to go to my quick selection tool, you see all those bits. I could grab this and start painting them in. That works. But because there'll be a lot of painting. Can you see all the ants running around there. I'm going to grab my lasso lk. Me sure it's on the polygonal polygonal. What that one is, go to the polygonal lasso tool. I want to add to the selection or move it. Currently the easiest way is to click on this. You say, I want to add these bits. I'm going to undo, and I'm just going to use my Lasso tool and go click once. I'm going to add to the selection, so not just click once, I'm going to hit Escape and undo to add to the selection, you hold shift, and I'm going to go. Then I could be really Willy Nilly around here. It doesn't really matter where I select, as long as I lasso across here and back along here. I've added way too many lines just or I know exaggerating for effect. But come back to the beginning, that's easy way to grab a whole bunch of stuff that it might have missed. Then we can add our layer mask. There's a couple other bits we want to touch up and move in. So I just use the black paint brush and start working on the actual mask itself. We've done that earlier. There you go. The object selection tool. It works really good, needs a little bit of touching up. It will get better over time. It's using the fancy, machine learning, artificial intelligence, I'm not sure which it is, but it's doing something, being really good. All right. That's object selection. I'll see in the next video. 17. Using Gen Fill to replace backgrounds: One. In this video, we're going to take our selection techniques we've learned and use it to replace the background using the fancy new generative AI feature called Gen Pill. But we're going to take it to another level. We're going to do the easy stuff where we switch the background. Then I'm going to show you how I coax it to get what I needed to do because it started off in the actual sand of the beach. Eventually, we get it onto the road. I'm going to show you how I'm getting better at being a prompt designer, telling it to do what it wants. I'm going to show you all the problems that we run into, why is it adjusting my car? We replace the sky, but then we try to add a sun, and that's what we get. There's some weird things that go on. I'm going to show you how to get around them. That's the sun I wanted. Here you go. We're going to replace the background on this car, learning how to get generative AI to do what we want. Let's dive in. Everyone to get started in your two selections folder, grab Gen fill one and open up in Photoshop. I just drag it into there normally to open my files. Slick the background, we're going to use the technique we used earlier on in the course, we're going to go slick subject. Ours is pretty good. There's a bit of touch up to do. We should probably do it. S grab the quick selection tool. I'm going to hold down my ult key on my keyboard. To paint out the bits I don't want. I can be a little lazy here because we are just being a bit lazy. Good enough. The cool thing with this technique is that it will spill in and out. You don't have to have a perfect selection. It is pretty good at blending even the worst of selections. Do it first, then fix it afterwards because it is pretty generous and forgiving. I've got it, we need to select the inverse. We're going to use our handy dandy contextual task bar. This one here, select inverse. There we go. Now we're going to go to generative fill. We're going to replace the background. We're not going to crop it. We're just going to do this and it's going to put Top it's going to awesom. Let's put it on a beach. Let's just see. What we're going to find with this gin AI stuff? A, It's wicked and awesome and amazing. But me as a designer now and a photographer is trying to coach it into what it's doing. We're going to ignore the little reflections in the back window that fit in. But there you go. Here's my deets sitting at the beach. Sts a real good job. Now, your version is going to better than mine because they're always developing it. I have these little arrows here to work my way through. Okay. Now, I'm like, what I wanted, but I didn't want to in the sand. Then you're like, Okay, what is it next? Beach. I'm going to go Road in front of Bach. Yeah, coaxing it to get it to where I needed to be. While that's doing that, actually no. Let's fastward. There you go. We're getting there. That's more of what I was looking for. Sunny Beach side stuff. What's amazing about it? Clean the eyeball on and off. Can you see what it's done with the shadows on the roads? Oh man. Really good at replicating nature. It's harder at replicating things that we actually know in shapes and symmetry like a car or a person. But, man, nature is perfect. There's some stuff going around here. We can work on the mask, but for the moment, man. Now, if this is your first trip through generative AI, a couple of little things to look at is in your properties panel here, you'll notice you've got variations. It gives you three by default. If you don't like what it does, just keep hitting generate. And I'll go through and try again. Feel like, it's close, but not quite close, just keep generate. It takes a little while, but it'll give you another three versions, or you're going to have to start working with your prompt. That's what calling how to talk to generative AI is giving it prompts. Keep an eye on these tips as well. They are really good. It works in different languages as well. If you are not a native English speaker, you can type it in. You might be more articulate by writing your prompt in your own language. I think it has 100 languages at the moment. It probably has your one. Give it a go. Other thing to note about, man. The other thing to note about some of this generative AI stuff is that there's two things. One is that it's using credits. At the moment, it's a very expensive thing for Adobe to go and do servers and technology and stuff. What they're doing is just to make sure nobody's going crazy and burning out the servers that are doing this process because it's not your computer that's generating this. It goes off to the Internet, Internet does answers the prompt, looks at your image, and then serves it back to your computer. You need an Internet connection. It's quite system demanding. What they're doing is they're saying, if you've got a creative cloud license, you get 1,000 credits per month. I've never got close to finishing out that. I don't think I got past 500. I'm a teacher and I use it lots for my own professional work. You probably find it's fine. Check with your licensing. Education licensing, I think it is different from enterprise licensing. I think you've just got photoshop license. I think you get 500. If you've got the photography plan, I think you get 500 as well, but it changes all the time. There's no point giving you hard facts. Now, go and check how many generative AI credits do I have and then work out your plan The thing to note about these is that they are commercially usable. If I'm working for a company and I want to use this, this stuff that's generated in the background, Adobe have said that this yes is allowed to be used. It's unique. It's okay to be used commercially. That's the whole stick from the beginning, they've tried to make something that is usable professionally commercially, so that's Last thing is that these can get quite big. We opened up a nice little JPEG, but there's all these different versions in here that don't go away when I save my file. If you're finding you're working with really high res images in your work, and you need and the file size is just becoming too big, you can go through here and delete these ones you don't want. Delete them straight afterwards, if you don't need them, to find them again if you lose them, you can see this little icon down here, the little sparkles. There you go. That little sparkles means some generative AI robots have been in there and you'll probably find all your variations as part of it. Before you go, I want to show you some things that can go wrong. It's a little bit. You get used to it, but I'll just show you some of the tricks that I use. Let's say I want to put a sunset in. Actually, let's say I want to put in, what do I want to put in? Let's put an island. I'm going to select this. Like, that's a good place for an island. Can everybody see Island, wrong Island. Can anybody see what's going to go wrong? Can you look around the screen? Can you see what's going to go wrong? It's this, it's layer order. You need to be on the topmost layer order because it's put in an island. It do? Something really weird. Ba it didn't see this beach, it wasn't included. I just looked at what was directly underneath it, which was my original image and didn't know what to do. That's an island, I guess, mess with my car. I'm going to do the exact same thing. And I'm going to make sure that I'm on the beach layer, or whatever the topmost layer is. Just have that selected, and we're going to say rectangle Marko, and I'm going to say generative fill, I'm going to say Island. There you go. An actual island that's part of my scene. It's messing with my car. That brings up another good point. It's doing pretty good. That's a cool little adjustment. It's taken away my wing mirror and smushed it on the side. I'll show you another technique that I use. I'm going to turn that layer off because I don't want it. What happens is is that you do this battle between what you want to stay and what you want to take away. I want the car to be unchanged because it's quite specific, it needs to be symmetrical. I know the car, so I don't want to mess with that. Let's say we want to change the sky. We did the exact same thing, but looped in part of the car, it'll end up messing with the car. What you end up doing is going in this case, I'm going to select on my background. I'm going to go select subject. I'm going to invert that selection. I'm only filling out this background, I'm going to leave the car alone. But I don't want to mess with the whole document. I want to leave this road alone and I want our sunset in the sky. What I'm going to do is grab my rectangle market, hold down the option K M PC, got the minus, and I'm going to start over here and just drag and slice it up. This is going to be wrong, I reckon because I've got too much because I want this beach scene still, but I want to be a sunset. I'm thinking, not the car, got the sky, got a bit of the waves, let's make it a sunset. Let's do that and see hopefully it goes wrong anyway. Sunset, First of all, I did it on the wrong layer. Geez, Den. You guys all saw it, right? It's done a cool job. But it's not exactly what I wanted, so Ben. Make sure you're on the top most layer. Can be this empty layer or this one here, whatever it is at the top, and I'm going to get my selection back. I'm going to undo, undo, undo, undo, undo und und. All right. Now I got my selection. I'm going to make sure I'm at the top and do the exact same thing, wasting more credits. But like I said, sunset. I never get through my credits. I really push this thing hard some months, but they may end up changing that. Just know that there is credits going on at the moment. Can you see what it's done to remove my beach completely. Mainly because that selection was just a bit too much. You end up doing this dance of what to have selected, how much to have selected to blend them? Let's do to my selection, and I'm going to go. I'm ending undo until I do my select subject to the rectangle Marquee tool, the option key on my M Key on a PC so to drag across and delete it. I went to about there. I'm going to have to do is go to a there. There. Just to find some I want it to keep the waves in the balance and maybe trim a little bit more off a little bit more off because I want the waves to be there. You end up playing a little bit of that. There's no real absolute rule. There is just a little bit of trial and error. G, Dan, don't do it on the same layer. Do it again. Remember people make sure you're doing it on the top. Can you see now it's actually got the beach and including it and trying to blend it. It's an interesting one. Not sure I'm super happy with it. Show one more. Not much different to what I had, so I'm going to be at the top. I'm going to actually go put in. Let's put it in a sun. Build it in little pieces hopefully. We're having a good day here, people. I'll leave this stuff in because this is what happens. Yours will be better and more mature, that's what we got. Job done. All right, try one more time then. L et's try Sun over Horizon. Okay, we're having a really bad day. Parachuting aliens. There we go. What is messing this up? I don't know. I'm going to restart photoshop and come back. You wait there? Alright. There we go. Got an actual sun that fits the scene. Donna, just close it down, open it up. It's probably also something to do with your selection. I made a bigger selection. And then just typed in sun rather than sunsets and I didn't get any of the other weirdness. There you go. I'll leave these things in the course because it can be a little tricky to get where you need to be. Just completely changing the background is awesome and easy. It's those last fiddle bits where we all want to like this and this and know that if there are little quickie bits going on, it's not you, it's them, or it's the machines. I hope that was a good we win through some more advanced uses for generative fill. It's an amazing tool. Loving what it can do. I'll see you in the next video. 18. Class Project Gen Ai Background: One. It's class project time. It's going to be a fun one. You get to loon loads. I want you to go off instead of giving your file. I want you to find a unique one on your own. I'm going to go to Unsplash and I put in car as my filter. What I want you to do is, I don't mind where you get your picture of a car from. Unsplash is good because they are commercial use, they're high quality. There's lots of other sites you can go. Be great if you've got your own, go take a snap of your own car. Cool boring, it doesn't matter. The fun thing about it is I want you to practice your selection plus your generative fill to replace the background. Okay. So I want you to use the techniques we learned in the last video. In terms of the background, I want you to use the opposite of where you are. If you live on the coast, pick something in the city or in the mountains, if you live in the mountains, pick something that is coastal or just something opposite, something that's different from you. If you live in the Middle East, pick something in Iceland, if you live in Iceland, pick something in I don't know, the Middle East. Just to give you some blinkers on I don't really mind. It's mainly playing around with the technique because it can be tricky to get exactly what you want. When you have done, make sure you post it in the assignment section on the site, but also in social media. Tag me on all of these here. Lincoln Group, Facebook group, Twitter, Instagram, I'd love to see what you have made. Also let us know problems you run into. If you've got some really bad ones, you ended up with the sun like I did in the last video, you know, the big graphic sun. Show us that as well. B interesting to see how it's going. Be interesting to see how everyone's generative AI coughs up different stuff. Anyway, enjoy it, have fun, post a project, and I'll see you in the next video. 19. Blending images using Gen Ai: One. In this video, we're going to look at combining two real images together. Using generative AI. Blending them together to make them look believably together. Plus we'll run through some problems that I run into with generative AI, how to get around them. Actually, let me show you what we do. We end up going like this, bush and connecting them. Works. I show a better way where there's a bit more connection between the sky and the house. I try and add a river and it goes really well, but not the river I want. Because what I really wanted is this river in the end. I'll show you the pathway that I go through in the process and the thoughts about how to get there using text prompts to design in photoshop. It's a new skill we're learning. Prompt design in Photoshop. Let's jump in. To get started, I'm going to be using from the 02 selections folder. There's one called Gen fill two and three. This trick where you drag them into the program only works if there's nothing open in photoshop, otherwise, it just drags them into the current thing. It's not what we want. What I want to do is we're going to start with Gen fill two, and I'm going to extend the background. I'm going to use the crop tool, which is the C key. I'm going to zoom out, command minus, control minus on a PC, and drag up. Just give myself some room for the sky. Double check you're on the default, which is transparent, and we're going to click Inter. We've just got a nice big blank spot for A Sky. When we get to this one, we are going to drag drag drag, weight weight weight. Here we go. Our is a little bit too small. I'm going to make it a bit bigger. Now, what's cool about this is joining two existing images instead of magicing things up. Now what you might find is that this here is like it's the horizon, and there's too much going on there. What I'm going to do is I want generic sky into this mountain range here. What I'm going to do is actually just mask this bit off. I'm going to use the rectangle Marquee tool, MK on a keyboard, drag all the way. I want this chunk. I'm going to hit, make a layer mask, and I'm probably going to use all of that. Now what we can do, make sure on the top layer, don't forget. Select some bits that overlap, and we'll do it twice because I'll show you some problems you might run into that I ran into and I was preparing for this project. I'm going to have a good overlap between the two, hit urative fill, and I'm just going to hit generate and hope for the best. Man, it's pretty good. Let's look at the different versions here. It's a wicked job at connecting what feels like I pick these two because they're similar, they very different strong colors going on, but look at that, that an amazing job there. Let's say you want to get it lower into this. You want the sky more connected with this. That actually might be a success. I'll leave that one there. Let's turn the eyeball off, and make sure it's still at the top. I'm going to do a selection. Like we did in the last video, I want to connect into here, but I don't want it to replace the house because it will. It will go through and add a new house. What I want to do is minus a chunk around the house. You could use the quick selection tool. Let's use the assu tool because we haven't used it very much. I'm using the first of the assu tools. I'm going to hold down option on my keyboard, on my Mc, ton a PC, and I'm going to assu around very vaguely to get rid of that selection. I've got some chunks coming down next to the hill, but not actually the house itself because it will end up changing it. These are little tricks you'll learn as you go along. Let's go generative fill now and just leave it to generate without anything selected. See what the different result is. Oh, look at that. Oh, I like it. Very different than the last one, have a look and compare, say this one to, that one. Because we didn't really get too deep into this bottom one, we left a lot of the clouds as part of the selection. You will have to mess around with these when you are joining, what you want to be included because my tree is gone. We might decide that actually we really need that tree because it's maybe compositionally important or it might be it needs to be in the photograph for whatever reason. There you go. Joining two images in Photoshop. Existing images, real images, but getting the smushy bit in the middle done using generative AI. Lovely. I love it. Let's do one more and I just want to I guess show you a little bit more of the things that I've learned using generative AI, things that go right, go wrong. I'm going to hit C for my croptal, I'm going to extend a little bit down the bottom here, make sure it's on transparent. Get it enter on your keyboard or click the arrow. What I want down here is I want overlap. It's best to do an overlap if you want it to blend well. If I do that, it'll only have the tiniest bit of overlap. There's lots of generic stuff we can do. If I go like this and I type in say River, I'll sip coffee fast forward. I've in fact made the worst cup of coffee I think I've ever made, anyway. But look at that. It is awesome. You might be like, it's exactly what he wanted. It's pretty cool. The mixing of both the colors, the depth. There's a reflection in the mountain. This is so cool. It's not what I wanted. I wanted like a little running river stream. Let's leave that one. That was cool. What I'm going to do is probably just fill that. I'm going to overlap it nice and big. I'm going to fill it generative fill that just fills it with hopefully more flowers coming closer to the camera, more sipping terriable coffee, you ate there. Oh, it's very good. Now I'm going to go through and say, actually, I want a river running to use my Lasso tool. Let's use the polygon, polygonal. I'm going to say, where does it come from? I'm going to say, Is this going to work? I've never tried this before. We're doing this together live, so we will see. Will it do what I'm trying to do, a meandering river. Will that work? Generative full river, more terrible coffee. It did a terrible job. It doesn't always work. That's bad, man. You wait there? I'll try and make it happen and then I'll share the results. All right, just as terrible. I typed in Stream running through field, but let's never look. Oh close. We close. This will get better over time, and Sometimes if you get the wrong results, it might be the selection remember, and it might be just the thing you've written. River didn't work. Stream running through field is a little bit more descriptive to it. I'm going to try one more and change the selection. The same prompt. I'm going to turn that off, grab all of the graphs. Ah, that's it. We're close. Can you see what I said about maybe de selecting the actual house because it's gone and deformed that because my selection ran through there. I'm going to do one last one and then I'll let you go. Always making sure you're at the top of it because that could be causing your problems as well. I've changed the selection using the same prompt. Just getting better at making these prompts. We're like prompt designers as this new AI technology. Oh, better better, better. Not exactly what I had in visions, but you don't know what was in my head. That's exactly what I wanted. There's a lot of towing and rowing and remember, change the selection, and also play with your prompts. Also make sure that you're on the top, make sure you go through your variations and generate one more time. You don't have to be stuck with three options you get. You can keep going. What you can do, at least at the moment, you can go through and report, you see the little dotted options in the corner. We can go in here and say, Good poor, and you can report it if it's terrible, and send them like an actual detailed list like our parachuting Aliens earlier on. We there. What do you think of that one? It's probably a bit dominant. But I still love it. It's awesome. There you go. That is blending a couple of images, real image, real sky, fake bit in the middle, fake bit at the end here, and practicing some of that generative AI prompt creation and tips and tricks. Hope you enjoy the video. I'll see you in the next one. 20. Class Project Blending Images: One class project time. We're going to be doing this one here, generative AI blending images, basically the techniques we learned in the last video. What I want you to do is get two images, either your on images or something from unsplash or something similar. I want to sky a building. Doesn't have to be exactly like mine. Doesn't it be an old farmhouse in a field? C be a factory, it can be a castle, it can be any sort of building. You can use your imagination there mixed with a sky. What I'm looking to do is not completely modify it, join it together in a believable way like we did. Where is it? Or that one you just show before like this, take a screenshot and after and a screenshot. When you are posting it on social media or in your projects. There's one other last little thing. Let's go over here. A you wait there. There you go, we've done a jump cut. I want you to add a spot the difference. I've added something little in here. Can you see it? Something subtle, something not in the two originals. Do you see it? I'm not going to tell you what it was. I want you to add something little as well to yours. My river that was running down the middle, that was too big. Add a little change, a little spot the difference, to see if people can see the difference and just give you a bit of fun playing with adding little bits of generative AI. Actually, I'm going to show you what mine is just because I'm like, they're going to know what you're talking about, Dan. Did you spot it? You did. The waterfall. Lo. Little waterfall there. Something interesting and unique that when you post other people might be able to find spot the difference. That's it. Upload it to the project section. Upload it to social media, make sure you tag me. I'd love to see what you make. Have fun. I'll see in the next video. 21. Advanced preference changes for Adobe Photoshop: This video is about changing some of your preferences... to be a bit more helpful when you're using Photoshop. These are just my preferences, we're not going to cover them all. Just the ones that I feel are worth enough to spend some time changing. You'll have your own kind of quirks that you like. The biggest one here is this new thing that's appeared, it's called Rich Tooltips. They're kind of cool, right? You can see how they would be amazing for new people... explaining what all these tools do. They're a bit annoying eventually, you know, explaining them all. So to turn them off, it's up here, under Photoshop CC, in 'Preferences'. If you're on a PC, it's in a slightly different place. It's under 'Edit', down the bottom here is 'Preferences'... but on my Mac, here they are, we're going to go to the one that says 'Tools'. And it's this one here, it says, use 'Rich Tooltips'. I turn that off. The other ones that I like are under 'File Handling'. No, not under File Handling, let's go to 'Performance'. This one here, 'History States'. By default it's 50, I like to crank it up to 100. It just means when I'm retouching... I can go 'Step Backwards', at least 100 times. You could go higher, but the higher this is the slower Photoshop can start running... if it's trying to record all these History States. Now if your machine is-- if your laptop is one of those-- I guess, the hand me down, and the fans come on every time you open up... I don't know, Chrome, it's probably not good to raise the History States... but mine's a pretty good laptop, like it's maybe a year and a half old now... and it was the top of the line, so it's pretty good. If you're using a big iMac or a new PC, and you've spent some money on it... then crank this up to 100, no problem. Try it. If you find everything's running a bit slow just drop it down to 50. This one here helps with my paranoia, where are you? File Handling. This one here, I set to 5 minutes, so this is Auto Recovery. So if Photoshop crashes it will have a copy every five minutes. So you've only lost five minutes of work, by default it's at 10. If you're finding your machine running really badly, like every time you hit-- like it'll just kind of-- I don't notice on my machine because it is pretty fast... and I'm not dealing with super huge files... so I don't notice that at all, so five minutes is perfect. If you're dealing with a slow computer and a really big file... you might change this because every kind of like five minutes... going to have a little bit of a flicker while it's saving in the background. I don't find it noticeable but-- Photoshop doesn't crash very often, so there we go. The last one in here in Preferences, is under Cursors. Now what I like to do is... when you're using the tips, let's have a look. I'm going to click 'OK'. So when I'm using, say the Brush Tool... you can see here, the brush is represented by a giant circle... and if I go, say I make something like my Eyedropper Tool... you can see, it's represented by the Eyedropper. And knowing which end of this to use, I guess, I know it's the bottom left... but I go through phases of not liking this... so I'm going to show you something that I do and I don't. Sometimes I turn it on and then I have to teach a class... and I go back to the regular one... and it doesn't seem to affect me as much, but if I was working just by myself... not having to teach, and kind of resetting everything, I'd make sure... I go to this one here, it says Show Crosshair in Brush Tip, which does this. Got my Brush Tool, can you see, the center of it now has a little target. Becomes really useful when you got a big brush, and a nice little small brush. It adds that little extra thing. You might be like, "Why are you bothering, Dan? I like it." The other thing is under 'Cursors', same sort of place, this thing here. So instead of the Eyedropper tool looking like that... it goes to Precise, it's a lot more of-- I feel like that's more scientific than it is like, with the other one. I'm going to switch it back just so that... I don't freak people out in the rest of this course... but as soon as I'm finished I'm going to go turn it back. Now there are plenty of other ones. We'll do, like speeding up Photoshop in its own little window... but there's tons in here, and lots of them I just don't need to change. You might be more fussy than me, you can kind of work through them all. Let's click 'OK'. Another kind of preference is using the Crop tool. When you are using the Crop Tool... there's this one here people don't know you can do. So what they changed in Photoshop, by default... is when you crop things, right? Say I crop it here... and I remain it to be a PSD... if I make it bigger again you can see it's always still there... and that can be a bit of a pain if you just want to crop it off, and go away. I just don't want you there. It's this one here, it says Delete Cropped Pixels. So I hit 'return' now, and now I go back to 'Crop', and it's just gone forever. There's lots of times where I want that to happen... so you just got to turn that on and off. So here's the Crop tool, Deleted Cropped Pixels. Especially if you're dealing with-- file sizes kind of stressing your machine out... all this extra stuff can be just there for no good reason. There could be piles of it up there. Another thing that I do when I'm working is - I'm going to crop this - is with the Move tool is Auto Select. I make sure Auto Select is off. It's on by default, you might like that. And it's on Group by default. When I'm dealing with groups, which we'll do a bit more in this course... it tries to auto select the whole group. I like to have it on Layer if I'm using Auto Select... but most of the time I have it off. And the way I get around this is, if I make a new layer... actually let's add some text. so I've got my name here, just because. So I got two layers, instead of using Auto Select all I do is... hold down the 'Command' key on a Mac, and it changes the way that-- can you see, Auto Select comes on when I hold down the 'Command' key on a Mac. It's 'Ctrl' key on a PC. So I have it off, and when I do want it on... I hold down 'Command' and click on 'Background Layer'. You see, it jumps over here. Click on Dan, jumps over here. So you can have a really big file, and just holding the Command key... and click on whatever layer you want... but when you're not, it means I can move Dan... you can see, over here, without being actually on it. Otherwise, with Auto Select on, it would be moving the background. Another thing that I want to show you is, it says 'Show Transform Controls'. This is pretty cool, because then it just stops you... having to do the Command T or Ctrl T on a PC. They're always there. I show you that because lots of people need to turn them off... because I've accidentally turned them on. That can be a handy one. Another one I'm going to show you, it's not really a preference... I wasn't sure where to put it, and it kind of fits in with this. Let's say that you've got an image, let's say I'm going to open up an image. You found it on your machine or you're working for a client... or you're freelancing somewhere, and you're like... "I've got an image, I would like to use this image. Who owns it?" Photoshop allows you to, well some images at least... go to 'File' and go to 'File Info', there it is there. It allows you to kind of see things like... the document title, just kind of like, its meta data... it's hidden in the background, it's stuff that the author of this image has added. Allows me to do things, like figure out who owns the copyright. If it was my own image I could add my stuff here as well as a photographer. It's a bit slow using Photoshop, you'd do something like Lightroom or Bridge... to add this data to like big groups of images. Plus it has some weird stuff like... see the camera data here, it shows me the-- it's kind of not creepy, but it's like... I know that this photograph was taken on a Canon 5D. And here's a serial number. Crazy. I could actually track this down. I don't know what I'd do with that information... but this can be super useful if you're a photographer. It shows you things like... the Focal Length, Exposure, f/, ISO, all sorts of cool stuff. Sometimes there's more and more in here, it was from Jennifer Kingdom. Sometimes it doesn't have it... so this original image here from Unsplash, do the same thing. 'File', 'File Info', and there's nothing in here. One of the biggest ones I guess is to look in here under Basics... and look under the Copyright Notice. Whether it is public domain, copyrighted... it might be under the Creative Commons License... which means you could use it. That's enough of that, let's 'Cancel'. Couple of more preferences that I like to change. In your 'Layers Panel', hit the 'Burger menu'... down the bottom, here's one called 'Panel Options'. Crank up this to at least the large size, like these things are tiny. I have a nice big screen, you might not have the luxury. Click 'OK', you can see, they're just more usable. You can go to the super large size, I'd probably do that. If I only worked on this big, I got a big LG 4k monitor, and it's awesome. Often I'm working on the laptop that's plugged into it, they're just too big then. The reason I turn them down is just because they're Photoshop courses... I like to have everything looking like yours. One other thing that's really handy there, let's go to 'Panel Options'. This one here, I don't know why this drives me mad, 'Add Copy to Layers'. So normally when you duplicate a layer, you say I want this one, duplicate him. Ends up with Copy Afterwards, and that's fine... but if it annoys you like it annoys me just go and turn that off. 'Add Copy'. That's going to be it for the Preferences. We’ll look at some work flow tricks in a next video... but those are the kind of like... settings, tick boxes turn on, turn off things that I like to change. Plus we'll look in the next video how to speed up Photoshop... if it's running a bit slow for you. All right, onwards. 22. How to speed up Adobe Photoshop if it’s running slow: Hi there, this video is all about getting the most out of Photoshop. If you're working with a super fast laptop or iMac... or something that's really new, probably don't have to do any of this... but if you're struggling along with an old second hand laptop... then this stuff can be really helpful. So the first one, and real easy one is... say we're working on this, got multiple layers on multiple Artboards... you just find, after a while it starts going slower, and slower, and slower. You can click 'Edit' and go down to here, and go to 'Purge', just go to 'Purge All'. Know that it clears out your undos... and clears out all the history and video cache... if you're working from a Mac. Just tidy the RAM up so that you can get back to what you're doing. If you have to do this a lot you might set up a shortcut for this. There's the shortcuts there. Now just something to be aware of... is I'm using Smart Objects and all these pictures of me. I made this kind of, for the graphics for my Intro course... but these are all Smart Objects. The Smart Object here contains a lot bigger file... then I'm using it here, this is actually only a few pixels across... but it's using a Smart Object which is really, really big. So it can stress your machine out, if you don't need it... you can right click the name over here, and just say 'Rasterize Layer'. And it gets rid of the Smart Object. It's a bit sucky because you lose all of that kind of hidden resolution in here... but if it doesn't need to get any bigger, and you are just working... with a file that needs to get smaller, that's one of the tricks. Now in the previous video-- I'm going to show you how to undo exactly what you did. So under 'Performance', so 'Preferences', 'Performance'... and bits under 'Edit', 'Preferences' if you're on a Mac. Down here, the 'History States', if you crank it up to '100'... it might just slow down your machine. You need it down as low as you like. Where it says File Handling, turn down this Auto save... you might turn it up to an hour. Just like, please don't crash, but please run fast. Otherwise every five minutes it's going to be stopping to pause... to try and save maybe a potentially really big and slow document. Now back under 'Performance', this little bit here... now before we had History States, and Cache Levels, and Cache Tile Size... nobody knew what it does, I really do. So what they did is they added these kind of like three handle little bits here. It says, if you're doing Web design click on this one... if you're doing kind of photograph... kind of like the standard stuff, you can see, it changes it over here. And huge big pixel dimensions. If you're a photographer working on real high resolution images... with very few layers, this is the one to do. This is kind of a bit of both worlds... but if you're doing UI design, which I do a lot of... with lots of little bits and pieces, and loads of layers... if you've got like 50 layers... then lowering the Cache Levels just means it's not going to... try and make a really good preview of a zillion different layers. It's just going to do a really small tile size and only do it twice... whereas if you're working with a huge, big-- I love how they just call it huge pixel dimensions. Good work, Adobe, that's exactly what it is. Just means the cache level's going to go really high... because you're only probably going to have one or two layers... probably just one if you're working on like a... maybe you're retouching a really big image... you may only have a couple of layers. It's just getting the most out of your graphics processors. You can toggle between these two. You'll forget, so just stick it on default. If you're nerdy like me you can switch between the two... and basically I leave it on Web UI because that's a lot of my life these days. Digital products, small file sizes for lots of layers. Now that's what you can do to kind of tweak what you-- just the system that you have. If you're looking to upgrade your machine, if you're in a Mac... and you've got a reasonably new one it's pretty much impossible to upgrade them. Apple are making it super, super hard to upgrade them... you can't find places that will do it. If you're on a PC it's super easy, it's the opposites... like you can take it to any kind of corner shop and get it upgraded. So if you are looking to get a computer upgraded there's three things you look at. The cheapest and easiest is something called the RAM. When people talk about having 16 Gigs of RAM, 8 gigs of RAM, or 4 Gigs of RAM... you can see the ideal range here is somewhere between 7-10 Gigabytes of RAM. I have 16, but the computer takes-- so I have 16 gigabytes of RAM. It says 13, just because the system takes some for itself... and leaves me 13 alone that I can use in Photoshop. So I'm well above what the ideal range is. If yours is at like 4 Megabytes or lower... Photoshop's probably not opening these days, but even if it's 8 or 16... most PCs, you can take into a shop for reasonably-- it's not-- how much? I'm going to guess. It's going to cost you like 150-200 bucks... to get somebody to stick some new RAM in it. Just to get it higher, and that can be like one of the quickest and easiest ways... to get your computer running faster. What you also might do is that, say you're doing like me... using Photoshop but you've also got After Effects and Premiere open... and Illustrator and InDesign. Photoshop here is really system demanding... it's saying, I want 70% of what is available up here. So of that 13 I want 9 of it, please. You can say, actually Photoshop, just calm down a little bit. And I need InDesign to be running really fast, not you. But my computer is pretty awesome... so I'm just going to leave it up there at 70. The next thing you can do to kind of get your computer running a lot faster... in my experience has been upgrading the Hard Drive, so a typical Hard Drive... especially on a slightly older machine is a Tape Drive. It's this thing that kind of whirs to life. You've plugged your Hard Drive in, and it goes, Whoo, whoo... Those tape drives are quite slow. Photoshop finds them hard to kind of read/write to. So if you upgrade it to something called a Solid State Drive or SSD... don't worry too much about it, like if you go into a computer shop and say... "Hey, I want a Solid State Drive"... they can put that in there for you. It costs a lot more. It can really be what you want. The trouble with Solid State Drives is, say it's the Hard Drive space. Say your current drive has a Terabyte of space... the new SSD drive, you probably can't afford a Terabyte SSD at the moment. They're quite expensive, so you might have to go for a half a Terabyte. So you're going to lose Hard Drive space, but you're going to gain a lot of speed. I've got an old Mac that I did it to, oh my goodness, it just flew. Like it was about, I was like throwing it in the bin, and was frustrating. Did some research, SS Drive, and it gave it a new life. I do it for all the-- I've got a lab of computers where I run classes. I did it for all of those and I got another year or two out of them. Wasn't that expensive, but if you are buying one new... say you're going to a website, you're like, "Oh, this one's cheap"... it's probably because they're using the older style of Hard Drive... Tape Spinning Hard Drive ones rather than these Solid State Drives. You can even get one of those, I find they're phenomenally good. A little bit harder to upgrade, but worth it. The other thing is the graphics card. That can be really hard, problematic to upgrade. If it's not kind of built into the machine... upgrading the graphics processor to something better, it's called the GPU. I haven't had much success upgrading them but if you're buying one... see if you can get the Graphics Processor to be as good as you can get it... but I wouldn't go and upgrade it, just stay with what you got. It matches the rest of the hardware, in my experience. Last thing to do is, just make sure your Hard Drive is not full up. Where is my Hard Drive? How much have I got left in this thing? Here it is, I've got another 216 Gigabytes of a Terabyte drive. I'm getting down to kind of like the last 20%... but it's still enough to work. If you look at your available Hard Drive space... not sure how to do it on a PC... but on a Mac, generally it's just in the bottom here. If you've only got a couple of Gigabytes... it's just your computer's going to be dead. It just means your Hard Drive is full... and Photoshop needs a chunk of extra available space... even though it doesn't really use it, it uses it temporarily while it's working. You can kind of see down here. You see at the bottom here, this file is actually only 90 Megabytes... but when it's open it's 365, and it's not a very big image. These are all just web graphics. So very often I'll see something that is say 100 Megabytes on my Hard Drive... but over here it'll be like 1.5 Gigabytes open. Just means while it's open... in Photoshop it needs 1.5 Gigabytes to stick it while it's working. And when it closes it down, it takes it off your Hard Drive... compresses it back down into the PSD. We might have got a little bit nerdy in that one. If you zoned out you've probably skipped on. Let's get into the next video. 23. Workflow tips & tricks like a professional in Photoshop: Hi there, this video is all about Workflow Tips & Tricks. Now this whole section following is going to be a few videos on it. This particular video though is all the little bits and pieces... that weren't big enough to have their own video. Just like lots of little handy things. Some of them we've covered a touch before maybe in the course... but let's put them all together here. The first one is opening files, so on our Mac, this is Mac only... if you grab an image, hold down the 'Command' key and hit 'Tab'... it shows you all the available applications that are open. You just drag it in to the actual thing. So just drag it right into there, and it opens up. Or you can drag it, if you prefer, just down to your dock... and just drag it straight into the icon. The next one is rotating your canvas, so I know where that-- say I'm working on my mask here that we made earlier... got my Brush Tool, and I can drag down, kind of down the edge of this... really easily, with my mouse. All my arm muscles are really good at doing that movement. If I have to kind of go around this way though... I'm just not as capable of dragging it. That was pretty good. So rotating the canvas is pretty easy, hold down the 'R' key on your keyboard. Just keep holding it down, and then just click anywhere. You're not rotating your image... you're just kind of moving it so that you can then... work in your kind of like natural habitat in terms of like masking. I'm not sure what I'm doing to the edge here, but you get the idea. Hold down 'R', move it around. So that you can kind of get that natural angle for your Wacom... instead of having to move it around your desk. Me, I'm just using my mouse here. If you've got a MacBook Pro... actually I think it works on any MacBook... that were built in the last like five years. You can actually just-- you don't have to hit the R key... you can just use your two fingers on your touchpad... and just kind of like squiggle them around. Squiggle's not the word, but I've got two fingers on my touchpad... and just turning out. I don't have to change any tools, it just moves it around nicely. Does that work on a PC? I guess it really depends on the machine, give it a try. Two fingers, just give it a bit of a rotate. Like you're in Google Maps, you can pinch and zoom too. Once you've finished you can hit 'Esc' on your keyboard in the top left... and that just gets it back. You can leave it like this all you like, it will still export the right way out. It's just kind of like a temporary thing. All right, 'Esc'. Next one is Zoomify; we covered this in our earlier video... but I want to tie it in here again, put it all together nicely. So I'm working around, fixing up the edges here, touching it up... and I need to get down to the bottom left. Remember, hold down-- you remember what it was? It's a key, you hold it down, it's the H key. Just hold it down, hold it down, click, hold your mouse. I'm holding the mouse the whole time, and the H key, then let go of your mouse. Just means you can jump from this point... rather than doing the old dreaded, like-- You drag in, you're like, you've missed it, you're trying to find it... and you're like, "Where is it, I should have zoomed out." So just hold down the 'H' key, click, hold, and drag. Then let go, and it goes back to that exact zoom, you can start working nicely. Another little tip and trick is, under 'View'... if you're working on one of the new MacBook Pros that has the touch bar... it's above your keyboard, it's a physical, half physical thing. Don't have a new MacBook Pro without the touch bar... it's probably not going to be there, I'm not sure. Go 'Customize Touch Bar', and what you'll find is... you can't see it, it's on my other screen here... but it's giving me lots of ways to adjust that touch bar. I can just add different things to it. I'll do a screenshot and get the editor to add it in here. Although you can't see my touch bar, they're all wiggling away... and I can say actually I want to go to the one that says Blending Mode... and I want to add that there because I use it quite a bit. Or, see the one on the bottom right there? It says Select & Mask, we've used that loads. I'm going to make sure that's on my touch bar. Anything that's using loads, you can drag on to it. So that's the touch bar. You can also customize the toolbar across here, which is kind of cool. See these three little dots here, you can click on this, and click... click and hold it down, and say 'Edit Toolbar'. Just means you can tidy this up. If there's tools in here you just don't use, get rid of them. You can see the Lasso Tool group, you just don't use any of these... you can just drag them over here and say I don't want you, you, or you. You can see it just disappeared out of my list, tidying it up nicely. You can always go back to 'Restore Defaults'. Another cool thing you can do is... let's say the Slice Tool, was helpful, is not anymore, right? But whenever I tap C, it turns-- I'm not sure if you've done this but you accidentally type C... and you end up with that little graphic in the top left corner. Probably you spent ages through View, trying to turn it off. You can say Disable the shortcuts for anything that's hidden. So we're not using these 3D materials... we're not using the ruler, or these ones, or Count Tool. All of these, once you've got it... you can save a preset, and you're going to call these the 'Dan Presets'. You too can call it Dan Presets. It just means that later on if you restore defaults... you can go back and load, get all of Dan's presets. Click 'Open', click 'Done', you can see over here, under the Eyedropper Tool... nice and tidy, nice and clean. No Lasso Tool. One other one in here that you might turn off... just to get it looking nice, grab him, come on, Edit Toolbar. You also see the ones you have turned off are actually in here. So not gone forever, they're just under this little extras list. Edit Toolbar, this one here you might not use Quick Select. See down the bottom here... appears, disappear, same with this one, you might not use. We're getting pretty nerdy here, right? So I'm going to go 'Restore Defaults', click 'OK'. Yours need to look like mine for the rest of this course. I would totally do this if I wasn't an instructor. So let's close down a couple of these. Don't want to work with you, I'll leave you open, and you, I'll go and close. So let's say you're working on a couple of images, this one, and this one. This one here you may be retouching... and you should not work it into this larger kind of group of Artboards. We'll cover Artboards later in this course... but this one here is quite nice. If you go to 'Window' go to 'Workspace', this one here can be nice. When I say Workspace I mean Arrange. So 'Window', 'Arrange', and this one here, either of these two I find quite useful. 2-up Horizontal or 2-up Vertical... just means I can see this one and this one at the same time. It means I can be working on this document, kind of like dragging it across. Just makes life a lot easier than trying to use that kind of, up into the tab thing. Just last two documents open, maybe ones for reference... over here you're building a montage and you're just kind of like... got lots of different images, you can have tabs in here as well... but have this kind of overall document open. To get back, 'Window', 'Arrange'. And this one here, it says, 'Consolidate All to Tabs'. Other interesting things that don't get their own video... they get lumped into here... is your libraries, we're going to look at libraries a little bit more. If you can't see them, go to 'Window', and go to 'Libraries'. And what's useful in here, is let's say that I've got an image in my library... actually, let's go to my 'Stock Images'. You can have anything in your library, to say... "Actually, I like this, can you go out and find a similar image?" What it does is it goes and looks at Adobe Stock... You may or might not have a subscription to this already... but you can see it's gone through and found images that are very similar. Actually in this case they're super similar... because I got them from-- Look at that. Where is it I got that one? Pretty close. It's just really handy, you can just dump anything into libraries. Doesn't have to be a stock image. Let's dump this one into stock images, so I'm going to clear that out. I'm going to dump this one into my library. Then I'm going to right click it, and say, go find me a similar image, please. It goes and checks Adobe Stock. Now Adobe Stock is a paid service, I pay for it every month. Man, how much is it? It's like 30 bucks a month, I think. You get 10 images, 20 images, 50 images? Man, I need to check that out. More than I need at least. So mine's taking a little bit of a long time... because I'm working on some terrible internet at the moment. You can see, it's gone through and found stock images... that will match this kind of image here. It's not related at all to Adobe Stock, it's just an image from Unsplash. Just dump it into your libraries and click 'Find visually similar'. And if you have a paid subscription like me... I can just click on this one and say, either download a preview... or actually just pay for it, license it, give it to me. Cool, huh? So if you are paying for Shutterstock or iStock, they're great libraries... but there are just so many cool ties between Adobe Stock. So you might look at switching over. Another little tip is, if we go to-- what have we got? Let's use this one here. So there's graphic that I'm working on-- actually I've finished this one now, but let's say, I've got this type here... I put it on its own layer. I'll get this bit down here, just make it clean. So working with this font here you can see it is... the font size, this is the line spacing or leading. So I can do a couple of things, one is I can just drag the icon up... that can be really handy, instead of having to like go in here... and type, and go, "Oh, only gives me 72." You can just kind of drag that icon up and down. We can also do in any field in Photoshop. So any field that we can find... I'll find a few more, there's ones up there, there's ones here. Just use the-- so I've clicked in here. And I'm going to use the up arrow on my keyboard, just goes up and down. You don't have to like... hold, drag, and type, just use up and down. And if you want to get a bit faster just hold the 'Shift' key down. And it does it in like 10 points rather than 1. So it's just a good way-- so if I want it a bit bigger I can just hold down, I just click in here. Hold down 'Shift' and just tap the up key. This works in any field, not just fonts, you can hear... the line spacing, there is no line spacing, let's click on this one. So click in here, and I can just go up, hold 'Shift', down. Just to increase that, so it could be the points as well. So moving the X and Y position. It could be an Adjustments Layer, I could go into here and say... actually, not that one. I'll click in here, and just go up, up, and down, down, hold 'Shift'. And that's at any field, a bad example I guess... but just any clickable field that has numbers in it... you can just use your up and down. Hold 'Shift' to make it go faster. Next pro tip is to look in the Channels and Paths... to see if there's a selection already. This is a stock library image, I've downloaded it, it was a PSD... and it's just one old layer, and you're like... "Oh man, I have to mask these out." Okay, I can mask this out. But the thing to check, especially if it's a PSD... and it's a file from a professional kind of like stock library site... there might be, if you're lucky... it's worth checking every single time... under Channels or Path there might be a saved mask... and they're just hidden in here. See here, under the Paths, somebody's gone around this one with a Pen Tool already... and it's just sneakily hiding here in Paths. It's not obvious, I can click on it holding my 'Command' key... and it turns it into a selection. That's 'Ctrl' key on a PC. And now I can go back to my Layers and add my Mask... and it's a whole lot quicker than trying to do it myself. Often I find these things after I've spent like an hour masking something out. Get to a point, and I'm like, "They should have done this before me." I go and check on parts. Let's undo. So done one for both books in here so I can mask both of them out. Sometimes there are paths, like with the Pen Tool. Let's 'Deselect', there's also one in here under Channels. Remember we did Channel Mask earlier on. So somebody's done one of those for us here as well. There it is there, I can hold down my 'Command' key on my Mac, click it. Go back to RGB, and now I've got a mask for that little edge there. Not sure what that one's for, but it was in there, I might really need it. So there's a JPEG, it won't include this data... but if you load something and it's a PSD... there are a few other file formats that do contain this as well, but a PDF. Not sure, EPS maybe, it's worth checking. What happens to me a lot is when I get kind of marketing material... say Adobe, because I'm a Certified Training Center... they send me lots of marketing material, just this flat graphic, and I'm like... "Hmm, how am I going to use this, and I go into channels or paths"... and I'll say, there's a mask ready to go for me. So if you are working with a large supplier... and they're sending you these bung files... it might be that they're just hiding in channels and paths, it's worth a look. There is my kind of Adobe Instructor Certification badge, Adobe logo. All of these, I want to have a Drop Shadow, I want it to be the same. So instead of doing it per layer... what you can do is you can grab all of these guys... so I'm clicking and dragging across them all. Make sure I got them all, put them in a group. Then go down to 'fx', and just apply the Drop Shadow to the whole thing. Big Drop Shadow. I'm just going to have a teeny tiny one. By teeny-tiny, that's not even that teeny tiny. I'm not sure why I'm spending ages now... but you can see they all have a consistent Drop Shadow all around them. Just using one of them on the whole group rather than each individually. Two more tips in this one, one is... I don't know why, I feel compelled to show you this one. It is under the Eyedropper Tool, the one that sees the Count Tool. And if-- I don't know, it's me... my Math, I think there's some dyspraxia in there. I don't know but this is helpful, watch this... it's the Count Tool, it's these. How many of these have I got? I use this for rows and columns and stuff when I'm doing Word stuff. You might be, I don't know... Photoshop's weird, it gets used by doctors, and police, and forensic... I teach all sorts of people. I don't know, I feel like doctors should have some sort of specialized equipment... but often they'll use Photoshop with high resolution images. I'm not sure what we're counting but I know there's 20 of them. It might be for, say you're an architect... I'm trying to invent uses for this now. Let's click 'Clear'. So I want to say last but not least... but it's on the end of my list here for a reason, right? I use it though, so I'm like, it has to be in here somewhere... because there'd be one person out there that might find it really useful. So I made a basic selection in here... and most people don't know you can go to 'Select', and go to 'Transform Selection'. And you can kind of-- I can make it a bit bigger, I can shrink it down. I can transform a selection like I can do in the other shape. I feel like we petered out at the end there. We started with some cool stuff and we ended up with Transform Selection. I hope you found something good in there. There's still a chunk more of our work flow tips and tricks... but they've got their own little videos now because they've got a bit more substance. Let's go in and jump into one of those now. 24. Advanced layer tricks in Adobe Photoshop CC: Hi there, this work flow video is going to be all about going fast with layers. We've grouped all the layer things together because... for some strange reason this is my favorite video to teach people. Especially advanced people, I'm like, "Man, this is some cool work flow stuff." It's not super complex, it's complex enough... but let's imagine it's bigger. I've got a few layers here. We're working on an image we had earlier, obviously this can work on any image... but let's say I want to work on this paint drop in the word Super. It's actually SUPE, and R on its own layer... but the Layers panel here is a little confusing, so what I can do is find R. I'm going to hold down my 'Command' key, and click on this paint one here. So got the R, and that selected, plus the SUPE. And then say 'Kind', and click on 'Selected'. It's only going to show me the selected layers ahead. Those two layers, I can turn it off by going back to 'Kind'... and turn it back on by going to 'Selected'. Just kind of like tidies everything up nicely. And I can work on these three layers. To turn it off, actually an easier way is just this little toggle switch here. You can turn this on and off, and it jumps back into what you had selected. It gets better, so let's turn it on, instead of Selected, let's go to 'Kind'. And you've got these little icons here, everyone ignores this, right? You've been using Photoshop for years and you've never clicked on him. It just shows you all the layers that have text on it, just makes it super-- Maybe it's just me. Well, not just Type... you can have Type that also have Drop Shadows. Might be Type and Images, you can have more than one on. So that's not that useful anymore... so let's just turn type off, and just the ones that have pixels... or just my Adjustment layers, please, just show me those. Or just my layers, I'm going to turn that off. Just the ones that have Smart Objects on it. So I can see all those in one big go. Remember to turn it off though when you're finished. Let's look at a couple of the other ones in here. So 'Kind', we can look at names, and you can do a search. If I want to find ones that are called a banana... it'll just show me those layers. I never used that one, you might be working on some epically big layers... and that might be useful for you. This one's quite good, let's say we've got some Drop Shadows going on... I want to find the effects that have Drop Shadows on it, just those layers. So I can select them all and then go and change them... or go in here and turn them off. Another one you might do is under here, under Color Mode. You might say, don't click this one here - there's one over here- and say, I want to find all the layers that have Multiply on them, and undo. You might find that useful. Attributes, what colors, are they Smart Objects? Things that are selected. You might look at Artboards. This one doesn't have any Artboard, so this one does. It can get super confusing, so let's turn that off again. So normally you've got this kind of-- it's never that tidy... if you're working in Artboards, this thing's all over the place, you're like... "Actually I'm just working on this file here... just show me the Skillshare Artboard." You can just go up to here, turn it on and it's going to only show me... the Skillshare one, not any of the other guys. Click on this one, and it's going to show me just the Udemy one. Super helpful, super quick. And I bet you've been ignoring it there. It's turned Kind 'on', Kind is the default one. Just make sure that little switch is off when you're finished. Shoot back up to this original file. Another trick is, we've done this throughout the course already, is that... say I've got my Banana layer, and I want to duplicate it... I just drag it into this new layer icon, and it duplicates it. I'm going to undo that. Another way is, with it selected, hold down... the 'Option' key on a Mac, 'Alt' key on a PC... and drag it just using the Move Tool. It just makes a duplicate while you're dragging. Another couple of things, as we looked at in the last video... you can change your thumbnails, but if you-- we know that if you right click the word, you get a bunch of options... but if you actually right click the thumbnail you get a different set. And what might be useful in here is you can adjust the thumbnail size, that's fine. But also, can you see, this right here is the circle... that I'm using to crop this girl here. It's like a small part of a really-- it's showing me the entire document. You can right click it and say... "Actually, just show me the Layer Bounds for all the different layers." So that one here is quite a big image... but the banana takes up the full image now, the circle does. They're all just a little easier to see now... rather than them being a small part, like the banana, and this, watch both of them. Go to clip details for the Document Bound. The banana is kind of showing you... in relation to the larger document, same with this. And this image here, up to you. I have to switch back now because I want... everyone's to look the same like me, in the tutorial. Next up is naming your layers. If I'm honest, I never name my layers... because I'm working with myself, and I'm okay that I'm lazy... but I've been working with a client, definitely. One of the last things I do, I don't do while I'm working... but I've got to send them a file... quick smart, I name all my layers. I'm trying to project a level of professionalism... that does not get reflected in my layer names... but let's say I've got to go and do it. A cool little trick is, banana's there... but let's say I'm going to be case sensitive. Now instead of double clicking these, going here and typing Blueberries... this is a weird little shortcut, I like it. And double clicking them all. What you can do - I'm going to undo - so I'm finished typing banana, just hit 'Tab' on your keyboard... it goes down to the next one, so you never have to lift your Tab again. Banana. This one here, I can leave as Hue & Saturation. I call this one my Mask. So I'm just tabbing down, just, I find a lot easier, 'Blueberries 2' Cool, huh? Just double clicking one of them, and then tab through them all. The last one to do with layers is, let's say we've got the Smoothies layer. I like it, it's got a Drop Shadow that I like... but I want to apply that same Drop Shadow to the banana. So what you can do is right click the word 'Smoothies'... and you can go to-- we looked at this a little bit before, if I go to 'Copy Layer Style'... I select on my 'Banana' now, right click it... and you can paste Layer styles. If you're like me, and try and drag them from one to another... doesn't like duplicate them as you drag it, just kind of moves it, so that's handy. I hope you found something useful in there. I don't know why I find it most exciting... but I hope you are sitting there at home or at work, going... "Yeah, that one little thing is going to change my life." Might not change your life, but hopefully it will save you a little bit of time. Let's jump into the next kind of work flow video, see you there. 25. Automatically add a watermark text or logo in Photoshop: Hello it is time for actions. In particular we're going to create watermarks. So we're going to record our custom owned action. Click on it, and just hit 'Play'. Then it's going to add our watermark of our author, right in the middle there. We can do it over and over again on every image. We can also do it with logos. So I've got one here that we make in this particular video on logos. Goes in the bottom right. Bottom right, super quick, super easy, saving you loads of time. We love actions. Let's go. Let's get started by opening up our 'Exercise Files'. You'll find them in the 'Exercise Files', under '03 Preferences and Workflow'. Let's open up 'Image 1', '2', '3', and '4'. We'll start with 'Image 1'. Let's quickly look at what actions are, if you haven't used them before. Let's got to 'Window', and go to 'Actions'. Basically all they are is steps in Photoshop... that somebody else has recorded. You'll see here, like there's one here for a vignette. If I twirl it down, it just means... just going through steps in Photoshop... is take a snapshot, add a feather, make a copy of the layer... fill it, all these steps are just recorded in here. So you can use some of the default ones. These haven't been updated since like-- it feels like the 90s, if we click on 'Wood Frame' and hit '+'... it says it has to be that big, it's okay, and you get... a very 1990s wood frame around the outside. You might love it, and there you go, just click on that button. You can see over here, we've got kind of images, the frame could be turned off. Basically somebody before us has created this wood frame. Recorded it, saved it as the default ones in Photoshop. I'm going to go to 'File', 'Revert', that's going to go-- there's just too many undos, that's probably happened. So if I revert it goes back right back to the beginning. So you can play around with these ones, there's a few more in here. There are some, say 'Text Effects'. Scroll up here, this panel is a little bit hard to use, I won't lie to you. And the easiest way is to say, twirl up the default ones. Grab some text. Dan. Move Tool, you can see it's got type there... means that this one needs to have a Type Layer selected. And if I hit 'Water Reflection', and hit 'Play'... it's going to give me a kind of a Ripley watery effect... and you can see, they're all separate layers. Some of them are kind of cool... and lots of them aren't. So let's look at making our own one, and we'll do specifically the watermark. Let's go to 'File', and let's go to 'Revert'. I'm going to click on 'Text Effects'... and just hit the trash can to get rid of them. They're not deleted forever, I can go back and get them. So basically all we're going to do is type some text in the middle... and record it at the same time. I want to record it in this Default Actions. I'm going to click on this one that says, I'm going to make a New Action... this little turned-up peach here. Let's give it a name, and we'll call this one 'Watermark'. This one's going to be a watermark for just text. You can give it shortcut keys... but if you're like me, on a Mac... none of these work, that will open iTunes or something else. Let's just click 'Record', and now you got to be careful. It's remembering every single thing you do. The little record button's going, and we freak out, I do anyway. So just remember it's going to record every step. So our steps are going to be, I'm going to grab my 'Type Tool'... I'm going to pick a color for my Type. I'm going to click once in here, no Type. Now this isn't my photograph, this is one from... from Unsplash, so this is Paul Hermann's photograph... so I'm going to be doing it then. I have the copyright symbol... and if you're like me, I can never remember what key it is. On a PC or Mac, just hold down your 'Alt' or 'Option' key... and just smash away the keys - it's my method anyway - until I find the copyright, got lucky. With it being a watermark you now decide on how big it is. I'm just transforming it, say I want it to be that big. I'm going to lower the opacity, I'm on my Move Tool. I'm just going to type any of the numbers on my keyboard. You can see, I've set the opacity to 50%. Now one thing you might have to do is, it's a little bit ugly... but it will look good against black or a dark background... but it's going to be a little bit lost here in the white. So often an easy way to kind of have both ways... instead of just creating two separate actions... is just to add a Drop Shadow to it. 'Drop Shadow', that's working for me. Means it can be seen up here, and down here, fine. I'll lower the opacity again. You can start to see, it's recording everything. I'm not going in a very linear method here. I'm kind of working it out. You can go through and delete these afterwards... if you want to make it all nice and pretty. You don't have to do though, I never do. So I wanted that, I want it to be in the middle. And that's going to be it, I'm going to hit the 'Stop' button. So it's recorded now, let's look at Image 2. And what we need to do now is play back that thing we've recorded that action. Now weirdly it will-- if I hit 'Play' now it'll play from wherever this gray highlight is. So it's only going to do the Move Layer. So you need to click back on there for some reason. Then hit 'Play', and it's going to run through them. Watch it, it'll scream through all these, watch. It used to be able to like topple through them all. You can see there, added a watermark. Cool, huh? Let's get a little bit more advanced, and let's say we want to update it... because we're going to run into trouble... like, there's fine, there's fine, that's good. Let's say-- let's do two things, I want to put in image in it rather than text. So I'm going to go to 'File', 'Revert'. Back to the beginning... and instead of doing this one here, I'm just going to twirl it up. So it's nice and tidy, I'm going to create a new one. And this one's going to be called 'Watermark'... but this one's going to be my 'Logo'. Instead of just typing in, I've got like a logo that we've already made. And I click 'Record'. Basically it's the same thing, we're going to go to... 'File', 'Place Embedded' though instead of typing out text. In your '03 Preferences', there's 'Logo - White'. I'm going to click 'Place'. I'm going to get it to the right size, that works for me. Hit 'Enter' on my keyboard, can you see, it's recording 'Place'. I'm going to lower the opacity down to maybe 40%. I add my Drop Shadow again. There we go. Let's do something even more advanced... because basically we could stop that now and go and play it. Actually let's do that, let's stop it, go over here... go back to the top, hit 'Play'. And it goes and brings through my logo. Cool, huh? We'll batch them in the next video. At the moment we're just doing the action... and we'll show you how to do them to hundreds of images in one go. That'll be the very next video. So 'File' let's go back to 'Revert', let's go back to this one. So another bit more advanced action-ness. We've done this, but let's say we want to adjust it again. Like do something else, we want to put it down the bottom right, like this. So we've already created this. How do we go and edit it? What we can do is, we can say... here, at this stage I want to start recording again. And whatever you do from now on will just add to that list. I want to show you a little trick... of how to do it in the bottom right, because it's not... it's not as simple as it sounds, there's a little work around. So what we need to do is select both of these layers... then use, your Line Functions up here, but it doesn't work as the background. This background here, this is locked, gives us all sorts of grief, right? So all we need to do is double click the background, click 'OK'. You should give it a name. Then we can use the feature. Instead of just shift-clicking like we do up here... we can use like an automated feature... the actions is going to like a little bit better... because it likes going to here, and just going 'Select', 'All Layers'. Finds that easier, then at the top here.... we can go, I would like to 'Align to Right'. Then I want to go down to the bottom. You can see in here, it's just aligning the current layers I have selected. That one does the bottom, that one does the left. Next thing I want to do is have just the Logo Layer selected... and I'm going to move it up and to the left. You can kind of see there in my little tool tip there... saying kind of come up 32 pixels and across 44. That's kind of cool because it means it's going to work fine for portrait. It's going to go bottom right and just kind of come out the mounted space. Makes sense, kind of, let's hit 'Stop'. Now hopefully if I go to 'Image 3'. I can go back up to 'Watermark Logo', hit 'Play'. And edit it, go to bottom right. I'm sure I've said bottom left before... but just kind of comes out a few pixels. This side, try it here for one that's kind of like just a different shape... with respect to this beginning one, that's a really different shape. Let's delete the text off it, and let's go 'Play'. Cool, huh? Now my friends, that is going to be it for creating watermarks. We did text and a logo. In the next video, actually the second one after this one... next one we'll do some more advanced actions. And the video after that, we'll do kind of batching... so we can do them for a zillion different images all in one big go. All right, I'll see you then. 26. Batch or Image Process multiple images at once in Photoshop: Let's now look at adding our watermark to a big bunch of images... rather than just one at a time. So we're going to look at two features... one is called Batch, and one's called Image Processor. They're both great and bad, they both have their quirks; I'll show you both. They pretty much do the same job... but they've got a few extra settings that are worth both exploring. So we've created our action in the last video. If you haven't, we'll create an action in a second... but let's say we have created it. And let's go to 'File'... and the one that I use the most is under 'Scripts'... and it's called 'Image Processor'. And all we say is what images do you want to select. And in your '03 Preferences' there's a folder called 'Batch Examples'. Let's just click 'Open'. So those are the images that we kind of apply it to, we're just doing it to four... but you could do two hundreds, you can include all the sub-folders within a folder. That's where the images I'm getting from, wherever I like them to go... you could save them in the same folder, that's fine... or you can say, I would like to put them in a select folder on my desktop. And I'm going to call this one 'Image Processor'. Click 'Create', click 'Open'. So that's where I want to get them from, this is where I want to put them to. The cool thing about Image Processor over Batch... we're going to look at comparing the two. One of them is, you don't actually have to apply an action, you can just say... actually I don't want to run an action at all... all I want you to do is save a JPEG... that is a quality of 5... that has a width and height of this, into that particular folder. So all you're using it for is basically resizing and saving as a JPEG. Good for raw images, you might crank this up super high. You might not even worry about the image sizes... just so you got some JPEGs, and bulk process them like this. That's not what I want to do, I want a JPEG... but I also want to run that action... and we're going to use the Watermark text one that we made. Kick back, relax, and 'Run'. It opens, flicks and flashes. And on my desktop I should have Image Processor, JPEG. And there my watermarked images. Let's go a little bit further and look at why we'd use Batch over Image Processor. So the weird thing is that... Batch and Image Processor were kind of developed... by different people at different times... and they've just kind of hung around both in Photoshop... because they both kind of have little quirks that support each other. So the nice thing about Image Processor is it does-- it just kind of like-- you can just save as a JPEG, you don't have to run an action. Batch is different, it's all about running actions. I like Image Processor because it's really simple. Batch though has a bunch more details which can freak you out... you're like, "Dah, it's not that much." But let's run through it, so same thing. In my default actions is the watermark one I've made. Where's the source coming from? I'm going to choose that same source as before. So it's under '03 Preferences', 'Workflow', and it's called 'Batch Examples'. Sometimes you run into images that say-- they open up... and they might have things like color profile warnings. And that might be causing the Image Processor... which we did before, to go bad. So you can click on this and say, actually if it does have that... "Hey, you've used the wrong color space." Just say, "Suppress that for me." The other nice thing this has, is in here you can say-- actually, at the moment it's just going to save them... just like it did for Image Processor... but what I can say is, "Actually I would like it to give it a name. So I'm going to call, this one, like... "Dan's Wedding Feb 2019". So you could add-- these aren't wedding photographs... but you get what I mean, I can kind of add... they might be called IMG77421. And you just give them an actual name. Then here, instead of an extension, which is like .jpg... I'm going to say, "I'd like to give it a serial number." Actually I'll just give it a serial letter, so it's going to have A, B, C, D. Then I'm going to put in the extension... which is jpg, and you can kind of see it building up here. Dan's Wedding February, which is this first lot. Then I'm going to add a serial letter at the end, A, B, C, D. Actually you might have hundreds... so you might go for a two digit number at the end there, 01. And actually what I'll do is up here I'll put in a little hyphen afterwards... so that it looks nicer. It's not actually going out as a GIF as well. It's just going to use-- it's just an example I've put in there. So it's got some extra pieces, but it's going to run into a little problem. Let's click 'Destination'. Where is it going to go? I'm going to put it on my desktop. This one's going to be called 'Batch'. So Batch is cool, it has extra features... but there's a few little extra things you need to do... if you want to use these extra features. Let's click 'OK', it's going to roll through and it's going to say... "Hey, I'm not a JPEG." Because I've got more than one layer... it says, "I need to be a PSD", so I'm going to click 'Save'. 'Save', 'OK'. I could go now and pick JPEG, and click 'Save'. So it's kind of-- it's faster than doing it yourself... but still, you're like, "Man, what happened?" This was meant to be super fast, Dan. I'm going to show you how to get around that. So it works. The only problem is it freaked out because... Image Processor has the ability to force it to be a JPEG... just says, "You be a JPEG"... whereas this says, I'll save it as whatever it needs to be. And in this case it needs to be a PSD unless you say, be a JPEG. Still with me? Batch has extra features, but this quirk. To get round this-- I'm going to delete these. I'll show you how to get around this. So I'm going to open up any image. Because all I really want to do is open up my watermark. Go in here and I need to add a last little kind of thing. I'm going to hit 'Play'. It's going to run through and add it, there's a watermark. I'm going to go down here and I'm going to hit 'Record'. And I need to go to this flyout menu here... on the 'Layers Panel', and just say, 'Flatten Image'. So now it doesn't want to be a PSD. Hit 'Stop'. I'm going to go 'File', 'Revert'. Close this down, don't want to mess with that. Back to the same thing... but because I've adjusted my action we have to add that little extra in there. Hopefully now I can go to 'Automate', I can go to 'Batch'. All the same things should work. Click 'OK'. And now fix it so it does it. Let's have a look. So there we go. Few little extra features... but we had to do a little extra step there. I want to get even nerdier. Is that okay? If you've already just said Image Processor is fine... let's go on, you're allowed to move on... but if you want to, you're going to hang around, you might not. What I am going to show you is the image resizing. So the problem with using the Image Processor to do image sizing... is that you need to specify the size, which sucks. What I want to say is, I want to say, 500 pixels... but not the height, I just want to say... I want you to be the biggest size, it's 500 pixels... because it's going out to a website. I'm a wedding photographer, I've shot loads of images... I want them to be of a normal old size... otherwise they're just going to be too big to upload... but because we've got portrait and landscape... I don't want them to be all 500 pixels wide. I want the longest edge to be 500 pixels wide. Let's get nerdy, so I'm going to open up my image again. And this watermark text here-- before I do Flatten Image what I'd like to do... actually I can do it afterwards, I totally can. So I'm going to hit 'Record'. And what we're going to do is... instead of going to say something like image size and changing that... the problem with it is that... we've got landscape and portrait. So we're going to use this special little feature in here. It's called 'Automate', 'Fit Image'. Let's say we want 800 pixels. So I want it to constrain inside of these two. So I'm not going to force it, just, these are the biggest dimensions. That's going to do what we want, let's click 'OK'. Let's hit 'Stop', close this down and not save it. Let's try another go. Let's go to 'File', let's go to 'Automate'. Let's go to 'Batch', so I've turned it into a watermark text. I might have renamed that one to say, resize as well. I might end up having two of them... one that just does the text, and one that does resize as well. I'm going to keep all of this stuff. And I think that's it. Let's click 'OK'. Kick back, relax, I hope. Let's go-- I think it was resaved over the top of the ones that I made. So 'Batch', here they are. Let's check the sizes, 'Get Info'. You can see here, it's 800 pixels high. This one here is 800 pixels wide. I hope you followed me there, I think I even got myself lost a little bit. Basically, Image Processor is quick and easy. If you need any more details, like renaming as you go through... Batch is awesome. And that last little thing where we added the Automate, was it called Fit Image? That will work for both Batch and Image Processor. It doesn't matter, the big difference is... one more time to hopefully sync it in for myself maybe. Is that you've got these options... to say, maybe there's some problems when they're opening... and it's causing issues in the Image Processor version. You can say, actually just suppress these things. We can also add the naming here... but both of them don't do a good job of resizing... so we just did that within the action itself using that Fit Image. I think I've convinced myself now. Hopefully you understand too. Let's move on to the next video before my head explodes. 27. How to put loads of images into one Photoshop file quickly: Hey there, this video we're going to take a bunch of files that we've done. I've got all these kind of like screen shots... things that I really like, and I just want to kind of add them... to a Photoshop file in one big go rather than copy and pasting them. So I'll show you the feature that just dumps them all into one Photoshop file. All the layers easily, and then I'm just going... to make it into a kind of a Mood board. I do this all the time when I'm getting kind of ideas for projects... and especially if I have to deal with a client... I show them a Mood board like this... to say, "This is not my work, this is what I'm looking to do"... "Have I understood your brief right?" And it can really kind of save time, they might look at this and go... "That is not what we want." With the Comic Sans. All right, let's go and do it now. To get started all you need to do is, you don't have to have anything open. It doesn't really matter what Photoshop looks like, might be work, might be learn. What we need to do is go to 'File', and go down to 'Scripts'... and there's this one, it says 'Load Files into Stack'. You can choose whether you want to select the files... or load a whole folder, I'm just going to click 'Files'. Click 'Browse'. In your '03 Preferences and Workflow'... let's click on the 'Inspiration 1', hold 'Shift'. And click on 'Inspiration 7', so we've got them all selected, click 'Open'. Kick back and relax. Not yet. Click 'Open'. And you can decide, like for me... like I said at the beginning, we're doing kind of inspiration Mood boards. I've just taken screen shots all over the place... and there's one, I load them into 'Files'. You might be, say capturing something on a tripod that's maybe moving... and you want to like attempt to align the images. They all kind of line up exactly. Mine are just all very different images, so it's not going to work. So I'm using it one way but there are lots of other times we're like... actually just want to dump lots of images into a Photoshop file. And you might want to try and line them up. Maybe it's different exposures you've done of one image, or some sort of time lapse. You can decide where you want to lump it all together... as a Smart Object at the end. I don't want to do either of those things... I want to kick back, relax, and watch Photoshop do it all... because the alternative is 'File', 'Open', and then copy, paste... copy paste, copy paste, close, copy paste. Copy paste, close, did you want to save? Ah, it's drama. Cool, huh? You see over here, my Layers file. I've got a bunch of images all just laid up together. You can see the names of the files there, and what I want to do... for my kind of Mood board here, is I've grabbed my Crop tool... I'm just going to drag this out over here. I have no idea how big it's going to be. Hit 'return'. And I'm just going to kind of slowly move them out. And what I do when I'm doing a Mood board... is to decide how big I want different things, in terms of like... say I'm sending it to the client about my ideas about what we're doing... there'd be some things that I'll accept prominent... and some things that are just kind of subtle... and I use kind of size to show how kind of, I guess... important you feel to the overall theme, different things are. So I like this kind of, like cobbled together... overlapping, nothing is really-- like it's not-- they're not your designs, right? So it's just kind of giving it an idea or a mood of what you want to do. So I might say something like that. I drag it about there as well. And that's what-- I guess we've learnt how to load stack pretty quickly. Now I'm just showing you what I do in terms of-- I'm going to make a new layer. It's going to be at the bottom. I'll fill it with, probably not black, I'll pick grayish, gray green. And I'm going to select all these fellas and put a Drop Shadow on them. Now weirdly you can't add a Drop Shadow into them all at once. You can use our trick where you put a folder... add a Drop Shadow to the folder and stick them all in. We're totally getting off topic now, but hang around. There's a tip in here somewhere. So I'm going to give it a size. You can see, how with them all in a group I can add a Drop Shadow to that group. And you can see they all get it there, and that might be what you want. What I want though is I want them individually to have shadows. So I'm going to 'Step Backwards' until I got rid of that group. I'll add Drop Shadow to one of them. 'Drop Shadow'. And I'll go to here, this size. That will do. Then you right click one of them or the one you've got the Drop Shadow on. Go 'Copy', then you can apply them all by selecting these other six here... right clicking, and say 'Paste Layer Style'. Now they've all got individual Drop Shadows... rather than all in one group. It's up to you what you want to do, right? You might play with the layers. Bring this one to the front, on maybe over these guys... get this kind of like, I don't know... mixed up collage Mood board thing going. Shortcuts for moving things up and down, say I want... this to be at the front now, I want it to be there, but I want it in the front... 'Command Shift', and the second of the square brackets ']'. That's 'Ctrl-Shift-]' on a PC. Square brackets are the ones next to the P key. Brings all way to the front. And that first one, which needs to be all the way to the back... which is behind my gray box, not what I want. I'm going to select them all except for that background. I just kind of move them in there, and there's Dan's Mood board. Now other little tips-- where I get my inspiration from generally... say I'm doing, like this here is my kind of UI design Mood board. I find most of it is from something called Dribbble. Dribbble with three Bs. I've typed in UI here, and it's just-- the curation of the site is pretty amazing. It is bit of work, you can find all sorts of stuff. There's a very kind of Dribbble feel to it. But it's often stuff that I can really relate to. You can start following people, you can upload your stuff here. Another really good place - it has a really different kind of look to it - is Behance. Dribbble and Behance for some reason... just have different kind of vibes in terms of their quality... well not the quality, the style. Dribbble has this very, more kind of illustration clean vector... like computer created graphics, whereas Behance is-- tends to be a lot more of this type of stuff... where there is a mixture of that, but there's a kind of... I don't know, there's a different vibe to it. Lot more pixels and grunginess in Behance. Up to you, hopefully one of those is new to you. The other thing I want to show you before I go... is because of Niice; Niice with two Is. We love extra letters. Niice is free to sign up, and you create your own boards. Basically just Mood boards, so this is one I was doing some hand lettering... and I wanted ideas, so instead of dumping it into Photoshop... I dumped them into this program here, and the cool thing about it is... it makes kind of resizing really quick and easy, can you see this? So I can go, you, I want you to be a smaller part of this. And it does pretty cool cropping. And allows you to kind of, say I like this one, I want to make it bigger. It gets really big, it's very cool. You can export these as PDFs as well. Share them with a client like this. Very, very cool. You get a couple of boards free, and then you have to pay; it's pretty cheap. You should totally sign up for these guys. I love Niice. That is going to be us. I will see you in the next video. 28. Weird Photoshop Features & Easter Eggs: Hi there, this video is full of random stuff... that's not going to help Photoshop... but I think you need to know, if you're going to be advanced... you need to know how to make things like your Color Theme turn into Toast. How to make random bananas appear... how to change the background color to pink... and this one actually might be that useful. We can change what appears down the bottom here to be something more useful. Probably more than how many layers you have. But probably not much more. This is an advanced person's right of passage video. Let's go. First up, let's look at... a kind of strange, kind of useful thing in Photoshop. So let's open up any image basically. I'm just going to use the 'Image 4' from our '03' folder. From the photographer Alexander Andrews. Just want something open. Why? Because this start screen's kind of... doesn't have a lot of the parts. If you don't like this start screen... you can go to 'Window' and go to 'Workspace'... instead of being on Start just be on 'Essentials'. And you go back to kind of how Photoshop used to be in the good old days. Regardless, let's have our 'File', 'Open'. I'm going to look down the bottom here. By default this little setting here that you've probably never clicked on... you've probably seen the file size, maybe down here. But there's a few of the things you can change it to... that might be helpful for you. Say you are really hard core on your profiles, your color profiles, sRGB. You just want to always look down there and go, sRGB. Or CMYK or whatever you're using. Other useful ones, Document Dimensions is kind of cool. It shows you that it's 2000 x 2000, and it's 72 ppi. Another little thing is... doesn't really matter which one of these you've got selected, any one... if you click on it, and click and hold it, it tells you the kind of basics. So Width Height, how many Channels it has. You can see, it's 8 bits per channel, that's what the 8bpc means. We'll talk about bits later on. You can also see the resolution. So that might just be easier than going here... and then go into Image Size. Let's have a look at a couple other ones, so Measurement Scale... good if you're dealing with-- doing kind of retina stuff. Scratch Sizes, Efficiency is a weird one. Efficiency is at 100%, it means that Photoshop is running as good as it can... giving it the resources you've given it. What I mean by that is... remember we had, in Preferences', we went to 'Performance'. And we said, here you go, have this much RAM, or have this much RAM. We've given it this much RAM, what you can do is, you can see down here... how efficient, how well it's working. If I try and stress it out-- we're going to stress it out... to try and do something like this, hit 'Enter'. Let's get it to change, it's working fine. If you find it drops below 100% for a lot of the time... it's trying hard but it can't work as fast as it could. So then just might be useful, you might be like... "Man, is my machine slow?" Maybe it is, maybe it's not. This will tell you whether it's just Photoshop going through its motions... or whether your machine's holding it up. You can go back to kind of like, speeding up Photoshop video... if you need to kind of upgrade things. Can't really change it down much, but hey, you might find it useful. Timing, I still haven't worked out how this-- what that actually does, I think it's for the task that you've given it. 0.2 seconds. Current Tool's not that handy, I want the Move Tool. 32-bit Exposure, we'll look at that when we do 8, 16, 32 bits later on. Save Progress, how many Smart Objects you have, how many Layers you have. For me, often it's Document Size. Which is what it started out with. This way, it's in this kind of random video. But this is the Advanced Course, right? We need to learn advanced stuff. Now let's get on to the Easter eggs. So what is an Easter egg? Basically it's just a bit of code that developers of Photoshop... the guys at Adobe who kind of sneaked things in... to see if they can sneak things in. Like little surprises, like Easter eggs. Now in this version of Photoshop there's a couple. There's a banana and some toast, they do absolutely nothing except-- what I find them useful for is... changing these things on people's computers that are away for holidays. When they get back, I've messed about. Now the best one, and most obvious one is... see this little three dot here, the Edit Toolbar. Hold it down, click on 'Edit Toolbar'. And if you just hold down the 'Shift' key, either Mac or PC, and just click 'Done'... you can see, what changed over here, there's a banana. Does nothing, except it's kind of funny. It never turns off either, well you can turn it off. So if any of you decide, that's not a good idea. Click and hold it down, go back into here. And if you hold down the 'Command' key on a Mac, and click 'Done'. Or 'Ctrl' key on PC... to turn it off, I'll turn my back on. I love having that on. Hold 'Shift ', click 'Done'. The other one is Toast, this one's a little bit more hidden. And it's just fun to know, like if there's a Photoshop party, and you're there... and you don't know about the Toast, you're going to be asked to leave. So on a Mac, go up to 'Photoshop', go to 'Preferences'... now remember, on a PC it's under 'Edit'... and way down the bottom here, 'Preferences'... and I want to be in the one that says 'Interface'. And it's just this thing along the top here, normally... just its job is to kind of change the interface color. You might like this, just because. Good old days of Photoshop used to be this, like white color. Now it's in this kind of moody broody dark color. Now the trick here is to hold down 'Shift'... and on a Mac hold down the 'Option' key and click on this. It kind of fires it into like Toast mode. If you're on a PC, it's 'Shift', hold down the 'Alt' key and give it a click. Now that it's Toast, it does the same job, just toast. You can also do, once you're here, so do that first step first which is... 'Shift', and either 'Alt' or 'Option', and give it a click. Now you can hold down 'Shift' and hold 'Command' down on a Mac... or 'Shift Ctrl' down on a PC, and you can toggle between... coffee colors and toast colors. If you go to a Photoshop conference... you'll see these little guys on t-shirts and stuff... like you're in the know, wink wink, secret handshake. Does absolutely nothing but you need to know the Easter eggs. One other little thing I'll throw in here is this background... because we were looking at interface colors it kind of just got me thinking. This dark Grey in the background is fine. You might not like it, you can right click it... and say I want it to be black. You saw the interface changed the old background... but not this kind of like pasteboard area. So right click it and dark gray's the normal... but you can go through and pick. The other thing you might do when your friends are away... or your buddy at school's away... is go to 'Select Custom Color', and just put it at something awful. There you go, they want to know how to change it back. They go bananas, I've got a pink background... which is hurting my eyes. So I'm going to go back to dark gray. So that is the weird features and Easter eggs video. Let's get into the next section now where we start fixing images. No more settings and work flow techniques, we've got those out of our system. We are now ready to be super efficient... and learn more advanced things. Let's do it 29. How to enlarge images without becoming blurry in Photoshop: Hi there, in this video we're going to look at enlarging images... way beyond where they should go. We all got jobs like that, somebody says... "Here's a tiny JPEG, I want you to make it into a billboard." So we'll go through the different ways of enlarging... and the kind of different effects... we'll even show you cool little shortcuts... on how to kind of compare them all in three little windows. All kind of checking details, deciding... which Enlargement Algorithm is going to work best for us. Let's jump in there now. Let's open up the file in '04 Fixing Images'... and it's called 'Resizing 1'. So there's different methods for resizing. At the moment this document is 2000 pixels, remember our shortcut down here. Click on this, this is 2000 pixels wide... but we need it for a billboard, it needs to be huge. So we're going to bump it up to like 8,000 pixels wide. You might be just doing a little change, maybe not something this big. It's under 'Image', let's go to 'Image Size'. And in here, what we're going to do is... let's say it needs to be under Pixels, it now needs to be 8000 pixels. Make sure Resample Image is ticked on. By default everyone just leaves it at Automatic. Problem with the Automatic is that... there's some other settings, and they might be great. The thing we're going to do also is just make this a bit bigger... because it's nice to see it rather than that tiny window. So you've got-- basically Automatic is going to... pick this first setting here out of this group. These are all the kind of Enlargement Automatic settings. There's just one for reducing, and to be honest, you can test these other ones. Because it doesn't have to just be for enlargement... you could use this for reduction. Just give you kind of different looks. You might find one of these better for reduction. But enlargement is generally the most problematic one... and the ones we're going to stick to in this video. So Automatic is picking this one, and that's fine. Even if you do use automatic there is-- if you switch it to it and say, I want to use this actual Preserve Details... I can play around with the Reduce Noise, and just kind of decide. Can you see? Before... After. You can just have a little bit more control with even that one. Now a good thing you can do to kind of compare these three... you can just, like be super quick and easy and just go - actually I was going to toggle through that one. - this one, and just kind of decide which one's good for you. So you might decide that this quick, easy and dirty method is just good enough. You can just kind of like, eyeball it, and say-- because this one here, Preserve Details 2.0... is the brand new one for Photoshop CC 2018. But it's not default yet even though it often has a better kind of finish. Or at least a different finish, so decide which of these works for you. If you want my humble opinion, this one here works better. There's a mixture of kind of like noise, but also some kind of sharpening... that goes on around high contrast areas. I find it looks good when I get up to bigger sizes. If you want to be a bit more scientific about it... I'll show you a nice little trick. So I hit 'Cancel', what we can do is we can go to 'Layer'... let's go to 'Duplicate Layer', so I'm going to make three versions of this. So I'm going to say, instead of duplicating this layer... I'm actually going to stick it inside a new document. I'm going to call this one 'Option2', let's just call 'Option 1'. Click 'OK', so it's kind of taken that file... duplicated itself, and called itself 'Option 1'. So it's just a completely separate-- it's the same as doing 'File', 'Save As'. So I'm going to duplicate it three times to compare the three different options. Go back to 'Resizing 1', back to 'Layer'. 'Duplicate Layer', 'New', and I go 'Option 2'. Back to the first one, and we'll go to the third option. You can go through all of these. Like if you are like, "Man, this is a super important job"... you might not just use the enlarged ones. You might use the reduced ones, the gradient ones. Because who knows what your content might be... it might be Repeating Patterns or Gradients... or weird trippy kind of 3D stuff, so have a play around with them all. We're just going to do these three. And it closed down the original. So my 1, 2, and 3 options are exactly the same. I'm going to start with 'Option 1', and I'm going to go 'Image', 'Image Size'. I'm going to go '8000' I'm going to just say, you are that first option. 'Preserve Details', click 'OK'. Go to this 'Option 2' to do the same thing, 'Image Size'. And let's go to 'Preserve Details 2'. Let's bump it up to '8000' pixels, click 'OK'. Same thing with 3, we'll use our shortcut, 'Command-Option-3'. 'Ctrl Option'. Sorry, 'Command-Option-I' to go to Image Size. Or 'Ctrl-Option-I'. '8000', we're going to go to that last option. Click 'OK', so now we want to compare them. So now you can just cycle through them if you want. You can hold down the 'Command' key on a Mac, 'Ctrl' key on a PC. If you're on a Mac now, hold 'Command' and hit the apostrophe key. It's generally kind of tied in with that wavy Tilde key. I'm just toggling through the tabs, we looked at it earlier. If you're on a PC, hold 'Ctrl Tab', I think, to move through them. You can just kind of see the difference, 'Option 1', which is the default... 'Option 2', 'Option 3'. I find, in this case 'Option2' is probably the best. It's a mixture of bit of sharpness... but it's not too milky like this last option. Let's go even a bit further to kind of compare the three. So let's go to 'Window', and go to 'Arrange'. And we're going to say '3-up Vertical'. You might be comparing four options, or six of them... depending on how many you have open. I go to this '3-up Vertical', it just shows me all three of them here. I'm going to be on this first option... I'm going to move it to kind of where the eye is. And what you can do then, is go to 'Window'... go back to that same thing where it says Arrange... and say, actually just match all of the zoom location and rotation. So they all match up. Then you can kind of start doing some comparisons. Another little shortcut is, remember... 'Shift' and drag around kind of moves one around... using your Hand Tool, but if you hold--... actually I said 'Shift', didn't I? So if you hold 'space bar' down on your keyboard, and just click and drag... you can move it around, but if you hold 'space bar' and 'Shift'... it kind of does all of them at the same time, so first up let's 'Arrange'... and let's 'Match All', then we can hold down that 'Shift' and 'space bar'. We can just kind of work our way around, just say, like, okay for the teeth... that one there-- I think this one here is the best for my option. There's always going to be pixels. There's this goop in here which I'm maybe not happy with. What I might do is start blending a couple of these images. Start masking our parts. It really depends on how hard core you need to go here. So my advice is, don't listen to me or other Photoshop experts... who say, you have to use Details 2.0, do the test yourself. It doesn't take too long, and it's-- just decide, yeah, that's the one that works in this instance with this image. Just think of them as Option 1, 2, and 3. Before we go, last thing you might do is... go down to 'Window', 'Arrange', and 'Consolidate all into Tabs'... just to get them all back into... like this regular old tab structure that we had before. We didn't cover Reduction mainly because... in my opinion, I don't run into trouble reducing images. I leave it set to Automatic, and it picks this one here, and it works fine. But again, if it doesn't for you, go through, test them all. See which one works for you. All right, that is going to be the end. See you in the next video. 30. Advanced color & tone correction using Levels in Photoshop: Hi there, in this video we are going to look at Advanced Levels. We're going to set white balances, we're going to adjust channels separately. We're going to look at cool little options that show us things like clipping... to make sure we don't destroy the image. We'll look at a couple of options, let's jump in there now. Before, after, let's get Level Advanced. In your '04 Fixing Images', open up 'Levels 1' and 'Levels 2' Thanks to the photographers Jeff Finley and Jacalyn Beales. I mentioned this in the first video, but anything from Unsplash... I've added the actual photographer's name... because they've donated these images free to the world. You can use them commercially too. So just go to unsplash.com and check out these photographers. So let's look at kind of Advanced Levels. In the Essentials course we covered the basics, let's go in a bit deeper now. So what I'm going to do is I'm going to go to 'Adjustments'... and I'm going to click on 'Levels' to make sure it's an Adjustment Layer. One of the cool features in Photoshop, is just clicking the Auto button... kicking back and saying, Photoshop, do your magic. And it's done pretty good. I'm going to turn the Eyeball 'on' and 'off'. It's pretty nice, but what you probably didn't know - I'm going to undo - you can hold down the 'Alt' key on a PC... or the 'Option' key on a Mac and click on 'Auto'. It just gives you like-- that's the default when you click on Auto... but these other autos, cool, huh? You can just work your way through and say, is this the auto that I want? Think of them-- don't worry too much about the names. Think Automatic option 1, 2, and 3... and see which one works for you. If you find after a while, you're like... I always prefer this one instead of this one... you can set it as the default for that auto. Let's say we don't like any of the auto ones, let's click 'Cancel'. One of the nice things you can do is... this photograph here, instantly, when I saw it I was like... this is going to be easy with this tool here. The White Balance Tool. What you can do is you can tell Photoshop that, I know - click on this - I know that that is pure white, probably. It's probably just white card printed off. So if I click on it, it kind of makes adjustments as that being pure white. So kind of adjusts per channel... rather than just kind of sliding these kind of three little adjustments. It actually goes in every channel... and makes an adjustment because it knows what the white is... and tries to counter balance that kind of-- we have a kind of a blue hue to it. Which is not wrong, it's just what this image was kind of shot at. It's got that kind of Instagram greeny, moody feel. And that's why photographers will use something like this. I've just gone to Amazon... and if you put in gray cards or white balance cards... you end up with these things. So what they'll do is they'll set them up in a photograph. So we'll set them up next to the subject. So instead of doing in Photoshop later on... with these white, gray, and black settings... you can tell Photoshop what's black, what's Grey, what's white. You can do it in your camera... before you actually take the photograph. You can set the white balance, 18% gray card, and the black... perfectly if you're doing product shots, and you have to-- you might as well spend the time there with your camera. Getting everything set perfect... rather than having to fix it all up here in Photoshop later. So we're happy with that. Let's go to 'Levels 2'. Let's look at a couple of other advanced features. So under 'Adjustments'... let's go to 'Levels', and what we want to do is... let's say we just want to tidy this up this way. That's generally what you do with levels, right? Bring in these two houses either side... before they're kind of like halfway up the hill. Either side, and then use this gray slider in the middle here... to decide which way it needs to go. Whether it needs to be lightened up in the mid tones, or darkened down. What's really cool is, if you're dragging these guys... after a while, starts kind of going-- there's kind of full black. And you start losing details, but that happens quite early on. But it's hard to know, like when does it start happening properly. If you hold down the 'Alt' key on a PC... or the 'Option' key on a Mac while you drag it... can you see, get this kind of weird color that appears. And that's just showing you... like over here, pretty much nothing's getting clipped. And when it gets closer into this hill... it's a little hard to do. I'm pointing out with my nose, can you see the tree down here? It's really dark in here, so as we make things darker... you can see it's starting to kind of just... that's all becoming one color. So just making you aware of what's happening. You might still have to go for it. Same with the whites, click, hold, and drag. It's just the opposite, they've inverted the colors... to show you what's going to start blending... as far as whites go, and it's all this kind of white clouds behind here. You can still go ahead and do it, it's not wrong. It's just showing you that there's going to be loss of detail in here. And because it's the back of the clouds, I'm okay with it. I've been making sure, like the eyes and stuff... weren't getting clipped by dragging these in. Now this trick here works on-- it's not going to work for the gray one... because it's not shuffling between these two. It's kind of clipped the ends but this is just shuffling in between them. You'll find there's actually a lot of settings... that will allow you to do that in your Adjustments Panel. If you start dragging a lot of these different options... like curves and exposure... if you hold down the 'Alt' key, or the 'Option' key on a Mac... and while you're dragging, it will give you... like a little visual preview of what you might be destroying potentially. Now I'm going to reset it to its defaults to get back to the beginning. And I want to show you another little trick. So we're dealing with RGB channels. RGB, you probably know is Red, Green, and Blue, that make up this image. Instead of dealing with all of them in one go... you can actually look at the different channels separately... and adjust them separately, and it gives you a lot more fine tuning. Especially when they're color cast. You'll find you can fix up the color cast in levels. You don't have to jump out to say, color balance as the adjustment. So what I mean is, let's start with red, and just do the same... half way up here, or just up the beginning of the hill here. I'm going to do the same for green. You can use your shortcuts. Hold down the 'Alt' key on a PC, and tap '3', '4', '5'. You can see, it toggles there between red, green, and blue. On a Mac it is 'Option 3', '4', '5'. So I'm going to do the same here, bring these guys in. You can see it started to get to a more natural color. There's some mid tones that I want to adjust. I find it really hard to adjust the mid tones... using these separate things, I prefer to go to RGB... and do all of them in one big go. So that's some more advanced Photoshop stuff. Auto, if you hold down the 'Alt' or 'Option' key and click on 'Auto'... you get some extra adjustments. You might be able to set the white balance here for the cloud. You could click on this white one and click on the clouds. I find it never gives me an exact result. Using nature as your kind of backdrop... but there's something kind of artificial, like white paper, it's pretty good. Also remember, holding down 'Option' key on a Mac or 'Alt' key on a PC... you can kind of check to see if you're clipping anything. And don't be afraid to jump in and fix... the red, green, and blue channels separately. That's going to be it. We're all ignoring the strange shaped mountains. I didn't notice them until half way through this video. I've stayed growing up about it... but I feel like it needs to be acknowledged... before we move on to the next video. Grow up, Dan. Next video. 31. Advanced Curves in Adobe Photoshop CC: Hi there, this video is all about getting more out of curves. I'll show you some hidden features in the Auto section. I'll also show you how to actually work on the document... rather than over here in the Curves Panel. I've basically given away most of the tips in this video. There's a couple more, so hang around, let's get going. Open up the files, 'Curves 1' and '2' from your '04' folder. We've got these two we're going to work on. This one here is just kind of-- the darks are quite dark, right? So we're going to go to 'Adjustments'. And we are going to go to 'Curves'. Like we did with levels, there's an auto feature... which is cool, to get started. I'm going to undo. Who remembers what I hold down to click on 'auto' to get extra pictures? That's right, on a Mac you hold down the 'Option' key... and on a PC you hold down the 'Alt' key. And it just means it's going to default to enhance brighten and contrast. You can just click through to see... if one of these other automatic modes are good for you. Because what you can do is, you consider it as a default... and then, say you're doing a huge group of photographs... you can set up an action. Then it will remember what you've done in here. Let's say we don't want to use auto, we're going to go manual. The first thing people generally ignore with curves... is this slider down the bottom here. You can see, the Histogram is all lumped into the dark side of the image. So there's nothing going on in this particular white one. So like we do with levels, just kind of tucking this in. It's going to kind of bring a lot of our work. So we're going to really be clipping all of this. How much are we clipping? Remember our shortcut, if we hold down the 'Alt' key on a PC... or the 'Option' key on a Mac, and I can drag this up... you can see there's just nothing... there's a little bit of specs here and there... and then you can start to see, how far do you want to go, it's up to you. But you might decide, actually I want to clip it up to here... because I'm okay with that detail loss. But it's really kind of bumped up the image... before I even adjusted the curves. Now with curves, often it's one of two things... either drag this down a little bit, and that up a little bit... depending on your image... or it's the vice versa, so just in here... it's just like either a little S curve or little Z curve depending on your image. This one here needs to be down, and that one needs to be up. You end up fiddling with this quite a bit, it's a bit disconnected. I'm going to go back a couple of steps... until it was back to 0, I'm going to drag this up again... and instead of dragging, like these little dots... what I'm going to do is do it on the actual document. That's what this little hand here does, click on it. And what it does is, you can kind of see... can you see the little dot moving up and down on my Histogram, it's over here. Watch over here, you can see it kind of bouncing up and down. It means that when I decide like... I know that's black, that's fine, but these kind of like... blue jeans here need to just be brighter, so I can click, hold, and drag up. You can see, what it's doing to my Histogram there... it's kind of grabbing those quite dark colors and just lifting them up a bit. You can just work on different areas, you might decide that-- I'm going to wreck it... because I want to show you an example, but I'm just going to drag this down... or these need to get a bit darker. This needs to get a bit brighter, so you're just kind of working around... and you start gathering dots in a more kind of organic way... rather than you just going over here, and just trying laying some dots here. Eyeball 'on', Eyeball 'off'. Now the other thing, like we did in Levels is that... don't be afraid to jump in and adjust the red, green, and blue channels separately. You can see here, I'm on the Blue Channel, I'm using the On Art... kind of finger draggy thing, and I can just decide... whether I want that particular kind of tone to be more blue or less blue. And I can just do finer adjustments. Green, we don't want to kind of try and move out of that mid tone. Kind of green cast going on there. Even if you don't like using this tool, and you like adjusting these... you can do it per channel. I want to show you, in Curves 2... that On Art dragging thing is not just in curves... what I mean is, this kind of pencil hand thing. A lot of the other tools have it, let's look at... say Hue & Saturation has it. See this one here, and it can be really handy for-- if I click on it... and say this blue shirt here, if I click and drag it left and right... instead of up and down... when I clicked, it jumped, instead of undo... it started off as Master... but as I clicked and dragged, it goes... "Hey, you clicked on cyan, so you must mean that." So that's just really handy, it picks the right color... and then you can drag it left and right depending on the saturation. So you might just go, let's say more practical. Using a click and just dragging that up a little bit. Grab on this, drag it up a little bit... rather than having to kind of guess what it is, or use the Eyedropper. So check the different adjustment tools as you're using them... and see this On Art dragging finger thing. The other thing you can do is... if you click and drag it as Saturation, you can do Hue as well by holding the... on a Mac it's the 'Command' key, on a PC it's the 'Ctrl' key. If I hold that down and drag... instead of doing Saturation, can you see, it does the Hue. Just a really quick easy way to change that man's shirt. Another thing I want to show you in curves is - we'll use this second adjustment - is let's go to 'Curves', I like-- the kind of fashion look, it's kind of a blue orange teal... or blue and yellow depending on what you're looking for. I find a real quick easy way to get that fashion look... is 'Curves', click on the 'Blue Channel'... grab the stopper at the end here and just drag it up... so right at the end, drag it up high and drag this one low. You get this kind of-- hopefully you can see what I mean. It's kind of like fashion photography blue tealy color... and it's super quick and easy to do, doesn't take super long. We'll look at a bit more detailed version of that. I'm kind of going on maybe a bit extreme. Hope you get what I mean. So looking good, looking fashion magazine. I love that kind of rose gold teal look. So that is some advanced uses of the Curves Panel. One thing I should note, if you've come from Essentials... curves and levels do, not the exact same thing... I don't want to get in trouble, but they are solving the same problem. We're trying to work on things like the exposure and the color cast. And I've gone to work at places where, they're like... "Oh my goodness, you're using levels, why are you using levels?... curves are so much better," and I'm like, "Cool"... so I got better at curves. Then I go to the next job and they're like... "Why are you messing around with curves... why aren't you using levels? They're so much better." There's no right or wrong... but people get a little bit passionate about levels versus curves. So don't worry too much, I use levels a whole lot more... because I'm just doing quick simple adjustments. I'll only open curves if I want to get into the finer, finer details. That's why you'll probably find photographers... tend to use curves a lot more. You'll find, if you're a photographer... you'll find a lot more tutorials using curves... because of that finer detail. For me, I'm more in the design space. The photographs often aren't mine... so I'm often not as particular about the hard core detail. They're both great tools but you probably don't need them both at the same time. Either the Levels go, or our Curves go. All right, let's get into the next video. 32. Gen Expand vs Content Aware Extend: On. In this video, we're going to look at using the crop tool to generate AI background. It's a nice and easy extra tip. Hidden inside the crop tool. You can use something called generative expand. Like magic, we can create all this extra background that was the original photo there. Brilliant. To push expanding these images out a little bit, I'm going to show you something called content aware scale. Instead of generating new background, we can actually just move things around. So same original objects, and it fudges the bits. Super fun. Super easy. Let's jump in. All right. To get started, I want you to open up two files. It's called Gen crop one and two. It is in your five cropping aligning and distorting fold. Open both of those up. Let's grab the crop tool, and I'm going to click at once. And I'm going to say I want some more on the right here. At the top by default, you're probably on transparent. Transparent just going to leave a big hole there. What we want is generative expand. There's the artificial intelligence version. That is the old version. Works. This is better. Let me show you both in comparison. There you go. That one is using the newer fancier thing called generative expand. This one is using the older and one that's in a cord content aware fill. It's using the information from the image to try and fill it, whereas generative expand goes off to the Internet and figures out what's in the image and uses its database to figure out what else could be there. Now the thing to know when you are using generative expand, using this cryptol and dragging it up, there's no difference between making it bigger and selecting it and using generative fill. They call it generative expand. It's using the same technology, doing the same thing. Because if I had escaped there, can you see if I click on my generative expand here, I still have my variations, I can still mess around with what's going on there and I can still type in the prompt. Let's add some rock. Go. It doesn't really matter crop tool using generative expand or doing it this other way, I'll actually did it so you know what I'm talking about. When you make something bigger or you've got a hole to fill, and it's filler transparent, and I go to my M for my Mark tool, select all of that and just click Generate, doing the same thing. Same technology because I have a different selection though, I might get a different result, but we're forcing the computer to do the same thing. Oh, man. Is so good at predicting what might have been there. Ah, so good. And weirdly, I believe those rocks were there, and those were fake, too. Anyway, where some of that content aware stuff still is really relevant is, let's open up a couple more files. So in your exercise files, I want you to open up content aware. Where are we? Content Aware, one, two, and four. Tsk me why we skip three. But condo, one, two and three. Let's start with this one here. When I use generative fill, I get a very different result. I want to extend it, say this way and I'm going to go you, I'm going to go to generative expand. That's cool. But this is going to stay there. Everyone's going to stay that's going to generate some new stuff. But what I want to do is actually just push it bigger and move it using the exact same objects. That's pretty cool though. Where some of the content aware stuff is useful? I undo that. Let's say that I do want to make it bigger, so I'm going to go croptol, I'm going to go to transparent, and I'm going to say I want it to be a bit higher because it's going to maybe a square Instagram post that I need it for. What I'm going to do is I'm going to have the layer want selected, I'm going to go to edit. I'm going to go to this one here called Content Aware scale. Same technology as the content aware extent. But it's in more of a transform document. It's in more of a transform box. What I can do is leave it like that and go. Can you see, it's same but different. It's creating more background. I'm going to hold a shift so I get it to come straight up. It's using the objects, not generating new objects, just like moving them around. It doesn't work in all instances. This one is great because there's a lot of white background, but it can be really handy. A little extra advanced feature for you. Look at this one here. This one will be perfect for it. This one you could use generative expand or extend because the background so forgiving, give it a go. Let's go cryptal, the C key. I'm just going to add a bit more actually both sides. I'm holding down the option KPC to get both sides. Now with the last selected, I'm going to go to it, where scale, and Yeah. We go, I don't have to hold anything down, and probably do whole shift to get it go up, that. More background. That's content aware scale. What that's doing is like dragging things out rather than making new stuff. Just a different way of doing it. Generative fill, I'll use a lot, but there are some good cases where content aware scale works. Let's say this one here. We don't want to generate new background. We just want to extend it out for the width here. Again, croptl, I'm on transparent, holding down my option, KonampC, get a bit more background. At the trouble you might run into is if I go to edit and I go to content to a scale, and I hold down my shift key, and I'm just going to drag this right hand side one here. Actually I'm going to hold shift n option, that shift n alt on a PC. You see it works. The background just gets magically bigger. Same with the skyle really good for natural objects. We can't really tell the stretch. I do a great job of it. Can tell the stretch in the guy though, look at that. If you do want to use this and there's just one thing giving you a problem, I'm going to escape. I'm going to use our suite new tool for the object selection. It's underneath, depending on which one you had last selected, I'm going to grab and hold down this fourth tool down, grab object selection tool. I'm going to grab my man. Magic selection. It can be pretty rough with the selection as well. You don't have to worry too much about it. I want you to go up to select. What we can do is we can say, I want to save this selection. I'm going to call a guy. I'm now going to deselect everything, select de select. Now when I use that exact same tool, actually, let's go to the move tool, so it stops object selecting. Let's go to edit, go to content scale like we did before, but now there's an option here says, would you like to protect something? That guy that I saved the selection for. Now when I scale it out, holding shift option, can you see it looks after that fellow in the middle. Okay, so it depends on what you're looking for. Generative fill and generative expand brilliant in most cases, but there are some times where you just want to make something bigger without generating new fake stuff. That's where content aware scale is good. And if you're running into problems, do a little save and you can predict that area, and content aware scale. So a little advanced tips for you. I'll see the next for you. 33. The Remove Tool in Photoshop: One. In this video, we're going to look at something called the remove tool. The remove tool removes things. Good work in. But it works the same technology. Did you see that? Just went away. It's very similar technology, or it's the same technology as generative fill, except it's used for more small parts. Can you see that? It's more like a brush? I can just paint things in and remove them rather than doing selections and getting all these variations. It's destructive working on the layer. Great for tiding up small things in an image. We'll do it for this one. Remove a bunch of stuff. The last example, my favorite, try and remover, which goes horribly wrong. When aw person gets added. We'll talk about the ways of getting around that make sure you don't have extra creepy humans that didn't exist. Still pretty good though. All right. Let's jump in and get to know the remove tool. All right to get started in your exercise files, in the fold cat five cropping Aligning distorting, grab these three. Remove tool. As one, two, and three. Open them up in Photoshop. Find the removed tool. The removed tool may move. It's new. At the moment it's underneath the spot healing brush. Look for the band aids over here, go down to the one called Remove tool. The remove tool, should be called the super amazing tool. It's using generative AI to remove things rather than maybe if you used to say the clone tool stamp or anything like that, it is using the fancy technology. Pick an appropriate brush size. I'm going to go up to 150, and I'm going to click and drag on this. Click Hold and drag with your mouse and let go. Oh. Magically fixed it. Let's get rid of this, color it in. Look. It is spectacular. Now, the difference is, let's say, let's do these two here. I'm going to paint that guy in and then make sure you get it all. Then I'm going to use the generative fill. I'm going to use the Lasso tool. I'm using the straight edgy one. I'm going to go click once, click twice. Again, just like we did with that removed tool. I'm going to make sure overlap it nice and good. And I'm going to hit generative fill. It's going to use the same technology. I'm going to hit nothing in there and it's going to generate, it will fill it. The difference here is that it'll give you a very similar result, but it's generating this thing over here with the properties panel. It's got a separate layer. It's mass, I can turn it on and off. It's added a box, not quite what I wanted. But I've got all these different options. There's more to it. It's doing the same thing, but the removed tool is more of a quick once, don't really care, get rid of it. I'd be using the removed tool for moving lots of little things that you don't actually need a whole lot of variations for in a separate layer. Do you notice that when we use the removed tool, there are now extra layers getting made. Up to you, which one you want to use? Depends if you're just moving dust and scratches and little bits of stuff and lots of them, painting it out can be really quick and easy. Thing you need to do though is make sure you're on the layer that you want to remove. If I click on this layer here and I do it, it won't work. Let's try one more of these. Here I picked a really good example here. I worked really nice. It works great on this phone. But if I start removing big chunks here, like say this bowl here. If I remove that and I leave the shadow there, it tries to blend the shadow in. Even if I try and remove this and the shadow, it can get tricky. This is where you might want to use generative fill because you'll get different options and you can play around with it a bit more. But for small things, plant be gone. Let's give that a go. You can work it more than once. There's no reason why not? There's a shadow there's a shadow there. It's pretty quick, pretty easy. Says on the file size as well, that there are these variations over here in the properties panel, but the trade off is there's no variations in the properties panel, you can't go through and edit them. There'll be a time for a bit of both. The one thing you need to do is, I'll see if I can make this happen again. If I remove a person. First of all, should pick a bigger paint brush. Instead, I'm just going to spend ages coloring this in. You wait there. They talk of ba. Let's give it a go. Removing a person. It's done an okay job. But even with generative fill, let's get rid of generative fill and go to want you. We'll get more variations. Removing somebody completely that is this intertwined, like hair is mixing. It's always going to be a little tricky and shift at that chunk. And I can use generative fill, but I'd go for this option because you get more of you get the variations to play around with. Imo good for little things. Getting rid of more complex things, use the generative fill because there might be some blending and different selections you're going to have to do.'s done a pretty good job. I take it back. Generative fill is amazing. The one thing you are going to need. Let's turn off that one is if you forget any pieces. I even with the remove tool, let's do generative fill. If I do this and I get it close, but let's say you forget something. It will always try and blend in. What's been left behind. You're going to be very purposeful what you leave behind. Can you see we've left that hand there? This is where generative. I know. Is that it's funniest? Well, I'm hoping's generate, it's going to replace it or get rid of this person, but it's going to go home what do we do this hand? I know. Oh, it did right. Keep her a shoulder in hand that reached around. See else we got Nothing What's a leg down there? Who's there? So feet? She's kneeling. It's her hand. It's connected her and her hand. Oh good. The demo that I did was better? You wait there. I'll see if I can make it happen again. I'll left that whole hand I'll see if I can do it. I'm going to turn all these off. You eat there. All right, I can see it. There it is. It's reliant but also really weird. I got a weirder one. Give this one a go. I got a really creepy guy that had three eyes looking over. This will get better, but it's more of just remember if you leave so in there, it's going to try and do it. If you've got some was going on, try and chase it back to your selection. I can see there's my selection. If I left that, I can see where it's trying to add it all. It's trying to fudge that bit back in, and it's trying to move this bit back in and it's trying to connect all of this. Just be careful with your selections. We go. All right. The remove tool is good for lots of little things. We just need it gone. Small things are part of a bigger object. But if you need to do bigger complex things, use the same technology, but use the generative fill. That was selection, fill it with nothing, and it should give you some options. All right, that is it. I will see you in the next video. They had a creepy lady who's in the background, not dressed appropriately. It's pretty good though, Next video. 34. Cropping tricks delete pixel & reveal cropped content in Photoshop: Hi there, this video we're going to look at the weird and wonderful extras... when we're looking at the Crop Tool... like all these different kinds of Cropping Grids. We'll look at deleting pixels, how to get them back, how to straighten images. So that you know that the horizon line is perfectly straight. Plus a few other tips. Let's jump in there now. To get started, from your '05 Cropping' folder, open up 'Crop 1' and 'Crop 2'. We'll start with Crop 1, so kind of advanced cropping techniques. Grab the 'Crop tool', fifth one down. And the first one is-- by default, it's probably on Always show Overlay... which in most cases is the Rule of Thirds. So if I click once anywhere in here... you get this kind of Rule of Thirds, which you might love. Just helps you balance compositions. I'm not going to go through what the Rule of Thirds here is. It's worth going and checking if you've never heard about it. It's really useful when you are composing an image... deciding on where it actually falls within this grid. Can help with symmetry and balance. I said I'm not going to explain it, so I'll stop. So first thing I do is I turn it off. I don't use it, I just find it's kind of in the way, so I never show Overlay... but let's have a look at some of these other ones, Grid. I don't use them but I thought I'd show you just... because there are times there's people that like the sort of stuff. I just want to let you know that this is an option. Golden Ratio is cool, Golden Ratio is spiral. I'm not sure why this would be in here, and crop. You might see this and go... "Oh, my goodness, I can't believe I've not known it's here." But for me I'll just go in and say, never show Overlay. What you can do though is... if you do pick one, you can hit the 'O' key on your keyboard. So 'O', and just kind of cycles through them all, so you can kind of-- I guess if you're cropping and you want to look like... what does it look like? Like the Rule of Thirds. This is called a ratio. I don't mean to dismiss it, it's just something that I don't do. So I'm going to go to 'Never show Overlay'. Next thing is, just making sure you know that you can delete cropped pixels or not. So with it off, if I come down here and start cropping... I'm holding the 'Shift' key down to lock the Aspect Ratio. So that doesn't kind of do this. So hold 'Shift' just to make sure... it's kind of cropping nicely, and will still fit in a frame. So if I cropped this here, with Delete Pixels turned 'off'... what ends up happening is, if I click on it again... you can see that stuff is all still there around the background. So it's very non destructive. I turn it 'on', and I hit 'return'... it's very different, those pixels on the edges are gone forever. Terrible crop, Dan. So I'm going to 'Esc', and I'm going to undo. So you probably knew about that because we kind of covered it earlier on. And what I want to show you though is, let's say you do do a crop... or you've opened up a Photoshop document, and it has already been cropped. So it's been cropped here, know that you can rotate the crop... by just kind of dragging it outside here. It's a strange old thing using the Crop tool in Photoshop. Let's say we've got that turned off. We know there's stuff around here, but we just want to expand. So this is later on, we've cropped that, we've reopened it later on... we're like, "I know this stuff around here," so you're like... "What do you do," like how do you get this to kind of expand back out? What you can do is go up to 'Image', and there's one that says 'Reveal All'. So it's going to actually expand your canvas... to match whatever is in the background. There's a great way to just kind of unpicking something... a Photoshop document, to see actually what's in here. Sometimes you can have like cropped bits... that are all the way out here, maybe big file size. So just bits of the image that you want or need to see. So just remember, 'Image', 'Reveal All'. Let's look at the last bit of advanced cropping, it's the Straighten. So I'm going to go back to the Crop tool... and in here it looks pretty straight, the horizon line. There's an option in here just to kind of double check. So I click on this and draw a line across the horizon. That's not a great line, but you get what I mean. I'm not sure it feels quite nice. You can see, it's about 0.3° off. So I click on that, can you see, it straightened it up for me. It's twisted the image a little bit. So it's turned on an angle. If I hit 'return', now I know the horizon line is kind of perfectly straight. Let's take that a little bit further with Crop 2. This one's off a lot more, it's quite obvious. So 'Crop tool', grab 'Straighten', click and drag across it... but what we're going to do is-- so if I do this, there we go. You can see at the top here, there's all this extra gap. So I'm going to drag this out... because let's say that I want to rotate it but I like-- if I hit 'return'... it's kind of rotated around, but these are these gaps around here. So what we can do is, before we use Straighten, just turn on 'Content Aware'. So like we did Content Aware Fill in the essentials course. Oops, wrong. Do I want Straighten? Make sure Content Aware is 'on'. Watch this, if I drag this around... and I expand it out now... And I hit 'return', give it a second. And it should fill it in all the holes. Pretty cool, huh? There's a little bit of trouble with a tree there... but to be honest I'm not sure who would even notice. If it was your photograph you might. John Tyson might be not as impressed. So if you are using Straighten, just turn Content Aware 'on'... and it just goes and fills it. You can do it another way, say you have done this and you didn't turn this on. Or you've got a slightly earlier version and it's not available. I want to straighten it up, so I'm just going to straighten my horizon line. Deleted Pixels is turned off, so I'm going to hit 'return'. So I know there's some stuff around the outside, right? So remember our trick? 'Layer', and it was 'Reveal All'. It is not, it's under 'Image', 'Reveal All', come on, Dan. And what I can do is grab say my magic wand tool. Click that one, hold 'Shift', grab that chunk, grab that chunk. Grabbing all these little triangles that are left, go up to 'Select'. And let's go to 'Modify', 'Expand Selection'... because at the moment if we do it... I'll show you, it just goes 'Edit', 'Fill', and it works, Content Aware Fill... but if I deselect like this little kind of strip around the outside... so I just need to make that selection just a tiny bit bigger. 'Select', 'Modify', 'Expand', you can contract in there as well, it's cool. And let's expand it by couple of pixels, maybe three... doesn't matter too much, just so it's overlapping. We'll do the same thing, 'Edit', 'Fill', 'Content Aware'. Hopefully now, magic, it fills in those edges. Average job up here, but a pretty good job in the other corners. So that's it with the Crop tool, we're going to do some other cropping. Somehow I'm going to make it into, like another three videos of cropping. They're all interesting tricks, so let's jump into the next one now. 35. Automatically crop & rotate scanned documents in Photoshop: All right, you've done a scan with your scanner. Old technology, when photographs only could be printed. Don't worry, it might be receipts. Anything that you've got a big group of... that you want to all crop and rotate into separate little groups. There's just one little button. I'll also show you how to remove the rounded corners... that the 1980s loved so much. You can see, this corner's done, this one's not. Same with this, I did this side easily, quick. And left the rounded corners over this side to show you. Plus you get to meet my family, you didn't even ask... but you have zero choice if you want to learn the technique. All right, let's jump in. From the '05 Cropping' folder, open up 'Crop and Rotate 1'. So this here is a scan, a bunch of images from me, as a kid, and my little brother. And I want to scan them all in bulk. I don't want to have to scan them individually. The trouble is, I've kind of done this on purpose to kind of rotate it around... so it's a little bit harder to crop. We want to let Photoshop do the little work. Now we're using photographs here, I do this also for receipts. I need to scan them and send them in, so I just put as many as I can fit. Like Tetris on to the scanner, scan them and hit the 'Auto Crop and Rotate'. It's pretty easy, 'File', go to 'Automate'. And this one here, says 'Crop and Straighten photos'. Kick back, relax. And you can see along the top, here's my original. And then there's these other tabs, all the images. Doesn't know which way is up, so we're going to have to go and rotate them. And I'll show you a couple other little tricks, but that's the basics. Let's say this one here, that's me as a kid. Family history time, that's my mum and my little brother. That's me and my dad, and that's my little brother. That little bear there is now hanging above my son, Scott. Great, mom. All right, let's fix this one, my little brother. So 'Image', 'Image Rotation', we're going to go 'Counter Clockwise'. Feel like me, you have to draw the clock in the sky, can never remember. But let's say these corners here. Up until now we've been using like the Lasso Tool. We're going to jump back to one of the tools... we learned in the Essentials course. It's the Spot Healing Brush, it's this Band-Aid here. Now if you haven't used it for a while, it's a whole lot better... because it's using Content Aware. So basically we are using Content Aware Fill but more as a brush. It's going to be a bit easier. Pick a Brush size, that's kind of appropriate. And just paint out the edges. You can be quick and rough. 1980s, they loved the rounded corners. Pretty amazing, this, my Healing Brush. Awesome! I'll show you another trick that I do. Let's say, not that one. This one here, didn't have rounded corners... but there's still just this weird trim around the outside. So I'll rotate it. Clockwise, clock in the sky. What we can do is a 'Select All'. So 'Ctrl A' on a PC, 'Command A' on a Mac. And then there's this option here that says, 'Select, Modify, and Contract'. I want to bring it in a bit. Now by default that's off. Because we're using the canvas bounds like the outside... it won't work unless we turn that on. So how far do I want to come in? I'm going to come in-- accidentally clicked well, that will do. Just so that I've got that kind of banding around the outside. I'm going to invert the selection. 'Command-Shift-I', or 'Ctrl-Shift-I' on a PC. And then we fill it with Content Aware Fill. Now just so you know, I use it so often that I've added this shortcut. There was a shortcut on my Mac, I can't remember what it was... but if you look at yours, and you're on a Mac... problem is, that shortcut opens something like iTunes or something. So I've made my own by going down to 'Keyboard Shortcuts'... because I use it so often. Go, click 'OK', I find that's an easy way to kind of get the edges. And if you're doing a lot of these, there could easily be an action. 'Select all', 'Contract', 10, 12 pixels. 'Fill', 'Content Aware', 'Save', 'Close'. You can leave now because I'm just going to go down memory lane. Look at my dad. Oh man, he was young. He still has the mustache, and bits of his hair. More than me at least. That he did not pass on in his genes. Same thing here, probably just needs to come in just a tiny bit. The cool thing about it is, it will remember the last thing it did. You can turn it into slightly fast. I'm using shortcuts and stuff to impress you... and to show you that you can turn this into like a little production line. Make sure you 'Invert Selection' first, otherwise... let's see what Content Aware Fill does. Totally go to the next video now, so inverting selection... I'm just finishing these off. It looks good, we've already done that one. That is my little big brother, he's younger than me... but he's about twice the size of me, better still as I am, but twice as broad. You do not need to know that one... but because you hung around to the end and got to know the family... I'm going to show you a little trick. I'm going to go 'File', 'Close' because... I've already done these scans and I don't need them again. Let's just say you've done it, and you're working on stuff... you just don't need a bunch of stuff that's open because you're messing around. I'll show you a cool little shortcut. So people don't know that you can go 'File', 'Close All'. Which is handy, you just want to get out, and I want to close all of these down. 'Apply to All', and hit 'Don't Save'. And just close them all in one big go. Another little trick is, this only works on a Mac, I'm pretty sure. If I go 'Command W' to close... and instead of coming down here to Don't Save... I just hit 'Command', and whatever the first letter is... So if I go 'Command C' it will cancel, 'Command S' will save... 'Command' D', don't save. So is it a shortcut? If I'm doing shortcuts with a keyboard, both hands on it... I don't like to then grab my mouse and move it down, and click again. That could just be me. So 'Close', 'Don't Save', I'm just kind of-- 'Command W', 'Command D', 'Command W', 'Command D'... So whatever the first letter is. Drop me a note in the comments... if there's a technique for doing PC as well, help PC people out. All right, on to the next video. 36. Crop angled images to straighten perspective cropping Photoshop: Hi there, this video we're going to look at Cropping Tool... but the Perspective Cropping Tool. We're going to fix corrections, say in this building here. So it looks nice and straight now... like we were photographing it from straight on. We'll even go a bit further and remove this kind... of lens distortion here, where it's kind of bending, just to tidy it up. Then we'll crop it right in to be a nice cool brick wall. Super flat, super straight. All right, let's jump in now and learn how to do it. From your '05 Cropping' folder, grab 'Perspective Crop 1' and '2'. We're going to start with number 1. It's just for images, it's really hard to get... especially when you're photographing say something on the wall... you want it to be perfectly straight... maybe it's for a look book, or photographs of arts. Might be a poster, a billboard... something that you want to be straight, but it's just not. I've got a really kind of extreme angle here... but often it's just something that I'm just trying to get right in front of. I align my camera up, and there's still just a little bit of perspective. Especially when you're photographing something large like a billboard... you just can't help the perspective. So we're going to use this tool here, click and hold down the 'Crop Tool'... until you find the 'Perspective Crop Tool'. All you need to do is click on all the edges. How accurate this is? You spend on this, zooming in and kind of getting it perfect. Generally the nicer-- well, the nicer result. We're going to give that a whirl. Click on all four corners, hit 'return' on your keyboard... and there you go, straightens it up. This is a strange image, I think it is meant to be this tall. Because the font looks fine, if you find yours like super tall and skinny... you can either undo and go back, and try and get in the corners a little better. Or just kind of stretch it out a little bit. Which brings me to a cool little shortcut... is, I know that Crop Tool is C... but so is Perspective, it's also the shortcut C. How do I, like toggle between them? If you hold the 'Shift' key down on your keyboard, and tap the-- so I know that V is the Move Tool, C is the Crop Tool... but if I keep hitting C, doesn't go through like the rest of them. You hold Shift and C. It just toggles through all that, you can see them in there. Holding 'Shift', tapping 'C' toggles through them all... and that's true of any of them. So I do a lot for the Rectangle Marquee Tool... which is M for the Marquee Tool... but if you hold 'Shift M', you can see... it toggles through between the Elliptical and the Rectangle Marquee Tool. Anyway, so 'Shift C' until you get to the Crop Tool... and just-- I'm just going to expand it out. I hold 'Alt' when I drag the sides. That's 'Alt' on a PC or 'Option' on a Mac... just so it goes, be cool distant both sides. I'm just going to use my Transform just to kind of decide... how I feel it was when I photographed, it's not my photograph... but sometimes they can be a little bit of this, just tweaking to get it perfect. Let's look at another example, this one here, so 'Perspective Crop 2'... and this is a building, it's just-- you know it's impossible to get it to kind of flush on... because we don't have a Cherry Picker or the right Lens. So just want to straighten it up. We're going to follow these lines... I'm going to click once up here, once there, once around here. Trying to follow the edges, click on all four corners. If you get it wrong you can just drag these things afterwards. And when you're ready, click 'return' on your keyboard. It kind of just straightens it up, like you're looking straight on. This particular image, because of the lens, there's a little bit of bowing in here. So a little extra trick. If you're dealing with larger objects, is you can fix them up... using the 'Filter', and the one that says 'Lens Correction'. Now if you've photographed this, what can happen is that... the data from the JPEG comes through, and it tells you... the camera model, the lens, the settings, the f/, all of that. And if it does, it can do some automatic settings to kind of... to fix what you're working on. Ours doesn't, so I want to turn on the grid down the bottom here. So that we can kind of see that, can you see, it kind of bows out there. So just to fix the lens distortion quick and easy... click on this top option here, it says Remove Distortion. Basically you either drag towards the center or out of the center... to get either more fisheye or less fisheye. So I'm dragging out. You can see, it's kind of going the other way, so I'm going to drag it back. I'm holding my mouse down the whole time, just little steps... and I'm just trying to match the grid. It was bowing out, now, slowly but surely.... you can see there, now I've got a nice straight edge there, straight edge there. A little bit off over here, and that's just my fault... for not spending a bit more time with the Perspective Crop. I just kind of clicked around on the outside, I could fix that now... by just clicking around the edges again, but being a lot straighter around here. Let's say we just want to click on the inside of this... I don't want any of the-- I just want the straight up brick work. So it's going to be a lot more perfect along there. This one here needs just a little tweak. Don't be afraid to zoom in, Dan. Hit 'return', and now I've got a kind of a perfectly straight wall. So that's Perspective Crop Tool. Your object might be laying on the ground, up on a wall... then we added a little bit of extra when we looked at Lens Correction. And Lens Correction doesn't have to be used... just when you're using this Perspective Crop. You can use Lens Correction for any image. Let's get into the next video. 37. How to trim the white away from the edge of an image in Photoshop: Hi there, this video we're going to look at trimming out... say something like this, where there's a scan... there's all this kind of like white area that I don't need... and just magically trimming it up right to the edge of the pixels... without messing around with the Crop Tool. Same here, where we open up an Illustrator file, is this kind of... mysterious transparency that's appeared here, it's not what I need. It's when I trim it down, so it's right around the outside, ready to go. Let me show you how now. To get started let's just open 'Trim1.jpg' by itself first. So this trick is great for scans or anything that's just on a white background. Doesn't really matter what it is, but I do it often. I hand draw stuff with a sketch... bring it into Photoshop, I'll use the levels... just to get that nice strong whites and the blacks. Then I just want to trim it all up. Got all this kind of extra skin junk around. All this kind of extra white stuff around the outside. So just go to 'Image', 'Trim'. And what it's going to use, it's going to use whatever the color pixel is... in the top left hand corner, which is white, it's going to use that to trim. If this was on a blue background, it would use blue as its kind of like trim color. You can decide to only trim away the top, left, bottom, or right. I'm not sure why you'd ever do that, but let's click 'OK'. It just trims it down to what we've got. Cool, huh? Save it. Nice and clean document. A lot easier than trying to drag out the Crop Tool... and trying to get it in there, and get the edges. Let's look at the second example. Let's go to 'File', 'Open'. We keep this separate because it's an AI file, Adobe Illustrator, so 'Trim2'. It's going to leave it all at the defaults, click 'OK'. And because of the way that this is constructed-- this happens to me a lot with logos that I've got from people... you open up in Photoshop, there's this mystery transparent box. Don't know where it came from, but you don't need it. So you want to trim this up, and works the exact same way. So you go to 'Image', 'Trim'. But there's another option here, it says, 'Transparent Pixels'. So I want you to remove all the transparent pixels, please... and get it to a nice tidy shape. Save this maybe as a PNG or JPEG, and you're ready to go. It's a nice simple tip, useful every now and again. All right, next video. 38. Automatically align layers in Adobe Photoshop CC: Hi there, in this video we're going to look at aligning images. Why am I doing it? In this case I photographed my desk... and I need the exposure level for my desk... so I can see all my weird sound boards that I use... to help make the sound on this microphone nicer... but because of that exposure level I can't see anything on the screen. So I had to change my exposure so I can see the screen... but in the background's too dark. What do I do? I mask one out... and blend them together, but because they don't align... I shot this hand held, you can see, they don't line up. I'll show you how, in this exercise... how to magically line them up so they're perfect. With a click of a button, we can mask out... the lower exposure with the higher exposure. And the world is a beautiful place. Let's get started. So there's two ways of doing this. There's the caveman way, which we'll do first. So we're going to go to 'File', 'Open'. Open up the 'Auto Align 1' and '2'. Then I'll show you another way. Both ways are useful. This one here has got my low exposure for my screen... and this one's got my high exposure, and all I'm going to do is go 'Select All'. Copy, go to this one and paste it, so I've got them on top of each other... but they don't line up because I was hand holding this And what I adjusted? My exposure, edge, we're good around. So the Auto Align feature is, select the top one, hold 'Shift'... click the last one, we're just doing with two... you can do it with a thousand. Actually probably not. Photoshop would freak out... but you can do it with ten or a hundred maybe. Select all the images you want to align, go up to 'Edit'... and there's one down here called Auto Align Layers. Leave it at 'Auto', seems to always work at Auto. Let's click 'OK'. Magically, put in the top one off. The one underneath, you can see the screen's lined up perfect. Cool, huh? Now we'll mask these two to join them up in a second. I just want to show you the other way. So that's the caveman way... and if there's just a couple of images that's what you need to do. There's another way, under 'File', let's go to 'Scripts'. And we looked at this earlier on... remember we looked at loading lots of stuff into a stack. The cool thing about it is, say I want to load Auto Align 1 and 2... but let's say there is a hundred. You definitely want to use this automatic feature. Auto Align, but also Attempt to Align them as well. So it's just going to do both processes in one go. It's going to put them all into one file... instead of our copy and paste, and it's going to try and align them. Kick back, relax. So with just two images it doesn't really matter which way you go... I've got loads of them. It's easier using that script. Now we're using it for exposure levels, it could just be that... you have to kind of move around to get the entire front of a building, let's say... or instead of doing exposure you're doing kind of focal length... you're trying to get different kind of focuses along. However way you got here, what I need to do is I need to-- I'm going to put this one at the top. The dark one, and I'm going to grab my-- Because what I want to do is actually... have the screen which I can see in this one, but it's too dark back here... appear on this image, because this one, I can see all the background... so I need to combine them too. So with 'Auto Align 2' selected... I'm going to grab my 'Quick Selection Tool'. I'm going to drag a box around here. Pretty good job, I'm going to click in here as well. Did a pretty good job, I'm going to go in... there's a little bit here that probably needs a little bit of love. So I'm holding down 'Option' key on a Mac... 'Alt' key on a PC just to kind of fix that up. You could use the Lasso Tool... the Polygon Lasso Tool, which has a straight edge. However you do your selection, I'm going to add a mask. And hey presto, they're kind of both combined. So the top one is just the screens. This bottom one here kind of fills out the outside. This top one here, what I might do-- that's it, that's the end of the tutorial. I'm just going to go through now and show you what I do when I'm trying to... blend the two, I'm going to add levels. Just to the layer, just to the layer underneath. And now I'm going to kind of try and make it look more believable. They were too dark there, there's too much details. I'm just kind of... finding, fine tuning, what looks real. But still legible, whereas before, remember, totally illegible Exact same screen, different exposure, I can see more. A couple of last little things I want to do to touch it up, but you can go now. This is just me messing about to fix this up. So the easy way would be to grab the Crop Tool... and just kind of shrink it in there, crop all those kind of... transparent pixels out, and nobody would know. Except for that bit. But let's experiment with our cool new tools. I'm going to use the Lasso Tool. You saw me earlier on using the Magic Wand Tool... to grab the edges over here... and you probably noticed the little white bits appeared in the corner. I kind of ignored it, I shouldn't have, I'm here to repent... and show you a better way. We're going to use the Lasso Tool. The Polygonal Lasso Tool, which is the straight edge version. I'm going to draw, I'm just going to kind of manually do it... so I'm going to click once, click twice. And I'm making sure I overlap it in a reasonable amount. Click once, come all the way back to the beginning. And where it gets close to the beginning you see that little circle appears. That means it's a complete selection. Now to add to the selection I'm going to hold down the 'Shift' key... and I'm going to maybe start down here. Once you've started adding you can let go of Shift... because if you don't, really wants to do straight lines. So just Shift to get it going. Click around here, we'll do it one more time. It's a bit of a weird one, that one. So 'Shift' to get going, I'm going to click once, then let go of Shift. So it is adding but it's now trying to do straight lines. You can see how overlapping I am there. 'Shift', to get started, any which way you like to do a selection. And then we're going to go to 'Edit', 'Fill'. And I have no idea how good or bad this is going to be, let's just see. Not bad-ish, pretty good job though. That's pretty crazy, my whiteboard has now just got magically bigger. It's reusing some of the numbers. My microphone got a little bigger. The desk is not too bad, it's a little bit weird perspective. This is good, something weird's happening down here. The blanket that I've got pinned to my whiteboard. Why? Because if I don't... that whiteboard somehow vibrates. So on the microphone, instead of me sounding crystal clear... I sound like I'm recording in the bathroom. I missed a bit there. You get the idea. The last thing I want to do is maybe the edges here. There's a little white, you can kind of see it coming through here. The cool thing, remember, we've got our sweet new trick. When we select on the Mask. Select & Mask... what I'm going to do is shift to the edge. We've always gone in, I'm going to get out. Just to kind of expand it out a little bit. And up here let's have a look at it on the layers. 'Show Original'. Just expanded a bit more. I even feather it, haven't feathered it, haven't feathered anything a long time. Ah, there we go. Click 'OK', go to that kind of really strong edge there. That is not a particularly good photo, I shot it right now. It's the desk I'm sitting at, just as an example. I want to tidy up these, I have these cables now, I made this desk. And while it looks kind of cool, I like it, I made it. I made a big ridge exactly where the mouse goes... which doesn't make it useless... but it makes it a terrible desk for anybody using a computer. Anyway, Auto Align, you might be thinking in your head... "I can think of ten other good ways in my situation to be using it." I use this for exposure, it could be focus links... it could just be, you've got images you just need to line up. Some people do it where you've got like a staff picture. And you say, "Hey, everybody, say cheese." And most of them look, except for Sandra. Sandra's not looking at the camera, but the next photograph... Sandra is looking but Dave isn't. I don't know who these people are. So what you can do is you can line them up... and then mask out Sandra's face on one of them... and have it so both Dave and Sandra are looking at the same time. All right, my friends, that is going to be it. Let's get into the next video. 39. How to reshape images using the Puppet Warp in Photoshop: Hi there, it is Puppet Warp time... where we're going to get the monster to dance... we're going to get him to scratch his belly... we'll distort text to fit other shapes. Then we'll take our new skills and we'll cut out this vine... we'll bend it around into a new shape. So that we can add a Background, add some Type... then get the type to interact with the vine. Thank you, Puppet Warp Tool, let's learn your magic. Let's get started with opening up the 'Puppet Warp 1', '2' and '3'. We'll start with Puppet Warp 1. Now what I've done in this one is that this is on a PNG... so this has a transparent background, everything up until now has been a JPEG... which is forced to be a white background. The nice thing about this is basically it's already masked out. And this would be true if you... say, drew this in Illustrator or got it from a stock library site. If you haven't, you're going to have to mask it out to get started. We'll do that in one of the other examples... but at the moment just know that it's on a transparent background... which is going to make it super easy. All we need to do is go up to 'Edit' and come down to 'Puppet Warp'. All we need to do now is we need to pin the monster here... in a few different places, you need at least two. So one on his hand, one on his armpit, do both armpits, both hands. Both feet, any other joints? He's got some hips there. I'm going to get them once in the hat. That will be it for the moment. This mesh here is kind of useful, I'm going to turn it off... because I want to do this. 1, 2, 3, wow. Scratch his bum. It means that you can draw your characters in a kind of a starfish shape. Then kind of readjust them depending on what you want to do. You can get him to dance, yes we can. And if you find that, say you're moving this around... let's say we move this one, the middle of them is moving... so it's not doing what you exactly want, you can add pins later on. One of them knows, so that I've got a bit more kind of control... say I want a bowtie there. So the more pins you have, the more you kind of... force it to stay in different parts. Now let's say we want him scratching his belly. With that pin selected, by clicking on it... there is an option up here called Pin Depth. So I want to bring that up to the front... or send it backwards, so bring this one to the front. The other thing we might do is look at the rotation, so if I click on this... I can rotate it around by holding down the 'Option' key on a Mac... or 'Alt' key on a PC. I'm going to zoom in. So you can see, holding down 'Option' key on my Mac... 'Alt' key on a PC, I can rotate that one around, tippity-tap. This monster is a lover of Country and Western, you can tell. That's how you know my dad likes the song. He doesn't dance, he does a tippity-tap. You'll notice some weird stuff going on, don't worry, it's-- we're kind of like stuck in this middle ground of like Puppet Warp. You can't do other things, can you see it's all grayed out. When you finish you have to enter on your keyboard... or click this little tick up here. Then it goes and redraws it properly. So don't worry if things are a little artifact-ey... have a little look when it's finished. Now the weird thing about this, not the weird thing... but the thing to note is that... that is fused there forever, there's no way of pulling that off now. So if I was going to be doing this properly... I would make sure I've got a duplicate copy of this. So I've got two of them. And you can get all those different dance moves. Let's look at another use for the Puppet Warp Tool. Let's say we've got this heart here, we want to put some text in it. So I'm going to grab the 'Type Tool', I'm going to click here. 'I Love You'. I'm going to select it all, I'm going to put in-- I'm not going to worry too much about it... I'm going to get it roughly the size I need it... because unfortunately what it does is that... just to kind of get it in here... but now what I want to do is, actually just get a little bit more. Bit of the leading, dragging on these icons... to make it smaller. So we're close. Now I want to kind of force it into the corners like you saw at the beginning. Let's go to-- if I go to 'Edit' and go to 'Puppet Warp'... it says, can't do it with type, no way, we have to rasterize type. Which means it's going to turn into pixels and we can't edit it later... unless-- I hit 'Cancel'. Right click it, and say, you are a Smart Object, please, sir. And then you can do it. Go to 'Puppet Warp'. How many pins we're going to need? Probably a lot. Trying to click and drag them. They tend to kind of move around. I'm going to start with these ones at the top here anyway. So this one here, I'm going to click and drag, you're going to come in there. Want you kind of up there. Add another pin, I want it to kind of bend around. You can do some fun stuff with Type. I think I'm liking this example less. It seemed like a good idea... I was playing around with it before and it seemed to come out okay. You get what I mean there, right? This is what we're doing. Rotation comes in handy... remember, holding down the 'Option' key on a Mac, 'Alt' key on a PC. I'm probably going to have to spend a lot more time forcing this in here... where I probably want to go to 'Edit', 'Transform'... and then there's one in there called Warp. That will probably do better, we learned that in the Essentials course... but we're doing Advanced stuff now, so use Puppet Warp. You get what I mean. Once finished, click 'OK'. And now you my friend may also have some interesting looking Type. The cool thing about it is, because it's a Smart Object... you can turn the Smart Filter off and on. You can scale it up and down. It's going to temporary turn it off. Scale it up, hit 'Return', it's going to apply it back on. One thing you can't do is you can't go and edit the Type... and it take the form correctly. Mainly because it was really... specific shapes, remember we did this. If I do different text it's not going to quite work the same way, watch this. I double click to go inside of 'I Love You'... and let's say it's... now I hate you, it's all over... I'm going to save this and close it. You'll notice that it doesn't... those things don't match up so you can have to redo it. The Puppet Pins are still there, you can go and edit it, go to Puppet Pin Tool. You can see, it's just created the mesh based on the words love. So hate kind of doesn't really fit in there anymore. 'Esc', undo until it’s looking half decent. Let's go into this third example here... where we're going to kind of rearrange real life. You saw at the beginning, where we got it to grow through type... but you can do it for like... fabric that's flowing in the wind, you want to reshape it, or here... they're just kind of pointing in the wrong directions. So this is going to be a longer one. We're going to reuse the Puppet Tool features that we've already learned. So if you came here for the Puppet Warp Tool, you can leave now... but if you want to hang around we'll do a little project together. First thing is that this is kind of fused on to the background... so I need to mask it out. Looking at it, of all my masking tricks... I'm thinking a Channel Mask is going to be it. How do I know? Because before this video I kind of looked at it for a little bit longer... and went, "It's not going to work, it's not going to work..." And that's the trouble I guess... when you've got this kind of new tools, new masking tools... knowing which one to pick really comes down to experience. So if you knew, you might end up wasting a bit of time trying Color Range... but Color Range is not going to work... because it's such a different color between this, this stalk, these leaves here. So let's do a Channel Mask which we've done in a previous video. So red, green, and blue. Blue has the really clear black versus white... so I'm going to duplicate that layer. If you can't remember a Channel Mask... you might have to jump back and test that one. We're going to go to 'Image'... 'Adjustments', 'Levels'. I'm not using the one in the Adjustments Panel... because we're in this kind of like weird little channels world... we have to use the old school Levels Panel. What I'm looking to do is just make the blacks a little bit more black. You can see there, it's getting a pretty good mask already. There's these bits here... if I try and get these bits though I'm going to go too far and... these are potentially going to go way too black and wreck my mask. So I'm going to come back a little bit. Tweak up the whites. Don't really need to, let's click 'OK', so it's nearly there. There's a few parts though that are still see through. You could just use your black paintbrush like we did earlier... but another cool little trick is, if I zoom in... and my black paintbrush gets me part of the way there... so if I grab 'Paintbrush'... make sure black is my foreground color, in terms of the brush size... something. Hardness at about 90. I'm going to have my Opacity at 100. I'm not going to paint out these veins... because I don't want those to be see-through. But let's say we get close to the edge and you're like, "Oh"... you can get a really small brush and just work your way into the corners... but the cool trick is... using the same Brush Tool, but use this one called Overlay as the Brush Mode. Watch this, I can just kind of paint over the edge here. Turns kind of Mid Tones or grays into black. Leaving the white, so it means you can get really close to the edge... so what I tend to do... is just lower the opacity so it's not as vicious. Can you see, I just kind of painted a couple of times around the edges here. I want there to be a little see-through-ness along the edges, but not loads. You can see here, I can just keep painting these in. I don't have to worry too much about getting close to the sides. I can leave a little bit of transparency there. Cool tool, huh? Might use a slightly fuzzier brush. Slightly harder. Might be here for a while. I'm going to keep doing this, I'll get the editor to speed it up a bit. You're back. The one thing I did do is I switched back to normal Blend Mode... just to kind of fill in some of these veins here. Why am I not making it absolutely perfect? It is because you'll see in the final example... a little bit of see-through-ness, and the leaves is actually kind of nice. So we're going to load it as a Selection, go back to RGB... go to Layers, and if I add a Layer Mask it's going to be the wrong way around. So before I do that I'm going to go to... 'Select', 'Inverse', and now I'm going to add a Layer Mask. I love Channel Masks. None of the automatic features work... remember, Select, Color Range, Focus Area, Subject. You have to revert back to the good old Channel Mask. Next thing I'll do is I'll just double check the mask against black... just to see how bad my selection was, on black, it's not too bad. And if it wasn't so good and I wasn't happy with it... I'd go around using this Brush Tool here, the Refine Brush Tool... and just kind of work the edges on any parts that need kind of fixing. I'm just wrecking that one. You might play with Shift Edge again. Decontaminate Colors, I'm happy with actually how it is, I'm going to 'Cancel'. What I want to do is I'm going to put a background color in. So, in a New Layer. What color? I'm going to use the Gradient Tool. I'm going to use our Radial Gradient. I'm going to use this first one here, which is... the mixture of foreground and background. So my foreground color here is going to be a... want kind of a warm brown. It's going to be kind of light-ish. And in the background color, which I click... same thing, one that's kind of brownie black. I find, if you use just a little bit of color, just not much... you can go the midnight black or the kind of warm black. It's kind of what I was going for. This is way against this background. I might right click the background and go light gray... just so I can see it a little easier. Awesome. So now I've got a kind of a cut-out. I want to add some type, I'll grab my 'Type Tool'. 'Grow'. Bit big. Select it all. Font color, white. Font size... click and drag that icon. Something like that. Often I just use my 'Command T' or 'Ctrl T' key... just to change the font size. Let's get it in there, a little bit smaller. So now the trick is to get it to weave in and out. So what I'm going to do first is I'm going to duplicate this fellow. So I've got a back-up if I need to go back to it. I'm going to turn it off. I'm going to make this thing a Smart Object. So my top one, right click it, Smart Object. So that now when I go use my Puppet Pin Tool or the Puppet Warp Tool... it's an effect that I can turn on and off and adjust. So what I'm looking to do now is I'm going to probably run... a bunch of them, where I feel like the stalk goes... because I want to reorganize this thing here. The more of these you have, I guess, more control you have... but the less fluid it looks. I'm going to put one in each of the leaves. Humming while I'm working. Some weird stuff going down the bottom there. Weird thing there, wonder what's going to happen with him. Yours will look different because it will be a different mask. So what am I going to do now? I am going to probably leave this first chunk... it's these ones here that I really want to kind of... look like it's kind of coming out of that O. So I'm going to mess with it, lift this one up here. You can see now, the power of the Puppet Warp Tool. I'm just trying to position this in a way, that it just looks nice with the text. I want that one to look like it's coming out between the W. This one here you can kind of come out that bit as well. Add another one, move it up here. And maybe these ones here are going to go around this edge here. Curl around-ish. You're coming up there. Remember Rotate? Just hold down the 'Option' key. Grab the corners, turn it around. Back to where it was. Hit 'Return' when you're finished. And now it's kind of the in-and-out part. How do we do that? The easiest way is to actually have-- ignore this thing here. This could be confusing. I'd leave it there but I want to make this crystal clear. When I'm teaching this it freaks everyone out. And I'm going to twirl that up there so that it just looks a little nicer. So what you do is you have one copy down here... we're going to name it, let's call this one 'Vine'. Let’s actually call it 'Vine 1'. I'm going to duplicate it by dragging it on to here. I'm going to have one above. This is going to be my 'Vine 2', should be below and above, but anyway. So I've got two of these now. This one's behind the text, and one is in front of the text. So with this one on top add a Layer Mask. And just paint-- this is the bit where it gets a bit weird. So add a Layer Mask, grab your Paintbrush... make sure you switch back to Normal mode. Make sure black is your foreground color, pick a size. Remember, I'm holding down the 'Ctrl' and 'Option' key on my keyboard... and dragging left and right. On a PC, hold down the 'Alt' key on your keyboard. Then use your right mouse button, drag left and right, up and down. The last time I'm going to give you the shortcut, write it down. I'm going to go something, hardness about 90. And now you're going to paint out... say I want it coming in front of this but behind that. Can you see, I can get right to the edge there. Actually I could clip that vine there. Let's zoom in a bit. I'm going to undo a few times. So watch this, I can be really brutal with it. Can you see, I can kind of click over that whole thing... and because there's something behind it filling in that gap... it looks quite good. Same with this one, I want maybe that stalk going in front there... but not this leaf. Oh, missed a bit. Paint it back in. So remember, X key toggles the foreground and background colors. So if I accidentally clip that bit off, I'm like, "Oh." 'X' key, just paint it back in. X key to bring black back. Then just kind of work your way around. Decide what you want in front and what you want out the back. Going for a little bit of a zigzag. Here we go. The genius at home, but at work. Can't even read, that's a G. 'X' key, want to paint that bit back in. Picked that bit out. 'G' key, and 'X' key again, and I'm going to need more of this down here... because it's just unreadable. This should be here probably. So guys, you all have to go underneath, maybe. All right, that looks like it's out. So probably what we're going to have to do as well... is there's a little bit of ghosting around the outside... so I'm going to jump back in to 'Select & Mask'... and look at contracting the mask a little bit... or don't put yourself through the pain... and just have a white background with colored text. You don't have to worry about it at all. I'm going to 'Cancel', let's go back, turn it back on. And that my friends is the Puppet Warp Tool. If you enjoyed it, it is built into Adobe Illustrator as well... but it gets really exciting when we're working... in something like Adobe After Effects. I got a course on that, you can go check it out. The real perk is, you get to animate it. So where we're going to bend this around... we hit 'Return', and it's kind of fused like that. After Effects allows you to kind of, in real time... wiggle it around, and have this vine kind of like moving, growing, and wriggling. If you've done that course... you'll remember this guy where we made him dance. All right, that's it for the Puppet Warp, I will see you in the next video. 40. Class Exercise - Puppet Warp: Hi there, it is class project time again. You were thinking, "Hey, there's no more project, this is awesome." Surprise, getting out of more of the tools based stuff... and getting into more of the project based part of the course. So in this one what I want you to do, in your 05 Cropping folder... there's one called Class Exercise 01, and there's two in here for this exercise. The first one, this little monster, I want you to reshape into a different pose. Totally up to you, but experiment with that Pin Depth, those arms and legs. The other one is the longer project, or longer part of this one. So exactly like we did at the end of the last video. I'd like you to mask this out using any technique you like. This one here, Color Range might work, because it is a more consistent file. You might use a Channel Mask, anything you like... but I want you to combine it with your name. Use your name, or any word you like. So mask it, move it around so it interacts with the type in some way. And do that trick where it kind of dives in and out. You probably have to go back and check out the last video. So mask it first, then you have two versions of it. One on top of the text, one below the text, you mask out the top one. Then I want you to share it with me, when you share this one in particular... I want to know what masking technique you used. It would be interesting to see what everybody does. It's in your Class Projects file, basically everything I just said. Go forth and pop a warp. I'll see you in the next video. 41. How to change the perspective in Photoshop Perspective Warp: Hi there, in this video we're going to learn... how to use Perspective Warp to do this. See all the weird lines heading off in all sorts of directions. Hey presto, it's all straight. It's one of the typical uses for Perspective Warp. Another use though is this. This is my original container but I need to turn it a different direction. Imagine if you could go back in time and move it around. Cool, huh? That is the Perspective Warp tool in Adobe Photoshop. Go and learn how to use it now. These two files are going to be Perspective Warp 1 and 2, not Crop. Though we're going to be doing kind of a similar thing. So let's start with Perspective Warp 1. And in this case the lens, to get this shot with all the background... you can see, it's kind of distorted the lines here. So nothing's really straight. So this is a perfect option for 'Edit', 'Perspective Warp'. Now to be fancy we should convert it into a Smart Object first. Then we can turn that effect on and off later. So 'Edit', 'Perspective Warp'. And what you do is you just click once anywhere. That gives you your first kind of plane. Just drag the corners so you're kind of covering the-- what kind of covering, exactly covering one face of the church. I'm just dragging this around. And the way I'm kind of lining it up is... obviously there's a clear line down the bottom here in the dirt. But then there's this other rule of thirds here... so I'm dragging that around because I really want-- Can you see there? Now I feel like that's a straight line... or a straight plane across it, I want to get the cross in. So just mess about it until you feel like these lines all aligned with... you can see that one there, aligns with the roof of the roof line there. Now we want this other plane over here. Easiest way again is just to click once over here... and just drawing these up, you join the first one up, and it just snaps to it. Then spend a bit of time lining that up. The same thing, I want-- it's easy to line this bottom one up. I want to make sure that this guide here... kind of aligns with the roof and that should give me some sort of shape. Basically just tells Photoshop what the two planes we're dealing with. So there's two phases, there's layout which we just did... and then you move to Warp, and this is where the magic happens. What I want to do is I want to say, all these lines... I want you to be straight up and down. Cool, huh. Now works really cool with just boxes... but because this is a church and there's a pitched roof... and there's a little bit of weirdness going on here. I'll just kind of fudge it by lifting this up a bit. You can see, I can kind of really manipulate real life... like I've turned this thing around. When you finish, either click the 'Tick' or hit 'Return'. And let's turn these Smart Folder 'on' and 'off'. Cool, huh? Let's look at another example. This container here could be the most perfect example of this... because it's nice and square. Things aren't square, things can get a little weird, and also, so you know... if there's a person standing in front of this... they're going to get distorted and it's not going to be that realistic. So there's kind of like a perfect storm... that needs to happen for this tool to be amazing... but it's definitely good enough. But when the example is right this tool is pretty amazing, watch this. So here we go. So that's my first plane. I should be more perfect with it. You can click once and then just drag them into it. Another little trick is, click and drag, just get it close. You'll see those two lines get highlighted and it will snap to it. So here we go, my friend. So instead of just straightening it out, which is not what I want to do now. It is nice and straight, what I want to do is try and turn it around. I'm going to switch from Layout to Warp. What I can do, is a little trick. I can hold down 'Shift' and click on this line here. You can see, it kind of locks that into my straight up and down plane. And it means whenever I drag one of these... can you see, the top one comes along for the ride as well. You can see, kind of turned this thing around. Grab you. A little bit of, like tongue out, how's this looking? You can see, I can kind of make it look like... the container was actually facing the other way when it was photographed. How good is that? I forgot to turn it into a Smart Object. So I'm going to click 'Return 'on my keyboard, you saw it there already. Whole thing's turned around. I'm going to use my undo. That way, that way. Cool, huh? Let's jump back to this one here and finish it up... because I want to fill this with Content Aware Fill. But I can't, because it's a Smart Object. So I have to destroy all my good work. I'm going to right click it... I'm going to go to this one that says 'Rasterize Layer'. Gets rid of all my hard work, but now... I'm going to use my Rectangle Marquee Tool just to draw a couple of quick boxes. Holding 'Shift' key to add to the selection. I should use the Lasso tool, being lazy. You've seen this before anyway. Let's go to 'Edit', 'Fill', 'Content Aware Fill'. Magic. I love it. Nature, it does so well with nature, right? Content Aware Fill just kind of like magics it up. I've been teaching this for ages and I'm still super impressed. That is Perspective Warp. One thing before I go, it can be really good for internal shots as well. So if you've got, say the internal view of a house or a room... can be a nice way of straightening up the walls. If like this image they're being distorted... but as soon as you add, like big objects in the middle of the room... especially people or recognizable objects, that can't look kind of smeared. Like these windows smear just fine. They can be changed angles and they're fine... but if there was a person... they were slightly wider than they were meant to be... it just doesn't work, so keep it in your tool kit... for those times that you need it. Quick and easy to use, but it doesn't work perfect every time. Let's get on to the next video. 42. How to color black & white image in Photoshop: Hi there, in this video we are going to add color where there was none. Easy tricks with Blending Modes. Same in here where this dress was actually kind of gray... and we needed to add color all the way through... to taking something that already was quite red... and just enhancing it by painting a color on top... and then finding an appropriate Color Mode. All right, let's learn how to do that now in Photoshop. To get started let's go to '06 Color' and open up 'Color Modes 1', '2', and '3'. So we'll start with coloring a black and white image... and then we'll work through just some slightly harder ones... where we really want to enhance dulled out colors. We're going to use Color Modes. So be at 'Color Mode 1', and we're going to create a 'New Layer'. Let's even give it a name, let's go crazy. 'Color Layer'. So this is not essentially a black and white image... but we want to color the petals... because there's no actual pigment in there... that we can maybe use, say the Hue and Saturation to change. This one here has an easy contrast with the background. So we're going to use the Quick Selection Tool... to make a quick selection. Make sure you're on the right layer. I'm on the Background Layer, and I'm going to drag out. We'll look at the next example that is less easy... because this one has a nice clear background... plus it has that pretty oil filter. Remember that from the last course? Oil Paint, I didn't do it, it's from the photography here. So I've got this. It's looking good. There's some stuff in the middle. I'm going to hold down the 'Alt' key and just get rid of it. It's fine for the moment. So back on to my-- you can see mine taking a while? There's two reasons, I've got Auto Enhanced turned on. Slows down the machine, but also I'm trying to film at the same time... which stresses my little computer up. Let's be on 'Color Layer', let's pick a foreground color, I'm picking this pink. We're going to use our trick... hold down 'Option' key on a Mac, 'Alt' key on a PC, and hit the 'Backspace' key. It just fills our layer with a foreground color. Now we're going to use our Blending Modes, and this is going to color it. So Dissolve, not going to work, never works. Darken-- Multiply is always a good one to get started with. You just work your way through until you find something that you like. Now again, remember what the shortcut was for this? Because Blending Modes are a pain to work through. So remember, be on your 'Move Tool', you have to be on that. Hold down the 'Shift' key and use the '+', it's a weird shortcut... but handy if you're doing things like that. So we've added a subtle color using Soft Light. That's pretty cool. So I'm just going to find something... okay, it's over the top, but I like it, Color Burn. Let's say a selection's not possible, don't be afraid just to start painting in. So this dress here, I need to recolor. So, 'New Layer'. I'm going to pick out a foreground color, it's going to be red. Going to use a Brush Tool. And before I get too started I'm just going to kind of paint in a big blob... so that I can find the Color Mode that's going to work. So back to your 'Selection Tool'. 'Shift' and the '+' key until you find something that kind of works for you. You might be doing different looks... something that works for you. What am I looking for? I'm going for Soft Light again, I'm not going for like over saturated red. And because this is just too hard to select we're just going to paint it in. The nice thing about painting it in while it's already in Blending Mode... it's just going to make a little-- because it's quite forgiving. If you paint without it being on Soft Light... you can spend ages kind of trying to fix this edge... when in fact the Blending Mode is quite forgiving, so 'Soft Light'. I'm just going to work my way around this. Now in terms of brush sizes just pick something that works for the image. In terms of hardness try and match what it was there. There's quite a bit of blurriness on the edge... so I'm going to turn the hardness down to about 80. Just kind of work my way around. A cool little trick is... you can click once, say you've got a reasonably straight line... let's say this bit here... I can click once, hold 'Shift', click again, and it joins the two dots. I find that's a quick way, it's not going to work too well with the fabric here... but let's say you're coloring a building... you can click once, hold 'Shift', click again, and it joins the two bits up. So I'm going to speed this up now... just kind of work my way around coloring my dress. Sometimes these jobs just are long and tedious, I'll see in a sec. All right, we're back. You notice I left the corners, just because it's easier doing it... rather than getting a small paintbrush and just coming into all the corners... it's easier probably just to paint it all in... and go over the edges and then use the Eraser Tool. So I'm switching to the 'Eraser Tool' here... and just going to go smaller, and just delete it off. It's easier just to kind of trim off the excess than it is... trying to get in there with a really small brush. I'm going to speed it up again and do the rest of the corners. All right, you're back. So once you've got to here... if you are imagining a different color, you can have this layer selected... and I can use my Adjustments, and I can use Hue and Saturation. Make sure it's affecting just the layer underneath. And kind of start adjusting this to maybe more saturation, less saturation. Pick a different color and decide kind of where we need this color to be. Another trick with Color Modes is enhancing colors. You can spend forever trying to grab the color of this dress... and trying to like lift it out... but there's just not a lot of color information there. So it's really easy to go in, make a new layer. I'm going to use the 'Eyedropper Tool' to get close to the color. In here in my foreground color... you can see it's really kind of washed out... I'm just going to kind of bump it up, not adjusting the Hue... so it's in the same zone but I just want it to be brighter. How bright? We can go bright because we can lower it down later on... using our Opacity, or picking a different Blending Mode. And it's the same principle as before. So if you're shooting product photography... or in this case, you want to make the dress brighter or more rich... instead of using say vibrance, grab the Brush Tool. Pick a nice big brush, we'll get started by just kind of painting in the big bits... and going to our 'Move Tool', holding 'Shift'... and just plus'+'ing until we find one color that works for us. There's one that works for me. Soft Light again is working for me. It really depends on the color and the image that you're working on. And then a lot more precisely than I am... you go and work your way around... you can see, just kind of make that color-- there was no way of getting that color to that vibrancy... with using say Hue and Saturation. So I'm going to zoom in and use a brush, and get the editor to speed it up. Now that it's done I regret using Soft Light. Clearly fake, so we can either find another Blending Mode... which we'll try in a minute... but let's also look at Opacity. Just kind of slide it down until you find somewhere kind of believable. 60% seems okay, on-off, on-off. It's full, it's rich, it's not overdone; you might disagree. What I also might do is I might actually add a Layer Mask... and there's some parts that are just too rich. You can see in here, it's a really dark, unsaturated hand... but here it's really rich, so I've added a Layer Mask, using my Brush Tool... using black as my foreground color. I'm just going to lower the opacity up here by tapping the '3' key, maybe at 30%. Just to kind of start working out some of these bits where they just-- it shouldn't be that rich, there's just no... need for it, or it's just not believable. There's some bits down here that just need to be not full on rich. More believable. I'm saying yes. All right, so that's coloring black and white images... and enhancing colors that already exist in the image. Let's get on to the next video. 43. How to create a Duotone effect in Adobe Photoshop CC: Hi there, in this video we're going to look at... how to create the Duotone effect. It's quick, it's easy, but we'll go in a little bit deeper... to have a bit more control about what gets covered in using shapes and circles. I'll show you some good places to find gradients in terms of colors. All right, let's jump in. From the '05 Color' folder open up 'Duotone 1' and '2'. We'll start with 'Duotone 1', and let's look at the basics. There's a ton of ways of recreating the Duotone effect. I think the easiest way is have the layer selected, go to 'Adjustments'... go to this one here that says 'Gradient Map'. Click on that, click on this bar that runs through the middle. There's a bunch of kind of presets. Lots of them terrible. Let's first of all look at kind of getting some colors. I'm going to click 'OK' on this one. Let's go to 'Window', 'Extensions', 'Adobe Color Themes'. First thing you need to do is switch it to 'Explore'. Just gives you kind of access to 'Most popular this month'. You can play around with Most popular of all time, this week. So go down until you find something you like, this one looks good. Kru-crip-poos, I can't say that word. Best way is to click on this little dot, and say, add to my swatches, please. If you can't see your swatches, the library might open up, but don't worry. Let's close this down, make sure you can see your Swatches Panel. If you can't, go to 'Window'... go to 'Swatches', and now when you click on your 'Gradient Map'... you can say, I want you... double click on that, and then just kind of click-- you might have to scroll down on this... and say, I want maybe this first color. One of the colors needs to be dark. If it's not, you end up with just weird things happening. One of them needs to be dark to fill in all the shadows. Click 'OK'. And one of them needs to be light, so double click on the little house. That will work. Click 'OK'. Don't be afraid of putting in a third color. All you do is click anywhere along the bottom here... where these guys are kind of positioned, so about there, you get a third color. You can have a fourth and a fifth as well. To get rid of them click, hold, and just drag down... just drag them down, they just disappear. This one here, I'll double click, kind of grab one of those middle colors from this. One of these two. Just to kind of fill out the Mid Tones. Then with a little bit more control... you can grab these diamonds, this is just... you can see what it does... it just kind of like forces this color to occupy a little bit more of the gradient. And you can decide on how you want to do this. You can't see the diamond on this side, just click on any of the houses.. and just decide where this location is. So technically not a Duotone anymore... it's like a Tritone. Let's do what we saw at the beginning there... where we turned it into text, grab the 'Type Tool', click once. What brand is this like? I don't recognize that brand on the shoe. If you know what it is let me know, I'm just going to-- looks like ethnies. It's the only skating brand I remember from my youth. Picking a nice big thick font. I'm not worried about the color at the moment... because I'm going to use it like... actually going to go way past the size. So I want this kind of like super graphic style. I'm going to go even bigger. Cool, Dan. All right. So now what we need to do is turn this text into a selection... because I want to stick it into the-- by default, with any adjustment layer you're given an empty layer mask... just handy instead of having to add one. So I want to turn this into a selection. The trick is, hold down the 'Command' key on a Mac... the 'Ctrl' key on a PC and just click the icon. It doesn't work if you did the same, and click the actual word here. So hold down the 'Command' key and click the icon. It turns that whole bit of text into a selection. When I'm done I'm going to turn that text off. Click on my 'Layer Mask'... and now I could go up to 'Edit', 'Fill', 'Fill with Black'... or I've got black as my foreground color... remember, D just kind of forces it to be black and white. X toggles it back and forth. Using our shortcuts. So black's the foreground color. Who remembers how to fill with foreground color? That's right, you hold down 'Option' and hit 'Backspace' or 'Delete'. If you're on a PC, it's 'Alt-Backspace'. It's kind of what I wanted, actually I'm going to undo that... I'm going to invert the selection first, so 'Select', 'Invert'. Then I'm going to go and fill it. That's kind of the look I was going for. All right, Duotone number 2. Let's get a little bit more control over how the gradient is applied. So background selected, 'Adjustments', 'Gradient Map'. I'm going to show you another little-- it's not really a trick... it's more just where I get my colors from often. It's called Grabient, it's like the gradients that are in here. I'm going to use this one here. All you do is click on this and grab this first part, the Hexadecimal color code. Click on your Gradient, double click the first little Swatch. And just paste it in down here. It's my first color. Then this one here. I'll click you. So there's my kind of gradient. Now we can play with this a little bit... like we did in the last one to kind of adjust like where... what gets affected and what doesn't... but a lot more control can happen when you click 'OK'. And you put in a black and white Adjustment Layer... in between gradient and backgrounds. So I'm going to go to 'Adjustments'... I'm going to go to 'Black and White', which is this one. Just make sure it's underneath gradient. So black and white, let's turn the top one off. If you haven't used black and white, it's just-- instead of just going like convert to grayscale... this one here allows - it's an effect... - so it allows you to decide, the reds, are they dark or are they light? Let's turn it off. So, see there's a kind of blue in the hat. Instead of just leaving it as default... you can grab the cyan and say, actually I want, so you get real good control. So with them all combined... you can start to decide what gets applied to the Duotone, and what doesn't. So work your way through, decide how you want this to be applied. I'm happy with that. And maybe just for giggles, we'll put some banding in it, or maybe a circle. So I'm going to grab... I'm going to grab my 'Rectangle Tool'... and I'm going to draw a big rectangle that goes through here. I'm going to apply-- I'm just going to make sure... it's not kind of mixed up with my little group down here. I'll make this a little bit bigger so you can see. And I'm going to grab a different Fill color. Complimentary? Maybe. That one's kind of cool. So I'm going to grab that one... and instead of applying it as a Gradient Map... which applies to my image... I'm going to do it actually to the rectangle. So I've used the actual Rectangle Tool down here... which gives me some options over here in my Properties Panel. You can double click the Swatch, apply a Gradient instead of a Gradient Map... but this only can be applied to these shapes, not our original image. So we need the Gradient Map but there's another trick we can do with shapes. So I'm going to click on this little Gradient down the bottom here. Click on this, like before. One color, there's my purple. Kind of what I want, maybe I'm going to rotate it around so it is that way. Close it down, 'Move Tool'. 80s banding coming right up. Now what I might have to do is... shrink it down a little bit, I'm going to find a Blending Mode that works. Remember my shortcut, 'Shift', so I'm on 'Move Tool', 'Shift', hit '+'. I'm just going to work through things that are... bits that I like, that's looking kind of cool, Hardlight. Hardlight, that's kind of cool too. But I want two of them. That was just going to be a bit smaller. You can do the same thing with a circle or a star. What you want to do is go look at David Bowie album covers to kind of... get your inspiration for, I don't even know what. You see, I try to rotate it and it didn't, the gradient there... did not flip around even though I flipped this around. Can you see, the purple ones stay at the top. So with this selected, it's actually in effect... so if you double click on your shape here... you could go in here and say, actually I want to reverse it. You go run around in circles. I feel like a gap was needed. So that's Duotone, we took a bit more control out of it... by using our black and white Adjustment Layer. And hopefully some new ways to find colors. Let's get into the next video. 44. Class Project – Duotone: All right, it is class project time again. In your Exercise Files there's 06 Color, there's a class project folder. There's two images to work with, Duotone A and Duotone B. You can pick either of them, or both of them. And the rules are pretty easy, create the Duotone image... pick the colors any way you like... but I'd like there to be more than one shape used. We did the stripes in the last one, used circles, stars, zigzags. And make sure you share with me... either in the assignments here on this site... or with me on social media, so Twitter is danlovesadobe... or Instagram, is bringyourownlaptop. For ideas, jump on to be Behance. I typed in Duotone into the search... you can see lots of, kind of cool ideas for things. I remember that guy, seen him before, same with Dribbble. Both kind of inspiration sites for me. You can see, very different look. This one's very illustrative, has a lot of kind of UI elements to it... whereas Behance tends to get more into the print/photo retouching side of life. Behance is owned by Adobe. A cool little trick from Photoshop just in case you didn't know. Say you are working on it and you do have a Behance account, you should sign up. It's such an amazing place to have your portfolio work. I know, whenever I'm hiring a graphic designer, or a web designer... I go to Behance to find people rather than looking in, like classifieds. I just look for Behance... because I know everybody on Behance, near enough is looking for work though. Freelancers, looking for side hustle jobs... and it has all that contact details there, and a good portfolio. You can go up to here, go to 'File', and you can go share on Behance. So once you've done your Duotone, you didn't have to... like save it out as a JPEG, and then log in to Behance... and then upload it, you can just click on this. And it uploads it magically, you can add a few details through Photoshop... and you don't even need to open Behance. Another weird little shortcut is this one here, this little Share button. This here, just says I'm going to add it to my Lightroom... I'm going to send it in an email. Again, it just saves the whole, saving a JPEG thing and storing it somewhere. The reason I don't use it very often is it doesn't have Instagram. It has Twitter and Facebook, Instagram are holding out. And their API just don't let people upload stuff... that's not straight from their cell phone. there's no like desktop version of it, which is a pain. You could add to your Flickr account straight from here... that might be a little extra shortcut. Make a Duotone, and I will see you in the next video. 45. How to create the Glitch effect in Adobe Photoshop: Hi there, this video is all about the Glitch effect. We're going to take this image... and kind of wiggle it around to look like it's distorting. Leave and add some kind of brush strokes to kind of make it look like... all sorts of grungy matrix hacking stuff is going on. All right, let's jump into the tutorial. In your '06 Color', open up 'Glitch Effect 1'. So we're going to do a kind of a Glitch Anaglyphic effect. So what we're going to do is... double click the background, and this is going to be the cyan layer. Anaglyphic is that kind of cyan and red look. 3D glasses type thing. I'm going to duplicate, instead of dragging it down, a cool little shortcut... with this selected, hit 'Command J'. That is a cool shortcut that just doesn't appear anywhere, there's no like... like a long version of it, you just need to know... but because you're advanced, you know, 'Command J' just duplicates the layer. Another cool trick is, if you have lots of layers... if you select them all and hit 'Command J'... it kind of squishes them together and makes a copy. It's all in one little layer. Anyway, 'Command J', this one here though is going to be called 'Red'. So two channels, what I need to do to make that anaglyphic effect is... right click 'Red'... go to 'Blending Options'. Actually there's a couple of ways, 'fx', this one's easier. Well not easier but it's the way we've been using so far. There's ten ways of doing everything... so I'm on 'Red', I'm turning off everything except for the Red Channel. Cyan, the same thing... go to 'Blending Modes', and this one here we're going to say... we're going to turn just the red off... and it leaves the cyan color behind. You don't have to do this kind of red, cyan, you can play around... with turning these different ones on and off to get different colors. So to do the manual kind of glitch... just grab the 'Rectangle Tool', 'Rectangle Marquee Tool'... and just kind of grab a chunk of it. I'm using the Red Layer... and I'm going to grab my 'Move Tool', I'm just going to drag it to this way. You get that kind of like anaglyphic glitchy effect-- So 'M' for the Marquee Tool, I'm going to grab this chunk. I'm going to grab cyan, and just kind of messing about and deciding... how much Glitch effect you want. So I'm going to speed this up, I'm just going to grab some pieces and move it all. But now we want to do that kind of like wobbly wiggly thing. So there's two ways of doing it. There's a way that looks kind of nicer, but is super slow on your computer. So I'm going to do a 'File', 'Save' just in case it crashes. So it's saved, I'm going to grab the-- over here... we want the Smudge Tool. Yours is probably set to Blur, go to 'Smudge'. Pick a brush size, I picked a really big one, mine's at like 900. The Strength set to '52', it's not really that important. The important thing is to go slow, watch this... I'm going to click, hold, and drag to the left. It's still working, it's like pretty creepy... kind of like slowly moving its way out there, so if you go wiggle, wiggle... your machine, the fans are going to come on and it's going to go pretty slow. So I'm going to work on cyan and-- That's cool. So if you're happy to work that kind of slow way... that's fine, you can definitely use that effect. What I want to do is show you a different way. I'm going to use the Liquify, so 'Filter', 'Liquify'. You can see it's only showing me one of the channels, that's fine. Over here you can-- so 'Show Backdrop' to show the whole lot. But we're still only affecting that one cyan layer... because we had it selected but we can see at least everything. I'm going to use the first brush here, the 'Forward Warp'. Pick a brush size, start working, and... it won't work, background's on, so don't have that on. Brush size up, and I quite like doing a wiggle, so left right, left, right. It doesn't look very exciting here but let's come back out. And because it's part of that channel it's doing some cool stuff back in here. So back in, and yes, just do some experimenting. So we're using the Forward Warp, you can experiment with Pucker or Bloat. Use Bloat on that channel, nice big brush. I'm going to do some stuff over here just to see what it looks like... when things get bloated. You might have to play around with size and rate. Might be going a bit too fast or a bit too slow, it's at a twirl just because. Let me see what's happening. Right back to the Forward Warp Tool. I'm going to do some things, kind of arrows here. I am not going to do that. Let's just try some small bits just out of here. Don't want to destroy his face, he's the kind of-- just look weird. Awesome. Subtle? Yes, it's okay. To add the brushes, it's-- we're not going to do it with these channels... we're just going to fake it. So a new layer here, this is going to be my 'Red Brush'. I'm going to grab my 'Brush Tool', I'm going to find in here. So in the new version of Photoshop, well, the updated version... if you can't see these General, Dry, Wet-- you're not going to see Drips and Smoke. Those are ones that I've installed separately... that we did in the Essentials course of Photoshop... but hopefully you've got a newer version of Photoshop... and you can see Special Effects Brushes. And here's some really cool stuff, so any of these, I'm just going to pick... Supreme Splatter, that's going to work for me. I need to pick a color. So I'm going to use the Eyedropper Tool to go-- I'm going to pick some red to start with. I'm just using the red that's come from that channel. Back to my Brush Tool, make it kind of big, I'm just trying to like do some... splattery stuff. Maybe a bit too much. That brush is a bit hard core for me. Get rid of this first one, like just kind of-- there we go. It's a little bit less. Not a lot of space. I'm going to do another one on the Cyan Channel. Well, not Cyan Channel, I'm going to... just have a Cyan brush. That same brush, just going to use the cyan, there's a good chunk of it there. I'm just doing some bits to make it look like it's kind of grungy and distorted. A couple of really big ones. Some really big ones are at the front, I might do it on its own layer... because, see these big ones here? I want them to kind of feel like they're close to the camera. So I'm just going to blur them to kind of fake the Depth of Field. 'Blur', 'Gaussian Blur'. So it looks like they're kind of out of focus and kind of close. You like it? All right my friends, that is the Glitch Effect. We did just two of these. You could separate them all out so you could have red, green, and blue. You could experiment with going to CMYK and splitting out four channels. All right, let's get into the next video. 46. Class Project - Glitch Effect: Hi there, class exercise time. In your 06 Color, open up Class Project... and there's one there called Glitch Effect A. So like we did in the previous tutorial... I'd like you to experiment with the Smudge tool and the Liquify tool. So you separate them into two layers, red and cyan, or RGB, or CMYK. And do some distortions, but what I'd like you to do... is actually add some type as well. So you type a Type layer, you duplicate it... just like we did the Image layer. So you'll have two Type layers, one will be red, one will be cyan... and do some distortions with that as well. It's all listed here in your Exercise Files. Make sure you share it with me. So I can see what you've done, give you a high five. Now you don't have to use that project file... you might go to Unsplash and find your own image. It'll look good in your portfolio. All right, on to the next video. 47. Color grading with orange & teal effect in Adobe Photoshop: Hi there, this video we're going to look at Color Grading. Specifically, this kind of like orange teal... and washing out the blacks a bit. Color grading is just a generic term... used to describe changing the colors of an image. On purpose, for an effect. It might be to change the mood to imply a time or a place. Like a look-up table, we'll do a couple of versions. This one here, starts like this. Ends like this. We'll do a third one that's just a little harder. Let's do it now in Photoshop. From your 'Exercise Files', '06 Color', open up 'Color Grading 1'. Now in a previous tutorial I showed you the quick and dirty cheap trick... to get the kind of blue yellow look, kind of a fashion look. And all it was is, in your 'Adjustments Panel', click on 'Curves'. Then just go to your 'Blue Channel'... drag the light colors down, and the blacks up. You end up with this kind of, close, but not 100% there... to that kind of fashion look we're going for. We're looking for that orange and teal look. So I'm going to bend my curve, so I'm going to show you-- It's a longer process to get set up, but once you do have it set up... you can use it over and over again forever. Shout out to Web Flippy, who I learned this technique from... totally just dealing it. So most of the work is done in your Adjustments Panel. You can see I close Swatches just for this one. Double click the tab and it closes. Now what I want is the Channel Mixer. We're going to use a few of these ones in your Adjustment Panel... but I bet you, you've never used before. So 'Adjustments', 'Channel Mixer'. Hold up, Dan, hold up right there. So I've come back from the future. Because I get to the end of this tutorial... and there's a lot of clicking, dragging this, and lots of settings. And I said to you in the tutorial later on, you'll hear in a bit... that I should have written this down for you. So I've come back to stick it on screen for the entire tutorial. So you don't have to like pause, go and type, pause. So here it is here, I'm just going to kind of get the editor to add it... to down here for the entire tutorial, somewhere. So it's not so hard. All right, get back to it, Dan. Whatever it says for Output Channel, switch it to green. Basically we want to flip green and blue over. So we want green to be 0, and blue to be 100. I just clicked on this first one, and tap down. So we flip those over, go to blue, do the same thing. I want to flip green and blue over, so green's now 100, and blue is 0. It looks weird until you click on the word down here... so you get the whole thing selected... and then play with the Blending Modes. Just kind of work your way through to find one. You can kind of start to see, when we darken... it's got that kind of orange and teal glow to it already... only a bit extreme so I'm going to go through... and just find one that works for you. We like that light, it's kind of washed out. I need to fill in some of the other colors. So you might be happy just with that, let's go a bit further. We're going to add another adjustment... and it's this one here, it's called Selective Color. Switch it from here to Reds, it's probably Reds by default. Lift the cyan up about midway, and crank the yellows up. Pretty much all the way up, and to fill up those mid-tones let's go to 'Neutrals'... and we're going to mess with just cyan and black. It's a cyan, if we lower it down... if we lower it down, it's going to bring... a bit more reds into the mid tones, less cyan. This will depend on your image as well. So don't be afraid to kind of go more or less... depending on what you're working with. I just kind of practice with this image. Play around with the blacks as well. That looks good for me. What I like about the orange and teal effect is that kind of old... remember my scanned photos from earlier on? They're kind of washed out black, that Instagram effect look. Because at the moment the blacks are too rich, I want this to feel old. Like it might have been shot in the 80s, that's the effect anyway. So we're going to go to "Adjustments', go to 'Levels', the easiest way is... this little slider down here that we don't use very much... that's just going to clip off and say, I don't want any really strong blacks. So turn the preview on and off, it depends, if you want... you want kind of loose-- strong blacks. It's up to you, some of the whites, you can draw out those down a little bit as well. It's kind of like counter intuitive for photo retouching. We're trying to make the strong whites and strong blacks... but not for this effect, I feel. There is a bit of work getting it to here... like I've practiced this, it's only taken us a couple of minutes... you're going to have to pause the video, and type it all down... watch it a couple of times, but once you've done that... the cool thing about it is that you can just kind of open up another image. I'm going to open up Color Grading 2 and 3. Instead of having to type all that lot out I can go back to my original image... just have it open, select all three of these. Holding 'Shift', grabbing them all. Using my 'Move Tool', and just dragging them to this tab. Cool, huh? Easy. So, off, on. Same thing, dragging to this last one, and then let go. Now the settings that I did for this first photograph worked fine for it... the second one works pretty good too, this last one, not so much. It's kind of cool, so if you're looking to adjust it... the main culprit is this middle one here. This one gives you all of your adjustments. It's called Selective Color, and at the top here... you're going to mess with greens and neutrals, remember. So what worked for that first image needs to be changed here. You can see, it can kind of lowers the cyans here instead of raising them... because there's not much going on... yellows probably want to be still straight up. And the neutrals is going to give me a bit of adjustment here. So cyans left, cyans right, decide what you want it to be, blacks up, blacks down. And I like that better. Now the main trouble with this one is that... there's not a lot of color information to get started with. So just know that more colorful images are going to end up... with this, like really strong kind of orange and teal... you're going to have to probably lower it down. Lower the opacity of it, and this one here... because there's no color information, is going to be a little tough... but I think we kind of got the look there, maybe not the levels. All right, that is going to be it. Let's jump into the next tutorial. 48. Class Project - Color grading: Hi there, it is class project time. A nice easy one, if you've followed through in the last tutorial. You can just grab your levels and put them on to the two files... that I've given you in 06 Color, under Class Project. There's Color Grading A and B. B are adjustments. I, in the tutorial previously... kind of probably went a bit extreme because I want to like express that effect. But to be clever about it, it's all about subtlety. I'd love to see your subtleness, or your extremeness. I'd also love to see your own examples. Either a personal photograph, or you can go to unsplash.com as well. There's lots of great images to start working with. If you post them on social media... maybe give the photographer a high five and tag them in it. Say thanks very much, if you do, you can thank Igor and Atikh. I don't know how to say that name. That's close, and show them what you've done. Make sure you show me too, tag me, so I can have a look. All right, next video. 49. Advanced CC Libraries tricks and tips Photoshop: Hi here, this video is all about CC Libraries. Even if you're using them already... we're going to go through some more advanced tips and tricks. So hang around, just so you know CC libraries don't work... on all licenses of Photoshop. You might have what's called a Machine License. That happens at Universities often, some larger companies... there's no personalization... don't want to give my email address. So open them up, let's go to 'Window', and let's go to 'Libraries'. It's built into all Adobe products. What I'm going to do is actually... just click my little double arrow up here so it's fully out. You can see, I use libraries quite a bit. I'll drop down here, I've got all sorts of libraries going on. What we'll do is we'll create a new library. Going to give it a name, we're going to call this 'PS Advanced'. Just a little dummy one that I'll delete. And like it says, all you need to do is click, hold, and drag stuff in it. I'm going to give it a name to make it easier later on. So the cool thing about libraries is that... they're interchangeable between other programs. So say, if you're using InDesign, in here you'll see my new library that I made. Photoshop Advanced, and I can start dragging images in between each other. Same with say, After Effects. 'After Effects', 'Libraries', there it is there. So all the Adobe products have CC Libraries... Adobe XD, Illustrator, Premiere.... Character animator, they all access the libraries. It makes it cool for sharing things that are normally hard to interchange... like Swatches, and say Character Style. So I'm in InDesign, I'm going to get my Character Styles... I'm just going to click on this. You can see, there is a little icon that says, go to my Creative Cloud. Here's my Character Style. For some reason Paragraph Styles aren't interchangeable... between Photoshop and InDesign... but they are between InDesign and Illustrator. So you might find a couple of them grayed out, but let's say we like that. Also, we're in here, and we like this color... so I'm going to highlight the text here. And in here, under CC Libraries down the bottom there's a little +... it says, I want to highlight the text, no, just the text color. You click 'Add', let's just watch there, jump back into Photoshop... and then magic happens. Cool, huh? So I am going to change the text. I picked this random color earlier in the class... turns out it's exactly the same color I've ordered. So what I can do is click on 'Character Style'... which is using the same color as this pink. But you get the idea. It's great for creating your, say corporate colors in one program... adding them to the libraries, and they're available in all programs. Another interesting thing you can do... let's say you've got a document like this, and there's lots of parts to it... what you can do here, in your libraries, there's this little option here that says-- what it does is it takes your document... and loads any Character Styles you've used... any colors, you have Layer Styles. Layer Styles are like Drop Shadows, really handy. Any Smart Objects. It depends on what you want to do. I'm going to turn this off... because what happens is that it takes them out of this document... and links them to CC Libraries. And that can be one of the... not drawbacks, but it's just one of the things to note... when you are using libraries, is that it really wants to... kind of pull them out of this document and link them. The trouble is if you delete the library... or if you send this file to somebody else... it's going to come up with an error saying... "Hey, I can't find the library anymore." Much the same way InDesign works. So it's up to you, just know that you can turn it off if you need to. I'm going to 'Create Library', you can see over here, it's thrown in the images. And you can see, this one here especially... it's thrown in the image that's in this mask... but it's pulled it out of the mask, which is cool. It's put in the original of my paint splat... which is the red one, before the Adjustment Layer. It's up to you, you might want to-- I want to drag in the yellow one. Here's my banana, there's all the colors that I've used... and all the Character Styles. There's my Drop Shadow as well. That can be handy if you're jumping over here... and you're like, actually this text here... I want you to have a Layer Style, you can see here, I have a Drop Shadow now. Just a teeny tiny one, give me everything nice and consistent. The other thing to note is that... can you see, it created its own new library. So it didn't go into PS Advanced, it went into the name of this actual file... that I had open, there it is, '08'. So there it is there. The other thing to note is that it didn't put the background image in. Why? Because the background image is locked... the bane of our Photoshop existence; why is it locked? Only causes trouble. Double click it, give it a name. If you name your layer, the layer name will be brought up in here. I'm just dragging it into this, you can see there. Awesome, huh? Now one of the problems... or at least what I found trail lunging at the beginning was... when I drag this in, it is a linked file. I click 'Return', awesome, it's linked, but then I send it to somebody else... they don't have a connection to my CC Libraries. So it comes up with a missing link... or one of the kind of perks, and one of the problems is... if I change this original, it's going to change... in every document that this is linked to. Let's say I want to make this unique for every image... so I don't want them connected to the library anymore. You can get around it by just going up to here... and sending this one that says, Share Link or Collaborate. That will allow whoever you send it to... to have access to the CC Library as well, so the links will work. It's great if you're working with a colleague... but let's say you just don't want it to connect... you want it out of here, you don't want it connected. There's two ways, if you've already dragged it out... you can just right click it and say 'Embedded Link'. And that little icon will change... and just show you that it's a Smart Object now, but not connected. Another easier way is while you're dragging it out... instead of just dragging it out like this, which gives you the cloud... hold down the 'Option' key on a Mac while you're dragging... or the 'Alt' key on a PC. And what happens is it dumps it in full size... with no link to the library. Now we've talked about some of the problems and how to get around them. Why are we using libraries for graphics? It's for handy things like this. So if I go into Illustrator, let's say we've drawn this amazing fox. Hands up, who's done my Illustrator course, and you remember the fox. We want to use them in other programs. Let's say we want to use them for Photoshop. So I'm going to go to my 'Libraries'... I am going to click here, and I'm going to say... my 'PS Advanced' course, I'm just going to drag him in. There he is there, but in Photoshop, the cool thing about it is... if I go to my 'PS Advanced', there he is there. Drag them out, he's all vectory and good. But I'm going to not hold down any keys. I want it to be actually connected to the library... because I want to double click the library item. It opens that up in the original program it made. It's just kind of a temporary file here. Let's say I just go through and change one of the colors. Something obvious. 'Save', hit 'Close'. Go back into Photoshop, and it should have updated. The reason it's not, and I guess I want to leave this in there... because you can see down here, it's trying to. I'm on a really slow internet connection here at the moment. Waiting for fiber to get installed, so we're dealing with mobile broadband. There's my peer reality... so the Creative Cloud is actually going via the internet to get updated. And you can see, it's uploading all of these things... and these things that I created, and they're quite big files. So it's busy doing that before it goes and does my small little vector adjustments. So what I'm going to do to try and hopefully speed it up... is go to this one here and say, sorry buddy, I'm going to delete you. Sorry about that. Select the swimsuit as well, because there's a big file... and you can see, instantly it got round to my little vector file. Hover above it. It gives you like, "Hey, I've almost done that." I'm at 24% for my library stuff. There was something I put in my library, what was it? Can't remember. But I guess it's useful to know. When I had fiber I didn't even know that that was an issue. It's only since I've been in this new office here getting set up. But I realized its reliance on the internet... but you can see, it updated. Now one thing I want to share is that... say you are working on a file, and you're working with somebody else... and you're like, actually I'd love to share the files. There's two options here, there's Collaborate and Link. So Share Link is what I'd share too with somebody that-- I want them to have access to the files... but I don't want them to be able to delete, modify, and edit them. So Collaborate would be somebody who is a colleague... somebody trusted, and this might go to a client... or just a junior designer, or just somebody... I just don't want them to mess with my library. And all it does is send them an email... telling what permissions they have, what they can do. Once you have collaborated though... what you might find is that you're working on a document and it just disappears. So if you collaborated with somebody and they've gone and gone... "I don't want this," and deleted it... like we did that swimsuit image... it's going to throw up an error when you open the document... and you'll see a little question mark here in this little cloud here. What you can do though is go... "Hmm, wonder what images have gone." Go up to this little burger menu... and go down where it says 'View deleted items'. It launches this page and you can see here... all the stuff I've deleted from my libraries. So it's never gone forever. You can go in here and say... "Actually I want this thing here, and I want to restore it." Or you might go through and permanently delete things... because this archive is taking up some of your hard drive space. With my Creative Cloud license I get 100 Gigabytes. I don't think that's normal, I think I've got a special one... because I'm at a Certified Instructor. But anyway, I can click on it, hit 'Restore'... and it will appear back in my library. Another little tip is, let's say this-- you can kind of tell the ones that you've shared with other people. See the two little heads there, that means I've collaborated with them. So I'm going to go to Adobe Logo, so I share this with my colleagues... because we all are certified and we all use the Adobe Logos. Let's say I want to bring in-- let's use the Photoshop one... but instead of bringing it in that way... what I'm going to do is hold down my 'Option' key or my 'Alt' key on a PC... and I get my logo in here, and it's perfect. But the link is broken, but I want to link it again. I liked that connection, but that connection is gone. Well you can go in here, right click it, and say 'Relink to your library'. It can actually relink to another file, which is kind of cool. Say you've got an updated version of the Photoshop logo... you can go link to it on your desktop. Kind of like InDesign does, with its linking folder. Here though I can go 'Relink to Graphic'... and this is one of the weird ones, you're like, "Hmm." Kind of tells you, this is like a warning, and then you're like, "Oh, I do." Let's say I want to link to this one. Let's say it's a different product and it's a different design... and I'm relinking to-- instead of relinking it back to Photoshop... I'm relinking to Animate, this is the hidden thing down the bottom here. That's really important, Relink. Kick back, relax. And the different sizes. Not bad. But you get the idea, right? That guy is now relinked to the library, it's got a cloud again. I can undo and actually I might just relink it to the Photoshop file. Just to prove that it can be done. And because Photoshop is the right size it's going to match up. More advanced CC Library stuff is this little option here. It's this Search Adobe Stock. Or you can use this little version up here. It's bigger, I was going to use this version in here. And let's say I need a picture of the Sun to complete my project. And it's going to go to Adobe Stock. I've got a license, so it's really easy for me. I get 10 a month, I think that's my license. It's about $35 a month, US, I think, all kinds of things. The cool thing about it is I don't have to go out to the site... I can actually just go to here and say, 'License and save to my library'. And I've got it open, right? So if I go to my PS Advanced, and now if I click on this... it's going to actually take a credit off my account and download it. Or I can just do this option here and just do a preview. And it's going to download it to here, but it's going to be a watermark version. I can hover above it down here to see how long it's going to take. It's done, which is good. Cool thing about it though is if I do this and I get it out of here... it's got a watermark in it, that's fine... I'm getting a proof for my boss or my client. And I do some stuff to it, let's say that... I do some adjustments to it, make it black and white for no reason. I go and add a filter like Liquify, so like some serious stuff. Can't liquify the actual mask, you need to liquify the actual Sun. So I go and do some serious modifications. Spend a reasonable amount of time, right? Beautiful! And the client says, "Yes, I like option A, go and do it." Instead of downloading it and trying to kind of mock it all up again... what you can do is just right click this and say, 'License Image'. This goes off and you don't do anything. I'm not going to waste one of my graphics from my credits now... but it's just, the watermark disappears... and it becomes a high-res document, this number disappears, it's pretty cool. So if you are using something like Shutterstock... or iStock, or any of the other stocks-- I use Adobe Stock, I love it, it's got video as well. What's also cool about it is... let's say this image down the bottom here, the background image... a lot of stuff above it. Oh, a little tip, if you hold down 'Option' key and click on the Eyeball... it's the 'Alt' key on a PC, it turns off every other layer... but the one you had selected. 'Alt-click'ing it again turns all the rest of them back on. So it's 'Alt' on a PC, 'Option' on a Mac, just click on the Eyeball. Another tip about Creative Cloud Libraries. Let's say we like this image, like this one's from Unsplash... The photographer is Greg Kantra. I like the image but I need either another one or something similar. The client's come back and say... "I like it, it's got the right feel, but it's not the right image." Maybe they're not the right pose. So what you can do is you can add it to the library... then do something crazy where you can right click it and say 'Find Similar'. Goes off to Adobe Stock again, remember these are paid... like I paid my $30 a month, I should know that. But it's going to go off and try and find images that match this one. And it's scarily good. Like Photoshop should have no idea what's happened to that image. But Adobe have been working on this thing called their Sensei... which is their name for their Artificial Intelligence. Man, the searching within images has become like scary. Colors, the pose, some of them are like perfect. So I could now go and download previews or the high-res versions... and start working on them. Just so you know, within this little guy here... you can click and say, actually I only want videos... not photographs, and will go off and do that as well. Vectors, editorial stuff, premium stuff. You can see they're loaded, and if mine wasn't super slow... it would start playing as I rolled over, like you can scrub back and forth... but poor little internet is struggling... you can see down here, trying to do its little thing. So I'll turn videos 'off', twirl it back up... and when you finish though, to get back to your libraries... just click this little cross here to say, go away visually similar. One last thing, it's not quite CC Libraries... but it's worth mentioning because a lot of people don't know about it. If you go to your Creative Cloud app... on a Mac it's up the top right, on a PC I think it's bottom right... you're looking for that kind of curly CC cloud thing. Go to 'Assets', and go to 'Market'. Market's really handy, basically all it is - I'm going to turn that off. Yours should load up like this. - it's free, absolutely free, commercially usable graphics. So there's not going to be any images like this... but there is lots of useful stuff in here. Say you need some, I don't know... social media icons, because you're doing a mockup. You can see here, a bunch of different icons, mockups, vector graphics... all sorts of stuff that we can use. Maybe we just need something like... I don't know, sometimes you just need like an arrow... and you're like, I know I can go find it from some free vector site... but cool thing is, you're like, ugly. For some reason arrows are more important than they sound. I spent hours looking for the right arrow. Go on this little download... it will go into my CC Advanced Libraries, click over here. Give it a second, come on internet. There it is there, don't even worry about the-- see this thumbnail's taking forever to download... you can drag it out without worrying about it often. And it doesn't do anything, this thing. The preview takes longer than actual. So now I have a scalable vector... and what I might even do is hold down the 'Alt' and drag it out. So that it is - or 'Option' on a Mac - so it's not connected. And now I can add some colors and graphics, I can double click it. It will open up because it's vector or an SVG, in Illustrator, life is good. It gets even better. How could it get better? Come out of Illustrator, back to Photoshop. It's when you start looking for say... say you're doing mockups, we're going to do mockups properly later on. Let's say, in here I need-- we're doing a mockup for a book. Instead of Googling 'white book'... you're looking for a template book, you're doing an e-book graphic. So in here I'm going to go 'All Categories'... I'm actually going to go to... 'For Placement'. For Placement's really cool, you can see these different search categories... I'm looking for For Placement because... see these, they're ready to go PSDs. You can tell if they're PSDs or not if you click on them, see it says there. "I'm a PSD," ah, it's all masked... and ready to go. I'll show you one I've downloaded already because... you could see these things are taking a while. I'll jump into-- which one has it? For some reason I have lots of my libraries. Here you go, so this one here, Hardcover Book. I'm going to double click it to open it. It opens up in the file that was created, in this case it's Photoshop. What's really cool about it is, can you see, background is separated out. It's already kind of masked, and what gets even better... is, let's have a little look. Which book am I looking at? I'll look at the front book, so that's a cool thing. I'm just going to turn the other book off... but let's say this one here, it says, "Your design here." I think it even tells you if you make it bigger... like, double click this layer, drag him back in. So double click the Smart Object icon. It opens up that Smart Object in a different window. It's saying, I'm missing some of the fonts. You could hit 'Resolve', I'm going to say don't resolve. You can see here, that is all the bits and pieces... that make up that front cover, so there's the book... it's opened up in a new tab, all the bits that are inside of it. I'm going to bin it all. I'll leave one layer in there. Let's say we make Dan's... 'Dan's Amazing Book'. It's going to win lots of design awards. Especially when this happens. Oh yeah. I'm going to save it. And I'm going to close it down... and because it's already been mocked up on the book... look at that, it's been distorted and moved around. Oh man, even the Drop Shadows in the background are all separate layers. There is shadows that are on the top, even a shadow layer, look at that. You'll find lots of these kind of whiteout things... they're commercially usable for free. Just up there in Market. Man, I got to calm down. If you already know about it, it might not be as exciting... but it excites me, I remember when I first found it. Man, what a time saver! There's bottles of wine in there, lots of notebooks, post cards, business cards. Have you ever been like... "Oh man, there's people that mock up those business cards real quick." Now you know, there's a cheap trick that most people don't know about. Keep it to yourself. The last thing we're going to do is go straight into the next video... because we're going to move into Typography in the next section. So we'll go up to here and we'll start working at things like Typekit... and getting the most of that. Going up here to say-- I'm going to go back out of this. We're going to start working on fonts... but we'll do that in the next video. All right friends, I hope you found something useful or new in CC Libraries. Let's jump into the next section, which is Typography. 50. Advanced Type Trick & Workflows in Adobe Photoshop: Hi there, this video is all about Advanced Type. I'm going to show you how to get the most out of Typekit... how to find visually similar fonts... how to set favorites, how to use OpenType fonts, variable fonts. Starts off with a really cool helpful stuff... and eventually we get into the weirds, with the nerdy stuff... like Anti Aliasing and CSS of fonts. Plus hang around to the end, I save a cool thing called Font Pairing to the end... where we go through, we figure out how to match fonts. Headings and Body Copy, just to get ourselves out of our normal font matching. I'll see you there, all right, let's get started, it is a long one. To get started open up any file. I've given us one, just so we've got something to use. It's in '08 Typography', it's called 'Type 1'. Thank you, Kait Herzog. So grab the Type Tool, and the first little trick is... if I go up to here, to my fonts... they're still my fonts but they're really small. So first little trick is, go to 'Type', 'Font Preview Size', and go to 'Huge'. It just means when I go back in, it's going to give me a better sample size. You might pick extra large, huge might be actually huge. Let's quickly introduce Typekit. If you're already using it, awesome. We're going to move past it real quick, if you're not, the skinny version is... drop down your fonts here, click on this one that says 'Add Font from Typekit'. A website's going to open, here it is. I'm logged into my Creative Cloud account. I'm at this Browse option here. I'm going to ignore this first chunk, we'll come back to that. And down here, it's just... all it is, is commercially usable fonts that I get to use for free. And by free it means that I've licensed them through my Creative Cloud license. It's all kind of tied into that, so it doesn't cost me anything. Up here yours is probably going to have the word Sample Text. So if I'm working on-- I need the word Hello for that project. So you can type in 'Hello', and just look on here and say... "Which fonts do I want to use?" The nice thing about them is... instead of a site like 1001 Freefonts or Dafont... what you'll find is fonts that are a bit more usable. They have a lot of the glyphs and ligatures we need for other languages... but if you need a font shaped like a cactus or a blood dripping font... you probably have to go out to those other sites, but in here... it's some really pretty stuff, so let's say that... I like this one, I just click on it. I can go into and have a look at what levels they are... in terms of weights, widths, that sort of stuff. You can see it here, and you can go to this one that says 'Sync All'. And that will download into Photoshop, InDesign, Illustrator. Super cool, this one here only has one font in the family. You might find that there's a whole host of kind of... different styles of the fonts, weights of the fonts, and you can sync them all. There's nothing to do, they just start working in Photoshop. The other thing you can do in Typekit is... don't forget these things over here, so say you're looking for a Slab Serif... it's going to go and just kind of sort out all the fonts... that it has available for you in that kind of style. The big heavy Serifs on the edges here. Am I looking for a handwritten font... or say a Headings font versus a Paragraph font? It's really detailed, the weights, the widths... what kind of X height does it have. Super helpful. This one I find useful, picking a font for a client... that has this weird drop down on the baseline font... client comes back and says, "The fonts are all mixed up." And I'm like, "No, they're meant to be like that." Spend the rest of your time trying to track these things up and down. Anyway, so that's the skinny version of Typekit. Let's apply that font and just... it will sink in the background as my slow internet does its thing... and we'll see if... Elijah appears. And somehow I've exceeded my sync limit by a lot. I don't know how I've done that, don't tell Adobe. Back in Photoshop, you can see, this is just updated here. It says it's being added, I'm going to click in here and type in "Hello". Got it selected, I'm going to find... there it is there, just ready to go. Change the color to-- good. I'll scale it up so you can see. Too big. So let's get into some more advanced stuff. So when I'm working with my 'Type Tool', up here... because I've spent so much time thinking about the Typekit fonts that I need... because remember, I only got 100, kind of. These little settings up here are really important for me. So if I click on 'Typekit' it's only going to show me the fonts... that have come down from Typekit... and often it just clears out all the junk... and just gets my font list into a usable list of fonts... that I've chosen for different projects. The other thing you can do is... make sure you turn Typekit 'off' otherwise it's going to always sample it. Say that we're using a couple of fonts over and over, like that new one here. Hit the star ' * ', and grab the ones that you use a lot. Maybe Arial, because you have to, because of your client. And let's say up here, I'm using Museo for my business. Let's say, this one here, so I'm going to get a star to it. The nice thing about it is you can just click on the star. It just gives you the ones that you've starred. Plus all the weights, they go along with it, so just tidies up that list. If you're like me, and you've traveled the world as a freelance designer... and you've appropriated like a zillion fonts in your life... man, the font menu can be real tough. And this next little feature where it says Filter is the most important. So 'Filter' here, I want to go through all my fonts and pick out the Script fonts. Now the crazy thing about it is that I didn't tag... like this one, this is from Typekit... so Typekit went and added a tag to it that said, I am a Script font... but this one here just happens to be on my computer. Lots of these O types here or these TT fonts... are just stuff that was lying around on my computer... but somehow Photoshop knows which is a Script font and which is not. It's bananas; if you ever try to do it using your Font Book or-- I haven't used those font library things for a long time. Suitcase, that was the one, maybe trying to sort out your fonts in a suitcase. Good as we don't have to do that anymore. So filtering just goes through and says... "I want all the handwritten fonts from your computer." This might be a font that you downloaded from 1001 Freefonts or Font Squirrel. Somehow it knows. Make sure when you finish though... go back to 'All', because it stays on those, can be confusing. Let's say we pick a font, say it's this Lust here, and we like it, I liked it. But the client says, "It's a little bit too feminine for our Colorado sign here." Let's be more manly, but similar. Imagine if there was a way to have our Text Layer selected, just on my Move Tool. With 'Text Layer' selected, go to your 'Type Tool'... don't have to have it highlighted... but I can go to here, and look at this, a wavy one. Weird as I kind of know, I don't know how that works... but it's the 'Show Similar Fonts', give it a click. And it's gone through all of my Type. And match Lust with all kind of other things that match it. You can see, these are the ones that are all on my machine. Just knows, I know, Curls, so it's not perfect. But it's gone through and picked them all, pretty amazing. So client says you have to use Comic Sans, and you're like, "Oh, no." But let's see if we can find something that is similar to Comic Sans. But it's not Comic Sans, we're not going to get in trouble from the design place. Here we go, look at that. Look at that one, Proxima Soft, they're never going to know. Any other ones in there. Even that, anything, as long as it's not Comic Sans. Now, just so you know, the ones that have got the stars here... are the ones that are on your machine. Eventually you'll get to this line that says... "Hey, we're now showing you fonts that we've downloaded... not downloaded from Typekit, but we're showing you, previewing from Typekit." So they won't work until you click that button... but because it's part of your license, you just give it a click... and let's say, 'Sofia'. Just give it a click and it's going to sync, and work, it's pretty magic. You see there, so if your font, Pro was installed... still thinking about it. Where did it go? Sofia, there it is there. Let's get even more advanced, let's pick... I'm going to pick Lust, really like it. Say I want this one here, actually no. I like the Italic one. Now if you've picked a font that's one of two things... it's either a Typekit font, or this O, OpenType font... so OpenType fonts and Typekit fonts are the same. One's come from Typekit, but it's still an OpenType font. The ones that are not bad, but the older style ones, these Truetype fonts... these TT ones, I'm going to do this. So if you're picking a font, pick an O or a TK. It doesn't guarantee this is going to work, but it's more likely to. So if I highlight the word H... you can see it's giving me alternatives for that selection. This is an easy way to find the glyphs and all ligatures for different font sets. So I'm going to go to-- I like the, where is it, I like the Italic one. Actually I'm going to go to 'Regular'. And if I highlight the H... you can see, there is actually an alternative... that the font designer's picked. And I can choose it for my design. Same with the E, if I highlight this, not the whole thing... just the E, hover above it. There's all sorts of different-- I'm going overboard here. But you get what I mean, right? There's all these kind of things that you're like, "Man, how did they do that?" Often with Type, there's just some beautiful ligatures. It's also what happens, sometimes you've got fonts on your computer... and it says, "You've got Arial, but you've got Arial Pro"... and you're like, "They're the same font." All these extra glyphs and ligatures, or contextual alternatives... whatever you want to call them. There is another way to find these rather than-- well, if that doesn't appear for you... one of two things, the font, even though it might be... an OpenType font, just doesn't have ligatures... or there might be a Pro version you can go and upgrade to. So often what you have to do, say I'm doing a Body Copy font for a large client... and they have multilingual or multi language... it might be a version of the font by Garamond... but I need the Garamond Pro... because I need all the extra weird accents above the letters. Say for Irish, where I'm at, or Maori, from where I am born... those languages use all sorts of extras to adjust the Latin letters. You can tell I really don't know what that's called. The little ticks and whippets. So if you don't have it, it might not be in the font... but double check, under 'Photoshop', 'Preferences', go down to 'Type'... and in here there's one that says, 'Enable Type Layer Glyph Alternatives'. If you get sick of that thing popping up you can turn it off. It's on by default, so it's probably still on maybe. The other thing you can check to 100% know if it has it or not... have the 'Font Layer' selected, and go to 'Window'... you're looking for this one called Glyphs. Mine's defaulted to Alternatives for this selection... because that's what that's doing, right? It's going, when I hold over the selection, give me alternatives for it. I'm just going to switch it to the entire font. I'm going to make this bigger. And now I can see all the extras that it has. Ligatures, some just extra punctuation, all sorts of bits and pieces in here. I love that R. I need to find a use for the R. Let's close it down. One of the other things I'm going to show you before we go is... it's new, but old, it was something that got introduced... a long time ago and never took off, but it's coming back... it's called Variable fonts. What are they? They're pretty magic. What you're looking for is-- doesn't matter which one. Actually large is too big. Huge, let's go to Extra Large. So I'm going to grab my-- doesn't really matter if you're using this one or the Type towards the top... I'm going to go over here now just to mix that up. What we're looking for is, we saw OpenType... can you see, OpenType VAR, variable fonts... I'm going to click on this one, you won't have many on your machine. They're really expensive to buy. There's another one there, so you just go scroll through... there's no searching in here for variable fonts yet. So you're going to have to do some serious scrolling... you probably don't have many. So I'm going to use this one here, Acumin Variable Font... and what you're going to get... might have to extend your Properties Panel out to see the whole thing. This chunk. You're like, "Hmm, what does that do?" Imagine if you could have a font that had - I'm going to put that to 0. - a variable weight. Not just like Light, Extra light, Condensed light. Look at this, you just drag it. Has like a zillion different properties. And it's not like-- we've all done it right, we've hacked up font together... like put a Stroke around it to make it heavier. This here is actually designed by somebody, of all these different sizes... so that it reads well, and is beautiful. It's the same with the weights, I can look at the width... I can lower that down to make a condensed font or compressed, italicizing it. It's pretty amazing. So if you are in charge of picking a font, and you know it's going to be-- say you're working at a place, and it is, it's huge. They do scientific documentation for atomic energy. I don't know why I pick that. But I feel like they're going to need lots... of different weights, and sizes, and slants, and languages. A variable font might be right for you. Let's say that you are doing a lot of Web design or UI App design in Photoshop. Just so you know, we're getting nerdier and nerdier here. So let's say that I'm designing a N type kit here. One of the options is, up here it says, Include web-only families', turn you 'on'. And say you pick a font, and you like Mighty Slab, it's awesome. What you need to do is just double check... that it's actually a Web font and not just a Desktop font... because you want to use this in your app or in your website. So you can't just pick any font, right? Because we want it loaded with CSS rather than be an image. So what you're looking for... while this thing is loading and spending awhile, can you see... that option means, I can download it for my desktop... this option means it's available, it's what Typekit calls a Kit. You can load them to a Kit. Web stuff downloading for your computer. So this is available for a web project, so that's awesome. So what I want to do is... back into Photoshop, we pick our font. What is that one? Mighty slab, I don't think I have that one. It's going to pick something else. Something kind of Body Copy-ish Roboto. It's like the Arial of the internet. You're looking for a Body Copy font, Roboto is a good one. YouTube use it, I use it loads as well... but we need to use it quite small. And this is just a mock out, remember, in Photoshop. It's not going out to a website yet... but I need to use it quite small... and it's done the pixelate as it gets quite small... because it's just, there's not a lot of room for it. So what you can do, just to make sure it's legible, first of all don't use white. Let's go to black. And we're going to look at-- so I've got this layer selected, Rello. Actually what I might do as well in here, just after Rello... I'm going to put in a space, and then I'm going to go 'Type'... I'm going to go to 'Paste Lorem Ipsum'. Just so I've got lots of text in here, so you can see it a bit easier. Just paste in an arbitrary amount of Lorem Ipsum, quite a bit actually. You get the idea. But it's quite small, what you can do just to make sure... it's doing as good as it can, or look as good as it can in this mockup... is with the 'Layer' selected, go to your 'Type Tool', there's this option up here. It's the Anti Aliasing of the font. Don't worry too much about it... but the font kind of ends up looking like this horrible stuff. There's a little bit of magic that goes on top of it to smooth the edges. The computer does it as it shows it to you. Don't worry about that either, basically you've got options... to tell the computer to kind of redraw it in different ways. So I can click on 'Sharp', that's the way it came, 'Crisp'. Strong and smooth. You can see, actually it's the same font, same weight... just kind of redrawn slightly differently. So you might find that your font and your color... might just need a different one of these to look nice in your mockup. It will look perfect in your website because the browser draws it. Let's say you're not doing web stuff, you're just doing normal flyer design. So I'm going to increase the font. So when you get to a certain size it doesn't matter anymore. Doesn't matter, it's not as important. So I'm going to go down to something, so say this is a Body Copy for a... flyer that I'm doing, and I want it to be easier to read. So with the 'Layer' selected, 'Type Tool', just work your way through. Decide, sharp versus crisp, I like sharp better. Strong versus sharp, and I just kind of run them off each other. It's hard to tell the difference between those two. I like strong best, so strong and smooth. Strong, awesome. So great for small fonts. Normally it's mockups, Ts and Cs down the bottom. And that's called Anti Aliasing. Let's say you are doing Web and UI work. We're going to look up doing proper web exporting... at the end of this video series... look at exporting the VR section on exporting for web. But while we're here in all the type stuff... is with that layer selected, you can go to 'Layer'... there's one that says 'Copy CSS'. Not SVG, I want to go to the one that says 'Copy CSS'. This is a nice easy way, you could paste this into an email... and explain to your designer or developer... that it's this font size, it's that font family... there's the color, it gives them more the kind of code... to make sure that your mockup matches what they build in the website. There's some bits you don't need, if you're not a web designer that's fine. Just send them all of this. If you're a web designer you'll realize you only need a couple of those things. Even makes a class based on the name here. So if you name your layers right you can name your classes. Anyway, if you are keen on Web Design, or getting into it... Dreamweaver might be your go, and I've got a course for that. Shameless self promotion. The second little tip I've got written here is Drop Shadows... and you're like, "I know what a Drop Shadow is." I just want to show you a weird little thing you can do with Drop Shadow. Say I want this text here to have a Drop Shadow. So with the 'Layer' selected, 'fx', 'Drop Shadow'. What you can do is, say you like that Drop Shadow, but it needs another one. You can actually hit '+' and have two Drop Shadows, which is crazy. Maybe not crazy, but it's useful. So the one at the bottom here, I'm going to actually make bigger. Terrible. Let's go that way. Let's go to Distance out a little bit. I'm going to turn the Opacity down a bit. Can you see what I'm doing here? I've added two shadows, so let's turn the Eyeball 'off'. There's one that's really tight around the outside... just to give it the fullness on the left. And then this other one, that's kind of more wafty... that will help it kind of lift out of the document. We're getting into the weirds here. One last little feature before we go is Font Pairing. If you're not doing Type all the time, even if you are... me, I stick with the same fonts. You look at anything that I've designed lately? It's probably Lust... and it's probably either Museo Rounded for the Type, or it is Roboto. So to get out of that, I need it for a client, or another concept... there's a term called Font Pairing. It's not really a feature in here, it's just something you can go and do. I'll show you what I mean. So all I did is, I went to Google, and I type 'typekit font pairings'. And I just clicked on the first three results... because what's happened is... designers better than me, Carriedils has spent some time... going through and matching fonts for headings and body copy. And you just kind of go through and go... "Oh, I like that combination," and then work out what it is. This font is actually just the same font, just in different things; so sexy. Other ones, this one I end up at quite a bit, typ.Io/libraries/typekit. And you can just see, it's just like-- I find this is nicer, you can see, actually used in design work with colors. And you can see here, this one here is using these two fonts. Another one here, these two fonts. These two fonts are some really nice font pairing matches... that you can go to now, 'Typekit'... download, so you can get the same kind of effect. Another one here, justmytype.co, there's a bunch of font pairings. There's a load of font pairings in here. Click on 'Typekit', there's a load of font pairings here too. Don't stop there though, do a Google image search for font pairing typekit. So you can get the old creative type combination juices flowing. So that's it for advanced type tricks and workflows. Don't go away, in the next video we're going to do slightly more Type. It's just to do with matching fonts, let's jump into there now. 51. Photoshop can guess your font using Match Fonts: Hi there, this video is all about taking graphics... that have fonts that are just kind of smashed into it that we can't figure out. We don't know what fonts they are, it's not editable. Photoshop has an amazing feature called Match Font. We have some success... this one here I feel like we got pretty good, matches that word. Same with Smart here. We get this one pretty good, maybe a slightly different weight is needed. It goes pretty good for this one, it goes horribly wrong for this one. If you do know what that font is let me know in the comments. And it goes really well with this one, surprisingly. Somehow it knows magically what font that is. Let's go check that out now in Adobe Photoshop. To get started, in '08 Typography', open up 'Match Font 1', '2', '3', '4', '5'. So we're going to work our way through easy to hard... and talk about the different instances. Often I'm working through, say a site, like Behance... looking for ideas, inspiration, and I'm like, "Oh, I like this font here." So I clicked on it, loaded it, brought it into here. I know it's not editable type... so how am I going to figure it out? Photoshop's fancy Match Font. So just took a screenshot, and we've got it here in Photoshop. So for this to work we need to grab the 'Selection Tool'. The 'Rectangle Marquee Tool', in particular. And it doesn't like it when you group lots of lines. So I'm going to 'Deselect' that. I'm going to grab the one that has the most characters on it, this one here. Then I'm going to go to 'Type', and go to this one that says 'Match Font'. Kick back, relax, depending on how fast your internet is... mine, I might have to, no, fast, didn't even have to speed it up. And what it does is it goes and checks two things, it checks your computer... so it looks for things that are already on your computer. It also goes and checks Typekit to say... "Hey, I might have this font on here as well." And what I'm looking for is trying to figure out which one it is. The only trouble is, this sample here can't be edited yet. That would be a great little trick. If I could type in 'Assas', and I could kind of see this... because I'm dealing with the A and the S. The 'S' I can match, it's probably this one. I'll probably have to go through and download a bunch of them. So it's not on my computer because these don't match... but these are available on Typekit... and all I have to do is decide on this one here. Goes off and starts syncing. Orbitron Bold, I'm going to see if this works. 'Assassin'. I totally didn't make this beforehand to make it all streamlined. Maybe I should have. Orbito, there it is there. It might be the wrong weight. Maybe. Let's scale it down. It's the wrong weight but I think it's the exact right font. So I think I picked Orbito, what did I pick? Orbitron Bold I'm going to have to go through the Typekit... find Orbitron, and download all the different weights to try and match it up. Now when this first came out, and I first did my tutorials... it worked like 30% of the time. Somehow Adobe have got better at it... and have got more fonts in their Typekit library... So it seems to work like, I'd say, 70% of the time, just picks the font. Let's look at a few tricks. So let's go to 'Match Font', and let's say this one here... same thing, I want to give props to the two people I appropriated fonts from. This guy's Chinese, and I don't know how to pronounce his name. That's him, the other one is the Black Panther mock-up. Andriy Bata. I'd probably run that one too. Anyway, I like the design, I want the font, how do I figure it out? Back in here, but we're going to do a little trick. What I'm going to do is grab the 'Type Tool'... and just type out the word 'Smart'. Get it to roughly the right size, somewhere in there. Why? Because there's a little trick you can do... remember the Rectangle Marquee Tool is the thing to tell Photoshop to check there... but you don't actually have to be on the layer, you're checking... it will look through all of the layers. You got hundreds of them, it will just check what it sees... but if I have my layer selected here for type... we can do this trick, to probably just show you, let's go to 'Match Font'. It does its font magic. If you are like me with a slow internet connection, this thing keeps updating. Eventually it will stop, so fonts available. And what I'm looking for is, watch this, this is on my computer, I can click on it. You can see there. Oh, so close. It's easier to sample this and work... so you can go just kind of click on these and just work your way through. The trouble with these ones is that you've got to download each of these. That's okay, it's easier than guessing, I might just say... that's close enough, you can see the M is very different. Comes down with a baseline on this version, doesn't for here. I might now jump into Typekit and just check Raleway... to see if there is like different versions... maybe there's a Glyph version of the M that gets used. Maybe there's a display version. Or I just click on all of these and just see which one might work. That guy looks like it, let's do it. I should practice these things beforehand. I like the raw real world problems and things we might get. Let's click 'OK'. See if it does it, Proxima Nova. Extra condensed. Where's Proxima Nova? Oh, what do you reckon? I think we might have done it but maybe not the Extra Bold version. Let's see how we look. There's no other than Extra Bold so I'm going to have to go to Typekit now... and I bet you, if I search for Proxima Nova... there will be a bunch of weights that I could use. And I bet I would find it, I reckon it is, anyway. So just have your text on a Type Layer... and just use your Rectangle Marquee Tool to select the font. Let's look at some harder ones, let's look at this one here. So real world photograph. For this to work it needs to be straight. You could just double click the background... 'Command T' to rotate, just kind of get it close. And what we might do is use our trick that we used earlier. Remember the Perspective Crop? So hold down the 'Crop Tool', grab 'Perspective Crop'... This is pretty easy because it's got four corners... that I can easily work out the edges, click 'Return'. I think the Perspective is a little bit wrong as if it's squished wide. Let's see how it works anyway. So 'Marquee Tool', drag a box around it... and go to 'Type'. We're going to do it... I'd probably clean out the little dot using the Spot Healing Brush... but I bet you it's going to work, this one I tested. 'Type', 'Match Font'. This bit here maybe need some sharpening, we're just going to see how well it does. You can see it's giving me some good examples. What I should do as well is... just do my little trick with the layer. Let's not double back now, let's go forward, and deal with this one. This one here is like, how close is this going to get. Is it even a font? Probably is, maybe. Let's give it a test, I'm going to double click the background. I am going to use a different technique to line it up. So I'm going to use 'Command R', or 'Ctrl R' on a PC. Just opens up my rulers, and I can drag one. Just drag from the center of the ruler down. I'll drag it roughly about there. With the layer selected, 'Command T' to rotate... we can go to 'Edit', 'Transform', 'Rotate'. I'm just trying to get it kind of close to the baseline. Hit 'Return'. Now my Rectangle Marquee Tool. We're going to confuse it a little bit... with all this extra stuff in the background... but let's give it a whirl, let's go to 'Type', let's go to 'Match Font'. Sometimes it comes up with a little error up here saying, no chance... or, you need to refine your selection a bit better. So far, hasn't done well. Let's have a little look, no, let's cancel it... and let's do what they said. I'm going to copy and paste this on to its own layer, we're doing some hacking... because all I really want to know is the font, right? So what I will do is... I'm going to use the 'Eraser Tool'. Get rid of anything I don't need. I'm going to use Levels, just to kind of see... if I can get rid of some of the wood there. Really accentuate that type. Let's see how that goes, maybe it needs a white background. 'D' key to reset it back to default black and white. 'X' to bring the white to the front, and hold down 'Option-Backspace'. I'm getting crazy with the shortcuts though. So with it selected, come with me, let's do Match Font. I'll fast forward this along. So fast forwarded it because it didn't get it. Got it in a previous example... so I'm just going to kind of work through it again. I'm just picking this because maybe these are clearer letters than this. I'll give it one more go. We'll speed it up again, I'll see you at the end, we'll see how it works. We'll try this side. Here we are again, not working. I really didn't feel like I got a better result last time... but I didn't record that, it was just a practice. What I would do now is go to a site called whatthefont... and I would try it in there. Do I think it's better, I don't do it enough to compare them perfectly... but know that there is another service called whatthefont, great name... I'd save this as a JPEG and try it in there. Let's go to the last one, that's super hard. Hopefully this one's going to-- I feel a bit deflated after the last one. Let's select this one, and let's go to 'Type', 'Match Font'. I'll speed it up. Now I'm feeling better about it. It is, like there's no way to know what that font is. It's a live action, light on a wall. You can see, it's come back with some, maybe not perfect. I'm going to have to work my way through and try and work out which one it is. But I feel like it could be one of these, maybe different weight. You can see, maybe this one here. Ah, pretty close. So we end on a high with Matching Fonts. If you were really desperate you might go through and remove the background... and just kind of draw around a little bit. You can use the Pin Tool to kind of redraw it and see how it goes... but know that that feature is there, pretty cool. That is going to be the end though. Let's get into the next video. 52. Adding Artboards to your Photoshop workflow properly: Hi there, this video is all about Artboards. To get started with, we'll show you the kind of, just the basics, but just quickly. Then we'll step into some more of the fun professional advanced stuff. So hang around. So to create an Artboard, we're going to create a new document any which way. All you need to do is, we're going to be doing a social media update pack. So we're going to create a template... for new Twitter profile, Instagram profile, and Facebook profile photos. Plus updating all the cover photos for it. Then looking at the actual posting images and different sizes. For all the different platforms, all in one file, that's the perk of Artboards. We're going to start with Facebook... and their profile photo at the moment is 180 pixels squared. Because we want this to be Artboards, we're going to turn that guy on. Click 'Create'. And you my friend, have a document with an Artboard. Artboards are kind of distinguished by these little groups here. Let's say you didn't do that, most people don't, they do it the.. how do I do it once I've got a file thing? So let's say we started it without turning it into an Artboard. To turn this into an Artboards file... all you need to do is have your layer selected. If you've got multiple layers, just select them all. Then go to the fly out menu in the Layers panel... and choose this one here, it says 'Artboard from Layers'. Whatever you have selected, it will use that size. It will appear down here, you might have to retype it in... if you've got something kind of spilling off the edges here. Now naming your Artboards is a lot more important... than it is naming layers, it's going to save us time. Because Artboard is all about doing kind of lots of work at once. And then, next time we have to do it, it's super quick and easy. So although I'm kind of lazy with my layer naming... Artboard naming is different. So I give it the project name, the date, the platform it's going on to... and potentially the size, just so you know... what normally goes into an Artboard name, pretty nerdy. So this is for my Photoshop Essentials update. So whenever I release a course... I go through and update all of my profiles everywhere. So this is Photoshop Essential, it's done in July, 2019. And then this one is Facebook profile. Why does it look so long, and all these hyphens? That's just me, you might use underscores, you might use codes. Like this is quite long, you might use like 07-19. You can get fancy with it, but that works for me. I'm going to click 'OK'. So let's say we want to add another Artboard. There's two ways, both of them require you going to the Artboard Tool. So grab the 'Artboard Tool', he's hiding secretly underneath the Move Tool. If you want to just duplicate this-- I'm going to duplicate this one because I need this fella... to be my profile for Instagram. So all I did is double clicked it here, and I'm going to double-- this is where you rename it, double click it in your Layers Panel. So this one is all the same, except this is Instagram. Another way to add them is using this tool... you can go up here... and where it says Size, if you've got this selected and you pick iPhone 6... it's going to change what you have selected, which might be what you want. I'm going to undo. Let's say we want to add this little '+'. Then I want to add iPhone6... say you're doing a Web design or an App development, you need the iPhone size 6. A bit slow with updating these, anyway iPhone 6 is a bit old. But if you click anywhere randomly, you get an iPhone6 size. Deleting an Artboard, just click on it. The easiest way, when you're working with Artboards... is to click the name rather than trying to click the edge... and hit 'Delete' on your keyboard. Now I'm going to add a few graphics, I'll show you a few extra things. I'm going to bring in an image. We're going to go to 'File', and we're going to go to 'Place Embedded'. It's going to go wherever we have selected. I got this Artboard selected at the moment. And in your '09 Artboards' folder, grab 'Daniel Scott'. It's a Smart Object. I'm going to kind of scale it to something like that. Hello, me. Say I need to do my Twitter profile now. If I go to my technique here, 'Artboard', click on it. Now I want to duplicate it, it just kind of makes a new one. What I want to do is actually just-- because I'm going to use a lot of the same elements, I want to duplicate it. Easiest way is to hold down the 'Option' key on a Mac... or the 'Alt' key on a PC when you're clicking that '+'. Now I'm using the one on the right, you can undo... use the one in the bottom, it depends on your workflow. I'm going to go across that way. You can see it brings through both the name, which is cool... but also any images that are on there. So this one here is now Twitter. Another way of doing it is 'Artboard Tool' again... and just holding down the 'Option' key on a Mac, 'Alt' key on a PC... and just dragging the name. I said, drag the name. Makes a duplicate as well, bringing along everything. You can see, mine there freaked out a little bit. Artboards are weird, Artboards are-- they've been around a while. I find the best kind of way of dealing with them... is making sure there's a good bit of distance behind them. You can see, I'm just using the Artboard tool and dragging them. It's because of really cool Smart Guides to make sure they're all lined up. But I find, a better distance means... they don't end up overlapping and jumping ship into this other Artboard. If you're finding them tough, move them apart a little bit. And then when there, all I did was I turned the Eyeball on and off. And it kind of came back to life. That doesn't happen very often, just in this video. I'll leave it in. If you need to move a bunch of them, say you want to move them all down... you can just 'Shift' click them all as well. They will kind of look like they're highlighted. You can 'Shift' click them in your Layers panel as well... then just move one of them, and they all come along for the ride. All right, so that's the kind of introduction to Artboards. Let's get into the next video. We'll get into some more hard core stuff. It's hard core as Artboards get. I'll see you there. 53. How to add images correctly to a Photoshop artboard: Hi there, this video we're going to look at adding graphics properly. I say properly so that when we need to update this... we can update multiple Artboards all at once. It's all about work flow, getting a set up right... Doesn't take any longer, you just got to know what to do, let me show you how. When you're bringing in graphics... up until now we've been doing a lot of opening and just kind of copying across. So from the 'Exercise Files', bring in 'Daniel Scott'. And I can make sure I go back to my Move Tool, and just kind of copied across. There's nothing wrong with this, I just got to make sure-- where do I drag it up to, cutting up on any old Artboard... especially if it's a big image like this. And when I do get it in make sure... the first thing I do is convert it to a Smart Object... but even easy - I'm going to delete that one there. - is have your Artboard selected... and go to 'File', and go to 'Place Embedded'... or 'Linked', whichever works for you. Embedded is going to stick it inside this Photoshop file... so it's kind of always in here. The file's a little bigger but I find it most useful. Linked is when you're dealing with huge files... and like InDesign, it kind of keeps the file somewhere else. Means you can't lose them, but it keeps Photoshop ticking along nice and quickly. Let's use Place Embedded. And instead of Daniel Scott, I am going to use the logo for Photoshop. 'File', 'Place'. Here's the size, yes, that works for me. Let me get it just a touch bigger to fit my profile. This one here, I'm going to duplicate across. So the other way to bring it in is maybe from your library. So I'm going to go to my library, which have already got my graphic in. There it is there, I can drag it in this way. You can see here, I dragged it in, but I'm still-- I've got this one highlighted. So this thing over here goes, well I can't see it because I'm not on that Artboard. And this is just one of the problems with Artboards. Is you got to be quite intentional. If I hit 'Return' now... it did end up in the right place... but because I was telling Photoshop, I was meant to be over here... it kind of freaked out for a second. That's okay. It's not even the graphic I want, I want the flag-- where's my certification flag? Here I am. So I'm an Adobe Certified Expert for Photoshop. Hit 'Return', and I add this here. Where am I going to stick it in? Along there. Make sure it's either 'File', 'Place' or 'Embedded', dragged in from the library. Or if you do copy and paste it, make sure it's a Smart Object... because the Smart Object's really the thing we want here for updating lots. So let's say we want to move from once, and the other. I need this expert logo over here. I can click it, hold it-- wrong layer. Click it, hold it, and drag it... while holding down the 'Option' key on a Mac, 'Alt' key on a PC. To get it to this one here I can hold down the 'Option' key on my Mac... 'Alt' key on a PC, and I can drag it. And that works some of the time. I find that, with a small object, it's fine... with these bigger objects, say like this image back here... and I try and duplicate that over there... it's done okay, because you're watching. Sending it to the back, making him smaller. And you'll notice that my background here got tuned into this... kind of colored layer here, I'm just going to delete it, I don't need it. So dragging it is fine, now you're watching... but it does run into problems, so what do you do? The easiest way is... say I want this over here now... so I'm going to go, you, get it to the right position for this one. Want it down here. The other nice thing about using this technique... it should end up in the right place, or roughly. So in my Layers Panel here, I'm going to right click the logo... I'm going to say, duplicate, my friend. I'm going to say, where do you want it to go, I'm going to say, this Artboard... which is my Instagram profile, please. Give it the same name, and it just moves across. That's really handy when you've got lots of objects. Let's say that I'm going to create something new. So I'm going to jump to my 'Artboard Tool'. Shortcut for that, if you're looking for shortcuts, it's hold 'Shift V'. And it kind of just toggles between the Move Tool and the Artboard Tool. I want a new document, and it's going to be the cover photo for say Facebook. Facebook uses 351 by 310. Don't worry too much about the sizes here, they seem to change it all the time. So just Google 'Facebook cover photo 2018'. And the cover photo's different from the fan page photo. There's all sorts of different things, just check what you're doing. We've got it here, nothing's really happening. I can just click once, so I'm going to keep my Facebook stuff over here. I'm going to 'Shift-click' both of these. Just move them over, and it's going to be my little Facebook group. I'm going to give it a name. And what you'd find with Artboards, these guys get messy. I'm going to have a full video on how to work with Artboards a little bit better... but just because we need it now, if you 'Command-click' the arrow on it... it just means it closes all of them up at once and just looks tidy. So where is my Facebook copy? That is my Facebook cover photo. There's no reason why you can't drag it to kind of keep them together. Doesn't really affect anything in here except when we export. Just means this page is going to be straight after this page. Which might make sense. So now I want a chunk of stuff. So I want everything on this graphic to be moved over here. The way I do that is I just have them all selected. So here, my Photoshop Essentials, Instagram, it's got all the bits I need. I'm selecting them all, right click any one of them, go to 'Duplicate'. And just like before, just pick the one you want it to go to. Cover photo. Hopefully over here now, little bits and pieces. That's why we're using Smart Objects, I guess... is that these can all be resized now. My Photoshop logo can be bigger. because... it's a vector file, same with my little edgy thing. And same with this kind of graphic here. Smart Object, it's a lot bigger than what we're using it for. Let's look at another kind of issue that happens... that we want to try and mitigate. This image isn't very big. I'm going to try and break it. Look how big it is, overlapping these guys... it's not going anywhere but... it happens to me all the time when you're not here. Gets out of it, breaks out of its home... and it doesn't know where to go, and it ends up back there. It's over there. They're all too close together, I've been too good and kept them far apart. Let's say that this is your problem, and you're like, "Where did I end up?" You're hitting it up over here, but you're like, no, no, just be. And it's just, it's now fighting back, it's good. Let's say, you my friend live here, you're not allowed to move. With that layer selected there's this option here. And this just says, you my friend do not go anywhere... you are fused to this Artboard. Prevent auto nesting. You can see, basically just locks it. But the cool thing about it is that it can still be moved. Just not outside of its little home. Select everything on its Artboard... and just click on that, they should all stay there. Let's look at one other thing, two of the things before we go. One is, you’ve created these Artboards... you just don't want them anymore for some reason. You created two Artboards, and you're like... where are all the pieces? You want to see it all. What you need to do is select all the Artboard names... so we're going to use our trick where we hold down... the 'Command' key on a Mac, "Ctrl' key on a PC, just click the arrow... then we can hold 'Shift' and click them all. Go to your layers little flyout here, and there's one that says... Ungroup Artboards, it's not there, it's up here. It's under 'Layer', and there it is. 'Ungroup Artboards', and that just kind of puts everything, just goes "Ah." No boundaries, here we all are. That could be nice when somebody send you a file and it's all mixed up. I'm going to undo that because that was not what I want to do. I'll do the last thing. This is not really any Artboard, you can skip along. Just showing you Content Aware Scale for-- because we want it for the rest of the tutorial, and it's... Man, it's good for when you're doing these weird letterbox shapes... and it runs into a problem with... I want to use Content Aware Scale, ah, doesn't work. Unfortunately it doesn't work on a Smart Object. So we're going to have to right click it and say 'Rasterize Layer'. I know exactly what I want to do... but it's what I have to do to make this work. So now, 'Edit', 'Content Aware Scale'. And I'm going to just magic up more background. My shadow gets bigger, I'm happy with it. 'Return'. Now I'm going to turn it back into a Smart Object... because later on I'm going to duplicate it and want to use it. I'm going to send it to the back, and that will be enough for this video. There's more Artboard stuff to come so check out the next video. 54. Using Smart Objects & Relinking Images in Photoshop: Hi there, this video is all about getting our money's worth... all the effort we put in. We make sure the Smart Objects... by default we've been linking them without knowing, let's get started. So let's say it is the next course that I'm doing... but because I've set this all up, it's reusable. What's cool about it is, let's say it's now Photoshop time. So this little graphic here needs to be Illustrator. So what I'm going to do is, with it selected... I can right click the name here... and go to this one that says 'Relink to File'. I can go out to my 'Exercise Files', '09 Artboards'... 'Logo - Illustrator, kickback, you ready? This is the satisfying part. That's not. Click 'OK'. Look at all those graphics update. Cool, huh? Same is true of pictures of me. You can right click them anywhere because it's a Smart Object. I did that at the beginning. What ends up happening is, as you duplicate it, it comes along for the ride. And they are still linked. But say that's not what you want. You want another copy of me, but you don't want a link... because when you update it, it's not what you want. So I'm going to make a duplicate, like that, that's the bad way. What I can do is, in this layer here I can right click it... and there's an option that says... a 'New Smart Object', please, but 'via Copy'. Just means they're going to make a new Smart Object but they're not linked. So these two look the same, but they don't have that kind of connection... like all these other fellows do. Let's do it, let's update this one here. I'll right click it, and I'm going to go to... 'Relink to File', there's now 'Daniel 2' in there, grab him. You can see, he updated, he updated, he updated. Now you'll see that they didn't update perfectly in the right spot... because there were different size images. What I really wanted to do for you is... make the images perfect, they're all lined up. That wouldn't be really realistic when you go using, you're like, "It's broken." That just happens to be a different image. So it doesn't fix everything completely, the images are just different scale. So I select them both, I held down 'Shift', so my trick is... let's say I click down here... I hold my 'Command' key down, or 'Ctrl' on a PC. And click this fella. That's him there. If I hold the 'Command' key and 'Shift', that's on a Mac... 'Ctrl Shift' on a PC... you can click more than one across two different Artboards... because they're so similar. Why are we making Instagram profile different from the Facebook one? They're different sizes, but the main one, Instagram has a big enough problem. I'm working on the Instagram one, I am going to make a new layer. Right at the top, use my 'Ellipse Tool'. Just to kind of start in the corner here, drag out an ellipse. And I invert that ellipse. I fill it with red, 'Deselect', lower the Opacity. Just tapping my number keys along the top. Because Instagram is circles, right? So you've got to kind of do some adjustments for Instagram. Perfect. I decided it's just not relevant there. But I want it there because I want to show you my cool little update. Did he disappear from over here? I don't know. Anyway, upgrading Smart Objects is easy... it's just as easy for anything you've linked from the library... but a slightly different method. So we drag these flags from the library. You probably didn't, because you didn't set up a library, I did. You could have just imported these from the files... but let's say you did have them in your library and you bring it in... what you can do is... open the 'Library'. In my case it's my Adobe logos library, same thing here in your layers panel. But instead of using relink File... it's going to relink to a graphic, Library Graphic. And it says, Select and Relink. So I'm going to say, you, and then down the bottom, this tiny little button... 'Relink', and it's gone and relinked them all. Now we've been doing this for kind of like social media profiles. Now those red things shouldn't be there, they're just temporary. I do this a lot for say web design or app design. All the principles the same... but the Smart Objects gets even nicer because you end up... having say a logo that's on all of the different layouts. Maybe just different sizes to match the different view ports. Plus you've got maybe a navigation that runs consistent across them all... or footer that goes across them all. You just got them all different sizes, you can see how that would be useful. That's enough for this video. Let's cut the next one into tips and tricks for using text... and kind of viewing, now that our Artboards... are getting slightly more complicated. Let's do that in the next video. 55. Advanced speed tricks for updating Artboards in Photoshop: We're getting into the nitty-gritty. Let's get into some more advanced speed tricks for Artboards. I wasn't sure what to call this video, running out of names. It's all just doing good things in Artboards. So let's start with the text. I grab the 'Type Tool', I am going to click, hold, and drag out a box. If you click, hold, and drag, it gives you a fixed width box. So we're going to say... 'New Adobe Illustrator Advanced Course'. Anyway, got some text. The shortcut for Photoshop, if you highlight the text... and go 'Command Shift' and use your period key or the full stop... that's 'Ctrl Shift'. Not sure what to call it, I call it full stop. I've been corrected lots on that. The period key, or the-- it's the greater than, it's the same. Down on your keyboard there. I've got a size, I'm going to pick a font, I'm going to use Roboto. I'll use Bold, I've spent a bit of time picking my font, maybe a little bigger. So what I want to do is try and save myself some time... by doing some line breaks. Still doesn't look good. You get the idea, right? So with the Text Layer selected. So I've got it over here, I'm back on to my Move Tool... what you can do, is I'm going to go to my 'PS Advanced' libraries. With it selected here, you can hit this little '+'... and you can say, actually I want the Character Style applied to Photoshop. You see him there. Let me give him a name, this is going to be my 'Title'. I'll call it H1, or something useful. And it means that later on, on a completely different document... or a different Artboard here, we're working away. And let's pretend like it's not the exact same size. And Font, I'm just picking something else, random. So that with that layer selected here... I can just click on this, and it goes and matches it. Better consistency across Artboards. Another one here, for like Ts and Cs... I got some text, random text that I typed in. I click once, paste it in, it's way too big. So with the layer selected, I can just click on this other one here. I've called it Roboto, but it's actually called Ts & Cs. So I've worked out what the minimum font size is... that I need for my advertising. And I can put in my text. Now a little note is that, in both Illustrator and InDesign, right? Other Adobe products, they get used quite a lot... by graphic designers, all three of these products. But what both those other products have... which I'm hoping Photoshop will have real soon... so just in case it does already... often you can, say this Ts & Cs here, you've typed it out... you can select on it, and there's an option on it that says Add Text. Not the Character Style, not the Text Color... the actual physical text. The nice thing about that, means that... whatever document I'm in, in Photoshop, Illustrator, InDesign... I could just drag it out here and have the text that I need... and then add a Paragraph Style to it. But know that it's in those other two products... which are quite handy if you're... might be doing your ads in InDesign as well, or Illustrator. You'll have a nice snippet of text there, ready to go all the time. Maybe your address or email address group. You know, phone number, email address, physical address, that sort of stuff. Non Photoshop, just yet. Now the other little trick is... again, Artboards are messy in here, we knew the trick from before... it's 'Command', and if you click the arrows, they all close... they will open. Another little trick is, up here where it says Kind... you can click on this one that says Artboard. And what it does is, it only shows you the active Artboards. So if I click in here it shows me this one. So just nice and tidy. But I go to here, watch what happens to my layers. I click this one on the top left, and I click in something in here. I'm going to click on something in the Artboard up here... and hold 'Command' and click on this logo. And because I've jumped to that one... you can see, it's only showing me just this fella. So much nicer way of working. Same if I click on the name at the top. Can you see, it just jumps to that Instagram logo. And there I can work on this one, this one here, just nice and tidy. You can turn it off by clicking 'Artboard' now, and go back to 'Kind'. You're welcome. All right, that's it for advanced speed tricks. Let's look at the last one... where we look at exporting Artboards. 56. Export Artboards as PDF & separate JPGs in Photoshop: So it's time to export, that's where... with the naming of our Artboards was super helpful. If you haven't done it just double click in it... and it's Artboard 1, 2, and 3. Give it a name here, it is handy... especially when you want to update your files if you make changes. You can click in here, nice little tip is, you can hit tab. Tab, tab, tab... Means you can keep typing, or copying and pasting the names. So we've got all our names in here, actually this one here is wrong. Cover, this was meant to be Instagram. They don't have a cover image but they have-- this is for their posts. It's probably going to crop to a square. Okay, didn't think that one through super well... but let's export all these files. So what we're going to do is go to 'File', let's go to 'Export'. We'll start with the Export to Files. PDF is pretty easy. We'll do that in a second, but most of the time I want to export a big pilot JPEG. So I can now go and upload them to the different social media platforms. Stick mine on my desktop. There you go. Give it a name. This is just a prefix, it's going to add it to the end. I don't want anything added, I've named them nicely over here. This one here, Export Selected Artboards catches me out every single time. With this on it's only going to export the Instagram one I've got selected. So I'm going to turn that off. The File Type, you can decide, I'm going to use JPEG. Export Options is on by default. You can turn it on and just decide how-- what kind of quality you want to deal with. And hopefully on my desktop. Thank you, Photoshop. All ready to go, all got JPEGs all nicely named. Awesome! What's really nice about it is if you make an update. So let's go to this one, and I hit 'Inverse'. I'll do the same for this one, and I do the same for this one... for no good reason otherwise. Other than it's easy to see. I can go to 'File' and just run that thing again... because I've named them all... 'Artboards to Files', put in the same place on my desktop. Wish this would remember what I did. Click 'Run'. And on my desktop now... you can see there, it didn't make duplicates of it... so you got to be careful of that, I guess. But it's nice all these things are updated, ready to go. Somebody's made a change, I can just run it. Now if you need to just run one of them, let's say, only this one's changed... it's inverted, and now is black and white. So just this one needs updating. Do this one. Just right click it and go to 'Export As'. And in here you can say I want you to be a JPEG, I want it at 80%. It's using the right name, I can click 'Export'. Stick it on my desktop. It's going to replace it. Yes, please. That's an easy way to do just one. Where is it? There it is, there. The other thing you can do is export a PDF. So 'Export', let's go to 'Artboards to PDF'. Where is it going to go? It's going to go to my 'Desktop'. This is using the file name now, not my Artboards. So I'm going to call this one... it's my 'Illustrator Advanced July'19'. This is going to be my 'A'... because I'm going to show you a B version with some different settings. Export Selected Artboards? No, I want all of them, not just the one I have selected here. You got these two options... Multi Page Document just means I'm going to have one PDF with five pages. You click on this one and you're going to have five PDFs, all separate. Up to you. We'll do this Include Artboard Name. That will be our A and B testing to show you the difference. We'll run it without it. And you get what you imagine, right? You just got a PDF for them all in here. Desktop here, where is he? There he is, there. Open them up, and I've got a PDF. Because it's a small one it's not so great as a super large version. There's all my PDFs, five pages. Now there is a way in Adobe Acrobat... to make sure that when the document's opened... it opens at 100% size, like down here... not the full size where it goes Fit Visible, looks weird. Can't remember off the top of my head where it is. I'll have to find it in Acrobat... but know it can be done. Let's look at the other option. So in Photoshop we're going to go to 'Export', 'Artboards to PDF'. Go to 'Browse', stick it on my 'Desktop'. Give it the same name as before. This one's going to be 'A'. Can I start with B? I did, it's kind of weird. Was the other one B? Oh man, it's late, it's 10:30 at night. I'll call this one Z, I turn off that, turns back on every time. Multi Page, I'm just going to turn Include Artboard Name 'on', hit 'Run'. Kick back, relax, and we have a slightly different PDF. You might find it useful because it describes it. Because the other PDF just has a big... kind of pile of shapes that all look very similar... especially these profile images. I did, I started with B, so Z has this. It's extended the Artboard out, and we have just text around the edges now. Just to help, whether proofing it or checking... we just know what we're talking about. All right, my friends, we have come to the end of Artboards. It's everything I know about them. Let's move into some more exciting Photoshop tutorials. I'll see you tomorrow morning when I'm fresh, and we start retouching. Bye now. 57. Advanced tricks for Healing Brush for retouching in Photoshop: Hi there, this video is all about going through... some Healing Brush, more advanced tips and tricks. You probably already know how to use it. I'm just going to show you what I do to make it go fast... and to give you some better results. Let's jump in. To get started let's open up 'Healing 1'; thank you, Bruce Dixon. So before we get started we're going to use the Healing Brush. It's the more advanced tool but I just want to remind you that... the Spot Healing Brush, which is this one here, the automatic one... if you haven't used it for a while... it has got so much better, especially with the introduction of Content Aware. And when I'm doing professional retouching... it is like, 70% of the work is just too easy. A couple of tricks to get good use of it... is to make sure you're working on a separate layer... and we're going to call this one 'Retouch'. Make sure Sample all Layers is 'on', otherwise it won't work... because it's going to reach through to this bottom layer... but everything's going to end up on this layer that we can turn off afterwards. So pick a brush size, pick a hardness, and just click once. This is just pretty amazing. Don't want to get too close to the edges. So bulk of the work gets done with this tool. Tips for using this tool. So say we've got a chunk here, we want to get rid of this along here... we can probably just paint it out... but I guess I just really want to show you my trick. You click once, hold 'Shift', click again, and it joins the two lines. So if you've got like a long scene that you need to fix up... you can click once, hold 'Shift', and click again. It just joins the two up, and because we used its own layer you can start to see... everything's on it's on Retouch Layer. And what will end up happening is... you'll end up going too far and you need to kind of dial it back. So with this layer selected, and your Move Tool selected... so I'm at an Opacity of 100%. Just hit '5' on my keyboard and set 50. So it's just a lot easier, I'm not even looking at this while dragging, I'm just... looking at my image. Super close. Just kind of tapping, you tap fast, like if I type '33' I get 33. Going to go 80, so it's still there... they're just heavily reduced, even a little bit less, at 70, more realism. Let's say the Spot Healing Brush isn't working for you in your instance. I'm going to turn that layer off and create a new one. This is going to be my 'Retouch 2'. We're going to use the Healing Brush... by itself now, show you how to use this... because we didn't cover it in the Essentials... so what we're going to do is... click and hold down the Spot Healing Brush, grab the Healing Brush. It works the same way except I get to be in a lot more control. So the Spot Healing Brush just goes and finds pixels, and it's going to guess. What you can do is you can hold down the 'Option' key on a Mac... or the 'Alt' key on a PC, and click a target. Just say, I want to use this bit of skin, please; don't just pick anything. Pick this bit from all over here. So that's 'Option on a Mac, 'Alt' on a PC. Click once and then let go. And this is totally not going to work... because I haven't done this one that says, Current Layer... I want to sample all the layers, please. So let's hit the target again. And now click and drag, and watch when I'm dragging... it's a little hard to see, I'll get the editor to zoom in. Can you see the target, clicking, dragging, and moving around? So you can kind of see where it's pulling from. Did just a good job, just gives you a bit more control. You, click, drag, let go. Gets fancy if you open up the window and go to the one that says Clone Source. It works for both the Clone Tool Stamp, which we'll do in the next video... and this Healing Brush, and you can have more than one source. So at the moment it's just using this, it's pulling from this particular document. I click there, that's where it is. What you can do is you can set up a group. At least five different points you want to pull from. So what I'm going to do is, I'm going to say... I want some kind of really light texture over here. So this first one, it's going to be my lightest option, this next option here... could be from a completely different document. Just have it open and steal from that, it will load into the Clone Source... but I wanted kind of a medium kind of texture, that one there. Trying to use this only when there's like a really high ISO... and there's a real grain in the image, you need to kind of match the grain. In this case we're matching kind of skin texture... but you get the idea. So I set a medium point. Here, darker, darker, darker. And here's going to be kind of where I find something... that's the darkest part of the skin. Probably across here. So now when I'm working I can come down here, and say... actually this piece here is probably going to work with that first one I took. Or something else, this one here's a bit lighter... so I'm going to go to this lighter option. Over here is my medium. A little bit darker, the medium. I'm not really taking the darkness book... because the Healing Brush will match the colors... but the texture that appears in the kind of darker areas... just end up being a different kind of grain... than the stuff that are in the lighter areas. Again, you might decide on skin texture, you might have... number one is stuff from this kind of clear patch on the forehead. You might decide number one here is the texture from the skin from the forehead... and number two is the kind of porous one here from the nose. There's a little bit of like tiny hairs that are there. So that's just taking that a little bit further. And if I'm honest, even when I was doing like full time retouching... I didn't use these points very often. There's a lot of this. I'll show you a bit more of the work flow that I did... but I want to show you that feature because some people do really like it. So let's say we're working in nice and close. Space bar is obviously a really useful one. Another really helpful one, say I'm in real tight... and I need to get a new sample point from the other side of their face... so 'Spacebar', click and drag, and I can find it... other side of the face is probably not that hard, chin... when I go down to the chin, and there it is. So it's not particularly hard here... but let's say I want to go to somewhere, I'm not too sure yet. Say I want to go up to the forehead... instead of clicking, dragging and dragging... hold down the 'H' key, click and hold down 'H' key on your keyboard. Then click and hold down the mouse key, you can go over here, let go. I can hold the 'H' key, move down, start working on the arm. So it means I've always got my Healing Brush selected... and the H just moved to the hand tool temporarily. It's like the navigator window that used to be up here. Another handy trick is... I find I like to kind of move the object around... especially when I'm working on say the edges here... you can use this tool here. It's the Rotate Tool, or there's the Hand Tool there. What I do is, on the Healing Brush just hold down the 'R' key... and just drag it around, and decide I'm going to be working here. I'm just going to kind of move along this edge. I find them, especially with my Wacom tablet... my range of movement is a lot better when I have this thing rotated... to an angle that kind of suits my kind of wrist movements. 'Esc' to get rid of it. If you tap the R key it just moves to it, you got to go back to the Healing Brush. If you click and hold the R key, it's kind of just temporarily doing it. Same with the H key, same sort of principle. The one last thing I'll show you is this Aligned On and Off. There's times where it's great on, and times where it's not so great. So let's say that I am... escaping to get back out of here, let's do 100%. I'll show you what it does. Let's zoom in. So with it aligned what's going to happen is... if I set my point here and I start, I like this... but I start dragging across, can you see the little target? And if I let go because I got close to the edge... and then I come back again and start drawing again... can you see, it goes back to where it started. So it's kind of aligned perfectly from wherever this is... it doesn't really matter, can you see, it keeps following it. It's exactly like 200 pixels across and 200 pixels down. Doesn't matter where you are, I end up over here. Can you see, it's grabbing bits of the chin there. Totally wrecking this, let's go undo. Whereas let's say we've only got like one patch of nice skin... the rest of it needs a lot of work. You can set it there, and it doesn't matter where you are... I can click over here now, and can you see... it's still pulling from that original image, so it's not aligned anymore. So if you've got one and you're kind of building it out... doesn't have to be skin, say it's some brickwork or grass... you've just got a nice patch, you just want to keep going back to that. The only trouble with it is that you've got to have a repetition potentially. All right, so that's going to be it for the Healing Brush. Let's move on next to the Clone Tool Stamp. Don't think about skipping that one. The Healing Brush, yes took a lot of the work from the Clone Tool Stamp... but there are some cool tricks which I'll show you... that make it useful to go into your tool kit. I'll see you there. 58. Don’t forget about clone Tool Stamp in Photoshop: Hi there, this video is all about the Clone Tool Stamp. The Healing Brush is amazing but there's just times... especially along there, there's edges, like this nose ring here. We just need a little bit of Clone Tool Stamp help. If you already know how to use it there's a couple of little tips in here... that you might not know about so hang about. Let's go Clone Tool Stamping. Let's open up the 'Clone Tool 1'. So working on this image, there are parts of it... that are going to be easy to do with a Healing Brush... but there's going to be some tough parts... that are going to need some Clone Tool Stamp. So these spots here... Spot Healing Brush is going to be the one that I'm going to use. Just going to work on these. Now when you are working, remember, undo, make sure you got your own layer. Retouch, so you can kind of... turn it off or adjust that later on. So here's perfect, and then we get to this nose ring, say we want to remove it. The trouble with it is, if I try and paint it out... it's going to kind of get all milky and yuck across it. So I'm going to undo, let's start with the inside nose here. So the Clone Tool Stamp is... like The Healing Brush we learnt in the last video, we can set a target... but instead of-- let's have a quick little look. If I set the target of the eye here and paint, watch this, when I paint... will finally go now, the Healing Brush would try and blend it in... whereas the Clone Tool Stamp does none of that. Basically just a copy and paste, but in a brush. So where this is helpful is, say along these edges here... it's very clear, I don't want it all milky and blended like the Healing Brush does. I want to set a target of say, maybe this nostril. And I want to paint it over here but you can see the angle's not right. And this is where, I guess the little trick... is for the Clone Tool Stamp. Is rotating it around, so in this clone source... you can go to 'Window', 'Clone Source'. There's an angle here, and you can drag this around. You can see, I can drag it left and right... to try and get it so it lines up. There's a shortcut for moving it around. If you hold down the 'Option' key on a Mac, and 'Shift'... or 'Alt' key on a PC, and 'Shift'... and then tap the less than or greater than key (</>) to rotate it... you can see, up in my Clone Tool Stamp it's going in like little tiny increments. So if you need to do a big swipe... it's probably better just to drag it across here. You can see, I've kind of got it here, I'm just tapping it around. Hold it down even just to get it to where I want. And now even though I'm pulling from over here, hopefully... it's going to retain that edge. Maybe just going to paint in a bit of this. Same with this edge here, I'm going to... you can see, it remembers the rotations, that's not going to work. So you, doesn't really need to be rotated across here. I grab this part. That will rotate it. Always get the wrong way. Cool. A bit of that side as well. And the other parts are going to be just the Spot Healing Brush. It will do a great work of this in here, mostly. Paint it all out. Awesome. There's a bit there that I left behind. So it's a mixture of both, do I use the Clone Tool Stamp all the time? No, it's a-- once every now and again we'll do the same thing over here. I'll show you one last little trick, so I'm going to grab you. And I want to paint across this bit... needs to rotate just a bit, I can use my shortcut... but say it is like-- dragging this thing's a bit weird, you click, hold, and drag... and if you hold it for long enough and drag it, you can start to see... what the original is being rotated with. It's hard to understand unless you're using it all the time. So just drag it one way, check it, drag it the other way... but what you can do is - I'm going to reset it. - if you do need to go in big increments... say you see a target for there... and it needs to go over here, what you can do is to click once in there... put it kind of where you need it to be, then hold 'Shift' and use your up arrow. And you can see, it's kind of moving across there. So holding up, it's moving in just bigger chunks. Is this faster? Not the angle that I picked. And it's not the right bit of the area, but I guess I just wanted to show you. I reset that, set my target. And it does need to go around a little bit. So remember, 'Option Shift', I'm using comma or the greater than. If you're on a PC, it's 'Alt Shift'. Going to paint across here, probably paint out a little bit as well. Another bit. Rotate it around a bit more. Close up the right angle now. I can kind of paint in here to a part. Same with it over here, I'm going to use a smaller brush. Down here, but it needs rotating. Grab that bit. Around a bit, turn around, just to kind of go round that corner. And then... I'm going to zoom out... and probably need a bit of work on the hand as well where it joins the two. And because it's on its own layer... turn it on, turn it off, turn it on, turn it off. A little bit of work there that I want to go back and do. I hope you learned something new about the Clone Tool Stamp Let's get into the next video. 59. How to use the Patch tool for retouching in Photoshop: Hi there, welcome to the Patch Tool video. What does it do? It's really good at duplicating people... but that's not its main use... it's really good for getting rid of large objects all in one go. It keeps being used quite a lot in retouching... for removing things like bags under eyes... where there's just a lot of surface area to change. And my favorite use, shiny Dan, not so shiny Dan. Shiny, not shiny, shiny. It's great when you are stressed because you don't like getting photographed. And there's people watching that you don't know. Stressed Dan, calm Dan. Stressed Dan, calm Dan. I'm going to stop talking about myself in the third person... and let's get into the Patch Tool. From your 'Exercise Files', open up 'Patch Tool 1', '2', and '3'. I'm going to start with number 1. So the skinny version is Patch Tool, just removes things. It's like the Spot Healing Brush with the Clone Tool stamp... but it has its own purpose. Let's say I'm using the Spot Healing Brush... and in another tutorial in the Essentials course... we just kind of painted people out, that worked most of the time... but let's say this one here, because this person crosses... background here... we're just leaving Photoshop, and it's done a pretty good job. There's some messing down here. If I undo it and do it again though, it's kind of one of those tools where... you've just got to cross your fingers. Sometimes it's great, and then sometimes really bad. I'm going to go back again. The Patch Tool is hidden underneath the rest of these Spot Healing brushes. It's more about-- think of the Patch Tool as intentionality. Like I'm going to draw a box around the outside of him. I said box, a squiggly line. Click and drag around the outside. The cool thing about it is-- make sure you're set to 'Source'. Then just click, hold, and drag... and can you see what I'm doing here, I'm intentionally saying... I want you to kind of use this area here, then let go. It does a very similar job but gives it some kind of boundaries. So I'm going to 'Deselect'. There's a little bit work there that I might go into, with the Spot Healing Brush. But to be honest, if I showed you this image beforehand... I bet you wouldn't notice. Sometimes I get a bit too hung up on doing details that-- like, is that-- A detail, no, that's just probably an original image, I'm going to ignore it. Now the one thing, and what we've done in the previous tutorials... is we all went... "Okay, new layer, make sure it's selecting all the way up," doesn't work. You actually have to be on your original layer... so you should do it back up first... which I haven't done. The quick way to do it is either click and drag this down... or just hold 'Command J', or 'Ctrl J' on a PC... and it just, whatever layer you've got selected... or groups of layers, that makes a duplicate. I've already wrecked the bottom layer so let's just carry on. The other thing to know about the Patch Tool is, this thing here... you mean to drag it around, and I'm not very good with it. This is a rectangle, wish I could just use my Rectangle Tool... and then switch to the Patch Tool. And pull from there, please. So you can use the Lasso Tool, or the Quick Selection Tool. Whatever you want, you don't have to use this kind of built in Selection Tool. The other thing to do with the Patch Tool... there's a few things we're going to learn about it. The other thing to know about it though is, if I go to 'File', 'Revert'-- 'File', 'Revert' is just a handy one, nothing to do with the Patch Tool. Just get you back to when the document was last saved... instead of going undo for a million times. It's got a kind of another use, so I've got my Patch Tool here... I'm going to do the same thing, squiggly line. That's not bad. Most of the time you want to use it to Source... this one here you can use Destination. So we're doing a different thing now, we're saying... instead of you kind of removing, I'm going to drag them along here, and watch this. It's a new guy, I use that never. But it's there, we're getting advanced. You might have a really good use for it. Let's go to 'Patch Tool 2'. So in terms of retouching, often it's the Spot Healing brush... a little bit Clone Tool stamp. With the Patch Tool, there's kind of two places it gets used. If there's anything that's like a large part that needs to get updated. So we're actually going to 'Command J' this one, this time. I'm even going to call it 'Retouch'. And I grab my 'Lasso Tool'... and I'm just going to grab everything kind of underneath here. And instead of Destination, make sure it's on 'Source'. Click, hold, and drag it to a nice bit of skin, let go. I'm going to 'Deselect', you can see there, it's just nice for doing larger chunks. If you've ever watched any YouTube channel on Patch Tool... basically this is the one thing it gets used for. To add a little bit of extra awesomeness to it... I'm going to undo before I've done it. So I'm back here, I've done my selection. What I'm going to do is... there's a little known feature in Photoshop. It's not just the Patch Tool, watch this, I do this... and it can get very fake very quickly... because we do have wrinkles under her eyes. So what we can do is, first of all... so what I want to show you is under 'Edit'... and this one here, says 'Fade Patch Selection'. Now this will say, fade whatever the last thing you did. That's really handy, it's like an undo but it's got an opacity slider. So that is-- I've done nothing, and I can kind of find just a happy medium... of like, instead of it being perfect just a little over here. A nice thing about that is, if I click 'OK', 'Deselect'... like a little bit of the background through. I could do lowering the opacity of the layer... if you're like, "Why don't you just do that?"... but that lets me do it per actual selection. So some of them, you don't want it to be completely unfaded... some of them, you want to be faded more than others. Going to grab this. We're ignoring the chain we saw in the background. And this one here, I want to fade... but I want it to be not as much as the first one. The other trick here is 'Command H'. And depending, if you're using a Mac or PC... if you're using a PC it will just work... it will remove the Marching Ants, just temporarily. On my Mac here, it's a shortcut that gets used... both for Photoshop and for the Mac operating system. And Photoshop just says... "Hey, do you mean, like hiding Photoshop or hide the extras? We want to hide the extras. The selection is still there. So 'Command H' toggles it back on and off, and it just means when I do the Fade... because it's a little hard to see the edges... so if I go to 'Fade' now and I drag it back... without that selection there, just becomes a little bit handier. You find a happy medium, you can see you can kind of individually fade parts. You might find that useful. So it's great for large patches, hence the Patch Tool. What I find it super useful for is... here's me, shiny me... so the Patch Tool is really good at-- 'Command J'... grab the 'Patch Tool', I'm going to draw this around here. Shiny bits of skin, it's really good for. Grab all of that. Get a bit more specific, grab this part. Goodbye, shiny Dan. Let's remove the forehead here. You, and a non shiny bit of forehead. Off. Let's turn that on and off. If you try and do it individually with the Spot Healing Brush, you can get lucky... for this, remember, intentionality, the Patch Tool. We'll say, "Go here, exactly." All right, Patch Tool, that is you done. Let's get into the next video. 60. Class Exercise – Retouching: Hi, it is class project time. In your 10 Retouching folder there's another folder called Class project. Inside there is Retouch 1; Thank you, Nino Ubazle. In your Class projects, these are the three tools I want you to use to practice. So the Healing Brush, but not the Spot Healing Brush. Use the manual one, be intentional. Get used to that, setting targets if you haven't done that before. Making sure it's on our own layer... so that the retouching goes through to the bottom layer. You're going to have to use the Clone Tool Stamp, especially around... let's have a look. This part here, especially where the shirt kind of crosses over here... you're going to have to rotate it around a little bit as well to match it. Probably along the back here as well. That's going to be probably the toughest part. Other than that toughest part, going to use the Patch Tool... and that's going to be good for these larger chunks... of the chain on the shirt here. So selections, and kind of move it in across. So the end result is, I'll remove some of the spots on his face. The chain gone, and that's it. I want to keep him quite natural, that is your job. I don't mind if you go a little overboard doing your practicing... or if you keep it super subtle... but I'd love to see what you do. So the last step here is... share with, either via the assignments here or the comments... or hit me up on social media. Instagram, is bringyourownlaptop, just tag me in, I'll see it. I always comment, it's cool to see what people do. And that is us, let's get into the next video. 61. How to retouch in Photoshop using face aware in Liquify: Hi there, this video is all about using Liquify to retouch. Specifically using Photoshop's kind of facial recognition. Just when you thought this man couldn't get any more handsome, 5-head, forehead. More manly chin? Just drag it out. Everyone looks cuter with bigger eyes. Ah, look at me. We're going to go from smirk to... ah, approachable smiley man, lips as well, definitely bigger lips. It is that easy, let's look how to do it in Photoshop. To get started let's go to '10 Retouching', open up 'Liquify - Face Aware 1' and '2'. We're going to start with this handsome devil. We're going to use 'Filter', and we're going to use 'Liquify'... but we're going to be professionals. So we are going to right click background. And say, you are a Smart Object first, so we can turn it on and off. Good to compare our adjustments... and later on we just tear it off if we go too far. We are going to go so far in this one. Because it's me, I'm allowed to distort my face as much as I like. You are too, I give you full permission. Now if you open it up, it sometimes jumps to Face Detect. Anyway, if it doesn't, go from our Forward Warp... down to this little guy here, 'Face Tool'. And somehow magically, every time I open an image with the face in it... it seems to just know where the eyes are, the nose are. Like face recognition is pretty amazing... where it's just built into Photoshop. So cool. So you've got two ways of distorting faces, or adjusting. You can do it generically over here. There's this little drop down here, it says Face Aware Liquify... or you can do it actually on the actual artwork. Let's do the generic stuff, and you can-- let's do eyes first. Let's make sure that-- we don't have to, but let's link them together... so that when we adjust one side they both come along. It could be really handy when there's just this like weird perspective. You know that the person's eyes are the same size... but just the angle of the face. The bend and the lens just makes it look a bit weird, so you could... come in here, break the link... and just move one, bigger than the other, make the other one smaller. Looking good, Dan. Now you can just work your way through these, right? So I'm just going to link all of these because it's just-- it's experimenting. You can stretch the height of the eyes, and the width... separately from just the overall size. You can tilt them. Let's say I want to tilt this guy down a little bit... just need to kind of rotate him around. Can you see? Wiggle, wiggle. Zoom in a bit more. Distance between the eyes... if you wish your eyes are just that little bit further apart or a little bit closer... there's a slider for that. So nose, mouth, they're all adjustable... but what you can do is... with this tool selected you can actually do it on the artwork. You can decide all of these little dots have a different kind of adjustment. So you're looking for the little white dots, so nose height, nose width. One of my favorites, the lips, I can just-- here you go, Dan. Look at that. Didn't quite grab my bottom lip. Looks like I've been punched. Really depends on how much of the lip you can see. So if you can't do it here you might go in and actually go to the Bloat Tool. I'm going to pick a Brush size. And I'm going to just kind of express my lips manually. There we go. Now if we go back to face recognition... it's probably going to pick up that lip a lot better. These ones are cool, you can give yourself a smile. It's weird doing it to yourself. I'm smiling, he's smiling. This photo, I was going for like cool, serious Photoshop trainer. Now, fun approachable Photoshop trainer. It's pretty amazing how it locks in all the different muscles. For me, what I really want is I want a nice big chin. Here you go. Look at it, manly. Now I can just keep going and adjusting, you get the idea, right? So face recognition, pretty amazing, you can adjust them globally over here... or just on the art, just work a way around and decide what you want to do. The other one to mention is, and probably for me the most, it's my forehead. I've been told I have a 5-head, mainly by my little brother. So I can reduce that a little bit. I need to Photoshop, and maybe a fringe. My fringe, about halfway down the back of my head now. Anyway if you go too far you can click 'Reset'. Let's click 'OK'. But because we did it on its own Smart Folder we can turn it on and off. The only other thing really to share with you... is that you can do it for groups of photos, which is pretty amazing. When I say groups of photos I mean groups of people in photos. Somehow facial recognition works for lots of people. Same tool; I should have made it a Smart Object first... but what you can do, up over here, you can select the different faces... you can see, face-- it's just left to right, one, two, three, four. So I can pick the fifth person and say, "You my friend, need big eyes." "You my friend, need to smile more." There we go, everybody. He's smiling, he's kind of smiling, she's not smiling enough, come on. Let's go. One thing I'll do before we go is that... say, when I'm retouching, often, kind of main trick is... to make the eyes a little bigger. You don't want to go too far, so we went quite far in this tutorial... we just yank them up because it's funny... but when you're doing serious retouching it's all about the subtleties. People look happier, healthier, prettier when their eyes are just bigger. So I'm going to lock these two together, we're just going to make this guy's eyes. So you end up doing like these tiny subtle adjustments. What you're looking for is this. Remember Puss and Boots? People look cuter when their eyes are bigger... especially when their pupils are bigger. What we used to do is just grab the 'Bloat Tool'. Couple of clicks, gone a bit far, but you get the idea. Did a lot of work for us. When we were a company they did a lot of men's bathing suits. And what the Art Director wanted was... he wanted guys, but he want them quite feminine... so we ended up messing in with the cheekbones... kind of messing with the face to kind of give them a bit more feminine features. Rather than the one we did with me... where we give ourselves a nice big thick jawline. If you ever use Liquify to do this before it was really hard. To do it naturally, now we've just got sliders. I can't believe how good it is. And the trick for us as Photoshop users... is how subtle we need to be, especially if you're doing work for say models... kind of portrait pictures, you don't want... your kind of finished product not to look like the person. Especially messing with the eyes, distance of eyes, those types of things. You can end up changing a person that just doesn't look like that person anymore... it's only subtle little adjustments. You don't want them walking into an interview... and people not recognizing them. "Hey, this is not in your head shots." But lowering your 5-head down to a forehead, I'm okay with that. Let's go here, he's got a head on, so it still kind of works, it's pretty amazing. We're going to click 'OK', undo, undo. Much more handsome this man is. All right my friends, that is Liquify using facial recognition. Let's get into the next video where I set a pretty exciting class project. 62. How to use vanishing point to mocking up designs in Photoshop: Hi there, I want to put this design on this wall. We're going to use an underutilized tool in Photoshop... called Vanishing Point; look at that. Moves around the walls, Perspective is all pretty awesome. It's a little bit jumpy, but you can't beat it for Perspective Matching. Look at that. Let's learn how to do that now in Photoshop. To get started we're going to open up two files... from your '10 Retouching' folder. There's 'Vanishing Point 1' and '2'. The first one is a JPEG, and it's going to open without any hassle. Because the second one is an AI file, Adobe Illustrator... it's going to come up with this little Import PDF box. Now in this case, mine's defaulting to 1164, I think that's the original size. This is something you might have to do it just depending on the image you're using. So try it first, whatever size it comes. Then you might have to resize it... because if it's too big or too small, it's not going to look right. Don't worry about it for now, I've made sure it works perfect. I'm going to click 'OK'. It's just a graphic that we-- I think we did this in the Illustrator Advanced course. If you're keen on Illustrator and 3D blobby text... you can go check out that course. So for this to work we need to be on 'Vanishing Point 2'. Let's go to 'Select All', then just go to 'Edit', 'Copy'. We just got it on our clipboard, we don't need this anymore. Back to 'Vanishing Point 1'. Let's go to 'Filter', and let's go to 'Vanishing Point'. So Vanishing Point allows us to create planes. So I'm going to draw out what I think is a square in here. Because Photoshop doesn't know we have to tell it, we have to say... I'm going to start there and kind of come down to about there. Maybe pick just kind of fuller lines of the bricks. And then come back. How far back? You can see there, I'm trying to line that, line up... I'm getting way back here, working for me. Click once, and then coming up... can you see I'm trying to line up that blue line... following the ridge of the bricks, which is surprisingly hard. I want that last one to be strapping down. I think I'm there. Now it's a little hard to see because it's blue, hopefully you can see it. The way to test whether it works or not... or where the Perspective is okay... it's one of these white squares in the middle. So here's the first one, there's one at the end... and somewhere in the middle. If I grab it and drag it down, you can see, it's kind of following the brickwork. If yours is wrong, say you get to the top here... I'm dragging the top middle one now... if I get to the top here, go slow, this program here... it's like a little mini program, like Liquify... except this one crashes all the time. In my experience. It's this amazing tool that's been in there forever, but nobody uses it. So I don't think it gets much developer love, anyway. Say that it doesn't quite line up like mine does... you can grab these corners and adjust them. What will end up happening is eventually it will say... you see, they went red. If it goes red, it says, there is no chance that is a square wall. That's Photoshop going, not even close, like that's physically impossible. There's a twisted wall. If it goes yellow, goes, you're kind of close to a wall... whereas it goes blue, it says, that's a feasible flat shape... that I can work with. Blue's good. Once you've got it you can either click 'OK'... and go off and copy that graphic. We've already done that, right? We went 'Edit', 'Select All', 'Copy'. All we need to do now is go to 'Paste'. Weirdly we can't use the long version, or in this kind of like vanishing world... so it's going to use your shortcut. On my Mac it's 'Command V', on a PC it's 'Ctrl V'. Here you get this one with the dots around the outside... just click it, hold it, and drag it. And hopefully, freaking out, drag it again. And it started working. I'll leave that in there in the edit... because that's just the way Vanishing Point works. It's a bit jumpy and clunky. It's really cool though. Awesome, huh? So I can slide this down, and I know... it's going to kind of match the Perspective. Very cool. When you get into the position... you might want to resize that. I made sure that our files we're working with in this class work fine with it. You might find this image way too big. You can get around it. It's probably easier going back into the other file and resizing it... and before you copy it... but if you want to, you can, over here there's a Transform option. See this tool here, it grabs the corners... I can hold 'Shift', and I can shrink it down and kind of get it to... the size that I want. Don't be afraid to zoom out. Sometimes the transforms end up being way off screen. So zoom right out, you might just see your transform handle way out here. When you are happy with it, let's click 'OK'. And yes, it's kind of fused in there. So we've done it, the quick, and dirty, and bad way. Why? Because it's kind of fused to the background. So I'm going to undo, and I'm going to show you some cool tricks. Let's go a little bit further, first, let's make a new layer. Make sure that layer is selected, there's nothing on it. Go back into 'Filter', 'Vanishing Point'. Let's drag out our wall again. My first wall, not a success, you can see, it's, no way, Jose. I'm going to drag it down... to the floor, it's getting close. This one here should give us a good indication. You can see, it's not quite lining up the floor. Awesome. Drag the top one up. Not quite perfect either. So once you have jiggled it around... you can add another plane. To do that, you hold down 'Command' key on a Mac, or the 'Ctrl' key on a PC... and you're looking for any of these middle options, not the corners. So there's a middle, we'll do the floor next. So hold down the 'Command' key, click, hold, and drag out. You'll see, hey, cool, huh? The floor as well. We'll do this back kind of wall as well, so I'm going to click on this. You got to kind of click on them to get them to activate, so just click on them. I'm using this tool up here, it defaults to that tool. So I want this back plane, see this little white handle here? Hold on that 'Command' key again, or 'Ctrl' key on a PC, and drag it out. And you can see, this one here just didn't quite work. So it's just not matching the angle. And it's not that this isn't a square wall, it might not be... but it probably is, it's probably just the angle of the lens. We're just really close, and the lens is doing some weird stuff to it. So we can swing these little planes. What I remember, these are obviously good for doing walls... but really good for like book covers. Say you're doing an e-book, you can do the front cover and the spine. And you can dump your mockup on to it and it kind of folds itself around... but let's swing this guy here. So it's a the same thing, you grab the middle handle... and just hold down the other key, which is, on a Mac, 'Option'... on a PC it is 'Alt', and just click, hold, and drag it, and go slow. Go very, very slow, you can see it's a bit weird. Go super slow, if you find like it's moving all over the place, yes, it does. So I'm swinging it, you can see left and right, kind of swings it like a door. Now I'm trying to get my wall to line up the bricks. So it's actually going to have to swing around quite a bit. It's really finicky. I'm a pro, I've done this loads... but I'm still finding it quite tough here. So I've swung it round close to my bricks, it's being pretty good. So holding nothing down now, just grab that edge, that stretches it out. And it goes off into the distance. If it needs a bit more swinging... hold down the 'Option' key on a Mac, 'Alt' key on a PC. And go mad. You can do this one. This is probably just this finicky. Little trick is, just click in there... and use your up and down arrows to get it close. I'm happy with that. So now when we paste... just like before, I've copied it already before we come in here... you can go back out, you can click 'OK', go and copy it, 'Select All', 'Copy'. Resize it if it needs to be, come back in here... go to 'Select', 'Filter', 'Vanishing Point', and our blue lines are back. Go 'Paste'. Then you can click, hold, and drag. The cool thing about it now is, once it stops freaking out... here we go. It will go, hopefully around the wall. Awesome, huh? Don't worry about the pixelization, it will go. Once we hit 'Return', it's just kind of trying to do its thing. Super cool. Love it. So I am going to go to here. I'm going to put this along and transform it. I'm not going to transform it, I'm happy with it, click 'OK'. The big trick there was... because we used a separate layer, you can see now it's on its own layer. And that is the Vanishing Point. Before we go, I'm going to show you... how I would, in this case mock it up a little bit better. Nothing to do with Vanishing Point anymore, just tips and tricks. So what I'd first do is, with this layer selected I'd work on my Blending Modes. Who remembers the shortcut for Blending Modes? Yep, it's... make sure you're in 'Move Tool', otherwise it doesn't work. Hold down 'Shift', tap the '+' key on your keyboard. So I'd work my way through here... and just see if it is anything that worked for me, like I'll be like... I've already practiced, and I know there's nothing. So what I did was I left it at Normal... and what you can do is-- I want to load this as a selection. There's a trick, I can hold 'Command' and click the 'Thumbnail'. It just loads everything on that layer as a selection. If you're on a PC, it's 'Ctrl', and just click the 'Thumbnail'. I'm going to turn off that layer... because what I want to do is, on my Background Layer... I want to copy and paste... because what I did was is, I just want a chunk of this. And what I wanted is all this pointing in here. The goop that goes between the bricks. I don't know if that's called pointing... but the cement that goes between them, they're white. I want them to be actually black. So I just inverted it. How do you invert stuff? It's under here, I know it's 'Ctrl I', 'Adjustments', 'Invert', there it is there. So I've inverted it just so that that's black. I don't need it to be blue, so I'm going to hit 'Command-Shift-U'... which makes it black and white, that's probably in here too. 'Command-Shift-U', there it is there, 'Desaturate'. Why? I'm just looking for shadows, right? I just want the lights and the darkness... to apply to this thing here... which is just way too strong, like it's crystal clear, it's perfect. I don't want that, so what I'm going to do... is turn them all back on, I'm going to have this guy above him... and then I'm going to find a Blending Mode for this to blend into the color... which has been on top of the wall. And it's not black. Looks kind of cool, 'Multiply'. Depends on what you were looking for. If you were presenting this to a client as a mockup... you might just leave it full color, like look how awesome it's going to be... but if you're looking for faking it, that one's kind of cool, Hard Light. Linear Light. Luminosity, I think I'm happy with the luminosity. In Luminosity, I'm going to lower the opacity of luminosity. Just so that it's there without destroying it too much. And that's the way I went about it. What you might do as well is that... you'll find that this thing here has a good bit of grain in it... whereas my version here doesn't, it's like perfect because it's vector. So with that layer selected, we might add a bit of fake noise. Make sure it is a Smart Object so we can turn it off later on. 'Filter', 'Noise', 'Add Noise'. I'm just going to-- where is he? Decide how much of this I want. Lots of noise, a bit of noise. I probably want-- I'm just guessing. But adding a bit of noise to try and match... maybe the ISO or the kind of-- bit of the background can help. Another thing that can help is adding a corresponding noise to the background. It's kind of destroying the background just to blend it in... but that's what I'm looking for. I'm looking for it to look realistic. So 'Smart Object', I'm going to select it. I'm going to go back into my Noise, I'm going to use this one here... because it should apply the exact same noise that I did last time. Click 'OK'. And it's just so that they kind of match a bit more. Destroying the background, I know... but I think there's more consistency across that. And that is mocking up our design... using the hidden treasure, that is Vanishing Point. Let's get into the next video. 63. Vanishing point - cloning & healing at an angle: Hi there, this video is all about using Vanishing Point... to do some tricky stuff where we need to remove these lights along the top... but there's some weird perspective going on. We need to repeat this part down at this weird perspective, and then... Vanishing Point comes along, helps us out... gets us 80% of the way there anyway. There's a little bit of fixing up to do... but let's explore how to use Vanishing Point... to clone and heal at weird perspectives. To get started, in '10 Retouching' folder, grab 'Vanishing Point 3'. Let's say our problem is here, we want to remove these lights. For what reason? I didn't know, but it's a really good use of Vanishing Point. Let's just say the architect, the interior designer... didn't like them anymore... or let's say it's graffiti or rubbish... or something other than lights, we just need to get rid of them, even a person. So like we did in the last one, we need to set up... it's probably best to work on its own new layer. Then we go to 'Filter', and go to 'Vanishing Point'. And we need to tell it the plane, so in this case I want to kind of click here. Here. Here, it's pretty easy because there's... you know a reasonable kind of Vanishing Point lines to follow. It's harder when it's just like natural ground. Works so much good with, like structural architecture type stuff. Click once, and it's gone red... because it says, there's no chance, it's a flat object. So what I didn't do is I didn't-- I just kind of used the top up here and guessed it. So what I'm going to do is drag it down, these corners. So that I use what I think is a... it's not perpendicular, I want-- the word is at a right angle, that will do. So I know that kind of crosses across there. Once you get it and you've used something in the object... to get your right angle maybe... is I can drag it out by grabbing the middle one. So now that is-- it says it's blue... it says, I believe you, I trust you, and that is what you say it is. Now what you could do is... I could do this other plane here. I can hold down 'Command' key and drag that middle dot to make a new wall... but what I find is it's easy to work on one plane... and then the other plane afterwards. Otherwise your Clone Tool stamping ends up running down the walls... and it looks a bit weird. The other thing to know is... say we spend some time giving this Vanishing Point plane to look nice... I find I just click 'OK', then go back into it... then it's committed to the history... because Vanishing Point has a tendency of crashing. Just been my experience. So at least when it crashes now my plane is still here. It's been half an hour in here, retouching, and it crashes. I have to go back and set up my plane, and ah, painful. So what we're going to do is... we're going to use this here, it's called the Stamp Tool. Basically it's a mixture of the Clone Tool Stamp. That's not the word... it's called the Clone Stamp Tool or the Healing Brush Tool. They're one and the same. Basically you can turn Healing on and off here. So with it off, it's just the Clone Tool Stamp... with it on it starts blending colors. In this case I want Healing to be 'on'. And in terms of the alignment, depending on what you want to do... I want it off in this instance, I'll show you why. So in terms of brushes I'm going to have mine at about... about 150, hardness at 50, copy that, for yours in this exercise. And the first thing we need to do is set a target. So setting a target is like the other tools. You hold down the 'Option' key on a Mac, the 'Alt' key on a PC. You can give it a click somewhere where you want to get started. So I'm going to say, you there. What you'll see is, see the green target? That's where it's stealing from. The cool thing about is, watch this, when I just kind of move my mouse down... I'm not doing anything, just kind of move my mouse... you can see, the Perspective changes, and that's what makes this thing perfect. What makes this thing grateful, like stealing content from here... and pasting it down here, because if you spend time and line it up... this is going to be always everyone's biggest problem... is lining this up, so I'm going to get this to here, line it up. Moving my mouse around, click and drag. Cool, huh? It seems to blend in nicely. This brings this to this aligned. With it on, watch this, if I click and drag... and then let go, and click and drag again... you see, it's kind of starting where I left it. So the green cross keeps starting back there, and that might be fine... but there's lots of occasions where you turn that off. I'm going to undo a few times. Because what I want to do is, I'm going to say... I want you to steal because this is my only real good chunk... that doesn't have any lights in it, everything else is a bit weird. So what I want to do is click, hold, and drag. And when I let go... it goes back, see the green cross, goes back to there. So I'm going to go back to that originally sampled layer bit, I line it up again. This lining up is going to always be the downfall of this. Now, I'm not going left and right, I should. Left and right, don't go up because it's getting the edge. Can you see that, I guess that's an important point, if I go up... you can see, my green cross eventually gets close to the edge... and I end up with this kind of weird line that appears on the top there. So I'm just going to make sure I work down, and I might use a slightly bigger brush. So I'm going to start there. Actually, no, I'm going to start again and paint over the top. And just go wiggle back and forth a little bit, I'm getting both aligned. Here you go, let go. It's not so you let go before it starts blending things in. Don't go up, I just told you that, Dan. So I'm going to grab this bit here just to fix this bit in here, a bit of... Blending Mode awesomeness. Don't go up. Just go down. I can do this. See those bits over here? I set the target over here, try and get the line to line up. You can start to see I've got a bit of duplication going on. I guess it's just one of the, not the pros or cons... just, you're going to be a bit more careful than I'm being. I'm going to try and fix it up by going over the top of it... trying to get the spacing right. So you paint down, about there. I'm going to set up another one about here. And one more down here. I'm going to try and get this last little bit here. Get everything to line up. Cool. Same with these guys, I'm going to set a target up here, try and line it up. And backs it out. Keep an eye on both your cursor... you can see the Perspective line hasn't quite perfectly got it here. So I might just use a smaller brush, I'm not kind of destroying this too much. It's fiddly. I'm not going to lie to you. I picked a really fiddly example. Wish I just picked a brick wall like everyone else does. Architectural lines, a lot tougher. People are going to notice. Smaller brush. Pretty good. These guys here, I can't really get rid of those lines in Vanishing Point... because there was no, like there was none of these that didn't have one. So I'm going to click 'OK', because it's on its own layer... I'm going to kind of turn this on and off and see. Is it brilliant? Yes, that's pretty good. Is it photo realistic? Probably not. But what I'm going to do is, I am going to... use say something like the Spot Healing Brush to tidy this up. Spot Healing Brush, maybe the Patch Tool. The only problem with the Patch Tool... is that this is on its own layer, which is quite cool... but the Patch Tool doesn't work when there are two separate layers. So I select both of these, and hit 'Command E'... 'Ctrl E' to merge them together... or go to 'Layer', 'Merge Layers'. And now these guys need a bit of work. So I use my Lasso Tool to grab this. Go to my Patch Tool, find somewhere that I like. Just kind of work my way through fixing these guys up. It's not perfect, it's way better than trying to do it with 'Edit', 'Transform'. What you can do now is go back into Vanishing Point... and work out this last plane. And see if you can duplicate this across a few times. Now I'll do that. Last thing we should do is this last plane here... there's a weird light hanging across it. So we're going to go to, own layer, go to Vanishing Point. I'm going to hold the 'Command' key down and grab this plane. I'm going to click on this plane and hit 'Delete'... actually 'Back space' to get rid of it. It's got rid of the whole thing, it's okay, put you in. Doesn't like it, sees yellow. Sorry, buddy. That's not a wall, you can see why, that's not great. Cool. Looks better. Awesome. I'm going to grab my 'Clone Tool Stamp'. I probably go okay, then come back in, let's do it. It fills the Vanishing Point just in case it dies. And I'm going to try and replicate this over and over again over here. I have to make it just a tiny bit smaller... because I don't want to bring in the lines from above. 'Clone Tool Stamp', I want you. Trying to bring it down a little bit so it's not grabbing the edge. A bit bigger. I might just tidy it up a little bit further across. You, I'm going to try and paint you into here. And with the Healing Brush on, it's going to try and blend that white that was there. So I'm going to turn it off. I just want the good old Clone Tool Stamp... because the colors are blending pretty good. I grab this bit, set a target. A bit that way, bit that way. Grip the middle bit. Here's some updates. Now that I've got all these colors in here... I might go and grab 'Healing Brush' on to get it to blend in. Now I can see bits of white kind of poking through. So it's probably going to blend it. See it's kind of yanking bits of the lights out. So what I'm going to do is... I'm going to grab my 'Selection Tool', and just make sure that this isn't... just a little bit lower. Now using my Clone Tool Stamp, I'm going to say, you. I'm going to try and make that bit nicer. This bit here as well. Beautiful. Let's click 'OK'. It's on its own layer, and we have fixed the roof. You can see how the Vanishing Point got us 80% there, 90% there. Some touch-ups with the Patch Tool or the Spot Healing Brush. So that is Vanishing Point. It has some quirks, add it to your toolkit of Photoshop awesomeness... but as we saw here, needed a little bit of extra love. Maybe the Spot Healing Brush, the Patch Tool. But it can be super helpful for getting that kind of big stuff locked in. All right, on to the next video. 64. Class Exercise - Vanishing Point: Hey there, it's class project time. In your 10 Retouching folder, under Class Project... there's these two, Vanishing Point A and B. I want you to take this whale we made in our Illustrator class... and put it on this building. I want you to mock it up... like we did in the first of the two Vanishing Point videos... where we mocked up the kind of graffiti thing on the wall. I want you to wrap it around the building. It can be small on this building... it could be wrapped around both buildings... maybe down the side. It's up to you, but I want it to feel like it was there. What I'd also like you to do is... I want you to remove the antennae along the top... and move these lights here off the front. And when you're finished I'd like you to share it with me, see how you win. So two images, put the whale on the building... remove the lights and the antennae. Not sure why I'm saying antennae, antenna. You know what I mean, the satellite things of the roof. All right, on to the next video. Once you've done your homework, you stay here. I'll be back when you're finished. 65. Fixing & retouching skin tone in Adobe Photoshop: Hi there, this video is all about how to make really quick selections for skin. So in this case we just warmed up her skin a little bit... and this one here, we removed a bit of the red cast from her face. It's all about how to get this really quick skin selection using Adobe Photoshop. First thing, is in '10 Retouching', open up 'Skin Tone 1' and '2'. So Skin Tone 1, we're just going to select and just warm up the skin... and Skin Tone 2, we're going to remove just a little bit of red cast. We're going back to a tool we've used before. I kept it in the retouching section. It's hard to know where to split these things up... but I figured if you're coming back to this, retouching is a good place for it. So what we want to do is select all the skin tones. And under 'Select', 'Color Range'... we've kind of ignored it earlier on, there's an option that says Skin Tones. That works pretty good, there's an option that says Detect Faces... and I find that can be good and can be bad. I find in this case, it's not working as well. I want some of this kind of mid tones here in the skin. Play around with the fuzziness, high, low. I don't want to get it so that it's getting a lot of the skin... but not too much at the background. So this thing here, think of it less as detecting faces... and think option 1, option 2. Option 2 is fine for me now. If yours isn't doing the same as mine you can select to gray scale down here. And let's click 'OK'. With that selection I can go to 'Adjustments'... and let's say I want to warm it up, but I find the most handy... it's using Color Balance, there's this little scales here, this balance one. You can play around with all three of these. Probably mid tones is going to give us our most adjustment. I'm just going to warm up so I go from blue to yellow. From cyan, just a little bit red. Turn the Eyeball 'on' and 'off' just to warm up the skin. Now what you'll also notice is that it grabbed a lot of the background. A nice easy way to fix that is to paint it out on the mask... but we're going to use our trick, we hold down the 'Option' key on a Mac... or the 'Alt' key on a PC and just click on the mask. Goes fully black and white, then when we're using our Brush Tool... black is my foreground color, mega size, hardness, pick that. Because what I want to do is I want to leave the skin tones... but I don't want to mess around with the... kind of warm colors that are in her clothes, that are in the brickwork. Make sure it's not set to Overlay, set to Normal. Overlay can be handy, we looked at it earlier on... but in this case I just want to kind of, like belt out this real quick. Let's zoom off to the side even. At the moment I'm just removing from the mask... so that it's only working on this skin. Now when we turn it back on, the same thing... hold down the 'Option' key on a Mac. 'Alt' key on a PC. Now it should only be affecting the skin. Did she have yellow skin? A little bit too much. In this tutorial, I guess I'm trying to-- we'll go a little bit too far. So I'm going to click on it again, lower this down a bit. You may even turn down the opacity of this whole layer. So 'Opacity', slide it down just to warm it up. It was a bit gray before, I'm happy with that. Let's look at another way of doing it, so Skin Tone 2. This happens a lot when you're shooting on something like a cell phone... where you get some kind of reds in the skin. I'll show you a little trick for this, so we start the same way. We go to 'Select', we go to 'Color Range', we pick 'Skin Tones'. Detect Faces, in this case works really good. Fuzziness... maybe where it was. Click 'OK', so I've got a selection. Now it's up to you, whether you're a curves or a levels person. I'm more of a levels man myself. What we're going to do is instead of trying to adjust the whole thing... we work on just the red channel. There's information on all three of these channels. You can see, green and blue are kind of in the middle here... but red, it kind of lumps to the side so what we can do is kind of shift it. We can shift the mid tones. And maybe even some of the darker ones. Just to remove some of the red. On, off. It's pulling some of the color out of it here. So I'm going to use my 'Option' or 'Alt' key... and just paint out the bits that I don't need. There's an easy way to select skin... and a few little extra tricks to work on your mask. You can move on now while I spend a while... just clicking. Nice and big, paintbrush, remember that shortcut, still can't remember. On a Mac, 'Ctrl Option' key, drag left and right. If you're on a PC, hold down the 'Ctrl' key... and click and drag the right mouse button. The weird one, the right click. Click, hold, and drag it left and right, up and down is the hardness. Option, click it again, so just the skin. Just working on the red channel. And in this case I remove too much from the hand as well. I close it down here, it's a bit of red in it... so what I'm going to do is paint the other way. So a smaller paintbrush. I'm going to hit 'X' my keyboard to bring white to the front. I'm going to paint that out. Again, when you get into the corners again. I do that, and then toggle 'X' to go back to the black key. Just paint it in because-- it's quite forgiving... because it's over this black stuff here, so paint that out. And I'm not even going to worry, maybe that bit there. So that's how to select Skin Tones. You might be warming it up with Color Balance... you might be removing some of the reds. If it's got a cyan cast or a green cast... you do the same thing, but we got the green channel in levels... or blue, or green, or red. That's it for this one, I will see you in the next video. 66. Retouching eyes by enhancing in Adobe Photoshop: Hi there, in this example we are going to take our eyes... and just give them a little boost. Enhancing what's there, using the Dodge and Burn, and the Sponge Tool. Let's do it now in Photoshop. To get started, from your '10 Retouching' folder... open up 'Eyes 1'. First thing we're going to do is we're going to duplicate it. So with the layer selected, 'Command J', or 'Ctrl J' on a PC to duplicate the layer. Even give it a name. Call it 'Retouch'. Now this video is all about enhancing what's there. The videos after this, we'll look at faking it a little bit more. So let's look at enhancing rather than faking in this video. We'll see how far we get. So first thing we're going to do is we're going to saturate the eyes. So they're brown eyes, we're going to make them more brown. So click and hold down the 'Dodge Tool' until you find the Sponge Tool. Sponge Tool has two modes, Desaturate and Saturate. We want to 'on' Saturate. And in terms of the brush we want something... something that's going to fit around the pupil... and in terms of the hardness... I have mine fully fuzzy, hardness of '0'. And then with the flow, somewhere in the middle. What we're going to do is just slowly work. When I say slowly, it's not 40%, it's going pretty fast, 52 exactly. So don't worry if you go too far. We're going to dial this back with the opacity. So it's okay to go too far. This other side here is going to run into some problems... because there's not a lot of saturated color in here. So I can keep working this, I can work a little bit... but eventually you're going to find that... it's there but it's a bit pixelated, not amazing. And it's going to be one of the issues, well not the issues... but one of the things we run into when we're retouching, say this side here... it's a very strong light being used. So this side's always going to be dark, just going to have to live with it... if you want this to be natural. Don't worry I'll show you how to fake it. Let's say that works for us. So it's saturated now, let's look at working with the lights and darks. So basically we want to make the-- kind of shines brighter... and the pupils darker, and maybe a little bit around the outside too. The best way to do it is-- it's in that same little group... Dodge and Burn, Dodge makes things whiter... Burn makes things darker, so grab the little pedal. So we're going to brighten it up first. And what are we going to brighten? I'm going to brighten the highlights. I want the highlights to get brighter. Exposure is just like how much of this is being applied, I have mine low enough. I'm going to click this a couple of times. Just to brighten up the shine. Same this side. Not too far on the side because maybe this one is darker for a reason. You might decide that you want to lighten up some of the centers here as well. So you go to Mid Tones, and I'm going to wreck it. Maybe this side just needs a little brightening up. Maybe the same with the eyes, in this case because the eyes are quite gray... I'm going to use the Mid Tones... I'm going to keep it quite low and just not too much. Always goes too far using the Burn Tool. That's okay, we can turn it down. Don't you worry. So how are we doing? Yes. Last tool is the Burn Tool, and if you're like me, looking for shortcuts... you can switch to the Burn Tool. I'll toggle between these two tools, it's not a problem... but if you are on the Dodge Tool, and you want to start burning something... say you're dodging the eye, and you want to burn this bit... just hold down the 'Option' key on a Mac or the 'Alt' key on a PC. Nothing really changes over here... except now, these exact same settings are being used for the Burn Tool. You can see, I can kind of darken up my Mid Tones... or let's do it the long way, go to Burn Tool... and I'm going to pick a size in here for the pupil, darken that up. Same on this side, darken that up. It's going on through too thick, so I'm going to lower down the exposure. And yes, it's way too far... but now we can, with this layer selected... go to the 'Opacity' and just kind of lower down to something believable. Turn this layer on and off. You can see, we've worked the eyes up... without having to fake them. Now I picked this image because it's kind of in the middle, right? It is-- the eyes aren't totally, like obscured and pixelated... but it's not a super high res stock photography image. So this is a bit of realism here. So first up, saturate them using the Sponge Tool. Then dodge and burn them. Dodge makes the sparkles brighter, the whites of the eyes brighter. And the Burn Tool, we just use for the pupils... and I use a little bit around the edge to define the eye a bit more. All on its own Retouch Layer so that we can lower the opacity. I'll show you one other way of doing it, and is it faking? Kind of no, I'd say this is enhancing. So I'm going to turn off my Retouch Layer and do a different method. This is going to be my 'Retouch 2'. What I'm going to do is I'm going to grab my Brush Tool'. Pick a Brush size that kind of fits with the eyeball there. Hardness, I'm going to bump up the opacity so you can see it there. Hardness, I'm going to have it about... 80-ish. Now I'm going to pick a foreground color that matches the eye color that I want. Let's say, instead of making them green or blue... let's just enhance the brown that's there. So I'm going to pick a kind of a warm okrey... orange color. Actually I'm going to lower the hardness a bit, bit fuzzier. And we're just going to work in the eye here. Pretty caveman. Do the same on the other side. Zoom out, and then it's just finding a Blending Mode. So remember we had the problem before, there's just not a lot of hue in the eye... to bring out, remember, we tried to use the Sponge Tool. Now with this layer selected let's work through the Layer Modes. The shortcut is 'Move Tool', hold 'Shift'... and tap the '+' key. Or you can do the long way, just keep clicking on these... until you find something that is... let's say you-- Color Dodge, let's keep going. See what else is there, Color Dodge. Saturation is quite nice. Color Dodge is a bit extreme... so it will depend on the color you've chosen. Say you've chosen green eyes... you'll find that a different one of these will work. Let's say Color Dodge is cool, looks a little vampirey... but we're going to just lower the opacity to something more believable. Just turn it on, turn it off. We might still go through and duplicate this layer. And not use the saturation but definitely use... the Dodge and Burn. Make this a bit brighter. And my Burn, holding down the 'Option' key... just to darken up the pupil there, same on this side. Darken up the pupil, close that out. So kind of just a different way, we get to a similar place... and it's mainly just changing the way we got the color. Was there an existing color that we can enhance or did we have to fake it? So on, off. That's the second version, on, and off. I'm just dragging across these eyes. Let's turn on this one here where we did the saturation... with the Sponge Tool instead of this one, so this one versus this one. You got to decide. I think I like this one... but I think I like the situation just down a little bit more, bit more believable. That's it for phase one of eye retouching. Let's get into phase two where we fake it... but with faking it comes some pretty amazing results. I'll see you in the next video. 67. Retouching eyes with a little bit of fakery in Photoshop: Hi there, in this video we are going to retouch the eyes with... I'm going to say medium faking. We're going to add all this lovely detail into the eye. We know it's probably there, but it's milky and gray in the actual photograph. Let's look at how to create this now in Photoshop. First thing is, if you're working through the tutorials... you can save and close the last one, it will save as a PSD. What I want to do is just reopen the JPG again. So from '10 Retouching', open up 'Eyes 1'. And we're back here. So what we want to do is we want to grab the 'Adjustments Panel'... and we're going to use 'Levels'. What we really want to do is... we're not worried too much about the rest of the document... we're just kind of zooming in on the eyes here, we want to enhance the eyes. And when I say enhance, we're not here to make them perfect. We just want more color out of it. Just a richer, lighter color. Even a bit extreme. So we're not worried about this, we're just getting some... let's have a look, on, off. Just a lot more light here in the eyes. Next we want to do is, I want to remove this mask. You can click on the mask and just say, 'Invert' it. So I'm not really removing it, we're just painting it all in with black. And what we want to do is, with our 'Brush Tool'... have white as the foreground color. And in terms of the size, it's going to get super small and super soft. So mine is 5 pixels, hardness of 0. Let's turn down the Opacity a bit. When I say a bit, a lot, I'm going to zoom in. What we want to do now is draw in the little lines that appear in her eyes. Even that's too thick. So I'm going to go down even smaller, 2 pixels, it will depend on your image. Something small like that. Because what we're trying to do, I'll show you this example. You can see this, kind of gross zoom up of an eye. You can see all this detail in here, and that's what kind of... that kind of milky way galaxy awesome lines in here. Really help an image stand out... plus we want these kind of, like little ripples in here. So we're going to use this as our visual guide... because what we're going to do is draw out little lines. And once you get started, it's going to look a bit weird... and you're like, "There's no way this is going to work." But keep building it up. What you'll find, if you're like me... I can draw down fine, drawing up this way, it's a bit kind of weird. So what you can do is hold down the 'R' key... hold it, hold it, click and drag, let go of it. And it means you can kind of just work around this eye... in what's maybe just a bit more natural selection. Don't worry if it's not all perfect... because there's kind of cross hatching loopy stuff. It is fine, plus we're going to turn it off a little bit, lower it down later on. So what we're doing really is... we're not really drawing on it, we're just... showing through in our mask... if I 'Option' click the mask, or 'Alt' click the mask... we're just making little holes in it so we can see through. If I disable it, this kind of bright area. That's what makes it look a little bit more natural... than maybe just painting with the Dodge Tool. So keep going. Just keep overlapping, working your way around. R key, if you want to get rid of it... you don't like the rotation anymore... 'Esc' key kind of gets it back to square one. R key again. What I'm going to try and do now... is I'm going to try and do some of those little loops. Now I'm using my mouse mainly because... if I use the Wacom, it comes out a lot better... and often people aren't using like a tablet. Tablet, the nice thing about it is that you'll end up having a little bit... these are quite like fat lines, or at least they're not tapered at the end. So if you're using a Wacom tablet... you'll end up with just kind of nicer tapered line. So if you are using a Wacom... you might find your result a little bit nicer. You can start to see, it's getting there. I'll hit 'Esc'. There's a few little bits around the outside here that I need to remove. Got a bit crazy with it, so with the mask selected... I have black as my foreground color, I'm just going to paint these out. So it's not coming over the edges here. Not realistic. Now we're doing with lighter colors, you can do the same thing. You can grab, in 'Adjustments Layer', I'm going to turn this one off. Go to 'Levels', and in this one I'm going to darken it down. And do the same thing, click on the 'Mask', 'Invert' it. I'm going to turn the other layer back on, with this one on the top... I've got my layer selected, I'm just going to paint in some of the darker bits. Same thing, same sort of brush. What did I have? 2, 3 pixels? Can't remember. Make sure white's your foreground color... and just kind of paint in a few of these other bits. I'm going to raise opacity of mine to maybe 60%. Maybe some shorter little lines. Zoom out a little bit. What do you think? It's kind of cool. So turn these off, turn these on. This goes into my little bit of fake, but clear conscience retouching. They're probably in there. I just kind of brought them out, you can see my terrible drawing. Actually kind of adds to this effect. What I might do just to finish it up is... Background Layer, I'm going to duplicate it... because I'm going to do some dodging on this. Dodging has to happen on the pixels. It's destructive, so I'm going to do it on its own layer. So 'Dodge Tool', like in the last one... I'm going to just enhance these a bit. I'm set to Midtones, it's not what I want. I want to grab the highlights. I got my exposure down quite low... and I'm just going to pop these up a little bit. Same with the eyes, not much. Actually these need to be Midtones, because they're quite gray... they're not operating, we know they're white, but Photoshop sees them. It's kind of Midtones, do the same over here, just a little bit. Same for that. Maybe switch to the Burn Tool. And I am going to burn the Iris. You'll see that we don't have it over here so I'm going to grab both these layers. I'm going to hold down my-- I'm going to go to my 'Move Tool'. Hold down my 'Option' key on a Mac, 'Alt' key on a PC to duplicate them. And you can see, I'm just moving the mask which is quite cool. So even though this side here is a lot darker... it's not bringing all these light bits, it's just bringing the mask across... showing through the darker version of the side, quite realistic if you ask me. You could go and redo it for this side as well if you wanted. If you felt like there was some repeating bits, that were quite obvious. I think it's not, I think it's fine. So let's compare it. Let's look at the Background Layer here. Let's hold down the 'Option' key on a Mac, 'Alt' key on a PC... and it just turns them all off except for this one... and all back on, all on, all off. So get this eye especially, my favorite eye, it's the good eye. What I might do with the dodging there... always go too far, just lower it down a bit. On, off, a bit nicer. Click again, 'Option' or 'Alt', click this. I'm happy with that, if you're not happy with that... we're going to steal a trick from the last tutorial. So just a new layer on top of everything else. Let's call this one 'Eye Color'. I'm just going to use our 'Blending Mode' again. So 'Brush Tool', I've picked a... color for the eyes, it can be a different color. I was going to use the same color, brown. Turn my Opacity up. Make sure that edges of your brushes are kind of fuzzy... so you don't get into the whites of the eyes. You can color it all in, it's pretty basic. Wow, pretty simple tool to do. I'm not changing the color... you could totally change the color if you were using green or blue. Now the trick is to find a believable Blending Mode. Like we did before, 'Move Tool', hold 'Shift', hit '+'. And just work your way through until it becomes like a werewolf vampire. 'Color Dodge', for something a little bit more believable. Color Dodge is working for me, it's just the Opacity. So I'm just going to tap the number keys, '50'. I'm going to come right down to maybe 30%. On, off. Now let's check it, let's hold down the 'Option' key, 'Alt' key. All right, looking cool. If you still want more, there's one more eye retouching video... where we totally fake it. It's kind of creepy, but it's kind of fun. And it works 60% of the time, every time, I'll see you there. 68. Fully faking believable eyes in Adobe Photoshop: Hi there, this video is all about fully freaking an eye. We take the original image here, we fill out all the detail in the eye... by doing something a little bit creepy with this one. All right, time to get creepy. From your 10 Retouching folder open up Eyes 1 and 2 again. You might have to save and close the previous exercise. So 1 and Creepy Eye 2, and yes, it is what you imagined. So I found this eye, mainly because it has a full kind of pupil in here. So I can use it for all sorts of situations. What sorts of situations? One eye is blinking, one eye is closed... one eye is a little bit lower than the rest of them. They're just really out of focus. So the previous two videos are just not going to work. So I am going to grab my 'Quick Selection Tool'. I'm going to select all of this. There's some bits up here that I don't want. Do not worry too much about it, this is quite a forgiving tutorial. Believe it or not. Holding down the 'Alt' key or the 'Option' key... just to kind of tidy it up a little bit. Let's see what it looks like as a mask. Let's go to 'Select & Mask' and just tidy it up a little bit. Probably some feathering, it's going to be nice. Too much, I'm going to shift the edge in a bit. Smooth it out a little bit. Yes, it's going to work for me. See what the radius does. Nothing. All right, let's click 'OK'. So this eye now is going to be moved to this layer here. You can copy and paste it. Just drag it in like this, it's far too big. I'm going to scale it down. I'm going to get it close to where I need it to go. Now the trick is to be in, just seeing one eye, can you see two of them? One of them blue, one of them not, starts off creepy. This gets less and less creepy as we move along, I promise. I've got it roughly in position. Maybe a little bit bigger. Here we go. Hit 'Return'. Working on the mask, I'm going to grab my 'Brush Tool'. I'm going to be working with white. With black. And I'm going to have about this sort of size, hardness at 0... but I'm going to lower the opacity of it... by just tapping the numbers key on my keyboard. You can see opacity, 30, 40, 20, or 42. It's about 20%. I'm just going to work this bit at the top here... where the eyelid is, and same with this bit here... maybe just a bit bigger to get these in. I'm going to do the same thing for this edge here, it's just too sharp. The lights are hitting it the right way. So this light's cast this way, you might have to flip the eyeball over... if your light's hitting it the wrong way... because it might just look a little stranger than it does at the moment. And what I really came for is, I really want all this kind of detail in here. So instead of drawing it out by hand, like we did in the last video... I'm now going to click on my actual, not the mask... I'm going to click on the actual layer, and I'm going to work my way through... and try and find a Blending Mode that works. I'm going to use our shortcut. 'Move Tool', 'Shift +'. Plus '+' goes forward, minus '-' goes back through the options. That's kind of cool, which one, the Color Dodge. You can see there, less creepy... but we've got a lot of that kind of detail in there... that's maybe a bit more natural... but it's not necessarily this person's eye. I'm happy with that. We'll come back to Color Dodge. Let's have a look what else we got. Will this work? Probably not. Way too bright, so let's go through. Exclusion's kind of cool. I keep this in here because there is a lot of just kind of... going through these, and going... "Oh it kind of works, but that one doesn't." In this case Color Dodge works for me, so I'm going to just duplicate that eye. Over here, add the detail into it. It's blending nicely with the background. What I might do is duplicate this background again. This one's going to be a Retouch Layer because I want Dodge Burn, so 'Dodge'. Clickety click. Clickety click. You can run it around the edge here... because these Blending mode Color Dodge responds to it... it's going to kind of brighten them up, it's probably not what I want to do. Undo, now you can. I'm going to switch to the Burn Tool by holding down the 'Option' or 'Alt' key. Just kind of darken up these centers here. I'm going to zoom out. Let's check what we've done. Let's hold down the 'Option' key on a Mac, 'Alt' key on a PC. I really like it. Now in this case there is already a strong kind of light cast. See the reflection there. If yours doesn't... you can add another one, so just add another layer. This is going to be my highlight. Grab the 'Brush Tool', and drop down the brushes. And in here there's a bunch of-- it depends on what version of Photoshop you're using. Go through and find-- like you can get away with murder in terms of reflection. Sometimes there's the strong kind of light that's coming from a window pane... or in this case, it's a bit of a kind of a mixture... coming through the trees in this case. So I'm going to go to 'Dry Media Brushes'... and I'm going to pick one of these, I'm going to use this one here. Kyle's Ultimate Charcoal Pencil. I'm going to have white as my foreground color. I'm working on this layer here, zoom in. I'm going to just add my own, so what size brush? This one here, I might lower the opacity a little bit as well. It's actually the flow in this case. I'm just adding these, I'm trying to kind of pick it a little bit. Do the same to this side. It's not quite ready yet because what I want to do is... once I've got it here, play with the Layer Mode again. I rely on Layer Modes a lot in Photoshop... just because they're so useful for blending things in. You see there, enhanced it up. They're different from normal, let's have a look. A little bit less, let's have a look at anything else in there. Layer Modes. I think it's off light, that is the one for me. Giving me a different consistency on this lighter eye and this darker eye. You might lower the opacity of it down a little bit. Maybe a little bit more. We're actually done now, hold down 'Option'... Hold down 'Option' or 'Alt', give that last one a click. Some pretty cool eyes, they're not hers, not all of it anyway. So that is going to be us. There's three ways of doing eyes, enhancing it, a little bit of faking... and then using creepy eye. They all have their place, I hope you found them useful. I'll see you in the next video. 69. Class Project – Eyes: All right, time for a class project. You might have noticed throughout this course... I sometimes call it class exercise, sometimes class project. You've probably seen that. I will try and remember to call it class projects from now on. What I want you to do... we've gone through three different ways of doing eyes, enhancing it. Remember, dodging, burning, and increasing saturation using the Sponge Tool. That was the first one, then we made an Adjustments Levels layer. You could use curves, and then we painted those lines in. Then in the last one, we totally faked it, we used somebody else's eyes... found a good Blending Mode, and used that to create the detail in the eye. So in your 'Exercise Files', under '10 Retouching', 'Class Project'... there are these three. Work your way through all three of them. With the three different techniques, hone and practice your skills... and then share them with me. When you do share them, I'd love to know what you did. Which technique you used, maybe mixture of both of them. I can't wait to see what you do. All right, on to the next video. 70. How to realistically whiten teeth in Adobe Photoshop: Hi there, this video is all about teeth whitening. Before, after, before, after. It's easier to do, and the cool thing about it is once you've done it once... you can reuse it over and over. Ready, that is the after, ready, before, after, before, after. It's a nice retouching trick. Let's learn how to do it now in Photoshop. To get started, from your '10 Retouching' folder, open up 'Teeth 1' and '2'. Let's start with number 1. To get started let's make a real, just basic selection. So I'm going to use the 'Quick Selection Tool'. I'm going to zoom in. Brush size, I'm just going to pick the teeth but not the gums... but we're not spending too much time here. It's easy just to get most of it done and then brush in the edges... using your Brush Tool a little bit later on. Don't get the gums. Don't get the gums. But again, we are going to fix this later on so don't worry too much about it. Most of the teeth. First up is, we need some consistent color... because there's bits of whites and bits of yellow. You might have darker bits of brown in there as well. So what we need to do is get some consistency. Easiest way is to go to your 'Adjustments Panel'. We're going to use the 'Hue & Saturation'. And what we want to do is colorize it. It's kind of weird, right? But at least it's a consistent color. We don't want it to be consistently pink. So crank out the saturation until you find-- you want a yellow color, I know we're just trying to get rid of yellow... but I'll show you what I mean in a second. So if you find just a kind of a warm yellow... something like that, and then crank the saturation way down... because if you go 0 saturation... nobody has that white teeth, or at least gray teeth. So you need some yellow in there. And that's the trick. If it's not perfectly white there needs to be some yellow in there. So let's turn it off. So lots of yellow, and inconsistent yellow... whereas just a little subtle hint of yellow. So that's one part. Next part is we need to make them more white... or at least see more white. So what we're going to do is grab the 'Rectangle Tool'... pick a Fill color of white... and just make sure you draw our rectangle... across the whole lot of the teeth covering it up. So I want to mask this white into the teeth. So what I could do is hold 'Command' on a Mac... or 'Ctrl' key on a PC to get that selection... and have like two selections going. So I've applied a Layer Mask to this one as well... but the trouble is, we'll end up having to adjust a couple of different layers. So it's a stage like this where it's really handy... to have this Layer Mask on a group... and just have everything inside it, we're going to have three layers. Levels, there's white rectangle, and there's Hue & Saturation. We'll just get them all to use the same mask. I'm going to undo that. I want the selection, which is cool... and I want to delete that layer mask because I've right clicked it... I'm going to select both of these, hit this little folder down here... put into a group, and now apply the Layer Mask to that group. Just means that these guys here don't need their own individual masks. Perhaps doesn't look amazing, we're going to fix the edges. The first thing you want to do is have your rectangle selected. And we're going to play with a Blending Mode. So remember, I'm going to click on one of them... then make sure I'm on my 'Move Tool', hold 'Shift', hit '+'... and just kind of work your way through until you find one that you feel works. It's probably going to be Soft Light. It's not always though, so I guess I want you to have to work your way through... and find one that works, Soft Light here makes it nice and white. Probably a little too strong, so we're going to lower down the Opacity. Again, we're not worrying too much about the edges... we're going to feather those out. To check how far we've come... who remembers what I can click here just to turn that layer on by itself... and turn all the others off. You remember? Yes, you do. If you're on a Mac, it's 'Option', and give the Eyeball a click, or 'Alt' on a PC. So definitely more white, not super believable just yet. We're going to do two more things. One is the levels, we just need an increase. There's just kind of-- it's too washed out in lots of places here... but let's create, 'Adjustment', 'Levels'... and in here we're just looking to just maybe bring up the blacks a little bit. Just so that there's a bit more kind of contrast in the teeth. Don't want to go too low with the Midtones, let's keep those nice and high. Maybe a little bit high here... in the highlights. Now it's up to you, do these levels need to be turned down a bit? And maybe this Hue & Saturation. Does it need less of the yellow, maybe just a touch. Before we go and adjust all three of these... let's kind of blend the edges a little better. You could go and see how well you go with just selecting the mask. Just select the mask and see how you go with feather. I'm probably going to start with feather and then brush it in. Let's click 'OK'. It's looking better. Undo, redo. That might be enough for you... but you might have teeth in the background here that-- let's turn this one on and off, I'm okay with it actually. I might feather it a bit more, but I also want to show you-- let's just work on the mask with the Brush Tool. Make sure, in your Brush Tool here... is using a Special Effect brush. Go back to General Brushes and just pick the first one. I have my flow at 100%, and maybe turn down the opacity a little bit. What I'm trying to do in here is... there just needs to be a little bit more of a realistic blend between the gum. And if your selection was really bad... you probably have to go and spend a bit more time just kind of making sure... there's kind of transition between the teeth and the edges here. Just working the edges just a little bit to have a little bit of realism... between the transition of pearly whites... to this kind of more, hiding underneath the lip. Should be a little darker. Maybe not these guys. Definitely here in the gums, you can see the gums ended up going quite white. What I'm going to do is, to get into this little area here... I'm going to go to 100% Opacity... and I paint it out. Toggle the foreground and background color over here... using the X key, and just paint it back in. It's easier to get into the corners that way. Same with you, 'X', paint it out, 'X' again to toggle it back. So black is at my foreground. I'm happy enough. Now we've got our blend working better. We've got a kind of walk around your office or your lounge. Wherever you're at, because after looking at it a while it just... it becomes really hard to know whether you've gone too far or not far enough. So go make a cup of tea, come back, and then look at it and go... "Hmm, is this believable?" If you're finding it's not after a little walk around the room... come in and start working through the levels... click on the levels part and decide... do I need more of this, less of that? Does the whole layer need to be turned down in terms of the opacity? The white triangle here. We pick Soft Light, you might try a different blend mode. The Opacity might be needed to be turned down a little bit. And under Hue & Saturation, does it need more yellow, or less yellow? Let's go for the big reveal, let's hold down 'Option'... click on the 'Eyeball', or 'Alt'. Whole lot better. I finally close one eye, I'm not sure why. Whenever I move it around, I'm kind of checking it out, I'm like... It's looking good. Close one eye, does it look good in one eye, the other eye. I doubt that helps, it's what I do. Now, once you spend a bit of time... creating these three little layers you can totally reuse these. So what we're going to do is grab the group... and this is going to be my 'Teeth Whitening Layer'. Let's say 'Teeth 2', this is a bit more of a realistic example. I guess nobody gets that sort of closer, and what you end up with is... kind of generic, this photograph's not amazing. If you zoom in it's kind of a little bit out of focus. But the teeth need to be fixed, tidied up. Well, not terrible teeth, but they could use a lick of white paint. So 'Move Tool', select the group, 'Command C', 'Command V'. It's brought through that group of whitening. All we need to do is right click... delete the Layer Mask... make sure that this white box is over his teeth. You might just make that white box huge. So that the next image you use, you don't have to be as specific. And what we're going to do is, let's click on the 'Background Layer'. We're going to add a Layer Mask. And a cool little trick is, instead of adding a Layer Mask and then... trying to paint it all out or fill it with black... what you can do is, as you click 'Layer Mask'... hold down the 'Option' key on a Mac, 'Alt' key on a PC... and it just applies a Layer Mask, but the inverted version. Instead of a white mask it's a black mask. What we can now do is grab our paintbrush... and either start with the Quick Selection Tool... or just start with a brush like I am. Picking our hardness that kind of matches the edges of the teeth here. I'm using white as my foreground color, my Opacity is up 100%. I might turn the Opacity down to something like 50 by tapping '5' on my keyboard... and just slowly but surely working the teeth. Again, we're going to have to probably do some adjustments, levels and... the Hue & Saturation to make this thing believable... but you got most of the work done in the group. There's just some tweaking you need to do. Looking loads better already. Remember the R key. You need to move it around. 'Esc' to rotate it around. I'm leaving just a little bit of yellow in the corners there. Don't make it too far removed from your life. A whole lot better. On, off. And now you can go through, drop this down and decide... do I need to mess with the levels a bit more, maybe lower them down a little bit? Raise them up a bit. Make your tiny adjustments... to match to that a little bit. Nice. Hue & Saturation, I'm happy with how the saturation is. Watch them, on, off, on, off. And that my friends is how to whiten teeth... using a mixture of Hue & Saturation, a big old white layer and levels. Now with levels, that some time is optional. It doesn't always need it. It did need these two examples, but lots of times it doesn't. And if you keep them in a nice little group... you can reuse them on different documents. All right friends, I will see you in the next video. 71. Class Project – Teeth: Hi everyone, it's class project time. I'm going to set you loose on a project we started in a previous tutorial. It's the one we did with eyes. So, in your '10 Retouching', under 'Class Project'... there's a file, and they're called 'Eyes C'. We did the eye, so hopefully you've done that. Don't worry if you haven't, but grab this file... and we're going to work on the teeth. So her teeth are perfect. We're going to have to be reasonably subtle with this one... but use the same techniques. So there'll be a Hue and Saturation Layer. There'll be a white Layer with the Blending Mode. And we're going to adjust the levels. I want you to see if you can get it so that it's hard to tell. You can make gleaming white teeth if you like. Maybe make three versions. Before, realistic, and then Colgate smile. And what I'd love you to do is... I'd love you to share it, but I want you to share the before and after. So take a screen shot of it as this, and your version, that you've finished. And maybe the super cleaning white version if you want to as well. I'd love to see it, drop it in the assignments or in the comments... or tag me in social media. All right, I will see you in the next video. 72. Difference between Place linked vs Place Embedded in Photoshop: All right, what's the difference between placing Linked and placing Embedded? It's up here, 'File', and it's these two. It might seem obvious... but I'm going to go through some of the pros and cons for both. Then some of the tricks to, I guess, make them work efficiently for you. So Embedded means-- I'm going to place an image, and it's going to go inside this Photoshop file. It's going to be fully contained within this PSD. If I link it, it's going to show it in this file... but actually it's going back to this source... the original thing on my desktop, the whole time. Which means if I delete that original file... Photoshop is going to say... "Hey, where did it go? I'm just linking to it." Whereas Embedded means it comes along with this file... and let's look at the pros and cons. So this file here, without anything in it is about... where is it? There, it's this one here, it's 28 Megabytes. I haven't included this file in your exercise file... just because it's a really big file, and it's just a demonstration anyway. So let's go to 'File' let's go to 'Place Embedded'. I'm going to bring in this little mockup that I'm working on. It's in a different Photoshop file, it could be anything else. It could be a JPG, could be an AI file. I've got it in here, I'm hitting 'Return', I'm hitting 'Save'. So the Embedded file, it's increased it by a corresponding amount. So this is nearly 7 Megabytes, and it's gone up nearly 7 Megabytes. Let's do the same thing with Linked 'File', 'Place Linked'. Same file, just brought in a slightly different way. Looks the same, works the same way, hit 'Save'. Hit 'Save', jump and check it, you can see here, it's only gone up a tiny bit. The biggest drawback, say somebody goes and deletes that one. Say I delete it; goodbye. Photoshop goes - hit 'Save'. - it freaks out. It doesn't really freak out, it actually works kind of fine. Can you see down here, the only thing that's changed is this little icon. A little question mark saying, "I can't find that file"... but if you look... the preview in there is nice. You can get away with it being broken, if you do lose one... often you can hit 'Print', and it's hard to tell that it's actually gone... but if I go back and bring it back... you can see the little link icon, it's back to normal. So that's the drawback. If somebody deletes the original file you've linked to, it can cause drama. So when would you use each? Basically when I'm working by myself in my own little world... I often just embed. When I'm working at a larger agency where we're all sharing files... and for us all to bring in the same graphic... on lots of different documents... we're going to have a kind of ballooning file size... plus anybody needs to make an update to this linked file... everyone's going to have to open up all the PSDs... and try and relink or at least update it based on that. So big agency work use a lot of linking, me, by myself working in my home office... I tend to just embed everything. How to know what's embedded and what's linked? Little chain icon is for linked, let's go to 'File', 'Embed'... and check out this. I'm going to bring in the second graphic. You see the icon there, just looks like a Smart Object. So a linked graphic has a little link icon, and an embedded icon... is just a Smart Object. I'll undo that. So this guy here on the left is embedded... and this one on the right is linked. Let's say your file size is getting too big, and you want... this thing that was currently embedded, you want it to link now. So all you do is right click this kind of gray area, not the thumbnail... and say, I would like you to relink to a file please. I'll click on that original graphic. And now nothing much has changed, except now it's linked. It will lower the file size, and if updates are made to that original... it will come along for the ride. Two things to note about this updating to linked files... is that sometimes it does it without asking... and then sometimes just won't do it at all. There's no kind of like happy medium, I feel. So I've got this mockup graphic... which is, this one will do, my Mockup Graphic 1. I want to make a change to it, so I'm just going to open it up... but because this file's open... the one that it's placed in to, things happen differently. So I've got my original open. I want to open up that file, I want to make a change to it... something obvious, I'm just going to make it... pink in the background. 'Save' it, 'Close it', and because this is open... it's just gone and updated, doesn't even tell you... which is kind of cool, but also a little bit-- I feel like there needs to be like a, "Hey Dan, something's changed." But it's okay, we know what happened, slightly differently though. If I close this down, and save it... so that file's not open anymore. And now I go and make a change, you are now going to be green. 'Save', 'Close'. Go back to the original. Don't worry about that. Can you see there, it hasn't changed. With it open, it goes in, automatically goes... "Hey, you probably mean to update it"... whereas here, it gives you this really subtle little icon here, saying... "Hey, I've given you a tiny little suggestion that this thing's out of date." And you can right click it anywhere and say, 'Update Modified Content. So just so you know, with it open, flows through nicely... with it not open, it gives you just the teeniest tiny little hint. Also what you can do is, instead of opening it separately... you can just double click on this little icon here... and will open up that original file. I want to go back to that color that I had, I can't remember what it is. Let's just pick, well, it's that color. Awesome. 'Save', 'Close'. Yes please, 'Save'. And it's updated. So regardless of whether you have it linked or embedded... I'm going to show you a little trick. I'm going to distort this... because it's a Linked Object or a Smart Object, it doesn't matter... it's a cool little bit of work flow we can do. So we mock it up, we say-- actually I'm going to go to 'Edit', 'Transform', 'Distort'. I'm going to get this looking... kind of want it to look like it's on an angle, flying out like that. So I've used Distort. I'm also going to get it to clip to the background. Blue color, there it is there. I'm going to move it down the layer order by holding... we're holding down the 'Command' and square bracket, until I find... where is he? Down, there he is there. So I got it just above it. And if you've never done this before you can... hold down the 'Option' key on a Mac, 'Alt' key on a PC... just to say, clip to this blue box, so it's all kind of tied in there. With it selected as well, I'm going to say, you my friend have... a 'Filter', I'm going to use 'Blur Gallery', and 'Iris Blur'. We'll look at blurring a little bit later on properly. Iris blur is just a cool way of setting like a target for a blur. I want it to be down. I want just this kind of like-- I'm faking Depth of Field, that's what I'm trying to do. Click 'OK'. So one of the perks for using File, Embedded rather than copy and paste... is you can say, actually I like this one... I like the distortion, I like the blur, but I need the graphic to change. So 'Mockup Graphic 1', I can right click anywhere in this gray area... and I'm going to say, 'Relink to File'. So I'm going to say, actually I want to relink... to this new version that I've got, this updated version. The cool thing about it is that... can you see, it's a different version, you might not-- Let's go undo, redo, undo, redo. I should have made them obvious... but I've gone through and actually made this nicer, or maybe it's version 2... or the next month's graphs, say it's a monthly newsletter or an emailer... just know that you can go through and go to 'Relink to File'. And that doesn't matter whether you went File, Embed, or 'File', 'Place'. One last thing to mention is that if you've got linked files... and you want to send this PSD to somebody... you're going to have to send both this PSD and any linked files. But there's an easy way to do that. If you go to 'File', and come down to here to 'Package'-- I'm going to stick mine on my desktop, I'm going to click 'Choose'. It's just like packaging out of Illustrator and InDesign. It creates a folder with the same name as my PSD... and in here are any linked files. There's my original PSD plus all the links. And it just means that I get to right click this... compress it, and I can send that to somebody in an email... or via Dropbox, and they have everything that they need. If you're on a PC I think you right click the file... and there's one that says, 'Send To'... and I think it says 'Zip', something like that. So that is the long version of Embedded versus Linked in Photoshop. I'll see you in the next video. 73. What is the difference between Fill & Opacity in layer: What is the difference between Fill and Opacity? Here are my layers, I had this layer selected, I lower the opacity. Everything goes down, the Layer plus the Drop Shadow. But Fill will lower the Layer, but not the Layer Style. That is the quick version of the difference. And in my life I never use Fill, sorry Fill. The long version is, we're going to add some text. Move it around. And what you'll find is, Opacity, when we slide it down... makes it transparent, and Fill does the exact same thing. And I'm like, "Why do I have both?" It's just so that if you add something... like a Layer Style, let's say a Drop Shadow... add a Drop Shadow... now if I lower the Opacity, it does both the Layer and the Drop Shadow... whereas Fill does the Layer but not the Layer Style. There you go. That is the difference, and if you're like me... this could be the first time you've ever lowered the Fill and not the Opacity. So for me, 99.9% of the time it would be the exact same thing... and I don't need Fill, sorry Fill. Thank you pug in sweater; thank you, Charles. Pugs are awesome. All right, next video. 74. How to use & export layer comps in Adobe Photoshop: Hi there, this video is about Layer Comps. What are they? They are ways of saving an option A and an option B of a layout... all within the same PSD, some in one PSD. I can click 'Option A', 'Option B'... and what it does is it turns on and off layers... moves them round to whatever I had saved. And they're two different Layer Comps. I can export these as JPEGs at the end... and it's just an alternative to having two PSDs... an Option A and Option B, you can have it within the PSD. All right, let's go and learn how to do it. To get started, go to your '11 Layers' folder, and open up 'Layer Comps'. Let's open up the Layer Comps window, 'Window' and 'Layer Comps'. So for two versions, I like this version... this is one that I want to present to my client... but I want another version; an option A or option B. So first thing is, let's create a new Comp. This one's going to be 'Option A'. I'm going to have all of these ticked on it... it just means, visibility, means the Eyeball on and off. It's going to remember that, which layers are going to be turned on... and which ones are going to be turned off... where those layers appear, the position of them... and the appearance. So if it has a Drop Shadow or not, I want all of those on. Click 'OK'. There's Option A, cool. It's going to remember that. So what I need to do now is... I want to make an Option B, so I've got this quotation. I've got the speech bubble, I'm going to duplicate Pug Life, 'Command J'... and have it above, I'm going to make it smaller so it fits inside of here. Hit 'Return', and I want to turn that layer off. So I've just made some adjustments, it could be anything. Now I want to hit this new Layer Comp. This is going to be 'Option B'. Click 'OK'. So now what I can do is I can say... "Hey, people that are looking at this option... here's my option A and option B." It's the same Photoshop file... but I can rearrange, reorder, turn on and off layers... to kind of show a couple of different options. It might be Cover options... it might be Logo Layout options. It's just an alternative to having two PSD sitting on your hard drive. In all honesty I'd probably have... Layer Comps A and B, and not use Layer Comps... but that's my personal preference. I want to show you, because we're advanced people you might love this. You might be working somewhere where this actually makes a lot of sense. To take it a little bit further let's say that option B is fine... but this needs to be just a little bit smaller. I'm just going to shrink it down a bit, and you go there. This needs to be a bit smaller as well. Moved it up, so you make some adjustments, what you can do now... is you can click on this option here... this little, like refresh button that says update it. So now when I go to 'Option A'... and 'Option B'... or just click through these arrows, if you've got a few different versions... you can toggle through them all. It's updated. Even more, you can export these Layer Comps to their own files. So you can go to 'File', go to 'Export'. You can decide whether export Layer Comps to Files... is going to give you a bunch of JPEGs or PNGs. And this one here is obviously going to be a PDF. Either, I'm going to put mine on to my desktop. I create one called... 'Layer Comp Export', hit 'Open', what do I want? I would like the comps to be JPEGs, please. Yeah, that's fine. Kick back, 'run'. Thank you, Photoshop. And there's my Layer Comps Export and there's the two JPEGs. The same thing works for PDF, it's in that same little bit. 'File', 'Export', 'Layer Comps to PDF'. That my friends is Layer Comps. On to the next video. 75. How to create a double exposure in Adobe Photoshop: Hi there, in this video we're going to take this model profile... this background, and do a Double Exposure. We'll do a couple of options, this one, we'll do this one. And we'll do this one, kind of sprays out the back. All right, let's jump in and learn how to do it in Photoshop. To get started, from your '12 Visual Styles' folder... open up 'Double Exposure 1' and '2'. Let's combine both of these, so I'm going to open my mountains... 'Select', 'All', go to 'Edit', 'Copy', and then paste it. So both together, let's give ours names. This is going to be my 'Model Layer'... and this is going to be my 'Mountain'. Let's turn off the mountain for the moment. We need to apply a mask to our model to pull her out from the background... and so we can mask the mountain... inside her shape. To do it, click on the 'Model Layer'... and in this case, 'Select', 'Subject's going to work perfect. So there's the new one for Photoshop, it's going to look for a person. In your selection, if you don't have that feature - I'm going to Deselect - you can just use your 'Quick Selection Tool'... and just kind of work your way around. Doesn't have to be perfect, it can be pretty rough in this case. What are we missing from the nose? I'm happy with this. If when you apply your mask you're not happy with the mask... you can select on the 'Layer Mask', and go to 'Select and Mask'. And zoom in. Kind of work on the Refine Edge. You can see there's a few little bits going along with the face here. It's not going to matter to my exercise very much... but I'm going to smooth it out anyway. Nice. And if you wanted to, in this case... the hair is not going to make much of a difference... but you can use the Refine Edge Tool... and kind of paint on these edges for the hair. Mine already looks okay though, so I'm going to click 'OK', I'm going to zoom out. So we've got a selection for the model. I want to apply that same selection to the mountain, let's turn it on. To get that selection, to get that Layer Mask over to here... you can hold down the 'Command' key on a Mac... and just click on the 'Layer Mask'... or the 'Ctrl' key on a PC, and just give it a click. So loads it as a selection, click on mountains... and then click 'Layer Mask'. Let's have the model on top. Click, hold, and drag it so it's on top. With the actual image, not the Layer Mask selected, so the image... let's pick a Blending Mode of 'Multiply'. You might find that works fine for you. What I want to do though is remove some of the color from her face... because it's kind of interacting with the background and doing weird stuff. If your background is quite monochromatic you're not going to notice it. I am, so I'm going to go to 'Adjustments', I'm going to click on 'Black & White'... and I'd like it to only affect the layer just underneath. Just the model layer. Now you can adjust this depending on how much of the features you want to see. This will depend on your image, the way it's shot the highlights, the darks. So in my case, because it's skin tones... I'm just going to deal with the reds and the yellows... and I want some of the freckles through. Now I want to get rid of the hair. So I'm going to click on the 'Layer Mask' on my model layer, grab my 'Brush Tool'. I'm picking a really kind of just large... brush with 0% hardness, so it's nice and fluffy. I'm going to make sure black is my foreground color... and then just paint out the hair. Make sure my Opacity is at 100%, and just paint out the hair. Back of the neck a little bit. Do I want the ear? Not sure. The suggestion of veneer. There we go, like the jawline there, it's kind of cool. And that might be your Double Exposure. Let's add a Background Layer. I'll use my Eyedropper tool and pick a color from this. Then hold down the 'Option-Back space', or 'Alt-Back space', just fill it. You might decide that it's enough for you. Go to your Double Exposure. Happy days. To go a bit further, you might do one of few things. I'm going to click on the 'Layer Mask' for the actual mountain... and do the same thing I did with the model's head; grab my 'Brush Tool'... and probably paint the edge out. Then switch it back to white and kind of paint it back in. I'm going to lower the Opacity down to 40% just so that I can kind of... work the background as a wafty kind of... thing that's coming background. You can kind of see what I'm doing on this layer here. I'm just kind of painting this in... so it looks like it's kind of wafting out of the head. I'll make it go black and white by holding the 'Option' key... or the 'Alt' key on a PC, and just clicking on the 'Layer Mask'. We're getting used to some of these shortcuts now, kind of. You can see a couple of things that are left behind. I left this bit, and little bits up here... when I was working on this Mask. So I'm just going to switch my colors around. So black's at the front, just paint those out. The forehead there. And actually on this background, instead of being all wafty... I just want it fully in, it's kind of cool. This layer here... I think I went a bit far with the black and white. So I'm going to click on the 'Black & White' layer. Just maybe pull out some of the strength. Lots of freckles though. You also might grab this whole layer... and just lower the Opacity of it, depends on what you want. So that's another option for the Double Exposure. Let me get rid of the ear here. What I'd like to do is I'd like to take it in a different direction. So I want to save this version... and create another one, so I can do a 'File', 'Save As'... or I can show you just a trick. Select all of the layers, then go to 'Layer'... go to 'Duplicate Layers', and actually I'm going to say... let's be a new document, please. I'll give the document a name. 'Option B'. And all that did was, is take that first option, who's still there... I'm going to save this one, this one's going to be called 'Option A'. I'll save it to my 'Desktop'. And option B, I'm going to take in a slightly different direction with you. So got a couple of things, the background we just use the solid color... that came out of the background somewhere. What you might do is maybe a Gradient. So I've got a background layer, it's this one here. I'm going to grab my 'Gradient Tool'. And what I want to do is go from... say, this kind of bluey color to more this peach. So 'Eyedropper Tool', using the 'I' key on my keyboard... I'm going to click some of this blue. I want this kind of gray blue. I'll hit 'X' on my keyboard to move the foreground and background... can you see over there? The X key just toggles them. Then I'm going to click on this one. Now with the Gradient Tool I'm going to use the Radial Gradient. I'm going to click, hold, and do something like that. Actually I want to flip it around. See, it says reverse, no, I want that kind of darker color. My goal there was to try and tie it into the background a little bit more. That's one way, another way is, let's grab this 'Background Layer'... let's duplicate it. What I'm going to do with the bottom version... is I'm going to delete the Layer Mask... just right clicking the 'Layer Mask', and deleting it. So it kind of fills in the background, that by itself is kind of cool. You might do a couple of things, you might just grab this mountain layer... and go 'Adjustments', and say, actually I'm going to grab the 'Hue & Saturation'. I'm just going to lower it down. That might be cool, it's not what I want to do. So I'm going to bin that. What I want to do is, with this mountain layer selected now... I'm going to go to 'Filter', 'Blur', and go to 'Gaussian Blur'. And just find something. I don't want it totally lost, but I want... basically I want a gradient in the background... that really reflects the rest of this. That's what I'm going to do. Now the one thing we didn't do at the beginning there... because we didn't rearrange this, we just left that wherever it's set. So what you can do is, you can click on this layer, break the link... just work on this image side, leave the mask alone... and just kind of rearrange this how you want. Let's say it's something like that. The only problem with it is we've run out of edges here. So what we're going to do is, we're going to use our cheap tricks. So with this layer selected, we're going to use 'Edit'. I'm going to go 'Content Aware Scale', see if we can... just kind of scale it up to get some more mountain. So it fills the edge. More, please. More, please. Thank you very much. Hit 'Return'. So either gradient in the background or a faded version. I'm going to save it, 'Option B'. I'm going to make a third option for you like you saw at the beginning. The kind of sparkles coming out the back. Same thing again, I'm going to select all of these fellas. Go 'Layer', 'Duplicate Layers'. And you are going to be a new document called 'Option C'. A, B, C. And in C what I'm going to do is... this mountain layer here, I'm working on the Layer Mask... I'm going to grab my 'Brush Tool'. I'm going to make sure my foreground color is black. And I am going to paint out this. I'm even going to turn that background off. So I'm painting it back here quite far. Then basically all I want to do is paint it back in with white... using one of the special brushes. You can twirl up all these brushes... and I'm going to use the 'Special Effects Brushes', I'm going to use... you can't use any of these ones, one that have... see this little handle, it's called a Smudge Tool, won't work in this case. You need to use the ones that are paint brushes. These will work perfect on our mask. So white's my foreground color. I'm picking a brush size that's appropriate, I'm guessing. And what I'm going to do is... just going to kind of maybe lower the Opacity a little bit, it's a bit strong. Lower the flow as well, it's coming out way too fast for me. Here we go. I'm just going to slowly build it up now to have this kind of spray. Playing with Brush Size, playing with the Flow. When I get in tighter here, I'm going to actually just get in and... get a nice kind of join along here first. I'm clicking and just wiggling my mouse around. You have to increase the flow a little bit. Then just getting bigger and kind of spraying out. I'll fast forward it, I'm just going to kind of work this until I'm happy with it. I'll see you on the other side. I'm happy enough for that. I even switched brushes to one of the other special spray brushes. So option A, B, C. Not sure which one you like. I think I like option A best, kind of cool. All right, and that is it. I will see you in the next video. 76. Class Project - Double Exposure: Hello friends, it's time for another class project. So using the techniques we learned in the last video... I'd like you to use the two files that are in your 12 Visual Styles folder. Under Class Project, there's one called Double Exposure A and B. So you're going to have to mask out our man here, try to use the Select Subject. See how far you get. We black and white the man, we add masks to both the layers... and then it's a matter of blending the two together. You can decide on how you want to do that... whether you contain the background graphics straight into his hair... or whether a little flow out the back like I did... or whether you use the Splatter Brush, whatever works for you. You're also probably going to have to recompose this... because he's kind of pushed a little bit to the left... we probably want to move him a little a little bit to the right. And you may have to generate some more background, up to you. Now you can use these images, both really cool shots. I love this one, this is Poland. No idea where, but all of that moodiness of it all. I don't know, I feel like that's just part of doing double exposures. You have to use dark moody misty images. Otherwise you're not doing double exposures right. What I'd love you to do though is you can use your own images. You might not have a portrait lying around... but you might have another background image you could use. So combine these two... and then share with me in the assignments panel or in the comments... or tag me in social media... remember Instagram, I am bringyourownlaptop... and on Twitter I am danloveadobe. All right, have fun with this one, I will see you in the next video. 77. How to create a watercolor painting effect in Photoshop: Hi there, in this video we are going to create this watercolor effect. Here's the original, and with a few filters and a little bit of texture... and a little bit of brush strokes, maybe a little bit levels... we could make it look like it's hand painted. We'll do a second option. This one ends up being quite abstract but you can see, there's the original... beautiful old New Zealand. But now it's a watercolor painting. Let's jump in and learn how to do it in Photoshop. To get started let's open up 'Watercolor 1' , '2', '3'... from your '12 Visual Styles' folder. We'll start working with 'Watercolor 1'. Now you need to convert this layer here to a Smart Object... or I'm just going to show you up here, 'Filter', 'Convert for Smart Filters'. We're going to use lots of filters in this video. And this option here, Convert for Smart Filters... does nothing other than... convert it to a Smart Object. Just so you know, no difference between doing it this way, right clicking... and converting to a Smart Object or Convert for Smart Filters. Same, same. Next thing, go into 'Filter' and go into 'Filter Gallery'. So a lot of the work is done by artistic, and in here, no surprise, watercolor. So click on this, and it will really depend on your image. On which of these settings to play around with. So this one here in particular, the Shadow Density... once it gets below 1, actually looks okay. Don't spend too long because this is a combination, right? We're going to combine a bunch of different filters to get the effect. So have a play around... get to what you feel looks like a realistic watercolor in your opinion. And a little advanced trick, is you can add more than one. See this little turned up page, it says, I can add watercolor. At the moment I've got two watercolors. So it's trying to apply it twice. What I'd like to do is actually have Palette Knife and Watercolor. And like Layers Panel, the order of this is important. So watercolor on top and Palette Knife on bottom will change the way it looks. That's what I'm looking for. So under 'Palette Knife', I'm going to... just mess about here. We're not going to spend a lot of time, like it's... it really depends on your image, on what details this should be. And remember, it's a combination, so what you might find look good here... you can go back up to 'Watercolor' and make some adjustments in here... to get the right effect. It's not quite me. Back to 'Palette Knife'. The other thing, when you are adjusting this... can you see down the bottom here, this is your like... Holy Molly, I'm stressed out trying to apply this thing... just wait till it gets the end slider. So if you are thinking, "It's doing nothing, you're sliding around"... just get away for that thing to finish. Let's say that I like these, let's click 'OK'. And they are a Smart Filter. Toggling through them, on and off. I want to apply another filter that's actually not part of the Filter Gallery. It's just in here, Noise and Median. This will depend on your image. This one actually looks okay the way it is... but if you find that your image... especially if it's like people's faces or anything that's quite detailed... you might find that it's just too realistic... you need to use this Median just to kind of blob it out. You can see, the higher you go the more kind of abstract this thing becomes... but I'll add it to this tutorial. This particular one doesn't really need it... but I'm still going to do it. Also note that the order over here is important. So in my case I want the Filter Gallery to apply first... and then I want to median it out. Weirdly, actually it works the other way around... so Median gets applied and then Filter Gallery on top. In my case I want to add some noise to it, you don't have to, I think I want to. So with the Layer selected I'm going to go to 'Filter', 'Noise'... and add a bit of noise. How much? Not that much, just a little bit. Just add a bit of grain to this thing. Click 'OK', zoom out, that's just personal preference. What really makes this kind of watercolor effect work is the texture. So Watercolor 2 is just a stock library image that I bought. I'm going to copy it, paste it. We're going to use this to add a lot of the detail to. I'm going to copy it and paste it here. That works. So for this to work it needs to be desaturated. You could use Hue & Saturation adjustment layer and lower it. I'm just going to, cheap trick... use 'Command-Shift-U' just to yank out all the color. Then it's finding a Blending Mode... and this is what hopefully is going to give us our little effect. So I'm going to cycle through these different Blending Modes. And just find one that works for you. Lighten's kind of cool. Now this will depend on your image. I've found, like in this case Overlay works really good. On/off. But in other examples it's a different Blending Mode. This isn't an absolute fact, it shouldn't just be Overlay. Have a play around with them and don't be afraid to lower the opacity. Say you like this but it's maybe quite extreme... just going to lower it down, so there's that watercolor effect... but without it being really dominating. I like it being dominating, right at the top there. The other thing you can do though is... with this layer you can go to 'Adjustments' and go to 'Levels'. This one I don't really need it... but I want it to affect just my watercolor texture layer. You can mess around with this to kind of decide how... how dark it is basically, and how much it affects the layer underneath. So you can mess about in here. I'm happy where it is there. Awesome. One of the last things we'll do... to add a bit of believability, is let's make a new layer. Let's even name it, go crazy. Let's call it 'Brush Strokes'. Grab your 'Brush Tool', and up here under-- so depending on what version of Photoshop you're using... if you're using 2018 or above you'll have General Brushes, Dry, Wet. We want the Special Effects Brushes, you won't have these two. These are just ones I installed in the Photoshop Essentials course. So under 'Special Effects Brushes' I'm going to pick this third one. Just because it kind of works for me. I'm going to steal one of the colors from it... I'll hold down the 'I' on my keyboard... to get the Eyedropper over there, click one of the colors. Go back to my 'Brush Tool', make a really big brush. Probably not that big. Maybe not that big, and just click a couple of times. You see what I'm doing here? I'm just-- I'll turn that off so you can see. Just adding some paint drops to kind of... have a bit of faking, a little bit of realism to the top of it. Maybe the same thing with this brown here, I'll make a new layer. And just ahead, maybe just one, actually just one over here. Here we go. So just a couple of drops from that one little paint. Can't help myself. A bit more. Again, you might decide that's not for you... you might decide you need loads more. What's cool about this whole thing is - let's name this one 'Brush Strokes 2'. - is it's reusable, so you spent some time... getting something that you feel works for you... I'm going to grab this layer, this layer, and this layer, these three. The Brush Strokes are quite individual for the image. So if you use a different image... you'll probably create new Brush Strokes based on colors that are in it. The levels are important. That texture... and basically I want to bring this layer over because I want the Smart Filters. I'll use my Move Tool, I say, you fellows... go to Watercolor 3. Basically I bought him, just that these guys came. The Background Layer, let's make it a Smart Object... and just drag the Smart Layers. Smart Filters to that layer. And now I can bin this. You can see, all but the background. So all of the cool effects, all the filters applied. And all I need to do with this layer is that... I need to transform it, rotate it around and get it to be something... that fits this image. I'm going to zoom in there a little bit. You can see, Overlay in this case doesn't work as well... as it did in this original one. So with the layer selected... I might find Overlay doesn't work for me... or at least you like Overlay, and you lower the Opacity. So it's not as strong. We'll have a little look through here... and just see if there's another Blending Mode that works. If you find one that does, but it's maybe too strong or too weak... you can play with these levels here to adjust it... and it will affect the way that texture is applied. Let's have a look. How abstract do we want it? Soft Light, that's kind of cool. That works for me. Maybe Soft Light. Zoom all off, and I'll turn the Smart Filters off... so before, and then after. Cool, huh? All right, that's it for watercolors. I might add some Brush Strokes to this one. And what I might do is actually find a few different versions of this... so that I'm not kind of repeating myself so much. All right, that's it, I will see you in the next video. 78. Class Project – Watercolor: All right, it is time for a super exciting class project. There are two files in 12 Visual Styles, under Class Project. Water Color A and B. I'd like you to use the techniques we learned in the last video... to create your own versions. Once you're done, share them with me; I'd love to see what you made. And once you've done with that Class Project file... I'd love for you to use your own. Find something off your phone. Maybe in your Google Images Photos or your iPhotos. Find something, do a cool water color effect. Share with us either in the assignments, comments, or on social media. All right, have fun using water colors. 79. How to Decay Pixel explosion Dispersion Method in Photoshop: Hi there, this video is all about... decaying pixel exploding dispersion method awesomeness in Photoshop. We'll take this model here. We stretch it out using liquify, we paint it back in with some exploding brushes... more exploding brushes for realism... and that's it, let's jump in now and learn how to do it. First up, let's open up 'Decay 1' from our '12 Visual Styles' folder. Now this technique, I feel like there's some sort of like unwritten rule. You have to do it to some sort of dancer here, flicking person. I don't know why but we have our dancer... now we need to make her explode. First thing you need to do is install some brushes. So I've got some in your 'Exercise Files', it's this one here. So if you go to '12 Visual Styles'... there's this one here called Explosion Brushes'. All you do is double click them and they will install in Photoshop. Now these are just some free brushes I found online... that have a cool kind of explosion. You can use these ones... but you end up with a very similar effect to what I have here. If you're looking for something a bit more pixelated... or more kind of shrapnel-ly... just have a little look and see if you can find... some other Adobe brushes that will work for you. You can double check they're installed. They are here, under 'Brushes', so 'Window', come down to 'Brushes'. And my one's are here, 'Explosion Brushes'. You might have to twirl all this up, might be a bit messy in here. You won't have Drips or Smoke. Those are brushes we installed in our Photoshop Essentials course. Hopefully you have Explosion Brushes now. Let's twirl back in. So first thing we need to do is mask the girl here. We're going to use our sneaky 'Select', 'Subject'. It's going to do a lot of the heavy work, probably. How good does the selection have to be? Not very good. Just the technique we're using, it doesn't have to be great. I'm just going to make it a little bit better. So I'm going to grab my 'Quick Selection Tool'... and pick a brush size, and just kind of, click that. Now if you can't see the edges of your brush... it's Caps Lock, caps lock 'on', caps lock 'off'. There we go. Like to see the edges. And it will target in the middle that we've turned on... in Preferences earlier on in the course, remember? So just a bit of... adding to and removing from, and we're just clicking. We'll add to the selection... holding down the 'Option' key on a Mac, or the 'Alt' key on a PC, will remove. Let's go here, happens to be there in gray against the Bradbury background... which has given us a little bit of issues. So those are the big things, it's fine. So what we're going to do is we're going to duplicate this layer here. So I've got a background, this is going to be my model. This particular layer here. So turn off the background, we'll fill that in later on. But our model layer, let's click on the 'Layer Mask'. You could go through and select on this 'Mask'... and go to 'Select & Mask', and tidy it up... but it's not going to be necessary. Let's apply this mask, I know it's kind of like counter intuitive... we just made this beautiful Layer Mask. What we're going to do is right click the 'Mask', and say 'Apply'. We just need it for this particular trick because we're going to go to 'Liquify'... which is under 'Filter', 'Liquify'. Now what we need to do here is decide where we're going to be pushing this. So I'm using the first tool here, quite a big brush. And we're going to be pushing it out like this. So you've got to decide, do you want-- I'm just having the explosion come out this side. If you need it to come out both sides, you need to push it both sides. If you want it coming out of here, needs to go all these different directions. The only trouble with doing it like this... is that it distorts her quite badly, so I'm going to undo. I'm holding down 'Command-Option-Z' or 'Ctrl-Alt-Z'. This kind of gets steps backwards. So what you can do, just to make sure you don't wreck in either places... like mainly her face, and just the things that you don't want to distort too much... there's this one here, it's called Freeze and Thaw. So Freeze means, I'm going to basically paint in the face, kind of around here. Slightly a bigger brush. And all it means is, it's just not going to-- I'm going to get down that one side of the leg. Maybe just down the side of her hand as well. Smaller brush. So what it does is, if I grab the 'Forward Warp Tool'... and just kind of push it, can you see, it leaves her face... like that part of her face is stuck there. Freezes it in place, so I'm stepping backwards again. The Thaw is just removing it. You don't need this bit, or you don't need this chunk in here. Freeze and Thaw. Now it's all about kind of moving this out. So it's best to start with a smaller brush. And you just want the edge really, you don't want too much of the document. So there's a lot of like wriggling it out, and just kind of building it out. I'm pushing mine to the left... because that's where my explosion is going, but there's just a lot of wriggling. So once you get it to a point out this far... you can make a larger brush. And just kind of pull it out. And you want it to go as far as you want, so be cool. So, well you know, that kind of explosion to go. So I'm going to push mine right at the edge. I'm going to do it for the rest of this bit, but I'll speed this bit up. I'll see you when I'm done. All right, and you're back. Lot of clicking and lot of dragging. Let's click 'OK'. Let's turn 'on' our Background Layer now. Basically what we want to do is we want to mask this out completely... then bring it back in with our Explosion Brush. We could just click a 'Layer Mask' and then paint it out completely. So, 'Brush Tool', 'Black paint brush', and kind of paint it all out. Then we'll paint it back in, or nice little trick is... before you add the Layer Mask... before you click this button... just hold down the 'Option' key on a Mac, or the 'Alt' key on a PC. Just kind of puts in a reverse mask, everything is hidden. So it's all black, let's make little bits of it white... by going to our 'Brush Tool', make sure our foreground color is white. Then from our Brushes Panel we're going to use the big Brushes Panel. So 'Window', 'Brushes', click on this little icon. We use 'Explosion Brushes'. And what we're looking to do is... these guys here, our explosions, if yours is kind of like a smear... it's a little hard to see, so you can go into this little 'Hamburger Menu' here... and go to this one that says 'Brush Tip'. Make sure Brush Stroke is turned 'off'. Crank up this as well, so you can see it all. And I don't want to see the Stroke. Which ones to start with? This is up to you. We got Explosion 1-6, and we've got a few of them to pick from. It's all about building it up, actually just really hard to do. So take your time, you might have to start again a couple of times. You might do a 'Save As'. Now we'll duplicate this layer so that you can go back, maybe this Explosion 2. What you'll notice is, it depends on the size of your image. If you're following along with me it's going to be probably still too big. So there's a lot of resizing of these brushes. The other thing to know is, this brush here, if I click on it once... can you see it has a really strong bottom and right, which is not cool... but they were free brushes, they look quite cool. So what I need to do is I need to make sure that that line... kind of doesn't get seen here. So what I'm going to do is I'm going to go to my 'Brush Settings'... So 'Window', 'Brush Settings'. And we're going to play with this rotation quite a bit in this course... because I want to get it so that the explosion... is kind of coming out of that side. You can see, I'm just keeping the edges in here a bit. This is what I'm looking to do. Smaller brush. So I'm going to go, one sort of round of this. I find myself wanting to make that kind of cool noise. Don't worry if you get too far. We're going to actually bring it back a little bit because... just going out this way. Looks okay, but if we double back on it we can remove bits of it as well. But let's go 'Explosion', oh, look at that one. Mine is this one here. This is kind of cool, but it's the wrong way around. Anybody knows this shortcut for rotating? I can do it on my Wacom tablet. There's a shortcut for rotation here. Is there a shortcut I don't know about? Let me know in the comments. Brushes. I'm just going to slowly work this up, you can hang around. Let's just see how slow and-- just clicking once. You can see what I'm doing over here. Basically I'm just painting in this mask. We're getting there. Maybe one more, go with it, looks kind of good. Rotation. You can see, there's no splatter up here because I didn't liquify it out here. Probably want to do that. Now if you want it kind of coming out this side as well... you're going to have to liquify it out that side, I've just done one side. So we've gone out, let's go back in on itself. All we need to do is switch the foreground and background color. And then I'm going to turn the angle of my brush on itself. So it's going to go this way. You can kind of see what I'm doing. Because it's really dense across here I'm just trying to like... create some-- let's zoom in so you can see. I'm just trying to create some... just showing the background through. Cool. Last thing I'm going to do is add a bit of... kind of fake Depth of Field splatters, like stuff coming towards the camera. So what I'm going to do is create a new layer, I'm going to go... 'Depth of Field bits'. I'm going to use one of these tools. I'm going to use one of these brushes. Which one? One that doesn't have a really strong edge, probably the one I'm on. Maybe that one. I'm not going to be working on a mask. I'm actually just going to steal a color from here. So I'm using the Eyedropper Tool. I'll pick this gray. Back to my brush, make a super big version of it, I'm just going to... rotate it around. Zoom out, so I can see the edges of it. Even bigger. 5000, as big as it goes. That's what I want, I want this kind of-- I'm going to pick a white as well. I'm going to pick up black, and another one. Cool. What am I doing? I'm trying to make ones that look like, the kind of, I guess kind of... going past where they need to be. And what you can do is, with this layer selected here... let's turn it into a Smart Object, so that we can... go to 'Filter', go to 'Blur'. We're going to go to 'Gaussian Blur', and just, probably like that. Can you see what I mean? I want to kind of feel like it's stuck against the lens, just out of focus. On, off. I might have put these on different layers as well... so that I can move them around. Here we go. So that's our decaying pixel exploding dispersion map type thing in Photoshop. Basically we mask out the subject, in this case, dancing girl... then we liquify on its own layer... spreading it out to the directions we want it to go. Apply a mask to it, and then just paint it back in using different brushes. In our case, Exploding Brushes. Let's get onto the next video, we'll do another bit of decay... but we'll learn a few extra tricks, and we'll do it to a shoe. I feel like that's the only other thing you're allowed to do it to. Dancing woman and a shoe, but the shoe has to be a Nike. These are the rules, I didn't make them, let's go and do it in the next video. 80. How to make exploding shoe effect in Adobe Photoshop: This video we are going to do a similar technique. Pixel explosion decay dispersion map... but we're doing it with a shoe. We're going to learn a few extra tricks... on top of what we learned in the last one. Basically kind of doubling back on itself and removing the shoe... completely from the background, so we can make it look realistic. As realistic as an exploding shoe is. Let's jump in now and learn how to do it. Let's open up our 'Decay 2' from 'Visual Styles'. Here it is here. It's kind of two things I want to do. I guess we're just taking what we did in the last video just a little bit further... to cover some of the issues you might run into. First of all, I want this kind of exploding out the back of the shoe. There's not enough room here, so we're going to use our Crop Tool... but what we're going to do is turn on Content Aware... so that when it does generate more background, kind of over here - Hit 'Return'. - it's going to invent it, which is quite cool... because there's kind of a subtle gradient in the background here. The other thing I want to do is... let's mask this out and remove it from the background... because it kind of, maybe on the video... doesn't look like, but there is a gradient here, right? If I copy and paste this, you can see it's actually... you know it's not the same color all the way through the background. So let's select the shoe. I'm just going to use the 'Quick Selection Tool'... and just go around. I'm going to be a little bit more careful in this one, not a huge amount. So what I'll do is speed this up while I go around... and add and remove selections. So I've got a selection. Let's do a couple of things. Let's duplicate this layer a couple of times. So I'm going to right click it, and say 'Duplicate'. So we're going to have three, we're going to have the shoe by itself... we'll duplicate it again... and we'll have another one that is going to be the... we'll have the explosion layer. Set Explosion, that will do. And this layer is now going to be the background. So a couple of things I want to do. Shoe layer, just turn them all off but this guy. And let's just mask him so he's on his own little chunk. I want to grab that selection again. So hold down the 'Command' key on a Mac, 'Ctrl' key on a PC... and grab the background and turn this off. And what I'd like to do is I like to remove the shoe from the background... so there's nothing behind it. So Content Aware Fill will work but my selections are not perfect... so it will end up with a ghost around the outside. Let's just have a quick little look. 'Content Aware Fill', and it's going to do okay... because he's like a little ghosting around the outside. So before you do that let's just go to 'Select', 'Modify', and go to 'Expand'. How far out? 30 pixels, that will do. Now if we go 'Edit', 'Fill', 'Content Aware Fill', it's all up there. And there's still like a little bits, I'm going to go even bigger. 'Select', 'Modify', I'm going to 'Expand' again. So I've actually gone 60, 30+30, 60. Fill. Deselect. Nice. So when you're doing it, expand it to 60. So go to the background, I've got this guy on his own layer by himself. Now the Explosion Layer is the liquify thing again. So let's grab this selection, let's mask it out. Let's apply this Layer Mask. We don't really need to do it for this one... because the background's so kind of, I guess, simple... but let's do it out of habit, it's not going to hurt it. But it means that if you're doing something with a really complex background... you'll have to do this step. Let's turn these guys off just so we can work on the Explosion Layer. Let's go to 'Filter', 'Liquify'. This one's going to be a little easier. What kind of explosion direction do I want? Probably not going to mess too much with the back of the shoe... or the graphics. I just want to go like this. Can't help myself making noises. Helps the explosion get in the mood. I'm actually going to go this way as well... even though I want my explosion going back there. I found in the last exercise, I want it just a little bit on the sides. Now let's go all the way to the back, we've come this far, let's click 'OK'. So we've got our big kind of explosion, let's mask it. Remember, if we hold down the 'Option' key on a Mac... and click 'Layer Mask', or 'Alt' key on a PC... we get a nice big black mask. Let's turn all these other guys on. The difference between this and the last one is... the last one, we just jumped into... straight kind of adding the blast in here, which is cool. What we're going to do is, because we've got this shoe on its own layer... what we can do is click on the 'Shoe Mask'... go to one of my brushes, I'm going to grab the... Explosion Brushes that we downloaded in the last tutorial. Grab some of this. See how big it is. Perfect. Rotation. And I'm just going to paint some of it out. See what we're doing here, like instead of it just exploding out... it's kind of an area where there's a bit of both. Let's paint it back out. Let's get you going. Let's work on this layer here, let's make sure white is the foreground. White is my foreground color and now I'm going to paint it back in. So let's grab our 'Brush Tool'. There's so much trial and error in this particular technique. I've taught it loads of times, and 60% of the time I'm like, "Man, that was cool." And then the other foot, I see, and I'm like, "I'm going to start again." What do I want? I'm kind of liking that, well, far too much in there. I'll pick a really big brush and stay out this way. That's kind of what I'm looking for. I'm probably less happy with that liquify now... because it's kind of going up and looping around. So what I'm going to do is I'm going to work on this Liquify Layer... go back into 'Filter', 'Liquify'. I'm just going to kind of straighten it out. By straighten it, I mean I just want kind of like cool whoops going. That's kind of the look I'm going for. There we go. Click 'OK'. I'm happy enough with that. Click on the 'Mask'. Paint stuff in. I'm going to turn this around. Paint with black, paint it back out. Maybe a smaller paintbrush. And there's going to be lots of this. I'm just going to fast forward, painting back in... painting back out again to try and find my happy medium. I'll see you when I'm finished. All right, we're back. I'm not happy with how it's going. So what I'm going to do is I'm going to just start again. So I am going to have my 'Mask' selected... have black as a foreground color... and just hold down the 'Option-Back space' key on my Mac... or the 'Alt-Back space' key on a PC, and just start again. Don't be afraid to do it See that, that's the one that goes too far. I don't like all those little bits there. I like the specs in there, so I like the end of this brush but not all of it. So I'm going to go for something a little bit more subtle. Let's pick a brush, let's go for another exploding one. Let's rotate it around. Maybe big. Here we go, that's kind of more what I'm looking for. And that is something I am 50% happy with, a lot more subtle. I'm going to add a couple of the Depth of Field brush. So I'm just going to grab, I think I want some of the pink. Make a nice big brush. Even bigger brush. Just kind of have some of this... coming out, so instead of using the Liquify... I'm just actually painting it straight on, it's a little bit of that. I'll make another layer here. A little bit of blue. Here we go. And I'm going to convert both of these to Smart Objects. Smart Objects, Smart Objects, so we can apply... 'Filter', 'Gallery', 'Gaussian Blur'. Just a mix, feel like they're out of focus. You do the same with the blue one but maybe not as much. 'Blur', 'Gaussian'. Because it's a Smart Object, you can double click... the word 'Gaussian Blur' later on and go in and change it. All right. Move it around. All right my friends, that is the second version. We've done the dancer, now we've done the shoe. There's a lot more artistic license in this one here, deciding what you want... Working with the brushes, and don't be afraid just to start again. Let's get into the next video. 81. Class project – Decay: All right, it is class project time. In your 12 Visual Styles folder there's the Class Project folder. Then there's Decay A, B, and C. Some cool examples, mask them out, blow them up. You can use the brushes that I've given you in the exercise files... but if those aren't working for you... and you go off and you find some other brushes... let me know which ones you use when you share your examples. Either in the assignments here, the comments, or on social media. Show me what you've done to these three. Or, be cool if you used your own image... or even just a different image from unsplash.com. They've got some great images that you can use commercially... used for your portfolio, and if you did use a different brush... let me know where you got them from... so that we can share with other people. I hope you enjoy this exercise. It can be a little frustrating if you don't get it right. Remember, start again, unless more is more... but make sure you share your results. All right, happy exploding. 82. How to create fake 3D lines & type in Photoshop: Hi there. Hey. Are you ready to fake some three D in photoshop? It's some fun cheap tricks. Just need a paintbrush and a gradient. Leave fake these shadows down the bottom here. Everything is fake. But it looks cool. Alright, let's jump in. All right. To get started, let's open up fake three D from our 153 D folder. This background is just a pretty background. It's not going to have any influence on the three diness of what we're doing. Next thing we need to do is down the bottom here, grab the rectangle tool, hold it down until we get the ellipse tool. This ellipse needs to have the gradient we want to use. It's probably going to have a normal fill. Click on fill at the top here and click on gradient. We're not too worried about the colors at the moment. Click this first one, this black versus white. We're going to go and change it in a second and draw out a circle. I'm holding down the shift key so that when I drag this out, it's a perfect circle. How big should it be? Basically, it's how big you want the largest part of your kind of three D text. You saw mine didn't get so big, so that's fine. I can be smaller, can be bigger. Let's change the gradient. With the ellipse selected, my properties panel here. I'm going to click on the color, and I'm going to double click these bottom houses. You could pick one of the default ones. That would work. I'm going to jump out to Grabient because I love stealing colors from these guys. I'm going to use the page two option. RI you. Page three even, this one here. I'm going to add three little points. Look on the little color, grab the hex decimal number. Click on this. Double click this first icon, paste it in down the bottom here. Jump back out. Thank you Grab in. I'm going to add this middle one by just clicking anywhere in this bottom part. Appears magically. Actually, I like that with the orange. Now I'm going to stick to the original. I lie. I'm just going to leave the orange. Crazy, Dan. Thinking for your grad self. Now, what I'm going to do is, I'm going to duplicate this layer. I'm going to click it and hit Caan j. I'm going to turn this off. I want this editable shape for later on because this tool is not going to work if this is a lovely live shape. So we have to do is right click elipse one and get a rasterize layer, destroying all the good updateableness to it, but it means this technique is actually going to work. What we need to do is we need something called the mixer brush. It's hiding underneath your brush tool, hold it down, grab the mixer brush. All right. First thing you need to do is this little drop done here, you need to turn this off. It's going to be on by default. Let's turn off load solid colors only because we want to steal a gradient. Long here, we want to set the wetness down to zero, the load up to 100%. Let's get the hardness of this brush. Okay. I'm just going to click on the general brushes and use this hard rounded one. The first thing we need to do is we need the brush size to be bigger than our lips here. Make your brush just bigger than what you needed to be. Be what we're going to do is we're going to hold on the option key on a mac or the k in a PC to set this as a target. We're going to say U. Yours is probably not going to work because it's going to say sample or layers. It's going to grab my background as well as this. Look up here. With it on, it grabs too much background plus my ellipse. I want to say actually just sample the layer that I'm on. Which is this. This is where it's going to steal from. I'm going to lower on brush size to what I want to use to draw with. We're going to create our own layer. This one is going to be my three D type layer. Actually, you're not owed to call it three D, it's 2.5 D fake three D. All right, so let's get started. I'm going to draw. Terrible type with my mouse. So we're kind of there. It's doing kind of what we want. Let's undo that. I leave it there. We'll turn it off. Let's make another layer. What you can do to make it look a little actually, that came out. I got to move fast. But let's say you want to smooth it out. You go to this cog icon. Actually, if you can't see this thing here, it's smoothing, you might have to turn it on in your brush settings. I got a window and down to brush settings and just turn smoothing on if it's not already. And it just means that I could just say, it doesn't have to be 100%, but if I crank it up to about 70, when I draw that same word, it's a bit slower, but it's averaging out my movements, and things are looking a whole lot nicer. Nice, sir. Nice, sir. I'm going to draw it again. Spend my time. Why am I using the word queen? I like the word Q in three D, and I don't know. And that's definitely queen. I always meant to be an E. Alright, I'm going to redo my E. E. Ah, man. So bad. I'm going to get my Wacom tablet in a second, then I'm going to show you how awesome it is with a tablet. All right, that'll do. Smoothing helped, but really this effect works great with one of two things. We're going to use a Wacom tablet now, and in the next video, we will look at using paths. What is a Wacom tablet? It is that pen you draw with. It acts as a mouse, but you get to hold it like a pen. I've plugged mine in now. I guess I'm reluctant to do this whole course with a Wacom tablet, even though retouching is really handy with one of these, not everyone has one. But let's look at the perk of using it with this particular tool. I've created a new layer. This is going to be my Wacom version. I use the Wakon intus pro, the medium size one. I like it. Good size, works really well. So now I'm using the pin. I'm going to pick a brush size, probably. There is a chunk bigger. Yeah. Other thing I'm going to do is I'm going to turn my smoothing down to zero, mainly because I'm reasonably good doing it with just the pen. You can see it's pretty smooth. You can turn on smoothing maybe just a little bit. But now, I'm doing with a pen. I'll try and do a nice one. Q. No, Q. And you can see what's really nice about it is that the size of the brush changes depending on how hard you push. So now I'm probably going to do a zilion attempts at trying to make the word queen again. Oh, the end. The last one. I'm running out of room, go to grab my layer and just kind of move it across. So close. I can't finish it. They'll do. No. All right. It's close enough. But you can see how nice it is when you are using just a tablet, just to do like little dots and little things and Okay. Rolling up. Cool. All right. What we will do to add a little bit more realism to this before we go. I'm going to switch back my mouse. What I'm going to do is with this layer selected, I'm going to add a drop shadow. That all looks good. And click Okay. Remember, what I want to do is right click drop shadow and create. Thank you very much. It just means this drop shadow is now on its own layer. What I'm going to do is maybe get it to I'm sure how much. I'm going to break it into half at least. I'm going to grab you. Copy, actually cut it, it paste. I've got two halfs. Why Because I want to use this fold in the floor. Let's work on the top half first. Turn the bottom half off, and that's what I want to do. I want to look like the lights coming from up here and sticking it against the back wall. Then with this layer, the bottom chunk, I want it to line up. Se my arrow keys just to make sure it lines up. And then I'm going to go to edit, transform, and I'm going to use the perspective option. I'm just going to kind of try and do something like that. It looks like it's kind of going across the floor, to drag it out a little bit. Turn. It's kind of working okay. All right, I have to play with that a little bit more. I'm happy enough with it, and what we're going to do is play around the blending modes. Both of these, what I might do is find a blending mode that works for this one, so multiply. Let's look at something else but more believable. That's a nice softlight, and maybe just lower the opacity of softlight, as well. And I'll do the same for this one. You and my friend softlt, and lower the opacity. Probably even a little bit lower. It's super subtle. It's helping a little bit. All right. So you make a circle, add a gradient, make sure it's rasterized. Use the mixer brush, sample that ellipse, and then paint it on its own layer. If you tie it in with a tablet like a wacom tablet, you can do some nicer stuff, where it's not just one kind of thickness. All right let's get into the next video. We're going to do a very similar thing, but we're going to use paths instead. Things like the penol I'll see in a sec. 83. Fake 2.5D gradient effect with paths in Photoshop: In this video we're going to do something similar to what we did in the last one... except we're going to use paths in this case. Gives us a bit more control... especially if you understand how the Pen Tool works... plus, we'll work out how to interlock these things as well. Why 38? Because that's how many birthdays I've had. And they interlock really good. All right, let's get started. To get started I'm just using this same background. Actually using the same file as before, we just turned everything off. You got to make a new layer. This one's going to be my '3D using Paths'. So for this to work we need a path. Paths are created using any of these tools. If you are a master at the Pen Tool, use the Pen Tool. If you have done my Illustrator course... and you're loving the Curvature Tool, use that one. If you have no idea what any of these do grab the Freehand Pen Tool. And this is allowing just to draw paths or lines... but freehand, so undone. Just make sure up the top here it's set to 'Path' and not Shape. And if you want it, you can see, it says Curve Fit... I think by default it's at 4, I can't remember what the default is. It goes up to a maximum of 10, it's just going to smooth out your drawing. If it's at 0 or 1 it's not going to be very smooth. And I'm drawing, you saw at the beginning there, 38, that's my age. And it just so happens that they kind of interlock nicely. We really want to grab the Pen Tool. I can't do it, you can use the Freehand Pen Tool. I'm using the Curvature Tool. This is the super quick introduction, click once, click once again. It just gives you a line, but you click a third time... and it's a curve. Click out here again, it's a wiggle. Maybe one more time, a couple more times. And if I want to turn that into a corner, I hold down... the 'Option' key and give it a click, and it goes from a curve to a corner. It's a sweet curve huh?. So, I've got my path... Freehand Tool, the Pen Tool, or the Curvature Tool. And I'm going to go to Paths. And that's what I need. Now by default a path kind of disappears when you stop working with it... unless you give it a name, so double click the word 'Work Path'... and this is my '3', so I can come back to him later on. Now in the Path Panel, if you can't see Paths, it's under 'Window'... and there he is there. What you can do is right click any of this gray area, and say... "I'd like you to make a Stroke on this path, please." From the 'Options' I want to use the 'Mixer Brush Tool'. And if you haven't already, you need to go back to the previous tutorial... to create the Ellipse, set the target... to get that Mixer Brush Tool all set up; we're not going to cover that again. And just turn 'on' Simulate Pressure. Now what it's going to do is-- So this is a way of getting around... if you don't have a Wacom tablet, and you want it to be nice and smooth. If yours doesn't look anything like this... there are a couple of things that might be wrong, I'm going to undo. The easiest thing to check is, copy my Mixer Brush. I'm going to go to my Mixer Brush there. I'm going to open up my Mixer 'Brush Settings'. Under 'Shape Dynamics', just make sure 'Pen Pressure' is used. Smoothing doesn't have to be on, but definitely Pen Pressure. And along the top here you can copy the settings that I've got. If you're finding, where it gets kind of around the bend... it gets all kind of jagged, a couple of things you might do to fix that... is go to 'Brush Tip Shape'... and change the spacing down to like 1-2%. The higher it is the more kind of jagged they are. That might fix it. If it doesn't it probably means your original source... that thing we made in the last video... this guy here, isn't big enough. You've made a really small Ellipse and you're trying to stretch it really big. Photoshop is just kind of smooshing it around the place. The other thing we're going to do just because it's kind of cool... under the 'Shape Dynamics', we're going to say there is a 'Minimum Diameter'. Can you see the edges here? Because that one that I did have really pointy ends out of the three. Let's have a little look and compare them, so I've got one layer. Go to my 'Paths', right click. 'Stroke Path'. Makes a brush, all good. Simulate Pressure is going to put pointy ends. What I want to do is make another layer; I'll turn that one off. Go back to my 'Paths'... but before I go and add the Stroke... I'm going to say it's got a Minimum Diameter. Can you see there, it's going to have a-- that's as small as the line's going to get, it's not going to be pointy anymore. 'Stroke Path'. Depends on what you're looking for. Let's go through it one more time from the top, and make a new layer. I'm going to grab my 'Curvature Tool', and I'm going to draw my '8'. Make sure it's on 'Path', and I'm going to say... "I want you to start kind of there." Right down here. Curvature Tool, just clicking, nothing held down, no dragging. Great if you're doing infinity designs. If you are not happy with the final result... you can jump in to this white arrow here, the Direct Selection Tool. Hold down the 'Path Selection', grab this, click any of the Anchor Points. And you can make adjustments to kind of get it more how you want. I'm happy enough with it. I lie, I spent ages grappling with that. That will do, it's enough. I get one more. No. I think it was bit before I started touching it. Anyway, I want to move the whole thing. So I'm going to grab the 'Path Selection Tool'... grab any of the edges and just move it up. I've got my own layer, I'm going to go to 'Paths'. I've done it totally wrong, all of this has been smooshed on to one layer. So what I'm going to do is select it, cut it, new path, paste it. So it's on its own Path Layer, and this one's going to be the 8. So you should do that first. Make a new layer, come into 'Paths', make a new path, then start drawing the 8. Do as I say, not as I do. With '8' selected I'm going to 'Stroke Path', 'Mixer Brush'. You can see it's starting wherever I started... so if I was going to do it again I'd probably... start doing my path at the top here... because it looks kind of weird this way, but it will do. To get rid of this line in the center here just click anywhere out of the path. Go back to 'Layers', and what I want to do is get them to interlock. One goes over the top, one goes underneath. Actually, I grab my 'Move Tool', and maybe... rotate it around a bit. Look at this. Ah, so bad. I'm rotating it around so I can hide this little join here. And I want to do two things, I want that to go underneath and this to go above. So I need a version of this, the 8, so I'm going to duplicate it. Maybe one above and one below the 3, there we go. 3 is sandwich, the top one, I want to add a Layer Mask... and I grab my 'Brush Tool', make sure the foreground color is set to black. Painting on the mask, and I'm just going to paint this bit out. Things are really easy to do, this kind of interlocking thing... as long as there's one at the top, one at the bottom... and use Mask1 at the top. So that's how to do our fake 3D interlocking path 38. I will see you in the next tutorial. 84. Class Project - Fake 3D: Hello, it is time for your project. Using the techniques we learned in the previous two videos... you can either hand draw it or you can use the Path option. I'd like you to create your own text. It can be a name, could be your age, like me, favorite food. Random word like cream, because you like the shape of it. In your 15 3D folder there's a class project folder. I've given you two backgrounds that you can use, up to you. You can find other ones on Unsplash or Pexel... or it can just be a plain background, maybe a gradient. But use the techniques you've learnt. Create something and send it to me, share it with everybody. Either in the assignments on this page, the comments... or share with me on social media. Remember, on Instagram I am bringyourownlaptop. On Twitter I am Danlovesadobe. Show me what you've made, let's get on to the next video. 85. How to edit video in Adobe Photoshop: Hi there, in this video we are going to look at Video Editing. We're going to add music, logos are going to fly in. I'm going to talk all the way through. There's going to be transitions, where we flick from one shot to another. We add background music. There's a lower third, you can see there, hey, that's my name. All of this can be done in Adobe Photoshop. It's pretty crazy, it's pretty amazing, let's jump in now and learn how to do it. To get started, the easiest way is to go to 'File', 'Open'... and in your '13 Videos', click on 'Talking Head'. And Photoshop has the ability to open mp4s, MOVs, AVIs, maybe. mp4 is the kind of most generic format though, let's click 'Open'. The cool thing about it is it will default to something that looks like this. You'll have this magic time line up here. Your layers over here are different, you can see, it's a video group. You can see that icon has a little film reel in the corner. The main one we need is this little time line, if it doesn't appear... go to 'Window', 'Workspace', and just say, I want it to be set to 'Motion', please. This should bring it up. There's one other way to get started, and I'll show you just quickly. You can go to 'File', 'New'... and go to this option that says 'Film & Video'... and this option here at the beginning is generally the most common format. It's called 1080p, just means it's 1080 pixels high. It's just the generic size for high definition video. The only difference between doing it this way, I'll just show you real quick... it's not the way I want you to do. I just want you to know you can do it this way. Is once you've got it here, you need to go to 'File', 'Import Linked'. You can embed them, but linking the video files... just means the file size of this PSD is not going to be huge. So we place it in, hit 'Return' to get it the right size. We just need to click on this button here, 'Create Time line'. And basically we're ready to go again. So it's up to you, we're going to close that down, don't save it. We're going to use the 'File', 'Open' method. It's better, and quicker. First thing is, you're going to learn one shortcut, the space bar. If you hit 'Space bar', it will start playing. "Hi there, my name is... And 'Space bar' again is Stop. So use that one reasonably a lot. Or you can just hit this 'Play' and 'Stop' button. The other thing to know is, you need to keep an eye on this thing here. At the moment it says 25 frames/second. Basically it's the Frame Rate or the speed at which this video plays. Now Photoshop is not built for video editing. It can do it, then it does a pretty good job... but for me, for all my editing I'll use a purpose built program. For Adobe, it's Adobe Premiere Pro. Some other people use Final Cuts, which is Apple products... but Premiere Pro is kind of purpose built. Means it plays back really nice and fast, has a lot more settings and features. The reason I show you here in Photoshop how to edit video is... it means we get to rely on a lot of the tools we already know. So if you want to correct the levels of this... we can just click on this 'Levels Layer'. Go to 'Adjustments, and go to 'Levels', it's cool. Hue & Saturation works, all these tricks... we can go up to Filter, use Blur and Blur Gallery. All the stuff you know and love. The big drawback is that there's not too many features for editing video. It's kind of caveman style, and the other one is the playback. Gets real jumpy, real stressed out if you-- we're just going to do a really short, kind of a few second video... but as soon as we get into anything longer than that... poor old Photoshop tries his best, but it's not purpose built. If you're interested in a Premiere Pro course... check out my course in Premiere Pro. But let's stick to Photoshop, because it is pretty amazing... other than it's slow, and it's missing a few features that I like... man, you can get quite far just editing video in Photoshop. One of the things to help you though, is click on this 'cog'... and switch down the resolution to '25%'. Just means, watch this, if I hit 'Play', it gets quite pixelated. It just means that it's previewing it pixelated. It will actually export a high resolution. Doesn't matter what you've got the resolution set here... but while you're working, set it to 25. Next thing to do is your editing. In this case, I'm going to scrub along. Basically I have two false starts, and then I get into it. So watch this, I'll show what I mean. Where do I finish up? Here we go. So let's play this. "I get to make... Happens a lot, right? Takes about 10 takes to do any good take. So what we have to do is edit it up. So there's that one, then there's that one I'm talking. - I lose it again. - "Graphic Designer.... I'm a Graphic Designer. This last one here at-- you can see down here... I'm at 26 seconds, that's a good indication for you as well. So I'm just going to scrub back - call it scrubbing. - to just before I wave my hand, that's where I'm going to cut it. To cut it, you can click on this fella here, and click on the little scissors... and it just chops it in bits. You click on this first chunk, right in the middle of the blue bit. Hit 'Delete', and it gets rid of that first chunk. That's one way of doing it. So I can hit 'Space bar' to see where it starts. - "Hi there, my name is... - Now works fine. I'm going to scrub to the end, where I finish... that's it. - So about there. - "Really cool conference." There I stop. So instead of using the scissors and deleting it... you can actually just drag the ends, and say, actually, there you go. So either use the scissors, or just drag the ends, it's up to you. So that's our first bit of editing. How do we bring in another video file? Easiest way is 'File', let's bring in 'Place Linked'. We're bringing in 'Talking Head 2', 'Place Linked'. And this one here. At the moment it's asking me, do I want to resize it? I don't, just going to hit 'Return' on my keyboard. And now I'm going to scrub along. This one here, I only have one good take. So you don't have to mess about too much for this one. So you'll see somewhere there, that's me talking. I wish you could see the waveform. If you're like using Premiere Pro... you're like, "Wish I could just see the audio track," you can't. Also so you know, if you do really enjoy Photoshop video editing... just doing short social media, Instagram hacks, perfect for it... you can actually buy plug-ins for Photoshop to take video editing to another level. I haven't bought them or use them myself... because I jump into something like Premiere... but if you are a person, you're like... "Man, don't need to learn Premiere... just give me some few extra features in Photoshop, and I'll be good." There are plug-ins you can buy to kind of take it to the next level So there's me talking, me talking, me talking, and then I stopped. It's going to be enough for this edit. We're not worried too much about the dialogue. We're just getting the techniques here. So I'm going to scrub this little scrubber here to find the end... or you can use-- see this here, there's like a little baby hill, big hill. So big hill zooms in, small hill zooms out. I'm going to keep zooming out until I can see the end. I could use my scissors or just drag it till it snaps. That my friends is my editing from this, this is called Jump Cut. - So I'm going to hit 'Space bar'. - "Very cool conference." - "In this course we're going to look... - See that? Jump Cut. It's not even a cut at all, or jump transition... just one stops, one starts. And they can work, in my case it looks a bit weird. There's a bit of a jump. Camera moves as well. So the first little technique we're going to look at is Transitions. So Transitions are hidden in this little icon here, I click on them... and here are our basics. Let's have a look at fade. Click, hold, and drag it... and you can see, I can kind of straddle both of these here. Let's have a little look. - This is going to fade out... - "...very cool conference... - "In this course... - and fade back in. "...learn InDesign to... For that to really work, you need maybe a black background here. So you can make a new layer, put it at the back... fill it with black; 'Edit', 'Fill'. We'll use a shortcut, and just make sure that you've got a layer underneath. Filling this, it might be white that you want to transition to. So all I've done is create a new layer, put it at the bottom... and stretched it, so it's underneath here, so now in this phase... "...very cool conference... I don't know why the transitions are really slow. I'm going to get rid of this layer here. Let's switch this one, let's delete this one. Just click on it physically in the time line... and delete it with your 'Delete' key, let's try 'Cross Fade'. And this one's going to-- does something kind of weird here, it's okay. Don't worry about it... but watch this, it's going to try and save him across, maybe one to the other. "...we're going to learn InDesign... It's not going to work in this case. So I'm undoing. What I want is, it's up to you. It's really common to have Fade to Black or Fade to White. I like Fade to White. Just as a personal preference, or Dip to White, normally it's called. And I like it quite short, can you see, I can zoom in. Bigger. Big mountain, big mountain. And just grab the ends of these, and just tighten them in. I find a nice kind of white flash, keeps pace... and it's-- you'll see all of my intros do that. A whole lot faster than that. So really just kind of like a little white flash. "Pretty cool conference." - "In this course we're going to... - That's what I like. Most people will use a Fade to Black though rather than a Fade to White. Another little basic editing trick... is when you're doing one of these cuts... it's kind of weird that I appear at the same place. What you can do is fake another camera, or a different shot. So what I want to do is... with this layer here, Talking Head 2, I'm going to transform it. I'm using my 'Command T', you can go to 'Edit', 'Transform'. And I'm just going to scale it up so it looks like... I was really kind of framed in here. 'Enter'. -It's a cool little trick. - "In this course we're going to learn... It feels like it's a whole different place and the camera's been reset up... - rather than just taking out my terrible-- - "In this course we're going to learn... That's up to you So we'll end at transition, we did a little flash to white. It's playing a bit slowly here, so I'm not going to... worry too much about the timing until I render it. And I scaled this one up to look like there's a bit of a camera change. Only problem is going to be a little bit of pixelization, so it's up to you. I'm happy with it. I find it reads better as I clip... rather than me just kind of flashing, and appearing in the exact same place. If I had to flash again I'd appear back at that sort of scale... and just toggle between the two. Next thing we're going to do is add some audio... so down here where it says Audio Track... click on this, 'Add Audio', and in your '13 Video' file... I've got 'Background Music' ready to go. Let's have a little look, zoom out. You can see, it's a really long clip... so I'm just going to tuck it into the end here. Zoom back in. Back to the beginning, hit ' Space bar'. "Hi there, my name is Dan... So the background music there... really good for things like intros. The only trouble here is that it's really loud. So I'm going to right click it anywhere in that green part... and just lower it down to something so that you can still hear me. Let's go. "My name is Dan, I'm a Graphic Designer and Adobe Certified... Music really adds a special feature. Where do you get music from? There is a few places, the one I know off the top of my head is Wistia. That's W-I-S-T-I-A; Wistia. They have some free stock music you can use... but for me I get all of mine from Shutterstock. One of the few places that still do audio. And this might have cost me... I'm guessing, about 30 US dollars. And I use it over and over again as my backing music. So that's how to add music. Let's do another typical video editing thing in Photoshop... and it's the logo intro. So what we're going to do is go 'File', we're going to go to 'Place Linked'. We're going to bring in the bringyourownlaptop logo. It's my business, it's in '13 Video', let's click 'Place'. Let's click 'OK'. And it's the right size already, hit 'Return' to kind of set it in there. Now we're going to have a little bit of an issue where... this just kind of lumped wherever my play head was. So what I'm going to do is... I'm going to have nothing selected, just have this selected... drag it to the beginning. How long do I want it to be? Not sure yet. I'm going to grab all of this... holding 'Shift' to click both of these, just drag it over here... until I get the timing of this right. So how long does it need to be? The way I do it is I hit 'Space bar'... then I hit 'Space bar' again when I feel it's been too long, so 'Space bar'... maybe a bit longer, about there, feels right. Grab the end, tuck it in, spacing again. That feels, maybe a little bit longer. Here we go. So now I'm going to grab these two fellas, drag them in. Extend the background music so it starts there. I'm going to have it so it carries to the end there. We're going to do a bit of logo animation. So I'm going to get it to move in. So what I'd like to do is, right back at the beginning just drag it to the left. Let's click 'OK', make sure this layer is selected. I've got my 'Move Tool'. I'm going to start it off screen. So you can't see it. And what I'm going to do is I'm going to twirl down this little option. This gives me keyframes. Basically what I want to do is-- we're going to use Position in this case... I'm going to set what's called a keyframe, a little stopwatch, you say, I want... at this time, where my play head is I want you to be there. And in this case it's off screen. Then a little bit later I would like you-- I'm just going to use my Move Tool here and drag it on. Drag it to the center there. Let go. Can you see, it made an extra little keyframe. At frame one it's over here on the left, and at frame, whatever I decide it was. So I dragged my head and just moved it in, it creates a keyframe for you. Back at the beginning, hit 'Space bar'; too fast. If it is too fast, there's just not enough time... or not enough space between these two, so just grab the second one. Expand it a little bit. "Hi there... I'm happy with it but it probably needs to hang around a little longer. Zoom out. Grab these two fellas, hold 'Shift', click them both. Nice. "Hi there... Now for this, it probably needs a white backing. I'm going to create a new layer. I'm going to have my foreground color as white... then hold down 'Option-Back space'... or 'Alt-Back space' on a PC. We're going to just talk about the layers real briefly. Don't worry too much about them. What ends up happening is... because these guys are in a row, they're in a video group. So what I'm going to do is just kind of drag it up. What ends up happening, can you see, it comes out of that group. Anything that's on the same line is in a group. I'm going to twirl this up here... because I want you, my friend, to be underneath it. And it's kind of hard to do in the Layers Panel here. It's actually easy just to do it here. So not in the same group, I want you to be just out. What ends up happening here in the time line... is they end up being on top of each other. Exciting logo slides in, Dan starts talking. I might add a transition at the beginning there. I'm going to-- am I going to fade in? Yes, let's fade in. Not that long. Come at the end, don't drag it. "Hi there, my name is Dan... Maybe not even a Fade, it's going to be a white. So where we are. Fade with white. Same thing, so it's not going to have a transparent background. - "Hi there, my name is Dan... - There we go. Let's do one of the last typical uses of video in Photoshop. We're going to do what's called the lower thirds. You saw at the beginning there, it's just my name that appears. You know, Hi, I am Daniel Scott, and I am a Certified Instructor. This is where we get to use our lovely Photoshop skills. So I'm going to grab my 'Rectangle Tool', and I'm going to draw... a Fill, it's going to be white. I was going to draw a rectangle over here. And what I'd like to do is just drag it so it's above everything... so out of any groups. I'll twirl these up to make it look nice. We're not worried too much about where it sits in the time line here. I'm going to build this, so I've got this kind of boxed to hold my text. I'll grab my 'Type Tool', I'm not going to click in the box. I don't like it because it turns the box into a text box, and I don't want that. So I'm going to undo. And I'm just going to draw my text out here. This is going to say, 'Daniel Scott'. I'm going to pick black. I'm going to pick a file size that fits on screen. I'm duplicating that layer. I'm going to type in, "I'm an Adobe certified awesome person." No, Certified Instructor. I'm just messing about with font. Font size. Zoom in a little bit so you can see what I'm doing. This is my lower third, right? So we have to kind of build this in Photoshop. In Premiere Pro if you go to 'Window', and go to 'Graphic Essentials'... these kind of pre-built, plus pre animated. But again, because we have skills in Photoshop it's actually not that hard. So we got these three people. I'd like to make sure they're all aligned on top of each other... where I want them to come in, zoom out on our time line down here. I'm going to have to make it quite tall now... because I've got so many layers going on. So it's going to play for a bit, then I want this a little bit later on. So I selected all three of them. Click the first one, hold 'Shift', and click the other two. And I'm just going to adjust the timing. "...Designer and an Adobe Certified Instructor for..." It's timed okay. So what I'd like to do is get them to all kind of fade in. We've looked at Position, which we did with the logo. We'll do it now with a Fade in. So we could do it individually to all three of them... or with all the layers selected over here, or over here, hit 'Group'. Which is 'Command G', or 'Ctrl G' on a PC. And it just means we can do it to the whole group of them... rather than trying to do them all individually. And in here I'm going to set the Opacity at the beginning. And it's hard to get right to the beginning, right? There's a little trick you can do in Photoshop... is hold down the 'Shift' key. So if I hold the 'Shift' key while dragging this little play head... you can see... snaps to all important parts. So a really handy trick. 'Space bar', 'Play', hold 'Shift' while you're dragging to snap to points. So Opacity is going to be there. And I'd like the Opacity to be... over here in your Layers Panel, turn it to '0'. You can see a little keyframe. So if, beginning here the Opacity is at 0 and then after some time... I'm going to grab the Opacity and send it up to 100%. You can see, it put it in that second keyframe. Thank you, Photoshop. Let's give it a test for the timing. - "...Adobe Certified Instructor... - Yes, I'm happy with it. Again, if you want to adjust this timer... hold down 'Shift' while you're dragging the play head... because this keyframe, you can see, it snaps to the keyframe now. You can say, actually I just want it to kind of be there. So you can kind of still see through it. "...Certified Instructor for Adobe... Looks kind of cool. And what I'll do is, I'm going to get it to fade out at the end... because at the moment it just kind of slumps. Now why don't I just use the Fade out? Because it doesn't work in groups, I could ungroup these... and just drag it onto each of them, that would work... but I wanted to show you how we practice with keyframes. So what I want to do is-- most people get to the end, and they'll just turn this off. So they'll go to here. The other problem is, if you're at the last keyframe... you can't see Opacity, you need to kind of come back. Just one little touch. Make sure that's selected. Now you can turn the Opacity, go down the Opacity at 0. So the problem with it is that it goes from 0 to 100... and then starts working its way back down to 0. So it's not really hanging around at any stage. So I'm going to undo what we did, 'Step Backwards'. So what we need to do is, after some time we put in another kind of forced keyframe. That one there that says, I'm going to make a keyframe. And it's going to be the exact same as this one... just basically picks it up, copies it, and puts it there. That means it's going to be a stretch in here where it's exactly the same. And then just before the end... I'm going to set it to 0. So think of it like a little table top, it kind of comes up from 0 to 100. Then stays, stays, stays, then kind of drops down at the end there. Super Fade in. "...Adobe Certified Instructor for InDesign... Holds for a while... then fades out. Let's say that we're happy with this. I just need to make sure-- my audio here needs to go at the bottom there. We can keep adding clips to it. Editing, but we've got the basics in there, right? Transitions, music, keyframing the position... which we did for the logo. Then keyframing the Opacity, which we did with this little lower thirds option here. Let's save it, we should have done that a long time ago. It's going to save mine to the desktop. 'Desktop'. And this is my 'InDesign... Intro'. It's going to be my 'v1'. Now we need to render this thing. Easy way is this option down the bottom here, this little arrow. Click on that. It's going to open up the Render window. It can look a little scary in here. First thing we're going to do is select a folder. I'm going to stick mine on my 'Desktop'. I'm going to give it a name, it's actually going to use the name of the PSD. And the big thing for you is the format. It should default to H.264 That crazy name is what gives you an mp4. Because I'm on a Mac I also have this QuickTime option. And for me, I've never used the DPX. If you're on a PC, you might have another option here, it might be AVI. This one here is the most common generic. Small file size, great quality. Plays on mobile, plays on websites, that's the one you want. Preset, 'High Quality'. You might lower this if you are... maybe sending it via email first for maybe just a test. I'm going to leave it at 'High Quality'. It's using the size from the original document that I had. We don't need to change any of this. Let's click 'Render'. So we spent that up, that took probably a minute, maybe two. Basically I went and put water in the kettle, turned the kettle on. So I can have a cup of tea in a minute. What will make it go crazy long... in terms of Render, would be to add things like Filters to your video... which you totally can. Just like we do any layer, click on it, say 'Filter', 'Apply Filter'. When it's doing stuff like that it can really slow it down. And obviously the longer the video... the more complex, the longer it takes to render. Let's see what's got created though, on my 'Desktop'... there he is there, there's my mp4. How big is it? It is 83.8MB, big enough. Hit 'Space bar'. How cool is this? - "Hi there, my name is Dan... - Hello, me. Wait for this to appear. "...instructor for InDesign... "Now I'm lucky enough to help Adobe directly with a lot of their help videos... So that's the skinny version of doing video in Photoshop. You can do everything you need... It's when you get to things where you need to bulk do stuff... that's where Photoshop kind of falls down... and for me, there's something called Easing. At the moment this transition here is... just kind of chugs across the screen, goes chugga, chugga, chug. I want there to be a nice kind of inertia to it. Something called Easing or Interpolation. And that can only be done in Premiere. You can take it a little bit further with special effects in video... and go to something called Adobe After Effects. So if you like the idea of motion graphics or animated infographics... that is the home of After Effects. Premiere gets used when we're just doing some basic kind of edits like this... where we just got to cut, fix audio... needs to work fast, we need speed, workflow. That's what Pemiere's for... special effects though is for After Effects. Fixing audio, just so you know is another Adobe product, it's called Audition. That's when you need to maybe try and remove echoes... or kind of air conditioning noises, or background noises that are annoying. That's a job for Audition. So let's take our new found video skills... and show you some other uses for it in Photoshop. Next video we'll do Parallax, then we'll look at Cinemagraphs. Both very cool, let's do them in their own video. This video I think won the award for longest video in the course. If you've made it here you've won. You've not only made it to the end of a very long course... you've made it to the end of a very long video. High five. Let's get into the next video. 86. Parallax effect to make photos move in Photoshop: Hi there, this video is all about Parallax Animations. Basically we're going to cut two different layers out. Then animate them using our cool new video editing skills. You can see them here. Building is masked, clouds are masked. And it is animated at different times giving the illusion of movement. Another version here, this one here we cut the front mountain out... from the middle, from the back, and from the sky... and they're all just moving at different times. To give you this kind of cool Parallax effect. This guy, this guy, this guy, all together. A 2.5D video experience. Let's jump in now and learn how to do it. First up, in your '13 Videos' folder let's open up 'Parallax 1' and '2'. That's all, let's get our file ready. I'm going to the kind of shrink down my timeline. Let's be on 'Parallax 1'. So before we turn it into a video timeline... let's just mask out the sky here. It's going to be super easy because of this nice clear blue. I'm using the Quick Selection Tool. So I've got the sky selected, let's invert it. Then on this background layer here, let's hit 'Layer Mask'. Let's bring in the 'Parallax 2'. So 'Select All', 'Copy', then 'Paste' it in. So my clouds are bigger than I need. That's going to be important... because I wanted to kind of move across the sky, right? I want it to be underneath here. So for Parallax to work we need to be able to see the timeline. If you can't see it, go to 'Window', go down to 'Timeline'. Click on 'Create Video Timeline'. And extend it up again. So let's work on the building first, let's actually give them names. It's over here. This is going to be my building. This is going to be my clouds. So on a building layer. I'm going to zoom out, so I can see the end here. And how long does it need to be? It's totally up to you, it's defaulted to about 5 seconds. You can kind of see these larger numbers here... 1, 2, 3, as seconds. That will change depending on your zoom level. You zoom in and out, you'll get different numbers. So let's hit 'Play'. It's quite a long animation, 5 seconds is fine. You can extend it by just grabbing these ends here... and deciding how long you want it to be. So with the building, we need to do two things. We're going to do the Position and the Scale. So let's twirl down this little arrow here. The one thing that happens when you are doing a mask... is that if you animate it now - I'll quickly show you a position... and then another position, but I'm going to move it. Watch what happens when I animate it. Weird, huh? The layer, but not the mask animates. So I'm going to undo, way back to the beginning... before I had any keyframes. And all I'm going to do is right click this guy, and say, you are a Smart Object. Right click the gray area, Smart Object, now when we animate it, it's going to work. So Playhead right at the beginning. I'm going to click another little stopwatch... I get our first keyframe. And then over here, at the end, it's going to change it. And this requires a little bit of practice, playing around, what looks believable. I'm going to fake a zoom in. Maybe have a bit of a pan in the zoom, so moving and zooming at the same time. So I'm going to enter a keyframe here, I'm going to... 'Ctrl T' on a PC, 'Command T' on a Mac. So I'm going to pretend like we're zooming in, but also moving down. So hit 'Return', and I'm just going to see what that feels like. Can you see? Zooming in. It's maybe a bit too much. The other thing to note is that mine loops around. If yours is not looping around, you can see in this little cog wheel here... you can turn Loop Playback 'on'. It's probably a bit too much, so if you want to change it... you got to make sure you get your playhead right over the top of it. But if you don't, like this, if you get close it will add an extra keyframe. So I'm going to undo. So when you're dragging this playhead, what's that shortcut we learnt? We hold down the 'Shift' key, that's it. And drag, it will try and snap to things, like this keyframe. So that was just a bit too much, maybe. Let's go for something a little subtler. Not much subtler. Much of the work's can be done by these clouds. There is no mask on this, and I have made it just a little bit big. I've made it just-- I found that image was a little bit bigger than it needed to be. So I'm going to start it along this edge. Be at the beginning here, let's twirl this down. 'Position', and at the end here I'm going to have it kind of over here. So just as a basic rule of thumb, is that... whoever's closest to the foreground moves faster than the stuff in the background. That is not always true, but... these clouds are racing. Now it's previewing at a really low resolution... because I had set it here to resolution 25. What you might find, if you've got it higher... or you've got a more complex animation going on... you might have to-- watch this option here, says 30 frames per second. Say you're dropping down to 14, it's jumpy, jumpy, jumpy. You see this little bar that's racing in front of it, that's its buffering. It's trying to render it. Now that it's gone through once... you can see it's not trying to do that anymore, that little line is solid. It means that the second time around, can you see green? I went through my stressful version... and now I'm ready to play this back in a nice little loop. And that is Parallax, my friends. Two things, moving at different speeds, they can scale. There's no reason I couldn't scale my clouds as well. I just went for, come from left to right. My building here, I tried to scale a bit. Let's jump in and do another version with Parallax. There's nothing more than we did here... but we're going to have a few different levels. Not just the building in the background. So let's open that file now, it's 'File', let's go to 'Open'. Open up 'Parallax 3', and at the end of this we'll export it. But basically it's the same as we did in the last video. Just hit this little render button down the bottom. So for this one here I'm going to show you a little trick. So before we create this timeline - I'm going to double click the thumbnail... just to get rid of it for the moment, zoom in a little bit. So it's going to be 1, 2, 3, 4. Close mountain, middle mountain, back mountains... and in the sky, so we got four layers. So let's do those, so with it selected, 'Command J'... I'm going to hit that, so I've got three versions. Let's even name them, let's go crazy. This is going to be the 'Sky Layer'. This one here is going to be the 'Back Mountain'. This is going to be the 'Middle Mountain'. This one here's going to be the 'Front Mountain'. So let's mask them front to back. I'm going to turn all these off. Let's do the front first, I'm just going to use my Quick Selection Tool. Pretty good. Again this is quite forgiving. So your mask doesn't have to be perfect. Just do it, get it animating, then you can go... and fix the mask up later on if you like, using the Select & Mask. So add a Layer Mask. That's cool. It's the front mountain. Let's do this one, hold down the 'Option' key... and click on the 'Eyeball', turns the other ones off, just this one on. That's 'Alt' on a PC. Middle mountain. Don't need you. Looking pretty good. Middle mountain, thank you. Let's pick on the back one. You could go a bit hard core, and there's a few extra mountains in here. You could do them all different times. Problem is... remember, the further away the things are... the less kind of movement it's going to have. This guy's going to have a bit of movement... because we're faking clouds moving in the sky... but these mountains in the back here are not going to move much at all. So to cut all these other ones out... I'm not sure anybody's going to notice. Works for me. Back mountain. Sky is the last one. Sometimes you need more sky. In this last exercise we just kind of stole sky from a different image. I just went through Unsplash and just went... what seems to have the same kind of visual Depth of Field type thing. You know it is the right angle? I just guessed that, and it looks okay. But this Parallax one, I want to actually use the clouds that we've got. So what I'm going to do is I'm going to grab my 'Lasso Tool'... and just select all these back guys. So I'm on my sky layer, I've got a big selection... I just want to remove the mountains. So 'Edit', 'Fill', make sure it's 'Content Aware'. And it's not going to be perfect... but it's going to give me a lot more to play around with. It's pretty cool. I turn them all on, they all look together. And now we're just going to animate them at different times, right? So this one, different from this one. So open up 'Timeline', and let's get this going into an animation. We'll start with this front guy because he's going to be moving the most. We're going to kind of zoom into it... so we're going to start at the beginning here. We're going to put in-- because we can't really go backwards... because there's just no extras here... you could use Content Aware Fill, and try and generate more... or you could just start really big. Oops, not that big. And shrink it down every time there is extras over here. But in this effect, what I want to do is kind of move like we're moving forward. So 'Position'. And it's not going to work, remember that little thing we need to do? Undo. We need to make sure, you, Smart Object. You, Smart Object, you, Smart Object. Back to front. Cool. So, transformation here. And as it zooms into 5 seconds... I'm going to hit 'Command T', we can go to 'Edit', 'Transform'. 'Ctrl' key on a PC. Yes, it's going to work me. This middle one here-- so that's going to have a quite a big movement. Now the middle one, because it's a little bit further away... it's going to have less movement. So at the beginning, 'Transform'. At the end, 'Transform'. But it's going to have just not as much. You can look at percentages. Can you see up here? That's 130, if you're watching, I have no idea what I made the first one... but you can kind of just go 150, 130, 110. Something like that if you need some Math. I'm just making sure you can't see the join. It's probably a bit much, let's just go and test it, and see. Make adjustments afterwards, let's get the mechanics working. So in the back here, 'Transform'. Didn't quite get it in the beginning. So 'Transform', and then at the end here I'm going to go just... maybe 112%. Move it up a little bit. So there-- I think it's okay. Let's look at doing the sky now. So in this case, because this is slightly different-- watch this... because this is a Smart Object I have this option called Transform. If I click on 'Sky'... and I twirl it down, it's kind of different. You can see, I have Position, Opacity, and Style. And the position will work, I can keyframe the position... but it won't do this scale which I want to do. So I'm going to right click this guy, 'Convert to Smart Object'. Even though it's got no mask or anything... it just means that it gives me access to the Transform. So the beginning here, I'm going to transform it... and then at the end I'm going to... change the position, and also the scale. Probably not that much, Dan. Just a little bit, and maybe just-- I'm going to scale away. Clouds are slowly moving that way. 'Enter, it's good to go. You can see, the first time through... it's trying to buffer, it can't do it, it's only playing it... 7 frames per second, it should be doing 30. So what we're going to do is... probably switching it to, the resolution to 25%, it would play fine. But I got it at 100. Wait for it to go around, loop, and now it should play nice. Way too much movement on that first one. But now we've got a drone that's coming in, zooming in. Kind of believable. Probably have to lower the scale and movement of that first front one. That's what you can do now, just make sure you got the playhead... holding 'Shift', so it snaps to the keyframes, and make adjustments. To render this, we're going to hit... this little 'Render' button down the bottom, little arrow. Select the folder, I'm going to stick mine on the desktop. It's going to take the name of the JPEG that we opened. That's going to work for me. We're going to export ours as H.264, so it's an mp4. And leave everything else there. Hit 'Render', kick back, relax, and you'll end up with an mp4. Let's check our desktop, here it is here. And that is awesome. If it's not a little too fast. If you want to export this as an animated gif... we'll do that in the next video when we do Cinemagraphs. And we'll do some animated gif export. 87. Class Project – Parallax: Hi everyone, it is time for a class project. I want you to create some Parallax. In your 13 Video folder, under Class Project... I've got two options for you. An easy one and a hard one. So I want you to do two different things, so version 1 here is the sign. Mask out the sign, and then using Content Aware Fill, remove the sign. You've got one layer that just has a sign on it, one that just had the clouds... and then animate the Scale and Position, or maybe just the Scale. Up to you, but the version 2, the second one here... there's kind of three main levels, there's the person... which I feel might be tied into this. It could be four, it could be this grass, the person, the mountain, and the sky. You can decide, three will be fine. But these are all going to be moving at different speeds. Zooming in, zooming out, maybe panning left to right. This mask is going to be a harder one to do because this man is a little blurry. Once you created and rendered your Parallax - this one's a little harder to share - so either post a link that you have uploaded to Dropbox. A link to your mp4, or maybe use Google Drive or something else. OneDrive, there's lots of them out there. So just a link to it, or you can upload it to YouTube or Vimeo... and send us the link there. Love to see what you make, especially of that second version. All right, get going. I will see you in the next video. 88. How do you create life images cinemagraphs in Photoshop: Hi there, this video is all about creating Cinemagraphs in Photoshop. You can see the water's moving, but everything else is still. Let's turn the little mask off, you can see... that's the whole image looping around... but with a cool little mask you can make it just happen a tiny little bit. And with a little bit of layer loopiness... it can play forever. We'll do a couple of versions, this one as well... coffee beans, just keep on going forever. Then we'll look at exporting them as a gif... so you can upload them to websites and social media. And have one of those kind of Harry Potter newspaper living image things. Let's learn how to do it now in Photoshop. To create our Cinemagraph we're going to go to 'File', 'Open'. In your '13 Video' file let's open up 'Cinemagraph 1'. Now this particular effect works mainly because I found a video... that has something moving, water's a good one. It's easy to fake and fudge. And this guy doesn't move too much. He does over the whole course, but I'm just going... to use a little snippet at the beginning here where he's not moving very much. If there's a lot of movement, or the camera is actually panning across... and moving, it just doesn't work. So static, foreground, background, and just have something moving within it. It can be a waterfall, it could be things being poured out. Hair blowing in the wind. If you Google 'top cinemagraph animations' into YouTube... it will give you some ideas of things you could do. Now I'm going to run through what you need to do step-by-step. The only reason I remember how to do this is because I've taught it so many times. It is really hard to remember off the top of your head... so what I've done is, in your 'Class Projects'... I've created this one called 'Cinemagraph', and I've just done it step-by-step. Even then my notes, it's still quite hard... so there's lots of playing, pausing, don't worry, everyone finds this tough. First thing to do is, let's just make sure... under this little cog here, that we've got a loop playback... because that's it, right? We want to create an animated gif that just plays forever. So for this to work we need to find a part of the animation. I'm going to use this part here at the beginning... where he's not moving too much. Then we need to trim out the beginning. You have to drag this side up to some degree. And under that again, so you need to drag the left of this layer to the right. All that means is that when I drag this out of it... there's some extra stuff in there, it's kind of hidden, there it is there. So you trim it in, so you can't see it. So that's required, and then it kind of does this little loop here. And eventually I'm happy with it there. I'm going to drag in this side as well, just need a little short snippet to loop. Now let's have a look, 'space bar', just to see it looping. I want the water looping, but not him, maybe a bit longer. Problem is there's a bit of movement in there but I'm going to risk it. Trim out the beginning, have to do that, trim at the end... you don't have to do that part, but it was just too long, I want a short little loop. With the layer selected, let's duplicate the layer, copy and paste it. I just hit 'Command C', 'Command V', or 'Ctrl C', 'Ctrl V' on a PC. So there are two layers now. Now for this to work, it can't be in this little group here, so just grab 'Layer 2'. And just drag it out, just drag it anywhere down here. Now they can work on side by side. The left of Layer 2 gets dragged all the way that way... and the right of it gets dragged in so that it aligns with Layer 1. That's a bit you'll never remember. I'll do it again after this a little bit faster. So if you are watching this and following along... watch this, then we'll do it together a little faster. And you can pause, and do your own version. Now nothing's going to happen. What we need to do now is fade this out to show through the image underneath. It's going to create the loop. So let's move our playhead anywhere between where these two overlap. So I'm going to start somewhere here. Click on this top layer here, 'Layer 1', twirl it down... and I'm going to start with my Opacity. Turn on the little stopwatch, so here's my first keyframe, you just leave that one. Then anywhere between here and here... you'll have to adjust this depending on your animation. So anywhere in here, as long as it's still overlapping... put it in another keyframe... and lowering the opacity over here in your Layers Panel. So basically it's going to play and then start getting more and more see-through. I'll turn this one off. So it's going to get more and more see-through. And because of this trick we did with this last level... this one picks up, basically starts playing here... with that bit snipped off... till eventually it gets to this end part which is actually the beginning here. Which probably doesn't make any sense to you. I always get blank looks in the class. So with them both on now, hopefully now we've got a loop. There's a little bit of kind of fading going on. I'm not worried too much about it because he's moving... because I'm going to mask him out, I just want the water. So let's not worry about it too much, we can adjust these later on... but let's do our mask. To create a mask we need to make a still of all of this. So put your playhead where you want the still. So I'm going to have mine just at the beginning here. Then with both of these selected click on these two. There's a cool little shortcut, 'Command-Option-Shift-E', that's on a Mac. 'Ctrl-Alt-Shift-E' on a PC. Gives you a still of all those layers and makes its own little duplicate on top. Or you can flatten it, copy it, then undo it, and paste it back in. So you've got this option on the top here. So this is covering everything. If I hit 'Play' now... actually no, there's my animation, there's this fella. He needs to make sure he's kind of at the top, above everything. I'm going to drag him over here so he's covering my video. I'm going to zoom out a little bit. So it's covering everything, we can't see anything. So this is it, we're going to poke a hole through this, with a mask... to show just the water. So with the layer selected, let's go to 'Layer Mask', let's grab our 'Brush Tool'. Find an appropriate brush size. Then paint a hole here. It's a little hard to do, you're going to have to adjust it. So I don't want too much of this bottle, undo. I don't want too much of his face, undo. Give it a practice, hit 'space bar' now, you can see... it's pretty good actually. And you can see, remember that fuzziness we had? Not to worry about it now because water is quite forgiving. His face, how much of this do I want? So if I paint in a bit more of his face... it's kind of working, except his face is-- because this guy's moving all the time... which is kind of ruining it, so I'm going to... paint it out with white, so his face doesn't move. And that's our effect, friends. Zoom out. It's cool, huh. If he didn't move through the whole thing... I'd be tempted to do it with the stuff running down his face as well... but because he kind of leans forward during the animation, we can't. I'm going to save this one, just going to save it to my desktop. We'll export it as a gif in a second, I just want to show you... once you get into the rhythm or at least work out the steps... instead of explaining it all, I'm just going to run through it reasonably quick This would be the one that you can rewatch. Jump to this bit where it's nice and quick... and me not trying to explain things as we go. So I'm going to go to 'File', 'Open'... and we're going to do it with '13 Video', 'Cinemagraph 2'. This one here, beans being poured into a bowl. I want this to kind of feel like it's continuously being filled up forever. So which part do I want? I probably want the bit that's-- it's a little bit hard when you can see the bottom of the bowl, I practiced. It's easier when there's no hole, so I just want a chunk, this big. So remember the rule is, drag. You have to drag this left side of it to the right. How much? Up to you. As long as there's some in there... and then how much of a loop, yeah that's long enough. Hit 'space bar' to just check. Yes, that's long enough. So now this is where the magic happens, with this selected, copy, paste. Make sure this guy is not in the same group. Drag this one all the way this way. You can go all the way to the beginning. We can go about half way as long as there's a good overlap. Then drag the right hand side in here. Now with this layer selected we need to add a couple of Opacity Keyframes. One, you don't do anything, the other one, you lower the opacity down to 0. Hit 'space bar', and now it should loop forever. That's the bit. You can see, there's a bit of a fade but it's pretty good, right? You might decide that you don't-- like it doesn't need to be anything else than this. Because the blend is actually pretty good. It's a Cinemagraph without having to do the mask. When I practiced this it never came out this good. So let's say I do, I want them pouring in but not bouncing around. So remember, select both of these, hold down all the keys and E. 'Command-Option-Shift-E', or 'Ctrl-Alt-Shift-E' on a PC. Drag it to the top, there we go. Make sure it overlaps. And we add a Layer Mask to it. 'Layer Mask', paint bits in. And I just want kind of these parts. Make sure black is your foreground color. I'm going to hit 'space bar'. That's what we're trying to do. I'm going to have to work some of these in, I want you in there. How much of the bottom do I want in? That's kind of it. And that will make a pretty cool Cinemagraph. We'll turn it into an animated gif now. Hopefully it shows after a little bit of practice... you can bang out lots of these Cinemagraphs. Test it on different things, but let's look at exporting now as a gif. To export it go up to 'File' and let's go to... you have to use the 'Export', 'Save for Web (Legacy)'... you have to use this older version... because it has some special gif tricks in here. Wait for it to load, it's going to be a bit stressful on your machine. Maybe Photoshop doesn't like doing video and animation very much. So you need to pick a Preset. Doesn't really matter as long as it's gif. The higher the numbers the more colors and the nicer it's going to look... but the file size is going to be bigger. You don't need to change anything except for... down here, where it says Looping Options. You want to say loop 'Forever', rather than just play once. Also this is a very big, like this is full HD... it's going to be a super big gif. If this is going out via social media... you probably want it to be a lot small. I'm going to make mine like 20% of the original size. It's about 300 pixels across, and then click on this option that says 'Save'. I'm going to put mine on to my 'Desktop', hit 'Save'. I'm going to replace it because I've already practiced. And then hopefully on my desktop... there is my gif, it is less than half a Megabyte, which is good. And it has a cool looping thing. Awesome, huh? Let's do the second option. Let's leave this one, it's full resolution, just so you can see the difference. So 'File', 'Export', 'Save for Web'. It shouldn't be too big, not like a fully animated gif... because there's only a small part that's actually changing colors. So remember, loop 'Forever', make sure it's on 'gif'. Hit 'Save'. I'll stick it on my desktop. Check it, where are you? On a Mac you can just hit 'space bar', and it just plays. You can see the colors are all banded, and stuff. Just because you're only allowed 128 colors on that preset. If you want more colors, say you want it to be as photo realistic as you can. You can go to 'Export', 'Export', 'Save for Web'. Sorry that's 'File', 'Export', 'Save for Web'. And even though the defaults only go up to 128... you can, over here go to 256, you can add some more colors to it. It's going to look nice, it's still going to have banding... there's only 256 colors allowed in a gif... whereas we actually have millions and millions. Normally an RGB, or a typical JPG. Poor old gifs only have a few colors, so if you get banding... there's not much you can do about it. Crank it up to 256 colors. The other thing you could do is make this thing monochromatic. Then it would look nice, there'd be less banding and lots of grays, 256 grays. Let's have a look at this one, still a bit of banding. Survivable. Now, remember on my Mac, I can just hit space bar and it starts playing. If you're on our PC, and you can't make it work... even on a Mac you can't make it work... just open up a browser... can be Chrome, it can be Safari, Firefox, Microsoft Edge, Microsoft Explorer. I felt like that's a test of how many browsers I knew. Anyway, so once you've got it... have them so you can kind of see them both. Then just drag it into here, and it should start playing. There he's there. Upload this to social media, and it is a cool thing in Facebook. Same thing in Instagram. Uploading to things like Dribble, even just on your website. gifs just play by themselves... whereas all the mp4s, they need to be asked to be played. So that is a Cinemagraph, or called a living picture. It's a pretty cool effect, easy enough to do. The steps are a little bit tough so check out... remember, the Word document that is in your exercise files... and look for the class project called Cinemagraph. I'll see you in the next video. 89. Class Project – Cinemagraph: Hi there, it is class project time. I'm going to set you the project of creating this into a Cinemagraph. Slo-mo coffee. Come on, slow-mo coffee. You have to trim a lot of it off the beginning. And up to you where you want it to stop. The file is in your 13 Videos folder, under Class Project, called Cinemagraph A. Use the techniques in the last video. Probably lots of pausing and checking. Otherwise, in your Class Projects file I tried to list it out step by step. Even still, it's a tough one to remember. When you're finished, just like the last parallax one... I'd love you to export a video. Either upload it to YouTube or Vimeo. And send us the link or upload it to something like Dropbox or Google Drive. Something like that, and share the link. Love to see what you make. Now I've given you a file, you can definitely create your own. Shooting your own one is so much easier... because you can know what to hold still, what to move. You can get the composition perfect. If you are looking for images that are free, or videos that are free... this one here is a good place to go. So Pexels by itself is a good place. Like Unsplash, you can get quality royalty free images. Commercial use free images... but they've got a video section as well. That's where I got your coffee one... and I got the beans being poured into the bowl. Have a look in here, like that windmill one would be a good one. If it wasn't all moving. Go forth, make a Cinemagraph, send it to me. I'll see you in the next video. 90. How to setup a file ready for web ui designing in Photoshop: Hi there, in this video we're going to talk about Web Design in Photoshop. We're not going to cover every single part of web design in Photoshop. It can be a big thing, I've actually made a separate course... specifically for Web Design in Photoshop. It's 50 videos by itself... so I'm not going to cram it all here in the Advanced Photoshop course. What I'll do is I'll give you the high level important details. If you want to go deeper you can go check out the other course. It's also worth mentioning here... that Photoshop is a perfectly great tool to mockup websites. You can see here, I've got this mockup of a website... and this is the way it looks like on a desktop... and that's what it looks like on a mobile, a responsive website. You can mockup mobile apps here... but it is just a mockup. Eventually you're going to have to go get this thing made in a Web Design Tool. Something like Dreamweaver would be useful. Or you can send it to a developer to be made. In the next couple of videos... I'm going to show how you would mock it up in Photoshop... and how to then pass on information to a Web Designer to go and build it for you. Or for yourself to go and build. Another note is that Photoshop is a perfect tool to do it. Illustrator might be a great tool for you as well if your skills are better in that. And the third one is Adobe XD. Adobe XD is probably the more professional mockup tool that Adobe has... but that's a whole new program to learn. It's up to you, I've got courses in all three of those for Web Design. Illustrator, XD, or Photoshop. So that's enough talking, let's get in and get started. First up let's go to 'File', 'New'. Photoshop is super helpful, and given us, over here where it says Web and Mobile... just some templates to start with in terms of sizes. So in this case we're doing kind of a website, a responsive web site. So we want to design it for Desktop, Mobile and Tablet sizes. We're going to start with one of these. If you're doing say a Mobile App design you're going to design it in mobile. Or you can just type in the pixel height and width here. I'm going to start with Web, we're going to start with the most common web size. Now we're starting from scratch. What you can do is... under 'Web', can you see all these templates down the bottom here? So there's some cool wire framing template, lots of stuff ready to go... to help you get started with website design. So have a little look through those... if you like one, click it, it will say, download over here... and it will slowly download. You can open it up and make the changes. We're going to start from scratch. So I've picked 'Web Most Common', I'm going to click 'Create'. The big thing it's going to give me... by using that template along the top there... rather than just typing the pixels, it's going to start doing Artboards. We know how to make Artboards, they become particularly useful here. This one is going to be my mockup for my desktop size. I'm just going to rename that one 'Desktop'. I'm going to create a new Artboard. I'm going to click in here, 'Artboard Tool', the little '+'. This one is, instead of 1316 this one is going to be a typical tablet size... which is 768. It will depend on what sizes you are designing for. The height, like a lot of these things... most websites are scrollable, so it doesn't really matter, the height... or at least I'm going to design it so it can be scrolled up. Same with this desktop size here... I'm going to click on the edge of it, just make this longer... because I want my website to be-- it's going to be a bit big... and it's definitely going to stick within the width... but it's going to be scrollable in terms of the website. Let's do the last one, let's do mobile. Actually let's name everything, this one's going to be 'Tablet'. Let's make a new one, let's call this one 'Phone'. And typical phone width is generally designed for 480. So you can see how Artboards are super useful when you're doing UI work. We're doing website design, but if you were doing phone... you could just have all the different screens... just lots of duplicates of that phone. Login screen, signup, billing, payments, there's lots of repeats. Now the one thing you're doing when you are doing website design is... using something called grids. I guess this requires a little bit of pre knowledge... and I guess that longer course would help... but this is useful for that people that are already doing Web Design. One of the hardest things, it can be setting up a grid. But whether it's magazine design or web design... often a page is divided into columns, typically 12 columns. Matches Bootstrap in a few other libraries. So we want this grid, instead of actually drawing them in ourselves... so 'Command R' turns the rulers on, 'Ctrl R' on a PC. Just trying to kind of lay out this grid system, there's a real easy trick. Go to 'View, and go to 'New Guide Layout'. You can see in here, Presets, I want a 12-column grid. Let's put a 12-column grid in there. You decide whether you need margins or not... either side, top and bottom, it's that easy. So that 12-column grid persists on tablet and mobile... but what I find more useful when I'm actually designing... is just to have 6 on both of these, 6 and 4 generally. You could put 12 in there if that's the way you prefer the design... but for me all I need to see here is 6. So with 'Tablet' selected, 'View', 'New Guide Layout', go to 'Preset'. Doesn't have 6, so I'm just going to type it in; divides it up. You can adjust the gutter depending on what framework you're using. Let's say I'm using Bootstrap. If you have no idea what Bootstrap is, don't worry. It uses roughly about 20 pixels in between. Same with the phone, I'll add you. I'm probably just going to do 4 in this one. Click 'OK'. So let's look at adding just some basic stuff to get started... before we look at exporting. So on my 'Desktop', I'm going to go... 'File','Place Embedded' or 'Linked', I'll use 'Embedded'. And in your 'Exercise Files', under 'Web'... there's one in there called 'Background brick building'... I'm going to place him in. I'll make it a little bigger. I'll move him to the top. Hit 'Return'. I'm just going to use my generic Photoshop skills... there's nothing special about it. I want to start designing. What I'd like to do to this guy... I'm going to put Type over the top of him, but he's too light. So with this selected I'm going to go to 'Adjustments', 'Levels'. Then just yank this one up. Just yank the white up just to kind of darken it down. It's doing it to the whole document... I want it to just affect the background bricks. If the guides are getting annoying, 'Command :'. The colon is next to your L key, normally. That's 'Ctrl :' on a PC. So the grids are helpful sometimes, and sometimes in the way. Turn them on and off that way. So I'm going to now add my 'Type Tool'. I'm going to click once, I'm going to pick a web safe font. I'm going to use Roboto. Putting in my Hero text, my kind of large 'Welcome to my website'. Let's make things awesome, just because. I'm adding text in an image because I want to work through... some of the kind of high level principles of Web Design inside of Photoshop. Mainly the exporting. Grid's on, I'm going to make sure this lines up with my grid system somehow. I'm going to grab my 'Type Tool'. Put in some text, we drag out a box. Make sure the font size is something a little readable. Not so big, and I'm going to go to 'Type', 'Paste Lorem Ipsum'. It will do for the moment. I'm going to put in a fake Navbar along the top. Do my Rectangle Tool, fill it with black. I'm going to have it semi transparent. Now I'm going to add my... not to the actual box itself, just down here. It's going to have a Home Page. The About Us page. And the Contact Us. So remember this, in Photoshop it's just a mock-up. A visual that we can get the client signed off... you don't have to be a Web Designer or Developer to make this work. Just look and feel, you are an UI designer... you're in charge of making this look great and work. Make sure the user experience is nice. Just put in some last basic stuff. You have to follow along, but I guess I just wanted to just show you that... we're just using Photoshop... as a mockup tool, it's not actually creating the code. You can do little bits, you can help our developers out. If you're a designer you can design in Photoshop... in building something like Dreamweaver. But even if you don't, you can just do it to the design side. Make sure you're a Web Designer not a Web Developer. And you can just do the Photoshop work... and you'll have to hand it over to somebody else to do HTML and CSS. If you are interested in getting into that type of thing... the front end Web Design... something like Dreamweaver might be a good start for you. I've got a course, I got a bunch of courses with Dreamweaver. But let's say this is the basics to get started. I just want to show you that we are just mocking this up... using our Photoshop tools, we'll turn it into a website later on... not in this course... but you can get by by being a Web Designer and just mocking things up. I'm going to save this. And what I'll do is-- actually in your 'Exercise Files', under '14 Web'... I actually included my template that I've got from my Photoshop course. It just has all the grid setup already, ready to go for a responsive template. You might get started with that... rather than having to go into 'View', 'Guide' yourself... and work out what all the sizes need to be. That's it for this video, let's get into the next one where we look at... getting some of the information out of our mockup... and how we get it to our Web Developer to start building it as a website. 91. How to export your webdesign ui project for Dreamweaver: Hi there, this video is all about how to export our CSS, our images. Everything we need to build a website from our mock-up. Even if you don't plan on doing Web Design in Photoshop... hang around because there's some pretty cool export settings... that you might use for say print or social media exports. It's worth watching. Hang about, let's get started. I've cheated, I took our example from the last video... and did a whole bunch of extra work. So you can skip to here, and go to 'File', 'Open'... and in your Exercise Files there is a file called... Web Design Example, open that one up. If it's asking for missing fonts just click 'Cancel'. Don't worry about updating them for the moment. So basically this is just Photoshop documents... nothing special, these text boxes, these images... have done some cropping to some of them. It's added some green filters to this. I've ignored doing the tablet just because I'm lazy... but let's say I've got a Desktop view, a Mobile view, and a Tablet view. And the client said, they've signed it off, they say, "Yes, I like the designs"... "Can you go and start making this?" Now if you are just the designer, you're just working in Photoshop... and then that's it, you don't want to touch the HTML and CSS. You want to hand this off to somebody else. There are things you can do to make their life easy. If you're like me, and you like doing the extra stuff... so you're like doing the front end Web Design... you can also pull information out of here... to make your life easier in something like Dreamweaver. Let's say it's this font here. If I send it to my Web Developer friend now... he says, "What font is it, what size is it?" And I have to create this kind of like big long list of what it should be. Otherwise I send him JPGs, and he guesses, that's no fun. So information that I can give him to make sure that it's going to be perfect... I make sure I click on the right layer, so it's selected. I can go up the top here to 'Layer', and there's this option, 'Copy CSS'. CSS is the styling of the font. Nothing really happens, right? Let's copy it. Then what I can do is I can paste into an email or into a doc like this... I can just paste in the CSS. And it's going to tell him lots of information... probably more than he needs. But he's going to need the font size... what font family I'm using, what color I'm using... the line height, whether it's centered, all sorts of super useful information. If you're a developer you might do yourself a favor... and maybe, can you see it's used-- it's created the class based out of the names. So you might give it different names that are just letting it be... layer 1, or let's make this, you can call this maybe H1. There's bits in here they don't need... but if you're not sure send them everything... and they'll be able to pick out the bits they need... they probably don't need any of that. Now if Malcolm comes back to me and says... "Hey, I've picked this font and it's nothing like this." I can say, "Hey, what happened? I sent you the perfect details." So it's not just for text, it's useful for boxes. So this big rectangle that I've done up here for my navigation... I can have it selected here, I can go to 'Layer', 'Copy CSS'. Same thing, in a text document or an email, I can paste it in. So there's my Nav bar, there's the color. The opacity for it as well, I'm probably not worried about position... but definitely the height, so it's going to match my mock-up perfectly. So you can just work your way around... building up a list of titles, sub-headings, body copy... just to ensure that your website gets matched perfectly. So that's giving out the text, let's look at the images. So let's say this image in the background here... this fellow, the way to make this easier is to name the layer. So I'm going to drag it out here. When you name the layer... this is what the JPG is going to be called. So that's why I've put hyphens in here... because it's best to have images for websites that don't have spaces... they have hyphens or underscores. And I'm making sure that I'm using SEO friendly words. In this case, it's not particular Search Engine friendly... but you get the idea. Let's say now I want to send them this background graphic. All you need to do is right click it, and there's an option in here that says-- you can see, it says 'Quick Export as PNG'. For some reason the default is a PNG... and it's not something that I use very often. So what you can do is... you can go to your 'Preferences', and change this 'Quick Export to JPG' On a Mac, it's 'Photoshop CC', 'Preferences', go to 'General'. On a PC it's under 'Edit', right down the bottom you'll find 'Preferences'. Down here, under 'Export', I'm going to switch this to 'JPG'. So JPG, my favorites. Depending on whatever your quality favorite is, I'm going to go to 16. Click 'OK', and it means now, this graphic here... I can right click and just go 'Quick Export'. Tell it where I want it to go, I'm going to go on my desktop. This is going to be images for website. You can see, it defaulted to JPG, it used the name of that layer... and hopefully, now on my desktop... here's my images for website, there's my JPG. Back into Photoshop. Now if you have a person who used to use slices... just so you know, slices don't get used anymore, you can use them... but this is an easier way of doing it. Same with this image here, just a little practice. Let's go here, I've given it a good name. I can right click it, go to 'Quick Export as JPG'. Hit 'Save', you can see how much quicker this is now. Let's have a look, and there it is there. Another cool thing you can do is, let's say I invert this... right click it... 'Quick Export as JPG'. 'Save', 'Replace'. You can see, you can get a nice little flow... of getting these images out, ready for your site. Let's look at one last little trick you can do... when you're exporting stuff for websites. It's called Adobe Generate. So first of all I'm going to 'File', 'Save As'... because I want to show you a little trick. So I'm going to stick it on my desktop, this is going to be called... 'Dan's Tricks', just because I couldn't think of a better name. We're going to turn on this thing called 'File'... 'Generate', 'Image Assets'. So we're using it for website design... we could use this for say social media export. What it's useful for is, over here I've got this thing called Image Books. If I give it the extension jpg, for a JPG... and click 'Return', what ends up happening is, Photoshop-- on my desktop, 'Dan's Trick Assets'... so there's the PSD that I made. It's automatically generated this hyphen assets, '-assets' folder. In here, can you see, I've got this one called Image Books. So anything you add an extension to will actually automatically create. Let's have a look at this one here. So at the end here, .jpg, without doing anything else... there it is there. Cool, huh? It's kind of like a live dynamic thing. Let's go into here, remember we inverted this? I'm going to invert it back, don't have to do anything else... but you can see, Image Books is updated. So it's kind of a nice live thing. Let's say these icons here, these icons are transparent, right? There's holes in them. So this one here, I'd rather be a .png... because we know PNGs... allow for transparency. So just give it a .png, check it out, there's a PNG, ready to go. So for that to work you need to have saved your file. Make sure you've turned Generate on. So got the little tick on, nothing really happens, right?... until you start naming things with PNGs, JPGs. And Photoshop goes and exports them. Putting the color effects off, hit 'Save'... jump back out here, I should have a black version. If you want to stop updating, you can turn off Generate... or just copy and paste them out of that folder that it's been made. That folder that it's made called Assets, just put that somewhere else. So that's the skinny version of using Photoshop for Web Design. We used lots of Artboards, the guides are super helpful... for getting everything to line up. When we're exporting as well, we can export the CSS... which is perfect for things like boxes and type. Anything that's generated normally with code on a website. The things that aren't code, like images, JPGs and PNGs... we can either right click them, and go 'Export As'... or we can get fancy and use Adobe Generate. All right, that's going to be it for Web Design. I will see you in the next video. 92. Using free templates & Adobe Market to mockup in Photoshop: Hi there, this video is all about mock-ups. We're going to take out work that we've done throughout the course... and mock them up in different ways... and we're going to do it the super easy way, the easy way as in... Adobe have given us these templates already... they're really sophisticated, you just add your graphics... you can see, there's the UI from earlier, add our logos... and magically the mock-up gets added to our glasses case... and even trifold brochures... wine bottles, they're all ready to go for us. They're going to take seconds to update. Let's jump in now, take a look how to get these things going. To get started we need to find these mock-ups. They're hidden under the Creative Cloud app. On a Mac it's an icon up the top here, and if you're on a PC it's at bottom right. What you'll find is, it will look like this probably, go to 'Assets, 'Market'... and you'll get these kind of free, mostly icons, but some mock-ups. You won't have access to this if you are using... an earlier version of Photoshop, so maybe CS6. You also won't have access to it... if you have potentially what's called a Machine License. So if you're working in a big University... and you don't have your own kind of personal login... like I login to Creative Cloud with my own email address. Some larger institutions get a cheaper version... but it doesn't come with this kind of personalized libraries awesomeness. So check with your IT department to see whether you do have that... and they just haven't given you the login... or whether you just don't have access to it. Also, if you have a hacked and stolen version... it's probably not going to work either. If you don't have a working version... I've downloaded one for you and put it in the exercise files. So if you find the '16 Mock-ups', there's one in there called... where are you, friend? 'Mock-up Poster', that's the one we'll do first. I'm not going to include everything from this tutorial... just because the file sizes are really big. So to find our mock-ups, 'Creative Cloud App', 'Assets', 'Market'... and just click on this little search icon, and type in 'mock up'. Well, you get different results if you put a space in there... I know mock-up's one word. Why don't I know it's one word, I spelt it wrong earlier... and didn't get very good results. You get different results. So type in mock up, and then you'll see... just amazing amount of ready to go mockups. And what's really cool about it is-- let's click on this one here, it's a PSD. So it's going to have all sorts of layers and coolness... that we can easily replace using something called Smart Objects. So click 'Download', put it into one of your libraries... I've already done a couple. Once it's downloaded... you'll see like this little icon will change... looks like it's busy doing something. So open it up. Photoshop likes to start this kind of welcome screen... you can just go to 'Window', and open up your 'Libraries'. So here's the one I've downloaded. Just double click it and it will open up in Photoshop. You can see here, super layer awesomeness And what most people do... they're not all designed by the same person... but there's often a layer that says Replace Me... and often it's got a color. If you do want to make a colored layer... you can just right click any layer and just give it a color. Anyway, so what we want to do is double click it... because it's a Smart Object... it opens up in its own little tab, and now we just get to replace it. So what I'm going to do is go 'File', 'Place Embedded'. In your 'Exercise Files', we've got one, under 'Mockups', called 'Poster'. Just something we made earlier, use your own version, you don't have to use this. I'm making it bigger so it covers the whole poster. I might quickly make a white border around... because I like that from the original. So I'm just going to draw a box, weirdly if you draw a rectangle... up here it's got no Fill, and it's got a Stroke of... I want it to be bigger, maybe 40. When you initially drag it out it doesn't snap to the edges... but once you transform it-- so 'Ctrl T' on my Mac... sorry, 'Command T' on a Mac, 'Ctrl T' on a PC. And it will snap to the edges after that, so just drag it out. 'Save' it, 'close' that down, and magic, just updates the mock-up. The cool thing about this particular mock-up... it has lots of things you can turn on and off. You might not like the lighting... or let's say you don't like the lighting, you don't like the folds either. You prefer the shine, some sort of kind of glassy reflection... or just kind of a glassy wobbly version. You can decide which one you like. I think I like the folds. Have a look through, see what else is done... there's a different kind of shadow, like an extra double one... that the designer of this decided like... don't want to maybe give them the option of it. And blurred background, it's kind of cool. In there is another version of your Smart Object with some Gaussian Blur. And it's kind of faded out in the background; very cool. Let's have a look at some other mock-ups, so in my Libraries Panel... I've got this one here for, it's an iPhone 6 mock-up, a little old. The mock-up itself is pretty amazing, right? So in here there's a bunch of stuff... there's a white version, there's a black version. Basically all you need to do is place your image here... so double click it to go inside... and I'll show you two ways that I get my kind of UI designs in here. Either an app design or say a mobile website design. We're going to open up a file from earlier. 'File', 'Open', and in your '14 Web' folder... remember this guy we used earlier on, 'Web Design Example', open him up. You can copy and paste everything from this Artboard. It's probably easy just to select on the Artboard... by clicking the name at the top using the Move Tool. Then go to 'File', let's go to 'Export'. I'm going to export to PDF. You can export to files, which gives you jpgs and pngs. PDF is going to at least retain some of the vector. I've used lots of type and vector shapes in here. So a PDF is going to retain those. Where's it going to go? I'm going to stick it on my very messy desktop... you guys have done this to me. I'd keep my desktop nice and clean... but I started dumping in here, and I can't stop. We're going to call this one 'Mobile UI'. This option here finally comes into play. 'Export Selected Artboards', just the one I had selected in here. And I want to make sure all of that's like that. Click 'Run'. Thank you, Photoshop. What I'm going to do in here, go to 'File', 'Place Linked'. Why? It just means that-- often I'm kind of-- this is not a finished app, it's a design. Like their versions 1-6. So if you link it, means you can update that file... and it will update in your mockup. So on my Desktop... it's called Mobile UI. Place, it's the wrong size, zoom out. Zoom out loads. Drag it down, zoom in. Hit 'Return'. Save that file? Yes, please. Back into here. Ah, look at that. Cool, huh? So when you have updates, you need to change it... you can just go to here, you can right click... you can either just update the PDF and in here it will update... or you can right click and just relink to a different file. How efficient are we! Black phone, oh, so good! One thing I'll show you is how to get your designs from... say something like Adobe XD. Adobe XD is-- I've got a course on this. It's just for mocking up, especially websites and apps... because it allows you to do what Photoshop does in terms of their mocking up... but it also allows you to add interactivity for testing; super cool. What you can do, if it's relatively the right size you can just... click on the Artboard name and copy it... and just paste it straight up into the mock-up. The problem is it's the wrong size and it's not vector. So what you can do is click on the Artboard name... 'File', 'Export', and go 'Selected'. We end up at the exact same place... except this one here, you want it to be-- 'Format', can be anything, PDF again is going to keep the vector, so is SVG... but do whatever feels good. All right, back to Photoshop. I'll close this down. What I want to do is show you another really cool example, which is Glasses Case. It's another one I've downloaded from the Adobe Market. And look how good and detailed that is. So in my Layers Panel here, 'Libraries'... there's 'Glasses Case', not as well laid out. One thing you can do is, if you open up a mock-up... and there's stuff everywhere, and you're like... "Ah, what do I update?"... often just click on this icon here. Remember we can sort all my layers to only show me Smart Objects. It will often only show me the things that need replacing. All of it. Or Smart Objects. 'Replace Me', here we go. Double click him, I'm going to bring in my logo; 'File', 'Place Embedded'. And in your 'Exercise Files', under '16 Mock-ups' there is a logo. I'm making at the moment, it's just an Illustrator file. Click 'OK', it's a black and white logo. Because it's vector though, hopefully. Hit 'Return'. I'm going to bin that one there, save it, click in here. How cool is that! I am very impressed with this mock-up. It looks like it's been embossed in there. So cool! What else have we got? I'll show you just two more, but it's basically all doing the same thing. I've got it under-- I was using it for another project. Where are you, my library? It's this one, Trifold Brochure. So you've designed it say in Illustrator or InDesign, you can replace the logo... and it will end up in the right place. The whole thing's being mocked up so you can lay it into these. My wine bottle, same thing here. There is a Replace Me layer. You can double click, go in. Click 'OK', 'Save' it. Come back and it's all mocked up nice. Now there are loads of cool mockups in the Adobe Market. It's growing all the time, but sometimes it's just... not the angle you want, or just not doing it for you. So the other place to go is something like a stock library site. I use a mixture of Shutterstock, iStock, and Adobe Stock. There are different things on different ones. I'm using Adobe Stock more and more... because it's tied in so nicely, like you saw in this course. You can see how I just typed in magazine mockup or magazine blank. The trouble is, you're not going to get PSDs... so you're going to have to mock these up yourself afterwards. We'll do that in the next video, show you how to set it up like... like the people have done for their Adobe Market. You can see in here, there's just a lot of examples. So either magazine blank... whatever you're looking for, blank or mockup. So hopefully you can find something in the Adobe market or a stock library site... and mock it up yourself, and that's what we'll do in the next video. I'll show you how to set up your mock-up. You might be having a really special thing you want... for your agency or for your student portfolio... or maybe it's your products, so you've got a special kind of packaging... you can photograph it, and we'll show you how to mock it up... so you can save time every time, not having to kind of move it all around. Let's go do that now. 93. How make a reusable mockup in Photoshop using smart objects: Hi there, this video is all about doing our own mock-ups. We are going to start with a blank magazine... add our own graphics, add some shadows, add some highlights. What's really cool about it is that we get to easily update it... save it, and in our mock-up, look at that. Magically updates, bends around. Let's work through that process now. To get started let's go to '16 Mock-ups' and open up 'Magazine Blank'. So this is one I've got from a stock library site. What we need to do now is mock-up our design... like you saw at the beginning there. First up, let's import our mock-up. So our mock-up, I'm going to go to 'Place Embedded'. In your 'Exercise Files', under '16', this is the Spread. If you've done my InDesign course, this is one of the things we make in there. So what we'll do is we'll use 'Magazine Spread 1.pdf'. So I just exported this from InDesign as a PDF. I can hit 'Place', click 'OK'. Size wise, needs to be a little bit smaller, and hit 'Enter'. So first thing we need to do is... it's a Smart Object, right? We can see the little icon, we've got used to it now. We need to make it another Smart Object or rasterize the layer. Right click 'Rasterize'. Why? Because 'Edit', 'Transform'... we need these options to work, and they don't work straight after that import. So I'm going to right click it and say, you are again a Smart Object. Nothing really changes except 'Edit', 'Transform'. And we want this one called Warp. So now we're going to spend our time moving this around, and jiggling... and trying to get it to fit this magazine. And I guess the thing to know is that because we're using a Smart Object... when we do get into position and we spend our... you know 10 minutes or half an hour getting this thing looking perfect... means next time we can just use that Smart Object... update it like we did in the last video, and life is quick and good. I spent ages when I worked at an agency, before I learned any of this stuff I was... it was maybe about 10 years ago... I spent ages, one of my jobs was to mock-up all the work from the agency... and stick it up on our website using different kind of-- trying to make it look real without actually having... to photograph the actual magazines laid out. Man, I want to save some time, every time, started from scratch. So I'm going to work my way through this. You can hang around or just skip ahead a few minutes. Or you can watch. The trick is, with these lines here, if you are hanging around, is... you're getting the edges first so just get the edges rough. Don't spend ages getting the edges. You can see I'm not zoomed in yet, I'm just kind of getting it rough... because there's a lot of, can you see this inside bit, needs a bit of work... and you can just click and drag the inside... and there's a little bit of fudging. You're watching the lines but you're also looking at your Artwork. You can see there, this is just... a mixture of both, grabbing the handles... but also dragging the inside just to get it to look right. I feel like that's pretty good. Now I can spend a bit more time zooming in. Just to get these edges overlapping nicely. I'm happy with it, once you're happy with it hit 'Return'. That's pretty cool, let's add a couple of extra bits... just to make it look a little bit more believable. So what I'm going to do is... I'm going to grab a new layer, this is going to be my 'Shadow Layer'. I'm going to grab my 'Brush Tool', I'm going to pick a big fuzzy brush. Opacity is going to be at 30%. And I want my foreground color to be black. I'm clicking once at the top here, clicking another time down the bottom. How big is that? It's probably a little too big. The opacity of this brush, 40% maybe. You can always lower it down, right? So I'm going to have it actually get into this fold here... and maybe a second one, it's a bit smaller. Kind of build it up into that corner there. Now the trouble is, it's going all over the edges... so what you can do is... you can make the Shadow Layer clip to the layer underneath. The long way is under 'Layer', and you can 'Create Clipping Mask'. That works, or undoing it, just holding down the 'Option' key... and clicking between the two, or the 'Alt' key on a PC. And it just clips the shadow to the magazine spread. Let's do another one, this one here is going to be the highlights. Same thing as before, except I'm using white as my foreground color. Maybe X just toggles white, white in the black, so clicking once... holding 'Shift', clicking again... just kind of runs it through, that's way too big. And the Opacity now turned down... you can have it up, I'll keep mine at 40%... because what I want to do is maybe just lower the opacity. Actually I might not lower the opacity, I might use a layer mode. I'm just going to cycle through them until I find-- oh that looks good. Soft light. Just a nice subtle one. Same thing, hold down the 'Option' key on a Mac, 'Alt' key on a PC... and they can both clip to the magazine spread. So we've done a mock-up, it looks good... and then we have to come back next month to lay it out again. What we can do is just double click on the 'Smart Object'... come in here, and I'm just going to 'File', 'Place' the 'Magazine Spread 2'. Thank you very much. Hit 'Return'. 'Save'. How cool is that! So we spend a little bit of time fixing it up. I have to work on the shine, it kind of looks like... the magazine's bent a little bit with my not very subtle shadow. So I might look at redoing those. But hope you can see, it doesn't take super long... to kind of mock-up your own version, your own custom stuff. Something that relates to you might work for a company... that doesn't do magazines, it might be boxes, or packaging or e-books... or something that you want to mock-up once. Spend the time, but then be able to update it real quick later on. So we've done a magazine spread. We can do box, we could do a wine glass, could be a jar. Anything you like, just make sure that... whenever you bring in your Smart Object... or go 'File', 'Place', make sure that once it's in... you've got to convert it into a Smart Object again. So that we get all the cool transform settings. All right, let's get into the next mock-up video. 94. Mockup poster against a wall using Photoshop: Hi there, this video we're going to learn some techniques to make this mock-up. It's not really a special, like, just add mock-up button. So we kind of build it out of some blurry triangles and some Drop Shadows. Some more triangles, just a big rectangle, and it looks pretty believable. So let's work through how to make this now in Photoshop. Let's get started, we're going to create a new document. Use anything you like, maybe Print, I'm going to use US Letter, do a Landscape. Click 'Create'. Let's bring in the image that we want to mock up. I'm going to mock up, so I'm going to go to 'File', 'Place Embedded'. I'm going to use one from your 'Exercise Files'... called 'Mockups', it's called 'Red'. Remember our Red type poster? I'm going to mock that up. Probably needed to do a bigger version of it. First up, we're going to pick a background color. Easiest way to color the background is to pick a color. Say foreground color, double click it here. Slide through, find a color that you want to work with. I want something like that. Then hold down the 'Option-Backspace' key. If you're on a PC it's 'Alt- Backspace'. Now this video here, there's nothing special about it... it's using tools that we've used before... but I know sometimes it's easier to see somebody else to do it... and you're like, "Yeah." So I guess that's what we're doing here, it's nothing like phenomenally amazing... you've never seen before, it's just different combinations of it. So we're going to kind of fake the table top. So we're going to use the Rectangle Tool. I'm going to pick a color that's just slightly lighter than what I had before... so just dragging it a little bit this way. I'm going to give it a Fill color of that. And the Stroke, it's going to have no Stroke. We just need to have it so the table is just a little bit underneath our image. So it looks like this poster is sitting on top. And I'm totally not happy with that color, so I'm going to click on it. Go back to the original. Click on this little rainbow thing here and lighten it up. Lighten it up is getting too pink for me so what I'm going to do is... with the background, I'm going to change that color. Darken that up. I think I'm not happy with the color still... but we can change that later on using Hue & Saturation. So ignoring my terrible color choices, let's use the Pin Tool. Even if you have never used the Pin Tool before what we're going to do is... draw out a black, so we're going to make sure... Pin Tool, we switch it to 'Shape'. We're going to pick a Fill color of black. Don't have that layer selected, I'm going to undo. Let's click off into no man's land, this means I've got no layer selected. Now if I use the Pin Tool, and I go to Fill, and I go to black... it's not going to recolor the thing I had selected. So Fill, no Stroke, I'm going to draw a triangle that kind of starts there. Jumps down past the back of the table. Comes away in here as well, don't try and run it up the edge... you'll end up seeing the edges of the triangle when we blur it. I want it to be behind the table. And now just want to blur it, you can use any kind of blur. So this is going to be 'Blur Top'. The blur I find most useful is under 'Blur Gallery'... and it's called the 'Iris Blur'. It says, I'm going to convert it to a Smart Object; thank you very much. You end up in this own little world. And Irish Blur is cool... what happens is you've got a kind of a center that's not blurry. And as it goes out, can you see it gets blurrier and blurrier. So what I want to do is have it-- I want the whole thing blurry. So I kind of want to find... maybe put this here and just rearrange the edges here... by clicking and dragging them... to find something that I like. You can rotate it as well by grabbing any of these dots. So this is what I'm looking for, I'm looking for something that's sharp. So blurry, but not super blurry. As it gets down gets blurrier, and blurrier, and blurrier. What we can also do is drag this around... to extreme it up a little bit. Come in a bit. Even blurrier. Move it around. I'm happy with that, I'm going to click 'OK'. We edited it out. How long that took? This thing was spinning for a while doing the blur. Just in case yours is doing it as well. Next thing I want to do is, it depends-- we've got a straight color so we can just play around with the opacity... just to get it down to where we want. You might find though that if you've got say a textured background... you might want to play with different Blending Modes... to get it to blend nicely with the background. Let's say we're happy with that, let's do the other triangle here on the table. Similar process. Just one little extra change, so 'Pin Tool'... it's going to go past and over the table. So the Pin Tool is-- we're just clicking once. Make sure it comes back into here because if you blur it on the edges here... you start seeing the kind of lighter pink coming through. So I want it in front of the table, and I want to blur it, 'Filter'. Blur Gallery's not working, I got to go back to my Move Tool... because I'm halfway through building it with the Pin Tool. Didn't like that, so 'Filter', 'Blur Gallery', 'Irish Blur'. 'Convert to Smart Object'; thank you. I'm going to crank up the outside. Instead of dragging this around you can just drag it over here. You can see, if I drag it up, it's sliding. I feel like the front guy needs to be less blurry... than this wafty thing in the back here. And then, again, just dragging it around to position it where... it's a little blurry at the beginning but quite blurry at the outside. Click 'OK'. That worked a whole lot faster. And to make this one work we need to... twirl that up just so you can see a bit easier. We're going to clip this to the background here. We've done that a few times now, remember, holding 'Option'... just find the gap in between and give it a click. On a PC its 'Alt'. You are so getting sick of me explaining every single shortcut every single time. I know, but it's repetition, some people just need it a million times. I hope you're not offended. And now it's lowering the opacity to something at least believable. I feel like it should be lighter than the background. Just play around with it, I don't know, what do you think? Something else I might do is... I want there to be a little bit of a gradient coming out from behind this table. So I'm going to make a new layer just above it. Actually just behind it. This is going to be my gradient. I'm going to grab my Gradient Tool. I'm going to use my foreground color as black. I'm going to use the second option here, it goes black to transparent. What we do is we click, hold, and drag to kind of add a gradient. Now if you hold 'Shift' while you drag it, it goes perfect straight lines. So holding 'Shift', click and drag down past here. Then I'm going to lower the opacity, just tapping my number keys on my keyboard. I'm on my Move Tool, just going to give me a bit of a shadow. If there wasn't enough shadows I'm going to give this... a kind of a white frame just for no reason. With this layer selected, 'fx', I'm going to add a 'Stroke'. Now Stroke, yours is probably set to center. I can't remember what it is by default... but inside is going to give you a nice crisp edge. Decide on how thick you want it. While I'm also here I'm going to add a Drop Shadow. What kind of Drop Shadow? Not that big, or that fuzzy. Just want like a little baby one. Can you see what I'm doing there? Lower the opacity. Preview on, preview off, actually let's click 'OK'. It's just turned the shadow on and off. Just a little thing so it's got a little bit of... something going on at the bottom there. You can never ever have too many Drop Shadows. And that is our mock-up fake. Cool thing about this, remember, it's a Smart Object, we can update it. It is nothing special or new, but just kind of... I guess, combining the things we've learned in a different kind of project... which I think can be helpful. Let's get into a different mock-up technique in the next video. 95. How to make a simple UI app web design mockup using Photoshop: Hi there, this video is all about mocking up... UI app design, it's a nice simple one. We're going to scale these guys down, which is not exciting... but we'll add a convincing blur, on, off, on. We'll reduce the Background Levels. We'll add a Drop Shadow that only affects the background UI options. It's pretty easy to do, let's learn the techniques now in Photoshop. To get started let's go to 'Print'. So file a new print, we're using 'US Letter'. We're going to use 'Landscape', and it's going to work for me. I'm going to color the background in the gradient. So I'm going to click on my 'Gradient Tool'... and what I'm going to do is... I'm going to make sure my foreground color is one kind of gray... and then the background color is a different, or darker gray. Is that good enough? Yes, I'm going to use Radial. Yes, I'm using Radial Gradient. Click, hold, and drag. That's going to work for me, just that real subtle gradient anyway. Let's bring in a different UI mock-up, these were made in Adobe XD. Just simple shapes and letters. Place embedded. Under 'Exercise Files', under 'Mockups' I'm going to show you... using that File, Place Embedded, you can't pick more than one. So what I tend to do is have this open, this works on a Mac and a PC. Just got to have your Finder window open, or your Window open in Windows. Find your files, grab these three and just dump them in there. Hit 'Return', 'Return', 'Return'. Just gets them all in there at the same time... plus they're all Smart Objects, which is cool... or just work through slowly and bring them in one by one. So what do I want? My dashboard is going to be like that main focus one. And I want him - just transforming him, 'Command T' - to be the biggest kind of main feature one. These other two I'd like to be the same size. So I've selected both of them in my Layers Panel. 'Command T' or 'Ctrl T' on a PC. Scale it down. So which one? I'm going to use Onboarding. It's going to go over here, it's going to be just behind. Same with the login. It's going to be just behind. What I might do is select them all and just distribute the centers. Just to make sure they're all lined up nice. Perfect. What I also might do for these two is I want to slow it down. So now I need to make these kind of ones at the back recede into the background. What I'd like to do is I want to do them to the-- instead of doing it once to this one... then trying to copy and paste Layer Styles... I'm going to group them. Instead of grouping them inside of, like a folder... it's actually really good just to select both of them and make them a Smart Object. Just means that they're going to act as one layer. And if I need to go inside it... I can double click to go inside, and they're both still in there. So use Smart Objects as grouping as well, I do. I want to do two things... with it selected I'm going to go to 'Adjustments' and I want to find my Levels. And I want to make sure the levels are clipping just to the layer underneath. That's what this little arrow does, just this layer here. I find this is a useful trick, just to kind of grab the whites... and decide, I want less white. So I'm not fixing the levels, I'm actually just dragging and saying... there are no more whites. You can see it's just darkening them up. Showing bit of a contrast between the two. Up to you how far you want to go. Not too far. Somewhere about there. Next thing I want to do as well is I want to click on this Layer... and I want to add my favorite Filter, my second favorite. My first favorite is Gaussian Blur. Who could forget you, buddy? But my next favorite, 'Blur Gallery', 'Irish Blur'. The cool thing about Irish Blur... has a center and kind of fades out, and you can move that center. So right in the middle there-- actually, by default it's kind of cool. It's only affecting these guys in the background, you can adjust this. So it just means it's going to be perfectly sharp in the middle... and there's this kind of like transition between how blurry it is at the outside. And that is controlled by this little slider here, how blur it is on the outside. Or you can use this slider over here. That's what I want. Visible, readable in the middle here. I might move it up a little bit as well. You can have more than one. I haven't in this course. I've just been using one for lots of things... but know you can have more than one. When you're ready, click 'OK'. Awesome. One last thing I want to do is have a shadow for... this main dashboard version of my app. I want that to cast a shadow on these two. So with it selected let's go to 'Effects', 'Drop Shadow'. Pick a 'Drop Shadow', I'm going to pick something nice and fuzzy. Distance wise, I'm not worried too much about distance at the moment. Why? Because we're going to detach it, so I'm going to have distance at 0. I'm going to have it nice and fluffy. How hard? Something like that, even fluffier. I'm going to click 'OK', and you could leave it like that. What I want to do though is... you can see, it's got the shadow casting everywhere... I'm going to do our trick that we've done a zillion times now. We're going to right click 'Drop Shadow', and say 'Create Layer'. The mysteriously named thing. So that it detaches it from that original layer. Now what we can do is we can say... you my friend, I would like you to only effect this group here. I want to do exactly what the levels is doing. Levels is clipping to that layer, I want you to do it as well. Hold down my 'Option' key on a Mac, or 'Alt' on a PC, and just looking for... this little icon that appears in between the two layers. So that now you can see it only appears on these two guys, not on this background bit. Awesome. So if you wanted to update it all you do is double click on him... I'm going to invert mine for no reason, 'Save' it. You can see, it's a lovely, reusable little mock-up. All right, that is it for this tutorial, I will see you in the next video. Before we go, InstructorHQ, just so you know... it's something that I work on, it's one of my other projects. Basically instructorhq.com is for people... who want to themselves become an instructor. I'm an Adobe instructor, but you might be looking to do something similar... or some other complete field. And basically InstructorHQ is there to... show you how to make the courses, how to edit them, way to distribute them... how to market them, plus it tracks their success as well. So it's a cool little thing, go check it out if you're keen. That explains why InstructorHQ appears randomly every now and again. All right, that is definitely the end of the video, I'll see you in the next one. 96. Class Project – Mockups: Hello, it is getting late in this course. And this is going to be our last class project. What I'd love you to do is go through stuff that you've made in this course... and pick one of the mock up ideas that we've gone through. The one that resonates most with you. I want to see one of the manual ones... rather than one of the ones from the market. You can definitely do those and send them to me, and share them... but I want to see one of the ones where... you actually put some time in to create, or bend, or warp, or fake... but use some of your own graphics. It doesn't have to be stuff you've made from this course... maybe your own personal portfolio work. Maybe just a photograph that you like. When you're finished, send them to me... either in the assignments, the comments, or in social media. I get a real kick out of seeing what other people make. And if you send it to me, I'll know you made it to the end, or nearly the end. This is my largest course ever. If you're still here, I bet, you're one of the few. Share with me what you've made... and prove the last half of this course wasn't made in vain. You're here, you're learning, you're excited. Let's get into the last section of the course, okay, Exporting. 97. How to proof colors in Adobe Photoshop ready for print: It's time to proof our colors, getting ready for, let's say print. So it's really common to work in RGB when you're doing a graphic. There's more color space to work with, more richer, more vibrant colors... but there's still lots of times where you need to send it out to physical printing. So it's going to be converted to CMYK. So an easy way to check what it's going to look like in CMYK. It's just a representation to give you kind of an idea. Go to 'View' and there's this one here. It's 'Command Y' on a Mac, 'Ctrl Y' on a PC. And just make sure, under 'Proof Setup'... it's set to 'Working CMYK', like a generic CMYK printing process. So 'Command Y', on, off, on, off. It might be hard to see in the video. The main problem for me is my Color Splash in the background. It's changing color considerably. It's losing its color, it's got a little bit of green. Probably had a green tinge in it to start with. So it's just temporary, it's not like going to File, Mode, and CMYK, and converting it. Just giving you a little preview. Another visual way, rather than just turning on and off and splashing about... is go to 'View' and turn on the 'Gamut Warning'... and it will just give you a gray representation of colors that it feels... are probably going to smoosh together when going through printing. And by smooshing it, means it can't be represented very well in CMYK. The yellows here in the banana are perfect... because one of the cyan, magenta, yellow, and black, one of them is yellow. Does well. Cyans do well, greens don't do well. That's what's affecting this image, a lot of the grass here... you've done it before, you've printed something else... and it just looks great on screen... and the greens come all kind of muddy brown. What I can do here now is I can work on this layer here. I've already got some levels and color adjustments. So I'm going to click on Hue & Saturation. Just kind of push it a little bit more towards the yellows. You can see, just kind of flies back into action... because it had a green tinge to it already, so that's one way of fixing it. You might work on the levels of an image... and all you're doing is trying to make some adjustments to see... A, are you happy with the look... and B, has a lot of this Gamut Warning disappeared? So I'm going to mess about, lightening this kind of Mid Tones here. So that the CMYK printer can kind of deal with it. But there's never going to be perfect, there's always going to be a change... when going from RGB to CMYK, but it is handy to check it. So turn 'off' Gamut Warning, and have a look at... say you want to go a bit more pro. At the moment you're just using the proof setup... for a generic CMYK printing process. What you should do is go to 'Custom'... and depending on where you're printing... say I'm printing here in my kind of home office... I've got like an Oki Laser printer here, it's okay, wasn't expensive. What I can do is, I can say, I'd like you to simulate... and what it will do is, if you have something installed on your machine... way down the bottom here, it's an Epsom I have at a different desk. And this is the Oki that I have installed. So if you've got a printer installed on your machine already... it should appear in this list here. So I know mine's the-- I think it's this one here. Multi, it says 342 Multi, that's the one here. What I also might do to give myself a realistic representation... is go to 'Simulate Paper Color'. What it does, it will dull down the white to kind of... try and match paper more than the screen version here which is quite bright. But even still it is so much easier to get a proof done... because this is still a simulation, so 'Preview On', 'Preview Off'. This is what my-- there's a big change in the color here... which wasn't in the CMYK, kind of generic one. So my Oki printer is saying, I'm going to probably richen this up quite a bit. So what I can do now is, I've set it all up, I clicked 'OK'. Now I can make adjustment to try and mitigate that... by maybe changing the color of this text to get it close to what I want. If you're dealing with a commercial printer... you can ask them for something called an ICC Profile. You can go and load it in here. So you can go to 'View', 'Proof Set Up', go to 'Custom'. You can go to 'Load', so if you're dealing with... a small mum and pop kind of place... they're probably not going to know how to send you this color profile. If you're dealing with a larger commercial place... they're going to be able to send it to you easy. Let's click 'OK'. That's the first step for getting our document ready for commercial print. Let's get into the next video. 98. How to tidying up your Photoshop files before sending them out: Hi there, this video is all about how to clean up your Photoshop files... before sending them to a client or a colleague. Getting the PSD ready, just to go out. It's a couple of things we need to do. We need to make sure the file size is as small as it can be. We need to look professional. We need to make sure that it will actually open on other people's computers. And I'll show you a way of sharing it with them as well. So in your 'Exporting' folder, open up 'Clean Up Files.psd'. This one here is 32 Megabytes at the moment. Now this is not even that big for a Photoshop file... but because you have to download these exercise files... I'd love to put a Gigabyte file in there and show you how big it is... how much savings we could do... but you'd kill me because you'd have to download a Gigabyte's worth of file. So over here I'm going to kind of raise this up and move this up... so we can see our Layers Panel. So it's a Missio file, the cool thing about it... well, not the cool thing... I just opened a file that I had that I was working on recently... and didn't change a single thing. So what you'll notice is that this is what my files look like. There are things that are turned off that I don't need anymore... that are sitting in there, it's a big old mess. No names on layers. So while I'm working, I work by myself, with myself... but if I'm working with a colleague... I totally go through and make this a lot nicer... before I'm sending this to a client, so let's work through now how I do that. The two biggest things we're going to do first... is getting rid of any layers that are hidden. So just the Eyeball's turned off, just stuff I don't need. I've turned it off for a reason and I just want to clean it up. Also any layers that are just empty, there are some empty layers in here. I know layer 16 is empty, it's got nothing on it. I actually added that one but there's nothing on it. So let's work out how to do that, there's kind of two places... there's one that says 'File', and goes to 'Scripts'... and there's this option here, it says 'Delete all empty layers'. It just goes and looks at what potentially could be a really long document... just removes any empty layers. The next one is removing the hidden layers, and it's in a slightly different place. It's under 'Layer', 'Delete any hidden layers'. Nice. Tidied up a bit. What I'll do is, we'll do a 'File', 'Save As'... so we can compare the file sizes and just see what file savings these things have. So 'Clean up files', I'm going to put one on my desktop. It's going to be called 'Tidied'. I doubt that's even how you spell it. But that's as close as I can get. Let's hit 'Save', and let's see what we're at. Another thing before we go off is, make sure this is turned on. It makes the file size slightly bigger... but it means that when we send it to our colleague... if they've got an earlier version of Photoshop... it means that it's more likely to open in that version with that on. With it off, the file size is smaller, but... not as cross version-ey. So let's click 'OK'. Remember, it was 37.2, now let's have a look. Desktop, and there it is there, we're now at 30. So on those layers there were a couple of things that... we just didn't need, it's pixels. Awesome. That's the first chunk. Now the next bit is... it really depends on what you need from this file. Let's say that we don't need-- because there's a lot of working extra stuff. Let's have a look at some of these files. So some of these files here just have stuff that we don't need. See all the stuff up on the top right? It gets cropped off, so it doesn't need to be in this file. If I was sending it to maybe a colleague who I wanted... to have access to all these kind of extra bits, I might leave it. So let's have a look, so this one here in particular, these top two here... they're just junk that we don't need, that can't be seen. So what we can do to get rid of it all to trim it all up... just grab the 'Crop Tool'. Make sure Deleted Cropped Pixels is on, it's off by default. I'm pretty sure, so turn it on... it just means that anything that's cropped is going to be deleted. Hit 'Return' on your keyboard, kind of gives you a preview of what's going. So this stuff along the top here... hit 'Return' again. Now on that same layer-- let's have a look at this guy here. Can you see, there's just nothing there. I'll turn that off as well. There's just like a corner there now, so we've just deleted those. And that works to a point, but if I go back to my Crop Tool, click enter again... you'll see that there's all this junk down the bottom... and you're like, "Why don't he get deleted?" It won't work if these things are Smart Objects. So now you got to decide whether you need to retain Smart Objects or not... or whether like me, right now I just want... to crop everything off so it's nice and kind of just compacted in here. So we're going to use a little trick from earlier, I want to find... here it says Kind, it should be there by default. I want to find this last option here that says... just show me all the Smart Objects, please. Now I'm going to select all of these guys. I'm going to leave this one because I want... the text to remain vector inside the Smart Object... but these guys here are just pixels, I'm just going to right click them... any of the gray area here, and this option here that says Rasterize Layers. And that just gets rid of the Smart Objects. And they just disappeared from this list because they're no longer Smart Objects. I turn this off, they're still there, there they are... but they're not going to kind of defy my cropping technique now. So 'Crop Tool', hit 'Return' on your keyboard, or 'Enter', then 'Enter' again. Hopefully now, if I click it one more time, it's all gone. So 'Esc', let's hit 'Save', let's see how big it is now. So we're down to like 3 Megabytes now. So you can see those Smart Objects can hold a lot of data. In this course we don't need them. Next thing is to talk about compatibility. So what I did for you guys in the course is... this font here, I don't really like, it's Arial... but I'm hoping that everyone's got it. Otherwise Photoshop is going to open, and say, "Hey, you're missing a font." Well I set at it to Arial. What you might have to do is... say you're using your corporate font, or just that font that's a bit strange... and you know whoever you're sending it to is not going to have it. And they're not going to need to change the text... but you want to remain vector. By vector, I mean this thing is scalable... and because it's a font it will keep its nice quality. So there's a trick around that. So this file here is the Smart Object. You'll see there's no actual text here but it's a Smart Object... so I can double click the thumbnail to go into the Smart Object. So there's my original, I've dived into the Smart Object, it's this psd file. Just like a temporary file, the Smart Object and all of its layers. You can see here, all sorts of Arial. Let's say I know my clients or my colleague doesn't have Arial. Whatever fancy font I'm using. You can select all these text layers, you could hit this, remember... it's kind of handy to show me all the text. I've clicked once at the top, held 'Shift' for the last ones, they're all selected. Right click any one of them, not in the icon here, over here in this gray area. Then there's this option, it says Convert to Shape. Often people rasterize type, and that's going to turn into tiny little pixels... and it's not scalable, and it's just as easy to do this, which remains vector. Scalable points and paths, essentially just better quality. Click on this. The only trouble with it - I'm going to turn that Type 'off' now. - is that these guys aren't editable text. That's one of the problems using this method, not editable text. You've got to decide whether that works for your situation. I guess I just want to show you all the ways... you can do it to make it indestructible. It may be that you're doing stuff that's going out to a really vast audience... say it's going out to a marketing channel... where you want to give people the file... but you don't want to have them emailing you every five seconds saying... "Hey, I don't have this, or this isn't included... or won't open on my machine," that sort of stuff. Let's save this, and let's close this tab, and this thing's updated perfect. And save it again, and let's check how big it is now, so 3.7. It's a little bit bigger than what it was because now it's not using a font. It's actually collected all that data, and is now shapes. I'm assuming that's what it is anyway. It's a tiny bit bigger. Next thing to do is, how do you share this thing? We showed you how to package it in the last video. I'll show you a little other trick we can do in this particular one. So we want to share this PSD, right? Now let's go 'File', 'Save As' again. And what you'll find is, on your computer you will have a folder... on my Mac it's just, here it is here, Creative Cloud Files. It's under my-- that structure, if you're on a Mac. If you're on a PC, have a little look... to find this folder called Creative Cloud Files. So think of this as just like Dropbox if you've never used it. And it's part of your license. And if I save it in there, click 'OK', nothing really fancy happens... except that my Creative Cloud app up here, you can see the little double arrow here... it's saying, "I'm syncing," you can see, syncing down here. So it's uploading it to your online storage. And the cool thing about that is... if you go to your Creative Cloud app... if you're on a PC it's in the bottom right... look for the same little icon. Go to 'Assets' and go to 'Files', and go to 'View on Web'. Other thing you can do is, if you still can't find, say you're on a PC... and you can't find where that Creative Cloud folder is... just come down to that little icon, go to 'Assets', 'Files'... If you click 'Open Folder', it will show you where it is on your computer. So I've saved it to there, it's syncing. What I want to do is go to this one that says View on Web. And here we are here, it takes me to, basically it's just this place... assets.adobe.com You can actually just type that in, login with your Adobe ID... and once it's finished syncing this file appears, and it's a PSD. So there's no real difference here other than using Dropbox or Creative Cloud. I say this because I use Dropbox quite a bit. So I use this kind of assets.adobe.com less. But what's really cool about it is you can click on it and you can say... actually I'd like to share this one... and you can wait for it to give you a little option... but you can send it to people, copy and paste the link... and they'll have access to it. But what's really cool about it is if you edit this file and hit 'Save'... it will update, so if the client comes back and says, "I can't open it"... you don't have to send them a relink... you just send them this link here, right? You copy it, send it to them in an email... decide on what kind of settings are allowed. And then if they need to do changes... you just change it here in Photoshop, and hit 'Save'... it will update here online. The last thing we'll do before we finish is the naming. We did this in an earlier video, but I'm going to call this one-- I'm going to kind of revisit our tricks. Remember, we can type in here and hit 'Tab'. I'm just going to work my way through. Just naming everything. You get the idea, right? So you can just hit tab, and tab, and tab. And name them all really good... so you look like a pro when you send it to somebody else. File size is nice and small... and you shouldn't have any problems with them not being able to open it. That is it for this video, let's get into the next one. 99. How to package your Photoshop file to include linked images: Hi there, this video is all about packaging files. What is packaging files? It means that I've got fonts that are included in this PSD that I've made... there's also images that are linked to it. If I send them just the PSD... they're going to open it, and it's going to say... "Hey, I'm missing some of the linked images, like this image here." It's also going to say, "I'm missing some of the fonts." We're going to fix that with Photoshop's package feature... which is perfect for exporting images. Not so good for fonts... but I'll show you a little hack using Illustrator to get the fonts as well. All right, let's get started. To get started, in your '17 Exporting' folder... there is a PSD in there called 'Final Artwork', open that up. Now I've made this quite small... just to keep the file sizes down in your exercise files. And I want to show you the different things that happen. So file packaging is pretty easy, we'll go to 'File'... and we go to 'Package', let's get that out of the way. Where are we going to put it? I'm going to put mine in my desktop... to make it nice and messy, I'm just going to click 'Choose'. And what it will to do is that it will use the name of your file, 'Final Artwork'. That's the kiss of death, calling anything final. But anyway, let's look on our desktop. You can see there, Final Artwork Folder gets generated for you. So it names the folder for you. Puts a copy of the PSD there, and any links that have been used. So what are the links? Let's have a look. So in my files here, I've got a bunch of different things. I'm going to make this a bit bigger so we can see. So this Blueberries image here is not-- it doesn't have any little icon here. You'll notice that in my exports it didn't appear. So I've got that image and I've got the background. Why did I only get those two? It's because down here, the background... is actually a Creative Cloud libraries image. That's why I did this, I went to my libraries, and went - here it is there - and I drag this out. And because it's connected to my library... and not actually embedded in this document... when I go to package, Photoshop includes it. Something similar happened to this option here, can you see this one here? When I brought this image in, I went 'File'... and instead of using Place Embedded I use 'Place', 'Linked'. You can see the little linking icon there, so it's linking to my hard drive. It gets included in the package. But there's lots of other things that didn't, say this splash here... that was just embedded in the document. It's a Smart Object, which is cool... but it is not included in the package because it's actually embedded in here. It was either copied and pasted in here, or use the File, Embed. So you've got three options, you can just leave it the way it is... and have some of them embedded, some of them not... so that your package document is a bit of both. You could go through and say... actually there's banana here, I want to link it. To do it you can right click it, and you can say 'Convert to Linked'. Basically it will just say, where do you want to put the banana? I'm going to stick mine on my desktop. Randomly messing up the desktop, and now it is linked to that file called Banana... now to be included in my package... so I've got some consistency. It also makes the PSD a bit smaller in terms of file size... because it's not included in here, it's just linked. Alternatively I could go through and say, actually I don't want all these linked. Just going to right click them and say, 'Embed this Link'. I'm going to embed this one, and then nothing will be included in that package. And you won't need to go 'File', 'Package' at all. One of the things you didn't see up here, that was fonts. For some reason Photoshop does not package out the fonts, I can't make it happen. I've tried my damnedest. Adobe Illustrator and InDesign do, but Photoshop doesn't yet. But there is a trick to get the fonts out... but there's a few conditions that need to be met. And pretty much this file here breaks all of them. What you can do is just open up in Illustrator and then use its File Package. And it will pull the fonts out. Why won't it work with this document? It won't work with any layer... that has a Layer Style, in our case it has a Drop Shadow. I'm going to click 'Clear Layer Style'. The other thing that won't happen is that... see this R here, it has a Drop Shadow, if I delete the Drop Shadow... but it's still behind this splash... it's not going to work. So I'm going to save this file here... and let's go into Illustrator. Let's open up that file, 'Exercise File 17', "Final Artwork'. I just want to make sure Convert Layers to Objects is on. Click 'OK'. What you'll notice here is that this font here... gets converted to actual editable text. Photoshop and Illustrator worked together and they say... "Well I'm just going to remake this in the font." Perfect. That will get included when I export. What won't happen is, see this R back here? I'll zoom in on it. We see the text here is perfect vector. Zoom in. Lovely. But let's look at this R up here, because it's all behind this... it's being smushed and turned into pixels, so it just doesn't get exported. So if you're just looking to get the fonts out... you might have to do some... like hacking just to get this R up on the top, no Drop Shadow... just so that Illustrator can go through and pull the fonts out. The other thing that won't happen is... if I pick another font, and it-- I pick a Typekit font... say let's use this one here. Adelle, because it's a Typekit font... Adelle, this TK font, it's not going to work. This font here though, it's Arial... it could be anything as long as it doesn't have TK next to it. O type fonts, Open type will work, TTs will work, but not the Typekit. You are only allowed to use Typekit... because you pay for your Creative Cloud license. And if the other person on the other side has a Creative Cloud license... the fonts will go with it perfect. If they don't, then they're not allowed to have them. So let's say we've got this far... let's go to 'File', it's in the same sort of place, it's called 'Package'. Where am I going to stick it? I'm going to save this document. Where am I going to save it? On to my desktop. I'm going to make a folder called... 'Packaging Example'. Man, it's getting insane. Stick that in there. So I need to save it first, and then though... when I go to 'Package', I'm just going to make sure I include the fonts. You can see, it won't let me have Typekit fonts. It says, "Hey be careful about the restrictions of fonts"... you say, "Don't worry, I will." Now on my desktop, here's Packaging Example... there's my Final Artwork. And where did I say the package were going to? I did not check that 'File', 'Package'. I put mine in a weird folder, let's stick it on the desktop. Inside that lovely new folder we made. Make sure the fonts are included. Do it twice. There it is there. There's the ai file, which I don't really need... because I got all the images out of Photoshop... but there's the Arial that I used. Pulled out of your hard drive, ready to be sent on to the next person. Bit of a hack, might not be worth the time and effort... but you also might be desperate to get the fonts out. But remember, no Layer Styles, no Typekit fonts... make sure they're at the top of your layer group... and use 'File', 'Package'. We use Illustrator to just get the fonts... and we use Photoshop to get all the linked images. Combine them together, we have a completed package file. You might be watching in the distant future... they might just have fonts in Photoshop... just check first, it hasn't been there forever so far... so you might get lucky, and they might update that. You might not have to do this kind of hacked version. That's it for this video, Packaging. I'll see you in the next video. 100. 3 Kinds of file export for Photoshop social media web & print: Hi there, this video is all about exporting our files. We're going to look at three use cases. We'll do social media, we'll do web, and we'll do print. We've covered some of these in kind of specific areas... but I want to condense it down into one kind of usable video. Just so you know, these are the definitive rules... for exporting the different formats. All in one handy place. So social media first, we'll look at just doing a single document... plus a multiple Artboard export. So this one here, easiest way and best way is 'File', 'Export'... no, not File, Export, 'File', 'Save As'. Because what we want is a JPEG. So we're using just a regular old JPEG, not a Save for Web... because social media doesn't need to be condensed... and the data pulled out to make the file size smaller. We just want a really good looking image. I'm going to put that on the 'Desktop'. I'm going to put it in a folder called 'Export'. This one's going to be called 'Grow'. This is going to be 'July 19', let's click 'Save'. Quality Slider, because we aren't worried... we're going up to Facebook, Twitter, Instagram... and they'll do the image resizing, we don't want to do it for them. If you're uploading a thousand of these... you probably want to keep the file size a little smaller... but JPEG like that is a really good quality, and it's going to be ready to go. Let's say you've worked on something that has multiple Artboards. So we want to export these for our different social media platforms. So all we need to do is go to 'File', we're going to use this 'Export' option. And what we want is 'Export to Files'. I'm going to put them all in my 'Desktop' folder called 'Export'. Click 'Open'. This is going to be 'Illustrator Course', and you can decide on the format. It's going to be a JPEG. And the Quality Slider's at 8, I'm going to click 'Run'... I could drag it up to 10. Successful, and now on my desktop I have... in the 'Export' folder, you can see there... it's got my Illustrator course... it's taking the rest of the file name from your Artboard names. So just make sure you're naming your Artboard... something that you want the file to be. Let's move on to 'Print', 'Export', it's a nice simple one. Which one here? Let's say this thing... we've made it, we've fixed it, it needs to go out to a poster or a printer. What kind of file format should I use? The most versatile is 'File', 'Save As'. And in here you're going to use-- you can see in PSD, just leave them as they are. The file sizes are quite big... so what we're going to use is the Photoshop PDF method. The cool thing about that, if there is text or vector graphics... it will be retained inside this PDF, plus the file size is really small... and quite interchangeable in a format that is expected, I guess, it's easily emailed. Let's put it on my 'Desktop'. You see I've got two Export folders, just to mess with everyone. This one here is going to be called... 'Print Smoothie'. Thank you very much. And in this PDF settings, because it's going out to commercial print... just pick high quality print, and just turn that off. Why? Because that's going to basically just make a PDF... with this turned on, basically all you have is... a PSD, super big, fully editable, all the layers, but it's just called a PDF. Can cause problems with printing rips, makes the file size super huge. We just don't need all this kind of Layer Masks and things now... we're sending it to the printer, they don't need that stuff... so we turn it off, then click 'Save As... and if we check it in my Export files, there it is there. 2.2 Megabytes, whereas this actual file here is about 50 Megabytes. Now let's do the last one, let's do Web Design. So in your 'Exercise Files', if you want to play along... in '17 Exporting', I've got this 'Web Design' example. I've got a slightly different version that we've been using before. So there's kind of two ways, let's say I like this graphic here... I'm going to make my Layers Panel nice and big so you can see it. So I got this thing called Image Books Layer... I'm going to right click it, and just say 'Export As'. Or we can use the Quick Export. That's the quick way of just getting a single layer out. And that's doing it one at a time, so I can decide... I want to be PNG, no, JPEG, do I want it to be 70%, I click 'Export'. So that's one at a time, which is quite cool. But if you want to do lots of them, we're going to use Adobe Generate. So we're going to take it even further than we did earlier in the course. So 'File', let's make sure that Generate Image Assets is 'on'. Actually I'm going to save my document somewhere, make it easy to see. So I'm going to do 'Save As', you don't have to do this. I'm just going to make a folder on my 'Desktop' called 'Generate'. And I'm going to pop this in. So the way Generate works... is it looks to wherever you have saved the PSD, there it is there. It's in a folder called 'Generate'. When you turn this on, 'File', 'Generate', 'Image Assets'... nothing really happens except you get this kind of folder. That's where it's going to stick all our images. So let's say this background graphic here... I want to save this out as a .jpg. Magically, in my Image Assets, there is my jpg. I can work my way through, and say... actually I want that to be a jpg as well, Image Books, you're going as a jpg... but I want to take it a bit further. What I'd like to do is, I want this to be a really low quality version... or at least I know that it looks good at 40%. So just type 40% at the end. And it has to be this syntax, can't have other spaces, it has to be .jpg... and then straight into the 40%. A cool thing about that is it will do Image Books at a 40% quality. Let's do it at 10% so you can really see that it's actually doing what I say. It's regenerated it, and you can see it's pretty pixelated. So you might be happy that this one is at 40... but this one here, because it's background... we can get away with like 30%, a bit lower. Now the syntax we're going to cover quite a bit in this course... and it's hard to remember the syntax. What has to go where? So if you Google 'adobe Photoshop layer syntax', you'll end up here. It's the top results, so adobehelp.com... and here is the big long version. I'm going to give you this skinny version... but it has all the syntax written out in here. Before we finish the syntax, what I want to do is... let you know that you can export groups... because at the moment I've got this graphic and this graphic... they're two separate graphics. So I could name them but they'd come out separately. So I can select both of them, create a group... name this group 'logo.png'. And let's say I want it to be an 8-bit, a 24-bit, or a 32 bit PNG. You can just add that there as well... or just leave it as a normal PNG, which is 8-bit. Hopefully here, that group gets exported. Now if we check, you can see mine's not appearing. Sometimes this happens... sometimes you just need to turn Generate 'off' and back 'on' again. There's my logo. Leave that in there, it's an issue that I had... you'll probably run into it as well. You can see, I guess, another thing I want to show you... is that, can you see it grouped them together to just name that group. So let's look at some different syntax, just know that you can do three of them. You can do PNG, you can do gif, and you can do jpg. You can see, there's my gif there. What else can you do.? Let's say you're doing responsive design... and you need a couple of versions of this background. Let's get rid of the 30%, I'll just try and keep it clean. So I got bricks, but I want a smaller version. I want a 50%, the 50% goes at the beginning with a space. What it will do is it will generate... whatever size is in the document, a half sized version. So we go to bricks, there it's there now, it is, how big is it? This one here is 603, that's half of what it is in this document... but often when you're doing responsive... what you want is, you want a comma, you want two of them. So I'm going to copy this. You could put 100% in, but you don't really need that, so a comma, then a space. And what you need to do is, these need different names... because we're going to create two files now. A comma means making two versions of this. This one's going to be my, maybe at 2x... or maybe this one is just number 2... or Hi-res. So one's 50%, one's just normal, and hopefully now I've got-- Have a look, close it down. There's bricks, and there's bricks hi-res. You might be using the x2 suffix. You can add that there too, so that's resizing it. Let's look at another way of resizing it. So instead of doing 50% you can actually say... I would like it to be, let's say 200 pixels across, space, X, space, '200 x '. So 200 times, and let's say you need it to be 200 width... but you're not too sure how high it is... just like make it whatever height it is proportionately. So 200 wide, and if you use question mark, '?'... you have to use the lowercase x... you have to use all these spaces, it will guess the height for you. So now in here I'm going to have bricks, just 200 pixels wide. Copy that, I'm going to have another one that is... 500 pixels wide. This one is going to be called, maybe '500'. Hopefully now, I got my syntax right. There's a 200 version, and there's a 500 version. Cool, huh? Now let's say you want to take that to another level... because you need a high res and low res. You don't want to have to be copying and pasting, and changing the names. So what we're going to do is we're just going to call him 'Bricks'. Man, is that Bricks? Having a bad day, well just a regular day. Anyway, I've got Bricks, and let's do a few other ones, we've got that one... so Image Books is done, let's do some of these PNGs. So there's my 'icon-print', this is going to be .png... this one here is going to be my 'app.png'. These are all going to be .pngs. You should totally name your layers as you go. So we could go through all of these, right? So we've named all the layers... Adobe is generating them all as we go, there's my icons. Let's say I need two versions, I need a high res and a low res. You might need 50%, 100%, 200, 300 for all the different mobile phones... or media queries. So what you can do is make a new layer, doesn't matter where it is. I'm going to put mine to the top of my group here. So it's easy to find, and you have to use this syntax, you have to say, default... high res, you don't have to say high res. this is naming your folders, whatever you say here, could be 'The Dan' folder. I'm going to create a folder called 'High Res'. It knows it's a folder because you put a forward slash, '/' just in front of it. Have to say, Default, have to put a forward slash straight afterwards. And let's look what happens. Just a blank layer, Photoshop gears. I'm going to put all them into this default folder for you... which is not that exciting until you put two of them in here. So you put a little '+'. And you have a low res version. Needs a little slash '/' at the end to say I've got two folders. The only trouble now is there's nothing different about these two. It's generating two folders but they're exactly the same, exactly the same size. So what we can do, this low res folder here... remember, when we did our scaling earlier we put 50% in front of it. It's the same here, I want everything in this folder to be 50% the size. Let's have a look now. So you can see Bricks, a whole lot smaller than the bigger Bricks. Cool, huh? If you want to get even more nerdy... you're like, there's no way to get more nerdy. You can say, straight up to here is, I want you to append it with the '@2x'. Which is really common in Web design and Mobile design... as an indicator for the high res version. So now I've got all these @2x files. Now don't worry, if you're like, "That blew my mind, he went far too fast." What you need to do is type it out once and just do what I do. Like I can never remember that all off by heart. I just open up a previous file that I've worked on... I copy it out and I paste it into this. Or I just go to-- I just Google... 'layer syntax for Photoshop', and you can kind of pull it from Adobe website. All right, we got a bit nerdy there at the end... but I hope you can see especially if you are a regular web designer... you need to get Assets out for either yourself, building websites... or for your developer. It's really good now especially if you're making amends, you go through... and say, actually this thing here needed to be switched out to a different color. And I've got my Bricks @2x, and I've got my smaller version now. All ready to go, super quick, super easy. It's got to put that kind of initial effort in there. All right, that is a nice lengthy exporting files from Photoshop. I hope you learned something new, let's get on to the next video. 101. BONUS: Software Updates: Hey, there. This is a bonus video that I've made to share with you all the latest updates in Photoshop since the original recording of this course. Adobe are constantly updating the software. I thought it would be a handy way to keep you super up-to-date. I've gone through all the features here and I've put them all in what I think is the most important new features through to the more obscure ones towards the end of the video. Stop talking Dan and show me the updates. The best feature in Photoshop 2019 is something called Content-Aware fill. You might have heard of that before, but the workspace they've created is really cool. If you're following along, go to File, Open and open up these three Content-Aware Workspace 1, 2, and 3. We'll start with one. The old version of Content-Aware. I'm just using the Lasso Tool here. I'm going to go around the outside. That has been around a while. You went to Edit and you went to Fill and you left everything by default. You clicked "Okay", and it was magic. This is really good at getting small parts of a larger image, especially kind of nature. That's where it's easy. Where it gets tough is when you've got this, say, larger object, that's part. Look, it's proportionally quite big compared to the rest of the image. I selected it all. Use the same technique and hopefully it's kind of break. You can see it's done an okay job, but you can see over here. It's actually started grabbing the out-of-focus land here. I wish you'd just grabbed this over here and that's where the magic happens. I'm going to undo to activate this new feature. Go to Edit. This one here called Content Aware Fill. You might be like, "Hasn't that always been there?" No. It's new. What happens in this case is that, you end up with this new kind of workspace, this new work area. On the left is what we want Photoshop to sample and on the right here is your dynamically updated result. It is worse than it was. What we're going to do is, we need to do nothing actually. You should have these all by default, these tools and just paint out the things you don't want included. I want to say "Photoshop don't include any of this, please, " and your computer's going to stress out little bit because on the right-hand side there, as I'm painting this out, it's trying to dynamically update and spinning away. Wait for this thing to be done and has a whole lot better. If you're like me and use continue with filter or move like this little thing and then removed it but replaced it with something worse, this is just a really nice little extra feature. Try it Fill first using Content Aware. If that doesn't work or you get a bad result, jump into here. Go to Edit and in that Content Aware Fill option. Other things you should know, here on the right under Fill settings, you've got this thing called Color Adaption. What I've found is, don't worry too much about the weight Color Adaption. It's more like, I will try using option a or b and which says "Update". It'll try again with different kind of color blending modes. You can just see whether you like it better or worse. They look much the same, very high. See that it hold different jobs. You get like a couple of goes at it. You've got back. None, worse. I think our original default one was great. One of the other perks for this method here is, you can see it says Output Settings. It's going to output to a new layer by Default. You can jam it into the Current Layer. That's what the old version did. It was kind of destructive editing. It's a New Layer. I'll show you. Click "Okay". I'm going to deselect. You can see here, it's actually on its own layer so you might actually run that a couple of times. You've got a couple of different options to start blending through. That's the new Content Aware Fill Workspace. One thing I wanted to show you though, is Content Aware feels amazing, but there's a little tool that gets used in the really same purpose. You want to say we remove these post-it notes. Let's give it a go using our method from before, Content Aware-Fill. If we go to Edit, Content-Aware Fill, use the workspace method. It's going to go through and you can start deleting lots of things. I'm going to say "Not the laptop. Goodbye." Watching an update over here. Let's go to the wood. So none of the woods, please. You can chase this forever and still get a bit of a murky result. Man's getting more wood not less wood. There are just times we have this magical little option is. Same sort of less [inaudible] selection and grab the Patch Tool. The Patch Tool is hiding underneath the Spot Healing Brush. You just drag it. This one here it's using the same technology but you're saying replace it with this exact bit, please and then blend it in. Hit "deselect", I find that's gives you really good results. It's the same thing. It's like using Content-Aware Fill, but you were saying right from this area, please. Both methods have their place. One is, you let the computer do the work. With the Patch Tool, I find that sometimes really specifically. Actually, just use this but, onto the next new feature. The next feature is not really a feature, but it's something new and they've updated and it's a little bit painful and we need to address it before we move on. Open up "Transform". I'll go my Logo Layer selected. We use Edit, Free Transform. Everyone does it. It's Command T on a Mac, Control T on a PC. We hold down "Shift" to make sure all the proportions of fine. But it's the opposite now. If you hold down "Shift," it squishes it around. I'm going to hit "Escape". All we need to do now is Command T or Control T and just grab one of the corners and you don't hold anything down now. It's one of those weird changes that's a little bit hard to get used. I have been using it for maybe about two weeks now and it's totally good. I've totally got used to it now. I can see why. Remember, if you hold down "Shift," you can break it. But in older versions of Photoshop, you saw people who did that with logos and images and because the newbies, they're like, "What? It's fine." You're like, "No, you've destroyed the logo." By Default, they shouldn't be able to break it. But if you hold down "Shift", if you do want to distort it. It's the same here for this underneath Layer if I'm using edit. Anything that has their Transform bounds now has changed. Content-Aware Scale, I love this feature. It's been around a while though. We don't hold anything down. It kind of just, well, it scales it proportionately. I want to actually just drag it this way. It's going to hold "Shift" and use this right-hand side. Magic new backgrounds. Love it. If you hate it, you can go into Preferences and turn it off. One tiny little update as well is the Undo. The undo used to toggle. It used to be hit "Command Z" or "Control Z" on a PC. You hit it a couple of times, and it did this and went forward, backwards, forwards, backwards. Then you had to help down like a zillion keys on your keyboard and hit the "Z" key to get it to do this one, the one that everyone wants and we want the one that say step backwards. That's changed by Default. Command Z would just keep going backwards and undo right to the beginning. It used to be called step backwards. That's more in line with other Adobe products and just products in general. Let's get on to something more sexy like the Frame Tool. Open up from the Exercise Files, Frame Tool 1. Really, this is the second most favorite tool. Transform and Undo options are just necessary things to address. Why this is really cool? I've got this kind of Web UI mock-up thing. Doesn't really matter what you're doing it with. Think of a frame as a mask. If you've used InDesign or Illustrator, they've used this technique all the time, whether doing clubbing masks. The Frame Tool is this one here. Now, if these tool tips are driving you mad, they're driving me mad, on a Mac, Photoshop CC, Preferences, Tools on a PC. It's Edit, Preferences, Tools, and Rich Tooltips gone. The Frame Tool, I'm going to pick a square one and I'm going to drag from here to here. What you'll notice is, the Layers panel has this new sit up here. That's what a frame looks like. But what I'm going to do is, get my Move Tool. I'm going to duplicate to have a couple of versions for my little mock-up here. There are empty frames at the moment. To add things to this frame, you can drag them from your Library. Got an image here, strike them in. The cool thing about them is, they load them proportionately. They'll fill the frame. It's really nice. You can drag them from your Library. You can click on them and go to your Properties panel. There it is there. You can say inset image from. You can get from Adobe Stock, or I'm going to use this for my local disk and I'm going to embed one. I'll use Frame Tool 3. You end up at the same position or I'm not sure why I do this all the time. I like to see the Finder Window. Just drag from this straight into it. Anyway, there's lots of ways of dragging it. You can see how much nicer the Layers panel is. There's lots of other ways of doing this. I actually use Clipping Layers, but I'm totally switching to Frames now. Let's have a look at another way of using it. Let's open up Frame Tool 5. Zoom in. We created the frame and then dragged in the image. You can do it the other way around. I'm going to go to File, Place Embedded. I'm going to grab Frame Tool 6. A little bit big. Get it to roughly the right size, 10. I've got an image and a want to drag a frame around it. At the last, it's selected. I'm going to go to my Frame Tool and grab the Ellipse Version, and I'm just going to drag it across holding "Shift". It's perfectly heightened width. You can see there. I just converted it into a frame. Now, when you are working with frames, we can get to the Move Tool. There's a way of working with it on the screen. You can double-click it. You can see it pulls apart and I can see the two rectangles. This is my outer one, is the image and I can work on it separately from my frame. If I grab the edge of the Frame though, I can drag it around, I can resize it. Now, there're shortcuts. I've used them. I find it's easier to just over here. You can see the white liner on the outside. I can click on the Mask or I can click on the image. I find that just a little easier. The image is selected, I can transform it and scale it over. But not holding "Shift". If you want to move both of them, you can hold "Shift" and click both of the things. Just move around, move backwards. What you'll also notice is that, in here on my Layers panel, you can see it converted that image into a Smart Object if it's not already. You can also add a Stroke to the Frame, which is handy. With the Frame selected here, my Properties panel, I'm going to double-click this here. Shrink it up. My Properties panel, I've got the Stroke and I can decide on what color I want. I don't even know. Pick one then. You can pick a size and you can see, I can decide the way I want it at the insides into all the outside. Surprisingly, handy instead of having like two layers with Stroke effects applied to the top one or a separate circle image. Or at least look at another way of using it. See, I've got a File open and open up Frame Tool 7. It's not just rectangles and circles. You can use Text. Pretty much any sort of victor path in Photoshop can be converted. We're going to use the Type Tool. I'm going to type in "Daniel" because it's my name and my big font, drag this close. Once you've drawn the text, you need to convert it into a frame. It's no longer going to be editable text so just right-click the word Daniel, and go to this one here that says convert to frame. That all works for me, click "Okay". Now, you can use any of those techniques from earlier. I'm going to use this one, I'm going to use frame tool 8, get in there. You can see my image just happens to be not as big as the text that I had. Remember, it's easy to click on this Command T or Control T on a PC. Don't hold down Shift. You can hold down the Option key on a Mac, or hold on PC to drag from the center. That's handy, hit "Enter". Now, you can't do some things with this frames yet. I imagine they'll add them all. It looks like you can add a drop shadow, but it doesn't seem to apply. It's there, just doesn't work. There's ways around it. You can just create a group, stick that layer in the group and that group can get a drop shadow. It's a workaround for the moment, I'm sure it'll get updated to be able to show these things. Click "Okay". If I'm destroying these things with a fix, I'm going to select them all and I'm going to make them a smart object and where is best filter in all the land, you know what it is. Lens flare goodness, job done. Anything can be a frame. We've used circles, text, rectangles, I'll show you a couple more before we move on. I'm going to open up frame tool 9. We're going to forget about the pen tool when living life with the new curvature pen tool. It's new from the last vision, if you haven't started using it's amazing. Double-click for corner, click once for a curve. Double-click for corner, once for a curve. Another curve, double click for a corner, click once for a curve. Double-click for a corner, once for a curve. Never sure what to do in the last one. I'm converted man from the pen tool with the curvature tool, but drawing anything doesn't really matter what you've drawn it with, the free form, the pen tool. What you need to do to convert it to a frame is I want this frame to wrap around and mask at this background. It won't work if the backgrounds locked, just double-click the background. Layer 0 should name it, never do. Click this top lay here and because it's just above it if I right-click the word shape one and say convert to frame, click "Okay". Magic. I'm going to jump to illustrator, I've got a shape I've drawn in here. I'm going to select my little whale. Note that I've done a upgrade 2019 features for illustrator as well. Copy it from here, paste it into Photoshop, make sure it is a shape layer, click "Okay". Its a bit big, and transform them down. Here we go, click "Okay". Same as before, copy your locked background, double-click it, click this top one, and right-click it, convert to frame. Because it's right above it, it should, mask it all in there. Remember I can work on the frame, move it around, or I can work on the image on the inside. By clicking on this one, you can see little white dots around it. Transform it, there it is there, I can move it around. One thing you'll notice in this version as well is when I transform, can you see it's missing that target in the middle? Click "Okay". If go back to the old version of Photoshop, remember this, see that target there? It's perfect, but I'm a teacher so like I say, transform something and move it. They all try and move this and they are like, "It's not moving." So they've got rid of that target. You can turn it back on in the preferences if you loved that little target, but it's gone in the latest version. See, gone. Now little notes about this really it's only for images. The frame can be vector stuff in techs and all that stuff, but you can't put editable text inside them at the moment. So shape layers and techs can't be the thing that's on the inside of the frame. It can be the frame, which is mainly images images in smart objects. The other the thing to note is if you want to get rid of a frame say it accidentally happened. You can right-click the layer any in this text here and he's an option that's says remove frame from layer and it's gone. Let's get onto the next feature. The very next best feature number 3 in my humble opinion is live blending modes. It's a simple one, I'll show you what it does. For no good reason, we're putting an island in the bottle. So live blending modes 2, I'm going to drag it until I've blended it to modes one, I'm going to rotate it around not holding Shift, I'm going to try and scale it into position. A little bit too small, maybe down there. Return and I want it to blend with the background so I want a layer mode, and if you've done it before you in normal, dissolve. Dissolve never works so then you went darken, and then you went multiply. You clicked on all of these and went bananas, but now I don't actually have to click on them. Look at this. I can just scrub through and find one that works. Oh, look at that. Which one do I want? Soft light, you'll do. It looks like it's under water now.The shortcut still works if you are using that crazy way of Move tool, hold Shift, hit "Plus" on your keyboard. That's still works, but we don't need it now. It took me ages to learn that shortcut. Now, all you need to do is hover. Thank you, Adobe. Next feature, please. Now, this next feature is called select subject. This would have been totally number one if it had come out in 2019 release, but they snuck it in halfway through 2018. If you're like a lot of people you didn't even check with the new updates where you just went and yes, update. If that sounds like you this might change your life. I've got select subject 1 open. I'm going to go to select and this thing here should have an exclamation mark or super fantastic afterwards, but it doesn't so just click "Select", click "Subject", stand back. How good was that? I've been using it for a while now, it gets you 90 percent there. Sometimes closer and depends on how picky you are, but let's add a mask by clicking this little icon down the bottom here. Layer mask, look at that. Don't look too closely at the details, but if you just need a rough cut, actually this is better than a rough cut. I'd say 95 percent there. Now the select subject 2 option has a couple little issues that we want to adjust. I want to show you how to really perfect the select subject. It's going to do a pretty amazing job getting the edges. We're going to add a layer mask, and you can see the beard here needs some work and there is a chunk here missing so what we can do is use it in combination with the select and mask. So make sure the mask is selected not the image mask, click on "Select and Mask". Now, what I've done is I've switched mine to be on black and maybe its a bit dark just to see a bit of a contrast. Now with this along here, this tool here is the best. It's one nothing selected by default, pick a size. This one here you can see from the icon it's really good full here. By easy goal it says this, "Go and do this again, please." Look at that. It's really good for edges of here, things that are moving for larger chunks like, down the bottom here, this person. That gap grab this top option, the quick selection tool. Set it to minus, pick a size that fits. Cool. It gets rid of that. There's bits in here probably just need a little touch up. She did one and it did them all so good. You can see it though there's a bit of an orange hue around the outside of his arm here, it's around the hat a little bit. What I find is a bunch of options in here and you can play around with them there great. I find the magic bullet though is this last option. You might have to twell down output settings and this one here decontaminate colors. It's like this magic thing that happens, watch. Click once and you still notice it more in the beard here. What's this? Orangey beard, no orangey beard. Orangey beard, no orangey beard. I've got a big close with my redefined edge for his face. Be a little bit more careful than me. Let's crank this up to 100 percent. Redefine, on, off. That looks more exciting. So click "Open", and other than I selected a bit too much of his cheek, it's pretty amazing mask. It came out earlier in the year. It's select subject, it doesn't have to be people. It's just like a main object in it so if you're doing product photography it works great. I jumped out of the video and found this just to show you it doesn't have to be people. It can be stuff bears. Select subject, we've read at those thing, hit the button. It's not perfect, but it's pretty amazing. Again, if you find the edges are not perfect for you, click on the Mask, select "Range", grab this little feathery guy here and just paint the edges and somehow it does magically finds the edges of the bear. Now, we are finished with this tool. It came out earlier in the year, but I bet you missed it. It's a brilliant tool, especially if you combine it with select and mask. Onto the next feature. The next feature is something called quilt warp. From your exercise files, open up these three warp files, 1,2,and 3. When we've done warps in the past, I'm going to combine these two. I want to mock up this magazine cover on this background and we just go to edit, transform, we go to warp. It's pretty easy the old way as long as there is on a single plane. Now I'm going spend a couple of minutes doing this just getting it looking nice so I'll get it to speed up, zoom done. Not my best work, but it was quick easy. As long as it's on a single plane it's nice. If you've used that much before, you know that if I want more control, I can add a bit more of a grade so the same thing edit, transform warp. I can jump to this like three-by-three grid, and that's cool as long as everything is uniform. My next example is going to require a little bit more customization and that's where this quilt warp option works in. In warp 3, I want to get the vine to wrap around the text a bit so I need to move it up. First of all, I'm going to mask this background probably in this one because it's one simple color and then select on the vine and use the handy dandy, select color range. It's not a pretty good job straight up. You can click in here with the eye dropper and say I want that color then rise the fuzziness to say, "I'm going to pick as buddies pick the other bits of green." You can add the plus button to say and this, and probably not as fuzzy anymore. Eventually, you'll get something pretty good. Let's click "Okay". Not a bad selection, let's add a mask, but now what I want to do is turn Dan on and get it wrap up the top here. If you're doing this along with me you don't have to use Dan, you can use your own name. With the image selected, I'm going to use that same thing, edit, transform warp. These are the new features they call it quilt warp. Well, they've told me that's what the called it, but really it's this split along the top here allows you to add your own custom ones. You can either do it both horizontal and vertical and add a custom point which is cool. Undo that, or you can just do a horizontal or a vertical and just get real simple controls. It's up to you. I am in this case going to use the split one and I'm going to hopefully. I practiced this beforehand. Well, in all honesty I try to make it look cool. I'm going to add two their so I didn't have to use that grid. Even though it's only three-by-three, it can be really complicated. I'm going to raise these two up here because I want to come up and look like it's over there. Just a little bit of messing around to try and get it to look real. As real as something like that can. The cool thing about it is that you can do exactly how you want by adding as many points or as little points as you want and into the confirmate. That's the new feature then you addition to the warp tool is adding custom points they call it quote warp. Before we move on, I want to quickly show you a cool trick. It's an easy way to get the vine the look like it's going in and out of the text. That interaction that looks cool. You need two versions so I'm going to duplicate this guy. Two Dans, you have one above the vine, one below it and with this top one selected at a lemme ask, grab your paintbrush. Make sure black is your foreground color, pick a size and paint the bits in you want. It's quite cool. It's going to be behind that part and then in front of that part and you can decide how much peaks through. I'm painting it white to get rid of stuff, no morphing. If you do do your vision, show me your example, and you can use my name. You might not have such a strange divine, give it a background color. There's my white one there, and share it with me on social media. Instagram is the best one. I'm Bring Your Own Laptop or if you're on Twitter, I am Dan Loves Adobe. Take a screenshot and show me what you did and let's get on to the next feature. The next feature is something called distribute spacing. Up until this version, all you could do is select all of these people and say I want to line them up. Then I want to skip them out in individual spaces. Up until recently, all you had was this distribute centers and that would work. You can tell like this, it's using the center of every object and because this one's small and this one's big, they don't have the same internal spacing. This is cool. I feel like this could be earlier in the tutorial now, I feel like it's always been a problem here, but now this thing is new that don't look very fancy but they distribute the gaps, which is very cool. Click on horizontal or vertical if you can work it out. That's why they've got icons for people like me. Now the spacing is even rather than the centers being even. It's a simple addition, it's been in things like illustrator for a long time, but we welcome you here to Photoshop. Next feature. For this next feature, it's called symmetry painting. You might have bumped into it in our last version. It was hidden under some special features you had to turn on. It was a secret handshake to make it work, but now it's just built straight in. If you did lose the last version, there are some updates to it. The way it works is pick. I've got symmetry painting open, basically an empty layer is all I need. I'm going to grab any of the brush or eraser tool or any other things you draw with the pencil tool. We're going to pick up brush. The sweet new brushes came out a while ago in Photoshop, not that long ago. You'll notice that the brushes panels has been cleaned up nicely and under dry media and special brushes, Kyle Webster joined Adobe and all those brushes came along with it and they are amazing. I'm going to use the dry ones this one here. Ultimate Inking thick and thin. The way this works is you pick a brush size. This is the new feature here, this little butterfly. Basically you pop it down and you pick one of these. We'll start with a vertical one, it's nice and easy. You get to transform it first. You've really got to decide, do I want it to be this way or this way? I'm going to leave it as it was. Strap it down into. Now I've got a foreground color and I'm going to click hold and give you a sense of that as a giant brush. But you get the idea you don't need to see me draw I'm going to show you drawing. There is a cool mix here of both the symmetry which is cool but also the brush and also the way com tablet will coming together to become a drawers, an artist, best friend. Much what I'm doing now. That's just flipping across either side one. You can turn it off when you're finished. You can actually change to something else if you finished that and you like. Actually I want to see what the radial one does. That's a new one, so I'm going to have a segment count of what missing about cadenza, and you can draw around, and it draws ready one. Instead of working on radial, I'm going to look at this Mandala. Going up to five into the size. If you lift up the smoothing to a 100 percent, it's going to smooth out your lines and look a whole lot more natural and more hand-drawn than the jittery stuff you might get. You can also mess about with some of these ketchup stroke and ketchup the indo stroke. Same with Pulled string, give them a go. You find what you feel is natural mybe that and I'm just going to draw for no good reason. Now I'll speed this up because I'm going to play around with it. I didn't even know what I was doing, but it's fun. I got my pattern and some as you brush, you can see there's a bunch of different options in there. One thing you might find is like mine, and it runs slow if you picked some hardcore brushes in some of these other ones that Kyle designed. This whole symmetry thing is stressful on my machine. I hope to have a canister terrorism. I'm going to do something amazing and like we did here. Looks like a pie ao or a ran over pizza. Let's open the glory. I got my way, comb out of the cupboard for you. You're welcome. I got this solution. Select them all down and you know what's coming. The world is a better place. Onto the next feature. We're getting close to the end, I'm going to throw these last three into this one amazing image. It's my favorite stock image. I'm going to stock images, one shared by the photographer, Charles Deluvio, on unsplash go check him out, then we'll do a wrap up afterwards Nick step's thing. This one here, I'm going to use the Pinto. I'm going to stroke and fill. I'm going to draw a red glasses on him for no reason other than to show you this feature. If we worked on a document where this is not too bad because the default's blue and the background is bluey, but it's quite thin and hard to see. You can now in Photoshop go to this little cog. I'm working my pen to, you can say actually I want to see it thicker. I'm going to go to giant size. You can see it nice and easy and also pick a different color. That's high contrast one, rubber band's cool as well. I start another shape over here, can you see it's actually connected to it and illustrate it, does that by default. You can decide whether you like that thing because without it, if you forget it, guess what it will do. If you're okay with the pen tool, then it's fine. If you're a newbie, tune that rubber band on and it'll give you a hint. Back to this guy. I love him so much. Three more simple things. I'm going to grab the brush tool and make a new layer under colors here, this is the color cube. We've been using this forever and it's handy, but I've made a handy you one called color wheel. It means you've got the hue all the way around and it loops back on itself, rather than that, we'd slider that stops it written in, goes back to red. This one here is an easy way to pick the hue. Within that hue, you've got the option of fully saturated and then you can start washing it out all the way to white, or darkening it up to black and anywhere in between. It's common in some other fields. Some of the video work and premium and it is handy, especially I love the hue saturation and brightness. Rgb is weird, especially when it's a slider. But this he is nice. We're not doing it for anything else other than to add this man it's mustache and a toga there. That's one feature, the color wheel and the other one is Window Workspace lock the workspace already just ended on. What it means is you can't move these or break them. Why would you do that? You might just like it. You might have got it sorted, but really it's for people wicking on computers that actually I touch screens like the Microsoft surface or the surface studio or the way com Send. I'll show you one of them. This is the new one from Microsoft. It already got released or talked about yesterday. That's why all these images a day ago, we can actually work on these. So it's a full operating system and you can actually start drawing on top of it. That can be problematic when panels dot moving around. That option is for you. Our last one before we wrap up and talk about next steps is view and this one here horizontal, this one here flip horizontal. Flip it over temporarily. It's not done. It's not like it it transform, flip horizontal. It's just there to do quick chicks as well as the email account without a reason for this. Adobe told me it's because out a slight to check symmetry. You might leave a comment if you like. Totally loved that idea. It's not finished, it's just like temporary flipping. You can work on it, but it is just a view change. Let's jump to real Dan to wrap things up. Say goodbye to the PAG. 102. Adobe Photoshop CC 2021 New Features & Updates part 1: Hi everyone, my name is Daniel Walter Scott and I am a designer and an Adobe certified instructor for Photoshop. Today, you and me are going to go through all the exciting new features in Photoshop 2021 that has just being released. I'm going to put them in order that I think are most important, exciting, through to the, not worst, but the most obscure of the new updates. We are going to have exercise files. You can actually play along with this. So you can watch it now and then download the exercise files to do some of these projects yourself. There'll be a link below for that. Let's open up the new version of Photoshop and jump in. Open up Photoshop, and then go to File. Open, and we're going to be working with the file called Sky Replacement 01. You'll notice that a few of the files have these names afterwards, that's because Samuel Ferrara decided to share his image with the world under a creative commons license. Means we get to use it without having to pay for it, and without a watermark. So thank you. Samuel, Dan, Ethan, Tobias, you'll see a few of those through the course. The first thing we need to do, just make sure everyone's looks like mine in terms of the workspace; go to Window, go to Workspace, click on Essentials, then come back in here and go to Reset Essentials, just so that you're always looks like mine. Now, we're going to look at the very best, most exciting, according to Dan, 2021 Photoshop feature. It is under Edit, and it is this one, Sky Replacement. Yes, way. Click it. Kick back, relax, watch the sky. Watch it. It just removed it. Look at the mask. So good. Turn the Preview on and off. This, remember, is the last sky you've picked. On the top here where it says Sky, drop that down, and you can work your way through. There's a bunch of preset ones, so blue skies, you can click on any of these and watch. Watching. Good? There is all sorts of amazing ones in this spectacular. Let's go for the spectacular. They've got to suit your image. One thing you need to note, is that you can click on these and actually drag them here. So if they're not quite lining up, you can move them around. That's going to be good for my one. Look at that, so good. Let's click "Okay." I want you to notice the layers over here, it's pretty non-destructive. You can turn that group off and it's all back to normal, but there's all this non-destructive masks; the backgrounds there, lots of things you can mess around with afterwards. Let's have a look at the second version. File, Open, and go to Sky Replacements O2, Dan Freeman. This is Auckland Harbour, in New Zealand. You'll notice a lot of New Zealand pictures, because that's where I'm from. But let's look at taking this Sky Replacement in a little bit more detail. Let's go to Edit, let's go to Sky Replacement and BMA. Watch the sky. It is good. Let's have a little look. Let's pick one of the sunset ones because I want to show you something. Pick anything you like, move it around as you wish. But I want to show you this foreground adjustments that's happening here. If I click "Okay", you'll notice here, we'll get out a layer built up. But these two bottom ones here are actually doing a pretty amazing job. The background, if it was just cut out, would look okay but unrealistic. These foreground colors, see, turn them on, turn them off. They're actually taking the color from the background, in our case, from the sunsets, and it's actually influencing this foreground. See, it's actually changing our foreground image to make it believable. The kind of stuff that we'd have to do as professionals is to try and get it to blend, but they're doing that automatically for us. Again, there is adjustments. So there is lots of masks, you can actually click this little icon there, and actually work through the curves that they've adjusted, to fine tune as you like. But it's pretty good out of the box for me. Let's open up the third one. File, Open, let's go to Sky Replacement O3. Now, I'm showing you this one because it doesn't work very well, or at least it needs a little bit of modification afterwards. Sometimes I see these tutorials online and they show me the only ones that work perfectly, but I want to share with you what you can do if it doesn't quite work. It's this overexposed sunset over here. Let's click Sky Replacement. Though it does a pretty good job, I'll lift it up, try and match it up. You can see what's happening over here. To get around that, you can play around with Shift Edge and Fade Edge. If it's consistent background, it's not going to work for us. Now click "Okay". But because photoshop was clever enough to give all these layers that we can work with, see the sky here, you can see in the thumb and how it dips down into this too far. What I want to do is work on the mask. Grab my brush tool, this one here will be on your keyboard, and in terms of the color, I want to make sure my foreground color is black. So over here, if it's white at the front, click on this little arrow here, and in terms of brush sizes, little handy trick for you is, I'm going to scale it up. You can use your square brackets. It's up to you. But what I want to do is, if you're on a Mac, hold on Control and Option on your keyboard, both of those down, and then click. Hold the mouse down, left and right, it's the size, and up and down it's hardness. That's a sweet trick. If you're on a PC, you hold down the Alt key, and you use your right-click, weirdly. Click your right-click down, hold it down, and move left and right, up and down. I've got something about that sort of size, black is my foreground color, and I'm just setting the opacity to about 50. Another little trick is, on your keyboard, tap two. Can you see it change the opacity to 20, 5? These are the numbers that are just above your litters. Click on those. Zero is 100 percent, weirdly. Seven, going to go down to about 50, and then just kind of brush this out. There's back and forth trying to match the rest of it. I might actually creep up into this area here. Do the same on the foreground lighting color, just to try and bring that back in. So it's never going to be perfect on everything, but hopefully will give you some tools to make it extend through some of the more challenging backgrounds. Let's open number 4. This one here, Sky Replacement 04, click Open. I want to show you a couple more things you can do. So Edit, Sky Replacement. Let's have a little look, pick something different this time. That's cool. Already some mountains. Double mountains. So what you can do is, Shift Edge, it's going to play around with the connection between the foreground and background new sky here. So you can play around with Shift Edge, or more of the background, the original imaging, and you can go the other way where it gets really tight and starts overlapping. It would depend on your image. The automatic features, I don't know, it seems to do a pretty good job for such a new feature. Good work Photoshop, any Fade Edge as well. Like how much of a transition is it? Is it pretty abrupt, or is there a nice big fade? Everything else, you can play around with the brightness of the sky, the temperature of the sky. Anything else? You can bring in your own skies. So in this little drop down here, you can click on plus, and bring in something that you have got; something of your own or something from a Stock Library site. You can build your own groups. You can do all sorts of cool things in here. That's cool. One last thing I want to show you is this tool here, the Sky Brush. Click on that. What you can do is, these are very generic controls for the entire image with the brush, you can actually just mess around with part of the image. Say this is one part giving you trouble, you can paint it on or off, using plus or minus. It just messes with the edge. I'm going to crank it right up to show you what it's doing. I don't need to fix this one. I did find it hard to find an image that was broken. So I guess it's credit to Photoshop that this thing worked pretty good. I'm just breaking it now. So hold plus or hold minus to decide which way it moves the foreground and the background color in. Again, I couldn't find an example that was broken enough for me to go and use a Skype Brush. It's there for little touch ups. Sky on, Sky off. Good. Actually before we move on, I want to get you to do some homework. Think of it as fun practice. I want you to find a photograph of your town, your village, your city, your state, your country, whatever it is, and I want you to send me a before and after. You can find images from Adobe stock, if you have a license for that, Unsplash or Pexels are great places for free images, or take one yourself. I want to see a before and after you've replaced the Sky. Share it with me on Twitter, I'm danlovesadobe, Instagram I am bringyourownlaptop, and on Facebook, check out the group Bring Your Own Laptop Online. Join that group, and make sure you share a before and after. I'd love to see what you do. Let's move on. The next feature is kind of an addition to sky replacement. Sky replacement is pretty abrupt. Maybe that's not the word, but it just replaces the sky. Maybe what we want to do is just enhance the sky, adjust it. What they've done is, they've given us a cool feature. Let's go to File, Open. Let's go to one called Sky Select 01 jeremy-bishop. Open this one up, and let's say we don't want to replace the sky, but we do want to adjust it. Maybe in our case, we're going to add a bit of vibrance to it; line it up. So what we can do is, we can go to Select, and they've given us this handy selection, click on that. Does a pretty amazing job. Look at that. Tested on on a bunch of different images, and it works really well. What are we going to do with that selection? We can go to adjustments, and I'm going to use this last one here called Vibrance, and I'm going to increase the Vibrance or Saturation. It's up to you, what you want to do. Given that selection, we can use curves, levels, whatever you want to do. It's probably a bit extreme. You can see down here, because we had a selection, it's a layer mask that's all very non-destructive. On, off, on, off. We can use that exact same technique to do the inverse as well. We can go to Select, Sky, and let's say we want to mess around with the foreground. So we've got the sky selected. What we can do is, we can go to Select, go to inverse, and look, we've got the foreground selected. Cool. We do the same thing. Let's go to adjustments, let's use curves, and do what you want. Am I making mine better or worse. Everybody's yelling at home, "Worse." It was pretty good to start with. There we go. Foreground, sky, all with the new fancy sky select. Next new feature. I want to close all these down, you can save yours, I'm not going to save mine. A handy trick for people that don't know, Close All. You're like, can that be that handy? Close All means you can do this, Apply to All, "Don't Save" or click "Save", up to you. Don't save them all, goodbye people, and they all go at once. Nobody done the File, Close, Don't Save, File, Close, Don't Save, File, Close, Don't Save, anyway. Let's look at the next one. It's called Content-Aware Trace. Now for this to work, depending on when you're watching this, it's in something called the technology previews. It means that you can turn it on if you want to use it, I think you should because it's cool, but it's maybe not ready for the big time just yet. If you go on a Mac Photoshop, Preferences, and go to Technology Previews, if you're on a PC, go to Edit, you'll have Preferences down the bottom and find Technology Previews. Yours might be on by default. If you can't see it in here, you see mine and it says Enable Content-Aware Tracing Tool. Turn that on if you can see it. If it's not there, it's probably just on by default now because you're in the future and have just turned it on, it's no longer a secret thing you need to turn on. Make sure it's on and go to File, Open. Let's go to the one called Content Aware 01, jude-beck. Now who is this good for? It's for people who use the pen tool in Photoshop to either cut things out or make vectors, it's best to just show you what it does. It is hidden, well, it's not hidden, see Content-Aware Tracing Tool, it's mixed in with the Pen Tool. Click, hold, hold, hold on this for a little while, go to Content-Aware Tracing Tool. Up here, I've picked, you might be using a path, it depends on how you're using this, I'm going to build a shape so you can see it on the video easily. I'm going to have a fill with no fill, and I'm going to have a stroke that is bright green, and it's 10 pixels just so that you can see what I'm doing. Already if I hover above it, and I know Jason and Taylor, the editors, will zoom in so you can see, but this is like T-dotted line around the outside. What you can do is, look at this, ready, click once, it drew a line around the outside. Look how good it is. I'm good with the pen tool, but I'm definitely not that quick or that good. What you want to do is I want to add to it. You just switch to the next tool, and what it'll do is it'll say don't you want to join it with this one, and then join this one, and back to that one even. Look at that. Look what it did. So good with the pen tool. Even if you are good with the pen tool, and you enjoy going around the outside and adjusting curves and handles, you've got to be a little bit impressed, I am at least. Let's look at another option because I found an option that was on a nice, clear background. If you're doing product photography, you can make those simple backgrounds happen to make your cutting out easy. But let's look at something slightly more complicated. Let's go to File, Open, let's go to Content Aware 02. This one here has a few compound shapes. We're going to use the same tool, and we are going to do this on Auto Trim. I've found it's off by default, but might not be off on default depending on what Photoshop I decide to do in the final versions. But this thing here I find just turn it on and leave it on because what it will do is watch this. I'm going to zoom in here, can you see this first shape? If I click on here, great, and I go to this, and I go to this, can you see it's going in? It's following that curve in there. It's being too clever for its own self, you click on that, you're like "Oh, no, what do I do?" If you go over here and see, with the power of zooming in, can you see that line? Watch that line there. This is like a little school with a red line going [inaudible]. I don't even know it's red, it's tiny. But it means that's the auto trim feature. It means you're going this way, I'm going to delete all that stuff. So you can go around, make sure Auto Trim's on, and just make sure it'll double back and delete anything. Now remember, I'm on this plus, so I'm adding to it every single time, and that's what I'm on by default. Now you can see across here, it's given up. It's like, oh, there's not enough contrast, it doesn't know what to do. What you can do, this is with this Detail option is set to one percent. Watch this, I click, hold it, hold it, hold it with your mouse, click it down, and then drag it to the right. Can you start to see all those lines appearing? If you go too far, it's going to try and draw every single tunnel change there. You want to find on your image we have the heavy medium of like most of it is visible. Can you see all those blue lines appearing? It's somewhere in there, just being a bit more detailed with its look. You can see there now it's got that piece. You might have to turn it up and down as you go around depending on how detailed it is. Mine's doing amazingly. Look, it just did [inaudible]. Now I'm going to be honest, it works amazingly well with these high-contrast back and forth images, if you're trying to pick hair out of hay, it's not going to work. It needs to have this stage at least, and it's a pre-release version. It needs a really high, simple contrast. Another thing I want to show you is we've been hitting plus to keep adding to it. Actually, I want to finish. It depends on what you want to do, I don't have to finish this off. I want to get close to here to make it a complete solid because then I could go through and fill it if I wanted to. It's not what I want to do, just to prove that you can. What I want is these shapes in here, I need to cut these out as well. I want to go back to this first tool, and that'll just mean that it'll think that I am creating a new shape, which is what I want to do. I don't want it to try and join up with the old one. I'm going to go in here, show that one. Now it started another shape, I have to go back to the plus, otherwise it'll keep creating new shapes. That's something you have to do. You have to wiggle around a bit to find it. Come on, zoom in a bit. That'll do, that'll do. I'm going to have to fix that with the pen tool because it is very blurry. I don't blame you, Photoshop, that's a tough one. Any other ones? I should do the same thing in here. That was a one-click. Let me show you in the next one had to tidy some of this stuff up. But you can see here three separate shapes. I could be copying and pasting these into Illustrator, XD. I could be using the paths, for doing masks. Amazing new feature for those people who use pen tool in Photoshop. Let's open up the third one, Content Aware 03. This one, what you need to remember is that the detail is set to whatever it was the last time you used it. Probably, mine got up quite high, I'm going to go back down to one percent to see how well it does and, I don't know, just give it a go. Often go as low as you can and raise it up if you need to. I leave Auto Trim on, I often just stop with plus and leave it on plus, and I'm going to just work my way around. Wow, look at that. Nice. Anyway, excited. Let's click on one. Let's click on this one here. It didn't quite grab in there, so I need that. Oh, no, there it was. This is a lot trickier one, so there is going to be a few problems in here. Let's have a little look down here, still pretty good. There's got to be tidy up regardless. Those first ones I gave you were really exciting, and I made sure they were pretty good for the demo to get everyone hyped up and excited, but there is going to be a tidy up to be done. Things like this, it's easy enough to go through and go to the Pen Tool and the Direct Selection Tool. These are the two that you'll use. You can go in here and P for pen tool. That one there, I do not need you, so I don't have to hold anything down, turn it off. Same with that one, I don't need you, but that one there didn't quite work. I'm going to grab my "Direct Selection Tool", drag it up this way. I'd argue that's a pretty amazing starting point for this particular one, depends on how fast you are with the pen tool. Anyway, that is Content-Aware Trace Tool, under Technology Previews for the moment. But if you're watching this in the long future, it's probably just a tool in there ready to go. Next feature, I'm going to do my File, Close All, tick "Don't Save", and then go to File, Open. I want you to go to Daniel Walter Scott 01. It's me. Hello me. I'm being very neutral. I'm normally smiling, that's not my natural face, but I had to for this particular new feature. Let's check it out. The called Filter, Neural Filters, these are scary, good. Let's click on them. Let's click "Okay". It's using things like they call it Adobe Sensei. Think machine learning, artificial intelligency stuff. Now yours all look different from mine probably, I've got my pre-release version. You've got these featured filters which only has a couple. These are the ones that Adobe say these are ready and are pretty good. These ones down here, which we'll look at in the Beta filters, are all things that are really good, but they're getting out early to us to have a look through. But there are some artifacts and some small issues with them. But as they get better, they'll be moving into here. You might have to look between these two to find the ones. The one I'm going to turn on first is "Skin Smoothing", click on that one. Look at that. Now this little option down the bottom, this preview, on, off, on, off. Look at me, like 10 years younger, I look very soft. You can play around with the smoothness and how blurry it is to get something that works with your model. Your model might not be as handsome as this model is. You might have to crank up blur and smoothness, but for me, maybe because I know myself too much, I know that that is a nice version of me, but you can crank it up as well and go full on fake skin. Nice. I'm going to turn Skin Smoothing off. Let's have a look at probably the first feature that I raced in to go and find under Beta filters, turn on Smart Portrait. You might have to download some stuff for this, there might be a button here that says download. Then you went straight down here, you went Hair thickness, give me lots of it. Then kick it back, relax, and watch it up here, it's actually doing the work in the cloud. Come on. I'll speed it up. I was hoping more here, more like, I don't know, funsie. But it's pretty good. Preview on, preview off. It's pretty realistic though. That's actually gone back, sad to say probably about 10 years. Let's go maximum here. Now, you can see up here, it does things where, look at that, that's me with lots of more hair. It's pretty good. It's giving me more hair, my sideburns as well. This is in Beta, so there are some glitches to it, but it's pretty amazing. Again, it processes a lot of it in the Cloud, so that's getting faster and faster. Mine didn't take very long at all, but you might have to wait. If you've got a really bad Internet connection, it might take a little while for the Adobe servers to process what you're doing. But yes, that's pretty cool. Let's turn hair thickness off. I won't go through all of them, I'll go through the ones that I thought were interesting. Let's go to be happy and crank that up. That's why I've got a neutral face there. Look, preview icon, preview off. Holy smokes, it's me smiling. Somehow I've got nicer teeth than I normally do. I've got pretty bad teeth. Anyway, so have a look through those. They are getting better. I know that there's another release coming in the next couple of days, which are going to fix the teeth to be a little less out of [inaudible]. Facial age is probably the one. This is the biggest one. This is the one that it's pretty. Look, it's me when I'm old. It totally is. That's going to be me when I'm older on, off. On, off. Let's go the other way around. I'm not going to, it's been too long on this. Do I look younger? I do. We're get facial age up. Let's go for gaze. This one here, I don't know. Did it freaked me out or did it get me excited by technology. Watch this, look to the right. I looked at that right. Now, I want to go through and just play with them all and have you along for the ride. But we'll move along. The things I want to show you though is this little blue dot here. It shows you what filters you've actually applied so you can actually go through and apply more than one at a time. This will tell you the ones you've got applied. Let's make sure my hair thickness is cranked up again and then we'll click. One thing I want you look at down here is where to output it to. Sometimes you want to output it to a new layer. It could be a smart filter, duplicate layer, just know that that option is down here. I'm going to put mine on a duplicate layer. Let's click "Okay." I think the gaze, it's done something with my eyes because I did my original image. I'm using a ring light and you can see that ring light in here. It's done it a little bit weird there. This is totally me with more hair-ish. Let's move on. Actually, what I've done for you is I've given you more versions of me to mess around with in your exercise files. You have permission to make me old, mess around. There's just a couple of other images you can play around with. Be respectful, but I'm totally happy and not offended, and can take a joke. But just be respectful in terms of, I don't know. Controversial topics, keep me out of those. Those are there for you to play around with and I'd really like to see what you do. Again, I want to see some ridiculousness or subtlety, up to you. But have a play around with those other versions. Like before, send me what you do. Where at Twitter, danlovesadobe, Instagram, bringyourownlaptop and on our Facebook group, join that, Bring Your Own Laptop Online, check out that group. I'd love to see what you do. While we're here, let's move onto the next one. Let's go to Makeup Transfer 01 and click "Open." I'm not sure what I was doing. But let's have a look at one of the other neural filters. Let's go to File. No, let's go to Filter. Let's go to Neural Filters. There's a few good things in here. It's worth spending a little bit of time in here to show you the best ones that I think. Let's go to this one here. Let's go to Makeup Transfer. Actually, this is not a good one. This is just funny and it only takes a second. So turn it on, find your reference image. I've given you one in your files called Makeup Transfer 02. Open that one and give it a second. That is handsome. You can transfer makeup from one photograph, you can see here to another one. Again, I'd love for you to go through, find your own images, references when you can use me as the model, and put on different makeup. Let's click "Okay." I want to show you some of the other more practical ones. Look the layers. It's left that there. You can do some other blending later on. Probably not the best image, my screwed-up face there. But anyway, it worked it out. Let's look another actually practically useful neural filter. Let's go to one called Style Transfer. So Style Transfer, yes, Daniel, I can find it. Style transfer. There it is, open. Style Transfer is in here as well. Let's go to filter. Let's go down to neural filters, let's go to, it's actually in the Featured Section. Go to Style Transfer, turn the little tick on. You might have to download some stuff. It might take a little while, and look at that, it matches the style over here. You can just work your way through. It does a pretty amazing job at matching some of these styles of these. Some of them good, someone of them bad. Look at that one, that is really good. Click "Show more." You can just click your way through. Let's do some Van Gogh. That's pretty cool. You can, down the bottom here, do a couple of things. Probably the one thing that I did quite a bit is preserve color. It actually preserves the original color and just picks the texture from it. Yeah, it's pretty awesome. Let's have a look at another one. Let's click on that one. So file, open. Let's look at one of the earlier images. It's called Sky Replacement. Where is it? Sky replacement. We'll do with Sky Replacement 01. Go to the same thing. Filter, it works really amazing with landscapes. Style Transfer, click it on. Try a few of them. Man, I love that combination of that image there. That's O'Neil's Beach, just west of Oakland. Look at that, so good. Some of them average, someone of them are really good. It works really good with natural images. Wow, look at that, connection of that and that. Yes, you can play around with style strength and brush size and all sorts of other things afterwards. But Style Transfer, pretty cool way of, I don't know, I've used it a bit for making images, just to look old. I found one that works. I preserved the color and I was playing around with some of these ones to make it look vintage. It's a cool painterly, texturey thing going on. There was another one that I liked. Which one was it? Yeah, anyway, so that's Style Transfer, and click "Okay." I'm going to look at opening up the next image. Let's go to file open. This one's called Colorize 01. Open that one up. This new feature is tied up in the neural filters again, but they should all be separate. No, they shouldn't, but I want to identify them as different use cases. They're coloring black and white images. You can do some amazing work on their filter. Under Neural Filters again, jump down to Beta and click on this Colorize, and just wait for a second. Look at that. I didn't do anything. Somehow Adobe Sensei went, that's grass, those are people. It's pretty amazing. You can play around with things afterwards, but man, for that first one, it did an amazing job. Let's have a look at another one. So File, Open, let's go to Colorize 02. Let's look at something that's maybe a little bit more, not problematic, but I'll show you how to get a bit more detail in there. Let's go to Filter. Neural Filters, go to Beta. Now, again, yours might be under this featured because I like it. I'm not sure what the problems are with it that it's still in Beta. Wow, look at that. Now, one thing you might do is you might go, I like that, but I want a bit different color over here. What you can do is a little bit strange in their use. So you click in here and you pick a color, they need to be very neutral. If I want green, I want green for the grass. I want a yellowy green. I can't go and use this because it looks terrible. Go way down here. I'm just clicking and dragging it here to get a color. Click "Okay." Then what you do is you click once on the thumbnail here. Can you see it? It changed it over here. Look at that. You can add more than one color. Let's say that you want to make, say, this sea here. Click it first, then go and change the color. You can see it selected, it's got a blue ring around it. Now, I don't want a green sea, I want a turquoisey. Hold on. Now, remember, subtle colors tend to work better. That is pretty amazing. Let's click "Okay." Now, if you've downloaded the exercise files, I've given you a couple of more that you can play around with, 03 and 04, have a play with those. They're pretty amazing. But let's move on. We're going to leave the neural filters there for the moment. There are other ones to go play around with. Under Beta Filters, there's a few other ones. Super Zoom zooms in and tries to clean it up. There's just ones that I haven't been able to find a good use for. Some of the ones down here are teases. If you click on Dust and Scratches like, oh. At the moment, what they're doing is they are deciding that which one do we make first for our happy photoshop uses, and you click on this one and you tell them why you're interested, they'll start building the ones that people are most interested in first. It's a pretty cool way of doing it. Have a look through at these. Face to Caricature. Anyway, so have a look through them and again, maybe this will move around as they become a bit more finished and they'll end up in the featured option. Let's hit "Cancel" and let's move on. 103. Adobe Photoshop CC 2021 New Features & Updates part 2: I'm going to file, close all. You've seen this before. Don't save. Let's open up, File Open, and let's go to one called Pattern 1 open. The tools I want to show you, we're going to do four different selections here. A couple of them are from older updates for Photoshop that not a lot of people know about and some of them are the newest features. Probably the biggest one from last year was this. It's double-click the word background, because it doesn't work if it's called background and locked. Call it a name. I'm going to call mine hummingbird. Funny enough. I'm going to double-click color just to close it down, so I've got a bit more space and you can see this one, look at him. As long as background's gone, the word background at least, click on this, remove background. Look at that, I love the feature. You can see down here, it's added a layer mask and removed it. I'm going to go into my libraries. I'm going to create a new library for us now. This is going to be Photoshop 2021 release. I'm going to grab my move tool, and I'm going to click hold and drag my little hummingbird in. Cool. That's one of them. Let's open up a couple of other files. File open. Now, before I move on, how was that? Was that good? Yeah, move background. Man, that's a cool one. Let's have a look at a couple of other ones. We've got Pattern 1 already open. Let's open up 2, 3, and 4. You can click the first one, hold Shift, and click the last one to open up more than one document. You can hit Control Tab on a Mach. I think it's on both actually. Control on your keyboard and hit "Tab" key. You can toggle through the open tabs. Let's go to Pattern 2. Our background's good. I want to show you another one that is select subject. That came out recently as well. That's just a great way. It goes through in and does a great selection. It's got a little bit of a problem here, and I want to show you how to tidy it up. On the background layer, let's add a layer mask. It's got us there, close. We need to remove these ones. With the mask selected, we're going to go to Properties, I'm going to go to Select and Mask, and we ended at this new world of select and mask, that toolbar changed in bits. The one I want is this third one down here. Well, actually, no, we use the first one. The quick selection option up here, we're going to add minus to it because we want to get rid of stuff. Brush size, who remembers what our shortcut was? You didn't write it down, did you? Hold down control option on a Mac, and then click, hold, and drag left and right, up and down. Just left and right for this case. There's no blurriness for this tool. If you're on a PC, you hold down the Alt key and then click and hold the right. Click on your mouse. Weird. I'm going to click once in there and it's done a terrible job. I've painted that out. I'm going to go back to plus and pick a more appropriate brush size and just paint this in. I find it pretty amazing the way it can go through and I'm being very generic and vague with it, and it's doing a pretty good selection. I'm down here. There's a bit in here, so you can just toggle the plus and minus, so leave it a plus. Holding the Option key on a Mac changes it from a plus to a minus. Can you see that? It's Option on a PC. Shrink it down, click once. Too good. Shrink it down, click once. I can in drag that one. That first tool to rigor way of once you've done a mask and it's good, like our select Subject, but you need to touch it up, that first tool is a good starting point. Click "Okay." Same thing with this one, you can name it afterwards. It's up to you. Move tool, enter the library. I'm going to call this one, is it a pelican? I don't even know. Pink bird. I should have checked. Let's have a look at the next one and another selection technique for you. This gets into some of the new 2021 features. Let's do the same thing again. Let's go to Select Subject, add a layer mask. You can see it's got some stuff around here, that one is pretty amazing. The feet, but this wing needs some work. Remember, click on the mask, go to Properties, click on Select a mask. Up until this version, there was only the Content Aware refine. In here, they've added this next called object aware. What it does is, can you see this tool up here? The hair looking one? It's called the Refine Edge brush tool. What happens in this first version is you can click it and it works. I've just found an example with this is it proves it's very good. I'm going to undo that, so it's This option here, object aware. Don't think this is better or worse, just try this one. If it doesn't work, use object aware. I'm going to click "Okay." The same thing using the same brush and I'm going to drag along the edge here. It's just going to give me way better results in this particular case. So it's really good with hair or things like grass, or in this case, it's something moving. That's one of the new features here. You'll see object aware. Think try color aware and if that doesn't work, move over to this other option. Let's click "Okay" and the same thing with this one. What kind of bird is this? I didn't check, so you are now a bluebird, regardless of what you actually are. Let's get him in there and let's open, remember our sweet shortcut Control tab, and let's have a look at this one. This one here is another new feature, newish. If you are still using the Quick Selection tool, if you still use the magic one tool, you need to start using the Quick Selection Tool. If you're using that, but not objects selection tool, this is pretty sweet. Click on Object aware. Actually, let's do the select subject, because select subject works and you're like, it's not what I want. That's too big a mask, because it's quite detailed. But the object selection tool, watch this. I can draw a box around this guy and look. Well, [inaudible]. Give it a second, come on. Look at that. It's done a pretty amazing job. Even got the foot okay, okay-ish. You can add to it. Let's say it's missed out a little bit of the head there. Actually, first of all, hit the mask to see what it did. It did chop a little bit of its head out. You can add to it by holding the Shift key down. So I actually add to that bit there. Pretty amazing. Let's turn that into a mask and let's grab him, drag him in. I want to say toucan, but I don't think he is. He is going to be toucans. There you go. I've got my birds and now I can show you another 2021 feature called Pattern Preview. To do it, let's go to file, new, and over here, let's type in, I want to be on pixels. So set yours to pixels if you want to follow along. I want to be 500 by 500. Let's be 72 DPI, let's be RGB. I don't want outboards on for this particular one. This feature, at least in my pre-release version, doesn't like outboards, and let's click "Create." Little white square. Before explaining the tool, let's actually just drag something in, let's grab Mr. Toucans and get him to our appropriate size, hit for 10. I want to make this a repeating pattern, because I want it for fabric or background desktop wallpaper, something. Have you done it before? I've done it, where you chop the top of his head off and stick it down here or export it to some other program to do tiling. Look, view, and go to pattern preview. So our little toucans, I can move him around still, and I can grab another one. Get the right size. Pretty amazing. Now, I'm going to get him over here. If you've ever tried to do it, you are jumping around for joy because this is super cool. If you don't do repeating wall pattern depends, it's still pretty awesome. I'm just getting our friends in here, willy nilly. Who asked them to sing? Hummingbird. Buddy, you don't fit. A little bit of overlapping is going to be necessary. All right, that'll do. This is just like a view, it's not actually doing anything. It hasn't made a pattern for us, we still need to do that. It's a way of viewing it. With it off, you can't see the overlap. To make our pattern, we definitely need it on, Pattern Preview. You can see that two poking out the top. Then we'll go to our Patterns panel. If you don't have that, go to our Window and open up Patterns. I'm going to turn my background color off so it's white. I'm going to just bin it. What I want to do is nothing. Just click on this little plus, give it a name, mine's birds. Oddly name, birds. You can see there, our repeating patterns swatch. Now you can go out to something like add my spoon flower or whatever. I've got wallpaper printed as repeating patterns, I've got wrapping paper patterns onto fabric, made cushions, that thing. We can do it for some mockups here. Let's go to File, Open. Let's go mockup, we'll open up mockup 1 and 2, if I can find it. There it is, mockup 1 and 2. These won't be in your exercise files because I don't have the rights to give you these ones. But you can find a lot of Photoshop templates. You're looking for the weird Photoshop templates. These are both from, I can't remember. I think they're from Envato Elements or Photoshop Adobe stock. But what ends up happening if you find Photoshop templates, or mockups is that some, a design is gone through and mock this up for you, and all you need to do is adjust the smart object. To edit a smart object, it's this little icon there, hit double-click it. It opens up in this new tab up here. I'm going to get rid of all of this. I'm just going to go Select, All. I'm going to go Edit. I want it to have a white background. Let me go to Edit, Fill. Even can't do it on the background. Have your layer silted in. Here we go. Edit, then go to Fill. I'm just going to fill it with the foreground color? No, just going to fill it with white. Then I'm going to apply my pattern to it. This selected, I'm going to click once. Look at that. Look at my repeating pattern. Let's save and then jump back to mockup 1. Give it a second, it'll update. It takes a little second. Come on, look at that. It's already been to around the sheets and it has all been faded in nicely. It's some of the benefits of using those templates and a friend of practical use for our repeating pattern. Let's have a look at another one. The same with this one. Somebody has gone through and added the graphics and blended them nicely already. All we need to do is update the smart objects. Let's do this part of the hoodie here. Everyone does it a little bit differently. I'm going to double click it. Divided like a safe zone, you can see where it all goes. I'm just going to create, it's going to go over the top of that layer again. With Edit, Fill, because I want it to be white background. Grab on that, and hit "Save" and watch my design hopefully, update, look, birds. Let's do one more. We'll click on sleeve. I'm going to fill it again, with white, at the birds. What you can do is, you can scale them. Can you see down here? It's an effect that's applied to it. You can double-click on the little icon here and say actually on the angle it would be different. You can move around. I want to change this scale around, so they're not so big. Click "Okay" "Save". Watch my mockup number 2. It's already updated, look at that. There are lots of mockups around and templates around for things like stationery and websites and a UI mockups for phones that pretty handy. The one thing that I did when I was messing around with this is when I did my graphic, is when I was trying to make my patterns, I turned off Pattern Preview and then made it. It doesn't watch this if I edit, it doesn't make it the same way. It's not repeating. Okay. That needs to be on. When you're finished, you can turn it off. All right, let's look at the next feature. Let's go to File, Open. I want to open up one called website, it should be at the bottom. Now this feature is one of those useful but not very exciting. It's not going to give me my hair back or maybe lose it less. Over here, look at that. There's a triangle tool, and you're like, "There's always been a triangle tool in?" Nope. It's new and exciting. I guess it's new. But have you ever tried to go and you're like, "Why is there no triangle tool?" You grab the pen tool and you drew a rough shaped triangle and it's not quite symmetrical and yeah, just live with it. Look at that, triangle tool. Fill in a stroke. I was going to leave it as is, look, we got a triangle, hold Shift, get like constraint equal sides, triangle. Not exciting, but things like arrowheads and triangles it is, if you are into that thing. One thing you'll notice as well is that's new. You're like, "Who? That, what's that do?" If you are from Illustrator, you'd be like, "I know what it does, I can click it and drag it." Look at that, live edges. Or at least live shapes. Okay, all the tools do that now. Draw a rectangle and you now have the option to go through on the object and drag it out. If it does disappear and you're like, you've got to let it move tool and you're like, "How do I get this back?" You can either go back to the rectangle tool and make sure you have your rectangle layer selected. Or you can go into this path selection tool and click on these guys. Let's switch to the direct selection tool. Make sure when you pass selection tool, where is my triangle? There it is there. We can adjust it afterwards. That wasn't possible before. You drew it, and it was fix there forever. Now, all these shapes are all updateable. Another new one in there, as well as the triangle is the polygon tool. You can drag him out, or at least I can drag him out now and change him because he's alive shape. You see, I'm scrolling down my Properties, and I'm going to double-click Pattern. As you can see, I can crank up the sides to make it other shaped sizes. Here we go, octagon, another one. Rounded corners. How much star happens? Star-based. This is new for 2012. What was I doing in here? I was not meant to be drawing those two. I was meant to be showing you something good-looking, rotating it. I'm got to show you another thing. Let me get that in here. Our triangle isn't here for no reason, same reason that dots are here. She's given no stroke, in terms of fill. There was actually last year they built in a bunch of gradients that are actually good. If you dived into the gradients, I don't know. Not in the last year. There's actually some good ones in here, look at these, go on. It's actually is indecent ones in there. What am I going to be using? I don't know. That'll do. There you go. What we can also do as well is I'm going to duplicate them, so we've got a couple. Look, we've visionary company, I'm going to select all three of them. Another update for last year's Photoshop that not a lot of people know is if you click on normal, you can actually just hover above them and they will actually show you the preview now of what they're going to be. Whereas before you had to do some secret crazy shortcuts, or just click one and go back to them all. Here's overlay. Look at us, visionary. One of the new upgrades, which are weird upgrades but really useful is the line tool. You're like, "That line tool has been there, you can't trick me." What it used to be though is actually it used to be like a small rectangle. Let's have Photoshop there with lines. Now though it's an actual line that can be copy and pasted out into something like Illustrator or XD. It's like a proper one pixel line rather than it was just a skinny rectangle. That meant something especially when you were trying to output this to vector drawing programs in a wind. Just a skinny rectangle and you can't change the stroke. Now, that's a legitimate stroke. You have to take my word for it. Other thing you can do is, you can reset the live shapes. Okay, these are shapes. Let's look at our rectangle here. Let's say that you have played around with it and you want to set it back to normal, you can reset the transforms. Watch this. If I reset it, it goes back to its original size and its original rotation. That is new, overexciting but useful to know. It gets a little bit more useful when you're doing something like, where's our mockup? This one here. Yeah, let's grab library. Let's grab, well, a hummingbird. Let's say we want to mock this out. It comes in at this size. I want to transform it down. But I wanted to mention like the fabric. It's been around a little while now that you can use whoops on smart objects, which is cool. But you get in here, like actually I want to chime bend it so it matches the fabric and bins around and does all cool stuff. If you haven't done this before, it's a great way to try and get your artwork to match your fabric. You can click and drag these and then play with these handles. Another trick that not all people know is you got to be very exact. It's small. Is I can go up here and say actually I want to add an up and down horizontal line, watch this. Let's say there's that fold there. I want to try and bend it so that piece there looks like it's grabbed onto. Is this painful to watch? For some reason, that little touchpad here is not plain bold today. Anyway. Let's go to this one. You can start matching the fabric and you can add all these extra good points as you need them to try and walk things to make it feel like it's going around the fabric. I lose points for that one because it's a terrible warp. I hope you got the idea of what I was trying to do. The reason I'm showing you this is because look, you can go to Properties and go to Reset, and it resets the warp as well as the size, as well as the rotation. So you can undo all that stuff. That wasn't possible before. It's terrible. I totally demoed that before I did my recording and it came out pretty good. Not that one. The next feature I want to show you is, it's one of these weird ones where it probably should be closer to the beginning because it is quite special, but it's not very exciting. I want this video to be exciting to keep you watching. It's more administrative, but really cool. I'm going to this website. It doesn't matter which one you're going to. Let's go to "File" and lets go to "Save As." I'm going to save mine to the Cloud documents. This moves around a little bit. Sometimes it's here, sometimes it's there. Click on "Save to Cloud." Now, if you've been ignoring saving to Cloud for a long time, we see like, it's not how I'm used to working. I'm going to show you one of the perks of why you should be doing it. So I'm going to call mine, "Website V1." Click "Save." Now, what ends up happening is it's saving a version or that version onto your creative Cloud documents, okay? So it's saving it up there. There's always a local version, so that works fast. But the actual real version is in the Cloud, and there's perks for that because let's say that I make some changes. I come along here and go, color, the background. Let's change the background gradient. Looks good, and we change some type and we're working on it. Ready for this? No. It was a quick mockup. Let's save it and let's close it, and you're like, oh my goodness, I need to open it up again because I didn't mean to commit those changes. If you've ever done it, you're like, maybe if I open it up quickly, all the history will still be there. You're like, quick, open it up and, you know that if you go to Window and go to History after you've closed something, the history is empty and you're like, sad face. But because it's a Cloud document, you will have noticed my actual working myself is not much different because it load real quick, didn't download it every time. There's some clever stuff going on in the background. But watch this. Different from history is version history. Watch this. Look at this, it's a Cloud docs version showing me all the changes that I made after it was saved to the Cloud. So back here, before I change the color, this version. When I change the text. How good is that? It's just like this backup. Now, what ends up happening is can you see version, I think? I'm on an enterprise version of the software. So I've got 60 days. I think for everyone else, it's 30 days. Anyway, it's long. What ends up happening is let's say that you are getting to this point. You're actually like, actually, I want to mark this. Let's background color change. It depends on what you're doing. It might be you've got mockup back from your creative director and you wanted to save it where it is before you move on. So you don't have to do a File Save As instead of V1, V2, V50, you can just add these little markers. These ones here will delete. Your old versions will disappear. You can't go back to them after, in my case,60 days. These ones that I've marked by hitting this little bookmark will never go away. It will be attached to the document and I can always go back. It's pretty amazing. I can go back to here and actually say revert to this version, and we'll jump back. I go back to that version that was there before. Mark that as another option. This is the purple background. So nothing's gone. After 60 days, it'll all be gone, but if you mark a couple of them, you can always revert back to them. It's pretty impressive. Now, some of the hang-ups that I know, at least I had when I was starting with Cloud documents are like, bandwidth, slow Internet. I live in a rural area, we have terrible Internet. What they've done is, let's say that I do make a change for this. I add a type layer. What's happening is, I can't hit "Save." But what it's doing is it's automatically saving it every, I guess five or 10 minutes, I can't remember exactly, but it's always backing it up to the Cloud. So I don't know, if my laptop catches fire, there's always a Cloud version, which is an amazing feature in itself. But what it's not trying to do is upload the whole PSD every time. I've added this text layer, just the text layer is being updated upon the Cloud version. So there's just a little bit of bandwidth chugging through and updating. If you haven't tried it now, my advice would be to give it a go now. It feels like a mature way of working. That means I can jump to things like my iPad, which has got Photoshop on it now. Actually, let me jump to that real quick. This is my iPad. I even cleaned the screen for you guys. Face ID. I can't do my password because you're watching. Come on, face ID. You got to see the back of my head ID. Let's go to document Clouds. What you'll notice is that there it is there. It's already showing me a thumbnail. You click it, it downloads. That was pretty quick. Now, that's one of the big perks for using Cloud docs, especially jumping out to other devices, it might be a different computer, home laptop, work laptop. In this case, out to an iPad and Photoshop for iPad is pretty cool. I'm not going to go through it all. Click some buttons. But you've got layers, you've got your tools. Not all of them, but it's pretty amazing what you can do in here. Let's change something obvious. Let's go to our properties panel. Let's pick a font. Let's pick terrible fonts so that we can see the change, the Cs. The Cs are always bad. Courier New, Chalk Duster, Copperplate, they're all bad, so bad. Let's go to font-size just so that we can actually see it really clearly. I show you how to updates on the desktop version. Again, that's all we'll do. You just backup out by hitting the Home button. It'll start sinking. You can see that little blue thing there maybe. Give it a second and there it is, it's done. Let's jump into the desktop version and I'll show you. Back at my laptop, you can see there it is there. Just because it was last used, it's just there. I can open it up. I don't know what's happening, but it happened really fast. It must be sinking without me doing anything or it's just a really small change that is quick. Anyway, it's fast, seamless, you would say. Remember that peck from before, window, remember revision history, you can say gulp. I want to go back to another version, there. Revert to this vision please. There you go. My old big, ugly font is gone. So that's the update for document Cloud for 2021 on Photoshop. Nice little process. Let's look at the next feature, which is actual pixels. To test this, we need to open up a file. As file open, so being exercise files could actual size. You open it up and there might be some warnings about fonts. Just ignore all those. We'd just have to mainly the size. In terms of the size, if I go to "View" and go to "Actual size," this is meant to be actual real life, legit real life if I was to print it and hold it in front of my face. So we're going to test it. I'm going to switch to the camera now and show you, this is A4. If you're in the United States, you're going have to take my word for it in terms of the measurements. Now, I've already tested this on my screen and it totally works. I'd be interested for you to create a new document, make it US later, and measure it yourself. Let me jump out to the camera and let's prove its size. What the hang is Dan going on about this? Have you ever printed something off and realized the font-size was too big or too small. You need to do those soft proofs just to check fonts. Whereas now, Adobe says if I go to View and I go to Actual size, it's actually going to be A4. Little shortcut, if you tap "IF" once and twice, puts to full-screen mode and I should be able to measure this now. It's A4, it should be 210 millimeters. It is, I'd say a millimeter off, but I can live with that when I'm doing a soft proof this way, saves the paper for printing. Actually, let me check it with an actual A4 sheet. See there? I'm not sure you can see what onscreen, but it's about a millimeter off. I'll be interested to see how accurate yours is. If you're in the US making you document that is US letter or whatever you are used to and know the measurements off, just let me know how close it is. Mine's pretty close. Not exact, but close enough. Let's jump back into the computer. To get out of full-screen, just tap "IF" again. So If once, twice, three times is a little loop. The next thing I want to show you is plugins and I was going to have to demo those because go to Plugins panel. In my case, because I've got a pre-release version, there's nothing in here yet. Open it up yourself now that the software is out, and just to see what you find in here. Click on "Discover plugins" and the Creative Cloud Apple open and will hopefully give you some exciting new plugins for Photoshop. Now, plugins have been around a while. If you go to All plugins, there's been lots of Photoshop plugins for a while. But what Adobe are doing now and generally across all apps is they're trying to support plugins a lot better. Have a look in here, see if there's anything exciting, but that is new, but even too new for me. So have a look at them. Let's turn back to the camera and discuss the next steps. That is going to be it everyone. I hope you enjoyed the Photoshop 2021 updates. Let me know if you enjoyed the video, if you liked the upgrades that Adobe have done. Let me know as well in the comments, let's say your top three in order of best to third. In terms of features, I'd be interested to see how it compared to how I ordered them in this video. I put the first one that I thought was best first and worked my way through. I also know that I've done updates for the other Adobe products as well. So go check those out. Illustrator, InDesign, XT, Premiere Pro, Aftereffects. That is it. I will see you again in another video very soon. Bye now. 104. Adobe Photoshop CC 2022 New Features & Updates: Next stop is the updates for Adobe Photoshop 2022, hooray. The first new feature I want to show you is the object selection tool, this one here. It's been here for a little while, it's amazing if you haven't used it, but they have supercharged it. If I click on it, can you see these little arrows moving around? That'll happen automatically and watch what happens. Look, it's isolating it, you had to click and drag randomly and now though it gives you a little preview. I can click once, and it made a selection. I can add a mask. Some reason we don't need to turn that into. We have renamed the background layer to unlock it, and that doesn't need to happen anymore. I'm not even sure when that happened. But regardless, we can make a sweet mask and undo, de-select, let's click on this one. If I need to add to the selection, I can hold down my shift key on my keyboard and just click the second one here. Here you go for those two. Now I'm going to add a mask, here I'm going to undo, de-select. Let's say that I want this, this one he's not highlighting, but I can still hold down my Shift key to add and just drag a box around the thing, and like here you go. Cool. Almost got it. It's got this little tab there I want to get rid of. To remove from the selection, shift this ad, hold on the Option key on a Mac or Alt key on a PC to remove from the selection, just drag a box around that thing you don't want. It can be pretty vague, it's pretty amazing. There you go. That is the upgrade to the object selection tool, if you haven't used the object selection tool already, that's even more exciting. Next feature. The next feature is called Illustrator Interop. That's what they're calling it. Anyway, it's the way of working between Illustrator and Photoshop. Let's switch to Illustrator. We're going to use this polygon tool, it illustrates this function pretty well. I'm going to click "Hold" and drag out a shape. Now, before you let go, you can use your up and down arrows to add or remove sides to a polygon. That's not the shortcut, is just a handy trick. I'm going to get down to a triangle , I'm going to let go, I'm going to copy it and I'm going to paste it into Photoshop. Up until now, if you've done any of my classes, you were like, oh, I know Smart Object is the correct answer. Not anymore. Layers is often better at the moment. Layers is going to give us this little bit of extra stuff, let me show you, because there's nothing wrong with Smart Objects, but if you're using before you have to jump back to Illustrator to adjust them, and then back into InDesign, that is going to be solved by layers. I brought it in. Where is it? There it is, I bring it to the top. The difference now is, it's still Victor, which is one of the perks of the Smart Objects. But if I go to Properties panel, can you see all of the goodness has come through. Look how many sides? How many sides do I got? I can still adjust the fill or the stroke I can remove. It's given me all that control that I used to have back and forth between Illustrator 4. Now we can do it straight in Photoshop. Let me make mine this right height, 300 by 300. Look, we can change the star and set as well. Fancy. How many size do I want? Fifty. Starburst. I can switch my libraries, pick one of my colors. Easy. that is Interop with Illustrator. I'm going to put it in a position. Adjust. Now it works great for these simple shapes. I'll show you one other simple shape. Let's say that I draw a rectangle and that I play with the rounded corners, or just click on one of them and adjust one of them. If I copy and paste this ugly shape into Photoshop, the rounded corners come. As long as I use that Layers option. I can start going you are these are ugly, but let's have a look under Properties, all those rounded corners, I'm hoping under appearance is good, most of the layer. I can adjust them all together, I can unlink them. Here we go. Some of those primitive shapes have all the controls. But I've been using this for is I want to show you. Actually, there's no connection between this now, so I can delete them. I don't need them. It's a one-way street. What I'm going to do now is I'm going to grab my pen tool. I'm going to have a stroke or fill. Just going to draw like a little squiggle that I want to use. Here we go. I'm going to use my width tool just to get, here you go, some squiggly thing. Now, I'm going to outline this. I'm going to go to Object, go to Path, and I'm going to outline the stroke, because what I want to do is I'm going to copy it and bring it over into Photoshop. Actually, what I might do before I do it is can you see when I outlined it? It's got lots of curves or anchor points. These are fine. I really love this tool in Illustrator. This is not new, it has come out like last year, the upgrade of this, but you got to simplify. Look what happens. Look at that. It's only a couple of pass. You can decide on how simple you want it. Come and go to automatic, smooth it all out and gives you just enough handles to control this like quite a large shape. Anyway, I'm going to copy and paste it into Photoshop. Make sure it is that new layers. I'm going to switch to my direct selection tool. It's this one here or the A key. Can you see all the anchor points come along for the ride? Again, I can still color. I can go to my libraries. I can pick any of the colors from in here. I'm just going to jam it into the bottom here. You wait there. I've got it in, I got it where I wanted. But you can still see it's poking out there, but remember because I've brought it through is this Illustrator Interop, all that layers. I can select on it here. Grab my Direct Selection Tool or the A key and watch this, I can click on this endpoint and look, fully editable. Oh, beautiful. That is Illustrator Interop with Photoshop. The next feature is an upgrade to gradients, how do you upgrade a gradient? Well, It's when it ends up looking like that. Green at one side, red at the other, terrible gradients, I know, but look at this mud in the middle. Up until a few hours ago, when their release went, that's what you had to do. If you're like me and you've got gradients that you need to fix, you end up adding noise and blurring and all fun stuff, but they've done it. That's like scientific way of doing a gradient, but if you end up with this non-beautiful stuff in the middle. What they've done is when you're using the rectangle tool, I'm going to make a new layer here, is our rectangle tool, the gradient tool. You can go up here in the method now, you can use perpetual or linear, I don't know. They are some sort creation thing for gradients. Either of them seem to work beautifully, but watch this, ready, same gradient, but look in the middle there. It's not mud brown. It is beautiful orange-green. I use this green and red one because it's the most obvious one. But if you've ever done gradients in Photoshop and had some undesirable results when they mix, just go and pick different methods, either linear or perceptual. If you're working on a company that uses green and red as its colors, well, that's a real shame. But now you get to do better gradients. Not good gradients, better gradients. next feature. The next feature is called harmonization. I want to combine two images. I'm going to grab bits of this disk and put it into this table here. The coloring is so different. Let's grab something from here using our sweet new object selection tool. I'm holding Shift, remember, grabbing a couple of those, going to drag around all of these some [inaudible] easier, just to drag a box around a bunch of stuff. Let's get going. It's not a pretty good job. I'm going to mask it. It's missing a bit. Back here, hold Shift, grab that chunk too. Getting there. Add a mask. I'm going to bring it to this other document here, dump it on. Yeah, it's the wrong size. I'm going to shrink it down. Don't hold Shift. Getting it, I don't know, proportionately okay. You better see what I'm doing. There you go, it is on the desk, but it's the wrong colors, you can tell. It's just this blue tinge here and it's got this warm, cocky thing going on over here. What you can do is with your object selected, not the mask, the thing you want colorized, you need to have another layer that you're trying to match to. Then you go to "Filter" and it's under this sweet new Neural Filters. They come out in the last version and there's bunch of stuff in here. The next few features are upgrades to this. It's this one here called harmonization. You might have to click on it and you might have to click "Download". But once it's downloaded, you can turn it on, and to get it going, you need to say you the layer that I've got selected. I would like to match the background point. Give it a second, Wait for it. Wait for it. Wait for it. Look at that, it started pulling colors from all in here and matching it up. Look at that. You can turn it on and off. You can decide on the strength. You can make adjustments here as well. Do you want the saturation up, down, left, right. We'll live it up. Just a really great way of trying to match background with foreground. You click "Okay". That is harmonization. It's given me a separate layer here, you can turn on and off. A little hole in my mask there I need to fix and the shadows really need fixing as well. Let me quickly do that. Then my friends is how to overuse the Burn tool. If you haven't done Burn tools, use the Burn tool for shadows. It's generally the most believable way if you take your time, and not rush through it. There you go. Before color, after color. It's called harmonization, and it's one of the new Neural Filters. Another new but similar Neural Filters is being able to switch color from one to the other because I've got these two images and I'm going to use them in a series and the just two distinctly different color. I want to get them to match before we do anything, I'm going to go to Window arrange and just sit them up to up vertically. If you haven't done that, just handy two separate documents open. They have to be in the same layers stack. I'm going to be working on this image here. It's got to selected, go back to our same Neural Filters. I've to turn it on. It is called color transfer turn little button on. There's some presets and you can say, I want to make it look like this one. It's pretty cool, and it does a good job matching it. But what I want to use my own customer because I want these to be clearly together. I can pick from this other image that happens to be open. Give it a sake and be ready for greatness. Ready? The colors of the air, the brightness is a bit weird. I'm going to say preserved the luminance scale, the light of the original one and ready, gets even better. So good, like it preview on, preview off. You can see how now I could use this and a consistent series of images, color transfer. All right, Next feature, but before we go on, you might be stuck with two Windows up and you like, help, is too open. Go to Window arrange and let's go to consolidate all tabs. We're going to be working on this one here, okay, and I'm going to show you this other last neural filters to upgrade. Filter Neural Filters, you don't need anything open or you can. But in this case, I want to go to hours at landscape mixer. You might have to download it, takes a little while to download that and you can turn it on. Then you can just change the season. Watch this. Oh my goodness. It's a Window time what's this? On-off. Wow, it is crazy good. Let's look through a few of them. Oh my goodness. After, it's fantastic. I can't believe it. I'm just going to switch to custom and instead of selecting an image like we did before, let's make it more wintery. Before, after. It's wintery, full-blown winter. Wow, on-off. Let's do one more. It's now spring, summer, spring, spring with a sunset. One more, last one. It is too good. I love it. There's landscape mixer. Let's get onto something else. Has been far too long in here. This next feature it's the best. It's not the sexiest of updates, but it's probably the best for me as a practical professional designer. What you're looking at here is the web version of my Photoshop document. I'm pretending to be the client. The client can add a pen and say, you know what? Here's some useful feedback. They can submit it, it's pinned to the document, which is nice. But for me as a designer, look what I get. Oh, my goodness, it's in here and it's marked up in the right place with some great feedback. Or Adobe is calling it share for commenting, which makes sense. I don't know, it's amazing. Let me show you how it works. To make it work, the important part is, it needs to be Cloud document that PSDC. If you've been avoiding using Cloud documents now might be a good chance to move over. Let's say you have got just a normal kind of Photoshop document on your hard drive. You need to go save as, and you need to save it as a Cloud document. If you've already said, I don't want do that. Save your computer. What you can do is you can see this little option here. You can click "Saved Cloud documents" and it will get it going again. It needs to be saved in the Cloud. Already done mine. Then up the top here, you can go to this option that says share document, and you can decide in here. When I'm sharing it, I can invite people were using the email address or I can just create a link and copy the link. Just make sure when you are creating the link. In this case, I want commenting because that's the exciting thing that I like about this. You can either copy it or e-mail it to them or send it via socials or Slack using the link either way. This is where that link goes. This is what your client or stakeholder sees and they can comment in here. They need to sign in with an Adobe ID. They can use like G-mail or Facebook, whatever. They don't need a paid account. But I can grab a pen. I'm pretending to be my own boss. I can go in here and say something really useful. There we go. I can pick my pen color because that's super important. I could submit and now back in Photoshop, fact being Dan, the designer, You may say "wow" edited up here. Watch this, go to Window, and go to comments. This is new. Click on that and give it a second. There it is, making more sushi stuff, and I can do the regular commenting stuff or I can say actually I've resolved this or maybe I can reply and say, no problem, more solution is coming up. We can resolve it to get rid of them. There is a more filtering down here, we can hide the annotations on the document so we can just read them. Over here under filter comments, we can decide who from, at what time, the different statuses. Very exciting. I don't know. Maybe it's just me, but you probably are. Hopefully they'll be a bunch of you out there as well. They worked in larger teams that were like this is brilliant, instead of trying to put, I don't know, A, B, C's in the corner and you're like, okay, I like the top one and you've seen a bunch of attachments and you don't know which one is tough. This one is a lot more direct and, clear for me as the designer end both the other person. Let's make this little change. The cool thing about it is let's make it more sushi. You wait there. It's almost sushi. Anyway, I've done it and I can save this and because it saved in the Cloud, what will happen in the link version, there we go, the little communists being resolved, and look, more sushi. It's got the blobby. But you get the idea. You're not working from these string of emails where people are, "hey, you haven't done it." You say, have you checked your updates? We check the latest email that I sent you with the cryptic subject line. We've all done that. We're just working from color 1 source of truth, let's call it. Because your Photoshop document is saved in the Cloud. This thing updates and now we've got commenting and it's in Illustrator as well, looks the exact same way, Window comments and we had the same interaction. That is it for 2022 updates for Photoshop. I hope you enjoyed the video and all the new updates, some exciting things in there. That does it onto the next video. 105. What’s next after your Photoshop Advanced course: Hi there, welcome to the end of the course. I'm glad you made it, I nearly didn't, it's like a 100+ videos. It's a really big course because Photoshop is such a big product. There's so many kind of use cases for it so it deserves this many videos... but it's a long grind, you're here now. Let's talk about what to do next. Leave me a review or a comment... on how you enjoyed the course, what I could do better, that stuff helps. But in terms of your kind of professional development... what do you do next? Let's say you're a photographer. The next step for you would be something like Lightroom... if you're not already into that. If you're in the more Graphic Design fields... you might already have skills in say Illustrator or InDesign. So I've got advanced courses on those if you want to jump into those ones. If you are in the kind of Web UI world... or you want to get into that world... something like Photoshop, I've broken off a separate course... for Photoshop for Web Design. It's a big enough course on its own and it goes through all the... kind of considerations you need to become a Web Designer using Photoshop. You mock up websites, and yes, work with a developer to get them built. So that's Web Design, you can do the same thing in Illustrator. I've got Illustrator for Web Design course. It depends on where your skills lie. You end up at the same place, you end up with a mock up for an app or website. You just got to decide whether Photoshop or Illustrator is right for you. I've got courses on both of those. The next step after that would be something like XD. Now what is XD? XD is Adobe's User Xperience or UX Design tool. It allows you to do a lot of the same things... you do in say something like Illustrator... to design an app or a website. But the cool thing about it is that it adds a level of interactivity. You get to kind of add clicks, and drags, and swipes, and stuff... to really get things tested in design phase before you move into... designing this thing. I've got courses on both of those. What else? If you enjoy the kind of Motion Graphics side... that might be your next step. So Motion Graphics is taking stuff we've made in Photoshop, which is static... and then moving it around. So type, animated, intro videos, that type of thing. Maybe animated infographics. Something like After Effects. Check out my Animated Infographic course for After Effects. That might be the next step. I find that really cool, I really love the... you know, taking the stuff we've made and then adding it to music, animations. They're such a good kind of place to do that. We have a home for that now... online with things like YouTube and websites. In terms of next step for video you might look at something like Premiere. Say you did the course and you really... you know, you really like the editing... remember my Talking Head video, we added a little intro the beginning. You can do that for a while but you'll get to a point you're like... "Man, I wish they had these extra features." And that's where something like Adobe Premiere would be useful. So check out that course. That is going to be it. It's really hot in here, that's why I'm sweating. A really long course. Thank you so much for doing it. I'll see you hopefully in another video. Goodbye, from sweaty Dan.