Adobe Photoshop on the iPad MasterClass

1. Introduction: Photoshop has been the gold standard for photo editing, retouching, and manipulation for decades. Until recently, you had to have a desktop or laptop computer to use it. The mouth, you can also create stunning composites, retouch your images, and apply effects while on the goal by using Photoshop on the iPad. This course is perfect for you if you are just starting out or if you are settled and aiming to learn to do things more effectively and professionally. I am Martin per eniac, certified Adobe expert and instructor. Besides using Photoshop for over a decade as a professional graphic designer and researcher, I have to thousands of people in classrooms, webinars, online tutorials, courses, and live streams. Thanks to being truly passionate about both using and teaching Photoshop, I am proud to say that I was officially voted as one of the top ten Adobe instructors in the world. Taking this course can be the perfect introduction to create an image editing for anyone who owns an iPad. The refined modern interface and support for Apple pencil makes this robust, creative tool easier to master than ever before. Throughout this course, I have carefully selected each example to make sure you get clear explanations without wasting time. Even why we explored complex techniques. Having worked for clients like Disney, Cartoon Network, Nickelodeon, and BBC, I have ensured this course will help you to start using Photoshop on the iPad. Just like a creative professional. Thanks to Cloud documents, there is a seamless handle where between devices and most of the techniques you will learn from this course will also apply on the desktop version of Photoshop. By purchasing this course, you will get all the examples as downloadable exercise files. So you can follow along and practice everything in your own pace. Take the next step in your creative career AND rule for this course now, and let's master Photoshop on the iPad together. 2. How to Use the Exercise Files?: To make the most of this course, I highly recommend to download all the exercise files. You will find everything that I'm using in the course. So you will be able to follow along and replicate all the techniques that we cover. Now, there's a couple of ways that you can get these files onto your iPad. First of all, you can use a desktop or a laptop computer and download the compressed zip file. You need to decompress this and then you will get these six folders, one further for each chapter. Once you go into any of these folders, you will find that additional files, both jpegs and PSD files. You will be able to then use AirDrop to move these onto your iPad if you are using a Mac computer or if you prefer, you can also copy them into a Dropbox or Google Drive folder. If you prefer not to use a desktop or laptop computer and you would like to do everything on your iPad. You can use the mill anode board for which the link is in the lesson notes for this lesson, now this is going to open a page in your browser. And from here, you will again find all the files organized into these columns. Each column represents a chapter. All of these files can be downloaded by double-clicking on them and then choose download original. Or if you see a link under an image, you can also click on that. And from there you can download a high resolution version as well. These images are coming from Unsplash and we can't guarantee that they will be available at the time you're watching this course. However, the lower resolution version will always be available from the malonyl board. And also once again, if you download the zip file that will include all the high resolution versions for the Unsplash images as well. When it comes to downloading the Photoshop documents like this one, giant turtle PSD. You can do these once again from the anode board on the iPad and then open these files in Photoshop on the iPad. Or if you downloaded the file on the desktop computer, you can open them there. And once the file opens on the computer, you can choose File, Save As and make sure you save it as a Cloud document. That way it will become available straightaway on your iPad. So once again, if you prefer to follow along the course and practice everything, you will be able to use these files. However, I also recommend to try the techniques that we cover on your own photographs or other images that you find inspiring to work with. 3. New Features: Photoshop for iPad is frequently updated with new features. Whenever these come out, that will be an additional lesson added at the end of this course in a separate chapter. You will be able to follow along and learn these new methods. In some cases, I might also need to update some lessons from the core chapters. And also if you find anything that you feel like is outdated or it's not working the same way anymore as the way you are currently using it on the iPad, then please let us know on info at yes, I'm a designer.com. That way you can help us to keep the course relevant and always up-to-date. 4. Signing in: Here we are in photoshop for iPad. The first time you open the app, you will have to sign in. Now, if you have an Adobe ID, you can use that. And if you already have an active Creative Cloud subscription, you will be able to use the app without any limitations. Now currently you can also use the app for free for 30 days. So there is a free trial. But after that, if you don't have a Creative Cloud subscription, you will have to choose either having the full subscription or choose one of the other plans. Currently, there's one called telegraphy plan and the Adobe Photoshop single app plan. Now Photoshop on the iPad is included in either of these options. The pricing night vary depending on where you are based and also it might change compared to the time of recording this video. Now once you sign in, you will be greeted by the home screen where you will mainly see your recent documents. And you can also of course, start new projects by importing or opening existing images. You can also choose Create new here at the bottom if you want to start with a blank document. And I will walk you through these options in more detail in the coming videos. But just in case you want to get back to this home screen at any point while you are working in the app, remember that there is this little icon here on the top left, the home icon. So by tapping on that, you can always come back to this starting point. 5. Create a New Document: In case you would like to start a new document from scratch, you can use the Create New option here on the bottom left in the dialogue box that comes up, you will have three categories with standard sizes for print, screen, and film and video. Now these are really useful because you already have the pixel dimensions, but also color modes and resolutions setup for you to work in those standards. I am going to switch to print and I'm going to start to read an A4 size. And on the right side I can already see that the size is setup accordingly. I have the unit set to millimeters, but this can always be changed to inches or whichever measurement I prefer, like pixels. I can also change the orientation very easily by just tapping on these icons here. And I can also change the resolution, which would be important mainly when it comes to printing this document. So the 300 PPI here is a standard that we use for print. It means that there will be 300 pixels per inch printed on the A4 paper. The background color can also be changed from white to black or transparent. And of course, you can choose other colors as well at the later stage if you want to adjust it. But one important thing that I wanted to point out is that you can't change the color mode at this point. Now, once again, this might change in the future. They are already saying here that they are working on this at the moment, only available color mode is RGB, eight bit color depth. Now if you're familiar with color modes and printing, you probably know that for print, CMYK is more recommended and RGB is used more for screen and video. But as I said, CMYK most likely will be added in a future update now before creating a new document, It's also worth noting that we can change the name up here so we can give it a name and then tap on Create on the bottom right. So this is the brand new document that we created with the name here visible on the top center part of the screen, the workspace itself, I'm going to explain in much more detail in an upcoming video. But first I wanted to show you that if now we want to go back to the home screen, we can find this document being the most recent one. And we can always come back to it by tapping on it. Or if we want to rename it, duplicated or deleted, we can click on the little dot-dot-dot icon next to the name of the document. 6. Import and Open Images: When it comes to using photos, you can either place them into an existing document or you can also start a new document based on photo that you have on your iPad. Now in this video, I'm going to show you both of these techniques. But first let's start with the import and open option, which we can access either from here on the top or on the bottom left. So once you select that, you can choose from these three options, Camera, Raw files or camera. So you can even take pictures with the iPad while you are using Photoshop. Then the image that you capture it will be placed directly into a new document inside the app. Instead of that, however, I'm going to use camera roll, so I will pick an existing recent photo. Now first when you do this, the iOS is going to ask for permission to access your photos. You just have to say Allow, and then you can pick the image that you want to work with. So let's just pick this one and immediately it's going to generate the full resolution version of the image inside a new Photoshop Cloud document. The name of the document is going to be based on the name of the photo. And on the right you can also see a percentage, and that is the zoom ratio. So if I zoom closer, you can see is going up and a 100% is the actual pixel size. So if you are zooming any closer than that, you might start seeing pixelation until you get really close. And then you start to see also the pixel grid. The maximum sustained zoom level in photoshop for iPad is 25,600 per cent. So you can zoom in really close. And if you quickly want to zoom out and see the whole image together again, you just have to simply double-tap on anywhere on the canvas with the pinch gesture, you can also zoom further out. And once again, double-tap is going to zoom back in. And when you already have the Canvas fit to your screen, a double-tap in this case, is going to take you straight to the 100% view or the actual pixel size. So double tapping away is a quick switch between these two useful zoom ratios. There are a lot of ways to get more productive with photoshop for iPad. So I'm going to talk more in detail about gestures, touch shortcuts, and also keyboard shortcuts in upcoming videos in this chapter. But before we move on, I would like to also show you how you can place in an image into an existing document. Let's say we go back with the home screen here on the top-left to the empty document that we created earlier. So I tap on that and then once we are inside here, we can use this icon here on the toolbar on the left to place in images. And the same options will come up as before, apart from an additional feature called libraries. Now this again, I'm going to explain in a separate video, but for now, let's choose the option that we already are familiar with, camera roll. So I tap on that, Choose recent, and then let's pick another image which already comes in fit to the documents size. And because we placed it into an existing document, the aspect ratio might not match. And that's why we are seeing those white gaps on the top and the bottom. So when you are placing in an image, you might need to fit it to the size of the document. And if I want this to fill the canvas completely, I can adjust the size by dragging these corner points. And then once I'm happy with the result, I can tap on Done. Now the good thing about placing in an image is that you're not losing any of those details. So they are just simply outside of the canvas boundaries. But by using the selection tool or move tool, you can still reveal them as you can see it here. Now both starting a new document with an image or placing an image into an existing document will allow the following file formats to be used. Psd, PSD, tiff, JPEG, and PNG. Above me you can see a little bit more detail about these file formats. And of course, you can also place additional file formats like PDFs and even Illustrator files if you have them in the files on your iPad. But these will all be rasterized, so they won't be kept in a vector format, at least at this point of recording this course, maybe in the future that will be support for additional file formats as well. But this already gives quite a lot of flexibility in the way you work with photoshop for iPad. 7. Tour of the Workspace: Workspace or user interface of Photoshop for iPad is very similar to the desktop version, but if you are completely new to Photoshop, it's actually the best place to start because here everything is simplified and easier to find. All the menus are contextual, which means that they will only show up when you actually need them. So one example is the tool options, which will come up once you select the tool. So for example, if I select the brush tool from the toolbar here on the left side, it will give me the brush tool options in these additional little palette, which by the way, I can always move around. So if I prefer it here on the right side, I can place it there or I can just move it back here and snap it to the bottom of the toolbar. This I would consider a duct position from which I can always undock it and move it around freely on the workspace. Most of the time when you see the little three dots, that means there's additional options. So the same thing happens here as well. If I tap on this, I get even additional settings. Sometimes these settings are replicated a couple of times. And just like before, if I make a change here and I tap anywhere on the screen, it automatically disappears. So we already talked about the toolbar and the Tool Options. But apart from that, we have the header bar on the top and the task bar on the right. Now in the header bar, you have the undo redo options here, these two icons. So for example, if I want to go back one step that will remove the image we just placed in in the previous video. And then I can redo that stamp. If I use the other icon, I'm going to cover the other icons on the header bar in another lesson. But I would like to show you a little bit more about the task bar, which is similar to the panels on the desktop version. So by default you see your layers as thumbnails here on the right side. But you can hide this by clicking on this icon or show it again. If you want to see more similarly to the Layers panel on the desktop version, you can tap on this other icon. Once again, this is a toggle so you can hide it. And then there's also the additional Preferences panel which you can show and then Hide. Once again, I'm going to cover all of the options and features here in the taskbar in upcoming lessons. So by the end of this course, you will know exactly where to look for them. Now, there's one last thing on the workspace that is very specific to Photoshop on the iPad and you wouldn't find on the desktop. And that is the touch shortcut. I'm talking about this little transparent circle here on the left. If you tap and hold on it, you can also move this around and reposition it. So if you are left-handed, for example, you might want to move this on the right side. That way you can have the stylus in your left hand and use your right hand with the touch shortcut. This is again a way to customize the interface and make it more comfortable to work when switching to portrait mode while using the app, it could also be useful to move the touch shortcut to a more convenient and easy to reach position. 8. Using CC Libraries: Cc libraries is probably the most crucial feature for the integration between all the Adobe Creative Cloud applications. Now this applies not only to the desktop applications, but also for the mobile apps like photoshop for iPad, you can see the feature coming up when you are placing in images. So libraries from here is the same feature that you would find in the desktop applications where it's sometimes called CC libraries or libraries currently in photoshop for iPad, only, the images can be imported, whether they are coming from Adobe stock or whether they are just essays that you saved into a library. But in the near future, we can expect even more types of assets that will be compatible with photoshop for iPad. So let's see how it works when I select an asset from here, let's say I go into this library and pick one of these images from here. Let's start with a photograph. Let's say this one. Now, each time you select an asset, you will be warned that the image will be rasterized and flattened. So if the asset was originally a multi-layered composition, it will be just a single layer. And also if it was vector-based, it will be rasterized. This is different to working on the desktop version of Photoshop. But once again, this feature might improve in the future and it might be possible to keep them as vector smart objects or smart objects. For now, we can just say please flattened. And as you can see, this actually is an Adobe Stock photograph which is currently still water mark because it hasn't been licensed. When I'm happy with the placement, I can just tap on done and I can continue working. So we can check now that I have two images, it will be two separate layers here on the right side, just as test this out with a vector graphic, I'm going back to the same option, choose libraries, go back into the same CC library that I used. And from here, I'm going to pick one of these images, maybe this tent, once again choose place flattened and the artwork comes in. This one is not watermark because it has already been licensed. So I can decide on the size of it and also the placement. But once again, remember, once you hit Done, That's going to rasterize the asset. And even though it was generated from a vector file, it's going to be using the resolution available. So to make that clear, if I place this tent in this size, I'm just going to make it much smaller, hit Done, and then I'm going to place it in again. So select the same asset, 2's place flattened and I'm going to keep it may be a little bit smaller but relatively big on the canvas. And then he'd done then the difference between these two assets is that the one I placed on second time is a much higher resolution version, so I can use it in much larger sizes without any pixelation. Just to prove that to you, if I select the other layer that I placed in the smaller scale version, and then I use the transform tool from the toolbar, which we will take a much closer look at later and start dragging the corner point. Once I reach a similar size to the other asset, you can already see the pixelation around the edges. So this loss in quality is currently something you have to really keep in mind when working generally in photoshop for iPad, mainly because there is no support for smart objects yet. Now if you want to work with libraries and you don't want to switch between the iPad and the desktop computer. I highly recommend to download and use the Creative Cloud app. So with this one, you will also need to login with your Adobe ID. And then you will be able to access a lot of options, including libraries. So from here on the top, if we select libraries, we can go through all the existing libraries, but we can also create new ones by tapping on this icon here on the bottom right, and then choosing create a new library. Once I tap on that, I just have to give it a new name. I'm just going to call it P S for iPad create, and it will appear here on the top-left. So if I go into it, it will tell me that this is currently empty. But at this point, I can add assets into it, either from my iPad so I can take or upload photos are also upload files. But what's also cool is that we can go into Adobe Stock and search for assets. So let's say I'm searching for mountains. Just hit Enter without leaving the Creative Cloud application, we can already find all of these assets here. And if I find something that I like, maybe this one here, I can save a preview of it into that new library that I just created. If I'm certain I would like to work with this image, I could even licenses straight away here on the right, as long as I have credits available. Because access to Adobe Stock assets is not included even in the full Creative Cloud subscription. It's something that you need to pay for separately. Once again, there's various options how you can get the credits in bundles or packs or individually. But for now, I'm just going to tap on Save preview and choose the library from this dropdown that we just created. So there it is, PS4 iPad. Now that it is saved, we can go back into Photoshop, jump back into the same document that we had opened earlier. I'm going to place an image from the library that we created, which is right here, P S for iPad. And within that, we will have the asset which we can place in, once again, as a flattened layer. Now the good thing about using Adobe Stock assets is that you can experiment and see whether they work in your composition or not, and then later on, license them. Once again, there is a difference here compared to the desktop version of Photoshop. The asset that you place in is not going to be connected to the Cloud, so it won't be able to refresh once you license this asset. So the best thing to do is to just have a quick mock-up experiment and see whether it works in your composition and if you like it before you apply, changes, adjustments and making Selections and Masking, you should purchase the full high-resolution version and place that into your composition and continue working with that. So just to show you how this works, I'm going back to Creative Cloud and I'm going to choose a license asset from the right. And you probably noticed that one credit was removed from my available credits on the top right. But now this means that the full high-resolution version of the photo is available to work with. So let's jump back into Photoshop and go through the same steps. Chooses the image from the library's photoshop for iPad. But this time is going to appear in full high resolution and also the down the watermark on it. So just to compare, if I hit Done and zoom a little bit closer, you can see that this is a very clear high-resolution image. And compared to this, the watermarked version was much lower in resolution. So to summarize, creating and using CC libraries is a great way to integrate photoshop for iPad to your mobile and desktop. Adobe workflows. 9. Lightroom CC Integration: The best companion app for photoshop for iPad has to be Lightroom CC. Lightroom has two separate versions. One called Classic, which is only available on desktop. Lightroom CC is a Cloud-based version which is available both on desktop and mobile and even in the browser. If you're not familiar with Lightroom, it is a cataloging application which also includes all the camera raw, editing, and developing features. Now if you'd like to work with your own photographs, I highly recommend to use Lightroom CC to prepare them before you take them into photoshop for iPad, it is a more professional workflow to keep things organized here in Lightroom and also prepare and develop the images before you start compositing them in the photoshop for iPad app. So to show you an example here I have a collection from some shots I took in Kew Garden recently. And if I just select this image, this is the original image unedited from my iPhone. And here on the right side, I can choose a couple of things like go into light and maybe reduce the highlights, increase the shadows a bit. Maybe also make the blacks a bit darker, and then go into effect increase texture clarity may be a little bit of D Hayes as well. Then reduce the vignette, which will make the coordinate is darker. And then just generally I will make the whole image a little bit brighter. Now if I want to see before and after, I can tap and hold on the image. And that was before. And this is after, once again, before and after. And if I feel like this is still not sharp enough, I can go on the detail and I can increase sharpening there. Now, if I'm happy with the results, I can choose Share here on the top, right. And I can choose the option open in which we will prepare and render this image in full resolution. And then I can just simply choose copy to Photoshop. If you don't see Photoshop showing up here, you might need to go into the More Options and you might need to find it from the suggestions. Since I already placed it up here, I can just select it and it is going to open up as a completely new document within Photoshop. So let's take a look at this workflow one more time. I'm going to switch back to Lightroom, switch back to this album, and I will select another image, let's say this one here. Then I choose Share, open in and then choose copy to Photoshop. Once again, it created a brand new document for this image. So this is the only layer on it. But what if I want to combine these images and place this into the other document? And luckily, there is a way to do that. All you have to do is to go to the additional options here on the right side, and then choose Copy layer, then go into the other document. And within that, again, go into additional options and choose Paste. Now we have two layers on top of each other. And with the move tool, I can just reveal the one underneath. In the next video, I'm going to show you how to extend and reduce the canvas size by using the crop tool. 10. Cropping and Straightening Documents: Cropping images currently in photoshop for iPad is a destructive method where you might end up losing details from your layers. So just to show this to you, I have this image here that we created earlier on. And I'm going to use the crop tool and maybe crop this part here from the right and also crop a little bit from the left, something like that. Then if I tap Done, now, notice that the thumbnail also updated on the right side. And if I choose the crop tool again, next time those details and now gone. So I won't be able to recover them. Unlike the desktop version of Photoshop, where you can decide whether you want to delete details or not while using the crop tool. But apart from losing those details that you crop, it is actually a very handy tool and you can do a lot of things with it. For example, you can also straighten images. So if you feel like an image is not straight enough, you can use the little rotation option here at the bottom and find the right angle for you. Increase your crop extends beyond the original image boundaries, is going to create transparent pixels. So if I click on done, you will see here on the top right and the bottom left is going to have transparency. But if I go back to the other document that we created earlier on where we have two layers. We can also use the crop tool to extend the canvas. So if I select the tool, I can just extend the canvas to something like this. Hit Done, zoom out a bit, and then using the selection tool, I can move this image on the right so I could create enough space for both images to be next to each other within the same document. Now let me select the crop tool again because I would like to show you one more thing. If you are cropping, you would like to keep the original aspect ratio instead of having it completely free like this, you can hold down the touch shortcut on the left and that's going to constrain the proportions of your crop. Similarly to this, while you are rotating your crops, if you hold down the touch shortcut once again, it's going to snap to 15 degrees increments. It's also quite handy that if you do, you're cropping in multiple steps. You can actually undo each individual step while still being in the crop mode. So here on the top right, the undo and redo features will work. So I can go all the way back, all the way ahead until I'm happy with the result that I created at any point, of course, if you don't like the crop, you can cancel out from it by using this option here on the top left. 11. Working with Cloud Documents: I already mentioned in an earlier lesson that all the work that you do on photoshop for iPad is saved into Cloud documents. You might be wondering what happens if you are offline. So if you don't have access to Internet, but you still would like to use the app in these cases, what happens is that all the documents will be saved and stored on the iPad storage. And once you have access to internet, it will automatically synchronize and upload those documents and make them available on all your other devices. Having this format, the Cloud document, allows a very easy handover between mobile and desktop workflows and makes it really convenient to start your work on the iPad and then continue it on the desktop or vice versa. So let me just demonstrate what happens if I don't have access to the Internet. I'm going to turn off the Wi-Fi. And then immediately here on the top-right corner, this little cloud icon tells me that I'm currently working offline. So it just explains further exactly what I mentioned earlier, that I can still work and access all the features. Not only that, but I can also access all the other documents that are used already on this iPad. So I can go back to maybe this other document. And again, I can access everything and edit the image without any interruptions. Once I connect back again to the Internet, the cloud, I can switch this back to being active. And it's going to tell me that now I am online. It's worth mentioning that in the home screen on the settings here on the top right, you have an area on the account where you can see how much free storage you currently have in your Creative Cloud account. By default, you get a 100 gigabytes included in most plans. But if you run out of space, this is something that can be extended by paying for some extra storage. So to summarize, you can use photoshop for iPad, both online and offline. And the cloud documents will allow you to easily access the same documents both on desktop and the iPad. 12. Export Options: In the previous video, we already discussed that cloud documents created on the iPad can be accessed from the desktop computer, but there's also other ways to export and share the work that you created in photoshop for iPad. So the icon that you need to look out for is this one here on the top right. And within that there's two options, Publish and Export and click Export. Let's choose first Publish and Export, where we can see the four available file formats. So we have PNG, JPEG, PSD, tiff. Once again, above me you can see a little bit more details about each of these, but I'm just going to go through quickly each of them. So you can see the settings below. Now, I recommend to save your file if you want to use it for social media as JPEG or PNG, if you wanted to save it for print, is best to use tiff. And if you want to save it for offline work on a desktop computer, I would recommend to use PSD for now, I'm just going to stick to using jpeg and read this file format. You can control the quality which you can set the 12th being the maximum, but that will result in the largest file size. So in case you are planning to email this image, it might be a little bit too big, so you can always reduce the quality that way. You will also reduce the file size. The format can be set to standard, optimize the progressive. Most of the time I would just stick to standard. But once again, this can result in slightly different file sizes. This doesn't really affect the quality though. So once I select Export, it's going to ask me what to do with the exported file. I can add, drop it, send it to any of these applications. I can print it, I can save it into my camera roll or to the files and so on and so forth. It really depends on what apps you have installed on your iPad. What's the available features here? But just like before, if you don't see an application that you would like to use, the exported image of it, then you just tap on more here on the right and then find the required app that you're looking for from the list below. Since I mentioned emailing earlier, I'm just going to choose Gmail. And without even leaving the app, I can decide who I'm going to send this to, can add the subject, but the image is already placed into the contents. Now you might recall that that was also a Quick Export option that will get you straight into saving a JPEG with the default settings without asking any questions. So it results essentially in the same steps, but without having the option to choose from the file formats. 13. Settings: In a previous lesson, I already mentioned that with the little cog wheel on the top right in the home screen, you can get to the settings. But in this video I'm going to take a little bit closer look at all the available features in here. Now, the first tab is the General tab where you can change between the color theme. So you can choose the dark mode which I'm using already, or you can switch to light mode. There is no option to switch between the two or to adjust the colors. These are the two extremes that you can switch between. I prefer to work in dark mode because I just find it easier on the eye, especially if you are working in a low lit environment under the Input category, you will find options for touch, gestures and keyboard shortcuts. Now under touch, There's a couple of options you can decide whether you want to have enabled or disabled. I like to use the settings you can see on my iPad. So I prefer, for example, to use only the stylus for painting. So I don't want to end up accidentally drawing or painting with my finger while I'm using the app. But this obviously only makes sense if you have a stylus available. The Touch Indicator option is quite useful, especially if you are planning to record videos like this one, because that will always show where you are tapping within the screen. So now that I removed it, you won't see me where I'm tapping. But once I turn it back, you can always see the little blue light showing an indicating where I'm tapping and what I'm doing within the app, the touch shortcut is actually something you can take off from the screen if you disable it from here. Now I wouldn't recommend doing this because it's actually very handy. And in the next video, I'm going to show you a couple of ways that you can use it while working in Photoshop for iPad. So let's keep that on. And then there's also an option for stylus double-tap, which you might recall when we doubled tabbed, we managed to zoom into a 100% for you or to fit the document to the screen. Now this functionality I prefer not to use with the stylus, and that's why I have it disabled. Because I have preferred to use my fingers for zooming in and out and generally changing the view. In the next video, I will come back to this tab because we will be looking at all the productivity features like gestures and shortcuts. But let's just move on to the account tab, which we've already seen. Most importantly here you can see how much space you already used up from your Creative Cloud account and how much free storage you have left. But in case you are sharing an iPad with another creative and you need to sign out. Again, that's the place to do it and that they can sign in with their own Creative Cloud account. Of course, in this case, the Cloud documents that you created under your account won't be visible once they sign in with their account, and also vice versa. You want to see their files only yours once you sign back in. And finally, there's also the About tab where you can see exactly which version of the app you are using. And also this is the place where you can leave a review for the app, which I'm sure that developers would appreciate. They're working really hard and constantly developing and improving this app. So by leaving a review, you can help their work. And if you're interested, you can also find out more about the contributors or the people that were on the app further down. And by the way, since we are talking about the feedback, you can also suggest features by tapping on this option here on the right in the home screen, where you can see already which functions developers are working on currently. But if there is something missing and you feel like it would be great to have, you can just simply tap on, suggest a feature here. 14. Timesavers: Similarly to the desktop version of Photoshop on the iPad, there's also a lot of ways you can be more productive here besides using a stylus, which I highly recommend to be more accurate, you can also use gestures, touch shortcuts, and even keyboard shortcuts. If you connect a Bluetooth keyboard while working on the iPad, the best place to find out more about things is within the settings on the Input category. So for example, if we tap on view gestures, we can see a list of all of the available ones. Now there's not that many and we already covered some of them. One thing that I didn't show you yet and something that is very important is how to quickly undo and redo. As you can see, undo it two-finger tap and redo the three-finger tap. So let's just take a look at this video in a document, you might recall that we've been doing some cropping on this image. If I use the two finger tap, I can go back one step, 23, and then with three finger tap, and I can go forward all the way until I get to this version. Now there's one very important thing to remember, and it is actually quite similar to the way it works on desktop, that the history is not preserved when you close the document. So on the iPad version, there's actually no need to save your document and there's not even an option for it because it's constantly saving it in the background. When I go back to the home screen, that basically means that it's going to finalize that image and all those steps that I had available to be able to go back to next time when I open the same document won't be available anymore. So I start with a clean, fresh history. And the easiest way to see that is that the two icons here on the top-right are not active. So I can't undo or redo anything. And I can also try using the touch shortcuts, but it's not going to work. So why working in a document, you will be able to go back and forth easily in the history. But once you close the app or you go into another document, the history will always be cleared out to free up some memory on the iPad. Just as a reminder, from the home screen go into settings and under the input, spend some time going through these shortcuts. But besides gestures, we also have touch shortcuts and photoshop for iPad. Now with this feature, there's actually two states, the primary and secondary state of touch shortcut. And for example, with the move tool, we can see it here that the primary mode of the shortcut is going to constrain the movement to be horizontal or vertical via the secondary mode is going to work to duplicate the selected layer. So most of them has a primary and secondary function while using the touch shortcut. And it can also be used to select multiple layers, which once again, I'm going to show you right now. So if we come back to this document and I have this layer selected with the selection tool. I can start using the touch shortcut by simply holding it down to constrain the movements of this layer so I can move it vertically or horizontally. And also diagonally. That's going to be constraining 45 degrees angles when I don't hold it down, of course, I can have no constraints and move the layer around freely. But then if I hold down the touch shortcut and drag to the sides of it, notice how it switches between the primary and secondary state. So when it's completely filled with white, that means it's in the secondary state. But also there is a hint on the top right corner saying that now is going to duplicate. So that means if I start moving the layer, it's actually going to create a duplicate. Now, we will be using all of the available touch shortcuts and also some keyboard shortcuts later on. So I highly recommend to check them out from the settings and start familiarizing yourself with them. 15. Layers Basics: One of the most important things to get used to in Photoshop is to be able to work with layers. Now in this chapter, we will take a closer look at all the functions available in photoshop for iPad when it comes to working with layers. And just as a reminder, is something that we already discussed in the previous chapter. We have these two icons here with which you can show either the compact or expanded view of the layers panel. But also don't forget that you have the Layer Properties panel, which can be used in combination with either the expanded or the compact view of the layers. For now I'm going to hide layer properties, but we will come back to it later. And first I wanted to show you how you can interact with the layers when you are using the compact view. So here you can switch between the layers by simply tapping on them. And then using the Move tool, for example, we can see that now the currently selected layer moves around. While if I select another layer, I can move that around. And then also the same goes for this one in the middle. Now if I want to move multiple layers at the same time, I can hold down the touch shortcut on the left and select all three layers in this case. And now I can use the move tool to move them all together at the same time. To take a V, one of the layers from the selection, I would use the same shortcut, again, holding down the touch shortcut, clicking on one of these images. Now, I will be able to move only two of them at the same time when you move layers on top of each other, you will also notice that there is a stacking order. So whichever layer is on top is the closest to us. So if we want to change this, we can drag the layer thumbnails up and down. So for example, if I want this image, which is currently at the bottom to be all the way on the top, I can just drag it up like that. And now we can see that it is indeed on top of the other two layers. If I want to have it in between the other two layers, I can also again just drag it and drop it in between there. Now it's going to move between the two of them. The layer visibility can be controlled easily with the icon on the right side, which will hide or show the currently selected layer or layers. And if you have the expanded view visible here, you will have an eye icon next to each of your layers. So it could be even easier to show and hide them in the extended view. You can also see the names of your layers. You can also rename them easily by double tapping on either of them and rename it. And of course, in extended view, you can still move the layers up and down in the stacking order by just simply dragging and dropping them wherever you want them to be placed. Last but not least, you can also delete layers. This you will find under the additional options, Delete layer. 16. Working with Layers: In the previous video, we've seen that we can select multiple layers by using the touch shortcut and selecting them here on the right side. That way we can move them together at the same time. But once you have them selected like this, where you can also do is to link them to each other. So there is this little link icon here with which now they will be linked. This means that if I select one of them next time, it will automatically move the other layers with itself and it will affect also the transformations are applied to these layers. So once again, when I choose the Transform tool and start making changes, you can see even though I had only one layer selected, because the linking, they will all be transformed. If you want to remove the link between the layers, you can again use the touch shortcut, select all of them, and then Unchained or unlink them. Another way to combine layers, and the one that I prefer to use is grouping them. Now once again, I have all of them selected. Then I can click on this icon here, which is going to turn this into a layer group. Now under layer group is selected, of course as expected, all of the layers we'll move around and also transform at the same time. But the good thing about layer groups is that you can double-tap on them to enter the contents, to see what's inside the group or see the contents of it. And then you still have the ability to select them individually and also to make changes to them individually. So layer groups is probably the better way of keeping more complex compositions organized and easier to work with when you want to get out of a group, you just have to tap on the little arrow up here. And I'm just going to show you in the extended view layer groups look like this. You have a little arrow on the top with which you can open or collapse the groups contents. At any point, of course, you can decide to remove layers from a group, simply drag and move them outside. This way, this layer is not connected anymore to the group. If you decide that you don't need the group anymore, you can also select it from the additional options. You can find ungroup layers. If you want to permanently combine layers together. For that, you can use the Merge Layers option. So I'm going to select all three layers and go to the additional options, choose Merge Layers. And as you can see, this is now a single layer, and of course it moves together and also transforms together. But the main difference here is that this is a bit more destructive method because now we lost the independence of the layers and we have to work with it as a single layer whenever possible, I would recommend to separate your layers as much as you can, even if it gets complex. Because the whole point of having layers is that it gives you more flexibility and ways of editing your compositions. So I'm just going to undo this merge by using two-finger tap. And besides combining your layers, you can of course, also duplicate them. Now, if you have a layer selected and you decide you would like to have a duplicate of it within the same composition, you can go again to the additional options here at the bottom and then choose Duplicate Layer. Now, this is going to create an exact copy, and now we can start working with both of these independently. Another way you might recall to be able to duplicate is by using the Move tool, holding down the touch shortcut, moving it to the secondary position, and then dragging the currently selected layer will also create a duplicate. One last thing I would like to show you is how to lock layers. So sometimes you might want to make sure that layer is not moved around and also you don't accidentally paint over it for this, or you have to do is to select the layer and then go again into the additional options and choose lock layer. So this will make sure that you won't be able to move the layer around. You get the little hint on the right that you can't make any changes to this layer. And the same thing would happen if I tried to paint over it looking a layer, however, it doesn't prevent it to be moved around in the stacking order. So you can steal, drag it up or down, and you can even move it within a group or outside of a group. 17. Opacity and Blend Modes: We talked about toggling the visibility of layers by using the little icon here on the taskbar. But what we can also do is to change the layer's opacity, which basically reduces its visibility on a 100% scale. Now, to find this, you have to open the Layer Properties. And within that you can move the slider left and right to adjust this value. Now to see what actually happens, I'm going to move this layer on top of these other two, and I'm going to zoom a little bit closer. So now when I'm reducing the opacity, you can see that it becomes see-through. We can actually see more of what's behind. But opacity is not the only way you can blend images together. For this, we have the blend modes and there's a big list here, and these are all organized into groups. So first we get the blend modes that will make the result darker, like multiply, color, burn, linear burn, darken. They're all slightly different. But essentially the result of the blending will always be darker than the original image. On the contrary, if you go to the next group, any of the blend modes from here, from lightened to lighter color will always result in a brighter image than the original one. And then the next category is add a little bit more tricky to define its best to experiment and see what they do. One tip is that overlay is a very useful blend mode and it's almost like a mixture between Multiply and screen, which is great for a lot of different techniques and we will see it used in a couple of projects in this course. So you will learn how to work with it if you're not familiar with blending, I encourage you to give it a try and go through a couple of these and see how they work once you start overlapping images. And also don't forget that you can combine, blending and changing the opacity of a layer. And this is the beginning of starting to combine images together. And you can already see that this feels like a double exposure photograph. But of course, in the next couple of chapters, we will start learning about Selections and Masking and also retouching, which will make our job much more interesting. And these compositions more exciting. 18. Transformations: In this video, I'm going to talk about transformations. For this, we use the second tool from the toolbar, which has a couple of modes. The first one is the free transform mode, with which we can make changes to the size of the selected layer. Now, you can drag the corner points to keep it in proportions. Or if you drag the side points or the one on the top or the bottom, you can also scale without keeping the proportions, essentially the store thing, the layer, if you want to do the same thing from the coordinate points, you can also achieve that by holding down the touch shortcut. That's going to result in unconstrained scale. Apart from scaling, you can also do rotation. Now why rotating? You can hold down the touch shortcut to snap to 15 degrees increments in both direction while being in transformation mode, you can still undo and redo either by using the touch shortcuts or the arrows on the header bar. And if you want to quickly flip horizontally or vertically, you can also use these icons here on the top right. But this is not all because you have also the additional three modes to which you can switch here on the left side, you can select skew with which you guessed it. You can skew the image either, again, horizontally or vertically. The third mode here on the left is called distort, with which you can drag individual coordinate points separately by keeping all the rest of the points in place. This almost feels like a three-dimensional distortion. So it's a quiet cool effect. I'm just going to undo this and show you the last option, which is the perspective distortion. Now it's quite similar to the previous option, but here we move pairs of coordinates at the same time. So we can reduce or increase the distance between these two points. Or we can do the same thing. If we start dragging it down or up, We will increase or decrease once again, the distance between these two corner points. And now of course, once again, the biggest difference between iPad and the desktop version of Photoshop is that we don't have currently smart objects here on the iPad, which means that all of these transformations that we do are destructive. That means that once I click on done and move on and make changes, and especially when I get out of this document and come back next time, I will lose the information that I had originally in these layers. So when you distort scale or rotate layers, just remember, they are all destructive methods of editing. Of course, it doesn't mean that you should stay away from them. It's just something that you have to keep in mind before we move on to the next lesson, just one last shortcut that I wanted to show you. When you are resizing a layer in the free transform mode, you can also use the secondary option in the touch shortcut, which will result in scaling to the center point of the current layer. So you can increase or decrease the size, but essentially keep the center point in place. And one more thing, if you want to rotate that layer to a specific angle, you can also type it in here in the additional options. So rotation angle, let's just say 65, then done will result in a 65 degree rotation. And just to prove what I explained before about working destructively when we are making transformations. When I go back and select the transform option again and go on to the rotation angle. Notice that it won't remember the angle that we use. So it will again start from 0 until we are smart objects. We just have to work around these minor limitations of the app. 19. Adjustment Layers - Black & White: If you want to change the colors or tonal values of a layer, you need to work with adjustment layers. You can find these in the Layer Properties panel and the feature is called add clipped adjustment. Once you tap on that, you will see the seven currently available adjustments. Now, most of the important ones I already here, maybe apart from curves, but from all the other adjustments available on the desktop version, I'm sure more will be introduced in future updates. In this video, I'm only going to use one adjustment. Mainly focus on the aspects of clipping, which is a very important concept and you need to understand in order to be able to work in more complex compositions with adjustments. So let's use black and white, which is probably the simplest adjustments. Once I tap on that, notice that it is only going to affect the layer directly underneath it. So here in the layers panel, I can see the adjustment layer. So that's the one up here. And there's a little arrow pointing downwards indicating the clipping between these two layers. Notice that there is also a little white rectangle next to the thumbnail or icon of this adjustment. That is a layer mask. Now that can be a confusing at this point. So I'm going to actually remove it by going to the additional options here and choose Delete Mask. This is a feature that automatically generated whenever you add an adjustment layer. But as you can see, we can remove it and it didn't change anything on the appearance of the effect. So we can see that the image is turned black and white, but by hiding the adjustment layer, I can see the original colors. So I mentioned earlier that it's a non-destructive effect and we can easily turn it back and forth. Now when an adjustment layer is selected in the layer properties, we can see the controls for that specific effect. And in case of black and white adjustment, we can control the brightness of individual colors because this image was quite warm. So there's a lot of red tones in it. We can increase and decrease most of the colors with this value here. But there's also additional colors like yellow, which we can also selectively control. In the next video, I'm going to show you more adjustment layers. But for now, let's see what happens if we remove the clipping. So I'm going to zoom out a bit and we can see all these three layers. And if I tap on this icon here, I can unclip the adjustment. Notice that the little arrows so at disappeared from here. So now it's unleashed in a way and it's affecting all the layers underneath it. So if I move it just one layer down, what will happen is that now it's affecting the two layers here on the left because they are underneath it in the second-order. But it's not affecting the original image that we started with because that is now positioned above it in the stacking order. Since I have the adjustment layer directly above the layer in the middle, if I now use the same icon that we used before for unclicking, now is going to clip it back, but now onto the layer underneath it, which is this image in the middle. So in this case, the image is on the right and the left are in their original colors, and only the one in the middle is turned into black and white. Now to complicate things further, you can actually clip Adjustments on to layer groups as well. So if I move this adjustment layer all the way to the top and I select two layers, Let's just say the two ladies on the sides. So I can select them too. And then use the icon here on the right to turn that into a layer group. Now, I can select the adjustment layer and use clipping. What happened is that now once again, we limited the adjustment layer, in this case to the group or the contents of the group. So the image in the middle, once again, is unaffected visually, it is indicated the same way as before. So the little arrow here indicates that there is a clipping and this other arrow indicates that it's on a group. However, if we switch to the compact view of layers that shows it a little bit better what's happening? So we have the adjustment layer and then underneath we have the group. Now I mentioned before that adjustment layers are great because they allow you to work non-destructively. One of the aspects that I really like is that when you select them, you can also control their opacity with which you can practically fade them out or bring them back in again, you can even use blend modes with adjustment layers, which will again give you a lot of variations and options to play with. But if you decide not to use an adjustment layer anymore, instead of just hiding it, you can also delete it from the additional options. You will find Delete layer. 20. Adjustment Layers - Tonal Values: In the previous video, we've already seen how to work with adjustment layers and how to handle clipping. So now we can focus on all the other adjustments that are currently available, starting with brightness and contrast. So once we select that, once again, it can drag to the right so we can see its icon here in the layer properties, we can see the two values. It's a fairly straightforward adjustment. So we can increase or decrease the brightness. And then we can also increase or decrease the contrast. So maybe if I reduce the brightness a bit, increase the contrast, that creates a little bit more dramatic effect. In this case, we can turn it off, turn it back on, and we can see the result. I'm going to hide this adjustment layer so we can try another one. I go back to select the layer and then choose Add Clip adjustment. By the way, I don't know if you notice that when you have an adjustment layer selected, you don't see the option to add an additional adjustment for that. You always need to have an image layer selected. Once we have this one, we can choose Add Clip adjustment this time, let's choose exposure, which is a quiet, similar effect to brightness contrast. But instead of brightness, we have here a value called exposure. Now with this one, you have to be very careful. Increasing, decreasing will make lot of difference on the image. You can also try to work with offset and Gamma. But to be honest, this is something that I don't often use in my compositions. Instead, for changing the tonal values, I actually prefer to work with levels or curves. Now unfortunately, curves we don't have currently in photoshop for iPad, but I'm going to show you how to use levels instead. So I'm going to hide this effect as well and then go back to the image at clipped adjustments and choose Levels. Now with this one, we get a histogram in the Properties panel. And there we will find the black point and the point and also the midpoint. Now, the mid point, I'm going to keep on one and I'm going to just increase the black point. What happens here is that we add clipping or the shadows and whatever force to the left of the black point, we'll turn completely black. So what was originally just very dark? Now it's completely black. But by reducing the tonal range, we are also increasing the contrast of the image. So let's do the same thing here on the right side, dragging the white point to the left, we again are increasing the contrast and bleaching the image a little bit because all the bride details are turning white. We sometimes we also referred to as burned out details. And that's not necessarily good. But if you are subtle with the way you do this and don't drag it too far in. It's actually again going to end up creating a really cool effect that creates a very dramatic look. So let's see before and after without levels and levels. Now, if you want to increase or decrease the overall brightness, you can also start moving the mid point to the right or to the left. Notice that by moving it to the left, we are increasing the brightness. And by moving it to the right, we are decreasing it. And if this wasn't enough, you can also selectively adjust the histogram for each color channels. So at the moment we are on the RGB composite channel, but we can switch to reds, greens, and blues. So for example, if we are on the blue and start increasing this value, you can see how it's going to affect the colors in the image. Now I wouldn't recommend messing around with this most of the time, it's better to stay on the RGB values and concentrate on this histogram. But still, it's worth exploring these additional options once you start working with channels. So this was levels my favorite adjustment to work with tonal values, once again, without it. And we did applied on this image. 21. Adjustment Layers - Colors: We've seen the adjustment layer is affecting tonal values. This time we will take a look at the ones affecting colors. First, let's start with my favorite one, hue saturation. So just like before, I'm going to use add clipped adjustment and I'm going to pick Hue Saturation. I will drag the thumbnail to the right so we can see its icon. Here on the right side, we can see the three options or values that we can control. First of all, we have hue with which we can change the colors and create these interesting variations. Now we can also control saturation, dragging that down to the left, we can turn it into grayscale, which is almost the same as using black and white adjustment layer. Or we can drag it all the way to the right with which we can over saturate the image if we go too far. And last but not least, we have lightness. But I would normally avoid using this because it's almost like bleaching the image is not actually increasing it as nicely as levels or even the exposure effect. Still sometimes this can be useful, but for now, I'm going to keep that somewhere in the middle. And instead I'm going to show you another really cool feature within this adjustment. And that is the colorize toggle. If you turn that on, it's going to turn the image into a monochrome effect where we have a single tint. You can select from the view. And then once again you can apply higher saturation or lower. And also you can increase, decrease the lightness. So when you are using colorize, lightness actually makes more sense. Now whenever you are using an effect like this, don't forget that you can always adjust the opacity. So you can always reduce the intensity of your effect and innovate almost becomes like a filter in Instagram. So that was before and after Hue Saturation. Now let's hide this adjustment and I'm going to select the layer and choose another one called vibrance. Now, this is a very smart way to increase the intensity of colors without over saturating the already existing strong colors. Notice that within this adjustment we actually have both saturation and vibrance. But this saturation already works differently from the one that we've seen in hue saturation. So if I increase this all the way to the top, it again still feels a little bit over the top, but still not as bad as 100 per cent used in hue saturation. So much more intense colors, but still the skin tones don't look as bad. However, if I reduce the saturation back to 0 or somewhere around there, and then increase the vibrance all the way to 100. Notice what happens here is that we get a much more subtle effect. Still intensifies colors, but it concentrates on the VQ colors. So it tries to balance things out. So let's see before and after. Notice how the less saturated colors get more intense and the already existing saturated colors stay roughly the same. Normally, what I would do is to use a quiet high Vibrance value if I need to intensify colors. And then if that's not enough, I would add a little bit of extra saturation on it. So this is usually a quite good balance. Now, let's hide this adjustment and go back again to the layer and choose Edit clip adjustment. And this time let's pick a color balance, the last one that we haven't seen so far. Now this is again a very useful one with which he can control balance between certain color pairs. So these pairs are the complimentary colors. On the right side we can see red, green, and blue. That's all RGB colors are made of. And then on the left side we have cyan, magenta and yellow, the complimentary pairs. And by dragging these values to the right and left, we can control which one gets more intense on the desktop version of Photoshop, Color Balance has even options to selectively control the highlights, shadows, and mid tones, so that can make it even more specific. But here we only have one additional option and that is to preserve luminosity. If I turn that off by changing these values above, you might end up having a brighter or darker image than what you started with. So if you want to maintain the brightness levels or the tonal values, you can keep the option on. So Preserve Luminosity can be quite useful. Now if I play around a little bit further, I can come up with a quiet, nice coloring for this image. And once again, when I turn off this adjustment, we can see before and after. Notice how the original image now feels much more greener. And it's funny how our eyes can deceive us because this is something that you might not notice when you first starting with the photograph. Only after you start making adjustments. You might notice this. And this is once again why adjustment layers are so useful because we can always go back and forth, hide and show them just so we can see and compare before and after results. And also we can refine and fine tune the details or values that we used in the properties panel. So color balance, vibrance, and saturation are the three adjustment layers to work with colors. And if I wanted to have all of these three adjustments used at the same time, of course I can do that just simply by turning back the visibility on all three of them. So notice now in this case we have O3 adjustments clipped onto this image. And in these cases sometimes it can get quite complex to see what actually happens. But still, by changing the stacking order of your adjustments can also result in slightly different final effects. So to summarize, adjustment layers are crucial to be able to work non-destructively in Photoshop and to make sure that you get comfortable working with them. Later in this course, we will have several other examples where we will be applying them to our compositions. 22. Filters: Besides the adjustment layers in desktop version of Photoshop, we have a lot of filters. There's dozens of them. Now, unfortunately, in photoshop for iPad, it's quite limited currently we only have two of them. So we have Gaussian Blur and invert. Actually invert is considered an adjustment. So I'm not a 100% sure why it's placed here. It probably will end up being together with the other adjustment layers. For now we have it here, and it's a very simple one. So once you select it, it simply just inverts the colors. And then if I go back and choose Invert again, I can invert them back into where they were. So essentially this just shifts all the colors to the opposite side of the hue wheel. Now the other filter is more interesting. Gaussian blur is one of the effects that you would use very often in Photoshop. And with this, you can control the blur amount so we can completely blurred details out or we can reduce it down. The only issue here is once again, that this is going to be a very destructive effect. Because once I apply it by pressing down here on the top right, It's going to change the contents of the layer and it's going to lose the original clarity. So on the desktop version of Photoshop, you would be able to use a smart object again. And then this filter would become a smart filter which is completely editable. Let's hope that this is going to be available soon on the iPad. But until then, we have to just remember that using this feature, we will end up having a destructive effect applied on our layer to avoid losing the original details, what you can do is to duplicate your layer before applying the filter. So by selecting the layer, I can go into the additional options and duplicate layer. On this duplicate, I can apply Gaussian blur. Let's just increase the blur even more than press Done. And now I can show the original simply by hiding this layer. Or I can also create interesting effects by going into the Properties panel and change the blend mode to something like lightened or overlay. And you can see without and with the effect, we get once again, a quite interesting and distinct look. 23. Creative Project 1 - Realistic Shadows Part 1: It's time for our first more complex project in this course. And by the way, each chapter is going to have some of these projects where we combined all the techniques that we learned so far. This time, we are going to work with this example, which you can upload onto your iPad and follow along if you haven't seen how to work with exercise files already, there is a separate video about it at the beginning of the course. So make sure you check that out if you want to follow along and use the same example. With this project, we will practice mainly working with adjustment layers, blending, and transformations. But we will also use a couple of new techniques and features which will be covered in the following chapters. So without any further delay, let's get started. Now, this project's goal is to make it look like it was a sunny day and there is a strong cast shadow in the environment. So basically, we want the cast shadow behind the girl, which is reflected or cast on the wall. And to be able to achieve this, we will have to do a couple of things. But one thing that I prepared already here and that is that the girl is separated from the background. So once you open this file, you will see that there was originally one image, but I separated it just to save some time for us. Of course, this is something that we will be able to do later on once we learn about selections and retouching. But for now I just found it easier to prepare this first step. So we have two separate layers. We have the background and the girl. Now, what I would like you to do first of all, is to make a selection based on this layer. This is already something that we haven't done before, but it's very simple. Since we have a layer with transparency in it, we can just go into the additional options in the taskbar and then choose load as selection. Once that's done, we get this marquee around the outlines of the layer. And to be able to use this, we will also need to create a new blank layer. So the way you do that is by simply tapping on this icon here, notice that it created that empty new layer. Now while we still have our selection, I would like you to select these to the paint bucket. And with this we are going to feel the selection. So the color that I would like you to use is a darker blue color, which you can set from tapping here in the Color Swatch. And if you want, you can also sample a color from the image by using the eyedropper tool. So you can select the color from the background, maybe something like this, that's like a shadow color, but we can make this darker as well by dragging it further down. Now you can even use these color-code that you can see here on my screen if you want. But it doesn't have to be exactly the same is going to work just as well, as long as you get it somewhere close to what you can see on my screen. So let's switch back to the paint bucket and simply tap inside the selection. So now we have this new layer filled with this color and we can actually get rid of the selection now. So you choose the Select from the bottom. And just to test it out, I'm going to use the Move tool and move this layer around. So that's exactly what I wanted, but I would like to have this behind the girls layer. So I'm going to drag it down here within the layers panel and just place it behind the girl. 24. Creative Project 1 - Realistic Shadows Part 2: Now, before we go any further, I would like to show you a few references to make sure that you understand how this cast shadow would work in real life. So when you have a person standing in front of a vole, you technically have two planes to consider. You have the floor and you have the wall. Now, the shadow would be split between these two planes and you have to match the perspective well to make it look realistic. So here we can see the strong sunlight is going to create this shadow behind the girl, which is first going to be created on the plane, on the floor, and then it turns 90 degrees and goes up on the wall. So when the person stands close to the wall, normally the shadow doesn't get blurry, so it stays quiet sharp, but still it's probably a little bit more blurred on the wall than on the floor. The closer the shadow to the person or object that is casting it, the sharper is going to look. So we have to pay attention to that. And we also need to pay attention to the color of the shadow, which can't just simply be black. Again, that won't be natural if you pay attention to this example here, you can see It's usually a darker color or dark shade of whatever the color of the object that is cost on. So in this case, on the wall, it's darker blue around the bottom, and then it's a darker yellow or almost brown here further up. Now here's another example, slightly different perspective, but still again, the same principle applies. The shadow splits and it looks sharper on the ground than on the wall. And then one more example here, because there is a little bit of a gap between the floor and the wall, we lose some parts of the shadow. That's again can complicate it further if you work with backgrounds like this. But once again, because here the wall is even further away from the person, the shadow gets much more distorted and also more blurred. The distortion, by the way, really depends on the angle of the light source. So in this case, the sun was probably coming from this direction. And that's why we are getting the shadow here on the bottom right, using references like these and observations are really key to be able to create realistic and believable compositions in Photoshop, especially once you start combining multiple images together. Okay, So back in Photoshop now, we know what we need to do and to be able to create that look, we first need to go into the layer properties for our shadow layer. And I'm going to reduce the opacity and also change the blend mode to multiply. This is going to create a much more realistic representation of how a cast shadow would look in this environment. And now that we have that setup, I would like to divide this shadow into two parts. So we need one that will be on the floor, the other one that will be cast on the wall. So for this, I'm going to use the rectangular marquee tool. By the way, any tool that has a little arrow next to it means that there are additional tools under it. And in the next chapter we will cover all these selection tools. For now I'm just going to show you when I double-click on this, here are all the tools. So you might have maybe the Lasso Tool selected instead of the marquee tool. In that case, just double-tap and select this icon. Now, all you need to do is to make a rectangular selection around here on the bottom. If you change your mind, you can always tap on, de-select and then make another selection has just say something like this will work. So this is going to be used for the floor. Now what I'm going to do is to duplicate the layer before I make any changes. So go to the additional options here and then choose Duplicate Layer. Now, don't be surprised if you see that the color got darker because we have the multiplier effect on it essentially combines the two layers. And that's why it looks darker. But that will disappear soon. Because what we will do with this selection that we created is to delete this section from one layer. So all we have to do here at the bottom, we just choose Erase that deleted the selection from this layer. And also notice that the current layer thumbnail updated showing that the removed the legs. Now I'm going to select the other shadow layer, and I'm going to invert my selection again by using this icon here at the bottom. So that's going to select everything else apart from the original selection. And now that we've done that, we can again just hit erase. So technically, we divided the legs and the upper body onto two separate layers. Now, we can choose the Select. And just to show you with the selection tool, There's one layer and there is the other layer. That looks great. Now we can decide where we want the cast shadow to beam. So essentially we are thinking about the light source. Let's say the light is coming from the right side, then the shadow will be somewhere here on the left side, maybe something like that. Let's just move it all the way down here. Yeah, that makes sense, something like that. And then let's select the shadow layer and move it close to where the person is standing, something like that. And now it's time to use the transform tools. So I'm going to select Transform and first with the Free Transform, I'm just going to stretch it down, so drag the top edge down to something like that. Then let's switch to skew and then drag it all the way to the left, the top edge to the left. I ordered it looks quite good, but maybe we can also use a little bit of distortion on it and just drag it further out to the left just to add that perspective distortion. And I think that looks quite good. Maybe we can also match it here on the right side slightly. And then when I press Done, can zoom a little bit closer and see how it looks. I think that looks quite good. Now we can also apply a little bit of distortion on the upper body. So the one on the wall, I'm going to again use the transform tool switch straightaway to distort. And then I'm just going to stretch it out a bit around that direction. Once again, if the light source was coming from the left, we would get more distortion this way. But because it's coming from the right, we will get the distortion in the other direction. Something like that, I think looks quite good. Okay, so let's press Done. And then we can also just move it slightly to the left. 25. Creative Project 1 - Realistic Shadows Part 3: And remember what we said is that the shadow on the floor needs to be less blood than the one on the wall. So I'm going to zoom closer, make sure I select that layer and from the filters, choosing Gaussian blur, but with a very low amount, probably around one pixel. Yeah, I think that looks okay. Let's just press Done. And while I'm disclose, I can also see that I will need a little bit more adjustment here just to make it fit perfectly. Yes, something like that. I can always suggest distorted a little bit further just to make sure it matches the layer above, something like that. Okay, so now that we have the blur here, we should also add that the blur on the other shadow layer. So I'm just going to select that and then choose Gaussian blur. This time we can go higher. So I'm going to go probably to around three pixels. Something like that looks quite good. Maybe slightly less. Okay, let's hit Done. Now if we see before and after. So this was before, very sharp edge and this is after, looks much more realistic, especially when we look at it from a distance. But there's one issue here still that I would like to fix. So if you think about it, the original composition didn't have any cast shadows. Now how can that be? Well, the only way that can happen is that it was a very overcast, cloudy day and then wasn't any strong light source that could create the shadows. So that means that we have also the colors a little bit washed out and quiet blue. In a strong sunny day, you will get much warmer tones and also a lot more brightness. So to be able to make it more realistic, we should add a couple of adjustment layers. To fix this. I'm going to select the layer on top, which is the girl. And I'm going to choose Add clipped adjustment. And from there I'm going to use brightness contrast with which I can increase the brightness a little bit, something like that. Just probably around 25 is enough. But I would like to have this apply to the whole composition. So I'm going to also get rid of the clipping. Remember the way you can do this is by clicking on the icon or thumbnail of the layer and then click on this option here to remove the clipping. Now let's see without and with this adjustment. So it already looks much more like a sunny day. But what we can also do is to go back to the adjustment layers by once again selecting the girls layer and add clip. That just meant now this time I'm going to use color balance and I'm going to again make sure it's not clipped. So select the icon and remove the clipping. Then I will increase the reds in this image a bit and also the yellows. So something like that. Now if we just hide this layer that was before, very blue and cold, and then we get a much warmer tone in there, once again without the two adjustments. And the two adjustment looks like this. And we can also see it without the shadow. So now that we have this bright warm tones edit to the image, It actually feels strange not having the shadow. So putting back the shadow looks already much more realistic. There's just one additional thing that we could do. It is to change the color of the shadow on the floor. Because notice that that is obviously a completely different color from the wall. And we referenced the wall color when we created our original shadow. So what I will do is to select the shadow that is used on the floor and then add another adjustment layer on this. This time, I'm going to use Hue Saturation with which I can very quickly adjust the color. And I'm looking for something closer to the floor like this brown color, maybe reduce the saturation on it a bit. And we can also increase the lightness to something like that. Now once again, let's see, without this, if we have everything blew, it doesn't look that great. But now that we match the color of both surfaces, It's going to look again much more realistic. And of course, if you feel like that the shadow is a little bit too strong, you can always go back into the properties and adjust the opacity so we can always reduce it. And the same with the background, we can reduce it. And that way it's not going to be as intense as before. We could also adjust further things, refine the transformation. We find the colors, even the blur until we get it right. So this was just a glimpse into what's possible with photoshop for iPad. And as we learn more in the following chapters, you will be able to create even more exciting and complex compositions. 26. Making Selections - Lasso Tool: Selections are crucial in Photoshop because they allow you to create compositions made up of multiple images. Now this chapter is going to be all about selections. And then eventually we will also talk about masking or how to turn selections into mosques, which will allow you to use your selections completely non-destructively. I have this image open that we already used earlier on in the course, and I'm going to start using the Lasso tool. Now, if you don't see this tool, you can double-tap on it because it's a group of selection tools. And from this we need the first one. So with that tool, you can start drawing around this guy and make a selection like so. Now let's say I made some mistakes here. I intentionally left out some details. If I want to go back and add some details, I can use this mode which is going to add to the selection. By the way, if I don't have that selected and start making another selection is going to remove the previous one. So I'm just going to undo this last step. And it's important to have that mode selected if you want to add to your existing selection. Now if I drew, notice that it's going to be merged into the selection. Also, this foot I can add to the selection. And then if I want to remove or subtract from the selection, I can switch to this second mode with which I can again draw over sections which I can remove. And again here I can remove and so on and so forth. Now, of course, this is by far not the smartest, quickest way of selecting a person. For that, we will have much smarter methods, which we will go through in the next video. But remember that the Lasso Tool is a very quick and easy way of making selections by simply just drawing over details. And of course, you can be very accurate with it. If I zoom closer, for example, around here, let's say I have it set to subtract. I can go much closer to details, especially using the advantage of working with the Apple pencil, I can get really close to the details that I need and keep subtracting and adding to them as I trace over around the edges. Now if you have a Bluetooth keyboard connected to your iPad, There's a very useful shortcut that you can use whenever you are working with selections. And that is the F key with which you can toggle through different views. This one is the Quick Mask view in which you will see all the details that are currently in your selection in full color, while everything else that's outside of your selection in a red overlay. Now this can be very helpful because here you can see it much better if you are missing some details around the edges. And the great thing is that you can continue working with the same setup as before. So for example, if I zoom closer here, I can just paint over this area. And because I have it set to subtract mode, I'm removing from the selection. So more and more details are going to have the red overlay. I can do the same thing here as well. And then if I zoom out and maybe go closer to the head, I can do the same thing here as well. Just going to paint over here. I'm just going to go up this way as well. And then zoom out. And I can do these bigger sections much faster. I don't really have to be that accurate, but you can see how much easier it is to refine the edges by a painting over because I can immediately see what's going to be removed and then what's included in the selection. If you press F on the keyboard again, you can toggle to yet again another view. Here we see everything with a black overlay instead of red, which might be useful if you have a lot of red details in your selection. Then when you press F again, you get a white overlay. And then at the end you get the mosque view, which is going to show the selected details or selected areas in white and everything else outside of it in black. Now, we will see how masking works later. For now I'm going to switch back to the original view, which is also referred to as marching ends for the selection. And I'm going to show you the last mode, which is called intersect here on the left side. So if I select that one with this, if I paint over an area, let's say up here, it's going to keep the already existing selection within that area that I just painted over, but it removes everything else from outside it. So it creates an intersection or common area between the previous selection and this current one. Now whenever you want, you can also move your selection around as long as no active modes are selected on the left side. So if I remove the intersection and then start dragging the selection around, This is the way I can reposition it and move it into a different place and don't get confused. This is not going to move any details from the layer, is just simply moves the selection. If I wanted to call those details out and move them to a different place, I would use the Move tool for that while having the selection. Now I can extract details from the layer and move them somewhere else. And this is something you can even do between documents, which I'm going to show you in the next example. When we take a look at the marquee tool. 27. Making Selections - Marquee Tools: Another very useful and essential selection tool is the marquee tool. There's actually two of them, the elliptical and Rectangular Marquee is both of them you can find in the same group where we found the Lasso tool. So this is the rectangular marquee, and next to it we have the Elliptical Marquee. They work almost exactly the same way. So I'm going to focus on the rectangular marquee first. And notice that it also has the same modes or selection modes we've seen earlier with the Lasso tool. So we can use it in the first mode where every time we create a selection is going to add to the existing selection. Or if we remove that each time we create our selection, it will start a new one. And then there's also the subtract and intersect just like before. Now this time we will make a selection on this image, extract some details, and place it onto another image. And this is where things get more interesting, where we start to combine images and create compositions. But before we do that, I just wanted to mention that similarly to the marquee tool, if you want it to select the whole image, you don't need to struggle making a big selection like this. You can just go to the additional options in the taskbar and then choose, select all from there. Notice how we get a selection around the whole canvas this time, I'm going to de-select this because I would like to have a smaller selection using the marquee tool. I'm just going to start drawing over this area here. And let's just try to set it up, something like that. Now, if I feel like I need to reduce the selection a bit, I can switch to subtract and still using the marquee tool, I can highlight that section on the left side and also maybe a little bit here on the right side. Just want to make sure that there's no yellow wall details included in the selection. Let's zoom a little bit closer and I'm just going to go over this section one more time. Yeah, that looks better. And to add those little details that I left out at the bottom, I'm just going to use add, zoom a bit closer once more, and then just paint over this part and then this part here as well. Now of course you can combine selection tools as well, and that's very important to get used to. So you might start with the rectangular marquee, but then to be able to select those little diagonal details, I would switch back to the Lasso tool. And with that, I can also use add to the selection. Simply draw over that section there. And then this little section here on the left side. I can also refine the selection if I see any details that should be removed, something like that. And maybe even here in the middle, I can go over this little section. So the reason why I chose to combine these two selection tools this time is because it was much faster to select the general shape of the gate or door. But then I could refine those little details much faster by using the Lasso tool. So now that we have our selection, we can go into the additional options in the taskbar and just simply choose Copy layer. You might think it's going to copy everything, but because we have already a selection, this will prevent anything else outside to be copied. So we have that ready now we can go into the other document which I already prepared. So this is the other image I want to use. And then here all we have to do is to go to the taskbar again and then just simply choose Paste. So the great thing is that the door comes in with the selection that we created, and at the moment, it's huge. So what I'm going to do is to use the free transform option and make it smaller. Now, at this point, of course, you can start to be creative and you can make the door much bigger than the person, or you can make it tiny, and so on and so forth. In this case, I'm going to make it quite big, something like that. Let's hit Done. And then we can refine his position when we zoom closer. Should be somewhere around here. Yeah, I think that looks quite nice, but let's not stop here. We can be even more creative. Let's see what happens if we remove one of these doors. So again, I'm going to use the rectangular marquee tool and just make a selection of this side. Yeah, something like that. Then I'm going to cut this out. So I'm going to use the additional options and choose cut and then create a new layer and paste it in there. So this way we are not going to lose it. It's hearsay for us. I'm just going to place it where it was, but I'm going to hide this and instead, I will bring in another image which we will place behind this door to make it look like we can see through it. So from our previous images, I'm going to choose this one, make a rectangular selection around the details that we need. So maybe around this part here. Yeah, I think that will work. So we go once again to copy layer, then switch back to the document we already created, and then once again paste. This also comes in as a separate layer, and I will just make sure that this is behind or underneath the door layers. And then if I place it down here, we just have to make it smaller. So use the free transform tool, reduce the size, and align it to the area that we need. Something like that. Don't forget that we can also flip with the transform tool here on the top. I can flip it horizontally, check which part of the image is more interesting. And I feel like this rock formation is a bit more dramatic. And also there's a little bit more sun on the top. So that adds some contrasts, which looks nice. So I'm going to just hit Done and zoom out a bit. Now you can see how quickly we managed to put together this composition from three images. And pretty much solely relying on the most basic selection tool, the rectangular marquee tool. 28. Making Selections - Smart Selections: Now you might recall this example that I created a selection of the girl and separated her from the background. Now the V I've done this is by using the select subject feature, which is probably the most amazing and quickest way of creating selections of complex details. So the way you can get to it is by again, double tapping on the selection tool that's currently active and there is the select subject underneath it. Now in this video, I'm going to concentrate on showing you this feature and also to other smart selection tools, the object and the quick selection tools. So let's see what happens if I tap on Select Subject. There is the selection and an amazing job. Now at first you might be skeptical that it will only work if the background is very different and very simple. But I will show you some complex examples. But even this I would say, is fairly complicated because we don't only have like a neutral background, it's actually a pattern in the background and also different colors on the floor and the wall. But let's see another one. If I go into maybe this one here, this would be much more complex to do because usually it's selections are based on color. But the tool that we're using select subject is much smarter than that because it is based on the artificial intelligence built into photoshop for iPad, which is also called Adobe Sensei, actually recognizes what's in the image so it understands what it's looking at. So if I choose Select Subject, even though the girl is wearing blue and the background is blue, is still managed to create a perfect selection there. Now of course, there's a few details like the gap between the arm and upper body should be removed. But I will show you soon how to do this. First, again, let's take a look at a couple of other examples. Let's see if it works with animals. So here's this cute alpaca or lama. I'm not sure which one it is. If I choose, Select Subject, we can see it's again going to make an amazing selection. Let's take a look maybe at a plant. Once again, let's choose, Select Subject. And here you will see that it makes a selection of the plant, but not the pot. So this proves that you can find images where it will be difficult for Photoshop to tell what to select as the subject and what not to select. Been. In these cases, you can start combining your smart selection tools. So it's time to introduce object selection tool, which is this one here, the second one from the Selection Tool Group. So once that's selected, it works very similarly to the Marquee Tool and the Lasso Tools. So it has its modes. And because I don't want to lose the selection of the plant, I am just going to draw a big rectangle around this part here and notice how it snaps onto the object. And if there's some details missing, I can just paint over it again or draw over it again. And it's going to find the edges really well. Now when working with the objects selection tool, there's actually an additional option for changing the style of it from rectangle, which is like the marquee tool to lasso. So we could even use it in less so mode and also switch to subtract to remove some details like this one here. And I don't have to be super accurate and it will find the edges for me. I can also go inside here and notice how it finds it quite well. If I feel like there's something missing, I can just switch to add paint over it and it will find those edges. But there is also another tool with which it's even easier to paint over areas that you can include or remove from the selection. And that is the quick selection tool, which is like a brush for selections. So if I select this third one here, this has a brush size which you can change by just dragging up and down on this number here on the left side. And I can make it smaller, something like this. Switch to add to selection. And then just simply paint over these details. And immediately again, it will snap to the edges because it continuously analyzes the edges and finds those contrasting details that define the object. So just like before, the smartest thing to do is to combine the selection tools. In this case, we combine all three smart selection methods. So we started with Select Subject and then refined it with the object and Quick Selection Tools. Now let's challenge ourselves and find an image that might be even more complex to select. Maybe this guy here, which we've seen before and we tried with the lasso tool. Let's see what happens if we use the subject selection here. So let's choose, Select Subject. And it will do a really good job. So we can have a look at it with the Quick Mask view. I'm just pressing F on the keyboard. And I can see it works quite well, but we're missing a few details. So what we can do is to switch to the Object Selection and keep it in add mode. And then just simply draw over this detail here. So the foot to be included also the heel here was missing. Maybe paint over it one more time. That's it. And then these details here around the body should be removed. So I'm going to switch to the Subtract mode. Paint over this detail, paint over these details here. And the same around here, and also around here and here. This is still not perfect, but we improve this selection a lot. And we could already start working with this and refine it at a later stage. So even when you have a more complex detail that you want to select a in front of a complex background is still works. But in some cases, you might think that the subjects select will struggle. And it actually does an almost perfect job like he had once again, we have quite a complex subject and also the background is quite complicated. But let's see what happens if we choose Select Subject. Once again, thanks to the artificial intelligence, Photoshop does a brilliant job on the section, Let's see with the Quick Mask or a white overlay. Yeah, I think this is almost a 100% perfection. So having these smart selection tools in Photoshop for iPad is a huge time-saver and it makes it really fun and enjoyable to combine images together. 29. Making Selections - Refine Edge (Coming Soon): Now you might recall this funny llama and the selection that we created with the subjects select feature. And although it does a brilliant job when it comes to soft edges like hair, grass leaves for, it's going to take an additional step to refine the selection. So if I switch to the mosque view now and zoom closer, you can see that it's already created a quiet, good edge, but this can be improved further and made much softer and more realistic using a feature called the Refine Edge. Now this currently is only available in the pre-release version of Photoshop for iPad. By, by the time you are watching this course is most likely going to be available in the public version as well. But don't worry if you can't see it because it's definitely going to be added very soon. So when you have a soft selection like this and you would like to refine the edge, just go to the More option here at the bottom and choose Refine Edge. Once you click on that, it opens up a completely separate workspace within which again, you can change the viewing mode. So we can set this to see it on black, on white, or overlay, or even black and white. So see the mask itself and we get a lot of additional options here on the right side. But most importantly, we have a tool, a brush with which we can refine the edges. So what you can do is to simply paint over around the details where you can see that there's more for visible. And I am going to switch to black and white just so you can see it better what's happening? So when I'm painting over around the edges, notice how it's introducing more of those details that we started to lose. So makes it much softer and more realistic. Zoom a little bit closer. So this was before. This is after. Once again, if I just do the same thing here, paint over it, we can see how it gets more refined. But the good news is that you don't necessarily need to paint over everything manually because you actually have an edge detection radius here on the right, which you can increase to maybe, let's say in this case around 20 pixels. And that immediately refines all the edges around this animal. So this was before, and this is after. You can even choose Smart Radius, which sometimes improves it even further, that usually works better if you have a combination of soft and hard edges. For example, myself, the hair would be soft edge and all of this outline of the shirt would be a hard edge. So that could work better with portrays. What we will see more examples of this later in the course. And there's a lot of additional options here on the global refinements with which you can further adjust your selection edge. But since I'm happy with the way it looks, I'm not going to make any further changes. I just need to decide what I want to do with this refinement. Do I want to set it back as a selection? Or I want to create a new layer based on the selection, or maybe turn this into a layer mask. Now, that's going to be the best option. To use. A layer mask means save your selection non-destructively. But because we haven't started using masks yet, I'm just going to stick with the selection option and I will press Done. So back in the document we can see that we have our selection and we could easily copy the Lama into another composition. Let's just say Copy layer and open another image like this one from where we can choose Paste. And there we go. We have a llama buddy here next to the girl. So we can see how amazing this selection is. So if I zoom closer, we can check all of those little subtle details that we managed to add with the refine edge option. 30. Making Selections - Select Similar: Sometimes you might want to make selections based on a distinctive color in an image, like in this example, we might want to select the t-shirt and change its color. So the feature that we will be using for this is called select similar. And it's very much like the color range feature in the desktop version of Photoshop. So all you need to do first is to indicate which color you are after. And what I'm going to do for this is to use the Quick Selection Tool. So the brush with which we can create a selection and just paint over this section here. It's a good section because it already includes some shadows and also the highlights. So it should be able to find all the similar colors even if they are not connected directly to this section. Because notice there's a couple of details disconnected because of the hair and also those stripes, The White Stripes around the shoulders. So let's see what happens if I go to the More option here at the bottom and choose, select. Similar. As you can see, it did a brilliant job and it even found all of those small separated details of it in the counters, of the letters in the logo. And also it found most of the details around the hair here on the left. Now of course, if I wanted to add a little bit more, I could just use the Quick Selection Tool and go through it. And also I could refine it even further, but I'm really happy with this. So now I can use it together with an adjustment layer. And this is also something we haven't done so far, combining selections and adjustments. What's going to happen is that the selection will be turned into a layer mask for the adjustment. So let's see this inaction. All I have to do is to tap on Add cleaved adjustment. And for this I'm going to use hue saturation. And that we can just simply start changing the hue around. And you can see how easy it is to adjust the color and maybe set it to something that works with the background or something that stands out a little bit more. And if you look in the layers panel, you can see that that is the layer mask that was created from the selection. So each time you create an adjustment layer while having an active selection, you will always selectively target only those details inside the selection. But the good thing about having a layer mask on an adjustment layer is that you can refine the adjustments area by using the brush tool. And this is a typical masking technique that we will talk a lot more about later in this chapter. But just as an introduction, I'm going to show you here. So I'm just going to zoom closer to this part where the selection wasn't perfect. And I will double-check that I have the mask highlighted. So once again, this is the adjustment and this is the mask. If we are looking at the compact view, we can just drag left and right to switch between the mask and the adjustment. And once we are certain that we have the mask selected, we can switch to the brush tool and make sure that we adjust the brush size to something smaller. So just like changing the brush size for the Quick Selection Tool, we are doing the same thing here. We are dragging up and down here on the left side. And we can also increase, decrease the hardness of the brush for masking, I prefer to use a hard edge brush and also the opacity. I prefer to set 200 per cent. So that's the third icon here in the middle that I also increase all the way to the top. Now if I start painting with black, that's actually going to remove the adjustment because black is for hiding details inside the mosque. White reveals and black hides details. So if I switch to white either here at the bottom of the toolbar or here in the Tool Options area. I can paint over that section again and you can see how quickly we restored it. Now let's try painting over these details between the hair. And once again, I can very quickly tidy this up thanks to the mask. So it's very similar to a selection method, but I don't even have to be in the selection view to be able to do this. And I'm literally just painting over these details and it makes it so much easier to refine this more complex section. So we created a very quick selection by using Select Similar and an initial selection that we created. And then once we have our layer mask, we can refine the selection further. I'm not going to finish this example, but you should take your time and practice using the brush tool inside the mask of this adjustment layer. 31. Making Selections - Feather: There is a feature called feather, which can be applied to most of the selection tools in Photoshop for iPad. And this can help us to create more software selection edges. So just to show you this, I'm going to select a detail first. The Rectangular Marquee Tool. Let's say something like that. And I'm going to press F on the keyboard just so we can see the edge of this selection. So as you can see, it's a hard edge selection. But if I choose, de-select and before applying the selection again, go into the additional options. I change this Feather value and increase it higher, and then I make a selection again. Notice that we will immediately get a softer edge. Now unfortunately, this is not something you can adjust while being in the selection. So you have to always start a new selection. But if I increase the feather, maybe all the way up to 300 and start a new selection. You will see once again the difference. So we get an even softer edge. Now, why is this useful? Well, there are several ways of using this. And in this case, I might want to add an extra glue to this lantern to create an even more magical atmosphere. I'm going to deselect this. And first I create an additional layer which is going to be used for the glue. And then instead of using the rectangular marquee tool, I'm going to switch to the elliptical one, and still I'm going to double-check my feather value, probably set it all the way to around 400. Now, I can start dragging from the center of this object. And there is a very handy technique if you want to start a selection from the center of the object, we have to do is to just hold down the touch shortcut in its secondary state. So notice when I drag it all the way to the edge, now, I can create the selection like this. And it's also going to constrain it into a perfect circle. So that works quite nicely. Something like that. If I want, I can also drag this around and find the best position for it. So I'm going to keep it somewhere here. Just so you can see I'm going to switch back to the normal selection and I can still move it around. By the way, when you are using the marching ends view, you won't be able to tell whether you have a soft or hard edge selection. That's why it's convenient to use a keyboard and toggle between the different selection views. So now that we have this selection ready, we can fill it in with a color and the color, I'm going to pick the eyedropper tool. I would like to sample something from here within the flame. So that's quite nice color. Now let's select the paint bucket tool and just simply tap inside this selection. Now before removing the selection, I'm going to create another empty layer. And I will reduce the size of my selection. So I will go to more transform selection is another feature we haven't used for so far. So this is not going to affect anything in the layers. This is just simply going to re-size the selection itself. So I can start dragging one of the corner points. And just like before, if I also hold down the touch shortcut, drag it to its secondary state, I can keep the transformation centered so I can make it roughly around that size. I will press Done here on the top-right corner, and we can fill this with a different color. This time, I'm going to make it even brighter, yellow. And maybe also a little bit closer to vide, something like that. And then tap inside the selection one more time. So flames usually get brighter as you get closer to the center where it burns the hottest. But what we have to do to make this more realistic is to reduce that opacity and probably also apply a blend mode. Now, I'm going to turn off this color first and just select the bigger glow. Now I'm going to reduce the opacity to around 50 per cent. But more importantly, I will change the blend mode to one of these options in the overlay category. I think hard light is going to work quite nicely, but we can check these other ones as well. Pin light is also really nice actually in this case. So maybe I'm going to go with that to see how it was before and after. I can just turn on and off the layer. And yeah, I quite like the way it looks. We can just reduce the intensity by reducing the opacity once again, before and after. I quite like this. And of course we can still use the Move tool and move this around. And also we could use the transform tool if we feel like it's a little bit too big, but I think it works quite nicely. So now it's time to do the same with the other glow effect. So this one again should be centered and then we will reduce the opacity, but then we will also use another blend mode. This time, we can check these other ones, like lighter color is usually also quite nice. But once again, we can try pin light or vivid Light. I actually feel like pin light, once again is the best. So I will just reduce the opacity. And this time I'm going to make it slightly smaller. Once again, using the secondary state of the touch shortcut, I can keep it in the center, maybe align it a bit and then press Done. So let's see without the two glow effects and read them both applied. So even simple features like feather can make a big difference when you are creating your compositions. And it's completely up to your creativity, how you are going to utilize it. 32. Layer Mask Basics: Now that we learned all the various ways of creating selections, it's really time to learn about layer masks. So because the best thing to do normally is to turn your selections into mosques to keep them non-destructive. So let me show you what this means and why it is so important. Here we have a really cool image with this skull. And thanks to the subject select feature, it will be a breeze to make a selection of this. So I'm just going to choose, Select Subject. And I mean, just look at that. It's almost a 100% perfection. Maybe there's a few little details here in the middle that we can refine, but I'm actually happy with this to be used as a layer mask. So all I have to do is to tap on this icon here on the right, which I call the Japanese flag. Or you can remember it also has a piece of paper with a hole in the middle of it. Now, what happened is that we hit all those details outside of the selection and we can only see whatever was inside the selection. But nothing is permanently deleted because they are all just hidden away by the layer mask. So what we can do is to select the mask here in the layers panel and then zoom closer. And by using the brush tool, if we start painting over details of v, The black, I'm just increasing the hardness and opacity of the brush. So if I start painting over details with black, I can hide them. If I switch to paint with white, I can reveal them again. So once again, black hides. White shows. So that's very handy and that really shows the non-destructive aspect of this technique. So I can get really close and refine these details, can zoom really close, reduce the size of my brush. And I'm using the pressure sensitivity of the Apple Pencil, which makes it much easier to get a nice refined edge here. So I can just paint over the edge, get rid of these details and so on and so forth. So I'm not going to spend too much time refining this. But you probably get the idea with simply painting with black and white. We are refining the mask and deciding what should be visible and what should be hidden. Now at any point, if you want to see the mask itself, you can double tap on the thumbnail of the mask, which can be useful to check the edge of your selection. And if you want to return back to normal editing mode, just double-tap again on the Mask icon. There is also a way to hide the effects of the mask by using the mask visibility icon here on the right. So with that, I can hide it or show it again. And that is a great way usually to prove the quality of your mask because it can get difficult sometimes to notice or spot certain mistakes, especially once you have multiple layers on top of each other. So the best thing is that once you have a mask, you can refine it as much as you want at, at any point. So even if you leave this document or take this layer into another document, you will still have the same mask save. So just to see how this works, I'm going to use the Copy layer option. Then I will go to the home screen and find an image, may be this one with the mountains, and then choose paste, which will bring in both the image and its mask. So I can just resize it by using the transform option, make it a little bit smaller. Place it somewhere here in the middle. That's a quite nice backdrop, works quite well with this image. But now, if I zoom closer and let's say I just wanted to refine this section here of my selection. All I have to do is to double-check that my mask is selected and that I use the brush tool with the black, which is going to hide the details and just simply paint over this edge. And then if I decide to remove this little detail here, I can go over it with black. But then if I change my mind, don't forget, you can always switch to white and then you can reveal any details that you removed earlier. Once again, I switched to black and just refine the edge one more time until it gets perfect. Alright, so that is masking in a nutshell, but we will learn a lot more masking techniques in the next lesson. 33. Layer Mask Techniques: We've already done quite a lot with masks and adjustment layers, but this time we will take it further and we'll learn how to invert a mosque and also how to use the gradient tool inside the mask. So we have a beautiful landscape photo here, but it is really overexposed and most of the details are just too bright. So sometimes that can be a deliberate thing that we create a high key shot. But in this case, I feel like a lot of detail is lost and also is just lacking that drama that we could achieve with a better editing. So what I'm going to use first of all is to adjustment layer. This time I'm going to use brightness contrast and I'm going to reduce the brightness. And immediately you can see how much better the mountains and the sky look with the adjustment. And I can also play around with the contrast. Probably just keep contrast close to the center. Just maybe slightly increase it to something like this. So let's see, without the effect and with it, it looks already much better. But notice how the details on the left side, the mountain and the trees are getting a bit too dark, so we will have to resolve that. And the best way to do it is by using the gradient tool inside the mask. So I'm going to select the gradient tool, which is by the way, is combined with the paint bucket tool. So you can switch between these two. Or if you use the keyboard, then you can press G and Shift G to switch between them. And once you have the gradient tool selected, just double-check that you have the layer mask highlighted. And then you can click and drag over the image. Now what happens is that you are controlling what's visible and what's hidden from this adjustment. So as I'm dragging over the image in different directions, we are always getting a different effect. So what I want you to achieve is to concentrate the adjustment on the sky and also to the snow details here on the right side. But try to keep it as they from the river and the mountain on the left side. So for this, what I'm doing is I'm using a diagonal line starting from the sky and going towards the mountains. Something like this. The good thing is you can keep redrawing the gradient and see what works best. But just so you can see what we created inside the mask, I'm going to double tap on the thumbnail of the mask. And you can see that the white part of the canvas is where the adjustment is visible, so why it shows and then the other side, the black parts are the hidden details. There. The adjustment is completely out of use. If we go back to the composition, we can check this by hiding and showing the adjustment. So really it is now a local adjustment instead of being applied on the whole image. Now to further Brighton details on the trees and the mountain, I'm going to add another adjustment layer, going back to the background image, choose Add clipped adjustment. This time I'm going to use levels. Once we have that selected, all I'm going to do is to drag the mid point towards the left side. And that looks quite good already, Let's see, without and red. But the problem is if, once again, if I use this adjustment on the whole image, it's going to again go back to where we started, that everything just gets too bright. So instead I just would like to target those dark areas. And to be able to do that, we can use the invert option from the filters and adjustments to turn the mask completely black. So once I do that, notice how the mask is now completely black, which means that it's not used or not active at all. But then to locally use the adjustment, I'm going to select the brush tool, maybe reduce the brush size and with a soft edge brush and white color selected, I can start painting over the details where I would like to see more brightness. So simply just go through the trees here and also the mountain up there. Now if I want it to be more accurate, I could create a selection first. But with this soft edge brush, it's actually okay to go over some of the details in the background as well. It's not going to make much difference. And there you go. I think that's all that we need it to do. So now we can check without the levels adjustment that we just created and we did together. We can also check the original image without either of the adjustments. And then once again, brightness and the levels added back onto it. And there's one last technique I wanted to show you in this composition. And that is, you can also detach the mask from an adjustment layer or also from an image when it's applied on it by selecting it and then choosing this little mask with the chain icon. Once you tap on that, it's going to detach it. And what that means is now if I use the selection tool or move tool, I can actually move this gradient around within the composition so we can see exactly where the border line is. I can refine it and maybe drag it a bit further down or further up until I find the perfect spot for it. Although it's a good thing to be able to do this, I highly recommend to attach the mask back once you are done moving it around, because you might end up moving the layer and accidentally the mask is going to be moving separately. So just to avoid these accidents, get into the habit of attaching it back once you are ready with the movement. 34. Clipping Mask: We've already seen how to use layer masks both for adjustment and image layers. This time, we will learn how to work with clipping masks. Now you might have already heard this term when we use an adjustment layer and connect it to the layer underneath it that we call clipping. But it can also be used between two image layers to demonstrate how the clipping mask works, I will first of all need to make a selection of this pot. Now, you might remember that we use this example and I showed it to you that if I choose Select Subject in this case is going to select only the plant, but not the pot. Mainly because the plot is very similar to the background color and it almost blends into the background. So that's most likely why it's not getting selected. So we can't really rely on this selection method. So instead of that, I am going to try to use the object select tool, and I will make a selection around this area here. Now, it did a fairly good job, but we just need to add a little bit more to the selection. So by having the mode set to add, I'm just going to select this section here, a little bit more there, and that looks good. And then also a little bit further up here. So you can see we can very quickly get a very accurate selection on the pot. But I actually want, need the top part of the pot, only the side. So to remove from this, I'm going to again switch to another selection tool, the Elliptical Marquee Tool. And I will have it set to the Subtract mode. So that's the second mode there. And then I can just draw over it and remove this top section. Let's say something around there. So once again, this example shows that combining selection tools is usually the most effective way to get to a selection that you can work with. So I would never rely on a single selection tool. It's always a matter of coming up with the best combination. Now that we have our selection ready, I would like to copy these details from this image onto another new layer. And the way we do that is by going to the additional options in the taskbar and then choose Copy layer, and then create an empty new layer, and then choose Paste. If I now turn off the original layer, we can see that on that new layer we just created, we will only have those details that were included in the selection. But to create a clipping mask, I will also need another additional empty layer on top of that. So I'm going to add one more layer, and I will use this new layer and the layer underneath it to create the clipping mask. So there's a handy shortcut here on the right side. If I tap this icon, is going to connect them to each other and the arrow pointing downwards. It's the same icon, what we already seen with adjustment layers, but all we have to remember is that if we work on this empty new layer, which is clipped to the layer underneath it, it's going to only allow the details to appear within the boundaries of the layer underneath it. So it might sound a bit complicated, but it's easier if I show it to you. I'm going to use the brush tool and just simply paint over this area here and also go a bit further down. So you'll see what happens is that although we are working on an empty new layer, It's visibility or it's active area is restricted by the layer underneath it. So with this method, we can very easily trace around the edges here as well. Just under section. Nicely. Decorate this pot. And then once again, maybe just draw one more line here at the bottom. The best thing about this is it's completely non-destructive. So we can separate the layer that we use for painting and also we can remove the clipping if we decide to with the same icon that we use earlier, we can take the clipping feature off. That way the two layers get completely independent and see how these lines are now completely free and not restricted anymore. But once I clip it back on again, then they will be connected there. Also, if I decide to move this layer around, I can use the Move tool and simply move this layer, but not affecting the boundaries which is defined steel by the layer underneath. We will see several other examples of the clipping mask in the upcoming chapters. So by the end of this course, you will get really familiar with how to work with them. 35. Creative Project 2 - Flying Turtle: Now that we've covered everything you need to know about Selections and Masking, it's time to practice. So in this lesson and the next one, we will combine multiple images together to create creative compositions. First, we will start making a selection on this turtle, which will be quite simple with the subjects select option. So let's just choose Select Subject. And it does a really good job on here. There might be a few details that we can refine, but I'm happy with this to start working because what we will do is instead of separating our selection from this image, we would just turn it into a mosque to keep it non-destructive. So we'll just click on the Japanese flag icon here on the right, which turns the selection into a mosque. We can see our thumbnail here on the top right where the layer is and everything is ready. So we can actually copy the whole thing into another image, which I'm going to do by going to the taskbar and choose Copy layer. Then going back to the home screen, I will open up this other image that I had prepared and I'm going to paste the layer in. The best thing is that it comes already together with its layer mask. So if I make this smaller, we can see better what's happening. I'm also going to rotate the image around the bed. It gets slightly smaller and I think around that size will work maybe a little bit smaller. So the whole idea of this composition is to make this look like it's a giant flying turtle. So I'm going to press Done. So now that it's set up, first of all, we need to make sure that the colors match because of course the turtle was underwater. It looks a bit weird at the moment. We need to make it look like it's in the sun. So first, I am going to use one of the adjustment layers. I think the best one to start with would be color balance. So let's select that one. It automatically creates the clipping. So it will only affect the layer of the turtle and not the background, which is perfect for us. So I'm going to increase the reds and also increase the yellows. And probably that's all we can do with this adjustment. But then let's add another adjustment layer. Don't forget, you have to always select the image which you want to effect. And then choose again at clip adjustment. And this time I'm going to use hue saturation. And with that, I am going to turn on colorize, set the hue probably a little bit closer to these warm tones here on the left side. And I think the saturation and lightness is actually fine the way it is. But of course this is a little bit overpowering. So I'm going to reduce the opacity to something around there. I think that looks quite nice. Now, maybe one additional adjustment withheld because now by using this latest one, the hue saturation, I feel like the details are getting a bit washed out, so we are losing a bit of contrast. And to make sure, again, it matches well the background, we need to also match the contrast, not just the colors. So I will again select the image layer, choose Add, Clip the adjustment, and then choose levels. And to increase the contrast with levels, or we have to do is to drag up the black point and drag the white point down, something like that. Maybe a little bit more on the black point. And it's starting to look really good. Now I can just go back to hue saturation and maybe increase the saturation a little bit there. Or so. Maybe we can go back to color balance and further adjust these colors. Maybe a little bit less yellow now and a little bit more red, and also maybe just a little bit more magenta, something like that. So what I normally do is when I have multiple adjustment layers is to check each of them. So that effect, turning them off one by one and checking what I achieved with each of them. And you can see how important that levels adjustment was. One other thing that you can also check is what happens if you change the order of your adjustments. So putting levels on top of the other two adjustment layers makes a huge difference as you can see it. But I think it was better where it was originally. I actually prefer this setup. It works quite nicely and I think it almost looks perfect. Now, there's one last thing that I want to add here and that is the cast shadow. To make it really look like this turtle is flying or hovering above the beach, we need to create that nice cast shadow on the beach and on the water surface. So for this one I'm going to do is to select the mask which was created earlier on, and then go into the additional options in the taskbar and choose load as selection. Once we have that ready, we can create a new layer. And I will put this layer above the beaches layer, but below the turtles layer. So here I will generate that new layer, and I will also rename this shadow. And then Viola have the selection active. I'm going to use the eyedropper tool to pick a color from the background, something that's similar to the shadows of these trees. And then once we have the color ready, I will switch to the paint bucket tool and fill in the selection. And we don't see it yet because it's under the turtle. But I'm going to tap the select and use the Move tool to be able to reveal the shadow that we created. So that looks great, but don't forget, we need to set this layer to multiply, to blend well with the background. So from the blend mode, we choose multiply. And I will also probably reduce the opacity a bit, something like that. And then to emphasize the distance, I'm going to also add a Gaussian Blur, blur out the shadow. You might remember when we created the cast shadow for the girl in the previous chapter, I already explained that the further away the shadow gets from the objects is casting it, the more blurred out it looks. So for that, I'm going to use Gaussian blur, and I will probably use around maybe 20 in this case. I think that looks good. We can increase it even further, but I think that it's going to work quite well. So I want to make sure it's still visible, but much more blurred out. So I can now press done and I can just find a good place for it. Of course, we should also observe the current shadows in the background, so that should be our reference point. But in this case I feel like if I put the shadow this way, might not work the best, but I quite like the way it looks on the water. So I'm just going to leave it here. And that's all I wanted to achieve with this composition. But most importantly, everything is set up completely non-destructively. And that means if I want to, I can go really close and refine my selection. So for example, if I select the mask that we had created with the Select Subject option, now we can check whether it is accurate or not. And I can see around the neck, it's not actually doing perfect job. So we can refine that by going back to the mask itself and use the brush tool with white painting over this section here. And then I can use also the touch shortcut to temporarily switch to painting with black, which I can remove these sections. And now once again, let's check the mask and now it looks much better. And maybe around the head as well, we can refine it a bit more. So I'm just going to paint over this section here. Zoom more closer, holding down the touch shortcut, and maybe making my brush size smaller just to allow me to work more accurately. I can refine these edges. And you go, that's all sort it looks better now. So that's why working non-destructively and especially using masks is so important. Since you don't have to refine your selections at the beginning, you can always do it at the very end once you are happy with your composition. So this can save you a lot of time and allow you to experiment with different compositions and only fiddle around with small details and time-consuming refinements. Once you are a 100% sure that you are working with the right combination of images. 36. Creative Project 3 - Floating Island Part 2: In the previous lesson, we've seen already how we can combine images together and come up with a creative composition. This time, we will combine four images together to create this cool floating island composition. To get started, I'm going to select the image which is going to be our background. And then instead of copy pasting other layers into it, I'm just going to use the place options. So select the image icon from the toolbar and choose Camera. Roll. Select the image with the mountain and the forest. And I'm just going to make it slightly smaller, something around this size and think it's going to work, then press Done. And now that we have it placed here in this environment, we can already start working with this. But just to make things easier, I will already bring in the other images that we will need. So I will need the balloon, which we can also make smaller. I'm just using both of my hands, so we gestures. It's easier to quickly make things smaller just by pinching it. And then I press Done, that's there. And then one more image we will need. And that is the lighthouse. Once again, it can be smaller, reduced in size, something like that. Now, since we have the quick way of making selections, select subject, I'm going to already use that here on these two images on top. So I will go into Select Subject, which should do a really good job on selecting this lighthouse. Then I just tap on mask here at the bottom. We can also use the icon on the right. It doesn't really make any difference. And then I will just put this to the side. And then from the layers, I'll select the balloon. Once again, select subject and Mask. Alright, but what I will do is to swipe the mosques to the right so I can see the image thumbnails. And I will actually hide these two layers. So currently, I will mainly work with the image where we have the mountains and the forest. Now to create this imaginary floating island, we will invert the landscape and move the mountains underneath the forest. So first of all, we need to make a selection. And once again, I will use Select Subject, which most likely will select the majority of the mountains. And I think that's already good. Maybe we can just increase it a bit with the objects selection tool. I'll just select this section here, maybe a little bit more of that. And we can also use the quick selection tool to just paint over this section so we can include more details. I think that's good. And we don't need these details here on the right so I can hold down the touch shortcut and remove these sections by just simply painting over it by holding down the touch shortcut. Now we can turn this selection into a mask by clicking on the icon here on the right. But then I will also need to make a duplicate of this layer, which will be used for the forest. And to be able to do that, we need to swipe again, have the image selected, and then go into the additional options, choose Duplicate layer on this new layer, however, I will swipe back to the mask and go into the filters and adjustment options and choose invert, that is going to invert the mask. So if I move this around, you will see it shows everything but the mountains. So that is great. But what we need is to only show the forest. So what I can do very quickly is to use the brush tool, set the color to white, increase the brush size two, fairly big, and then just very quickly paint over the sky. And these details here on the right. So this way we have the forest on a layer, and underneath it we have the mountains on another layer. What I'm going to do now is to use the transform tool and flip the mountains upside down. Then press Done. And now we can just start aligning things to each other. So let me just zoom out a bit and then select the forest, move that down. And I think that's a fairly good alignment. We can probably make this slightly bit smaller. I'm just using again, pinching, resize and a line press Done. Now to make things easier, I'm going to move the forest underneath the cliffs layer. That way I can align it a little bit better. Something like that will work. I want to make sure we can still see this tree here in the foreground. But then now, to make things easier, I'm going to switch to the expanded view of the layers. Now I can select the mask for the forest layer and using the brush tool, I am going to refine the edges. So first I will paint with black so I can hide the details, something like that. It's just refine the size. Okay. Around that detailed looks okay. Then here on the right side as well, we just hide a bit more of the forest. That the background. Yeah, That's roughly what I need. I want to create an interesting shape, but then I will switch to the other mask with the mountains. And I'll start to remove some details here in the foreground, just so we can reveal a bit more of this grass. And then holding down the touch shortcut, I can go back and forth Removing, adding just to create an interesting edge detail here. Yeah, something like that. Looks good. Or so. I will remove a bit more details here on the left side. And then once again switch to the other mask or so removed from that. Trying to create a realistic edge here on the left side, just trying to define that tree line. Okay, So that looks quite good. We can once again do the same thing here on the right side. I will just remove a bit from both layers. And then we'll forget that working with mosques is completely non-destructive. So we can always come back and make changes if we don't like some details. The beauty of working this way and working non-destructively. I quite like the way it looks already, but let's not forget that we need also a mountain in the middle of this island, floating island. And that's actually something that we can reveal from the forest layer by simply painting over it with white. I can find that detail that we can use here in the middle. So this mountain detail will be perfect for us, something like that. And since it's comes from the same image, It's doesn't even need color correction because it's already matching the same colors. And it's generally a good idea to try to limit the amount of images you use in a composition and also try to match the lighting conditions. So don't try to combine images when some of them were at night, some of them are doing the day, or some are in rain, others in sunshine. You will struggle a bit more to combine them. While here you can see I already have a really good match with both the background and these details. Especially because these two layers, the forest and mountains, are originally from the same image. So all I have to do up here is to use the touch shortcut. And then very quickly paint over the sports just to get rid of that white detail there. And maybe with a smaller brush, I can refine the edge a bit more, make it more interesting thing that looks quite good on the sides, I can introduce some more details once again, make it a little bit more believable around the edges. And it's really fun to paint mountain details. You can really be creative with it. I think that's fine. And then maybe on this side here we can introduce a little bit more of the trees, once again, building up this terrain. And on the left side, I can remove a bit more of them once more just to create a more interesting edge. Add a bit more rocks on this side. And let's see from a distance. Yeah, I think that looks quite nice. The only thing I'm a little bit worried about is the left side looks a little bit weird here. So I'm just going to add some more Three detail back. And even maybe some more detailed here. Just to balance things out a bit better. Yeah, that looks already better. Now we need the lighthouse and the balloon. So let's turn on first the balloon. That one is the easy one. We can just simply move it here on the left side and maybe make it a bit smaller like that. Now we could always move this behind the mountains and the forests, which would be also an interesting composition, just to show you, we can move with behind it easily. So that could add some additional depths in the composition. But I actually prefer it floating somewhere around here. But then let's bring the lighthouse in the composition. I am going to flip it horizontally with the transform tools because I feel like that lighting works better, mainly on the clouds in the background. I can see that the light source, so the sun is on the right side, plus also the shadows here on the mountains or these rocks at the bottom or on the left side. So on the lighthouse, we should also try to match that lighting direction. But what we also need to do is to select the mask, use the brush tool, and just very quickly paint over these bottom details with black. Now, what you can also do to create a more interesting edge is to switch to a different brush. If you double tap on the brush tools icon, you will be able to choose all these default brushes that come with photoshop for iPad. And what I think would work quite nicely here is the mixed splatter. So let's select that. I will zoom closer and make my brush size smaller. So when I start painting, you can see how different this looks compared to the previous techniques. And I tried to replicate how leaves would look like. So you get a more varied edge, then be the hard edge brush, something like that. So let's take a look at it from a distance. I think that worked quite nicely. Maybe a little bit more detail here on the left side. 37. Creative Project 3 - Floating Island Part 2: Now to make this composition look more realistic and believable, even though it's a floating island that we're talking about, we should try to integrate these layers to each other. Now to make this work, first of all, I'm going to select all of these layers. So I'm holding down the touch shortcut, selected all four additional layers, and I will put them inside a layer group. Once the group is created, we can add an additional layer mask on it. And this is going to be a shared mask between all the layers inside it. Now you can't have multiple layer masks on a single layer, but you can have additional masks by using layer groups. So this way, we could have our individual layer mask and this shared mask on the layer group. And you will see why this is useful. Once I zoom a little bit closer here, I can use the same brush that we used before. So this is the mix splatter brush set to black color and probably a bigger brush size, something like that. I can start painting over these buttons, details and see how immediately if feels like the clouds are coming in front of these details. So I can do a little bit more here on the right side. And maybe over here, just to create the illusion that this island is really floating in the sky. Now the reason I use the separate group mosque or shared mask for this effect is that it can easily be deactivated independently from the mask that we have on the mountains layer. Using this type of techniques of multiple masks affecting layers can really make a huge difference, especially once you get to these more complex compositions. Now, let's turn the mask back on. And to make things even more realistic, I'm going to include one adjustment layer for the mountains. So I will select that layer at the bottom and go into additional options, add clipped adjustments and choose levels. And what I'm going to use this for is to add more shadow details because the mountains, regionally we're above the landscape, not below. And since now they are below, they will get less sun. So the shadows should be much more darker. And generally, all these rocks should be darker than what we can see here on the top. So what I will do is to increase the dark levels and also maybe reduce the output level to something like that. Let's just see how this looks from a distance. Yeah, that definitely looks better. Maybe we can also move this mid point a little bit to the left side. So this was before. And this is after. Definitely more realistic. But I feel like not everything needs to be darker. It's still good to show a few highlights and brightest spots here because they are still above the clouds so they should get some sun. So what I will do is to have the mask selected, use the brush tool. And maybe this time I'm going to double-tap and go back to the original hard brush. And using black with a smaller brush size, we can start painting over some details that might be a little bit still too big, and also maybe a softer brush will work better. So that way I can just add some highlights here and there, especially details that are closer to the ground level, something like that. So this side, I think especially this edge here can be with so brighter because that's where the sun is at. Even all of these parts here. And I think that's already much better. And just as a final touch, I am going to add some additional Cloud details on a separate empty new layer, which will be on top of all the other layers. So I'm just going to call this one clouds and switch back to the same brush that we used before. So it was the mixed splatter. And then sample a color from the clouds. And then start painting over these details here. Maybe make the brush a little bit smaller. Yeah, that will work. It's a really cool cloud brush or it works really well for drawing or painting clouds as a one cloud there. And then we can maybe have one behind a lighthouse as well. I'm really playing with the depth here just to build up more depth and to make the clouds more realistic. I will also sample colors from the bottom of the clouds in the background by using the secondary state of the touch shortcut, I can switch temporarily to the eyedropper sample, a color like these more bluer tones. And then I will paint a bit of blue tones here, just underneath the cloud. And then also the same for this other one here. So that just adds a little bit more volume to it, makes it more realistic. But then of course we can also once again sample a little bit more brighter details and just go over it one more time. So this is without one of the clouds, other cloud. And altogether, if I hide my panels, this is what we created by combining four photographs into a creative composition. And the real fun of using photoshop for iPad is still yet to come, because in the next chapter we will learn about retouching images. 38. Spot Healing Brush Tool: Photoshop is probably best known for retouching images. And photoshop for iPad also offers the most important retouching tools, the Spot Healing Brush and the clone stamp tools. Now in this first video, we'll take a look at the spot healing brush, which is probably the most intuitive tool that you can come across when it comes to retouching. So the first thing I'm going to do is to create a new layer on top of this photo that we will be working with. And the reason for creating these blank layer is so that I can keep my retouching independent from the photo. This is the non-destructive way of retouching, which allows you to see before and after results of your work at any time. And it also makes it much easier to refine the details that you retouch. So without any further delay, let's zoom a little bit closer here. And although I love this photo, I would like to get rid of these distracting details, the wires and cables and maybe a couple of additional details here further down on this empty new layer, I am going to use the Spot Healing Brush tool. And this tool has a couple of options here, the size of the brush and the hardness of the brush. Now I prefer to use a soft edge brush and also a fairly big brush size when I'm painting with it. But also make sure you check the additional options. So of course, if you are using an Apple pencil, you would want to use the pressure for changing the size, which will allow you to work more effectively and accurately. And then also make sure you turn on sample or layers that is required to be able to work on a separate layer. So now that we have all of this setup, we can start painting over these details and the changes will appear once you let go. So you will have to wait a bit and then you will see it updating. So we can go over these details as well. And you can see how quick and easy it is. Of course, here with this image, we have a fairly simple background, almost like a completely blank white wall. So it's a good way of practicing this technique, but sometimes it can get more trickier than this. And we will see a few more examples in this course. So you can see I very quickly got rid of all of those details. And while I'm at it, I'm going to also paint over this one here. And maybe one more time. Sometimes this can happen that a detailed doesn't disappear straight away here. So you might need to go over it a couple of times. And then also this detail here at the bottom, we can remove. And I think that all looks perfect. Now let's see, without the layer, if I just turn it off and turn it back on once again, before and after, definitely looks a lot better. And whenever it comes to refining photos, I recommend to do the retouching first and after that, apply the adjustments that you wouldn't normally use. But in these cases when you have an extra layer which you use for retouching, you just have to be careful not to use the clipping option. So let's just see how this works. If I go into the additional options and I choose Add Clip adjustment, then maybe let's pick vibrance. And with that, increase the vibrance level. Notice how this is not really affecting the image. Only the retouch details to fix this, all we have to do is to remove the clipping. I'm going to click on the thumbnail of the adjustment layer and then remove the clipping with this icon here. So now if we increase maybe a little bit the saturation as well, you will see exactly what this did. And I remove it and put it back, we really improve the intensity of the colors. And then on top of this I'm going to use another adjustment layer. So once again, go back to selecting one of the image layers, choose at clipped adjustment. This time I'm going to use levels and once again select the icon and remove the clipping. Now I can adjust the white point just to make all the details on the world much brighter. And then also the midpoint we can move probably a little bit further to the left. That also cleans up the wall a little bit even more. So now we can see once again without levels and we'd levels together. So my recommended setup is to start with retouching and then add your adjustments without slipping. Or you can also select the both of the layers, the retouching an image, put them in a group, and then you can clip your adjustments on the group. This is also a good setup. It doesn't really make any difference. It might just keep things a little bit more organized this way. 39. Clone Stamp Tool: The clone stamp tool works very similarly to the spot healing brush, but instead of automatically sampling and replacing details that you are painting over, you will have to sample a certain specific area and then paint over the unwanted details with that. So it's almost like a copy paste brush. So let me show you how this works. Once again, I'm starting with a new layer, so let's just create that. And it's good to get into the habit of naming your layers. Normally I would call this retouch or changes. And now that we have the layer ready, we can double-tap on the spot healing brush and select the Clone Stamp tool. First of all, in the additional options, make sure that you have all layers selected or current and below, if you have additional layers above, you're currently selected layer and you don't want those to be included in the sampling, then you can use current and below. But most of the time I would stick with all layers, is basically going to copy and sample whatever is currently visible. Now you can decide to use the pressure for size and opacity, or just one of the two. The size is definitely recommended, but opacity is also quite useful. So the harder you press the pencil on the iPad, the faster the sample details are going to appear. So besides these options, we have the brush size, just like before, which we can adjust. Then we have hardness for the brush. Again, I prefer to keep the edge soft because that just blends details better into the background. And then we also have opacity for this brush, which I'm going to keep 100 per cent for now, if I zoom a little bit closer, I can sample from this image by using this little icon here on the tool options. Let's say we set the sampling on the head of this little lamp. Then I'm going to go a little bit to the left and start painting. So what happens is that I can paint a clone here on the left side. Now notice that the main giveaway for this image to be manipulated is the background. The details of the graphs that I sampled are more brighter green then on this part here in the back. So what I can do is to reduce the brush size and start painting again. This time, I will be a bit more careful not to go so quickly or what you can do. And this is why the pressure for the opacity is useful. You can paint over very gently, just so you can see which are the details that you need. And only after that you can zoom closer and paint over one more time. Because the good thing about the Clone Stamp Tool is that once you started painting, the reference point and the new area that you started painting on is going to stay connected. This record aligned cloning, which you can actually change in the desktop version of Photoshop here currently in photoshop for iPad, there's no way of changing this behavior. But most of the time you would work with this technique anyway. I'm just going to go over these parts here. And you can see that it looks much more realistic now. And we don't have all those different colors around the lamp. Now you can also sample by holding down the touch shortcut and just click on an area in the image. Then go over here and I will start painting over Islam to make it disappear. So cloning obviously is not only for duplicating details, but it's also for removing unwanted details. And when you are sampling, you have to always make sure that you align your sampling. And it's always good to sample from an edge, even when there's no visible edge, you can always find a detail. Here I would sample from an area that's relatively free of any details, but also on that very edge where I can still see the grasping sharper. So that way I can align it here on the right side and start painting from that point. I can even paint a little bit harder here, just so I can see how it's going to look like. But notice that it's starting to copy the other anymore. So if I paint further, you can see what's happening there. Now this is why it's so useful to work on a separate layer because I don't have to undo this step. I can just switch to the eraser tool and just paint this detail out. Now the eraser tool also has a softness. I can even go over the edges around here just to paint a little bit back and then continue with the clone stamp tool, maybe paint over a little bit around the edges more time. So that is also quite convincing. I think it looks quite good. And the main thing I'm missing currently from photoshop for iPad is the Content Aware Fill option, which would be much faster for removing these details. In Photoshop for desktop, we also have gone down ever move with which this whole procedure of moving the lamp to the other side would have been a single-step, actually two steps, making a selection and then dragging it over. I am pretty sure that the content of our features from the desktop version will be introduced soon to iPad. But until then we have the clone stamp and the spot healing brush with which we can pretty much do anything, even if it takes a little bit longer than doing it on the desktop version of Photoshop. 40. Retouching - Landscape Photo Part 1: Now that we learned the two retouching tools in Photoshop for iPad, it's time to use them for something more creative. First in this lesson, we will create a nice landscape shot combining two photos. One that I took in Yosemite National Park, and another one over here, which we will bring in soon. But first of all, I would like to adjust the aspect ratio of this panorama a bit because I feel like it's a little bit too wide. So I'm going to use the crop tool and we'll drag it in so we won't see the road on the left side. But then I also feel like we need to straighten it a bit. I think that looks already better. And then I am going to also just crop a little bit from the right side. Some of these trees I will keep because they look nice and I think that's good. So now we can just accept it. And then let's take a closer look. Now here's another difference between the desktop and iPad version of Photoshop on the desktop when you're cropping, you can automatically fill in the gaps that are created in the coordinators using the Content Aware Fill feature. Here, we'll have to do this manually. So maybe let's start with that. I'm going to open up the layers in the compact view. I'm going to create a new layer. So this is the one that I'm going to use for retouching. Then I will switch to the Spot Healing Brush Tool, keep it soft edge, also sample or layers and pressure is on. Let's see how big is this brush size. Yeah, I think that's going to work. So now we can just paint over this gap here and let Photoshop fill it in with neighboring details. That looks good. Let's paint this over. Maybe a little bit more here as well. Yeah, that looks fine. And then a little bit over here as well. Okay. That looks great. Now we can go to the other corner, and I will just very quickly paint over this with one long brushstroke and any details where we can still see the edge. I'm just going to paint over again beat here as well on the right. But now we have those gaps filled so we can check before and after. And I think it works really nicely. Now there's a couple of details in the background, mainly these cars that I would like to remove. So for this, I'm going to reduce the brush size and zoom a little bit closer. Start painting over them. Now notice that if I only paint over one car is going to actually sample another one and replace it with that. And that's because the Spot Healing Brush Tool samples automatically and it tries to adjust itself to the neighboring details. So if we do this in one swoop, like so, it's going to do a much better job. Now in some cases, you might be actually better off using the clone stamp tool to tidy up the automatic sampling of the healing brush. So what I'm going to do here as well is now that the cars are gone, I can tidy things up a bit by switching to the clone stamp tool. And I'm going to zoom a little bit closer. Use the touch shortcut. Select this point here in the image. Yeah, I think that will work. And then start painting over details. So I'm going to make sure that we're not sampling that tree because that would look repetitive. So it would be obvious that it's been sampled. Yeah, that looks already better. And then these details are actually looking okay here. But then once again, I would probably sample from all the way here on the left and then align it to these details. And then just go down and replace all of these details here. So that looks already much better. Let's see before and after. And see how the combination again of the two retouching tools gives you the best results. So once again, don't just rely on one. Always try to find a good combination. I think we can just use the clone stamp tool here as well, or we can switch back again to the Spot Healing Brush. Just quickly get rid of these details. And then once the scene is ready, we can switch back to the clone stamp tool to refine things. I think it actually worked quite well, but we can still fix it a little bit. Most important thing is that you should avoid having hazy details. There's always makes it obvious that there was some retouching done. So I rather fill up these details here and have some more trees or so here at the bottom. I think I'm going to sample again from this left side, maybe all the way from here. And then go back and just add some darker details just to create a little bit more sharper edge there, just where the forest and the grass meets. Okay, so that looks much better. Let's see once again before and after. Much nicer. And then maybe there's just a little bit more here on the right side. I'm going to paint over that car and then just check if there's anything else. Maybe these two people, you can remove them. And I think that's all good now. 41. Retouching - Landscape Photo Part 2: Now that we're done with the retouching, it's time to add our adjustments. But just like last time, I'm going to put these two layers into a group first. And then I can add the clip Adjustments because they will affect both the retouching layer and the original image inside the group. So let's start with levels. Just like in the previous examples, I would like to increase the contrast a bit. I'm trying to be careful not to make this bottom part too dark. But what we will be able to do is to create a little bit of a selective adjustment. So now that I've set this up, Let's see, without and with, yeah, I think it definitely looks better. We can use the Brush tool and increase the brush size a bit, something like that. And the black color selected, I can paint over this shadow detail here in the foreground. That way we don't increase the contrast here. We only increased it in the background. That looks much better or so maybe on the trees we don't need it. So we can remove it from here. And now we can check how it looks before and after. So we're only affecting the background, not this dark foreground, but let's continue adding another adjustment. I will again select the group and then choose Add Clip the adjustment and vibrance this time. Now with vibrance, we just increase the intensity of colors, maybe a little bit of saturation as well, and that makes things really pop. So without wine brands and with this adjustment added, now, I'm really happy with how everything turned out, but we're missing one important thing. There is not a real focus point in this composition. Yeah, The tree here in the foreground looks cool. This dead tree, but it's still not as effective as having something more interesting like an animal. Now this is of course something I wouldn't do as a nature photographer, especially if I wanted to submit this to a contest. But for creative photo editing, we can do whatever we want. So why not spice things up a bit? I'm going to use the Add Image option and choose it from the camera roll. So I have a really nice shot here, and I made sure that this matches the direction of light from my shot. So I'm just going to make it a bit smaller. Yeah, something like that will work. We'll see what size is best for this shot. But I'm just going to press Done. Zoom a little bit closer. And then now we can select the deer. Just choose, Select Subject. And let's see how close it's going to find it. I think again, it's just astonishing how accurate this selection is. So I'm just going to turn it into a mask. And like this, maybe what we can do is to make it look like the deal is behind the tree. So I'm going to use the Move tool and put the d or somewhere around there. I think that will be a nice placement for it. But of course we have to match the perspective because now currently this would be a gigantic the year. So we definitely need to make it smaller. I'm just going to reduce the size to something like that. That looks a little bit more realistic. Yeah. Maybe put the deer just directly behind the tree here. Yeah, that looks good. Or we could also have it here in the grass. That looks quite nice. And if we zoom out and look at the whole composition together, it's also worth considering the placement in terms of the whole image. And there is a very useful compositional technique, the rule of thirds, which means that when you are using the crop tool, you can see these vertical lines and they are the division lines that divides the whole image into equal thirds. And if you manage to get the full code point to one of these vertical lines, or even better, close to these intersection points here, then you will get a really good composition. So it always works and it's been used for centuries by painters, photographers, and all kinds of artists. So what I'm going to do is to move the data a little bit to the left, just so it aligns with that third. And we have to do for that is to use the Move tool and just drag the deer back there where I originally thought we can place it. I think this is a good spot for it. Yeah, somewhere around there. Now because the selection that we created was turned into a mosque, we can also go back and select the mask which currently is already selected. And then I will just use the brush tool with a smaller brush size, something like that, and start painting around here just to make sure that we get a right alignment. Holding down the touch shortcut, I can temporarily switch to painting with black. So that's going to hide these details. And I think that looks quite convincing. Now I always like to hide the mask and show it again, because that helps me to really spot any mistakes that I made. But I think in this case, it looks already quite good. Yeah, I can't really see any issues with this. And if we zoom out, I think the rule of thirds really helped. So once again, the dealer is placed exactly in one of those thirds. And I don't think we even need any adjustments because it already works quite nicely. That's all that I wanted to do in this composition. And in the next lesson, we'll, we'll take a look at a portrait retouching workflow. 42. Retouching - Portrait: It's time to use what we already learned about the retouching tools on a portray. And I'm going to zoom a little bit closer. So we have this beautiful lady and we are just going to do some very minor adjustments because I am not a big fan of the unrealistic beauty retouching. I like to keep everything look as natural as possible. So technically we are just doing the same thing as before, creating an empty new layer and then using first the Spot Healing Brush Tool. Also having all the options the same way as before. I'm just going to zoom closer and make sure that we have a smaller brush size. Normally I would start retouching blemishes on the skin like these little pores here, we can just go over and remove a few of them. And I wouldn't remove every detail like freckles, they are actually part of someone's personality and that makes them unique. I would leave those alone. I would just concentrate on these small imperfections around here. Just go over some of them. Has a few here. Just be careful not to remove those lines, the lines that define the smile. I think it's getting better already. Refine it a little bit further down here as well. I would highly recommend not to use Gaussian blur on skin. Again, if you are losing the texture of the skin, is going to look really unprofessional and just not realistic. This is what you want to do. Very gently refine details. Now, of course, if you are using the desktop version of Photoshop, you can do a lot more with frequency separation and more professional techniques. Here, I'm just going to rely on the most basic but still professional workflow. So I think that looks already much better. Maybe on the chin we can also refine these small areas. Okay, so let's take a look at this before and after. That already looks much neater. And at the same time on the same layer, I'm also going to just refine a little bit these stray hair details, which has once again tidying up a little bit around here. Face. Also we have some hair detail coming in on this side. I'm going to remove a little bit more here. And these are a little bit trickier to get rid of. So I need to go over them a couple of times until they disappear. I could also use the clone stamp tool, but I think that looks already much better. So there's no need to switch. Maybe this part here I will refine as well. Just tidy it up a bit. Okay, that looks much better. Now once again, let's see before, after. These are subtle differences, so you might not even see it, but via zoom closer, it might help to see them. Okay, then the next thing I would do is to soften the dark circles under the eyes. Once again, less is more and you really have to make sure that you don't overdo this because it can also look very unrealistic. So this I would actually do on a separate layer which will allow me to be able to go back and forth and adjust the opacity of the layer because I'm going to use the same tool. And first is going to look really overkill, but then I'm going to refine it. So let's see what happens if I paint over this one here on the right side, then refine it a bit. I pretty much can get rid of it completely. But that's not what the final result is going to be like. Okay? And then over, so go over it here on the left side. Couple of times until it disappears. Alright, That's not too bad. However, I don't like details here. So I'm going to switch to the clone stamp tool. And I'm going to reduce the opacity of the Clone Stamp to somewhere around 20, 30%. And then I will sample using the touch shortcut from probably around here on the skin. And then start painting over on this area maybe with a little bit larger brush size. Okay, let's see. Yeah, that looks much better already, more natural. But also notice that now the size of the pores are too big for that area that we are painting over. So I might pick another sampling point, maybe from around here and just paint over it with that section as well, just to mix it in. And I think that looks already better. So if we turn off this layer that was before, and this is after. But now comes the important part to go to the preferences on this layer, we can reduce the opacity and then create a nice transition between the original details and the retouch details. Something like that, I think looks already enough. So 45 per cent that was without it, and that's it. Maybe we can increase it up to around 60 per cent. But I wouldn't go any further than that because after that is going to just look really unrealistic. Once again, without and with the softening. So less is more trying to be subtle and that will keep things more natural and realistic. Now, there is another really cool technique called contouring, which is very similar to how you would do makeup, which helps to emphasize the outline of the face. Or it's almost like reshaping the face by adding some shading on certain areas. And to be able to do this, we will again need a separate layer. And on this new layer, I'm going to use the paint bucket tool and choose a 50 per cent gray color. Now, the best way or most accurate way of doing this would be to use the HSB or hue saturation brightness values where we can set the hue to 0, the saturation to 0, and the brightness to 50. That's the exact 50% gray that we needed. And when this, we just simply tap on the image and fill this layer completely with 50% gray. Now you might think that this didn't really help much with the portray. But if you then change the blend mode to overlay, then this layer seems to disappear. Because what happens with overlay blend mode is that anything that's 50% gray will be transparent, but anything darker than that are brighter than that will start to be blended into the layers underneath. So it's a very cool blend mode. And sometimes if it's too intense, you can also use soft light just to show you, again, you don't see anything from that 50% gray layer with either of these blend modes. Let's just stick to overlay for now. And I'm going to use the brush tool and increase the brush size because I like to work with a fairly big brush for this technique and making sure that it's also said to soft edge. But then we also need to make sure that we are using something darker than 50% brightness. So we can just drag it down a little bit here on the left side. Something like that. Twenty-five percent brightness will work. And with this, we can start painting over the image. Now will happen is that it's still too intense because the opacity of the brush is too high and it looks like we burnt skin. So that's definitely not what I was after. I'm going to reduce the opacity of the brush probably to around ten or 20%. And then let's start painting. Maybe I'll brush size is a little bit too big as well. Alright, so what I'm doing is building up the effects. So painted over a couple of times around there. I'm going to also paint here, but I need to reduce the brush size and also the opacity even further to be able to get even more accurate with the area that I am targeting. So I'm contouring or adding shading on the bridge of the nose. Then I'm going to add a little darker details just under here, under the eyebrows. And also I will add a bit more on the right side. Okay. And also up here around the forehead? On both sides? Yeah. I think that looks already quite good. Let's just see, without this layer. And we did once again before and after. Now, I feel like there's a couple of areas which got a little bit too dark. So for this, what we can do is to switch back to the 50% brightness and just simply paint over those areas that we would like to refine. So once again, this is a completely nondestructive technique. So you don't have to undo or redo, you just simply adjust the brightness of your brush. And then with that you can paint over. So as long as it's set to 50%, that's going to reset that area on the layer. But we can use this same layer not only to add shading, but also to add some highlights. So to brighten up some details. Now for this, we have to increase the brightness. Go up a little bit. And I'm going to brighten up a little bit here on the forehead, also on the nose, maybe here, on the chin and here, and here as well, slightly. And I will also go over the eyes. I want to make the eyes brighter just a bit. Doesn't have to be too much. Something like that. I think that looks already better. We can maybe go over the lips a little bit, make them more shiny, stand out from the face. So if I turn off the layer, this is before and this is after. That's contouring added to this photo. So just so we can see what we achieved here, I'm going to select all these three layers, put them into a group, and that way we can quickly turn off everything. So I will hide all the changes that we've done and then show it again, once again before and after. So the most important lesson here is to try to keep things as subtle as you can and less visible. You can keep your retouching. The more professional and better is going to look. 43. Creative Project 4 - Photo Restoration and Coloring: If you've never tried restoring or photographs, you're really missing out because they are a lot of fun, especially if you use Photoshop on the iPad with an Apple pencil, because it's really great fun to see how old photos come to life on your screen. So just like before, I'm going to start with an empty new layer and start with the Spot Healing Brush Tool. And we will zoom a little bit closer. I'm going to adjust my brush size and then simply start painting over all of these blemishes, stains, and details that needs to be removed. Just have to make sure that we don't accidentally start copying any details. And that's part of the face or the jacket. But you can see very quickly it's already getting better. So all of these scratches we want to remove. Sometimes if you see it being copied, some scratches, that means that you need to make a bigger area selection with the Spot Healing Brush Tool. And I'm going to just paint over these very quickly as well as one stain that's gone. Now, we have another one here that's gone as well. And the edge, we can make sure it stays straight. But if for some reason it gets messed up, we can always switch to the clone stamp tool and then just use the sampling on the edge, maybe around here. And then just paint over these details that way we can get the edge back where it's supposed to be. Alright, now let's switch back to the spot healing brush tool. And I'm just going to tie some of these details. I'm not going to go through everything because it's quite time-consuming to do this. And especially if you want to do a good job, you need to be patient and use a small brush size and really go over tiny details. So just to show you how I would normally do it is I would literally spend time going through these tiny as details very slowly and carefully to make sure that I don't lose any important details. So this is actually the way you should work. Now with a massive brush, especially once you are painting or retouching over the important details like here on the main character in the short or the subject of this photo. But you can see already that we actually managed to cover quite a lot in a relatively short amount of time. And all of these details we managed to remove and refine. So let's just see now that we done a fairly big area how this looks. So this is what we achieved and this is what was before. So already quite a big improvement. I'm just going to focus a little bit more here on the face because that's obviously the most important part. And tidy up his beard and his hat and these details around it. Okay. Detail there needs to be fixed. Okay. Looks good. This one. And then we are pretty much done. The face as well. So it didn't take long at all. Okay. Let's see how this looks now. So this was before, and this is after. Much better, a lot of improvement there as well. Now, to make this more interesting, instead of you watching me fiddling around with these small details, I wanted to also show you how you can colorize these old photographs. So this is also a fairly simple technique, but it's time-consuming. So the way you set it up is by simply creating a new layer, which is going to be useful coloring. But most importantly, you need to set the blend mode for this to color. So once that's set up, whatever color you paint on this empty layer will be blended onto the image underneath it. So let's see how this works. Once I select the brush tool, I can pick a color for his jacket. Let's just say it's going to be brown. So I'm going to pick a nice brown color. Maybe something like that. A little bit less saturated, like this, I think will work. Then I will also make sure that we have a full 100% opacity soft edge brush. And then we can start painting over these details. Maybe a little bit smaller brush. There you go. We are now coloring the photograph. And I think this works quite well. This color. So we can paint over very quickly these areas. By the way, at this point, you can also use the selection, select subject, which should be able to find the details as long as you have the original image selected. I'm going to choose the Select, select that layer at the bottom. Go back again, choose Select Subject, and then we get the right selection. But now, don't forget to switch back to the coloring layer and then you can continue painting with the brush tool. But the good thing about having the selection is it's going to keep the painting within those boundaries so I don't accidentally paint over the background. So with this, I can very quickly go over these details. And by the way, if I wanted to add a color to the background, I could also very quickly invert the selection with this option here at the bottom. So now everything else is selected, but not the person in the image. And if I wanted to use maybe a blue color, maybe a little bit brighter than this, Something like that, I think looks quite nice. The background, just a little bit of color here on the right side as well, just so we can see it. And I'm not going to go any further because I would like to let you explore these techniques and create a fully colored version of this photo or one of the other ones that you can find in the exercise files. So I have found retouching and I will see you in the next chapter where we will learn about working with type. 44. Using the Type Tool: So far we only use photos to create our compositions, but photoshop for iPad also has the type tool, so it allows you to work with texts. In this chapter, we will first learn the basics, and then we will start combining texts with images in creative ways. So first of all, it's the type tool that we need from the toolbar. And with this, you can either attacks by simply just tapping somewhere on the canvas or click and drag, tap and drag to create a text frame, the technical terms that we normally use is point type and paragraph time. So to create the first one, or we have to do is tap somewhere on the canvas. And while we are editing this, there's a handy shortcut here with which we can move the text around. And then if you have Bluetooth attached keyboard, you can type in something. And just like in other applications, as long as you have the text selected, you can make changes to it by using all the values here on the right side in the Layer Properties panel. So we will take a look at all of these character and paragraph formatting options later. But for now, I'm just going to press on, Done here on the top right. And that will go back to normal editing mode. So we can still use the move tool, of course, to move this text around. And also you can use the transform tool, increase the size of the text if you want. This is not going to mess up anything. So it's still going to be editable either by using the Type Tool you can select the text again, select individual words and make changes. Or an even faster way to get back to editing the text would be to double tap on the thumbnail in the layers. So if I double tap on this one, I can get back to it. Or if we are using the expanded view of the layers panel, we can also double-tap there on the thumbnail. Now of course you can have multiple texts layers in the same composition, and that's what I'm going to do. Now. I will just leave this one, move it up a bit, and I will actually lock this layer. We don't accidentally move it around or start editing it. And that's also a good practice, especially if you are putting texts layers close to each other. So I'm going to lock it. And then using the type tool again, I'm going to now click and drag to create a text frame. Once this is created, it will automatically be filled with the placeholder text, the Lorem Ipsum Copy. And if I reduce the font size, you will see that it's always going to fill in that space. And of course, we can again type in text or even paste from other applications. But what's more important is that you can also have more texts within a text frame that's currently visible. In these cases, what we call an overflow will be indicated by a little blue dots appearing on the bottom center point of the text frame. So that control point, which is currently white, notice is going to turn blue once we have more texts, what can actually fit into the frame? So if I press done all that excess text, which is currently in overflow state is still there, we just can't see it. So if I double tap on this layer thumbnail, I can go back and reduce the font size. And once I've done that, the little indicator is gone. And so it means that we can see all the text. Now when you work with texts frames, you can of course, reduce the width these frames, and you can also increase the height if you need more space, you can again use the little widget here on the top to move it around. And you can also rotate text frames that's also available for the point type. So it's not just for the paragraph or line type. And when it comes to work with paragraphs, don't forget that you can use these formatting options. So left, center, right align. But then also you have justified texts with the last line aligned left, center, or right. Now, as a general rule, if you are using justification, you should have your text frame via either to avoid those big gaps, which we also refer to as reverse in your copy. So something like this looks better. But now I am going to use the free transform tool and just reduce the size of the text frame. And notice why that is a useful technique to switch between using the paragraph everything and the transform tool. Because with the transform tool, when I'm resizing the text frame, I'm changing the text size, but I'm not changing the formatting of the text, so it's not going to flow back and forth. So I can ensure that visually the text is not going to change. And that is pretty much all you need to know about how to add text into photoshop for iPad. 45. Adobe Fonts Integration: When you have text selected from the layer properties, one of the first option that you will find is to change the font and the text. We can find all these other font options. And if you are looking for something very specific and something maybe that's not listed here. You actually have the option to add Adobe fonts by using the Creative Cloud app. Now we've seen this app earlier on, but I'm going to show you how to use it, or we have to do is to go into the fonts option, which is here at the bottom right. So once that's selected, we can already see a couple of recommended fonts, but we can filter these fonts based on what classification they belong to. So maybe if I'm looking for something more like a script font, I can select that and immediately I get lots of options for this. If I want to find something even more decorative, maybe I can select this last option. And once again, lots of unique, interesting fonts here. And we can also check here on the top, which are the installed fonts currently on the iPad from Adobe fonts, which we can also remove or uninstalled from here. But let's try a new font. I'm just going to go back to OF fonts and maybe pick one of these nice fonts here. Maybe Scarlett would, it looks quite nice. So let's install this. And of course you just have to remember the name of the font to be able to easily find it within photoshop for iPad. So after a little bit of weight, you will get a notification. And the app is asking you whether you want to install the font. That's just accept that. And then soon we will see it being installed here in Creative Cloud. So now we can switch back to Photoshop, go back to our document, double tap on the thumbnail to select the text. And then from the font selector, or we have to do is to scroll down and find scarlet board. So that's how easy it is to add new fonts and start working with them in photoshop for iPad. 46. Formatting Text: So we've already seen in the previous video will have to work with fonts. But I wanted to show you all the additional options here in the layer properties when at texts layer is selected. So if I pick another font, for example, Myriad Pro, which has multiple styles, these styles can be selected from just directly below the font selector. So we can switch between these easily. And below this we have the font size, which we also seen earlier. But then we have another very useful attribute, tracking, which is going to increase or decrease the spacing between the characters. Now, this can be extremely useful, especially if you're working with a certain type of font where there's a lot of space between the characters. Or maybe you just want to space out at title and create a little bit more breathing space between your characters. So this is a useful feature for that. Next feature is similar lending, but that is used for the spacing between lines. So for this, I am just going to double-tap on the paragraph copy that we have here. So by using the lead in, I can increase or decrease the spacing between the lines. And there is actually a feature further down here called auto lending, with which we can automatically get a very good spacing setup, which will always be based on the font size. So it will create a comfortable reading experience. Now going back to the other texts layer, I'm going to show you the next feature by just having one of these words selected, maybe title, by double tapping on a word. By the way, you can select that individual word or triple tapping can select everything within a line. And if you have a paragraph copy like here, you can tap four times in a row to select everything within a paragraph. Sometimes it might be just easier to highlight the amount of texts that you need to work with. But it's good to know these little shortcuts as well. So coming back here, I'm just going to double tap and select this first word. By changing the baseline shift, we can increase or decrease the vertical placement of that selected word. So essentially we are pushing the text up and down with this attribute. Then we can apply vertical scale and horizontal scale again on the selected text. And these are things that I would really suggest to avoid using because it never looks professional when you start stretching text. So I'm going to even cancel out of this just so we don't even see a bad example. And then going back, we can of course change the color of the text. And it can be again, a single character or a single word. It doesn't have to be the whole texts layer. So if I just change this to a different color, we can see it's updating now. And then we also have further options for changing the selected text to all capitals or set it back to the normal sentence case. We can also use small caps were capital letter characters are used but in the size of lowercase characters. Or if we want to be more technically accurate, these are uppercase characters reduced to x-height. Besides this, we also have options like superscript and subscript, underline, and strikethrough. Now it's worth noting that the opacity and blending is not available while you are editing the text. But once you press Done on the top right, then having the whole texts layer selected, you will be able to get to these options here at the bottom. Now I can easily reduce the opacity and I can even apply blend modes or ADD adjustments onto the text layer. Now that we've covered everything that you need to know about working with texts. In the next couple of lessons, we can start using them for creative compositions. 47. Integrating Text into Photo: In this lesson, we will learn how to integrate topography into a photo by using masking and a couple of additional creative techniques. So first of all, I have already the text layer prepared. And notice that I don't have anything selected, just simply the text layer itself. And already that allows me to search for the right font that will work with this composition. So this is a very fast and easy way to quickly check which font will work best. So I can really just tap and go through all of these font options. But I think it's either feature that will work here or maybe Dean condensed might be even better. And I actually think that's the one that I'm going to settle on. I will increase the size of the text. And also notice that the font size is already at the maximum value here. So in these cases, don't forget to use the transform tool which won't mess up anything and it will still allow you to make changes to the tax so it stays editable even after doing this. I'm just going to make it around this size. I think that's going to work quite nicely. And at this point I would normally work on the kerning, which is similar to tracking, but this is when you specifically target individual letters and the spacing between them to create an optically pleasing and balance look on the text. This is especially important when you have all caps on big titles like this. So the way you do this on photoshop for iPad is by using the type tool and selecting the letter where you want to make the change. I'm just going to zoom a little bit closer just so you can see it better. So notice that between RNA, there's a little bit too less space. So they got squeezed to each other a bit too much. So now having our selected, I can use the tracking value here on the right to distance them from each other. So I can set up roughly like that much space. And then I'm going to reduce the space between P and a so I can drag it closer to that letter. Yeah, something like that works. Then between DNI, we can also reduce the spacing a bit. And let's zoom out and think that's all that we need it to do. So let's press Done and we can see before and after. So I'm going to just tap with two fingers, tap with three fingers just to go back and forth, seeing before and after. So it's a very subtle difference, but these are very important to get used to when you work with texts, especially as I said, on these large titles. Okay, so now it's time to make a selection of this building here in the foreground. For now, I'm going to hide the text layer and I will switch to the photo in the background. And I actually feel like it might work better if we flip this whole image horizontally. So I will use the transform option and use flip horizontally, then press Done. And also I feel like the whole composition would look better if we remove a couple of unwanted details of distracting details from the image. Remember when we're retouching, it's always best to do it on a separate layer. I'm just going to create that blank new layer and then switch to the spot healing brush tool, making sure that it has the sample all layers on. And then we can start painting over details like this one here in the foreground. Now, I will increase my brush size just so I can very quickly go over this whole section here and refine it if we need to. Until it completely disappears. That looks great. And then let's come to this section here as well. I will just paint over this detail. Once again, I feel like it was a little bit of a distraction. And that looks better. Same thing for this one here. And once again, I'll just paint over a few times until it's completely gone. And then this tower in the background as well can be removed. Okay, So a much neater composition already. Let's see, before retouching and after. But now let's select the photo at the bottom and I will zoom closer and make a quick selection using the Quick Selection Tool on this area here from the building, I need to make sure that I'm not selecting any details from the sky. So I will switch to the rectangle tool, set it to subtract, and just remove this whole section up here, and maybe also this section at the bottom. So I have a fairly good amount of selection from the wooden pieces of this structure. And now I can go into the More Options. Select Similar to find all similar details in the composition. And I think that worked quite nicely. Maybe I can add a little bit more detail here at the bottom. Again, I'm just using simply the Marquee Tool and make an additional selection further down. I choose, select similar again, maybe add a little bit more here as well. On the right side, choose, select similar, and it's starting to find more and more of these details. But if I want, I can even just go over quickly these details and add them manually. However, I don't think our texts will come all the way down here, but still it's good to have this ready. Okay, I think that will be enough. And also notice that the birds are selected, which will actually come in handy for the technique we're going to do. So now all we have to do is to create a duplicate from this layer. So go into additional options, choose Duplicate Layer. But then we will also turn this selection into a mosque. So either by using the icon here on the right or the other one at the bottom, we can create that. And if I double tap on the layer mask, we can see exactly what's included in this layer. Whatever it is, white is going to be visible and whatever is black is hidden. Now, I don't need this whole frontal section to be included in this layer. So I will actually use the brush tool, set the brush size really big, also set the hardness to maximum. And by setting the color to black, I can just very quickly remove all of these details. I don't want these to show up in my composition. So I will just very quickly remove them. And I could do the same with all the other details, but I think actually they will be useful for the composition, so I will keep them all in. So I will just double-tap again on the Layer Mask to go back into normal editing mode. And I will now reveal the text layer, position it a bit closer to where I need it. Yeah, I think somewhere around here will probably work. We might need to make it a little bit bigger. Once again, I'm using the transform tool and aligning the text to something around there. And then comes the interesting bit. We will now move that mask layer on top of everything else. So I will grab this and drop it on top of the whole layer stack. And that's the composition that I was after. So to create this type of integration between the text and the image, we selected those details that we want it to have in front of the text. And then by placing the texting between this mask layer and the original fully visible background photo, we could create a cool composition, but it doesn't need to stop there because we can also add a layer mask on the text layer itself. If I use the mosque icon, that will just create a blank mask. But on this mask, as we've learned in the previous chapters, we can use the Brush tool and very quickly paint over details. If we have black as my foreground color, we can take a vein from details like here. I can just hide a little bit of these details. And then by either holding down the touch shortcut or just wiping over the colors on the left side in the toolbar, we can go over and refine this edge. I will use a very small brush size. Let's see how close I can get. Yeah, that looks quite good. Maybe holding down the touch shortcut, I can reveal a bit more. And then once again hide them away until this mask looks perfect. Yeah, I think that's great. Obviously, one very important thing that you have to keep in mind when you do these type of compositions is to make sure that the text is still legible. So that should be the most important thing. And I think it's still legible and it looks quite nice in the center of the frame. But maybe one additional thing that we could do is to reduce the visibility of this layer. So if we go down here at the bottom, we can reduce the opacity. Or another thing that we could do is to change the blend mode to maybe overlay, and then also change the color from white to something sampled from the background. Like this. Or let's again select the eye dropper. We can even pick a brighter color from above, something like these blue colors or the color of the mountains, maybe even colors from the sea. I think actually something like this color works really nicely. So once again, it's important to make sure that the text is legible. So we can always just increase the brightness a little bit more. But the blending again helps to integrate the text into the environment even more. 48. Creative Project 5 - Out of Bounds: In the previous lesson, we've seen how to integrate text into a photo. This time we will do the opposite and place an image into a text layer. So to get started, we will use this image and I'm going to actually get rid of all the other layers from here. So I will select these and delete them. I will keep the texts layer and I'm just going to change the font because currently this font is not available on my iPad, so I will switch to something very similar. I think what you could use is Futura and set it to all caps and then work on the kerning if necessary. I think in this case is actually looks quite good. I will tap Done, zoom out a bit and maybe resize the whole thing until I get the right placement of the letters. So I would like to have these trees visible for that. I'm going to resize it a little bit further, and I think that's going to be a good placement. So I can now press done. And I will select both of these layers using the touch shortcut. And with the move tool, I'll just move the whole composition closer to the center of the canvas. Now that we have the two main assets ready, what we will need to do first is a duplicate layer from the image. So I will set that up and I will move this duplicate layer on top of everything else. Here we will have to make a selection of the trees, especially these trees in the foreground. So let's see whether these subjects select option will be able to select them. And unfortunately it's not doing a great job this time. So instead, what I will do is to make a small selection by using the Lasso tool on an area where we only see these green details. And then try the select similar option. And that did a much better job already. So maybe just these few details here in the background we can remove by setting the lasso tool to subtract and then paint over these. And I think that's all that we needed to do. Yeah, I'm happy with this. So now we can apply this selection as a mask on this new layer. So we already start to see a similar kind of integration that we had in the previous composition, where we can see almost like a sandwich. So the text is in the middle and then we have the two image layers on top of each other. In these techniques, mainly what you need to pay attention to is not to move one of the image layers without moving the other one at the same time, because then you will end up having an alignment issues there. But I think that's all we needed here. And now what I will do is to use the image layer and move it above the text and create a clipping between the two of them. So use the icon here on the right that's going to clip it onto the text layer. And if I hide the image on top, this is how this looks. So the image is clipped inside this editable text layer and the layer above it, I am going to apply an additional mask for hiding the details that I don't want to see similar to before when we use two separate mosque, I would like to also keep this original selection intact in case I need to reveal and hide details back and forth. So we would need that additional mask, which if you remember, we created by using a group. Now, because we only have a single layer selected, we won't be able to group it. So in these cases here on photoshop for iPad, what you can do is to just create an empty new layer. And with the touch shortcut, select these two layers together and then group them onto this group, add the layer mask. So now we have the group mosque and the other mask inside. And at this point, if you want, you can even get rid of that empty layer. So it's an unnecessary step, but it's required in order to create the leaving group. So now I can go back to that new mask, the second mass that we created. And I'm going to use the brush tool with a little bit bigger brush size and set the foreground color to black so I can start hiding these details. So here at the bottom, I will just go over very quickly paint over all of these details. So everything's gone at the bottom, something like that. And then once we get closer to these details in the middle, we can decide what to show and what to hide. Alright, so I think here in the first letter, what we can do is with a smaller brush size, I'm going to hold down the touch shortcut and paint these details back. So we have those trees coming out. Then this tree maybe we can just paint out than come further here also, we can hide this tree. However, it's coming out of the frame there. So maybe we might want to keep it in. The only thing is I want to avoid having the letters blend to each other. So we might actually be better off removing this completely. I think that looks better than this one here can be visible. It looks nice. Also, this one, I think we can keep them. This one here on the right. I'm going to remove just so once again, we have a better outline. More legible text than that one can be visible. And this one I think we can show once again, just hide the edge a little bit, cut into debt with a smaller brush size. Yeah, it looks better. And then well, at this point I think we can just separate the two letters and then have the tree coming out on the left side of the S. And there's one more detail here inside the counter of the D where we can paint back these details. However, that might be making a little bit hard to read that letter because there's now hardly any counter inside it. What we can also do is to just make a little bit more space here. Maybe we then even smaller brush size just to go between the branches. That's just reduce it even further, something like that. Yeah, just paint inside. And as long as we have enough space, it should be fine. We can show a little bit more detail and some parts like here at the bottom. And let's see from a distance, I think that's already enough. And as a final step to tidy things up, we can add an additional blank layer at the bottom, which we can fill with a color. And this color can even be selected from the background, maybe something like this color from the image. Let's just fill in that background layer and then make it slightly brighter. Tap on it again with the paint bucket tool. And I think we have a composition ready. And the best thing about this method wants more is that it's completely non-destructive. So we kept even our masks separate and independent from each other. So by using that group mosque, we can easily go back and forth, hiding and showing the trees by the other mask makes sure that it keeps the trees isolated or extracted from that original background. So each mosque has its own purpose, but they are independent from each other. Maybe one last thing here that we can do is to create a nice drop shadow by selecting all of these layers, holding down the touch shortcut, I am going to duplicate them altogether. And this Duplicate Selected Layers, I'm going to merge by using Merge Layers option. So this created a copy with all of these details. And then I'm going to load this layer as a selection and fill it in with a darker color, something like this. But because there's all kinds of different colors here, we can't just use the paint bucket tool. We would actually need to use the brush tool with a very large size and just very quickly paint over all of this. That's good. Then choose, de-select, move this all the way at the bottom, just above the background color layer. Place it where we want to use it, and then use the blur option from filters and adjustments. Go assembler, reduce the blur a bit to something like that. And then also go into properties and reduce the opacity. You can always use the move tool to move it around. Decide whether we want to have it above or below. I actually prefer it below, somewhere around here. This is of course option also we can always check without the shadow. With it. It's completely up to you whether this is something that you want to use or not. I just wanted to show you this mainly to see how the Merge Layers option can be used for in some cases. So generally I like to keep my layers separate and I would very rarely used merging. But when it comes to creating additional effects like the drop shadow, it can be extremely handy. 49. Creative Project 6 - Joker Composition Part 1: I'm going to start with a new document and I will set this up as an A4 portray size with 300 ppi resolution. Settings are very similar to how I would start the document on the desktop. And I'm just going to click on Create now that we have our fresh new document, the first thing I'm going to do is to bring in some of the images, all of these you can find on the melanoma board and you can do composition yourself while you follow along. So I'm going to choose the camera roll. In this case, I'm going to go to the images I prepared. First of all, the main hero image is this one. I place it in and then I can resize it simply just by using gestures, something like that. For now we'll be fine. So I click Done. Now this is our first layer. We can see it already here on the top. I can tap to turn it off, turn it back on. Let's bring in the other images as well. So we will need these extra two poses. So there's this one which I really like. I'm going to just place that in and then while more again from the camera roll. And this is the other one that I'm going to use. So now that we have all these three images, I'm going to turn them off temporarily and I will work on the central image. First of all, let's get rid of the original background. And for this, I'm going to use a selection and a mask. So luckily we can create both clipping masks and layer masks. Currently there's no Vector Mask option, but this is already quite good. If I double tap on the Selection tool, I can see this for selection methods that currently we have the free form lasso tool, the Quick Selection Tool, the two marquee tools. So if I use the Quick Selection Tool, It's actually works very similarly to how it will work on the desktop. So I can just paint over details and you can see it's going to find more or less the outlines. Of course, we can also remove from the selection. And that is by using this little touch shortcut here on the left. If I press and hold it with my left hand, I can start removing because that's like holding down the Alt key on the keyboard. So I can refine my selection like this. And again, holding it down, I can't remove from it, so subtract from the selection, and so on and so forth. Now, I'm going to de-select this, but instead of using the Quick Selection Tool, I prefer to work with the Lasso Tool. Now, in the desktop version, I would use the pen tool and create a vector mask. But something very similar is what we can do here with the Lasso tool. So I'm going to quickly make a rough selection of Joker. And I am going to turn this already into a mosque, so the majority of the background will be gone. So we just have to click here on the Mask icon on the right. And that's already better. Now we can zoom closer and still using the Lasso tool, I am going to make a very quick selection here of this edge. Let's just go up and continue along the edge, something like that. Then switch to the fill tool or the paint bucket tool and make sure you have black as the foreground color. You can just swipe over them to switch between black and white, which is quite nice. I like that quick way of changing it. And then make sure that the mask is already created, which you can see here on the right side. So that little black and white square is your mask, which I can just also hide and show with the icon here on the right. So while the mask is selected and we have the selection, I'm going to use the Fill Bucket tool, tap twice on this selection and then choose the Select. Now, the reason I use it twice or tap it twice because it leaves a little bit of anti-alias edge of the first time, but the second time it completely fails everything. So let's just try this again using the lasso tool. I'm going to actually paint over or draw over this edge one more time. Okay, So just a quick selection there. Then using the paint bucket tap twice to show you that if I only tap once, That's the anti-aliasing it over, you can see there. And then I can get rid of that. Now, there is no option to turn off anti-alias at this point, only a feather, but the feather is set to 0 pixels. So I don't really have to worry about that. And I'm going to just tap on the select and then I would literally continue doing the same thing. So I'm going to draw maybe another section here just so you can see it. I can start drawing over this section and go up, make a selection, and use the paint bucket tool, tap once, twice, deselect. So as you can see, this is a fairly quick and easy way to create very nice refined edges or mosques. And the mosque is obviously non-destructive, which means that we can always bring back details or hide more of them if we need to. If you want to see your mask, you can double tap on it. So that's going to show you the black and white image where white shows black hides. That's the same way how masks works in the desktop version of Photoshop. Now I'm not going to spend more time on showing you how to do these clean edges, but I will show you what I would do around the hair because that's soft edge compared to the hard edges around the suit. So what I'm going to do is to switch to the brush tool. And if you double tap on the brush tool, you can also switch to different brush tips. So the one that I like to use for hair, I found this one the natural edge to be quiet good. With this one. When I start painting still on the mask with black color, it creates more like like painterly edge, almost like has a little bit of texture to it. I think this works quite well we'd had. So if I start painting around the edge here, I'm just going to paint over it with a smaller size. So I'm going to reduce the size here on the left. Just simply drag it down. And then you can see that it creates a little bit more rough edge, which I think works quite well for hair. So obviously these parts here would be more difficult. But even these, I think, can be selected quickly just by painting over it. So soft edges, I would use the brush tool and I'm using an Apple pencil on an iPad Pro, despite away is the 2018 iPad Pro. I find drawing on the iPad the best drawing experience. So that's amazing to be able to use Photoshop on the iPad and have this drawing experience that I'm used to. So once again, for soft edges like hair, I would use the brush tool. And for hard edges I will use a combination of the Lasso tool and the paint bucket tool. 50. Creative Project 6 - Joker Composition Part 2: Okay, So we jumped ahead a bit and we have the three mosques ready for all the three poses. So if I select any of these, I can still show how it looks with the background by using this icon here on the right. Again, this one as well. We can see nothing is lost at this point. So we have still everything, all the details on the layers. We just hit them with the layer masks. There's one thing I really miss, the current version of Photoshop for iPad and that is smart objects. So at this point, before resizing and rotating these layers, what I would do is to turn them into smart objects if I were on the desktop version. But unfortunately here we don't have them yet. I know it is coming or planned to be introduced later on. So in a future update, hopefully soon we will get it. But at this moment, we will have to keep on working like this. And the reason why I'm really missing smart objects is because by resizing and rotating these layers, I know I'm losing some quality, so I'm a bit more careful, but I already know the composition what I need to do. So I can just simply use the Move tool or select tool and I can move these layers around. So I'm going to put this one here on the left. I'm going to move this one here slightly down to somewhere around here. I think that's roughly the composition I used before. I'm just going to zoom out a bit and see if we need to move a little bit everything down. I think it's roughly in the right position. I'm going to select all three layers. When you drag right on the layers, you can select them all. And then using the Move tool now we can move them together, but also we can resize them with the second tool. So just go back. The second one from the top is the free transform tool with which we can re-size the whole thing a bit. I think something slightly even smaller will work for this poster. Yeah, something like that. I'm going to click on Done. And then now we can start adding some shapes. For this, I'm going to create a new layer. So tap the little plus sign here. And then on this layer again, I'm going to use the Lasso tool. And with the Lasso tool, we will draw the shape that we need. So I'm just going to try to draw it similarly to what I've done before. Let's try this again. Yeah, something like that. I could be in shape and I am going to fill this with a color. Now for the color, I'm going to pick color from the image for now. It doesn't really matter. We can change it later. That's going to be fine. I'm going to de-select this now, and I will move this layer further down. I think I have it somewhere around here. So just simply change the stacking order and then we can move this slightly down somewhere around there. Now the first thing that I wanted to do here is to create depth. We already have an indication of that by having this character here behind the shape while the other two characters are in front. To make this more interesting, the character on the right, so this one, I would like to have that clipped into this shape. So all we have to do for that is to create a selection of the shape. So we can do that from going into the menu and choose Load Selection. So that creates a selection based on the shape. This would be Command or Control, click on the layer thumbnail and the desktop version. But it's pretty much the same thing here. And then after this, I go into the layer on the right, select the mask. And I'm going to invert the selection here at the bottom, we can tap on invert. So now everything is selected about the shape. And now we can use the Brush tool, maybe make it a little bit bigger and just paint over around the edge. Now I'm going to change my brush back to the normal hard round brush. And then we can just get rid of all of that. So we are masking outdoors details. And this helps to make it look like the character on the right is standing within this shape. So we can now choose the Select. And I think we can move the main character down a bit. Something like that, is more similar to the way I've created before. Now, I would like to place a scene into this shape. So for that I'm going to bring in another image. So going into my album, this scene I think is a very recognizable scene from the movie. I'm going to just maybe get a bit smaller, Something like that. Tap Done. And then I'm going to place it just above the shape. Let's just drag this down just above the shape. And then this is the icon here on the right to create a clipping mask so I can turn it off, turn it back on. And what I want to do is to have Joker visible on the left, but I also want to see the guy on the right. So they were quite important in the whole story. So I want to make sure that they are both visible. And it's a quite nice way of having two interesting details within the same shape. But then have the characters in the middle divide the composition. But I don't want this to be too strong, so I don't want it to be in its original colors and we'd like to use a gradient on it. So first of all, what we can do is using these properties here, the layer properties, having this layer selected, I can change already the blend mode, maybe I can change it to overlay. Now, this is going to mix the colors of this layer with the colors of the shape, which could work really well. And at this point, I can select the layer itself and use a clipped adjustments or to change the colors. Remember I said the original colors doesn't really matter because I'm going to change it anyway. So Ed, clipped adjustment here in the Layer Properties and then choose Hue Saturation. Now notice that there's only a limited amount of adjustment layers here, not as many as what you would get on the desktop, but most of them are here. One thing I'm really missing is the curves, but hopefully that will be added soon as well. For now, I'm just going to click on hue saturation. And with this, I can start to change the hue. You can see already we can experiment with different colors. I think I'm going to go with something along the lines of that. Now at this point O, so I'm going to change the background color. I like to already set that up in the beginning. I'm going to use the paint bucket tool again. I'm going to tap on the background and I will actually change this to something a bit more purple, I think needs to be a little bit more desaturated. Maybe brighter. Yeah, I think that's quite nice. So what we need to make sure is that this shape is darker. Just go back to the shape and reduce the lightness. But also what I'm going to do is to reduce the opacity of the image. So the image doesn't have to be so strong and maybe even set it to soft light, okay, something like that. Maybe reduce or increase the opacity a bit. But then what we can also do is to add another layer, just an empty layer. This can be on top of the adjustment layer, can even be above the image. It doesn't really matter at this point. Maybe I can just put it above. And I'm going to use the brush tool and reducing the hardness. You can see we can create a very soft edge for this brush, make the brush size quite big, something like that. Now we can start introducing different colors. So what I have to do is to switch to a different color, maybe orange, and start painting over. Now it's too strong at the moment. We can reduce the opacity with this slider here. Just going to go down and then paint over it. That's quite nice, something like that on the top. Then we can make the color darker, something like this that we can paint around the edges. And that's already starts to create a bit more contrast. We can also introduce maybe darker purples around the edge. A bit bigger. Something like that. 51. Creative Project 6 - Joker Composition Part 3: So for now, I'm going to just keep it at that and we can already see how this is working. But I want to also change the colors on the Joker characters. So I'm going to do the one on the left first. I will select that layer. It's this one here on the left. So I'm going to create a new layer on top of that and I'm going to clip it. So I'm going to use the clipping option. And whenever you see the little arrow on the thumbnail, that's when it means it's clicked onto it. So now that it is clipped, we can use instead of the fill color or the paint bucket, we can switch to the gradient tool. This is quite handy that we have it here because with this we can create gradients and it's going to create a gradient between the two colors. So your foreground and background color. You can just paint over it and it will recognize the direction. And you can very quickly set it up to whatever you want. I'm going to use a different color. Maybe use something like this. Okay, that's more interesting. And then just reduce the opacity. Because I also want these to be a bit more faded, so I don't want them to be so high contrast. So something like this actually works quite well. But then we can also combine effects. So we can create a duplicate of this layer from the extra options we can choose Duplicate layer. Notice that this is automatically set up as a clipping layer again. And I'm going to choose multiply for this and maybe just reduce the opacity a bit. So that is quite good. Now, what we can also do is to add the mask on these gradients. So for example, if I want the face to be a bit more visible, I can tap on the Mask icon and then using the brush tool, we can paint over the face maybe with a smaller brush size, something like that. Actually, let's just make the opacity size bigger. Yeah, so notice how we can lift details and showed the face a bit more because I think that's quite important still. Yeah, something like that. It doesn't need to stand out that much. Now once again, I would do the same thing on all of the images. The one in the middle, I would keep almost with its original colors. For that, maybe I would just use an adjustment layer. I would go into add clip adjustment, use most likely hue saturation. But another cool one is color balance. I'm just going to show you how it works. With color balance. You can start adjusting these three sliders. And once again, this is very similar to how you would do this in Photoshop. So it works exactly the same way. You can turn off the luminosity option or turn it back on. That just helps to keep the same tonal values. And I think this already looks quite interesting. So if we turn off this adjustment layer that was the original colors, and this is the new colors. So it's almost like adding a bit of a tint to the layer. I would continue adding effects like this. But another thing that I would do at this point already start to organize my layers. So I would have separate groups for everything. And this is the main composition. So for this, we can just select all these layers. So I can hold down the touch shortcut here on the left and just tap on all of the layers here, apart from the background layer. And then I am going to click on the little Group icon here on the right. So create a layer group and we can call it jokers. Now another important shave that we have to create that ring or a circle. For that, I'm going to again create a new layer, just a simple empty layer. And then use the Elliptical Marquee selection tool. Holding down the touch shortcut, I can click and drag to create the circle roughly around that size will work. Now after you created the circle, you can fill this in with a color. Again, doesn't really matter what colors. So I'm just going to use the paint bucket tool, tap on it. And then what we will do is to click on the More Options. And I really liked the fact that they have this. There is the transform selection option here. Then simply pinch somewhere in the center of the selection. And with this you can create the ring. Yeah, something like that. Tap Done on the top right, and then hit erase. So that's how quick and easy it was to create this ring. Can use the selection tool and move this in place. So I think it needs to be somewhere around here. Maybe we can use the free transform tool, make it slightly smaller. And I think that's going to work. Now I'm going to already add to this adjustment layer, so add clip adjustment. And I'm going to use hue saturation. Let's just increase the brightness a bit. I'm going to change the color. I used a bright yellow, something like that. For now, it's going to work and I'm going to use the mask option. So add a layer mask on this using the brush tool, I'm going to set my opacity up and also the hardness all the way up. And then let's just test this brush out yet that's going to work. Now when you are using the brush, obviously you can just paint over it. And then with this you can make it look like certain details are in front or behind the circle. But to make it even easier, because we already have these selections saved as mosques, all we have to do is to find them, like with the main Joker character in the middle, I can select that mask and then go into the extra options and choose load as selection. Once we have that there, we can go back into the mask of our ring. And then if I were to paint over here, you see immediately it just deletes exactly the details from the arm. And this makes it look like the arm is in front of the ring. Also, we want the head to be in front of it. So we can just very quickly paint over that. And I will keep the other arm behind the ring to create this nice interaction between the ring and the character. But then I am going to make another selection. Now, I would like to make sure that we have the other Joe care selected. Now. I do the same technique, so Load Selection. And I think that's it. Yeah, Oh, the selection. Now we go back up here and also I want to make sure that we can see him properly. Then I would like to make sure that the ring goes behind this other shape. So I could also move the whole thing behind everything, but then I won't be able to create these interactions. So that's why I prefer to do this on top. Anything that I create as an interlocking shape, I like to keep on top and instead just use these mosques. So what I'm going to do is similarly to what I've done with the Joker characters, I select that shape, the bean shape, and I'm going to load that as a selection. Then go back to the mosque and just quickly paint over this thing here. So now what we need to do is to select the other gioco character on the left. So load that as a selection. Go up, paint over him. So he's also in front. And then I want this also to be behind the central character. Once again, I just load that as a selection and make sure I'm on the right layer style painting. 52. Creative Project 6 - Joker Composition Part 4: So we have the interlocking shape created. We started adding some adjustments. Now, notice that there is one issue with this selection in the middle, that the shoes are obviously not completely visible and that is because he was standing on stairs. Now the quickest way to fix this would be to actually paint in those details. So I'm going to create a new layer quickly and I'm going to use the Brush tool. If you use the touch shortcut and then drag to the side, it will become the eyedropper tool. So we can very quickly pick a color and then start painting. So I'm just going to go a little bit closer and make the brush size smaller as well. And in the settings I will make sure we have the pressure set and maybe also a bit of smoothing. So when I'm painting, it looks like this. One thing for drawing that I'm really missing is the ability to rotate the screen, rotate the view. That's also something that they plan to add later. So I'm really looking forward to that. I'm just going to put this actually on top. And then that way we can paint over it and blend it a little bit better. Okay, So this is just going to be a very rough drawing just so I can show you how I imagine having this quick fix. You already see that that looks quite good already. And then the other one, we have to do a little bit more work here. So I'm just using the brush. Then again, touch shortcut, pick this color, and then paint. Something like that. Now you could also use the clone stamp tool for this, but I just feel like I'm faster working with the brush tool. Try to imagine how this would look like. Probably a bit further out here. And then that needs to come out as well a bit more. Okay. So I'm not going to waste too much time on this for now. I'm going to be just wrapping it up around somewhere around that. Also, if you hold down the touch shortcut while you are painting, that temporarily turn us into the eraser, which is really handy. So you can paint and then erase with the same tool. Okay, so let's see, without, and with this layer, I think it looks quite good. And I want to make Joker look like he's floating in space almost like he jumped up. So I'm going to create another layer at the bottom. And I will use the lasso tool and just draw very quickly, something like that. Feel that in actually going to separate layer, I forgot to do that on a separate layer. Fill that in with a color, then de-select, and then we are going to use this additional options here. At the moment, we only have two filters here. Gaussian blur and Invert. Invert will just invert the color. But that's not what I wanted. I wanted Gaussian blur. So I'm going to create this very soft shadow because he's up in the air so it shouldn't be too harshly edges of the shadow. And I'm going to wrap around there is fine. I can adjust the blur obviously. Just going to keep it around 70. Hit done. And I use the free transform tool and just squeeze this together a bit, make it a bit more flat, drag it down, and then reduce the opacity in the blending options. So there you go, that looks quite good already. Maybe one additional thing is to set this to multiply. I think it will blend with the background a bit better, doesn't make much difference, but it's still, I think, looks slightly better. Now of course, I can always treat this further, but for now, I think this will work. Now of course, we can always check how the whole thing looks on different backgrounds. So we can create a new duplicate of the background layer and we can fill it in maybe with a darker color. It looks quite nice with dark as well, but I like to have several backgrounds and then I'd like to experiment with that while I'm working on the design. Now, going back to the ring, there's an additional thing I wanted to do there as well. I'm going to select the ring, create a new layer, and this is already clipped onto the ring. I'm going to use the brush tool. And with the brush tool we will pick the original color, but then I'm going to change that color, make it darker, make the edges soft, make the size slightly bigger. And the opacity was, I'm going to keep low. Okay, I really liked this little selector here on the left with my left hand, I can very quickly adjusted. And of course, if you are left-handed and you draw with the left hand, then you can move that little selector to the right side so you can customize the location of it. But what I'm going to do here is to simply paint over this. Having the layer on top of the adjustment will work better. Let's make the size of the brush bigger. So what I'm doing here, you will see I'm just adding a little bit of shading with multiply adjustment layer. I think it works better. So I can create a bit of shading around these parts. So make it look like there is some shadow cast shadow around the ring. Okay. It's just very quickly. I'm not going to waste too much time here as well there. Okay. So without and with just a subtle little addition that now of course, if you feel like it's a bit too much, you can always reduce the opacity because once again, this is completely non-destructive. It's on a separate layer. One thing that I find not that good at this point is that we have here a very strange thing I'm going to show you. I would call this a tangent. So this point here, the problem with this is that we have our ring coming, and then we have this shape coming, and then we have the jokers. Trials are also in the same place. So this point here is an intersection which is not good. It would be better to have this ring slightly visible there, something like that, or maybe have the ring further going up so it's not feeling uncomfortable that it feels like almost like a mistake now. So it's good to avoid these. And even this here is a little bit too small, that negative space. So I will make sure if I have a bit more time, I would refine these negative spaces as well to make sure that they read well, like here we have a nice negative space there as well. That these are, these are working really well. So I don't feel like there's a crushing between them. 53. Creative Project 6 - Joker Composition Part 5: All in all I think with the image and the composition, we are already doing quite well. And I'm going to just very quickly show you how I would add the typography for that. We can use the type tool. And with the type tool we just click somewhere on the image. And then I'm going to just type in a capital S. Actually need to have the text selected, make it white. And then let's increase the font size to something like that. Okay, so we have the first letter there. Now I actually had another shape here, which I'm going to very quickly create in the background. So new layer lasso tool, I'm just repeating the same things that I've done before. So I'm going a little bit faster. I'm going to create this shape. And then we can feel this on this new layer with a color, maybe using an orange. The topography, if we go back to our text layer, now has a place where we can put it. So I'm just going to place it somewhere around here. I'll just make it slightly bigger. And for this, we can also use the free transform tool. Just have to make sure you drag one of the corner points. Otherwise it's going to stretch it. And by the way, whenever I'm going back and forth, so I'm redoing undoing things. I just tap with two fingers, so that's undo. And with three fingers you can go ahead. So that's redo. Now I'm going to duplicate this layer and there's also another handy shortcut for that. With the touch shortcut, you just press and then drag to the side of it, and then drag the shape or the layer that you have selected. So that's a quick way of duplicating something. Let me show this again. So if you just hold down the center of the touch shortcut, with that, you can constrain the movement. So that's like holding down the Shift key. But if you then drag to the side, that becomes the Alt or Option key, which is to duplicate. So what I'm going to do now is to double-click on the second one, and this is going to be a capital M. Then double-click on the thumbnail of the third one. That's going to be n i. And then I'm just going to very quickly duplicate this two more times as well. Another one. And then this one is going to be the L and the other one is going to be the top one is going to be E. So the reason why I created them all in separate layers, because I wanted to create this more dynamic composition on the text. So we can place the L somewhere around here, somewhere around there. And then the M can go somewhere around here. Now, what I want to make sure is that it will definitely read in the right order. So I don't want it to be too complicated to read. Now I would like to just create a little bit of interaction on the text. So they are not just sitting on top of these images. So first of all, maybe the M, I can move further down in the composition. And I think it would work quite nicely behind that shape. So here you can see that it's quiet, nice. Make sure it's still legible so don't hide it too much. Just going to keep one of the details behind that shape. And then what I'm going to do with the letter I is to add a mask on it. So layer mask, use the brush tool, set the brush up, make sure it's a hard edge brush, smaller size. And then all I am going to do here is to paint over it and make it look like it's hidden under the jacket. And it gets smaller as well? Yeah, something like that. And then an additional layer on top of this, clip it. And then just simply on the separate layer, we can paint over the top and keep adding on it a bit. Just to create that depth effect. Yeah. Something like that. So you can see it feels like the eye is under the jacket. So little bits of tricks like these, you can create a more unique, interesting composition. And all I would do after this is to refine things and obviously add the additional tax, the put on a happy face on the bottom right. But essentially these were the techniques I wanted to show you. And you can see that we could create a composition on photoshop for iPad quite quickly and efficiently. 54. Brush Tool Basics: Photoshop for iPad, amongst many other things, is also great for digital art or illustration and even mixed media where you combine photos with drawings. And that's mainly thanks to the fact that you can use the Apple pencil. And this gives you pressure sensitivity, and they're very quick and intuitive way of drawing on screen. So in this first lesson of the chapter, I'm going to walk you through all the settings for the brush tool. And then in the other lessons we will start using it for various digital artwork. So to start with, once you select the brush tool, you'll get a couple of options here on the left. First of all, you can decide what is your foreground and background colors. When you tap on these colors, you can set them up to whatever you need. And don't forget that you can also use the HSB values here at the bottom, or even the other color modes, RGB, lab, and CMYK. At any point, you can switch between your foreground and background colors by simply swiping over them. You can do that both there in the tool options are here at the bottom of the toolbar. And if you want to sample a color, you don't even have to switch to the eyedropper tool. You can just hold down the touch shortcut and drag it into its secondary state. Then drag over the image and find the color that you are looking for, as just say this one here. And you can let go the touch shortcut and it will be selected. The next setting is the size of your brush, which you can increase, decrease, and you will always get a preview on the Canvas just so you can see what's the size that you will be working with. Below this, you get the opacity of your brush, which you can reduce or increase. And finally, you have the hardness of the brush, which is set to the top will be the 100% hardness. And all the way at the bottom is going to be the most soft or 0% hardness. Now, this option might not be available for all the brushes, but whenever you see it, you can adjust it easily. Now let's just do a few lines. And the first thing I notice is that the pressure sensitivity is not active. This is something you need to enable, but you can decide whether you use it for the size or the opacity or both. So if I set it to size and I start painting, you can see now I can vary the size. So I will just draw another line here. Once again, I can press harder and then feed it out. This is when the size is affected by the pressure of the pencil. And then if I turn on, use pressure for opacity only, then this is what we get. So the size of the brush is not changing, only its opacity. And then if I have both of them on, then we can create a line where both the size and the opacity can be varied by changing the pressure. Now let's just try to draw something with the settings With zoom closer to this part here. And notice that I'm working on a separate layer so I can keep all my drawings separate from the photo. And that's the non-destructive way of working usually. So if I start drawing here, we can create lines like these. And why I want to achieve is to have this world going around her leg. But before I go any further, I notice that my lines are a little bit wobbly. There are not that nicely defined. So this is because I don't have any smoothing on the settings. So if I increase the smoothing and I'll do something similar with 50% smoothing. For now, you will see how much nicer my lines can get. Now, the brush gets a little bit slower when you have a higher smoothing level, especially if you use a 100%. But that's going to help you to create even nice curves. But it might be a little bit tricky to handle it. And you can see I wasn't able to get the curves that I needed. So I normally would keep it around 50% or 60 per cent. That's a good amount. So once again, let's try to draw these lines. I think that looks quite nice. And then there is a very handy shortcut. If you hold down the touch shortcut in its primary state, you can access the eraser tool very quickly. So with that, you can erase back from your lines. And I can create the illusion of these lines going behind her leg and basically creating a bit of depth. Maybe this one here, the bottom. Paint over it quickly and zoom out. And already there is some interactions between my lines and the photo. Now of course we could take this even further if I duplicate this layer and then use Gaussian blur on that, we can create something like a glowing effect here, which can work even better if we change the layers blend mode to something like color dodge. This was without the glow and together with the glow. So you can see already with a single brushstroke with the right settings and with a little bit of creativity, you can already create something fun and exciting. 55. Brush Presets: Besides the basic brush settings, we also get to work with the various Brush Preset. And some of them can really nicely simulate even natural media brushes like watercolor wash. The way you can get to this is by double tapping on the brush icon. And then there's a list of really fun brushes here. But let me show you first this one called sixties background. And I will actually use it as a background and paint behind this dancing Mommy that I painted here inside photoshop for iPad. So once I start painting with this, you will see immediately that it has a much more complex effect than the default brush. Zoom closer, you can see that it has a texture in it. Also, the color very as I'm painting, and usually it gets more intense the harder I press the brush. But this is not all because of course you can also customize these brushes. So if I go into the settings, I could even use blend modes via drawing so I can select something like color burn. And wherever I'm painting, it's the same color, but it gets more intense the more I paint over these details because of that blend mode that I applied. So don't get confused. This is not a blend mode on the layer, so we can check here, the layer is actually set to normal. This is the blend mode used, the brush and just like experimenting with blend modes on layers, I highly recommend to do the same with brushes because each of them will have a different effect. For example, Color Dodge will have the opposite effect. And it's going to brighten up details. So you can see already that we could create almost like a flame effect just by using a single color and a single brush. But there are plenty of other cool brushes here, like spatter inside. I'm just going to paint on the side or we have the mixed pattern, each of them having a completely different effect. And of course we can switch to a different color as well and paint with the same brush over the previous ones. So really, once again, it's completely up to your creativity, how you use these. But there is an important limitation currently on photoshop for iPad, it doesn't support saving or importing custom brushes. This is something I know that the developers are working on and I'm sure it's going to be introduced in an update soon, but until then we just have to make do with the existing brush presets. 56. Drawing from Reference: One of the reasons I love to use the iPad for digital art because it's so easy to set up a split screen where you have photoshop for iPad on one side and your reference image on the other side. So normally what I would do is to save a couple of references in my photos. Here, I'm going to show you for this digital painting. I had these references. And the one that I picked to use for my artwork was actually this shot from the amazing BBC series called peaky blinders. So this character is Tommy Shelby. And let me show you how I set up the screen for drawing. So to be able to get Photoshop, I would just drag it out and drop it here onto the left or right side. I normally prefer to keep my reference on the left side because I'm right-handed, so I will just drop it there. And then also I can decide how much of the screen I14 the reference. Most of the time I would just have this small size. And then still I can zoom closer and move the reference around within photos. And also I can do the same thing here on the right side within Photoshop. Now of course, you can also place your reference into Photoshop and then trace over it. But with that, your drawing skills wouldn't improve as much. And also, you wouldn't be able to create your own artistic representations of images because you will end up copying instead of trying to recreate something. So if you want to improve your drawing and painting skills, you should try this split screen setup. And I guarantee after a few paintings, you will notice the difference. 57. Coloring Drawings: Another common technique that digital artists would use is to bring that line art into Photoshop and do a digital coloring by using a separate layer, which I already have here on top of the line art and set the blend mode to multiply. This way, whatever I'm painting on this layer will still show the line art underneath. Now of course, you can make selections from the line art layer to contain the painting. So for example, if I select my line art layer and use the Quick Selection Tool, I can make a selection of this heel. Then I will go back to the layer on top, use the brush tool and just start painting quickly here. Maybe I will use this as the base color and then I can make it slightly brighter on the top. Just to paint over again, make it slightly darker and also maybe a bit more different in hue here at the bottom. And I can very quickly build up a cool effect, especially by using the brush presets that we've seen in an earlier video. Let's just make it a little bit more vibrant, some more interests on this detail. So once I'm done, I can just choose the Select, can zoom back and already you can tell how quickly and easily we can start building up this illustration. Besides using a selection, of course, you can also use other methods to fill out areas. So I'm just going to show you here on the cactus. Another way of doing this a little bit differently. So I'm going to just go into the brush settings. And first of all, I choose the hard round preset. Then from the additional settings, I will make sure that no pressure is used, but I will set the smoothing to really high, maybe a 100%. Then I will reduce the size of the brush. Do something like that, and then start painting around the edge. I feel like the smoothing is a little bit too high, so let me just reduce it down to around 50%. I think that will be enough. Now we can see it a little bit faster what we're doing. So I'm just going to go around this section here. Up, close it down around that edge. So this feels a little bit more natural because I went over the edges and sometimes not being a 100% accurate actually pays off at the end because the illustration will look more realistic. So once I have the outline for this section, I can switch to the paint bucket tool and tap once and twice into that section. The first time it doesn't fill it in because there is a little bit of anti-alias around the edge of the brush. But once we do it twice, it completely fills in all of those details. Now at this point, if I wanted to paint over it, maybe add some shading on this detail. I could now go into the additional options and choose Load Selection. And then within the selection, go back to the brush tool, maybe reduce the hardness of the brush, increase the size a bit, and also change the color for something slightly darker. So now I can start painting over the left side and the bottom area. Something like that. And then let's make the brush brighter and paint over the top area. And then the right side where I imagined the light source to be. So you can see very quickly, we could create a little bit of almost like a three-dimensional effect, but it can look even more interesting once I remove the line art, which I used just as a guide, but that doesn't necessarily have to stay. So once you have your coloring, you can decide whether you want to show or hide the line art or of course, you can also make various changes to it. You can put it on top, set it to multiply and maybe just reduce its opacity. That's also a way of combining the original line art video coloring. As long as you keep your layers separate, you will always have as smooth, non-destructive workflow. 58. 2021 New Features: First to demonstrate how the Refine Edge has improved, I'm going to use this image and remove the background. And I will use my iPad Pro and the Apple pencil. So without any further delay, let's zoom a little bit closer and take a look at a couple of details here. Obviously we have soft edges around the hair details, but we also have this for and quite complicated background with all kinds of different colors going on. So we have more contrast around this area here, but further down where we have the yellow background, it doesn't really stand out as much to add the details. And then also we have a couple of additional details like the hard edges here on the right side, which obviously has to be handled completely differently. So let's see how Refine Edge can tackle this. First, I am going to go to the selection tools here on the left side, and I will choose, Select Subject. So that's going to help us to identify details that we want to work with. And I think it did a good job apart from maybe this section here. Now we can very quickly refine this by switching first two with the Quick Selection Tool, which has a brush size that we can adjust. We can probably make it a little bit larger and make sure it's set to subtract that as the second option there. So we then I can just quickly paint over it. And if it doesn't find the edges properly, we can also try the object selection tool again, set to subtract mode, and let's make a selection here. This actually created a much better result already. Now maybe we can switch back 1 second to Quick Selection Tool and just tidy up these little outstanding details here. And now it's time to do the Refine Edge, which is going to help us to get a much better edge quality. Because if we were to use a mosque on this, at this moment, it's not going to look good. So we go two more here at the bottom and choose Refine Edge. This gives us, first of all, the preview of our current selection. And as I said, both the hair and looks really bad. We are in black and white view, but we can always switch back to overlay or on black, on white. I am just going to stay with black and white because I think that's the best way of seeing the details. And I am going to turn on first this smart radius option and increase the edge detection radius immediately, the details here look better. So I can switch back and forth very quickly just by tapping on it and then showing you after when I let go, I am going to increase the amount, maybe somewhere around a 100 pixels. And that's going to reveal more details, especially around the hair. Let me show you this. If I come down to a lower amount, there are some gaps on the hair. But if I increase this back up again, we get a lot of more details on the hair, so this looks much nicer. However, this also introduced a couple of additional details like here. Once again, with a lower radius, it's doing a little bit better job at finding the edges with a higher radius is going to introduce a little bit more artifacts are mistakes that are on this side, but we can all fix this later. We have the Refine Edge brush as well here where we can switch to minus on the top left. And I can paint over some details just to tell Photoshop that we don't need to include those. But to be honest, I prefer to do this once we have our mask ready. So I am going to actually accept this and save it. So here it's important in the output as option, I choose Layer Mask instead of selection. Once that's selected, we can hit done. And I already prepared this orange background just so we can have a closer look at the result that we created. So I feel like the Furby tails are looking really good. As a lot of nice details, obviously some mistakes here. Once again, as long as the mask is selected here on the right side. So dragging over that thumbnail, you can switch between the mosque view and the ImageView. So as long as the mask is selected, we can use the Brush tool and quickly paint out these details and just improve our selection. We can swap the colors from black and white very easily here at the bottom. So in case we want to show some details that are lost, we can use the white color whenever we want to hide details, we just use a black. And let's just look at the hand here on the right side. This definitely needs refining and this is where the rotate canvas is going to be extremely useful because I find this angle much easier to work with. Drawing from left to right with a little bit of upwards angle is much easier than to draw the other way around. And all I have to do is to just simply rotate it around. This feature wasn't available before, so I'm so happy for it to be introduced now in this new version of Photoshop on the iPad. And like before, we can just paint out these details. Now the good thing is that just like on the desktop version of Photoshop, we can increase the smoothing value with which we can get a much nicer and smoother result whenever we are painting. So we don't get a scribbly line. Instead we can have a very nice smooth line around the edge, like so. And we can do the same thing here. Maybe again, I rotate it around the bit, swap two white color on the left and reduce the size a bit, something like that. And then now with white, I'm revealing details that got lost in the masking process. You go. Now if you want to get out of the rotated view, all you have to do is a quick pinch, which was zoomed out and also reset the rotation. Another really useful new feature that now we have on Photoshop on the iPad is the imagery size or Image Size option, which we can find in the settings on the top right here we can see the current pixel dimensions and resolution and even the color mode. But once we click on Image Size, we get very similar options to the desktop version. So first of all, we can decide on the interpolation method. And most of the time you would want to keep this on automatic and directly under this there's a really cool feature called Fit to which you can resize it to a specific device size. So the resolution of these devices like iPhone, iPad Pro, or a print size, and even standard photography aspect ratios and resolutions. Or of course, you can also type in the values here at the bottom, either in inches pixels, or by changing the resolution at the bottom. Now if you only want to change the resolution without affecting the pixel dimensions, you can turn off Resample. And then if I just type in, let's say 300 and hit Done, I won't see any changes. But once this image is printed out is going to be more condensed and it will become a higher quality print, but on a smaller size. If you're a big fan of brushes and you hoarded many of them for the desktop version of Photoshop. Now the good news is that you can easily sync them and start using them on the iPad. All you have to do is once you selected the brush tool, just to tap on it again, there you will see the currently available brushes. But then if you click on the additional options, you can turn on brush sinking. And there is also an option to manage reach brush categories or groups you want to sync onto your iPad. By tapping on Manage brushes, you will see all the groups of brushes that I created on the desktop. So I can then go into each of these individually, disable or enable them. Or I can also turn off the whole category or turn it back on again. Once the thinking is complete, we can go into any of these, maybe select Kyle Webster's special effects brushes and choose the spatter brush with which I can very quickly start painting already, even though you only have a limited set of options for brushes on the iPad, whatever you set up on the desktop and sink here will inherit all those settings and preferences, which allows you to use really sophisticated and advanced brushes right here on the iPad. For those who like to share their work, there's a long-awaited feature that we can find here in the share settings called live stream. And this is exactly what you would expect. So using your Behance account, you will be able to stream your work directly from the iPad and communicate and interact with your fans. And last but not least, since we talked about Behance, there is also a discover on Behance option here in the main menu where you can find other artists streaming currently. Or we can also see projects recently created with Photoshop on the iPad. 59. 2022 New Features: The feature I'm most excited about in Photoshop on the iPad is the fact that we can finally now use and also create smart objects. These are the special layers that can retain their original resolution from the moment that they are created. And for Photoshop Cloud documents that are created on the desktop already using smart objects, they will now show up here on the iPad as well as smart objects. And you can see the little icon next to the thumbnails, both in this view and also in the more detailed view of the layers. By selecting this balloon layer, which is also a smart object, I can use the transform tool and easily resize it, move it around, and I don't have to worry about losing the resolution, even if I make it much smaller except these changes and then go back again and resize it because it will retain the original resolution. If I wanted to turn any layer like this cloud here into a smart object, all I have to do is to bring up the layer properties and choose Convert to Smart Object. Or if you are using the other layer view, you can also just tap on the thumbnail icon and from the additional settings you will find Convert to Smart Object. Remember that you won't be able to directly edit or draw on to these smart object layers. So if you ever wish to rasterize it back or convert it to a normal layer, what you will need to do is to tap on it again and choose Convert to layers or flattened layer. Now even though it is great that we finally have this smart objects currently, they are still limited compared to what we can do with them on the desktop version of Photoshop. And probably the biggest difference is that you can't actually access the source of smart objects on the iPad. So what you would normally do on the desktop is to double-click on the thumbnail. And that way the source of the smart object opens up as a separate document. Here nothing happens when you try to do that. In fact, it will just tell you that you will have to convert this to a layer if you want to make any changes to it. Another aspect of working with smart object that's currently missing is smart filters. But again, hopefully these will be added in later updates. Dodge and Burn tools have been added on the iPad. So we can find these on the adjustment tools here. And whenever you select either of these, you will also get additional options like on the desktop, you can decide the range in which you want to use them. You also have the pressure option for using the Apple pencil, and you also have the additional option to protect tones. So for instance, here I'm going to select the forest layer and using the dodge tool, I will be able to brighten up some of these details on the trees. And then switching to the Burn tool, I will be able to darken some of these other trees in the background. Remember that these changes are directly applied on to the image layer, so they are in a way destructive. However, you can also use the same nondestructive method with these tools, which we are used to on the desktop. And all you have to do for that is to create an additional new layer, then use the paint bucket tool. Make sure you have a 50% gray color selected. And with that tap anywhere on the screen, you can also put this layer on top of everything else. And then from the layer properties, you can either use Overlay or Soft Light. Both of these will work. And now if I use either the burn or dodge tools, we will be able to make these changes on a separate layer. So if I make these trees darker on this side, you can see that all this happened on that separate layer, which I can easily turn on and off. And this keeps these changes completely non-destructive. Now you can also import Camera Raw files into Photoshop on the iPad. So I'm just going to go to my photos and from the albums I have a raw image which I exported from Lightroom together with all the changes that I've done that already. And you can see that we get a very familiar Adobe Camera Raw interface here on the iPad. We have all the options on the right to make changes. I can even reset the photo to the original capture and then go back into the settings and maybe increase the shadows, decrease highlights, maybe add a little bit more contrast. And then we can go even into things like effects, increase, dehaze, clarity, and then even go into color, increase vibrance, and so on and so forth. But most importantly, remember that thanks to the fact that we are working with a raw image, we have a much wider tonal range to work with. So we will be able to recover a lot of details in the brightest and darkest parts of our images. It's important to mention that at the end, once you are ready with the changes in Camera Raw, you will be able to choose whether you want to import the image as a simple layer or as a smart object. Let's see what happens if we choose Smart Object. This at the moment only gives us the advantage of not losing any quality when we're resizing this layer. However, if the same Photoshop Cloud document is opened on the desktop, you will also be able to access the original image in the source of this smart object. An all-time favorite tool has been all sweaty to Photoshop on the iPad. And this is the magic wand, which you will find on the selection tools. So here we can choose magic wand. And it's going to work very similarly to what we're used to on the desktop. So by clicking anywhere on the image, it will find similar colors. And we can see that it will find a range of colors nearby. However, we can change the behavior and instead of being limited to contiguous or neighboring colors, once we take that off and maybe click on the sleeves here, you will see that it will be able to pick up similar colors on the other side without the two sides being connected. It's worth mentioning that by default, this tool is using a point sample, but you can increase the sample size. I actually prefer the five-by-five average with which if I click anywhere here, it will be able to pick up more details. And of course, if I hold down the touch shortcut, I can click on additional areas to add to the selection. Or you can also choose from these icons here on the left. And the second one is the one that we'll be able to keep on adding to your selection. And another useful option is the tolerance with which you can increase the amount of colors included. So if I deselect this and I click on the ones, you can see pretty much managed to select everything. However, it also started to include details from the face, the hands, and the lips. So be careful with the tolerance is usually best kept lower if you want to be precise. But to be honest, I very rarely result using the magic one tool anymore because there's just so many amazing AI assisted selection methods like remove background, select subject, object selection tool, which omegas creating selections so much easier even when you have isolated subjects like this one. Don't forget that with this icon here, you can share your Photoshop Cloud documents and invite collaborators or reviewers to give feedback. And all of this feedback is going to show up here on the comments section where you will be able to respond to these and also marked some of them as being resolved. 60. Generative Ai : Generative AI features powered by dB Firefly are now available to use on Photoshop on the iPad. So here we have an image, and I'm just going to make a selection here at the bottom with the rectangular Marquee tool. And in the contextual menu below my selection, the first option is the generative fiel, which I'm going to use. Here we can just type in our prompt. I would like to create a tiger here. Maybe if you want to be more specific, we can type in that it's a photo of a tiger and then he generate. In the layer properties panel, which you can access from the right side, you will be able to see the variations. We have the first one, second one, and third one. Now I probably prefer the first one the most, so I'm going to stay with that. But in case you want it to create additional versions, you can always hit generate again here in the menu. If you click on that, it's going to create three additional variations for you. Worth mentioning that each time you are using generative AI features, whether it's on the iPad or on the desktop, you are consuming generative credits. You get 1,000 of these each month with a creative cloud subscription. So you probably won't run out of them, but it's still worth mentioning that it is not a completely free and unlimited feature. Here's another generative AI feature. This can be accessed by selecting the crop tool. Straightaway, you can see on the left side, once we start increasing our Canvas size, we have the generative expand icon showing up and simply just tapping on this, we can again use a prompt, if you want to define what we would like to see in that new area, But if you just choose Generate, Photoshop on the iPad is going to analyze what's in the image currently, and it will just try to predict what would look best in that part. So I'm going to just hit generate without any prompts. And then you have again, three variations as the first one, second one, and the third one. I feel like again, the first one is probably the best. Let's just zoom a little bit closer. And if we open up our layers, we can also toggle this before and after. It's a very nice seamless addition, so it blends really well with the rest of the details. It's also worth mentioning that generative layers are indicated with these little stars next to them. So both here in the thumb ne view, we can see the little stars next to both of these layers, but we can also see them in the layers panel, even though it's smaller, but it's still visible that these are special layers. 61. Remove Tool: There is a welcome addition in the toolbar. We have now the remove tool also available on the iPad version of Photoshop. It's a similar retouching tool to the spot healing brush tool, but still it's more advanced and can create better results most of the time. Whenever you select this tool, you will also get the additional options here below the brush size. So first of all, I like to make sure that the sample all layers is turned on. I also like to enable pressure for the size. That way whenever I'm using the stylus, it's going to pick up on the strength that I'm using. And I also like to keep on the remove after each stroke. However, first, I'm going to demonstrate what happens if this one is turned off. So I am going to create a new empty layer as well. That way, I can work non destructively. And I'm going to zoom a little bit closer and maybe just reduce my brush size a little bit. Now, if I paint over this area here, when I let go, notice that nothing happens yet. That is because we turned off the remove after each stroke feature. So in this case, what I need to do is to click on the little tick icon here at the bottom so that blue icon, I can accept this change, and then it's going to update. So the advantage of this is that I can paint over additional areas before committing to the changes and then accept it, and it will do it all at the same time. However, if you don't want to waste time always accepting these changes, just turn on this remove after the stroke setting. And this way, you can just paint, and immediately, it's going to take effect. So we can just paint over this section here as well. And you can see we've done all of this on a separate layer, so I can easily turn them back on by hiding this layer. Or again see the results of what we achieved with the remove tool. Now, let's see what happens if we try to remove a bigger detail like this second astronaut. So I am going to paint over it. I'm using a big brush size and just paint over this whole area here. Fortunately, there is no way to make a selection around the detail. You have to just completely paint over it, and then we can see the result once again before and after. Maybe we can just paint over a couple of additional details here. Also, something that we can change on the desktop, but currently it's not available on the iPad is to change the color of the overlay. It's not the most fortunate color when you are painting over purple or pink details, having a pink overlay, but it probably will show better around here. If I want to remove this planet, you can see now my highlight color. Is very similar to the colors in the background. But the effect of this tool is great, so we managed to do a lot of changes very quickly, and once again, everything is completely non destructive. 62. Camera Raw Filter: I'm very excited that one of my favorite filters is now available on the iPad version of Photoshop. You can find this in the filters and adjustments, and it's the one at the bottom camera filter. However, it's grade out whenever you try to use it on smart object layers or on generative layers. In this case, this is a generative layer. I extended this photo to the left and the right using the generative expand, and it did an amazing job. So it added a lot of detail, and it looks very accurate as well. Hard to tell that it was generated. But the problem is, if I want to use the filter on this image, I would have to create a new layer or have to rosterize this current one. So if I go to the additional options, I can choose merge visible here at the bottom or flatten image would work as well. And now we can go into the filters again and choose camera raw filter. Here, you will be able to find most of the categories that you have on the desktop version of Adobe camera role. So first of all, we have light, and we have the auto setting as well, which does a really good job, so that was before and after. You can also tap and hold on the image to see before and after views. You can, of course, then manually adjust anything. Let's just say I can increase the contrast. And if I don't like it, I can just double tap on the value. It will go back to its default value. A little bit of contrast, I feel like is good in this case again before and after. Then we can go into color settings. Once again, we can do this manually or we can use the eye dropper to set the white balance. In this case, as we drag this around, we get a live indication of the color adjustments. So if we find a spot that we feel like is supposed to be white, then we can just let go and it's going to update based on that. Once again, that was before and after. I feel like it helped to get a better color balance. And then maybe we can also increase the vibrance just to have a little bit more color intensity. Moving on, we have effects, and these I love, we can increase the texture in the image and the clarity as well, which makes it a bit more detailed and just adds a bit more contrast as well. Once again, before and after. We can also reduce the vignette just to make the corners a bit darker in the image. Then further down, we can go into detail, increase the sharpening. This is something you can see better when you zoom into an image, once again, before and after before. After that certainly helped. And when we look at the background, we can see a bit of noise. So we can increase the noise reduction as well, which is another brilliant feature in Adobe camera role, and we can also use the color noise reduction. Now, it's also worth mentioning that you can use camera roll filter and utilize it on non camera row files as well, so you don't have to work with a camera row file for these features to work well. However, if you work with a row format image, it's going to give you a lot more detail and total range compared to a compress five format like a JP. But once again, that was before. This is after, let me zoom out before and after. And if we like what we see, we can just press on done on the top right corner. And it's going to apply the filter. Now, even though you can't use this filter non destructively at the moment, because we can't apply it on a smart object as a smart filter. What you can do in the meantime is to duplicate your layer before you apply the filter. And that way you will have an original version and the updated version on top of each other. It's not the ideal way of working on destructively, but it still gives you that option to go back to the previous version in case you want to. 63. Color Picker: Sampling colors go so much easier now with Photoshop on the iPad. The eye dropper tool, which we have here in the toolbar on the left, will give us the way to sample colors. We just have to drag over an image and we can see the currently selected color on the top half of this ring and the previously selected color underneath it. And when we let go, that color is now selected. We can see it here as well, and we can also check its values, whether we want to use the hue saturation brightness sliders or maybe the RGB values or any of these other options that we have here. And we can also save this color by tapping on the plus sign in the Swatches category. Now, when I go back to the hydroper tool, It's also worth mentioning that there's options for the sampling area. By default, I believe it's set to three, but you can increase this value up to five, 11, 31, 51, or 101. This is going to have a much larger area, so 100 pixel sampling area. Will result in an average of colors from that area. So when I'm dragging my stylus over the image, what you will notice is that the top half of the circle is changing more slowly. There is a smoother transition between the colors when I'm hovering over them compared to previously when I had the sampling set to three, When I'm hovering over details, it's just flicking very fast because it has a smaller sampling area. Additionally, we also have options with the hydroper tool to sample from all visible layers or all layers without the adjustments. And then also we have the additional options below. But to be honest, most of the time, you probably want to use the all layers. So that's a good one to keep selected. 64. Liquify: Another welcome addition in Photoshop on the iPad is the liquefy filter, which again, we can find here in this section. It's again worth mentioning that unfortunately, it cannot be used on smart objects at the moment. This might change in the future. But for now, we just have to work on raster layers whenever we want to use this feature. Going to select it, and it opens up its own editor where we can access all the tools on the left, and we have the size of our brush here and also some additional settings. Like the density, which is an important one, if you set that to zero, it's going to make changes in a more subtle way. So as you can see, when I paint over this image, let me just do another line here in the middle. This is how it looks with zero density. I increase it to 100%, then it's going to be much more stronger and creates more distortion when we are using it. I like to keep this somewhere in the middle, and I also like to turn on the pin edges, which is going to make sure that when we are using the tool around the edges of the document, it is not going to stretch the pixels closest to the edges. So without it, this can happen. You can start to see what's under the carpet. I'm just going to keep that turned on, and this is the way I prefer to use it. Now, the default tool that is selected is called warp. And with this one, we can just drag and move things around, so I can make this mountain look much bigger in the background if I wanted to. I can drag it down as well a bit, and already we created a quite good result here. And if we use this icon here on the top right, we can show before and after. Four and after. If we make our brush smaller, we can, of course, be a bit more precise and maybe even make some trees look taller. One thing about liquefy is that, of course, you will also distort details in the background, so that's inevitable. However, you have the reconstruct tool to fix things. I'm going to again reduce the size of my brush, make it very small, and I can paint over these details in the background. Can't completely get rid of them, but you can probably improve it a bit, or you can also try to use the smooth tool with which you can recover partially details that were there before. When you are ready, just press done on the top right corner, and that's going to apply the changes. Once again, we can see before and after. 65. Lightroom Photos: It became so much easier to work with light room photos in Photoshop on the iPad. You can either access this from the import and open in the home screen. So if you tap on this, you can find light room photos. And when this dialug box comes up, you can switch between seeing all your photos or collections. I'm just going to pick one of these images, maybe this one here, and then choose open. And then if I wanted to access another light room photo, I can also do that from the plus icon, once again, choose light room photos, select the same category or collection this time, and then pick maybe this image, and once again, choose open. This way, this second image will be placed in as a new layer on top of the previous one. 66. Auto Select: The Move tool now has the auto select layers feature, which by default is enabled. Of course, you can still turn this off. But as long as it's enabled, by default, is going to select either individual layers or groups. For now, since I don't have groups in this composition, I'm just going to use the individual layer option. You can see I have this layer selected here on the right side. To be able to change to another element, I just have to tap on it once and then tap again. Now I have that one selected. Whether you use your fingers or an Apple pencil, you should be able to do the same. Tap once and then tap again to select. If you do double tap too quickly, it's going to zoom in to 100% view, and then double tap again would zoom out to fit the composition to your screen. You have to make sure you don't double tap too quickly, you have to do one and 21 and two. So that's a way to select them quickly. It's still not as quick and fluid compared to the desktop version of Photoshop, where you literally can just click on anything and start moving them straight away with the same auto select feature. But I still find this a welcome edition, and it definitely makes working with complex documents much easier. Now, I just wanted to show what happens if I have two layers selected. I'm going to have the one in the middle selected, and then with the touch shortcut, I add the image on the right to my selection. And then I go to turn this into a group with the icon on the right side. So now we have a layer group, and I can move this together. But remember that from the settings, we have the individual layer options selected. So even if I have a group, if I do the same technique, I can still select the layers inside the group with the auto select feature. However, if you want to automatically select groups, whenever you have them created in your documents, just use the other option. So now that I have the group selected, I can have this layer selected here, and then with the auto select, now it's going to have both of those layers selected, which were put into a group. 67. Auto Adjustments: We have three new auto adjustment features in Photoshop on the iPad. We can find them in the filters and adjustments area. So here's first auto tone, which creates a more balanced result in terms of the tonal values. So this was before. This is after. So it's mainly affects the exposure of the image. Then if we choose auto contrast, that's going to improve the contrast in the image again before and after. And then once again, auto color is the third option, which will just simply affect the colors, so it will change the hue and saturation of all the colors. That was before, and that's after. Now, of course, you can combine these as well. After you use auto color, you can still add auto contrast and auto tone. This is the three used together. Fortunately, we still don't have control over smart filters, so you won't be able to use this non destructively. But if you want to test how the three filters look together compared to the original image, what I recommend to do is to create a duplicate layer. So just select your current layer, create the duplicate. And then apply the auto adjustments on that. So like before I'm going to start with auto contrast, then I will use auto color, and finally, auto tone. So this is how the three adjustments looked together, and this was before. Once again, after before, and after. And I just wanted to mention that it actually depends in what order you apply these adjustments. So if you are planning to use all three of them, this is the right order that I showed you. I'm just going to demonstrate what happens if you use a different order. So I'm going to create another duplicate layer of the original image, and I'm going to turn off the visibility of this one that we just created, combining the three adjustments in the right order. So first, I'm going to apply auto contrast, then auto Tone. And finally, auto color. You can see if I use the auto color at the end, it actually ruins the colors, so it gets too cold. This is with the right order of doing things and not leaving the auto color at the end. And that's the one with auto color at the end, and once again, this is the original image. So definitely the order of these adjustments matter. In some cases, you might need to use a different order, but I found that leaving auto color at the end usually is not a good idea. I like to start with auto contrast, then auto color and then auto Tone at the end. 68. Layer Effects: Layer effects are finally available in Photoshop on the iPad. The easiest way to find them is to go into the layer properties area. So click on the third icon here on the right side and have your layer selected. The good news is that you can apply these to smart objects as well or normal roster layers. So as you can see, I have this layer selected with the Girl, and I'm going to go to the effects area. I'm going to close the blending options just so it doesn't get in the way. So in the effects, we can choose ad layer effect. And then the two options that we currently have available here are stroke and drop shadow. So it's still very limited compared to the desktop version of Photoshop, but these are probably the most commonly used effects anyway. So let's start with stroke. I'm going to increase the size of this so we can see it better. I'm going to change the position to outside. I will also change the color to white. But you can see we could apply any color easily, and once the white is selected, I can further adjust the size, and we get a very nice quick life feedback on what we are doing. We can also change the blend mode of the effect. For instance, we can use dissolve. If I increase the size a bit even more and reduce the opacity, we can have that nice grainy effect on the stroke. But for now, I'm just going to keep it on normal and just reduce the size a little bit. Something like that. And then if we want to go back and add more effects, we just have to tap on this little arrow here on the top left and then press the plus sign to add drop shadow. Once we select that, we can start increasing the size of it. Also the spread can be increased and the distance, and it starts to show up in the composition. Maybe if we increase the opacity, it will be more noticeable, and also maybe the distance can be increased a bit more. We have a use global light option similarly to the desktop version, which once we turn off, we can also adjust the angle of the shadow. So we can decide which direction we wanted to go to. Going to keep it going towards the bottom, and we can also apply noise to the shadow if we wanted to. But for now, I'm just going to keep it as is. And of course, don't forget you can also change the color of the shadow. I prefer to keep usually my shadows colored instead of being completely black. So in this case, I will use a dark purple or blue. And once we go back again to see all of our effects, now we can see them individually, so I can turn off stroke, turn it back on, or turn off the drop shadow, and turn it back on. We can also go back and make changes to them by clicking on these little arrows, or we can also click on the additional options and reset each of these effects to their default values or delete them if we don't need them anymore. Even though there's only these two effects currently available, you can still add multiple instances of the same effects if you want. So for example, I could add another stroke on top of everything, and this time I'm going to set it inside just so we can see the difference, and I will change the color to purple, pink. We'll reduce the size of it. So now we can see that we have two colors. Maybe instead of inside, we can also set this to center, and then it's going to overlap both the image and the other stroke effect that we have underneath it, the white one. When we go back to all of our effects, now I can turn on and off individually each of these stroke effects. And when you have lots of effects applied to a layer, you might also want to use this feature, hide all, with which you can very quickly turn all of them off, and then again, show all at the same time. 69. Sponge Smudge: Besides Dodge and Burn now, we also have the smudge and sponge tools available in the adjustment tool category. First, let me show you the smudge tool. Whenever you use this tool, I recommend to create a separate empty layer. Because this tool has the sample all layers option, it means it can be used non destructively. I also like to use the pressure sensitivity for the size, so I have a bit more control when I'm using the Apple pencil. So this is how it works by default. If I start dragging over details, they will get smudged, as you would expect. It can be useful to add some motion to some details. Like, for instance, here, I can use it on the hearts, make it feel like they are coming from the whale, and I can adjust their angle easily, set a direction for the blur. In a way, it can be used almost like as a motion blur effect. Because everything is happening on a separate layer, it's going to work non destructively. There's also an additional feature called finger painting. If you turn that on, you can also blend your currently selected foreground color, which right now I have set to yellow into the smudged details. So as you can see, when I do the smudging now, is going to introduce that yellow color as well. Can, of course, control the size of your brush, the strength, and the hardness as well. Now, similarly to the Smudge tool, for the sponge tool, we have also the same features. However, this tool cannot be used on a separate layer. You can see that there's no sample all layers option. We have to make sure that we have the image layer selected. If I start painting with this, I can start desaturating the image, and the default setting is that it's applying vibrance adjustment instead of saturation. In case you don't know vibrance means that you're trying to equalize the color intensity while desaturating the area that you are affecting. I turn this off, it usually just results in a more drastic change. So it's going to have all the colors de saturated with the same amount. Of course, tool can be set to saturate instead of removing colors. For this, I'm going to turn on both vibrant and the pressure sensitivity, and then I will start painting over existing colors just so we can see how this looks. 70. Fonts: Now in Photoshop on the iPad, you can access thousands of DOB funds or even upload custom funds yourself. Simply select the text layer and go to the properties panel, where you will be able to find the fund properties. And if you click on the Typeface option, here, you will be able to find your recently used funds. But if you tap on more funds at the bottom, you will be able to find all the categories here. And for instance, if I choose school, I can find some nice fonts that would work well with this composition, like even this first one, Mon blossom. If I zoom out a bit, we can see it better how it looks, and this font will be now available in other compositions as well. Add your custom fund, or you have to do is to tap on the plus sign, choose Add more, and of course, you have to have a fund file first added on your iPad. I have one example right here. I'm going to select this. After I taped on OPN, it tells me that it is now ready to be added to the Cloud. You just have to also take this option and agree that you have the license to use this fund on Creative Cloud. I'm just going to do that. Now if I just tap on the plus sign again, I can choose view dit funds. And there is the Havits regular that I just uploaded, ready to be worked with and, of course, edited. So if I just use the Type tool and click on this, I will be able to separate it into two lines, for instance, and make additional adjustments if I wanted to. 71. Remove Background: A smart feature called Remove Background is now also available on Photoshop on the iPad. You can find this amongst the selection tools. When you tap on this icon here, you will see it under the actions. So let's just choose remove background. And I intentionally chose an image which has blue background, and also the subject. This girl is wearing a denim jacket, but he still did a really good job. So that was before. And after. And if you double tap on the layer mask here in the layers panel, we can see the mask that was created. So let's see again, the image. So essentially, this feature is exactly like the select subject, but it goes one step further because it turns that selection already into a layer mask. 72. Content Aware Fill: Whenever you create a selection in Photoshop on the iPad now, you will be able to use the content a feel feature, which shows up here at the bottom. So I'm just going to tap on this. It will take a while, but it's going to create a fairly good result here. So let's just see before and after. That was before, and this is after. Now one thing that you have to know about this is that it's only going to sample details from your current image. It's not as smart as like the remove tool, which is one of our new clone tools available in Photoshop on the iPad that relies not only on your current image, but also utilizes AB fire fight generative AI. However, in certain cases, the content of fiel might still be useful for you. One big downside of it is that it cannot be used non destructively, so you won't be able to use it on a separate layer. So in case I create a new layer, and again, I make a selection of a small detail like this one here. If I tap on content aware fill, it's going to tell me that there is just no pixels to work with. So if you want to work non destructively, just use the remove tool. Again, I'm just going to select this and paint over the detail. And it's already gone. So this is on a separate layer, which I can easily hide or show again. 73. Conclusion: Congratulations on completing this course. I hope you found it useful, inspiring, and enjoyed the whole learning experience. Although this is the end of this course, it is only the beginning of your creative journey. Now it is your time to create amazing compositions using Photoshop on the iPad. And I would love to see your work when sharing your artwork on any social network, please tag us with the hashtag. Yes, I'm a designer. We can check it out and maybe even feature it on our channels. For inspiration, tutorials and useful resources. Follow us on YouTube, Facebook, instagram, Pinterest, and Twitter. Also don't forget to check back as we are continuously adding new lessons to discourse whenever new features are introduced. Thanks again for joining me on this course and I hope to see you soon on another one. Goodbye.