Adobe Photoshop Photo Editing Masterclass: Retouching, Compositing & AI

1. Welcome to the Course: Have you ever taken a picture that potential, but didn't look quite the way you imagined? Maybe the lighting wasn't right, the colors looked flat, or maybe you just wanted to transform it into something more creative. And that's where Photoshop really comes into its own. So welcome to the Adobe Photoshop Photo Editing Master Class. My name is Ostakihui and I'm a photographer and visual designer with over five years of experience. Have used Photoshop for everything from subtle portrait retouching to complete creative transformations. And throughout this course, I'll share with you the techniques that I use to turn an image from its original state to the final polished form. We'll start with Photoshop itself. So if you don't have enough experience working with it, we're going to learn it together so that you could follow along easier. But then we're going to focus heavily on photography. You will learn how to edit portraits, create high end portrait edits, apply digital makeup, change backgrounds and colors, remove subjects restore old photographs and even bring color back into a black and white image. We will also get into more detailed retouching and photo editing techniques. You'll work with skin smoothing, blow effects, makeup, hair effects, and different ways of combining and manipulating images. By the end of this course, you're going to have a much broader Photoshop toolkit and the confidence to take your images from what they are into something very polished and professional. So fire a Photoshop and let's get started. Mmm 2. Getting Started: So before we jump into Photoshop, this is the screen that you're going to be greeted with. This is the home screen, and for the latest versions, you're going to see the same thing. But if you have the older versions of Photoshop, the placement of the panels may be different. So let's start from the top left. This is where you get to make your new file, start a project. And when we click on this, we have a lot of options for different dimensions, difference in depth per inch, color modes, and many other things. So I'm going to come back to this later because I do want to show you what the rest of these things are for, and then we can go ahead and create our first project. Look at the different tools that Photoshop has to offer. This is for new file. This is when we want to open an image, an older project, any other format, we just click on it and it takes us to the regular directory. The home screen when you click it, it's the same page. There is the learn panel where you get to explore Photoshop through their own tutorials, it does a walk through. If you want to learn, let's say, painting with a brush tool, it's 4 minutes. It happens in the app and it gives you a little snippet about what it's about. If I click on, let's say, get to know the app, it brings me to the other screen and I get to start a tutorial. Then you can just click next and exit right over here. I return back to the home screen, just click on Home and then home. So that's a really cool feature they added for the newer versions of Photoshop. There is your files. These are personal to your own accounts. So whatever you've used to sign into Photoshop, these are the files that are within that account. There is shared with you. If anyone has shared file with you, they're going to show up in this panel. Light room photos. Light room is another application for photo editing. You can open a Lightroom project and then have it send that image to Photoshop. So let's say you've color coded, fixed Deightness and whatever. Then you want to do some Photoshop work, you click on here and find that photo that you're trying to edit. We also have a deleted tab, anything you delete will be there for you to maybe restore or just see what you've deleted. Right over here are some of the newer stuff, so they always change whenever there's a new update, so yours may not look the same. The top right, we have the Cloud. If you do have your account connected, you have your Adobe Cloud right over here. You can see your storage. I have 2 terabytes. You may be different. And if for some reason it's not syncing, there is usually a button that lets you resume it and configure why it's not doing that. But when you have this checkmark, it's syncing okay. If you sign into Photoshop through a different device, log into this account, you can still access your file. Have a search bar right here. You can look for a certain project, editorial, anything else. This gift box is anything new about the version you're using. I had this stuff to explore later. We're going to go through each of these ones in the further lessons. But again, if you don't have the latest versions, the stuff you see here may be different. Lastly, that's your account. If you click on it, it takes you to your browser and logs you in on Adobe. So I'm not going to click that because it'll just take me to my personal page. But if you wanted to sign out, edit your profile or anything, just click on this icon. Should be your profile picture. We can also change the view of our recent works. You can filter through your files, change them in different ways. And yeah, that's pretty much the home screen. If you click on this, you get to go back to your project. But we're going to assume that we don't have a project yet and create a file together. So click on New File. This window for new documents should pop up. We have some things up here. These are presets for different dimensions and DPIs. I'm going to start with photo. We have some pretty standard size things like landscape photos, photoshop size. We can click on this for other things, portraits and different items. We also have templates. This is, again, through Adobe. A lot of them are free, but there are some paid ones that you can explore too. So if I click on any of them, I can download them right here. Actually see a preview first and see if I like it. It's Adobe Stock. This is the artist, the name of that template, and it tells me exactly what that template includes. So we have the effect, sample text, and not included in a download file are these images that we see. So if we wanted to get this effect, the glass reflection, we would need to have our own pictures and simply download this template to implement the effect. These are for pictures, close this, go back here. Next, we have print. One thing that is different between photo print, arts and illustration, apart from third dimensions is the resolution. With Photo, you can see that over here in resolution, the numbers may be different. You're not sure what dimension or resolution you want to put on. I would help to look online and see what's the standard. So if you are designing something that you want to print, it's a good idea to get in contact with your printer to see how big, how many DPIs you need for your file. Throughout this course, I will tell you some standard forms. But again, if you're doing some specialized things, be sure to double check with your printer or do a search to make sure that your size and quality is suitable for whatever purpose you're trying to achieve. So with photo there's like 300 DPIs. You can also do it pixels per centimeter or pixels per inch. The higher this number is, the more high quality your work is. But we can't just put this for every other document because that's going to make it a very heavy file. So for images, for example, if you're importing a photo, there's no need to change the resolution here since the photo already has its own quality and pixels in set. But the only time where you would put a really high resolution is for something like arts and illustration because this is where you are creating those pixels and it's not there already. So photo, when we come to the right, you can change the name of this preset, call it my Canvas or something. We get to save it right here, save the document preset, and then it's going to show up here. Let's just make one. Call this my picture. It's safe and there's my picture. We can change the width and the height, change the unit it's in. You can also decide on your orientation, whether you want it to be a vertical portrait or a horizontal landscape. The button next to it is for artboards. We're going to get more into that in the layers lesson. Artboards are essentially different canvases that you can have for maybe different pages of your presentation, different artworks at the same time, and they're actually really efficient when you're dealing with bigger projects. Next, we have the resolution box. You can type in a number and then decide if you want it to be pixels per inch or per centimeter. The standard is usually 300 or maybe 100. Try not to go overboard with it unless you've been instructed to by your printer or a publisher, and once again, I'll go over into proper numbers in further lessons. Color mode is the way your colors are displayed on your project. Depending on your purpose, you would have to have different color profile so that when you publish it, the colors look accurate on that display. For example, RGB is usually for digital screens, but if you were to print like a physical paper, while choosing RGB, certain colors will look very different. And in a lot of cases, that can ruin your illustrations or photography. So depending on what you're trying to do, you would have to choose your different color maps. We have gray scale, which is just black and white, RGB for digital, CMYK for print. We have lab color. This is more specific to special designs. Will go over some of them that are necessary for you to know as a beginner, but as you enhance your skills with Photoshop, you're going to come across maybe bitmaps, lab colors, and some other stuff. We also have the bit range. By default, it should be an eight bit, but if you're doing a larger illustration that you want to print, you can go for a bit higher. Do not just put it on the highest one because you think it's going to make your work more high quality because that can slow down your program. Worst case, it may just crash your program and you can lose progress for your work. For this lesson, we're just going to go eight bit in RGB. Let's assume we're just doing a digital work. Now, background content is the first thing that you see when you make this project. You can choose a different color. By default, it's white. I can turn into black. If you choose background color, you can choose something from here. You can also do transparent, no background, get yourself a PNG. And then we have custom for you to choose a specific set of colors. So these are the different things. Let's go with white for now. We have some advanced options, which you can talk like that. Color profile, when you open this, this is similar to what we talked about in color mode, but these are presets for certain things that you want to. For example, Adobe RGB is a profile by Adobe. It represents colors differently than compared to, let's say, Apple's RGB. We have Image three and a bunch of other stuff. As a beginner, you don't really need to go too deep into this, but you can see that we have some pretty famous color profiles here like Cannon. We have some LUT over there. We got Fuji film and all these stuff. These are official color profiles by these companies designed to represent your colors on whatever you make in Photoshop in their own unique way. But let's do don't color manage because we're just trying to do something simple lastly, we have pixel aspect ratio. Just an overview. Everything you have on a screen is made up of pixels, and the aspec ratio is the overall size of those collective pixels. So when you click on this, we have square pixels, and we have a bunch of other stuff. Now, what you're choosing here is not the size of your canvas, but rather the shape of the pixel. So one pixel is a very tiny part of your screen. By default, we have everything as square pixels because we're trying to create digital artworks, photography and other stuff. But if you're doing something different, let's say you're doing special type of animation video, you would want to go for the other types, which is different shapes for your pixels. So these are just non square shapes. The first one is your square shape. Just like the color profiles, do not change these unless you were instructed to by a tutorial, by your video editor or anyone else that is guiding you through those complex projects. Now let's stick to square pixels, meaning that each pixel on our screen will be a square. There's also this search button down here for you to look for templates. These are meant to make your workflow a lot more easy. So let's say I want to make a poster. So you can type in the thing that you're trying to make it go, and it's going to open a page on Adobe stock, which is kind of like shutter stock, but for Adobe, and you get to download different poster templates in either Photoshop format, illustrator format, and just tweak it until it's your own. We're not going to go too much into these. You could explore them in your own time. But for now, let's just leave that and look over the stuff up here before creating our project. This was photo, pretty self explanatory. Now for prints, these are the different paper sizes. So we have the classic letter. These are the papers you see in your household print. Have legal tabloid. You can see the inch and their PPIs, pixels per inch. So you can see it's 300, so pretty high quality. You can find A four papers, B three, and so many more. We still have that template feature down here to get you started on the project. So if I click on any of these, you can see that you can just click on them and change the width and height, choose a different unit, and just get started right away. Arts and illustrations are very focused on those pixels because you are, as we said, making them yourself. So you're not importing an image, you're not importing a logo, but drawing things perhaps. And down here, you can see the type of things that constitute as arts and illustration. So we have some text work over here, and these are generally more high quality work. If you look at all presets, we have ten EDP, which is the size of the usual screens. 720 P, we have 1,000 pixels, 2000 and you can just go up from there. If, say you were instructed to do a 5,000 pixels, you just replace that with a five. Next, we have our web. So you can actually create web interfaces on Photoshop. So you can see we have different screens, Macro P 15, IMAC all of that. Say you want to create a mockup like s or you want to make a landing page, send it to your developer. You can do it via Photoshop as well. What people do, if you're familiar with UI design is created here, import it to Figma, organize it a bit there, and then hand that over to their developers. It's a pretty cool feature, as you can see, there's a lot that you can do within Photoshop. Then it's mobile, same thing, but just for the mobile screens, we have tablets here as well, Apple Watches, and instead of looking for what dimensions you need for these type of devices, Photoshop has it all here for you. Lastly, is film and video. Uh, you can actually generate animation in Photoshop and even edit videos to some extent. Obviously, it's nothing like Premiere Pro or after effects where you get to do a lot more complex work. But essentially, it lets you perhaps bring your illustrations to life by making your character blink. It's pretty manual, I would say, compared to some other platforms out there. Does give you the capabilities to do stop motion and that sort of thing. We'll definitely look into how to animate and edit within Photoshop in further lessons, but this is where you would get started. Good for K, get some special ones down here too, eight K, and so on forth. That's our new document panel. Let's go ahead and make a simple square thing. I made this one before I just called the logo, 600 by 600, 300 TPI. Let's go ahead and bring this down to 500 and this to maybe 200. RGB, a bit and everything else is set to default. Now, I'm going to turn on artboards. We'll look at that in a further lesson, but to set up our document, we're going to need to turn this on or else you cannot follow along with what I'm doing. Since this is a square, doesn't really matter which one you choose. It's 500 by 500. But once you have that all set up, let it create and there is our first box. If you're zoomed out like mine, pull down Command zero. Or Control Zero. Command or Control Zero to zoom in. You can also do, let me zoom out again. Right click with the Zoom tool and hit Fit on screen. So whichever way you prefer. All right. So this is your Photoshop interface. This is where you create all sorts of stuff. And in the next following lessons, we're going to start by looking at this long range of tabs, then jump into the tools. Basic functionalities before we learn how to create things like a logo, text, maybe a poster and all those stuff. I'll see you guys in the next lesson where we begin to do that. 3. Colors: Welcome back. In the previous lesson, we learned how to create our very first document. We made a simple square document, and now we are here to work on our canvas. So this white box that you see right in front of you is the canvas that you're going to be putting on all sorts of stuff. But before we get into that, we need to first understand how Photoshop functions, and that starts by looking at all these things on the right side of your screen. Now, yours may not look exactly like this, but these are things that you can bring in from the window tab right over here. So you can see if I wanted to get color. You can see color right here. If I'm pointing to something on the right and you do not see it on your screen, just pause, go to window, find it, and then just click it for it to show up on this right. Now, the cool thing about Photoshop is that you can customize your workplace. Obviously, someone who is a graphic designer will have a different workspace than someone who is an Illustrator. That's why Photoshop allows you to say, take your favorite things, pull them out, maybe remove certain parts, and just keep the things that you're going to be using most often. Example, if I don't use the path window that often, I could right click and then just close it. So it's just going to disappear. But again, if I wanted it back, I can go to Window and then find paths. Click at once, and it's going to show up right over there. All right. So even when I bring in all the different tabs, you can see I have from top to bottom, it's all filled. They are in their own boxes. So notice this line between these four and then there's one underneath these two, and they're all sort of separated. That is because each of these windows are for one specific purpose. First four that you see up there is all related to filling in your shapes, your texts, your lines, mostly in regards to color, but there's also that pattern tab. That's where we're going to begin just starting with color and then I'll make my way down in the next lessons. When you click on this, you're going to be greeted by all of these little groups. And when you toggle them on, when you expand them, you will see different colorful boxes. Now, a lot of these groups are there by default, so RGB, red, green, and blue. These are your classic digital colors. Right underneath, we have CMY Kase, cyan magenta, yellow and black, Ks for black here. And earlier when I said that the colors for RGB, digital colors are different from print colors, you can kind of see what I was referring to. So if you pay close attention, you can see how the magenta or pink here is very different from the one right above it. Same thing with blue, the cyan, the green, the red, and the yellow. If you go on each one, and just click on it. You can see that it's still red in both cases, but it's just the way that they're represented on the screen. So be very careful with how you're choosing your colors to be represented when you're printing or where you're publishing online. Gray scale is just black and white. You start all the way from black to white and anything in between. We have pastels, light colors, darker colors, and all that stuff. You can make your own color palettes by clicking on this group icon. Call it my colors, it okay, and just going to click and drag it outside so it's not in RGB. Before I add a color, I can go down here. You'll notice two boxes. Apple click on the front one and then choose that new favorite red. So I'm just going to grab a random one. You can also put in the hex code. This is unique to a number to a color, I mean. You can find unique hex codes online on Pinterest. There's tons of websites out there for you to grab those specific colors. You can also change their values here. I will come back to this. I just want to make sure we finish swatches and then move on to the other stuff. So you can see that once I hit Okay, I now have my new favorite red or this new color that I want to add into the M colors group. Once I have the selected, the group, I can hit the plus and call it my favorite red. And then just make sure the color is the same. There's this option for you to add it to your current library. Libraries are a way for you to organize any sort of media that you have on Photoshop. So we can have colors. We could have different patterns, different gradient maps, and so on forth. This is in regards to the libraries down here, so I'm going to get into that later. But I if I don't want it to be in my library, I could just not check it. But for the purpose of our course, I'm going to check it, and it's going to show up in my library. Once you're done, hit Okay, and there's my new color. So anytime that I'm trying to draw, looking for my color, just hit on Swatches, find it, and just click once on it. So if I had blue I click once on it, it's going to choose that red. If I want to choose a different color, just click on them once and you can see they're being loaded up onto brush. If you don't want that color anymore, you can delete it. So I'm just going to go down to a different color palette. Say, I want to delete this, hit the trash icon once. Okay, and pretty simple. And as we saw, we can reorder them. So say I want gray scale to be above RGB, I can just click and drag it. If you put it on RGB, it's going to go inside this group, which you could do for a different reason. But for now, I'm just going to have them all lined up like this. If you have tons of swatches out there, you can search for them. So let's go for my favorite red. There it is. And go for only greens and it loads the green in all of my groups. They are labeled green. And that is pretty much our sweags panel. There are some options on the top, right, this little hamburger menu. You can make a new preset, which is what we did with my favorite red color. Make a new group, the same thing as these two. Rename your group, dole the group same thing. Tiny thumbnail. This is how they're displayed. So I could choose large list, and that's what it looks like. You can do tiny thumbnails, change that up to your liking, to go back to the default, which is this. We also have the ability to show the search bar and the results. The resents this is the search bar, and these are the resents. If you don't want them to be visible, just click on them once and they disappear. Have append default swatches, which is changing our list to the way they were initially. So you can see that it brought all of these guys below and just sets them to the default. This is in case if you, for example, deleted half of these and you want to get the original pale group colors back. You can just click that to bring them. We can import swatches. If you downloaded a group or a color palette from the Internet. That works with Photoshop. This is where you would import them. You can export your swatches. You can export these watches for exchange. So you can save it like that on your screen, your computer. We have legacy swatches, which if you click on is going to load in some of the older swatches, paint color swatches, something specialized. This is what they mean by that. We have close and then closed tab group, which is just the same thing as doing that or just removing it completely from the list here. Speaking of that, if you right click on it, we can expand the panel like that, make it bigger if you want, minimize it, and then we can collapse into icons, bring it back to what it was. Change the interface option. This goes into your preferences, but I like to keep it as default. That is your swatches panel, pretty straightforward, really helpful when it comes to anything you do within Photoshop. All right, once we have this, right underneath is your color panel, which you can again load in from your window if you're not seeing it here. Now, color is just color. You can click and drag the edge here to make it bigger. This is where you get to experiment with color, maybe grab something real quick. And whatever I select, you can see down here, my fgrown color changes. Can start painting with whatever I select. So you can see that we have almost white on the left, black on the bottom, and the really pinky scenario on the top, right. So in this color panel, going from left to right is your saturation. So if it's all the way saturated, you're going to get a very deep pink in this case. You can go with red to make it easier. So a very deep red would mean a very saturated red. You go all the way to the left, there is zero saturation, which means there's no color. It's just white. Top to bottom is about the lightness of that color. So if you go all the way to the bottom right, you're just getting pure black. So same thing here. This is when you have no saturation because this side means no saturation. And if you're all the way at the bottom, you have no lightness. So there's no light for there to be any color. But if you go all the way to the top, that's 100% lightness, so there is going to be color as much as you saturate it in. So just try to understand the different sides of this square Going to help you make different color choices for your project. So this is pretty helpful tab to use. This was saturation, lightness and this bar here is your hue, which you can just grab in like that. Now notice how some of the colors give us this error message, it says out of gamut for printing. We did talk about the CMYK RGB thing a little bit, but if you choose a very saturated green like this guy, put this back. What it's going to do is not let you print that exact color if you were to do it. But as I drag it to the left, you can see that there's no problem where I have it over here. My color profile is not exactly made for printing, but basically, if you get a very saturated, very bright color, chances of your printer having that are low, especially if you have a standard thing. But this is something you want to pay attention to. So if you are doing something for printing, you're Workflow in regards to color will be very different. I would have to be very careful about the colors I'm choosing. I have to choose a different color profile, load in certain colors to avoid misprinting later on. But that's basically what this triangle means. Similarly, we have that Hamburger menu. I can change the way my cube looks. This is the hue cue. As we said, this was the hue. I can make it based on brightness. Now we have the hue on here, and then we have brightness on the right side. So when there's light, there's color. When there's no light, there's no color. That's the logic. You can choose your hue like this. Next, we have color wheel. This is something that most of you may be familiar with. But again, it's the same thing. We have hue around this triangle. We have brightness really bright. Really dark, full saturation. If you don't want to use this, you can use the sliders up here. Hue saturation, which is how much color there is and then brightness. Type in a number if you want, you can also use your rakes to go down by one increment and change your colors. Next, we have gray scale slider. This is in regards to how much black you have in that particular color. Every color that you see right here has a little black in it, which may not make sense when you're thinking of traditional paints. But let's say I want this blue. There is 84% of black in there. If I choose, like, a brighter color, it's 6%. If I choose this, it has 95%. Now, in real life, when you try to add black paint, I mean a little bit to your colors, it ruins the entire thing, but that's not the logic that is being used here because these are digital colors. Again, we can change the numbers by our rachis or with a slider. And just remember that on the digital world like Photoshop, K is black, so it's not B, but K. Let's go to another one, RGB sliders, red, green, and blue for digital work. So how much red do we have in our color? The opposite of red is green, so I'm just going to bring these two, like, halfway so you can kind of see. So if I add red to my color, which is currently set to this peach thing, it's going to be peach. If I remove all of the red, I'm going to be left with a greenish color. And if I want to remove the green, I'll be left with blue. Add green all the way. I'm going to get a really bright green. Let's bring this to zero. Now that I have blue, if I remove all the blue, then I'm left with black. If I add all the blue, I'll get a very dark blue. RGB, red, green, and blue, just decides how much of each color you have in your current color. It goes 0-255, and that's the maximum you can have. You can play around with these. As a beginner, you wouldn't really come to this tab. You would either import a color palette, use one of the presets or just manually add in the numbers the hex code to make it a lot more simpler. Have HSB sliders, which is hue saturation and brightness. Kind of looked at that already with a different panel. So hue, what color saturation, how much of that color, brightness, how bright is that color? Pretty simple stuff. CMYK. This is for print. How much cyan is in that color, how much Mcenta is in that color, how much yellow, and how much black. So if you remove all the black, you can see we get a yellow. If I remove all the yellow, we just get white. Now, lab colors are essentially like RGB. We are working with the three channels, but it just converts those channels red, green, and blue to light components. Light or L stands for luminance. You can see that when it's at 100%, we can see the colors. But if I remove that, there will be none left. It just turns to then A represents the red and green. You can also see it somewhat here, and B stands for the blue and yellow. Just like the other specialized sliders, you wouldn't really come to this unless you were instructed to or if you're trying to do something special, but it's good to understand what these letters stand for and why we have this many options. The last thing is web color sliders. This is for the websites. Basically, you can see it in different components. That is because you are formulating your hex code. Now, hex codes they always start with a hashtag, so hence the hashtag They're composed of numbers or letters. Essentially, it's a unique code for each color. So when you go on a website and you see a red button, if you were to find the code for that exact red that you would want displayed on your website, you would take in the hex code of that red button. So again, another specialized thing. If I just grab this color, you can see it starts with 69 091c, and that is a color. When I dab or click on this, you can see down here. We have 69 091c. Same thing. This is the hex code area. If you were to have a hex code from the Internet, you just copy it and paste it there. Then hit okay, and your color is ready to use. Alright, and since we're here in the color picker panel, this is extremely helpful if you're trying to pick colors up another image of a color palette, or you just want to manually type in the values and not use the sliders that we saw. So HSB, saturation brightness. That was, I think, one of the first ones we looked at. You can just put in a number. You can use your arcs as well. So we like 80, you can see that we can move it around. 80 saturation, 60 brightness. That is my color. We can see that automatically the red is set to 112, green is 153 and blue is 31. Let's get rid of some of the blue, increase the green and increase the red. That is our new color. Next, we have lap that we just looked at. We can increase luminance to say 95, get a really bright green and the red and green is set to negative right now. We can make it even less. I get a deeper green Then I can add some of that blue and yellow. You can see it's turning bluish. Just playing around with these CMYK, Cyan Magenta yellow black. You can change stuff like this. Let's remove some of the yellow and you can see I'm getting blue instead. I I add 100% K, I just get black. Now, this new color, you can see it's not exactly fully black is this unique code. If you're applying to use these codes, just remember that white is just FFFF F, and then black is just zero. So it doesn't matter if you're here or here. These two numbers, it's good to know them. So if you're trying to get a pure black and you thought this would be it, this is not pure black. It needs to be all zeros. The same thing for white. If you're slightly off, this does look white, but it's not actually white. Alright. And say you have this really nice color, you want to add it to your swatches, you can do it right here. It goes in that color palette that we made earlier. So let's just do that. Let's call it M blue. Click Okay. We can also put it in our compare it with the color library. So these are specialized library for print mostly or different types of display. The one at the bottom is arc color. So I can compare it with these ones if I want to do some special project. And the last thing is web colors. Basically colors that would display well on a digital screen. And just meet these standards. So you can see it kind of added better grouping segment for us so we can just clearly detect those things and go about finding a perfect color. All other things down here, we have Copy color as HDML. So that's the HDML code if you're doing a website or something, or you want to embed something in WordPress. Copy colors hex code. That's the code we looked at earlier. Then we have RGB spectrum, CMYK spectrum, gray scale. So the way it's displaying these colors on what mode are we on? So you can see that it does change as I switch through. By default, it's more it's on CMYK, but just toggle it here and make it your we have web safe. These are colors that are, as the name says, safe for the websites. So you can see that I will not have the issue of going somewhere in between because it's clearly indicated. Undo that. We can then close and close this entire tab group. We can close this and the tab group itself. That is all the color stuff that we have. We looked at swatches. There's also the same thing for gradients. Gradients are essentially how you go from one color to the next. This will be using the gradient tool, so I'm not going to go over right now until we look at the tool right here. We also have patterns. These are pretty self explanatory. It's just images that you get to fit inside shapes. Again, when I introduce you guys the shape tool, I can go over exactly how these functions. Just like how you have a library for your colors, for your gradients, you also have some for your patterns, and this is where they are located. We also have the channels. This is for when you want to look at a certain channel within your image. So if I were to import something real quick, you can see that RGB ends us with hit Command zero to make it full screen. The reason why you would want to go over channels is when you want to isolate a set of colors within a composition. They're labeled clearly on the top right. The reds, the greens, and the blues, going over them, you can just isolate them. Anything blue and red is currently being displayed right now. Anything green and red it's like that, red and green and blue, they look like that. That's the only purpose of this particular panel. So that's all about just color inside Photoshop. When we move on to the tools, I will show you how to use these colors, but this lesson was meant to understand the logic behind them. Why do we have so many different sliders when we're just dealing with one color? What do the codes stand for, when and where you would want to use a certain color mode. And now that we know the basics, we can now move on to our next lesson where we take a look at the other panels on the right. Oh 4. Move Tool: There are so many tools in Photoshop, and it's really important to understand the basic foundation of what they are used for and how do they operate, basically. This will be a rather long lesson, so I will be breaking them up into pieces and parts, and that way, it would be more digestible. But it's important for you to follow along as I'm doing these exercises so you get a better grip of how these tools work. The toolbar is located on your left. You should see the exact same thing. If for some reason you don't, just make sure you go to Window and turn on tools. So if I undo this, I will not have the toolbar. Just make sure that this is selected. Starting from the top, we have our move tool. This is used to move things around your canvas. I'm going to import the image from last lesson and to import, you can just open your finder, drag and drop it right onto the canvas. You can see that with the move tool, as I go over the image, a blue line occurs around the image. Indicates that this is an element that I get to move around. So just by clicking on it and then dragging it around, I'm moving things. This applies to shapes, text, images, and effects. It's a really helpful tool, and the shortcut to get it is just hitting V on your keyboard. If I'm on something else, I hit V. You can see that it jumps straight to the move tool. When you're on the move tool, there are certain things that you can do. So you can obviously move your element around. You can align them, and you can transform them. So if you're using the text tool, you can't really do those same things. So that's why it's probably the most used tool in Photoshop because you use it between everything. So let's try making this image a little smaller. We can have it selected and then hit Command or Control T on your keyboard. So one more time, Command or Control and then I'm going to get these boxes around my image. You can tell that it's being selected for transforming because of this giant X across our element. And again, anything that I show you right here can be applied to a text layer, a shape layer, a path layer. So just by dragging the corners, I can resize my image. Same thing here. This will maintain the original size of the image, so feel free to move it around. Another thing that you can do is hovering your mouse close to the top of these points. You can see that it changes when I do that. And with that, I get to rotate my image. So clockwise or counter clockwise. You can see on my cursor, it tells me the exact degree. And if I wanted to be on a specific degree, I could just type it in this box right here. So let's say 45 degrees, 90 degrees. Zero degrees. Anything at all, you just do that and you can rotate your image. In terms of position, we do have X and Y coordinates. As a beginner, you wouldn't really use that. Usually, it's more efficient, but if you wanted to, you can just position it exactly by the pixel on your canvas. Okay. And if you clicked away by accident, just click the image again, Commander Control So what else can we do over here? We do have the width and the height currently locked. So when I try to change the size of this, you can see that I can't really squish anything, and that is because we have this locked. So if I click on this once, I can now squeeze my image because the ratio no longer matters. Commander Control Z to undo that and get this locked again. I can also go over the letters, go left or right, to do basically the same thing I'm doing here, but from a different method. You can also use your error keys to move them by smaller increments or just type in any number. Let's say 5%. When I try to resize my image, you can see that it does that by the corners. So every other corner except this guy is moving as I'm trying to move this around. But if I want a different reference point, say, the top one, the right one or anything, you can see these little boxes around this guy. I could just click on one of them. So now this guy is my new reference point. And just like that, we can change the reference point wherever we want it to be. Notice this circular target thing, that's what you're looking for. And if you want it to be at the center, just click the center. And that's where it should be by default. If you don't want the center point, the reference points, just turn off this checkpoint and you don't have to worry about that. And this will just by default, go to the opposite end of where you are moving it. Now, in terms of transforming, we do have some special stuff over here right next to the checkmark and deccel mark. If you click on this, you'll notice that your grid changed immediately. So now we have this situation. You can choose the way you can see these grids. You can add more points, more columns, more rows. The more rows and columns you have, the more precise your transformations can be. This right here is pretty standard. And basically, I could squish and squiggle the insides of this based on the grid. So I can't do anything with the edges here because that was for the previous transform options we had. But now if I just click on this end, I could kind of do this. I get kind of three D, move it around. If you have a gradient thing and you wanted to move like a liquid substance, this is where you would come to do that. When you create a curve, notice how we got these two lines coming from the corner. When you grab this, you can change the edge. The more you take it out, the more intense that curve is going to be so notice this curve. But if you push it in, it's less intense. Pull it in all the way, you're going to get a straight line. And this is a case with all the other ones. So hard to grab it sometimes. Looks like that. If you hold down option on your keyboard and click on it, you can move the corner itself. All right. Let me hit Commander Control Z, get my default grid back. There we go. When I hold down command, notice how I'm getting the option to add another row and column. This is the same thing as up here. Let's say I want another row, I should bring my cursor to the edge. Then I can add a middle row here. So just click Let go and you got yourself another row. If I hold down command in the center and not at the corners, I will get a row and a column, which I could add in for a more precise transformation. So notice how the lines here are more detailed compared to the center. This is because of what we had. So when I move this corner, you can see how not everything is moving. I could just work with this tiny section of my work and get some transformations going. This is the same thing as the command thing. You can just split the warp horizontally, vertically or just do one where there's both or just hold down command. We have some grid options. If I hit default, it just brings me back to what I had. I could make it a three by 34 by four and or five by five. You can also customize this to the way you want it, say, seven columns and three rows. You can do that easily. Command zero. And then this is where you get to decide what kind of warping you're doing to your image. So when you're on custom, you're doing a combination of all of the ones below. But these are things that you would use for something like a shape or a text, not necessarily for an image like this. But since I have it here already, let's go over what each of these do. So when you do arc, it just creates an arc from the bottom, gives us this shape. I could still move the top to have it go the other way and decide how much of a curve I want. Manner control Z. Then we have an arc lower or upper, same thing, but the bottom, as you can see, remains intact. So lower would just be the same thing, but on the other end. And with any of these warps, you still can add the row and the column. So this applies to all of these. Then we have a dapple arc, which lets you get one unified arcing. We have bulging, which makes it rounder in the center. Looks like that. We have a shell lobe. These are just different shapes you can explore the opposite end for upper, turn it into a flag, a wave wave on the inside, a fish shape, and we still have the controls to change this up. We have a rise fish eye effect, which you can just grab the point there. This is something you might use. We have an inflate option, a squeeze option. A twist option. There we go, whichever direction you wanted to go, and then a cylinder option. So you may be wondering, apart from text and other stuff, why else would you want to use the warps? This one in particular for the cylinder warping is really good for mockups. So say you have a soda can and you're trying to warp your design onto that soda soda can. The can itself is shaped like a cylinder. So you would do this and then simply change the width of it and match it to how tall your Soda cans. So it makes things a lot more simpler for those type of purposes. We go back to do wave. And then over here, we have some guide options. The guide options here are talking about the blue line you see on the image. You can change the color if you want how visible they are and how thick they are. Unless you have to, just leave them as the default because you do need to see what changes you're making. This right here just separates just switches the way your warping is happening, just the orientation. If it was warping this way horizontally, we can have it warped vertically. Bending is the same thing as that white box. If I just move this around, you can see bend is changing up here. The height is about the height of your work. Then we have the volume. So that sort of stuff. You can then click this to bring it back to default and undo everything. And once you're done, hit the checkmark. So those are your special warping effects. We do have some general transform options which you can get again with a move tool, then Commander Control team. But this one, you have to right click on the image, and then you get that option. So we have place, which is what we did first when we clicked dragged in our work, placing it, which is have you unselected for transformation. You can do the same thing via Inter on your keyboard. Whichever you prefer. Then we have cancel, cancel the operation. Then we have scale, which decides on how large your images. We have rotate. Let's you rotate it. Skew, basically squishing it or making it bulkier on one end. This is, again, good for mockups. So you have a TV screen that's tilted to the right, you would want to match your design according to that tilt. Then we have perspective. Perspective is more justified than skew. Skew can get a little bit distorted, but I would say perspective is a lot better if you have, like, a well defined rectangular shape. And then distort just lets you do anything you want. So it doesn't really care if it's justified, if the ratio makes sense. You just get to move your artwork in weird ways. Then we have rotate 180 degrees, 90 clockwise, counterclockwise. Warp brings you back to that menu we were looking at earlier. We have the split options, which is the same thing as this or holding down command. Then we have some Tuggle guides, which hides those blue lines that you can configure with this. Then we have flip horizontally. Or flip vertically, and that's about it. I'm going to reset the warp and then just cancel to get back my original image. That's all the transformation. There is another tool in the move tool. Whenever you see this tiny triangle in the corner, that indicates that there's another tool besides the tool you're seeing right now. Notice how the Zoom tool doesn't have that tiny triangle, but a lot of the other ones do. So when you right, click on the Move tool, you can see there's the Artboard tool. The shortcut is also V. But when you hit V, you're going to be directed to the Move tool first. So just right click and grab your artboard. So when we were first setting up our document, remember that we checked a box for artboards, and those are essentially different canvases. So this right here is one canvas that I have, and if I click on it, I could move the entire thing. With my artboard tool. All right. When I click it, I can move it around, and then notice these pluses on the edges of my artboard. That lets me create one on the right. It command Z, one on the top, one at the bottom, and so on forth. It Command zero. When you export your work and say you have seven artboards, that's going to be seven pages of art that you are exporting from Photoshop. But it's important for you to not confuse this with layers. Layers are within one artboard. Artboards are within your project. So it's a bigger concept. Now, with artboards, you can create some presets for yourself. So if you have this special dimension that you'd like to reuse, you could just define it here, then hit the plus sign, and then you can just jump straight into Photoshop and start from that artboard size. But if you want to use a well known size, you can go on here. You can see we have iPhones, we have Apple Watches, and all the other stuff that you might need. And when you click on one of them with the current artboard selected, it changes that to the actual size. IPhone ten is 1125 pixels by 24 36. That's why it's a lot larger. This is predefined by Photoshop. But if you wanted to, you can still change the width or the height of your artboard. The next thing is the background color. By default, it's white. You can do black, transparent or other for the color picker to show. You wanted a different unit, you can just type out pixels and put in maybe centimeters, inches or whichever other units you prefer. I'm going to go back to Logo, which is a regular square, 600 pixels. We do have some other options up here, which is making your artboard two landscape or portrait. But since I have a square, those are being graded out. We can add a new artboard based on these things. If I click on this. I will get this loaded into my mouse and I can just click once and maybe put it right next to my current artboard. We have the orientation, which I could justify them at the center, top edges, distribute the width and all that other stuff. This is for when you have multiple artboards. I only have one at the moment. Then we have some options right here, which by default, all of them are selected. That's the artboard tool. Going back to the move tool, there was one other thing that I wanted to show you guys, and that is when you just have an element on your camas. Have noticed these things, same as the artboards, we have a preset option to make some presets defined for this tool. You wouldn't really use it for the move tool since it's a pretty general thing. But you can turn this on to see the transform controls, which is the same thing that we were looking at earlier. Then you can align it to the center of your document, edges, top, bottom, center it completely means pressing these two, and then there's more options down here. If you had multiple things, let's say I had two things, going to hold down option on my keyboard, click and drag to duplicate my two elements, click and drag both of these elements. I can move them both at the same time. The second one just went under the first one. And then again, we have some default stuff at the corner. We have Auto Select turned on. Make sure this is on. It makes things a lot easier, and then you can go based off a layer or a group. We'll learn about layers and groups in another lesson. But that is basically how you get to use the MV tool and the artboard tool, pretty self explanatory. Throughout the entire course, I will be using these tools interchangeably and it will be used for basically anything between Photoshop. Now let's move on to our next tools and see what else Photoshop has to offer. M. 5. Frame, Crop, Eyedropper Tools: M Now, before we jump into the more complex tools such as the three tools below the move tool, the Marquee, the Lasso, and the Quik Selection tool, we're going to look at some of the smaller tools that only do either one thing or have very minimal features. Now, the Marquee, Lasso and Quik selection are all about selecting something in your images. So that's why I can get tricky because we have to make sure we're selecting the right thing. Our edges are smooth. Maybe we want to remove something from an image and just do more advanced things. That's why I'm going to skip over these for now and jump into our crop tool, which is fairly simple to use. Now, Crop tool, as the name suggests, is just for cropping. Whether you have an empty file like this, you can simply click and drag to make another artboard on top of your file. Similarly, you can grab that artboard and just crop it into a smaller size. And if you already have an image, and go to my layers, I have two pulled in already. I can use my crop tool to only grab a certain part of that image. So it's a fairly simple thing to use. When you long click on your crop tool, you do see some other stuff. So I have this image right here and it does have a shape that can be cropped out using the perspective tool. Now one thing to notice is that we made this document with the artboard selected, and you can see that my first layer is within an artboard. So when I want to say, just crop out this sign, I will run into some issues. So I end up moving the entire image. And when I go outside of the canvas, I make another artboard. That's where things can get a little bit tricky, but it's not that big of a deal because if we make another project with this checked off, we will not have that same problem. So let's go over here and just copy our layer. Just do Command or Control C, Command or Control. So now I do not have it within an art word. You can see the difference right over here, and now I can crop this as I please. So let's grab a tool. If I were to only isolate San Diego, I could just click and drag. Once I'm happy with it, checkmark, and that is my new photo. But the problem here is that there is some perspective action being done here. So it's not flat straight to the camera. And whatever I do, I'll end up missing parts. I'll end up adding parts that I don't need. So that's where the Perspective Crop tool comes in handy. So when you long click Perspective Crop tool. It starts the same way. So you have the square thing, but now I'm going to bind it to the two corners. Once I let go, you can see that I have a different result. I could simply grab one of these edges and follow along the perspective of my object. You can zoom in, make sure it's all nice and tidy. Believe this is the corner. There we go. I'm holding down the space bar to move my canvas and my mouse to just move it around. You can use your track pad to zoom in and out or just use the Zoom tool, which I'll show you how to do in a second. So once I have my setup, I can hit the checkmark, and there is my image. So I was able to crop it without bringing in all those unnecessary things. So that's what the perspective crop tool is for and crop tool. Simple to use. Now the next tool is called the slice tool. This may sound familiar to you if you use Illustrator in design. And essentially what it does, and as the name suggests is that it slices your image into different parts that you could later export. So if you have done one of those carousel works on Instagram, you can see how when you scroll, when you swipe on that carousel, all the images seem to be intact, but they are different things. So essentially, they use the slice tool to create turn one image into three slices. That if you were to put them together, would result in the original image. So up here, you can set it to normal fixed aspect ratio or the fixed size. I'm going to go ahead and do that Instagram example where we're going to have three identical slices for one image. So aspect ratio one to one. And now let's just hold down shift if you did not put a aspect ratio, but you want to make sure that still is square and then let go when you're done. You can see that it cut my work into two identical squares, one rectangle and one longer rectangle. If I long click, we have Slide Select tool, and I could either divide this into more sections, manually just type in one on one. And this would be my work. I could also move the slices. You can see that I'm making even more. And then when I export this, say, I'm happy with this, export, say for legacy, I have these separate slices that I get to export. This is more of an artistic thing, as I mentioned, but if you ever wondered how they did those type of carousel works, it's via a tool like this. Once we have that, we have the option to create a preset for the different slices. And then we have some things that are like front and to back. This is the hierarchy within these slices. You may not need these at the moment, but that's what they're for. So this brings your current selected slice to the front. This takes it one below the front, one before the last one and the last one. You can also hit promote for it to come one level up until it reaches the front. And then there was a divide, some alignment stuff, and then we have hide auto slices, hides the stuff that it automatically did for you, you can just give each of these a name. Instead of slice five, you could be like loco slice or something, and that's about it. So the slice tool pretty cool, and that is all the tools within this button. Right below it, we have something called frames. This is for when you want to create templates and just need some placeholders. So let's say I was to send this photo to someone else to put their own logo in. To guide them as to where they should put their photos, I could use that frame tool. So just click and drag, and that right there tells them that they should put their photo right over there. We can also do a round one. That creates a circular frame. Now, how does the person on the other end actually put in their own photos? You may have noticed that we're getting different icons at the bottom right of each of these, these are the frames. These are the layers original contents. And the ones to the left, the two things are just indicating that these are frames, but the ones on the right are actually smart objects. Now, smart objects are a great way for you to not only edit your images, but keep track of exactly what you're doing and have the ability to go back to a certain setting and adjust their value. So in this occasion, say we gave that other person this exact photoshop file because it's a smart object, all they have to do is Dabo click on that image, and they'll be brought inside of the image itself. And this is where they can click and drag their new photo or maybe I don't make a change here, whatever they want to do. But just the mere ability of going from our original project to the image itself is only being done because of that smart object. Now, if I were to copy the same image, Commander Control Z, Commander Control Vp and see how this does not have that icon, but double click here, the only thing that comes up is this layer styles panel. I cannot go into the image itself. Smart Objects is something we're going to look at later for mockups. Image editing and so much more, you'll come across it at least once when you're using Photoshop, but try to use it as much as you can when you're making substantial amounts of editing. Okay, so that's the frame tool that you can see, there's not much going on here. The next tool is the eyedropper tool. So this one just selects a certain color for you to use. When you click, there are a bunch of other stuff that I'm going to show you later. But the first one works just by click and dragging. So this is a color that I just picked, my other color. If I'm not sure which color I want, I could just click and hold and drag and see what color I want to sample. Then let go, and it's going to be here, ready for me to use. Up here, we have the sample size. So five by five average looks at relatively smaller range of pixels. It's really concentrated into those tiny colors. But if I increase that amount, it's going to be relatively the same color. It's not as precise. So that's what sample size means. And then point sample is a singular point, singular pixel. Three by three means that it takes three pixels across and three pixels from the top, finds the average, gives you the sample. You can use any of these depending on what you're doing. Then we can tell it to sample what. All of the layers that you have, the layers that had no adjustments, the current layer that you're on or current layer in below. The layers are the things you see here. If you cannot see our layers panel, window layers. Are you asking it to only take a sampling from this photo? The photo above it, all the photos, only one photo, that's where you set that thing. Then show sampling ring is the circular thing that we found before. That's just a visual preference. When we long click, we have color sampler tool. When I click once, you can see that I can see let me make another one here. I can compare some of the colors and maybe try something similar. You can see the RGB values and the CMYK. You can make multiple of these samples. You can see that they're labeled one, two, three. So once you have all these samples, you can make some color choices, maybe choose a different color, see if everything's in the right range. That's the sort of thing you might use it for. But this would be a more advanced tool. I'm just showing you how it would work. Click, we have the ruler tool. So I'm going to go back here for a second just because it's a lot more tidy. The ruler tool, as the name says, lets you measure things. So how tall, how long is this top part of the sign. You can see on the top right, I have some measurements. So the width is 257. The height is 16. I didn't really set a height. You can use it to measure things. So pretty cool. When you let go and click and drag, you're making a new selection, so bear that in mind. You can strain that layer based of that ruler. So if I set the the line at which I want the image to be straightened on, I would make that line. Strain layer, you can see now this line that I made is lying flat. So this is especially good with, like, geometric photos, any buildings, architectures, and many other stuff. Long click, we have the count. It basically lets you count parts of your image. So let's say you have an image full of balloons. You want to see how many balloons you got, you can do one, two, three, four, numbers are quite tiny, but you can change your colors and increase the size up here. So let's make the six and make this red. You can see they got quite large. Let's make the label 12. You can see the size got a lot bigger. I'm going to count, say, the screws. And another reason why you might want to use this is when you're sharing a document and you're trying to communicate with another designer, you can be like, look at 0.12. There's a problem with it. We need to be we need it to be fixed. That's one of the functionalities, you can make different groups. So this one could be for imperfections. Another one could be for suggestions and all that stuff. We know that currently we have 14 counts, then we can make another group based on what we just counted. Then when we're done, clear. So those are some of the lesser intense tools on Photoshop. So in the next lesson, I'm going to start by the selection tools, which we kind of skipped. So those would be these three, and there's a lot that you can do with it, especially with the integration of AI. So it's important that you have the latest version and that you know how you could best use these tools to, in this case, select something. So I'll see you guys in the next lesson. 6. Selection Tools Pt. 1 : No matter what you do in Photoshop, you are going to select something. So the selection tools are going to be one of your core tools, and we're going to go over them in this lesson. So there are two resources that you can download from the resource pack. Simply import them into Photoshop so you can follow along and see how these tools work. So let's go back to our first image. We have two signs. We have one that is circle and one that is rectangle. You can also notice the perspective, so they're not looking straight at us, but rather there is an angle. The selection tools are on the right. We have the first one that includes the Marquee tools and these come in different shapes. We have a rectangular one, an elliptical, a single row, and a single column. You can use M on your keyboard to quickly access them. If I just go to a random tool, if I click M, you can see it jumps into the Marquee tool. Now, the rectangular one is very straightforward. I'm just going to go to the second image. Using Command or Control zero, I'm going to fully zoom into my Canvas just by clicking and dragging I can make a selection. You will know that you have a selection once you see the marching ants, you can see the lines are moving. We call these marching ants. But if you select and there's nothing there, it means that you have not selected anything and sometimes you get this error. Make sure that once you let go, there are those marching ants that we talked about. Make a new selection and get rid of the old one, you just need to do another selection. So you can see I'm getting rid of the older ones, and I could just choose something new. To deselect something without having to do a new selection, you can do Command or Control D on your keyboard, and you can see that selection clears. So so far, we know how to make a selection by clicking and dragging. Once we let go, we have a selection. To get rid of it, we can do Command or Control D. There you go. Now, starting with the marquee, I could grab a space that does not really involve perspective. So the sky here, it's flat. I'm not really getting any of the balloons. And in this selection, I can now do things without altering the rest of the image. So you can think of this as drawing a box around an image where you now can only edit what's inside this box. So right here, I have the marching ants. I know I have an active selection. Perhaps I want to use the brush, get a random color. And make some lines here. Now, if I try to go out of this space, for example, like this, you can see it cuts off because I have an active selection in that area only. I cannot touch the rest of the image. The same thing goes for deleting. So if I just grab the eraser tool, let's make it a little bigger. Can't really do much here, but I could delete this part of the image completely. And you can see how the shape here is starting to matter because if I had a circular selection, it would look like a circle. If it was a line, it would have looked like a line. So we can just do Command or Control D. I'm done with my selection, and you can see that the effect is still in place. In terms of layers, we're still in the same background layer, so the selection is being done on that layer completely. To undo this, we can do Command or Control Z. Once it brings back the selection. Twice, it gets rid of the old effect, and you can keep on doing that until you have your original image. If I do another Command or Control Z, it's going to get rid of the selection. That's our first shape, but now you may be wondering what's the point of a selection? What you can do with these is kind of make some adjustments to a large area. For example, we have this sky right now, say, it's too bright for me. Instead of grabbing everything, I could grab a rectangular marquee, make my selection somewhere close to the mountains all the way to the top. And then in this area, I could now make an adjustment. So the adjustment that I'm about to make will only be valid in this box that I just made. So going down here, you're going to click on it. For now, I'm just going to turn it a little darker so we can grab the levels for that. So you can see that right now, we have this mask on our layer, meaning that whatever I do here will only be visible in this top part because the top part here is white, the rest is black. A general rule for what's visible in Photoshop is that they need to be white. And if you don't want something to be visible, it would be black. So if I hide this and I just make a normal levels without making the selection, you can see the whole thing is white. So whatever I do here, is going to affect the entire image. If I just click on Command or Control I on the white box, it's going to get flipped to black, meaning whatever I do now is not visible because the mask is fully black. If you get rid of the mask, it's going to be white by default. Whatever I do is once again visible on my image. We're not really working with an entirely visible or invisible image. We are working with a selection, which is that little square that we made earlier with the Marque tool. So now I could grab my slider and make it as dark as I wanted to. So maybe somewhere like that. When I zoom in, or you can just see it right here, actually, there is a clear cut between what was before and what is now. So I was able to get this done using the selection tool. Now, selections may be harsh like it is right now. It's a very sharp line and it looks very fake. But because I have a mask layer, we are going to learn about masks in the future lessons, but for now, you can follow along. We can easily blur this out to give it a more natural. Click on the mask layer until you see this in the Properties panel. If you're not seeing this, just go to Window, scroll down to properties and make sure it's selected, and you could either use it like this on its own or drag it into your right side panel. Now, here, all we have to do is grab the feather slider and increase it until that sharp line is blurred out. So we still have the effect. This is without it. This is with it, so it's not like we got rid of it completely. But we have now kind of darkened the sky using our Marquee selection. Let's do Commander Control zero to fit it back to our screen. Now, the sky is looking great, but we do have a problem where the balloons were also darkened. So that's where you can switch into a different selection tool. And before I go into that, I will show you the rest of the shapes. It's the same exact thing as the rectangular marquee. It's just that the shape is different. So instead of a rectangle, we have a circle or an oval, however you want to do it. If you want it to be a perfect shape, you just hold down Shift on your keyboard. If you don't want it to be perfect, you just free handed. Same thing. If I let go, I have a selection, if I do another one we get rid of the old one and it's the same thing as the old version. Commander Control D will delete that selection, and we can choose the correct shape based on what we have. For example, if I had the moon here, I would not use the rectangular marquee, but rather the circular one, which is what we're on right now. Another thing about this selection tool, which also applies to shapes is that if you wanted to start from the center, so we're going to pretend that this is a circle. Instead of trying to figure out, you know, the perfect size that will fit my balloon, I could go to the center of the balloon a zoom in, click once, then hold down alter option and shift and pull out. So you can see it starts from the sides now, and the two bottom ends match perfectly with my balloon. If I let go of alter option, it's going to be at one corner, which is the problem we had initially. If I let go of shift, it's not going to be a perfect circle. So alter option for the selection to be made from the center point. If you don't hold down alter option, it's going to start from one corner. Shift is going to give you an even width and height. Now, for the balloons, like I was saying, we would have to move on to a different type of selection tool. Now, for this example, I'm going to skip over to the other set of selection because this is the automated one and probably where you're going to find yourself the most. First one is the Object Selection tool and the shortcuts here are W, so you can bear that in mind. First thing is the object selection tool. Essentially, when you click on it, you're going to get this square on your mouse. Now for this to work, you want to be on the main layer, not the levels that we were on right now, but the main one, I'm just going to unlock it. When I go over the image, you can see that it did take some time to load, but now it has fully detected my object. I could go to the other balloon and now that's pink. I could go onto any of the balloons and even the sky and quickly make my selection. This is only possible because Photoshop detected and analyzed the image before you could even select anything. If you go on this guy right here, click on it once, it's going to re analyze the image, but you don't need to do that unless you have a new image. Now if I want to exclude this from my levels adjustment, I just click on it once, and there we go. I have a perfect selection around this shape which is not a square or a circle using the object selection tool. I could go onto the levels and just hit backspace and you can see that it's now removed from my levels adjustment. Commander Control D is going to reveal our basically the original color and lighting of the balloon. Now, there is a halo effect, and that's because we have the feather applied to every single selection that we do. So what you could do is remove the feather and simply smooth out the edge here with a brush. Now that I remove feather to zero, you can see that we don't have that halo effect. Again, I'm going to go into masking in a different lesson, but for now, you can click on D Levels mask. Go to your brush, right click, adjust the size. Make sure hardness is zero. Then with the color black as your front, your four color, you're going to just go over the edge once, just like that. If this is too obvious, still, you can work with the flow of your brush. So simply go up here, bring it down to 50 or something, get a bigger brush. To help soften the look. Not that big, something like that. Click on this again, again, have it as black, low flow, and just go over the edge. Now it's a lot more smooth because we lowered the flow. This way, I don't need to use a universal feather slider. That's one way to select an object, but we still have a lot more balloons just sitting there in the dark. Just to make this more intense, I'm going to go to levels and make this even darker so we can realize the selection capability once we bring the balloon. We'll fix this later. But going back on the mask, we're going to switch over to a different selection tool. The next thing is the quick selection tool, which as the name says, it allows you to quickly grab something. I'm just going to zoom in on this guy. You can use the Zoom tool, click on that balloon, then use your scroll wheel to go down. With the quick selection with the plus because we want to introduce more selection here, we're just going to go over the balloon and let Photoshop decide and detect the edges. So I just clicked once, but you can see that it understood the edges of the balloon. Again, the fact that the background is very simple is a huge help here. We're going to click on the edges here as well until we have our full balloon. So you can see it's kind of editing its own election. I'm just going to go over the bottom here until we have the full balloon. Now, you made your selection, but sometimes it introduced something irrelevant. You can either switch over to minus to remove from that selection, like this part, or you can click on basically hit Q on your keyboard to refine a selection. So Q is just going to take you to this page. And then using your brush, you can introduce or remove something from the selection. Now, the same idea where white is visible. Black is invisible is going to apply here as well. I go to zoom right in. Using space. I can move my canvas. We're going to zoom in here again. And because I want to remove this edge, I'm going to switch to black. So right now it's white. You can click on this arrow or you can hit X on your keyboard to make the switch. Black now as my four color, I could go in, maybe adjust my brush a little bit, increase the hardness, lower the size. I could paint out this part for my selection. Now when I click on Q on my keyboard, the selection has been modified. If I scroll down, we're going to do another part. Notice how here it's out of place. If I hit Q with the color black, go over this area. Click Q again. The selection is now different. So that's another way where you can modify your selection. Once I have my selection, I could go in again on my Levels mask and click Backspace. Once I go on Devels mask, switch to white, and then hit Backspace, I'm going to exclude this balloon from the effect that we applied. So I can't really zoom in here, but you can see we're getting some extra dots in addition to the bottom area. Then Command or Control D to deselect. So those were two ways of selecting. We have more selection tools, but we learned the core ones so far. We can also use the magic wand, which is basically you point to an object, Photoshop detects it for you, and then you just go about editing. So I just clicked on that once and it selected a large area. If I continue clicking, it's going to add onto this. But sometimes it may think that you're trying to redo the selection so you can hold Shift and you can see a plus shows up next to our mouse. Then I'll make my selections. I'm adding to what was there before and you can use this to make multiple selections. It's a little hard when your object is big and has different colors in it, but this is one of the selection tools. Right now, it selected the ground as well. I could hold down alter option to now remove. So there's a minus remove from this selection. I don't want the grass, but only the balloon. Shift again and we can grab the rest of our balloon as much as we can. It's not really ideal for this object, but you can see that it's still a selection tool. Then we can do Commander control team to deselect. Now, up here, we have a different set of selection tools that I'll continue to show you in the other photo. So we have more geometrical shapes. But before that, let's try to isolate this balloon with the easiest tool for this example. Gonna click on it once. It makes the selection. I'll go on this with the color white hit backspace. So now this balloon is also safe from our levels adjustment. And I could just bring this back to our first look, our first amounts, and everything looks normal now. So we learned some of these selection tools here. In the next part of the lesson, I'm going to show you the geometrical ones that are more suitable for a situation like this. So I'll show you what that looks like in the next lesson, and we can also explore the select and mask tab. 7. Selection Tools Pt. 2: Alright, welcome back. So we learned about some of the selection tools, but we left the more geometrical applications for this lesson. So the second row has a different set of tools that are called Lassa tools. So it's exactly as the name says. You basically make points. Sometimes it's two points, other times it's multiple, and it's usually used for things with edges. Right here, we have two types of signs. One is a circle and one is a rectangle. The only problem is that we're dealing with perspective here as well. So I can't really use the marquee tools because it's not going to exactly fit the shapes due to the perspective that we talked about. Same thing goes for the rectangular one. It doesn't really work. That's where you can switch over to the lasso tools for selection. You long click on this one, we have a different set of tools. For the first one, for this shape down here, you can switch down to the third option because it allows you to define the corners and easily make your shape. That means corner one. If you click and let go, there's this long strand where you now have to connect it to the second corner. Say this is my second corner, third corner, fourth corner, and I could either close the shape. There's a circle next to my mouse, or I could make even more corners, and you can see how we're going to get a very different type of selection here. But everything else after that is the exact same thing as we saw in the previous lesson. I could make an adjustment just with the selection, and I could deselect with Command or Control D, it's the same idea. It's only how you get to that selection. For our real application, hit C on your keyboard to zoom into the sign. Then go back to the Lasso tool hit L. And we can start defining the corners. So first corner, second corner, third, and fourth, and then we can close the shape. So now I was able to include perspective here just by switching over to a different selection tool. And I could do whatever I wanted to do, maybe change the hue of the sign. I want to go for something more green, maybe work with the saturation and the lightness overall. So just like that, I made this selection. Now there is more Lasso tools other than this one. Now the first option works with the other selection tools. Maybe you made something, but you want to further define it. For example, I made this selection right now. You can see it's in my mask layer. If I hold down Command or Control and click on that layer, going to get that selection back. But because I'm on the selection brush tool, it's now pink. That means that I could now work with different things such as using generated fill to modify what's inside using AI, when I go to the original layer, we could remove what's inside here. I could modify the selection further by either transforming the selection. I could rotate it, I could scale it. Whatever need be. Or I could maybe expand the selection without altering the shape. I could make a mask. I could fill it in and do a bunch of other stuff. So this is a little different from all the other selection tools that we've looked at, because just drawing isn't going to give you a selection, like the other ones do. But I'll show you where we could use this in the circle sign. Going down, we have the Lasso tool. So this is a free hand selection tool. I could draw anything, and as long as I go to the first point, I make a selection. So it could be a little wiggly shape. It could be a long shape, it could be a short one, anything that you want. And if you don't close the shape, it's going to automatically snap it to your starting point. So that's my starting point. That's the end. You can see there is a sharp line. If I let go, it becomes a shape like this. I could do different things really with this type of selection tool. Again, everything else that comes after is the same, modifying the selection, making a mask, and even doing Command or Control D to deselect. The last thing is the magnetic Lassa tool, which is going to basically attract the edges of the selection to the edges that Photoshop detects. So right here, this is an edge a clear cut between the orange background and the sign. So if I attempt to make a selection using this tool, I will make a point, and if I drag on, you can see how it starts making shapes. But if I go closer to the edge, it kind of snaps to the actual edge of the sign. And I'm getting all of these points that I could now modify. This is a little bit more precise than the other ones. And once I'm done, I click on it. So we have this shape right now. It has its own applications. I tend to not use this one that often, but the whole point is that it's magnetic. It will look at the image behind, and it will create all these points for you. If you click, you're going to make some points yourself, but it's a lot less smooth than all the other ones. If you want to get out of it, you can hit the escape key on your keyboard and you're back to your original selection. We have this selection right now. Let's try to select this sign. So what we could do right now is use the Elliptical Marquee tool, and I'll go to the center, as we learned, hold down ulteruption and shift to make a circle. Just like that. Once I let go, we can see that it doesn't exactly fit with the sign because of the perspective problem that we talked about. But if I now switch over to the selection brush tool, it turns pink, and I could now transform the selection by dragging it to the right area. And by right clicking, I could access the other transforming tools. So I'm just going to undo the scaling that we did. We'll switch over to perspective and then grab the edge here, simply move down our shape like that. If we wanted to, we could also work with distorting the shape just so it can fit in. So that's going to be distorted. You can grab the corner and try to fit it to the circle that the sign has. Something like that. Once I'm done, I could hit done, and I have this pink selection. But if I go to any of the other tools, it will look like the marching ants that we looked at. Now, before continuing with anything, I could now switch over to the Select and Mask tab where you can do more precise selections. But you need to have that marching Ant active. So right now, we're seeing it right here. If ID selected for any reason, this will not be available. So selecting the main layer and having an active selection allows you to go to this tab. I'm going to click on it, and you can see how similar it is to when we hit on on our keyboard. The only difference is that you're now working with different sliders rather than the brush tool. On the left, you have some additional tools such as refined edge brush tool. So this is really good for edges that are a little bit out of the ordinary. For example, hair. It could be frizzy, it could be wavy, straight, pointy, or anything. And this really comes in handy because it allows Photoshop to grab those details, analyze them, and give you a better selection. On top of that, we also have refined hair, which is made for hair or anything fuzzy, and you could use it in addition to this tool. Have the Quick Selection tool that we already used. It was one of the main tools on the side, but we also have some of the other tools here. So this is our brush tool, which is the same brush tool we used to make our mask in Photoshop with the black and white. We have the Object Selection tool, which is the one that we used for the balloons. We just brought it in here. We have the Lasso tool for free selection, the move tool to move our canvas, same thing as the space bar, and then the Zoom tool, which is similar to the Z that we did to Zoom in. Now, say you made your selection, we already have one. What can you do on the right side? The first thing is how you're viewing your selection. So right now, whatever that is not included is red. I could change that by going to view, going for onion skin, marching ants on white, black and white. Whatever view helps me best, I personally like the red one because I could clearly see the edges. You can also go for the refinement area, basically show everything. You can show the original if you want to just cut that out for a bit. We didn't do any adjustments here, so I don't need to use these two. High quality preview if you're dealing with really small details, you could turn that on. The opacity bar is how intense this color is. So mine is red, so I could decide on the opacity. And then you can assign what this color means. So masked areas is red right now, but I could have it be the selected area, which is the other way around. Some presets in case you want to save any of these slider numbers for yourself, you save them here. You can also remember the settings so that the next time you open this panel, it has the exact same numbers. Now, edge detection, you can kind of have Photoshop detect a certain amount of radius whenever you're brushing over it with one of the tools. I usually do zero, and if needed, I increase it. So with a smooth shape like this, I don't really need that much precision. Then we have some global refinements. Once you have your selection, do you want to smooth it out? Do you want to blur the edges a bit with feather, create more contrast, or shift the edge to either add to your selection or remove just like that. If you clear the selection, you get rid of what you did and you can also invert it to grab everything else. The output settings is basically whatever you do, where do you output it to? So when we exit this tab, is this going to affect the selection that we made? Is it going to create a new layer, a new document, a new mask? You can select it here. I tend to go for selection so that if needed, I could make more adjustments and then make my own mask. If you have selection, click Okay. We end up with the selection output. Once we have the selection, I could now go in with a different slider and do something else. Maybe go for purple. I was able to select my two signs using the Lasso tools. But of course, we have all the other ones for you guys to explore, as well. So those are these selection tools. When we move forward, you're going to see that they're very important, no matter what you want to do in Photoshop because they lead to masking, selective adjustments, removing subjects, adding subjects, using AI in any way, cloning and many other things. Make sure you're comfortable with them, try these exercises and get a hang of how to use them and which one you would use for certain situations. But one of the applications that you could do once you have a selection is healing, which is what we're going to look at in the next lesson. So let's go ahead and see what that looks like. 8. Brush and Layers Pt. 1: This lesson, we're going to go over brushes and layers. This will be a two part lesson because these two work together, and it will really help me tell you how the whole layering works within Photoshop. Now, layers are essentially pieces of paper that you place on top of each other, and the more you add, the more details and the more flexibility you have over the way your image looks. One layer could be dedicated to some filters, other layer could be for some colors, and that's how you build up things in Photoshop. I just made a new document. You can see that on my Layers panel, which is right over here, if you're not seeing this, go to Window. And click on layers. We will always start with a layer called background that is locked. Notice this lock and everything else will be great out. It doesn't matter if this is a white box, an image, a cartoon, anything you bring in will start this way. Now, if I unlock this by clicking one on the lock, you can see everything else comes back. Now I have some stuff to work with here, and most importantly, I can start editing this layer. The first thing you can do is change the name of your layer. So instead of layer zero, I can dapple click on the name and call this something else. Once I have that written out, hit Enter and there is my new layer. Now, on this layer, I could start adding things to it. Let's go ahead and get our brush tool, which is right over here. Click once on it, and you will see the circle, which may be a different size, might be this tiny, might be this big, depends on what setting you had before. Then when you right click on the Canvas, this is how I got this panel. Let's actually go over it, size, either type in the pixel number or just change the slider here. One thing you can also do is use your front and back bracket keys to increase it by one increment or decrease it. Hit the right bracket, you can see that I'm making this bigger. Hit the left bracket, it will make it smaller. This is on your keyboard. Let's right click again. Next, we have hardness. Hardness is talking about the edge of that brush. Is it very soft or very hard? Let me just show you visually the difference. I'm going to increase my size until I get a nice color. Let's click away. And right here, I have the color black. We learned about colors already, so you can just tap a click and get a different color, but I will go with a bright one so we can tell the difference. With this in the front, I will make one click on my canvas. Once I let go, I have this red shape. Let's right click and lower the hardness all the way to zero. Now you can see that my brush size changed, but I didn't really go over the size. That is because most of it is this feathering effect. In theory, these two circles are the same size. But this one has a softer edge. What's happening here is that from this part till around here is that softened effect happening. But here, it looks like that. That's the difference. I will now go back to my brush tool right up here, right click again. Now, instead of just hard or soft, you can choose a middle ground that's a little bit softer and this really depends on what you're trying to draw in. If you have a tablet and you would like to paint, this is a tool that you would be using most often. But using the brush tool, you can also make a lot of masking, which we'll get into in this lesson a bit later. These are the general brushes. You do have some libraries on how the edges of your brushes look like. This was soft round, which is this, hard round, that. If you scroll down, we have soft round pressure size, hard round pressure size, this one, it's mostly for the tablet because you can't really determine the pressure with your mouse on your computer. But that's what the pressure is talking about. We also have some artistic stuff like pencil. You can see that looks like a pencil and make it a little bigger. It looks like that. If we scroll down, we got some special effects stuff, some wet media stuff, let's go for one of these. This is a blending brush, actually. I can blend this red into this white, and it looks like I'm painting. Blend these more. If I blend the whole thing, I get this soft pink color. Think of it as a regular paint brush. I'm hitting Commander Control Z to undo. If I scroll down, I got more stuff like woods a little smaller, gives us this woody effect. So if I have a brown with a lighter brown spots, I could use this brush to make, you know, the wooden pattern in Photoshop. We have raindrops, snow and rain, a leaf design, but snow and rain. And a lot more. If you want, you can import your own libraries, by going over here, we can import our brushes. So on the Internet, there's tons of libraries for you to download. Let's say you want a special effect, maybe oil pastels. There's oil pastel brushes on the Internet for you to download, and then you can paint in Photoshop with pastels. You can also export your own brush. Show you how to make a custom brush in a further lesson. But this brush panel is pretty important. You can rename a brush, delete it. Show what you see here, so the tip the name, you can see it showing us a tip here and a stroke. We can change our default brushes, import export, get more brushes, convert legacy to presets and show legacy brushes. So legacy basically is bringing a new set of brushes from the older versions of Photoshop. So you can see that we didn't have this tab before, but now we do. So let me just go to one. Like, for example, flat angle, low person. That's one of the legacy brushes. For more detailed work, essentially, we have watercolors. Can see um it has the texture. If I go on it again, I can darken my coloring just as you would with normal paint. We have some pastels. We were just talking about that. Right, click. Got plenty of more. Some chalk, if you need it. I'm in grass shape. So if you like painting, this is a place to do it. See, I got this nice grass shape. You can change the shape, the size of any brush that you see here. So that's how you do it. Another thing you can change is the direction. So right now all my grass blades are facing up, but I could change the direction here and have them face this way. Perhaps another way. All of those changes can be done rather simply. All right, so that's the brush panel. Now let's go back to layers now that we know how to use the brush. Again, we'll use this in almost every lesson, so it's important for you to be familiar with it. I'm going to go back to hard round, which is what we have here. It's increase the size. Now I want to get rid of this layer and start fresh. Selected. We can go ahead and first of all, make a new layer because you can't have a layer panel with nothing in it. Click on this plus sign to make another layer. Now, grab this and hit Delete. Here we go. I could make more layers. It'll be layer two, three, four, five, as many as we need. If I want to delete more than one layer, grab the first one, hold down Shift, grab the other ones, and then hit backspace or that trash icon in the bottom. You can also let me hit Command C. Grab a few by holding down Command or Control. So let's grab five, three, and one. Right click. We can delete the layers or hit backspace. And now I only have two and four. Now, let's try to do some stuff here. I'm going to hide layer four, turn off this eyeball, and just work on my layer two. Using my brush, I'm going to make a very simple line. Notice how my background is this checkered situation. This just shows that it's a transparent layer, meaning that right now the only thing on my layer is a red line, and it's not like the previous layer where we had a white background. So if I've turned this one on layer four, you can see you can't really tell the difference because there's nothing on that layer. Let's step a click here and get a blue color. And then on this layer, I will make another line. There we go. Now I have two things on top of each other. If I want the blue to go underneath the red, click and drag it right underneath, and there we go. If I want two reds, I could right click duplicate the layer and then maybe bring one below layer four, Command or Control team to transform it. Let's maybe move it up here. Let's grab all our layers, bottom layer, shift, top layer using our move tool, click and drag it to the center. So you can see that everything is starting to connect in terms of the tools. Now, if I want to make a change to my red layer, the one at the bottom, so it will be this one. You can see the blue outline telling you exactly where it is. I can use maybe the erase tool. It's the same thing as a brush tool, but it just removes instead of adds. I will now click and drag to erase parts of my brush. Now, if I'm on this layer, I cannot erase the blue things. I can only remove the red things. Because the blue line is only on layer four. I can only do it like this. If I'm on layer two, you can see I get an error because it's hidden and I cannot delete anything from layer four. You can see this sandwich effect and I could just build on on top of this, maybe 50 layers, ten layers with different things, and that would all be okay. All right. So going back to the layers panel, we can now decide how two things can blend on top of each other. So layer two is currently the top layer. It's on top of everything else. You can see here it's called we have normal opacity fill. So the normal is talking about the blend mode. How is this top layer being blended with the bottom layers? So normal is just your regular thing. But if I click once, you can see, we get this long menu of blending options. So if you go over each one, you can see how things start to change in interesting ways. I will go over what these mean. Let's actually make a new layer, and delete these for now. Use my brush to make 22 circles. One circle. Make another layer. Let's make a different circle and put one on top of the other. All right. I'll use my move tool, click and drag to move both of them towards the center. Let's actually use this one to align it, and I'll just move this guy a little bit like that. All right, so we have these two circles. Let's go to layer six and call it red circle. Call the bottom one. Blue circle. Let's go over each one. Dissolve, you can see how the edges turned a little bit different. Let me zoom in actually. Using my track pad. Pay attention to the edges right now. They look pretty normal, but dissolved pixelates the edges. Now, between all of these, you can see there's these lines in between, and that is because each of these groups to a certain thing. So the top group, which consists of darken, multiply, color burn, linear burn, and darker color, are all about darkening that top layer on top of the bottom layer. So darken, you can see that intersecting layer turns black, and it's the same thing for almost all of them. The second group is the opposite, so it's lightning. So now we can see we're getting a lighter color. The next layer is about building contrast. So right now, you can't really tell with these two shapes. But when we do our healing lessons, these will be pretty evident. Then we have difference. What's the difference between these two colors, the exclusion, subtraction, and divide. And we have hue, saturation, color, and luminosity. These, as long as you know what each group is for, using them in different situations can help you blend layers on top of each other. Next to this is some pretty simple but interesting things like opacity. How much of that entire layer is visible? Right now, it's at 100%. Lowering this will make it go away. Make it transparent. And you can click on this to get a slider or type in your percent manually. Now, Phil is talking about that color. So how deep is that color that layer's color, and you can change it just like opacity. Now, opacity is in terms of everything, so the lightness of color, desaturation. But Phil is about how much presence it has within that layer. Now, we have some lock options here. At the beginning of the lesson, you may have noticed this. This will lock your layer, which means that if I grab my move tool, I can still move the blue. But I can't move the red one because it's locked. If I unlock it, I can move it again. The next one is in regards to artboards. When you have your artboards, you can click and drag a layer onto another artboard. But doing this will prevent that from happening. So that's what this is for. Next, we have it to be locked in position, which means that I could still make changes to it, but I cannot move it with my move tool. Hence why it has that icon. Next, we have the brush lock, which means that I could move it, but I cannot make changes to it. You can see it makes a new layer. I can't do it on top of red circle anymore. And then finally, we have transparent pixels. So if I do this, I cannot paint on anything transparent, which is the exterior. If I just clicked on this to get black and white. I'm on red circle. I can paint the inside of that red circle only, not the areas around it. If I deselect that, I can do anything I want. Those are some of the lock features for the layers panel. Pretty cool stuff. Next, we have some things that we can do with more than one layers, which is grouping. Right now, these are two individual layers, meaning that they're in no way connected. They just simply happen to be on top of each other. But what if I want to add an effect to two layers at the same time without having to combine them into one? That's where the group option comes in. So if you click this once on top of a layer, it will create this group. Now I can click and drag a layer to put it inside the group. You can see how it's indented to the right a bit, and now red circle is inside group one. I can put that second circle in there and do something like that, and now I can change the opacity for both or lock both of them. I can remove something by clicking and dragging it out, and now it's no longer indented. Now say I want to combine my two shapes. I don't want them to be separate anymore. That's where I get to merge the two layers. So right click on your top layer and hit Merge Down. And now I have one layer. I can no longer move them separately. I wouldn't suggest you guys doing this unless you are certain because you cannot undo the layers anymore. Say I did this, I went ahead and painted a few more stuff on it, I can no longer break the two apart. Let's hit Command or Control Z. Click. I also have some options to merge everything visible on my screen, even the group got merged. I have the option to hide a layer, rename it, flatten the image, which takes away everything, even a transparent background and takes you back to square one, which was a locked background layer. So pretty simple stuff. We have some other things here as well. To keep this short, we mainly want to remember how to duplicate a layer by clicking this to copy one of the layers, can also hit Command or Control D to duplicate. There we go. You can hold down Alter option on your keyboard. You can see how my cursor turns into two. Click and drag on your layer and let go. We just made a duplicate. I can make multiple ones and do the same thing with the red layer. There we go. Now I can put everything within this group or actually make a new group, so select everything. I make a new group by hitting Command or Control G, and there is my group. Now I can maybe turn this into one full image by hitting merge group. Now, once again, I'm not able to move things independently and get to do it as one solid unit. We're also able to add adjustment layers. So the reason why these are in here is because each of these will give you a separate layer to work with. So on top of group two, let's add a brightness and contrast. Going to make some changes. You can see how this is a new group. Let's actually choose an adjustment that's more visible. I will go to hue and saturation. So with this made a new layer. Let's tap a click on this icon and just change the hue. Once I have this, this will be a separate layer to work with. So I can hide it. I can lock it, lower the opacity, and the logic is the same as everything else. Just like layers, I can just click and drag this below. Since this adjustment is below my layer, it's not affecting anything. Adjustment layers only work when they are on top of a layer. That's why when we move this around right below, my shapes are as they were before. I I move it up, you can see how the adjustment is being made. Let's delete this. We got some other stuff, these are all things that you will learn in the photography lessons. If you've edited a picture before, most of these words are familiar to you, but if not, don't worry about it. We'll come back to this in a further lesson. Now, in the next lesson, I will show you how to work with layer mask. This was something we saw in the selection lesson as well. When we went over one of these, we saw select and mask. So mask refers to a masking layer, which you can also create down here. So let's go ahead and move on to the next lesson where we learn how to do exactly that. 9. Layers Pt. 2: So I have this photo right here. We're going to get started on learning how to use layers now that we know what layers are. So with this image, we have the subject floating in the air. I plan to use the transformation tools, the selection tools, and the brush tool to add some elements behind the subject while keeping her still in front of that background. So first thing you'll notice is that there's a lot of white space. So let's transform our image so that it fits our canvas. Down Command or Control team until you see the outline like this, hold down Alt or Option, click and drag until it reaches the edges of your cavas. Hit the check mark once you're done, and now we have a full image. What I'm going to do now is use any of the tools to select my subject. So you could go ahead and use the Object Selection tool because this is a pretty easy separation. You can see that since I have this turned on, it immediately finds the subject for me. Even considers these two as two separate objects. Also go ahead and use the Quick Selection tool, the L as Tool, the Magic Wand tool and just isolate that subject. So since this guy has it all figured out for me, I'm going to click once, and then using the option we learned about, add on to my selection. So now I have my subject selected. If I were to right click on this layer via copy, that is what it looks like. But what if I don't want it to be a singular separated layer, but I want to maybe later bring up a little bit of the sky or some parts of her body that were removed by accident. So let's hit Commander Control Z and go back to the marching ants using any of the selection tools. Once you've made your selection, you will notice that there's this layer mask down here and it's the same thing up here. Difference is that when you click this, it will make a mask for you immediately. But if you want to refine your selection and then make that mask, we can hit Select and Mask. So before I go there, what are mask? So masking is basically where you tell Photoshop, you want certain parts of the image visible while hiding the rest of it. The good thing about masking is that you can use your brush tool to reintroduce parts of the image and get rid of the parts of the image in a very precise way. So you can use a one pixel brush to really fine tune those edges and then use that method to kind of have a way to go back and fix your mistakes. If you were to make a selection and just copy that layer, there isn't much room for you to go back and fix your mistakes. So this is where we're going to be brought in when we hit Select and Mask. It's a whole different page, but don't panic. You can always hit Cancel down here or hit okay to just leave this and go back to your original canvas. So let's start with the things on the left. Lot of them should seem familiar to you. We went over them in the previous lesson. But let's take a look. The first one is our Quick Selection tool. And these are just ways for you to fine tune your selection. So that's the reason why we're brought here. So the Quick Selection tool, this tool is native to this panel only this page, and that's the refined edge brush tool. So it essentially works like a brush tool, but the difference is that it really focuses on the edges of that subject. And then, of course, the more finer part. So it could be hair, fur, little bits of dust, whichever part of an image you are finding hard to select on your own. We have the brush tool, the Object Selection tool, the Lasso tool, the hand tool, which is what you use to move your canvas and the Zoom tool. Now, when you're working on Photoshop, there are some shortcuts you need to know, especially with something like this where you really have to zoom in and out multiple times, move your camas around. So just as a reminder, you can use your pad, your mouse track pad to zoom in or out. You can hit Command or Control zero to fit on screen. Hold down the spacebar to move your cavas around. And do all that stuff. So these three things you need to know they'll come in handy. Alright, so let's zoom in on her hair. I'm going to use the Zoom tool for now. Let's say the way the hair was selected was just not up to our standard. We obviously don't want this chunky mess over here. So let's try using the refined brush tool. So we have the plus and minus. Whenever you see plus, just know that it's going to add to a selection. Minus it's going to remove. And in this case, because it's a mask, it's going to restore the original image, meaning that if I were to minus my selection, we remove from the red part. So whatever is red right now is not in our selection. As you recall, we chose the subject in the balloon only. So plus we'll add more of this red area, which is excluded from the selection, and the minus will bring some back. So with the plus, we want more red, basically. Let's go over the edges of her hair. Go, and you can see immediately we have less of that sky blue. I'm going to go in on the other areas and just fine tune my selection. So that's what it looks like, just to show you up before. This is what we have now. This is what we had initially. Now, another thing you can do is have Photoshop do that for you. You can see right up here, we actually have a refined hair option. Click it once, Photoshop will detect a hair and it will fix it for us. So I didn't really have to do the brushing myself. Now, keep in mind, it does say hair, but that does also apply to fur, maybe some fluffy shirt, anything like that. So mainly it's used for hair, but you can also use it for other stuff. So let's say I'm happy with this. Let's go over this area a bit. Using my space for, I'm going to move down and make sure we don't have something like this. For something where we have more manageable shape, so we're not dealing with hair, we can actually go ahead and use the brush tool. So it's right beneath that one. Again, plus minus and then the size. It's just like the brush tool that we learned about. You can hit the forward bracket key to increase the size. And the left bracket key or backward bracket key to make it smaller. That's another helpful shortcut. If you hit hold down Alter option, you can just switch. So notice up here, plus or minus, hold down Alt and just remove these parts of the sky that ended up in our selection. We use the bracket keys, zoom in a little bit more, and you can see how delicate this becomes. So we're working literally pixel by pixel over here. Anything you see that is blue, we're going to get rid of it. Now, from afar, when you zoom out, you may not be able to tell that this was a bad selection and that we got bits of the sky. But when you add other designs, it will become really evident. Okay, let's go down here. I think everything looks fine. Just gonna assume this is the shoe lace and remove it like. Alright, so I have my selection. Before I hit Okay, let's take a look at some of this stuff on the right. These are the properties for your masking operations. So first of all, there's this thing called show edge. So when you press that, it's going to show only the parts that you've edited so far. So as you recall, in the beginning, we worked with the hair. So this is now showing the edges that it refined, which in our case was simply hair. We have show original, so you can see it before and after, just like this. Hold down peak to do that. We have the view which shows you how you want the masking to be seen. So usually it's just this red color, but you can do onion skin, which is basically where it takes that excluded area and lowers the transparency. We have the marching ants, which we're already familiar with on black on white, black on white, and then on layers. So currently, we don't have any other layer. That's why it's transparent. Usually, this is what you should go for because you can tell the difference between what's being selected and what's not a lot more easier. We have high quality preview. This will really help when you're working with larger and more precise selections. It will take a toll on your Ram, so make sure your computer can handle it. But instead of showing you the mini pixels that we had before, it's going to try to show you a higher quality preview when that zoomed in. Next, we have opacity. That's just how visible this red is, this overlay. You can also change it to a different color if you want, but red is a classic, so I'm going to leave it as that, and then you can decide what this red indicates. A selected area or de masked area. The presets here, you can either load a preset, save your settings as a preset itself, and just have them here whenever you need it. You can also hit remember setting. So the next time you open this panel, every setting here is already set to what you had it before. We have the refined mode. When you exclude those parts of the sky to isolate the hair better, are you using color aware or object aware? Now, what's the difference? When it says aware, it's basically talking about what it's using to replace those areas. Color just looks at the color around that selected area. Object looks at the object. You can see when you go over it, best choice hair or fur on complex background. To say if there's a couch behind my subject, I do want Photoshop to be mindful of that and not create some smudged look behind her hair. But since we had a blue sky was pretty much the same blue throughout, I chose color aware because it's just one color. Edge detection. So right now it's at zero pixels because the refinement area is very tiny. So hair in general, you don't want to have a lot of radius for it. But say you were refining a tree, you do want to increase that radius because there's bigger parts that you're trying to set apart. Then if you're not sure what to add on here, just enable smart radius, and it will determine the radius of your brush. Now, here are some global refinements. You can smooth out the edges, feather the edges, create more contrast between them, and then shift the edge. So if I just go over each one, you can see going to the left is going to go inwards. Our selection, going to the right, does the opposite. Contrast, lightens or darkens that edge. Feather softens the edge, and then smooth smooths your selection. So if you use the hard edge brush and you have these jacket lines, you can just smooth it over with this. All right. Let's step or click on each one to set them to zero or their default values, and then move down to our last setting. We do have clear selection and invert. So if you wanted to grab everything else, leave that out or clear the selection entirely, you can do that as well. Alright, so decontaminate colors. So sometimes in images when they're taken and uploaded on the Internet, you will end up with some glitches where they show themselves as, like, purple bits around the corners of your subject, maybe some cyan. And when you sell like decontaminate colors option, it's going to look for those glitches and get rid of them. And then you can decide how intense you want this to be. So at zero, it's going to look like that. At 100, it's going to look a lot better because it's getting rid of those glitches. Is specifically especially important for low quality images. So if you notice some weird colors around your subjects, the edge of your subject selection, just come down here, enable this, then play around with the amount. Lastly, we have the option to choose where we want this new thing, output it to. So we can either make a new layer with a layer mask, just a new layer on its own, a whole new document, a new document with layer mask. Now, the ones with the layer mask still allow you to fine tune your selection in the future and then go back to change your selection. There is a new layer or the new document has this current selection set in stone. You can't really do much with it. Basically, you have to start over. Let's go ahead and choose new layer with layer mask and hit Okay. There's my new layer with the layer mask. That's what it looks like. I'm going to go to a different tool. Let's hit Commander Control zero and move this here. I have my background hidden, but if I bring it back, that's just our original image. Now, when I bring our top layer, which is the mask, I make it visible. You can't really tell the difference. That is because it's positioned right on top of it ground. But if I were to move this with my move tool, you can see I just have another subject. So notice here that the subject is all in white and the background is in black. When it comes to masking, always remember that whatever is white is visible, whatever is black is not. And you can also fine tune this, if you were here, just make sure you're on the mask itself. Use the brush tool that we already learned about, have the color set to black and white. Let's switch to black. Let's hide this for a second. This layer, I could use the color black to exclude parts of my subject and then use white to bring it back. But the problem is that it will bring back the entire image. So do be careful about that. You can also switch between these two by hitting X on your keyboard and just making this a lot simpler for yourself. So what's the point of making a layer mask? For the purpose of this lesson, we're just going to try something really simple. Let's make a new layer right above our background layer one, and then use our brush tool. To make an interesting shape. So let's grab one of these artistic ones, increase the size, get a nice color, and just start drawing. So notice how our subject is not being affected by this brush at all. But if I were to hide this, the original image is because as we learned in layers in the previous lesson, hierarchy is really important. If I bring this below my background, it's gone because this is being placed on top and it covers everything. So let's go back, bring this on, and now I'm able to just put whatever I want behind my subject. And then since it's a separate layer, I get to move it around. I make some pretty cool stuff. What I can also do is use all the filters we learned about previously. Make maybe a hue and saturation effect right above our background, but below our layer mask, table click and maybe change the hue of the sky. Let's make it purple, maybe lower the saturation a bit, and there is my new background. My subject still remains the same, but we got this going on. Another cool thing you can do is, as I've been saying this whole time, going back to adjust the selection. So right now, there is no marching ants for me to immediately go in and adjust my selection. Let's say I'm trying to get rid of this balloon and I just want my subject. What you can do is hold down commander control on your keyboard. You can see my cursor changes, and then click once on the mask, and there are the marching Ads. Now, when I'm here, you can see that there's no selected mask. If I want that option, I have to go to one of these tools. But since this is a perfect circle, what I can also do is use my brush tool. So with this selected with the marching ants visible, hit Q on your keyboard, and you can see that we get that red overlay again. Once we have this, we can hit B on our keyboard to bring our brush. Right click. Let's get a better brush, hard round. And then using that black and white logic we talked about, get rid of that balloon. So let's hit X on our keyboard to get the black color as our foreground, zoom in, and just remove the balloon. Once we're done, we can hit Q on our keyboard again to exit this mode and then make another layer mask. Go to layer zero, duplicate layer zero by holding down alter option, clicking and dragging that layer. And then with the marching ants, we're simply going to hit the layer mask again. So now I only have my subject and not the balloon. Then I could use, let's bring this all the way above, grab the same filter and saturation. And then just change the color of the balloon. Now notice how it's still changing the color of my background. That's where we need to limit something to one layer only. So I'm going to make this neon green, go back to layers, and instead of having this affect everything below it, I'm going to hold down alter uption and then have my cursor in between the two layers. So alter option, click once between them, and you'll see this arrow pointing down. That means that this human saturation to effect is only being applied to background copy, which is the layer the first mask that we made, meaning that my subject is not going to have anything done to it. This one is affecting the sky, but I could do something else here just to show you. Hue and saturation, let's make her pink. Go to layers, again, alter option, click in between, and now this pink can rename it even. It's only affecting my subject and this one just the ball. As we also learned, we can play around with the opacity, change the blend mode, do whatever it is we have to do. Lastly, we do have some special effects. It's called effects. These are things that you can apply to one layer alone. I will go over these in further lessons since each of them are pretty heavy on their own. But essentially, these are just for the selected layers. So it's not like the adjustments where it would be applied to everything below it. It's just for that layer. So to show you an example, I'll just go to Bevo and Boss, say, this is the effect we're going for. It okay. You can only see the effects on that layer. I can hide it and do other stuff to it. But that about covers how we can use our brush tool, the layer masking, and just layers in general. In the next lesson, we're going to go over other tools that can help us work with these layers. So we have the healing tools which are the following, this one, the brush tool, the Clone tool, and then we have our text tool, which is just dealing with text, but in Photoshop, there's a lot of options for you to make it more than just a text. 10. Heal and Adjustment Tools: When you heal in Photoshop, you're essentially getting rid of that original layer and replacing it with a modified version made from the surrounding parts of that selection. That's going to make sense when we actually apply healing to this image, but it's basically an extension of selection because you have to start by selecting an area and then heal that part that you want to remove or modify. So go ahead and import the two images that we have right here from the resource pack, and then you can follow along the exercises so that you can get a better idea of how they work. This is our first image. Now, we have some areas that we're going to remove, and I'm going to zoom in right here. But notice how in order to remove them, I would have to select them first. So we looked at some of the tools in the previous lessons, but for things like pimples or any sort of spots that we want to remove, I tend to go for the Lasso tool because you can generally select a rough area and still get away with a good result. What we're going to do here is zoom right in and make our selection. So I'm going to start with this pimple. Once I let go. We have a couple of options. So some of these are AI integrated. If you're using the latest version of Photoshop 2026, you should be able to see the same thing. But you can also right click to not use any AI. So if you click on fill, that's going to fill this area. With what's around it, but you can also use generated fill, as I said, using the help of AI. So if I click on fill right now, we can choose where it's going to draw the content from to rebuild this area right here. So we have content aware, which is being aware of what's around. This is where you need to have your setting on. It could be based on a pattern, which we don't have, or it could be based on history, which is what was there in that layer before. We're going to go with content aware and we're going to click on Okay. You can see immediately that spot is gone. If I do Commander Control D and Zoom in, there is no harsh line, and it looks like the skin was like that from the beginning. Now, I could just repeat the same process with another area. Now we could do something else with fill. This other pimple is also now gone. It looks exactly like that. I'm going to undo the two right now, Commander Control Z, get back our pimples. We're going to look at the tools that are also designed for this purpose. Let's first duplicate our layer with Commander Control J, and I'm going to hide the original just so that we can go back and see the before and after. The healing tools are all the way here. If you long click, we have different types. Same thing as a selection tools. Each one is meant for a specific aspect of healing, the main action. They're each used for certain scenarios. So the first one is the spot healing brush tool. This is the most straightforward. You have a spot that you want to remove. You select it, and then it will heal it for you. So I'm just going to adjust my brush, which is basically the brush tool, and I'm going to remove some of that hardness. So just by clicking once, I didn't let go of my mouse yet, there's this black spot. Once I let go, it's going to heal that spot for me. So we can see now that the spot is missing. Notice how because of my selection, there is still a little bit of a red rim around that area. So I could just go back and make my brush bigger from the start. So let's make another duplicate. Use the right bracket key to increase your size, and then make sure you're not selecting or clicking on the eyedropper or the serum applicator. So now it looks like this. If you want to go for a more precise version, you can zoom in, make your brush smaller, and then just paint over that area. So you could do one tab or just click and drag for a little paint either way, it is still going to remove that area for you like this. So that's the spot healing tool. We do have some versions of how it's going to heal this spot. So right now we are on the content aware type, which is the same thing as the Lasso tool example that we did, where we right clicked and then did fill, but you can also create a texture. So let's undo. Now with create texture, I'm going to go over the same area. So you can see how now it focused more on the texture of the skin rather than actually removing the blemish. I'm going to do another version here with the content aware and we can kind of compare the way they performed. So this is content aware, which is going to focus on everything. But if I do texture only, it's only going to focus on the texture and not so much the color or any sort of bumps that the subject has. Let's undo that. Now, this type is going to look at the pixels around the edge of your brush only. So within a proximity, that's where it gets its name from. So right now, this was the size of my brush. It's only looking on the edges. It's not really looking at all the other content that's around that brush. So you can switch between the types and make your adjustment. But, for example, example of where you would use this would be the lip. So you don't want the lip to be reconstructed based off of the texture and the color of the skin because that's a whole different texture and a whole different color combination. So you would go for proximity match. Now, if you do use content to wear, it's not going to mess up the whole thing, but as you can see, it may introduce some blemishes that are basically irrelevant to that area. So this is likely from the skin that was pulled in here to fix that spot. Let's do that. That's our first healing brush tool, which is for a spot. But we also have something called the remove tool. So maybe we don't want to heal it and we want to completely remove something. When it comes to skin, it's not that different because whether you're reconstructing it or removing that blemish, you're still going to end up with the skin underneath. But this is another option that you could look at. To remove this blemish, I could hold down alter uption to sample an area for Photoshop, and then I could just replicate that in this new area. For this to work, you would want to grab an area that is similar in lighting and texture so that it will look the most natural. So something like this, I could click once, and as you can see, it is changed completely. Now, if I grab something from a different part of the face, Photoshop is going to try to blend it in with the lighting, but the texture is still not a match. So you want to be careful about where you're sampling. But even if you grab something close, you can see that Photoshop kind of darkens this spot to help blend out that le. Same thing would be applied to an area like this. I could sample a better part of the skin, do a few tabs, and it's completely out of sight. Now, the source can either be the area that you sampled or it could be a pattern that you introduce. Say you're editing a picture where your subject has a lizard skin, that's a specific pattern that needs to be replicated. It's not something blurry like the skin, it would be lines that need to be the exact same. You would import your pattern and then proceed to make that healing process. For the application of this course, the sampleed version should be enough. Now, I skipped over remove tool, but this is basically one of the AI tools that Photoshop has introduced. Again, we're going to get into those a little later. But for now, if you're curious how this works, you just choose your brush size. So I'm going to use my right bracket key to make it larger, go over one area, and then using AI, it's going to remove it for you. So as you saw, I didn't have to sample anything. I just clicked on the area that I didn't want and Photoshop removed it for me. You can set your size here, and you can also create a new layer based on what Photoshop creates with AI. So I'm just going to go over this area, and we can see that we have a new skin, but on a different layer. So I could easily delete this if I changed my mind. The next removed tool is the patch tool. So this is when you have a large area that you're trying to remove and not so much one spot. So we're going to just go over a part like this. I'm going to grab a large chunk. And what you do is that you slide over to a part of the skin that you can kind of copy over. Now, the issue with this tool is that if you're not careful about the selection, you will get a glitch sort of thing on the side. But if you avoid that from the beginning, so let me just undo. Let me grab this section and then slide it over, it's going to look a lot more natural. So that's one way, another way of removing and healing. As long as I picked an appropriate area, it worked just fine. Now, another issue with the patch tool is that if you don't have enough space to use as a reference, it's not really going to work out. For example, if I have a blemish over here, where there's, like, a clear line. I can't really replicate that area because the skin, the face is moving at a specific direction. So no matter where I go, it's going to look a little odd. So that's where the patch tool becomes a little limited. But if you have a large area like this, you can easily use. Switch between source and destination. So source means that this is where you're going to start out and what is going to be replaced. But then you could also switch out to the destination and just, like, make this the destination, basically, and put this over that pimple that we had earlier. So to try that out for you guys, we could grab this part, move it on top of the new pimple. And you can see that it blends it in for you in terms of lighting and color. Go to undo that. Now, the content aware move tool is basically where you grab a section and you move it to a whole different destination. For example, if your subject has a lot of freckles that you want to introduce to the other side, you can use this tool. I'm going to demonstrate with this pimple right here. We're going to grab it and simply move it to a different location. Once you click Done, you can see Photoshop tries to blend it in for you. But we essentially have a moved pimple, so it went from here to here. You choose a more suitable destination, it will blend in better. I'm just going to take it again and go for this area where it's also dark. Now the pimple is moved from here to here. Instead of a different brighter area, we're keeping it within its original region. The last tool is the red eye tool. Now, this is as the name says, it's for red eyes, but we don't really have that problem. Essentially, what you do is you click and drag over that area, that red eye, and it's going to fix it for you by changing the color and, of course, any sort of flash that may have appeared during a photograph. Now that's not really applicable here, but it's a pretty straightforward tool that you can try if you have old photographs or you turned on your flash when you were taking a picture. Those are all the move tools, but we also have some other tools underneath. So you could just steer away from healing and work with what's already in that picture. That's where the rest of the tools come in. The right over here, we have the clone stamp tool and the pattern stamp tool. Now pattern is for patterns, but the clone stamp tool is where you clone an area over a different part of the photo. Already when I go over with my brush, we have this random sample, but I could introduce a new sample by holding down ultra uption, clicking on an area, and simply copying over the skin as it is without any adjustment. The heel tools when you choose a source and then you apply it to a new it may do some modification on its end to help blend in that new selection. But the clone tool is not going to do that. So if I grab a dark spot from this area, put it here, it's going to remain that dark. So you can use this when you don't want Photoshop to do any sort of post editing once you make that selection. Now you can decide which tool you want to use when you're trying to clear blemishes like this image. It could be the many heel brushes that we had. It could be your selection tools and then healing or it could be the clone stamp tool. The cool thing about the Lasso tool is that you can make a very large selection, and then with the help of AI, you can basically fix that area. That's a large selection. I just did fill, and you can see how the whole area is gone and I didn't go for a tiny spot. This is what I tend to do. You can also combine different selections, basically add to a selection. I just made one right now. By holding Shift, we're going to get a plus on while holding Shift, I'm going to make another selection here and then another one down here. That's three different areas, three different lighting, but still I could fix it with the fill option. Because it's using AI, it's a lot smarter and it understands what it needs to do in order to help blend in this new adjustment. Commander Control D, it looks really good and very natural. So using this, you can fix pretty much anything, really. You can also use the remove option that we looked at. It's also generative AI. So you are now more aware of how they work and which one uses AI versus what doesn't. So there we go. And then we have this last spot that I'm just going to use remove to get rid of it. And there we go. I'm just going to zoom out now with Commander Control Zero, select them all with shift, Commander control G. This was before, this is after. Those were the heal tools, but we were so far focusing on little spots, little blemishes. Now, in this image, we have three people sitting together. It looks like this person is on its own, on their own, and these two are closer. So I'm going to try to remove this person using a combination of selection tools and the heal tools. So first, make a copy of your original image and using whichever selection tool you prefer, we're going to select our subject. You can use the Object Selection tool after it's done analyzing, click on your subject, and then simply make your adjustments going to zoom in here and add to my selection by being on this second option. Let's grab the pants as well. Grab the arm. There's this little area. The hands, the phone, everything. Just by clicking you can switch over to quick selection if you want, but make sure you're on plus to add to that selection. We have the bags and going to hold down alter uption to remove the rest of the area. To make sure he's fully in, we can hit Q on our keyboard, and I could see that I missed a couple of spots. With a white brush, we're just going to paint over these little strokes and get our subject completely in the selection. Hit Q again and now we have a selection. What you could do is click on Remove, which as I said, uses AI to remove the selection. If you're not okay with that, you can use the content aware film or the clone tool. They just take longer, but they can still work for your purpose. So right now, we removed the subject, but we have his shadow just sitting there so we could use the Lasso tool to clear that area or just use the Lasso tool from the beginning. As you saw, we have a lot of options. I'm actually just going to remove all three people and make this into a landscape shot. So let's try a larger area, click on remove and see how Photoshop performs. So you can see how smooth that was, and it's a new layer, so I could just, you know, go back to the original, make more adjustments, and do other things. So depending on the size of your blemish or thing that you want to remove, you can switch between the heel tools and the lasso tool. So those were the adjustment tools that you can use to remove or modify a spot in Photoshop. Looked at two examples. So by now, you have a better idea on how to use these tools. Again, going forward, we're going to have a lot of exercises where you get to practice with them more. But for now, knowing where to grab them and what their differences are is already a huge step ahead. 11. Text Tool: Now, with the text tool, you can easily access it right over here. That's a letter T. It's very straightforward in terms of how you add a text with the fonts and the sizes. So a lot of you should be familiar with what these are, but I'm still going to go over each one and then we'll move into how we can distort text and do other things with it in the rest of the course. So the text tool is right here. When you long click it, there are four options. So the first one is the horizontal type tool, which means you're going to type horizontally. How you would type it anyway. But we also have the vertical type tool, which is going from top to bottom, vertical type mask tool, which is going to create a layers on the edges of that letter, and then of course, the horizontal type mask tool. First, let's go ahead and unlock our background layer. I just made a very simple document. Start with the most basic one, which is the first one, horizontal type tool. On the top right here, you get to choose your font. There's a lot of options and there are some filters to tell you what they are. These are the different styles of text. They've been grouped in to these tabs based on how they look. You look at a few different types of fonts, you will notice some major differences. Some of them being very bulky and fun, some of them being cursive. We have really thin ones. Those that look like a typewriter and all that sort of stuff to isolate those types of Visuals Photoshop has filters right here for you. We have Serif. These are your sera fonts, Slabserif, Sand serif, script, monospace, handwritten. There's no black letter and then decorative. Depending on what type of font you want, you can go over to these categories or just explore all of them via the classes. Now, where do you get your fonts from? If you go to more fonts, you can import the ones from Photoshop, of course, but you can also download a font and install them on your local computer. If you have an Adobe subscription, there is Adobe fonts. So if you activate it on that website, it will be added to your Adobe account that you've used to log in to Photoshop. You can also download fonts from third party websites. Just make sure that you're installing them properly depending on the system you're using. Once you've installed it, restart Photoshop, and it should show up in the list that you're looking at right now. Go to your font. We can search for a font here. Let's say I want Times New Roman, I get a bunch of different options. I can choose the regular one and then decide on the style that's native to this font. My times font right now has a regular bold italic, but that is not the case for all the other fonts. Let me go with eight heavy. This font is called eight and when we go over here, the style is only one. So this depends on your fonts capabilities. You can also see that on their left, there's this drop down menu. So you can see what type of styles each font has. For example, April Fatface doesn't have any styles, and it's just a regular. But Acumen Pro has all of these styles, and we can see the sample right here. Also add in Imogson Photoshop with these ones. If you're not seeing these, you can try downloading some Emoji fonts from the Internet as we talked about. You can filter through the fonts you got from Adobe phones, your favorite fonts, and then something similar to the one you had selected. I had the letter eight font, and now you can see it's suggesting these two to me so that I may have more options to choose from. Let's clear all and then just choose a font for now. Let's grab this one. Click on your screen and you can immediately start typing. Click the Move tool and you have the option to make it bigger, smaller, flip it, rotate it if you want, and just treat this like a regular layer. Because as you can see on the right, we now have a separate layer that we may do all the things we learned about. Dragging it, putting it in a group, changing the opacity, the fill, the blend mode, and anything else. Let's go back to the text tool, double click. Right here, we have the font size. You can use a drop down menu, type something in or use a slider here. Then we have the alignment. So we want it centered to the left to right, the color of our text, and then we have some of those special things that Photoshop allows you to do with a text. Warping in general is when you get to distort something into a certain angle, certain direction, and right away, everything is grayed out because we don't have a style selected. But let me bring this here with a space bar. Once you choose your style, we have arc, bulge and a bunch of other stuff. These are decorative things that you can use for posters or whatnot. Each of them will give you a set of options down here. The first one is horizontal or vertical. Right now, it's creating this bulge at the bottom, but we can also make it do it vertically. Decide how much of a bend you want, how much distortion horizontally, how much distortion vertically. So you have the same options for all of them, and some of them will create out some stuff like twist because it's horizontal and vertical, we don't really need to choose anything here. You can go to arc and just make some changes to our text. You can type in your values, and I'm going to make this horizontal. Let's make something like that. Once you're done, hit Okay, and now we have a decorative font. I can move this around still. Not much has changed. The fact that this is still a text tool lets me to double click, go back and maybe adjust a few things. If I turn this into a asurized layer, which you can do by right clicking, going to Raserize type, it will become a regular layer, meaning that I can no longer use my text tool to double click and change the way it looked. I can now treat this as a regular layer. Let me lock my background and play around with this one. All right, Commander Control Z. That's a horizontal text tool. You can also go over to the Properties panel and do a few other stuff. The same things are available here. But you will notice we have some other things starting from the space between lines. What I'm going to do right now is set this to zero and write another word. Hit Enter, type in something else. All right. The first one is the space between hello and world. Right now it's set to auto, but I can decide how close or how far I want the second word to be to my first word. This one is the space between each letter. This one's a color. If you go in these three dots, you will also find the height of each of the letters. The width of each of the letters, we're basically distorting our thing and then the baseline shift. The baseline is where your text is sitting on. But if I have this at zero, you can see that the baseline is right over here. If I shift it up or down, it's going to move where the text is sitting on in a different direction. Then we got some languages which won't change the language of your keyboard, but just some of the settings made specifically for that language. For example, if you're using a Middle Eastern language like Arabic or Persian, Photoshop does have to connect the letters, whereas with English, there could be those spaces between them. But of course, you're going to need the Persian or Arabic keyboard to be able to use one of these. If I said this to Arabic right now, you can see it didn't really change this word into an Arabic word. It's just applying the settings that I would need if I were to type in Arabic right now. Next, we have the paragraph settings. This is for when you have a paragraph. How do you do a paragraph within Photoshop? Let's delete this. T on our keyboard to get our text tool, click and drag to make your paragraph. By default, it will give you this dummy text, which is perfect because now we get to see how we can paragraph settings. Just going to choose a lighter font, change the color. When we scroll down, the first thing is alignment, and then we have justification. If you hit the three dots, we're going to get new stuff. Indentation. And then from the left side, same thing from the bottom. Say, this is what we had set all of them to zero. Hitting tab on my keyboard to move to the next thing. Let's enter. All right. Now hyphenate is talking about this one. When a word cannot fit on this line, there's going to be a hyphen, and then the rest of those letters are going to be moved down to the next line. But if you don't want that happening, just turn off the hyphenate option. I hit Command or Control A to select everything. When I undo this, you can see that word was moved to the next line. But if you're okay with this effect, Leave it on. We have some bullets and numbering, so you can make bullet points, just like you would in a Word document, turn it into numbers, letters, Roman numerals and anything else. It's undo that. You can also change the style of your bullet, which we have up there. It's only four things to choose from. Select it again to undo or just not apply that effect to it. Then we have some type options. First one is capitalizing everything. So when I click it once, turns everything into capital letters, this one turns it into lowercase. Next one turns it into small caps. Right now, this is way too giant. I could click on this to make it more refined and better. We have superscript, which will allow you to write a text a top of a word. So let's do that. You can see how it turned that into a little text on top of I. So if you have any math equations or physics formulas, you can use this option. We have subscript, which is the exact opposite, so it goes at the end. We have underline, we have overline which draws a line on top of your words, your letters. Looks like that. And the rest of them are currently grade out because they are not suitable with this particular font. But if you were to choose something more basic like aerial, you can see we got this guy and this guy brought out for us. So let me just undo all of these, get my lowercase back. So the other stuff down here is really depending on the font itself. It's talking about how words are blending into each other. Do they connect? So if you have, let's say, a cursive font, you can decide how, say, the letter L and E get to connect. So these are just some stylistic choices that you can explore with. Then we have a special tab for East Asian features and Middle Eastern features. So East Asian, if you're doing thing like Chinese, Korean, there are some specific rules that are only needed for those type of fonts. So you can choose how thick the characters is, which is called sum. We can change the text orientation and line breaking rules, text composition and all that stuff. For Middle Eastern features, you can choose that it's being written from the left to right or right to left. So in this case, it would be right to left. So if this were an Arabic text, it would have to start like this. You can also decide that connection I talked about earlier, so how thick or thin that connection is. That's if you're using these type of languages. And then at the bottom, we have some quick actions converting this to a frame. If you click that once, you can turn into a frame or a shape. The reason why you would do this is if you want to put a pattern or a specific design into the areas where the text is. But normally, you wouldn't do it. So let's undo that action with Commander Control Z. Move on to the other stuff. So in terms of which of these belong to text, we have, of course, the Properties panel, but there's also paragraph styles. So let's say you are editing different types of newspapers or doing magazines, there's a specific style that you have to keep using for each of the pages. So instead of choosing your font again, your size, your style, you can make a paragraph style yourself. So say I want to have one style like this, I will hit the plus sign, and now I have paragraph style one. So changing the font, you can see how I can switch and then I can rename this into, say, magazine, body text. Come over here and put in my options, like I want it to be this font, 12 points. Maybe we can make it smaller. I want them to be red, formatting, open text, composition, and all that stuff. So if you do a lot of text work, these should be both for you. Hit okay once you're done. And with one click, I could just change this to that new textile. Then we can, of course, go back and switch around between these styles. You can delete a text style if you wanted to and rename it as we saw. This will remove the overwrite, so it will take you back to where you began. That was paragraph styles. We also have character styles. So this is for individual characters or letters. If you want a specific type, so let's make one right now. Double click. Say I want it to be an emoji or actually it's something else, something big like that. So I can go to none and then just choose a few of these characters to have this specific style set to it. So it's the exact same thing, but just for characters. We have the paragraph panel, which we went over, the character panel, we also went over that and I believe we do have one more called GLPS. Now, GlipS when you download a font or import it, the designer who did that initially has different options for you to explore different ways that the K is being written in. Right now, by default, let me choose the same font. Just eight. Right. So right now, let me try to find the M, for example. So right now when I go over here, you'll notice these tiny squares at the corners of the letters that are being used here. But there are different ways for me to write my letter M. So we have this option. If I don't like this, I can click on on that. Table clicks. Now I have this special input. Same thing with all the different alphabets. We also have some symbols for you to choose from. And if you're doing any sort of logo type or poster design, I highly recommend coming over here because you never know what kind of options your fonts came with. So we have some cool case. We got some decorative stuff as well. I could replace this D with this shape. Totally fine. We can scale up the glyphs, make them bigger, make them smaller, and the way we are seeing these previews. We can also go over what parts of this glyph we want to see. So everything for this font, only math symbols, there's only a plus and minus, only symbols, and all that other stuff. Now, not every font has this. I believe I mentioned that. Say if I were to go on this MOG one. This will have its own set of glyphs. So it's never one thing. If I go over this one, you can see how it's a lot more different. It's still a pretty cool panel to come to when you try to make your text a little bit interesting. That's about it. That's how we do the horizontal text. Vertical text is the exact same thing, but just vertical. But I'll show you that anyway. You can see our cursor turned the other way and now I can write the same thing, but on the other end. So if you have a specific language that's looking for this version, this style, then this is how you do it. We also have those masking that I told you earlier, which is when you get to create a mask out of those letters. So notice that red overlay that should be pretty familiar to you. Let's decide our font and size and Enter. Now you can see I got the marching ants. Meaning that if I go in my layer panel, right now there's nothing there, but I can add in a pattern. Let's say if I'm here, click it once, and now I got myself this effect. Go to my layers panel and we can find that layer mask. Can dabble click here and choose a different pattern. Let's go for trees. And this is applicable to the vertical version as well. And then you can treat this as a regular layer. Delete that. And right. That concludes our text tool. Pretty simple to use, but there are some hidden cool features that allow you to take your text to the next level, especially for poster and graphic design work. In the next lesson, we're going to go over a very big and important tool which allows you to do a bunch of things, and that is the Pen Tool, which is situated right above the text tool. The pen tool, you can not only draw with it to create strokes with it. You can make selections with it. It's used for healing. It's used for layer mask and all those other stuff. So it's a pretty diverse tool, and we'll learn all about it in the next lesson. 12. Pen Tool: Now, let's take a look at the Pen tool. It's situated right below our Dutch and burn tool, and it looks like a pen. So when you along, click on it, there are tons of other options. But we're going to start right at the basic, the general Pen tool which allows you to do basically all the other stuff below it. So grab that. G yourself a canvas. I just unlocked my background layer, and let's take a look at the stuff up here. First are the presets that we get for all the other tools. But right next to it, we have the option of either shape or path. Now, let's start with shape. That's the easiest method to use the Pen tool for. Right next to shape is the fill color that you can grab and the stroke color. Then it's the thickness of your stroke, which you can use a slider and then what your stroke looks like. So is it a dashed line, dotted line, and then the alignment, caps and corners. To show you these better, I'm going to just start drawing a shape. So grab your pen tool and make some dots. So first dot, you need a second dot, so it connects. Let's do a regular triangle. And as soon as you have an area between your strokes, that is when the field color will show up. To close your shape, which is go back to our first dot. Let's zoom in right here, use our space bar, and let me show you what those three options were for. A line is talking about the alignment of your stroke based on that path that you just drew. The blue line here, which is what we're making with our Pentool, is the path. It only turns to a shape because we're having a closed area for there to be a fill color for. So do we want this width the stroke to be aligned at the center of the path on the right side or on the inside of our shape or on the outside? Next is the caps, which is the cap of the path right now is sharp. We can turn it into round or a square shape. I will have to show you this with a different one, but right now we're dealing with a corner. So corner, we have a sharp turn right now. We can turn it into a round one or something cut like this. Take a look at our caps. I'm just going to do one, two. That's all we're doing. Let's zoom in. And now we get to use this option to decide where the cap ends. Right now, it ends right at our point. Second one is a rounded one, and lastly, it's a square one, but it extends from that point that we made. We do have more options, but these are in regards to our stroke only. These are the same things as the one we chose here. But if you chose a dash line, which I'm just going to turn on right now, turns your stroke into dashes. Now we get to decide how many dashes we want in this path. Right now it's four. Use your rakes, let's do six maybe. I'm getting larger things, but the gap here is what making it different. You can make this into three. And just add different spacings and different length for each of them. This is how you get to change it up. You could turn this into your own preset or just use one of the presets that were made for you. Once we're done, we can hit Okay, and then let's take a look at some of the other options. I'm just going to lock our background layers so I don't move anything other than my shapes. Next, it's talking about the width and the height. That's talking about the path only. In terms of the shape, you could use it, but it's going to give you a distorted result. If you're not comfortable using these, you can also hit Command or Control T to resize that shape just like you would with any other layer. Lastly, we have the option to combine the shape, subtract the shape, intersect, and exclude. This is the same logic that we looked at in the selection lesson. Instead of adding to our selection, we can combine two shapes. Let's make another one. You can see how it's on the same layer. But now I have this combined shape. Have alignment, so aligned to Canvas or selection. You can distribute it, and then we have the hierarchy of that shape. So it below one above one, and you get to situated like that. All right. So going back to our shape, let me hit Commander Control Z. You can see the blue line going around our shape. So let me actually change this into something else so we can see that color better. Now, what if you wanted to remove a point? Say, you made your shape, but you made an extra side by accident. Let's draw a random shape. Let's do this, for example. But I realized that I wanted a square, and this thing is just not up to my standard. When I hover over any point, notice how there's a minus next to my pentle. That minus indicates that when I select it, it's going to delete that shape. If you go on that same selected path, there's going to be a plus. That indicates that you can add a point. Just like that. Now, why would you add a point? When you add a point, you can see that there's two circles right next to that point. So let me do that again. The square is our point. We get two circles. Now, we get to move this point simply by holding down Command or Control on our keyboard, clicking once on that point and then just dragging it. So I can adjust my shape as I go forward. Now, why is it rounded when I didn't even create a round? I just did one, two, three, four. That is where those rounded handles come in handy. Essentially, the more these handles are stretched out, the curvier your path is going to be. Holding down Commander control again, click on the handle and just experiment with it. You can see how that's changing the curve. And as I mentioned, the longer the curve, the more of a rounded effect you're going to have. Whereas this one is pretty short, it's barely rounded. And if we didn't want this curve, we wanted a sharp turn. All we have to do is hold down alter option and then click on that main point. And now those handles are gone, meaning that we're just getting a sharp edge like this. Similarly, we can do that alter option thing on one of the handles. What if I want one side to be curved? The other side to have no curve. That's where I get to hold down option. You can see my cursor changes. Click and drag on that edge only. So when I push this all the way into my path, there is no curve, and that's precisely what you see. So even though they are supposed to be moving together, you can only move one of the handles via Alt eruption. All right. So this was our shape. But what if you want to turn this into a selection? You can do that by right clicking and then making the selection. That familiar marching ant shows up, and what I get to do is adding a shape or a color restricted to the inside. Let's go ahead and click the adjustments right here, go to pattern, and just add this forest pattern. You can see that shape is exactly the layer mask, and that is how you can use the Pen tool for more than just drawing. Now, going back up here, Remember that there is a shape tool within Photoshop and there is the path option. So when you're making shapes, it's generally an extension of the shape tool right here. If you long click, you can see all sorts of shapes. We have the classics, and then we have a custom shape tool where if you press on it, you're going to get a large library of all sorts of shapes. So let's say a tree, we can just put that in right there, and it will follow the same fill and stroke that you have selected here. So if I lower the width of my stroke, we can actually see that green. But sometimes the shape tool doesn't have the shape you want, so you'd end up using the Pen Tool to create that shape. But everything above here for the shape tool is the exact same as the Pen Tool except, of course, we have that library. Now let's go over the path option for the Pen Tool, and that way, I can show you exactly what you can do with it. Let's switch from shape to path. And immediately, it gets rid of the colors, the width, and the stroke. Instead, we can make something like this. Let's say this is my path. I'm going to close it, and as you can see, nothing happens. That's because we need to choose what we want to do with this. So you can click Selection. This will show up. And basically, it's asking you if you want to feather the edges of this selection, which if you do, it will make the selection a lot more natural. Let's say two pixels. Click Okay, and there's my selection. So if I had an image, I could make a new layer based off of this or I could do what I did before, which was to add a pattern. So notice because of that feather radius, the edges are not as sharp. Going back to that path, let me make something else. You can also use it to mask something. Let me just bring in another pattern. Let's just go over here and I'll get this tree. Let's delete the layers right click. We just have the pattern fill. Now with the Pen tool, I can start making my selection. If you hold down Shift, you can make straight lines, and now I have a perfect square. When I hit mask, it will create a mask on top of that layer. Now I have my forest fitted into a square. And this is with zero feathering, so you can see the edges of this selection is a lot more sharp than the previous one. Alright, let's go back here, do a few more things. If I changed my mind about making this into a path, I could just switch and change it into a shape. And now I have shape one. So if you go on the shape tool, I can change the fill from a pattern into a solid color like we've been doing so far. We also have a gradient option, which is when you go from one color to the other. So black to white, red to white. You can change the angle, change the type of gradients or radio from the center, angle, reflected or diamond. All the other things we have a large library for you to choose from. You can also switch the colors by hitting this button. We have solid color gradients and patterns, which is what we've been using so far. You can also just click this and put in your own code for that unique color that you want. Alright, so that was the original Pen Tool, but there are some other stuff in the drop down menu that we can also explore. So I'll just make a new layer. Let's long click on this and take a look. So that was the Pen Tool. Next, we have the free form Pen Tool, which basically allows you to make really free selection. So I'm not dealing with points here, but I could just go around and make something like this. The same options up here. I could right click, make this a selection, choose the radius for feathering, maybe fill it with a certain color. So if I choose color, they'll ask me what color, and now it's filled with red. Now, with the free form, you can't really make points. You can see I'm clicking everywhere, nothing's happening. But once I make my weird shape, close it up. I will see the points made for me. This is less precise, but if you do want something curvy like this, you still have the option to either delete one of the points or use the handles that we saw before, hold down command or control, and maybe intensify or sharpen one of the curves. It's the same thing. It's just the way that you're introduced to them is not the same. We can also the other Pen tool add to our selection. Let me just continue this. I'll go to the edge here and connect it to my first thing. Once you've filled in your shape, you've closed the shape, you can go ahead and make a new shape. So right here, we have combined shapes, subtract, and the same things we've had so far. Let's try the intersection. I'll draw something else, close it. And now I have this effect. I could make a selection of it, and it's pretty much the same thing. So I'm just going to hit delete. Notice here that even though I deleted the previous selection, I can't really grab this one to delete it. I'm selecting it, hitting backspace, as you can see, nothing happens. That's because I'm dealing with a path here, as I mentioned. The way Photoshop works is that it saves your paths in a different window called Paths, which if you're not seeing it here, just go to Window and click on Paths. When you go on there, you can see there's something called Work Path and it looks exactly like what we have here. If I wanted to delete this, I would have to come here, hit Delete, and there we go. If I make a new path, it will show up right there. I could make another new path like this and then proceed to fill it in or just do it vice versa. You can hit that button to turn it into a selection with the marching ants or turn it back into a path. Also, if you've used the Lasso tool, you can turn it into a path just like that. These work interchangeably. Let's delete both of them and take a look at the other Pen tools. Next, we have content aware tracing tool. Now, this is for when you have something already on your screen. So for this, I just imported an image into Photoshop. This is in the resource folder, so just import it in. And using the content aware Pen tool, it's going to detect an object for you and automatically create a path around it. So we have a human subject and we have this balloon. When I have my mouse over an area like the sky, you can see nothing's going on with my cursor. Once I go towards the balloon, especially the edge of it, you can see something does show up. When I click on that area, it creates a path around my balloon. The same thing can work with the human subject, but since that is more isolated, it was easier to find. Notice how I did make a mistake around this area. We already learned how to deal with that. Let's grab command or control and just simply work with the point here. Click on until that's the only dark blue one, and you're able to move this to the side. Then work with the handle. There we go. We can add to that selection so I could try getting the mountain here or that tree. You can see I still have that blue line around my balloon. I could remove from that selection. Let's hit around the balloon and I'm getting rid of the points. We have make selection. So it's saying no pixels are selected because I don't have a closed shape, but it essentially works like the other pen tool. Let me just grab this and then click here to complete my shape. And I think we should be good to go. Let's see if we're missing an edge. So now I can make a selection. I can go to paths and just call this balloon. So whenever I'm in need of a selection for my balloon, I just need to make a really precise selection once, save it over here, and then I can just come back to it and click on it. Let's go ahead and delete that. And now the blue lines are gone. We have some other stuff here. This is the same for every Pen tool alignments, the hierarchy, the different settings we went over. And then tracing, we have normal, simplified or detailed. This is depending on what kind of shape you're dealing with. By default, it's normal. But if you're dealing with a really detailed work like a building, you might want to switch onto this. This will use more computer powers to make sure your computer can handle it. And then here you're determining how much detail you want Photoshop to put into this selection. By default, it's set to this. Again, you can determine how much you wanted for your object. Next Pen tool is the curser Pen tool. So this is just for curves. I'm going to go back to our original document, and unlike the first Pen tool where we made points and we got sharp edges. This allows you to make points, but it's going to be rounded edges. So unless you're making it sharp, you're going to be getting curves all the time. So if you hold down alter uption and then click on one of these points, you can see how it's turning what is not fully curved into curve and then vice versa. So I could uncurve everything by holding down alter option, bring it back by holding down alter uption again. And the other ones make a point and then just click and drag it. You see I'm not getting any handles here because it's curved by default. I only need to make it sharper and undo that. Same settings up here, not much has changed. Going to delete this, and then we get to move to our other tools. We have Add Anchor Point tool, which adds the anchor point to that path that you have, so I'm just going to go back just draw something real quick. When we add points until now, we've been using the Commander control to do it, but you can also just use this tool to add points. And because they're anchor points, they come with those handles. So it doesn't matter if you're using the curve tool to make your curve or the regular Pen tool, you can add the anchors just like this. Then, of course, you can move them around, play with the handles, and do whatever else. We have the opposite, which is delete anchor point tool. So it deletes these points that we just made. Next, we have Convert Point tool, which is the shortcut alter option that we've been using. But if it's a curve, it gets shifted to a sharp edge. If it's sharp, it gets shifted to a curve. Now, before I end this lesson, I do want you guys to practice going around a subject. So let's go back to this image right now. What I want you guys to do is use these selection tools that we've learned so far to grab the human subject and these two walls. Let's go over that together. You may choose to use one of the auto features. Let's hit Cloud, select subject. There it is. Now using the tool, I can make an estimate of what I want these lines to look like. Let's actually go for the ones at the bottom to make it a little easier, grab your Pen tool, and before I hit anything, I'm going to go to paths and create a new one. Let's hit this first, and now we got one. Let's call this human. Let's make a new layer. And on path one, I'm going to use my Pen tool to make a line from there to the edge, close it off, and then from there to the edge, and then make sure to connect it. To make it precise, we're going to hold down commander control and match it up with the correct perspective. Be sure to click again so that the blue line only applies to the point you're trying to change and then do the same thing down here. Once I have this, I can make a selection. And let's do some adjustments. So I'm going to go over here, and let's say I want to change the ground color into something else, maybe something like that, a little reddish. Close that off, go to our paths, grab the human layer, quick selection, go to layers, and we're simply going to remove the adjustment from this human saturation. So currently you can see it's coloring his pants, too. That I have the marching answer on my human subject, all I need to do is make sure that white is the foreground color. Let's hit X to switch it on this layer, let's hit deep backspace and then Command or Control deep. Now my human subject is no longer pink. To soften the edges a bit, I'm going to double click on the layer mask and simply feather the edge. Not a lot because it gets rid of everything, but we're just going to feather it by around a few pixels. If it's too intense, we can lower it by a little bit. And now the floor is pink. So before or after, really simple thing to do. So we use the selection tools and the pen tool and use some masking to change the ground color. In the next lesson, we're going to learn about the Action Panel, which basically takes all of these things we've learned so far and allows you to create a preset for each of them. So that's a really cool feature to learn, and I'll see you guys in the next lesson where we do that. 13. Action Panel: The Action Panel in Photoshop allows you to frequently use edits into one button. So if you frequently turn your images to black and white or change the hue of your greens, the Action Panel can make your workflow a lot faster as you can record your workflow once and just use that button over and over again. So let's go ahead and take a look at that panel. If you go to Window, it's going to be the first one there called actions. So if you have the latest version of Photoshop, you will see a lot of these predetermined actions. But let's just go over some of the basic ones. I'm going to close all of them, and we can see we have Wig, we have frame channel, wood frame, and all that stuff. These are things that if I were to hit Play, using this button, feather is not available. Now, these are things that if I were to just choose one and hit play, I'm going to grab this one, which is supposed to turn our image into sepia toning. If I hit the triangle next to it, I can see exactly what happens. So we make a snapshot, we merge to layers, we desaturate, and then we make the following adjustments. Those are the steps that this action will take. Let's select it, then hit the Play button down here. You can see in one click my image, turn into something else following those steps. And if I go here, it just made layer one and the hue and saturation. So when you first import, as you know, we only have our background layer. This came up because of the actions panel. All right, let's go back to our actions panel gets lost there and see what else we can do. So you can delete an action, make a new set, which is what you can use to store these actions. So right now they're in default. Let's go ahead and make a new set. Let's call it colors. I okay? Now, within colors, there's nothing in there. So let's go ahead and make a new action. Before that, I'm just going to delete the adjustments that I made, delete the layer mask, and then delete that. So back to the beginning. Let's go to the actions panel, and what I'm going to do is create an action for turning an image into black and white. Very simple. Hit the plus mark right here. Let's call it, make it black and white. Set. We want it to be in colors, but you can set it into whatever sets you have. Function key, when you hit a keyboard shortcut, which would be from the following, this action will happen. I'm going to select nod for now. And then a color for you to organize them better. Now we're going to record. Now, whatever you do from the time this turns red until you stop it is going to be saved as your make it black and white action. So let's go ahead and duplicate this Command or Control J. And let's do something really simple. So just black and white filter. Let's clip it down, play around with these slides a bit, just so our action is interesting. Let's say that is my adjustment. Go to actions, and then hit Stop. So what do we have here? We have layer via copy, which is what we did. Make adjustment layer, create clipping mask current layer, set current adjustment layer. That's exactly what we did. If I were to delete what I just made, all of that, start from fresh, go to the actions panel, and simply play this action, I will turn it into black and white. You can do this for more complex workflows, such as turning the hues of every color within your image into a specific color palette, maybe adding some vintage filters, creating things from scratch. This will make things a lot faster for you. In the next lesson, we're going to look at another way to make our workflows faster within Photoshop. 14. Custom Brush and Pattern: Now, let's learn how to make our own custom brushes from either a drawing or an image. I'm going to start with an image right here. This is available in your resource pack. We use this before in an on lesson. So import this into Photoshop and let's go ahead and select the subject using the methods we've learned so far. I'm going to make this quick, grab one of my selection tools, have Photoshop selected for me, and then go to Select and Mask just to fine tune the hair. So it refined hair, Photoshop detects it for us. Everything looks good. As you recall, we did have some imperfections here that I'm going to remove via the brush tool. Once we're done with our selections, let's hit okay. And it's going to make us a new layer with this selection. Let's delete the background, right click on the mask to apply that layer mask. We have a transparent piece out of our subject. Next, we're going to grab the adjustments down here exposure and turn this image into just a black solid shape, and this will give us our brush. So make sure there are no details available or visible inside your object or subject. And if you have to, if it's kind of gray, and you can see the outline for whatever reason, you can just duplicate the exposure layer with Commander Control J just to intensify the effect. We're done, we're going to go and just merge everything together, so grab the first one, hold down shift, grab the last one, right click, and then merge the layers. So that's all we have right now. Let's go to edit, then define brush preset. Call this flying weighty with balloon. It okay. And now I have my brush, so I can click. I have my red color loaded in with 55% flow. Let's increase that. Click once and I got myself the subject. Now, with something like this, where you have one singular subject in your brush, if you click and drag this, it's going to look weird. So what you can do is increase the spacing of your brush. Go right over to this box containing the brush, and it's going to bring the brush settings for this particular brush. So down here, we can see that when we stretch it, we're going to get this effect, which is what we just saw. But we want it to be in a way when we click and drag, we're just getting like, multiple flying people. So this is just size, the orientation, but this is where we need to be being at. So the spacing between each of the strokes. If you increase the spacing, you can see slowly we're getting different people. And now, if I draw, getting them just like that. The more I increase, the more space between each of the two. So use this as you'd like to make this work. This is especially helpful with singular objects. So even if you have this leaf, you want it to be differentiable and not just one giant blob. You have some stuff on the edge right here, so if I can find my new brush, there it is. Let's make a new layer. I'm going to just do one for reference. Let's increase the spacing again. We have some angle options. If you ever wanted to change the angle, we have flip Y, flip X, the roundness of that shape, so you can squeeze it for whatever reason. Now, on the left, we have some interesting things. So you can go into the way shape of your brush is. So when you're talking about shape of your brush, you're talking about the tip of that brush. So hence why when we change the jitter, we can do, like, different sizes at the same time, just the minimum diameter. Can do an angle jitter, so make it more randomized. Again, if you have a leaf brush, this is perfect. Roundness jitter, so making it more random, minimum roundness. You can flip the X or Y jitter and the way the brush is being projected. I'm going to uncheck this. Then we have scattering, which is scattering the brush strokes. You can do it on both axis. So it just travels into space. We have count one, then count jitter. So we have 16 right now, eight. The next thing is the texture. We don't really have a texture here, but if we did, we could adjust that the brightness of the texture, the contrast. You could technically make a brush that is not just an outline like this. So this is where the texture comes in handy. We have dual brush, so you can combine two brush strokes. That was the person, and I selected this, I believe, wooden brush, and this is what we're getting. You can choose something else. Let's undo it here. So we have the person here. I could select one of these and notice how it combined the two. We can change the size, the spacing of that fusion, the scatter, and the count. Color dynamics doesn't really apply since we have a solid color brush. Next is transfer. How does the flow transfer in So flow is, as we said, how much ink is coming out of your brush. We have the same thing for opacity. So this would be good for, like, clouds. Have brush post, which is how the tip of your brush is situated. So noise, which is, like, little things you can add to your brush. We don't really have much texture going on here. Next, we have wet edges, so it kind of gets that watercolor effect. You can build up on it. Build up. That's another thing you can do. So going on top of it. We have smoothing, making sure your selections are smooth, your painting, should I say? And then protect texture. I don't really have texture, but it will maintain that texture with every brush stroke. And then once you're done, you just close off and can start using your custom brush. Now, you can do the same thing if you didn't have an image. So let's say I wanted to grab something like this, one of these brushes that are currently there, and I draw something cool. I could turn this into a brush. So simply go to Edit, to find brush presets, then hit okay. There we go. It doesn't always have to be an image. You can draw something yourself. If you have a signature, this is how you would do it, if you want to create a pattern like this. Speaking of patterns, actually, once I have something interesting like this, I can actually define my own pattern for the pattern panel. Same place, edit, we can define a pattern. Let's call this silly lines. I okay? Now, silly lines will be visible in the patterns panel. If you're not seeing that, go to Window patterns. And if I were to delete this, let's make a new layer so we can delete this, go to patterns, click this one, it gets loaded in. I can now use this on my design, on my photos and have fun with it. But that's pretty much how you can make your custom brushes and custom patterns in Photoshop. In the next lesson, we're going to go over the last thing that concerns how Photoshop works, and that is the animation feature. Of people don't know this about Photoshop, but you can do frame by frame animation here. It's great because you have all these tools that allow you to draw cool things. Why not animate it in the same place? So I'll see you guys in the next lesson where we do that. 15. Animation: So let's go ahead and use Photoshop's animation panel to create some smiley faces on the piece and just see how we can deal with motion within Photoshop. So go ahead and import this image from the resource pack. And what we have right now is simply our background layers we've had so far. I'm going to do is unlock this and simply bring our timeline right below. So go to Window, scroll down to timeline, and this is where all the animation will happen. G to put this up there. You can also go to Window Workspace and just work with this in the motion workspace. But I personally prefer the essential with the addition of the timeline because of the layers panel. So you can see that right now we have two things. They're marked down here, zero, second, 0 seconds, one, two, but we said we want to create some video motion. So let's go in the top right corner here and convert to video timeline. So now, let me just extend this a bit. This is going to look like a regular video editing software. We're going to have our layers and then make changes as we go. So you can use this thing down here to increase the thumbnail, and that's exactly what I'm going to do. And basically, you're going to be stacking layers on top. And as the video plays, it will go over each of those images. So in one image, you can have a smiley face. In another image, you can have a sad face, and that's generally how your motion is going to go. So this is more of a frame by frame animation. So layer zero, let's call this our main, and then you can see that it changed the same layer here into main. I'm going to duplicate this a couple times. So command or control J. Stew, three times. And then what I'm going to do is go on my first main copy, use our brush, adjust the size, get maybe a white color, zoom in with the track pad, and just draw some smiley faces, maybe on this one. And let's hide the other two so we can see what we're doing. So there's some eyeballs. Alright, so this is what my first look is. If I bring back the other two, it's going to hide my first thing because we learned with layers that it's all about the hierarchy. So whatever's at the top is the visible layer right now. So let's hide the second copy. And sorry, the third copy. On the second copy, I'm going to lower its opacity so we can see the smiley faces. And because they're positioned in the same exact location, the original image, I can just change and be focused on these smiley faces. So on main copy two, I could maybe draw the eyes again and just maybe have this P stick its tongue out. Second one, I could have him kind of be grumpy. And this one, I could have the same eyes. But have it like snore. Then we're repeating it with the same with the third layer. So let's hide the main copy. Based on copy number two, we can decide our next thing. So this one, I'm just going to keep it as it is, eyes, eyes, and then just the tongue. This one I could make it maybe move its mouth a little bit. As if he turned away, you can use the erase tool to delete something as well. Then the third one, same thing, sleeping. But I'll move the Zs in a different way. So draw Zs in between the previous ones. Okay. So we have three things. Let's bring back their opacity all to 100%. But when I bring them all back, we're only seeing the last edits. That's because these are starting at the same time. To make this like an actual animation, I need to offset the last two layers. So this guy can stay as it is. So when I go over, you can see it's nothing, then the faces show up. G actually move this. I'll have to draw something here first, actually. Let's hide the top two. Bring the cursor here, lower the opacity and draw something on the first layer. Just because I want them to be alive from the beginning. So maybe have it look to the side and then make a different smiling face. This guy is gonna look this way before they begin their motions. And the third p is just sleeping. Okay, let's bring back the opacity. And now, just like the first two, we're just gonna offset these like that. Now when I go over it with my thing, you can see that they're changing. Let's bring them back first. Can see they're moving around, they're alive. And when I hit space, it happens really quickly, and that's because we're dealing with one frame at a time. So 0.10 102, three, four. If I want them to run longer, I simply have to extend them. So let's say the first scene is five frames. Second scene is also five frames, and I'm just offsetting it like that. You can use this to minimize your view. So let's go on ten frames and then cut it right there, hit the scissor, and just delete with backspace the extra bit. This here, get your timeline slider on 15, cut again, and then just delete this with backspace, bring this here, and then have it continue for the rest of the thing. Now let's hit the space bar and we can see how it's pretty cool. I'm going to extend this because I just remembered we erased a part of the eye. What you could do is also open these guys and change the position, opacity and style. Position just means that you can change where the image is. So if I move it to the side, you can see how in the beginning it's up there, then it comes down here. And that's just a simple animation. You can do the same thing with opacity, so it's fully visible at the start, then transparent at the end. Then we have the style, which is what we've been doing so far with the brush adjustment. Click on here, you can add more media, make a group, make a video group from these clips, and just delete this track. You can also go back frame by frame, go forward, hit Play, stop the thing, go from the start, move to the end. If there's audio, you can have the audio going. There's actually an audio track down here so you can put a sound effect file right below and then match your animation to that. Once you're done, you can render the video, so it's play smoothly and then decide where you want to save this at. Another thing that you can do is start an animation without an image like this. So let's go ahead and make a new document. So I have this layer zero here. It's not an image, and what I want to do is animate my own thing right here using the onion skin feature and just make a silly frame by frame animation. So what I have right now is layer zero. This could act as your reference layer. So say I want to draw a path for my falling ball to follow. Going to draw something like this, and then this would be my ground. To bring in the actual ball, I need to go over here, new video group. And now, within this video group selected here as well, I'm going to make a layer. Now, this is a video layer and not your typical layer. I'm going to zoom out a bit and extend this to one or two frames, maybe three frames. So align it with three F and just duplicate this. Commander Control J until you're happy. So I'm going to go to six, hit the scissors, delete that. Maybe one more at nine, then delete the rest. So I have three scenes for my animation. Have the play head at the beginning, layer one. Let's actually call these something. So background scene one, scene two, and scene three. And call the group falling ball. Alright, so scene one, let's grab our pencil, choose her color and draw our ball. Now, if I go to the next frame, you can see how the ball isn't there. And that's because we said we're dealing with frames. So to enable onion skins, just go over here and choose enable onion skin. Now what is an onion skin? When you go past a frame, the next frame, you can see how my ball fades out at the end. The beginning, it's all dark. At the end of that scene, it's this color. That is because onion skins allows you to see a reference of your previously drawn figure so that the next time you draw a ball, you can make sure that it follows the same width and height and the same direction. If I don't have onion skins enabled, I wouldn't know what the ball looked like. So in my scene, too, if I assume it's here and I draw it like that, you can see how it's a lot different from my first ball. But if I have onion skin enabled, go over here, I have a reference to follow. So I'm going to zoom in here and draw my ball relatively the same and in the same direction. Then that's our third ball. So I'm going to go on scene three and draw my ball again, making sure that it looks decent. When I go from the beginning, you can see, I have a falling ball. And all I have to do is just duplicate the scene numerous times until my ball effect is complete. When I'm done with my reference, I could just, um, either hide it or delete it and maybe replace it with my own background, say this red color is my new background, and just continue making my animations. And that's pretty much how you use the animation panel in Photoshop. It really depends on how you use the tools over here to make video layers. It's the same logic as regular photo layers, only that you have a timeline and you're dealing with seconds or frames, and your playhead needs to be able to show that sequence perfectly. You can add an audio track and then render and save it for your next project. Use this in Photoshop a lot for looping their text effects. Maybe if they make a cool composition, they have, like, the stars sparkling in the back. Generally, you want to use it for shorter and more simpler animations. The heavier works is going to need a really good and fast computer because this is obviously a lot more complicated than a regular two D static image. Now that we know how to use all of the basic features within Photoshop, we can now move on to different use cases. We're going to start with photography and then make our way to graphic design, some mockups and many other things. I'll see you guys in the next chapter of this course. 16. Editing a Portrait: We're going to see how we can quickly edit a portrait as an add like a mood to it, change the colors a bit, and maybe add some special effects as well. So in order to do that, you first need to import your image. Unlike other illustrations, you cannot just drag your image on top of a Canvas because images have their own pixels, the amount of pixels, they have their own resolutions and you don't want to mess that up when you bring it onto a already determined canvas. Always open your pictures in a new window. To do that, you go in file open, and let's see where it is. I think it's in my downloads. There we go. Open. And it opens it in a new window. Let me just close this one. Do you want to save it? Don't want to? I got this picture online. Oops I zoomed in too much. Is taken by this person, and you can see that the image is already clean, it has been centered, the sharpness is good. Now, all I want to do in this lesson is to add extra hues, maybe colors and effects to just make it the way I wanted to. Let me first unlock my layer, click on the lock. I'm just going to check to see if I need to remove anything and no. Everything is clean. There's no unwanted objects as well. Again, just like any other thing, we're going to duplicate a layer, drag the layer, come down to this square plus thing. And now I'm going to add my effects. The first thing I like to do is to add a gradient map to just determine just separate the shadows and the highlights. To do that, you would go next to this folder thing. There's this half circle, click on it once. We have this thing called gradient map. Click on it. We have this window right now. Don't worry, this is a separate layer. It did not affect your image. Go on this gradient. Dale click, it will open another window. And this is where you determine the colors for your gradient. You have some presets here. You have the basic blue, purple, pinks, and for this, because we're working with the highlights and the shadows, if you guys remember we said the shadows were blacks, the highlights were white. We have a black and white one here. There it is. Our image is in black and white, but we will fix that and make sure that plaque is on the left and white is on the right. If you do it the opposite way, it will just look like a high key image. Keep it from black to white, make sure there's no additional points. Make sure there isn't any of these. I'm going to delete these. Delete that. I'm trying to delete it. I actually added a bunch. Let me just go back and click on the preset again. Is it okay once you're done. When it closes as well, and now from the blend modes next to the opacity, right now it's on normal. That means there's no effect on it. Open that window and we have a lot of blend modes. Now because we're trying to change the lighting, you would have to go on the luminosity because that is the light. You can see there's barely any difference. If you go on the other ones, it's mostly affecting the colors and the separate sections. Go on luminosity. It okay. Now, if you look at the before and after, you can see that we have more contrast on our image and we can adjust this further by reducing the opacity if it's too intense. Let me go for 59. Now let's look at the before and after. We just added a little bit more shadow and we increase the highlights as well. Go to name this shadow highlights. You don't have to name your layers, it just makes things organized base original. Now that I have the shadows and the highlights laid out, I can go ahead and mess with the colors. If you like the colors, then you can keep it, but I'm just going to show you guys how you can change the colors of an image. Again, we're going to go on that half circle, open it, and we're going to go on selective color. Below gradient map, click at once. We have this window. You would choose your colors here. Right now we are on red, but we have other options as well. But if you look at our image, we mostly have reds to begin with. Let's just click red. And this is where you change the CM Y K values, cyan, magenta, yellow and black. Black would be K and the shortcuts and not B because B is blue. This way, if you move these left or right, you're changing the amount of science in the image. If you bring it to the left, you're on a negative, so you're removing them. If you bring it to the right, you're adding science. I'm actually going to remove the science just to make things more vibrant. Since before the after, you can see we made those colors more vibrant. Let me remove or actually, I'm going to add some magenta. I like the redness of it plus 13. Let's actually add some yellow. I like it to be a little orange, not necessarily red. As for the blacks, the blacks just determine the brightness and the darkness. This is dark, this is light. Let's make it Black, add more black to it, so it's darker and now we have this really nice vibrant orange. We're done with the reds. Let's move on to the greens that we have a very small amount of. You can barely tell, but let's just change the values. I'm going to darken them. Again, you can hardly tell the difference, but I just like to make everything perfect. Let's add some cyan. And the magenta and the yellow values are good. We also have option for the yellow. We have some yellows here. At cyan, remove cyan, you can see that there's a difference in both the face and the flowers up here. I'm going to remove the cyan from it and also remove the magenta. Going to keep her face light because it stands out among all the dark reds. I'm going to close that off and we change the colors. Let's name the colors. All right. Another thing that we can do that we learned previously is to add onto the brightness of her eyes. Again have circle, go to brightness and contrast, add brightness, go all the way, don't worry. Same thing for contrast. We're going to change going to adjust it further. And we were here now we have to go on the mask clay, which is this white rectangle and hold down Control plus I want to invert our mass. Again, black means that there is nothing, there's no effect. Hold control press I, it means that the effect is fully there. Control I again. And go to our brush when it zoom in to her eyeball, increase the size. Make sure you on soft round because this is what it looks like and make your foreground color white. This is what it looks like without a soft brush. It's really rough on the edges. It does not blend it. Right click, change it to soft round, click elsewhere to close that and then just paints her eyes. You can notice that I'm not going in the edges because it will make it look fake just in the middle. Do the same thing for her other eye. There we are. Zoom out. Now she's looking like a supernatural creature. Let's remove some of that opacity. Keep it. I think 50% is good. Really nice effect, makes things makes things look more magical, especially with the way that she's looking at the camera. It just brings out more of the brownness in her eye color. Now while we're at it, let's add some blush. This is optional. Again, you can even add eyeshadow because she doesn't have any. If you want to do that, go to solid color. Choose your desired color. Let's go for this red or whatever color you guys want. I okay once you're finished. Now we can't see anything because we're on a normal layer. We have a solid color. This is called a solid color. Change the blend mode to soft light. You want a really soft visibility to to make things more natural. Then go onto the mask layer again. You're going to invert it. Hold down control, press I once, we've inverted our mask. Go to the brush. Again, the foreground is white. If it was black, you're not painting anything. Right click on your brush. Make sure it's self brown so it blends in perfectly and just brush your desired area. It's looking too intense. Let's reduce the fill until we are happy with it. I'm going to keep it at 32%. Lower my brush size, I'm going to add some color and D below that area. Okay. Now it looks like she has some makeup on. Let's do the same thing for her other eye. Again, because we're on soft light, Photoshop is also paying attention to how bright or dark that area is on its own. Don't be wondering why this area is lighter than the other, is because there's more light on this side of her face than on this side, and that is actually perfect because it makes things look more natural. Now she has orange eye shadow. Again, if you don't like the color, go onto the color layer, dabble click and change your color as you like. You can add a pink, a purple. I'm going to keep perhaps an orange color. I think orange looks better. Let's keep it like that. Is the same color we had. I'm also going to add a blush layer. We're going to do the exact same thing, although I'm going to name these layers, change this to I, change this to I shadow. Create a new solid color layer, again, half circle, solid color, go to red or any color you like. Change the blend mode from normal to soft light, and Enter, invert your mask layer, hold down Control, press I once, invert it. Get your soft round brush, increase the size. Your foreground color should be white and then paint in the areas that you want blush on. Let's add some on her nose as well. Once you've done choosing once you're done with choosing the area, decrease the fill until you are happy with it. Let's keep it at 33. Name the layer, and we're done with her makeup. You can also go ahead and add some extra color to her lipstick, solid color. Let's go for a darker red this time. This is just my preference, soft light, and enter. Invert your mask layer, brush, lower the size, zoom in to be more precise, and fill in those colors. Sorry, fill in that area, not those colors. Lower the size as you go on. You want to make everything look natural. Invert your brush to black to remove the areas that you don't want. I like to brush it softly around the edges just to make things look more natural. Do the same thing here. It's a faded lip color. Can even go ahead and make it darker than it is. Lower the fill if you want to, and there we are. Let's name this lip. We added her makeup with changed the color. Now I want to add a overall filter. To do that, we will need a gradient map. Again, half circle, gradient map. Table click. I've already chosen a preset here. It's just green and red and this creates a vintage filter. We have so much options you guys can choose if you need to or create your own colors. But this is definitely something I recommend for portraits. Once you're done, make sure it's green and red, not the other way around. It okay, close the properties panel, change the blend mode to soft light, hit Enter, let's name it filter. And we're not going to invert the mask. Lower the opacity until you are happy. Let's go to 35. Another thing that I want to do is again work more with the shadows and the highlights. I will use again, circle the curves right here, it's below the brightness and contrast, below the levels, curves. If you've used lightroom, you're familiar with this. Going to bring the bottom up to create a film like effect. Then I'm going to create a point here and just lower the shadows a bit, darken them, that means and work with the highlights, I think it's two and ten, so I'm going to bring it lower. This just creates a soft look. Close the curves, going to call it lights and darks. I would say we're done with our image, and I want to see it before and after. What I like to do is to go on my top layer, come down to the bottom layer, which is base, hold shift while I click the bottom layer, group them with this folder thing, and now we get to see, let me zoom in, fit on screen. The before and the after liking there we are. Just like that, we have created a image. We've edited an image to our liking. We added that retro red and green look to it. If you guys choose your own colors, it's going to look the way that you wanted to. Going to name this edit it. I just like to keep things organized. I hope you guys enjoy this. This is a great thing, a great way to edit your portraits. That's why I like to personally, I don't really use light from that much unless I'm in a hurry and I need to do it on my mobile. I use Photoshop for my portraits because I have so much more options and I can also create layers, which I can change the order and the intensity, the opacity, and all of that. So I hope you guys enjoyed this. I will see you guys in the next lesson. 17. What is Camera Raw: If you've used any image editing software, you might have wondered if you can do the same things within Photoshop. Previously, we were able to see that we can change the brightness, the exposure, colors, and all in our adjustment tab over here. But there is an entirely dedicated handle for photo editing, especially if you have raw image files, which are generally more larger than JPEG like this and have a lot more work that needs to be done to them. So I have these two images. They're in your resource pack. Go ahead and download them, import them into Photoshop. And let's see how we can edit pictures in the camera raw filter. So once I have my image, it's layer zero, I'm going to head over to Filter and camera raw filter. When I click this, it brings me to this entirely new panel. Let me just minimize that. Entirely new panel where everything is just about the photo itself. If you've used Lightroom or any other photo editing software, most of these will be familiar to you, but I will still go over what each of them are for, and as I'm doing this, you guys should follow along so you can get a better understanding of the effects each of these sliders could have. This right here is not a raw file. A raw file is the file that your camera saves in the camera or in the C card as soon as you take that picture. So this right here is a JPEG, which means someone has already edited their raw file, saved it as a JPEG, and then uploaded it to pixels in our case for it to be like this. So if you do take photography yourself, those images that you have in your C card, you can import them directly into Photoshop and make some high end editing. So let's start from the right here. There's nothing over here. First thing is making this full screen. Is not full screen right now. The editing, which is the following sliders that you see, we can adjust the geometry of this, which is whether we want to flip it vertically, horizontally. Do we want to rotate it, change the aspec ratio, scale it in, push it to the right or left or up and down, reset to default. It brings it back to what you had initially. We have the remove tool put in here for us. This is basically a little light room inside your Photoshop, Lightroom has the exact same thing. We have this eraser tool where when you draw on a section, let's say I'm trying to get rid of something here, let go, I will use the content around it to fill that area in. But we can also ask it to use AI to give us a more precise and cleaner effect. So I want to get rid of this red thing. Let's hit remove. We can refine it here. So select it. We can add on to the selection, subtract if we took too much, adjust the size of our brush. And then change that overlay color. Once I'm happy with this, we can hit remove, removing using AI, and now it's gone. So if you saw that the regular eraser isn't doing much, just switch onto this. But I hit that to revert to changes. We have detect objects. We currently don't have any objects here, but say you were trying to get rid of a bird that's standing next to a lamp. If the bird is overlapping with that lamp, you would want to turn this on so Photoshop doesn't remove a part of that lamp and only removes the bird. This is your brush size. We have show overlay, which is when you start drawing, it's going to show you the color that we set to red. We have visualized spots, which allows you to take a look at what you're dealing with here. If you have a very dark image, this could come in handy because it will show you exactly where the edges of the building are and this will help you to make a lot more defined selections. It's a remove tool to remove things. I'm going to uncheck this. And then we can move on to the next one, which is our masking layer. So if you want to make changes to a certain part of your image, you get to use one of these. Let me actually open our other image where we have human subjects, and this way, we can try out a few of these things. All right, so the same thing, but I'm going to go down here and have Photoshop detect the subjects for me. Let's click it once, and there we go. In a few seconds, I now have the perfect selection. Of my subjects. Now, let's say I'm trying to change the colors of the trees. It's a little too green for me. Simply right click on these three dots next to your mask and hit invert mask. Now you have everything but the subject, and you can go ahead and scroll down to maybe hue and get a different color. To see it before and after, just click on this before, after. Now, you can also just begin, I'm going to click that. Begin by having Photoshop detect the sky or the background for you. We don't have that much sky. It's just a tiny bit, but we do have a lot of background. Again, one click, it detects it for us. We can go ahead and make our changes now and revert this back. There are also some predetermined things. So if you're dealing with the landscape, you can edit parts of it, sky or vegetation can see it perfectly detects the two and separates it for you. So if you only want to work with the sky, check that. I create, and now I could maybe make the sky a little blue before or after. Do that. We have the brush, which is what we've had so far in the selection tools, you can just start painting over an area. With photos, it may be unlikely to use it immediately. You could use it to fine tune selection that has been made before using the brush. And when you go over the brush, it's the exact same thing. So size, feathering, which is the softness, the flow of your brush, how much ink there is, and how intense that effect is. We can also hit automsk and have Photoshop automatically detect the edges for us. If you are unhappy with the selection you made, may increase size so you guys can see what I'm talking about. Let's say I made the selection, I'm not happy with it, I could use the erase tool to remove from that selection. Same thing with the brush, we have size feather flow, density, and automsk. We can also use this to invert our selection. So if I chose this, inverting it will grab everything except this. So that's what this button is for. Have some gradient. May I ask if you want to do, let's say, a very heavy effect to the sky, but you want it to die down as it reaches the ground, that's where you can make a linear gradient mask. So let's say I want to add a filter from the top to the bottom. You're just going to click and drag, and you can see that if I keep it very short, the red area, which will be the affected area is very small. But if I stretch it out, it's going to follow the second line at the bottom. Now whatever change I make will gradually die down as it reaches the second line. It also rotate this if I wanted to experiment and even move the points midway. In the same logic, we have a radiance gradient, which means it's in a circular way. You can do a perfect circle by holding down shift on your keyboard. If you let go, you get to make more free form circular shapes. Maybe you can do something like. Next, we have range. So range is going to look at either color or the brightness. So if you want to make one change to all the green parts in an image or all the blue parts in an image, like, let's say, I choose the blue, it's going to detect that from everywhere. So this person's shirt is a little bit in their hair and anything ranging from that area. So you can see the darker colors, which includes their hair and their shirt, even the phone is being affected by the slider. We also have luminance range. So if you want to make some changes to the very bright areas, click one. You can see that it not only chose a sky, but also the highlights of their faces, this person's shirt, fingers, and their hat. And if you saw that it's picking up way too much for you, I'm going to make it really bright, so you can see how we can adjust it. Going over to this slider allows you to decide how much of that luminance you want. So what is the threshold, essentially? So if you push down, it's going to be less intense. So you can see the entire image is now affected by our exposure. Make it smaller, it's going to be more concentrated on those areas. So that's how you get to adjust it. Can also do a luminance map. So anything red is being affected right now, and other stuff are just not being affected. We can also add or subtract via the options that we were given earlier. You can use a brush, add onto it, subtract it with a brush and just play around with it until you have a good selection. Undo that. Now, if you have the latest version of Photoshop, you are actually able to have Photoshop detect the people for you. So when you select subject, initially, we saw that it chose all four of these people. Say you only want to make change to this one person. You can see it even excluded this person's hand. Once you select that, you can now decide what part of their body you want to change. So we can go for clothes, hair, teeth, lips, people, and everything else. So let's go for hair and create a mask for that person's hair. Can now go down here and let's say add more tint to the hair in just a few simple clicks. And if you zoom in on her face, I'm going to use Zoom tool right here. You can see that it looks pretty good. There are some areas that it picked up by accident like her eyebrows, but I actually think that helps sell this idea. But if for some reason it doesn't work for you, remember you can subtract using your brush. Let's remove that. If you remove from the hair, you can see that we're getting rid of that purple. Any imperfections, just fix it up like this, and there we go. Same thing for all the other people, and that is our masking. It's the same thing for all the other subjects. You can also hit all people, and that is pretty much the masking option here. Now, we do have the red eye tool, which we looked at in a previous lesson. I'm just going to go for the preview here so it shows you. We have a red eye situation. Click once, it detects that color and fixes it for you. There isn't much to work with here. I don't have a red eye. Moment. But essentially what it does with the options, let me go for her eyes. You have either a human eye or a pet eye because her eyes are different. Click once on that area and it will do that switch for you. If the pupil is a lot bigger, you can see my brush is different. We can also darken it further using this slider, and it will show you the overlay as you're making the changes. There's also an auto option, so it automatically detects C red eye for you. It's not always accurate, it picked this area. But it does come in handy for certain types of images. We have some presets. So if you're just not in the mood to edit your images, you can always come here and use some of Photoshop's own presets or import your own. So they're actually grouped pretty neatly. We have stuff for portraits. So if they have deep skin, they have medium skin. If it's per season, if it for traveling, there's a lot of options here. These below are the classics, if these are not. To your liking, we can shift the color, be creative with our work. Let me as them out here. We have some black and white images, presets, some other defaults, and then some stuff specifically made for these tools. So for curving or green, and even Wine. If you want to import your own, just go over here, three corners, import profiles and presets. So if you downloaded something from the Internet, that's how you get it inside Photoshop. You can also make your own preset after making some changes yourself. So let's say I have this really yellow preset, I can click this, call it yellow and put it in a new group. It okay? What part of the adjustments do I want in my preset? I'm going to choose all, even though we only did one adjustment. And then once we're done, it okay. So now there's a minu group, and there's a yellow preset. I can add it to my favorites or delete it. Just like that. We have some three dots down here. These are the default that we were using. You can save the image, load some settings from another project, save these settings, copy these settings, paste it to another photo, and some other things here that we already looked at. Alright, so these were the sidebars. This is our Zoom tool, which used to zoom in or out, our hand tool, Believe, the color sampler. So you can sample a simple color and compare them. So it's the same thing as the regular Photoshop. And this right here gives you the grid. If you're dealing with buildings, specifically if you have you're using the perspective tools here. So you want to make sure everything is nicely aligned. You said to default and check those two. And then on the edge, we have some preferences, which you should just keep by default unless you're following another tutorial. So this part is kind of important and that's regarding cache. So if you saw that your camera is way too slow, chances are that the files exceeded a five gigabyte size, so you can just purge it all and it will save you some stuff. That's not going to get rid of your photos or anything, but just those little files that Photoshop makes whenever you make a change to an image. All right let's go back in here and take a look at our edit settings. So start off, we have some automated stuff, so edit this automatically depending on how Photoshop sees it, turn it into a black and white, and you can just undo the two. This slider up here, if you hover over them, you can see how each section is dedicated to one criteria. So exposure. You can click and track it and shift all the values. If it reaches an all time high, you can see how the red on the right is getting turned on and on the left, the blue is getting turned on. You never want to be way too extreme, and therefore, this visualization can help you keep everything balanced. We have profiles can turn into monochrome or color, can browse some other ones. There are some more profiles over here. These one, I would say, are more detailed than presets and you only need to deal with the amount. You can see how with one click, I was able to completely shift the look of my image. Go back from here, we have light. This is everything regarding the lighting of your image. So contrast highlights, shadows, the whites of the image and the blacks of the image. You can see it before and after using this eyeball. Let me reset. Color is in regards to color. Temperature, hot or cold, pink or green. If your image is too green, you can cancel it by adding some pink. That's the logic here, vibrance and saturation. We have effects regarding texture, the finer details. So texture, clarity, you can dehaze it, add some wine, or even add some grain. Curve is its own thing. So when you hover over it, you can see at the bottom right, it tells us what we're going to change. So this one, we're adjusting all the channels. So all the reds, all the greens, all the blues, and the lights and darks. If you go over here, you're only dealing with the lights and darks, only the reds, only the greens, and only the blues. So here we have opposite colors. So if your image is way too blue, you can add some yellow. That's, again, the logic. We can manually type in our input and output, deal with the curve. So you can make it into a linear curve. And if we shift it ourselves, it will turn into custom. Now, color mixer deals with one of the colors. So you can change the reds in the image. We have a lot of green, so we can change the greens. And this is in terms of hue saturation and luminance. You can do only color. Let's go to green. Deal with the saturation of the greens and the brightness. If there's a tiny circle underneath the color, it means you've made an adjustment to it. Alright, we can go to saturation luminance or everything it wants. This is only in regards to how you're seeing the sliders. In all of these, you end up dealing with saturation and luminance anyway. Just a matter of if you want to listed, list it that way. It's really up to you. Now, color grading is going to be dealing with all the colors within the midtones shadows and highlights. Again, you can do all three, just the shadows, midtones or highlights, and you can make some global settings. Once you have your color, you can decide on how bright or how dark it is. In terms of the other settings, you have the same luminant slider, but there is the blending and balance. This will make sure that none of the settings you make previously are too harsh and can help your image look more natural. Detail works with the details of your image. We have the option for you to make things sharper, remove some of the noise, and remove some of the color noise. And noise are basically little pieces of dust kind of sitting on top of your image, especially when you're dealing with a darker one or a low quality image. So we don't have much noise over here, but you can see, even when I move the slider, it does smooth out these pixelated effects. And then when I zoom out, it still looks fine, but it's just cleaning up those imperfection. The color noise deals with the same thing but with highly colored areas. We have optics down here, which deals with the distortion and the Vinier. If you want to do a fish eye effect or want to zoom out center of your work, this is where you get to do it. Now, defringe are color glitches that happen around objects. You can see in the preview showing us an example. You can target that specific color usually it's either green or pink, like a purple pink and you get to select it, then remove it using these sliders. Again, with the same logic of adding the opposite color to get rid of that initial color. Lens blur. If you want to blur out something, you can do that. Let's hit Apply. And then we can just use a slider to blur things out. So right now, we have the background selected automatically, and this slider is only dealing with the trees. We have the way that blur is being portrayed and boosting the bouquet, which would only apply if you have singular light sources coming out. Like if you have a bunch of lamps, this bouquet will look really good. You can decide on the type of bouquet. And use that slider to intensify it. Now, here is where you get to decide what is your range of focus. So automatically detected our subjects and went for the background. But we can have it only apply the blur to the trees like this one tree or just the sky, and that is using this slider. So when I move it all the way to the right, you can see that it blurred out our subjects as well. And then you can move this left or right. This detects the subject and keeps it out of that blurring. And this allows you to choose a singular point as your focus range. So just making sure that this point stays in focus while the rest stays out. We can also visualize what's happening here, so it kind of color coded our entire image. So the purple things are in the background, and the rest are at the center. We have some refinements for you to make for focus and blur. This is with the brush. So just like we had so far with the selection brush, we can adjust things using the refinement brush. Lastly, it's calibration, which helps you balance the overall colors. So if your image is way too yellow, you can remove some of that warmth and balance your image via the primaries. And there we go. Once we have our adjustments, I'm just going to add a preset let's say this is all the changes I've made. I can look at it before and after just to make sure everything looks fine. You can switch to view. Flip it, change it. Once you're done, hit Okay. And now it replaces that first image. So if you want to make sure that you have a dedicated layer just for the camera raw adjustments, you can duplicate that layer before doing it. So that's a camera raw filter. In the next lesson, I'm going to give you guys a raw image file, and then we're going to edit it from scratch. That way you will get a better understanding of how these sliders work and what the main difference is between a JP and a raw file when it comes to photo editing. I'll see you guys there. 18. Camera Raw Editing: So let's go ahead and download our very own raw image using Camera Raw. So in your resource pack, you should find an image with the extension CR three. This is one of those raw formats that I mentioned in the previous lesson, and this is unique to my camera. So yours may be different. If you have a Nikon, if you have Fuji film, a different version of the camera, the numbers may change. But regardless, it still fits in that raw format category. So when I drag this onto my Photoshop icon, do file open that image, it immediately opens camera raw. We can see at the top, it shows my camera name, canon EOS 90 D. Again, yours will be different. But just a mere fact that it detects that it's a raw image format, it brings us right here where we looked at in the previous lesson. Just to get some practice, we're going to edit this image and then bring it into Photoshop to maybe add some other elements. So if we hit Auto, we can make our work a little easier, but sometimes like this instance, it's not exactly a good result. So let's hit Commander Control Z and start editing things ourselves. Before I go into the general editings like the lighting color, I do want to use my heel tool to remove certain things. So right here in my lemon, there are some seeds that don't really look that good. So I will go over here to my remove panel, and I'll turn on generative AI. You could leave it off if you want, then adjust the size of my brush and start painting the seeds. We are currently on the eraser because we just want this gone. We're not trying to replace it, clone it, or do anything else. There we go. Let's get rid of this guy. All right. And I believe we have one big one right over here. Okay, so now my lemon looks more perfect. I can scroll around and just check for any other weird elements I don't want. Let's get rid of this bit of sugar to get rid of it. This is a sugar scrub, by the way, and I'm going to make sure it looks perfect, assuming we want to put this image out there to advertise our product. Just go over any little detail, can even add on to my selection before I hit remove. Then zoom out. Alright, so that was just a quick removal process. This was our before, this is after. Once we're done with this, we can go ahead and move to our mask. Now notice how behind the light source is coming from here and we're getting some shadows casted. I want to get rid of that and make you look like this is a perfect studio and such thing did not happen. So you can go ahead and choose the objects for this, and it should And then from that mask, I want to subtract this middle area, so it hit subtract. And let's go ahead and use. Let's go with brush. Keep it simple. Zoom in, and then using our feathered brush with a decent size, go to increase the density. Remove the edges, remove the things in between, actually. If you're using your mouse, you can also use your scroll wheel to adjust the size of your brush, which is what I'm doing. Once we're happy with our selection, I'm going to create a new mask and simply choose select background. This will choose everything except the object. But I have this in case I want to apply certain adjustments to the objects only. Now from here, I'm going to hit subtract again, then we can choose linear gradients. Start from the corner, make your way to the middle. Let's actually invert the selection, so we can make our changes here. Increase this, match it with a spoon, and then let go. So now I could use my exposure setting to just increase that effect, lift the shadows, lift the blacks, and then remove some of that contrast. So this is going to lift that harsh shadow. There still is some shadow, because that's just how it is. If you put an object in front of a light source, there's going to be shadows. But I didn't like how dark it was. We're done with this, we can go to our let's call this objects. Go to objects, and now I can apply a setting just to these guys. So because we're dealing with fine details, I'm going to scroll down to effect to increase our clarity and texture. And then before or after. So we're making those lemon details and sugar details a lot more crisp and a lot more, I guess, appetizing, we're trying to indicate that this is just full of lemon. It's fresh, refreshing and all that stuff. Okay, let's zoom out. And then we can get out of the mask and just go to our edit to make some overall effects. In terms of lighting, now we're dealing with the entire image. I'm going to decrease the contrast a bit, increase the exposure, lower those highlights, those shadows, increase the highlights, then move on to color, where we're going to make this a little warmer, increase the vibrance, lower the saturation. It was a bit too yellow. Then add a little bit to the cooling temperature, so it's not really yellow. Now, to lighten the edges, I can go on with Wig to the right side to add some whites. Then perhaps you can go over to the yellow colors to increase the saturation. That's the lemon. Then in color grading, we can make some overall stuff to the mid tones. Maybe we can give it, like, a reddish orange tone, hold down shift, click on that circular item to adjust the intensity. Something like that, blend this into our image, and then balance it out. Terms of shadows, I'm going to go for a cooler color to add even more of a balance. Okay, let's go ahead and increase the exposure just a little bit and maybe rotate it a bit. Hit Enter once we're done, and that's pretty much it. So just to see it before and after, this is what we started with. This is what we have now. Once we're done, we're going to hit open, so it opens it in our regular Photoshop, and that's where you get to add your text, the stuff that we learned so far. So go to Window, I'm going to disable the timeline. Command or Control Zero, Command or Control H to get rid of the grid. And over here, I could try something like adding a text behind all of the objects. So let's go ahead and duplicate this. Unlock the layer, Command or Control J. Let's hide the background and call this object. On objects, I'm going to go to one of the selection tools and simply grab the area that has the objects. Click and Track. Let go, and it kind of missed some of the spots, so let's switch over to the quick selection and grab this wooden part of the spoon with a plus. To get rid of those areas, you can hit Q on your keyboard using your white brush. Hit X to flip the colors. And one of the normal brushes with the color white, just go over those smaller areas that Photoshop wasn't able to detect. Hit X to flip the colors and remove with the color black. Once we're done with our selection, we can hit Q again and just make a layer mask. So now what I have is the object separated from the background. I'll do a simple effect with our text layer, so click and drag. Just click, actually, and then use any color you want. I'll go for a gray color. Say this is the slogan. I will increase the size so it fits all of the background, and you can see how I have it underneath my object. I'll try something else because I want fresh to be readable. Stew all fresh. Go to layer zero, go to the crop tool, clear this. I'm just going to increase these sides so that people can read fresh a little better. Alright. Now, grab your selection tool, Marque tool. Hit hold down command and then click on layer zero, then Command Shift I to invert your selection. Right click and hit DeFil option. Content Aware, and that's just going to extend your background for you. All right. Compater Control D, can see it kind of glitched over there. So I don't really need that much space, so people can tell this is an H. G to crop that out like that. Let's move the fresh the text a little bit underneath. Hit Commander Control T and use your arrow case for a little bit of subtle movement. Now what I'm going to do is blend the text into the background using one of the blend modes with multiply. Then we're just going to increase, sorry, duplicate our layer zero, Commander control J, bring it above the text and then hold down interruption between the two to limit this into the text. Right now it's looking pretty light, but we can add one of these to it or just go to adjustments to see the full list. I'm going to use a brightness and contrast adjustment and just lower the Brightness all the way, and the contrast all the way. Now go on D mask, command or control I to invert the mask. B on your keyboard, get a soft round brush and paint in the areas where there should be a shadow on the text with the color white. So now it looks like I have a little shadow on top of my text. I just worked with the opacity, set the copy to 12%, brightness and contrast to 51%. Both of them are clipped to the text, and this is what we have. So that's how you can edit a raw image in camera raw then bring it to Photoshop to do additional stuff like this. In the next lesson, we're going to look at how to edit a high end portrait. That's not a raw image, but we're going to use a bunch of techniques to transform that image completely. I'll see you guys in the next lesson. 19. High-End Portraits: In today's lesson, we're going to be focusing on high end portraits. Now, what that means is that there are portraits that are meant for professional industries, for marketing and all of that. So it's more than your simple preset application, but it goes a lot more into smaller details such as their clothing, their jewelry, their face, of course, hair, and the overall look of the image. In the previous lessons, we learned how to use the camera raw panel, but this is not a raw file. I see in the top right, it's dot png. I could still use the camera raw panel, but when I first imported this image in, it brought me to the default workspace. So that's one important difference to notice. Let's go ahead in our Layers panel. If you're not seeing it, go to Window layers, and I'll call this my original work. Sure to follow along with this tutorial. This is, again, in your resource back, import it in. Rename your base layer, and then simply duplicate it with Command or Control J. So when you're dealing with high end portraits, you want to start from the ground up. So before any sort of creative work, we want to fix or heal some of the areas that need fixing. So when I zoom in on this person's face, it's actually delete this and then decide what we're going to do together. One thing you can notice is all of these noise. These little dust all over the image is called noise. You can see that it goes over her hands, her neck, her clothing, basically everywhere. When I zoom in, we can find little pieces of either lipstick clump or something else. Her skin is pretty rough and you can see that there's a little dirt in her nail. I believe that's piece of fur or something. Her jewelry could be a little bit more golden. Her clothing is it's pretty dull. We could maybe make it a more vibrant color. And then her eyes, they're not popping out. Instead of just guessing and telling ourselves we should do this and this, we can go ahead and use Photoshop's count and note feature. If you go over to the eyedropper tool, long click, there is a Noe Tool and count tool. With the count tool, I'm first going to decide which areas I want to fix. We said we want there's this little fur here, I'll hit one. Let me make my size a little bigger. There we go. So there's one. We also said that there's some dirt in her nails. So two around her lips, there's clumps, three, her eyes need to pop four, jewelry, five, clothing, six, noise, seven, then skin eight. And I think that's about it. Can try zooming in a bit more if we find any other detail that we need to get rid of. Okay, so those are my numbers. Now that I have the numbers, what do I want done for each one? So let's grab the No tool. Choose a color up here. I think yellow is pretty good. You also, if you're working with someone else, give yourself a name, but this is just my project, so I'm not going to do that. And just click next to that number to write notes for ourselves. So remove white fur. That's our first one. Second one, clean nails. Third one, remove bumps. Fourth one, make eyes pop. Fifth more gold, six vibrant, seven, remove noise, and eight, smoother face. So if you're working with a really big project, this way, you can keep track of everything. And once you're going along with all the notes, think of this as like Google Docs. When you fix something like node three, which is right next to three, we can just hit delete, so that's like a resolved note. All right, so let's start with number one. And because I'm trying to remove something, that will be a healing layer because I'll end up using either the healing brush or if you want Photoshop generated film. So let's duplicate this Command or Control J. And then whatever layer I make, these will be consistent, so don't worry about that. It's called this layer healing. Now, on the healing layer, I'm going to zoom in to number one and remove that little area. Okay. Let's hold down Alter option. I'm using the healing brush tool. You could use spot healing, too, but I prefer this one and just go over that little area. And that's about it. We're done with one. Number two still requires some sort of healing. So it's very tiny detail, but imagine this were to be printed on a billboard. Someone can catch this because of its larger size. That was number two. I got a little bit here. Number three, we said remove bumps. Again, that's a healing thing. So let's increase the brush size. Sample click. Y. Once we're done with the ellips, we can go to number four. Now, this will need a different type of adjustment. So it's no longer a healing thing because we're not trying to get rid of her pupils. But instead, all we're going to do is duplicate our original work, call it eyes, bring it above healing. And now on eyes, I'm going to go to my adjustments, choose brightness and contrast, increase the brightness all the way, and same thing for contrast, got the layers can actually get rid of this. Call this eyes. Then on D layer mask, Command or Control I to invert it. Next, use the fill to make it very subtle and then using your white brush, so hit X to invert the colors in a much smaller one on soft round, we're going to draw on the layer mask, basically slowly introduce that glow. It as again to remove with the color black. And this brightened up that person's natural color, natural eye color. If you want, you could play around with the fill, but of course, you don't want to be overboard with it. So that's looking pretty good. You can also change your eye color if you wanted to with hue and saturation, but I'm just going to leave mine as that. Now, for number five, we said we want it to be more gold, just to make it look very intense, especially since her hair is on the warmer side. So what we're going to do is just like eyes, make an adjustment. I will go with hue and saturation, increase the saturation, so we get more of that golden color. And then right after, go to adjustments again and get maybe a curves panel. Using this, the center line, which is the midtones. I'm going to make it a bit darker or in our case, more deep. And then let's see what else can we add? Maybe some branes to target those areas that were not intensified by saturation. Now we have three adjustments for this one thing. We can go ahead and use a group to grab all three, Commander control G, call this brings. I'm not sure if she has earrings. She does have earrings, but it's very Very subtle, so I'll just call it rings. Now, on rings because we don't want all of this applied to the rest of the model, I'll make a layer mask. Again, Command or Control I to invert it using the color white, a soft round, break going to zoom in on one of the areas, and start painting that in. My fill is 100, my flow is 38. Yours may be set to 100, but essentially it's going to slowly introduce our adjustments, and I could just build up by going on it numerous times. Is better than if it were 100, you get to just push in a bunch of adjustments and end up not making the adjustments look natural. So before or after, it's a lot more golden. Just be sure to clean the edges so we don't have an awkward ring around the ring. All right? That's our ring one. Hit to invert the colors. Go to the other ring and just repeat the process. All right. And then last but not least, her earring, which is kind of hard to see, but nonetheless, it's part of the image. Now, the good thing about using adjustments rather than colouring the area ourselves is that it's using the colors from the original image. So at no point did I add a hue filter where I manually chose the golden color and applied it with win mode, but instead relied on the colors that were simply not that visible because of the bad lighting. So there's a ring. Let's go to number six, which is for clothing. Again, we're going to need a bunch of adjustments. By the way, you can also grab the adjustments from down here. It cuts off here. So that's why I'm going to this window. It's the exact same thing if you click on this. All right. So with this, we definitely want more color. I'm going to go for ibns because it's a very pale color to begin with. So 67 for that, let's go to color balance. It's a little bit too green, so I'm going to add some magenta. If it's too red, we can add a little cyan, then maybe a little blue to balance it up. So before after, you can see how with a few sliders and adjustments, we were able to bring her shirt back to a paler white color rather than a neon green, which is what she had before. We can also go ahead and add a brightness and contrast to make that shirt a little brighter and then just lower the contrast. Once you're done and happy with the way the shirt looks, don't mind the other parts. Like another group, Commander Control G, all this top Hold down, alter option, and then click on Layer mask, and this will do that inverting for you. So no command or control eye. Grab your brush. We're going to need a bigger size for this, flip your colors and start painting it. Now, one thing to notice here, the edges of the shirt is very detailed and I can't possibly recreate it with my brush strokes. So what we're going to do is make a selection of our entire subject. Go to healing, go to Selection Tool, get the cloud, create a selection. There we go. I'm going to hit Q and make sure she's fully in. Once I'm done, I'm going to, first of all, save this as a path. Oops, let's do that first. Delete that. I'm going to call this subject so that I could reuse this selection if I need to. Now, click on this to get the marching ants. Then go back to the layer with the top. With your white brush, simply continue coloring the edges. But now we have that restriction of the marching ants, which means that I'm not going to end up painting the sky in any way and can only draw within the boundaries set by the marching ants. Once you're done, Commander Control D, and then once again, we have the neck line. So let's grab the quick selection tool for now and get this area, the neck alter option to remove from a selection. And then we're just going to invert the selection. So Command Shift I will get you everything except that. Once again, go to your masking, white brush and paint the edges of her shirt. In this way, you're not getting anything on her neck. Commander Control D, and now we have a more precise selection of her top. Now we're going to get rid of the noise, which was number seven. All these little bits are the noise. You can see it goes over the hair, the hand, and practically over the entire image. So to fix that, we're going to duplicate our healing layer with Command or Control J. I'm going to call this base. Now on the base layer, we're going to go over to filter, noise, reduced noise. Since it's pretty bad, we're going to increase the strength to ten. We don't want any details, no sharpening, and then increase the color noise to 100. Setting is default, and now we can hit Okay. Quick before and after, we smoothed out all those specs, but there's still a lot of work that needs to be done. We're going to duplicate base again. I'm going to call this blur. Now on the blur layer, we're going to go to filter blur, surface blur. Over here, we're going to set this to five, the radius, and the threshold a little lower maybe nine. Already, it's looking a lot better. Again, on blur, we're going to go to filter, sharpen, smart sharpen because we still want the details of her face to be there, but just not the noise. Over here, we're going to set the amount to set it to 90%. Set the radius to one and then the reduced noise to 100 and then for remove, we're going to set it to Gausenbler. Once we're done, hit okay, and then we're just going to combine these two into a smart object before going to camera raw to finish things off. So right click on both of them, convert to Smart Object. Call this noise removal, and then on that layer, we're going to use our camera raw feature. No, not only can you now focus on the noise, but you can also do your final edits in terms of coloring. Let's first scroll down to detail and increase noise reduction to around 15 or 16. Same thing with color noise. So now when I zoom in, you can see it's a lot more smooth. And before I hit Okay, we're going to do some overall adjustments. Let's start with the lighting. Let's start with exposure, increase that lighting, add some contrasts. What were those highlights, darken those shadows and play around with it until you're happy with the way it looks. Color wise, it's a little too green, so I'm going to add some magenta to it just to cancel the green out. Then if it's too yellow, we can add some blue. Use vibrance to make the colors pop a little saturation to deepen them, then go to effects, and I will use the dehaze option here and maybe a little wine. On the top, we can see if we have a little bit of a glitch, head over to the geometry tool, and I'm just going to scale this in. Go back here and just continue with your work. It's still a little too green, and I can see that's happening mostly with the shadows. Let's pull the shadows a little bit towards the magenta side. Same thing with the midtones. Now, I am seeing this dark blue background, but it's not as deep as I want it to be. Let's go ahead and use our masking tool, the subject. Then we're just going to invert the selection. Click this. Then using that, I'm going to just work around the background. I think mostly I want to deal with the color alone. Let's go down to saturation, increase that up, and then with the hue, we can do something like that. There is still a little bit of a patch issue here. We'll fix this on the main menu. But for now, let's finish up the mask and go back to Camera Raw to finish the color adjustments. Okay. So this is looking pretty good for me. This is a before, this is an after. So a lot of changes have been made. When you're done with your work, you can hit Okay, and that is going to update the smart object, so this layer. And because it's a smart object, I get to double click on it, go back to Camera Raw and fine tune my settings. But you can see how the regular layer does not have a history of the things you do to it. That's why it's important to convert your layers when you want to do big adjustments like this one. Alright, let's go to our paths panel. Grab the subject path, and oh, actually, we cropped it a little so we can't use this anymore. Just go to any of your selection tools, then select a subject. Now I'm going to invert this, so Command Shift I on your keyboard, go to this thing, solid color, and choose like a better blue. Then we're just going to change the blend mode. If you want, you can mess around with the fill color, but now it's a lot more uniform than the color we had before. All right, so seven was noise. Eight was, I believe, a smooth skin. So let's first clean this up a bit. I'm going to call this BG for background. And now you're going to treat noise removal as your main layer because of all the adjustments we made. So let's go ahead and I'm going to group all of these guys together. Commander Control G, ADJ for adjustments. Now, let's go ahead and duplicate our noise removal, Commander Control J, and call this skin. Now I'm going to rasterize skin. There we go. And what we're going to do is invert this. So on skin, hit Command or Control I to invert it. Then we're going to change that blend mode to vivid light. So it looks weird right now, but don't worry, we have to trust the process. On skin, go to filter, other Pass, and we're just going to go over let me try zooming out a bit on her face. So we just want to make sure that we can see the details of her face, but the skin is just completely out of the picture. So for me, around 24.7 works. If you're using a different image, you may get a different number. Click Okay once you're done. And now we're going to just smooth things out a bit. So go to blur, filter blur. Gadul blur. And now I'll keep adding onto the blur until I'm going to go to reface again until the edges are well defined. So you can see the more I go, the less they're defined. So you got to be careful with that amount. I'll go with, like, two. Click Okay once you're done. And you can see that it's pretty smooth, but it's a bit much. So what we're going to do is make a layer mask, all down alter eruption, then click it, so it's already inverted and then using your brush and a low flow so around maybe 30% with a soft round brush, of course, increase the size of it. Color white, start painting in those areas. Once we're done with our selection, you want to make sure you're not going over the areas that don't need it, for example, her lip. So just switch with the X key on your keyboard and brush out any part that went over the areas that are supposed to be sharp. Like her eyelashes, her eyebrows and all of that. All right. Once you're done, you can see that made a lot of improvements. But to make it more natural, we have to lower the fill. You can play around with this. I like to go about 50% or so. This may be different for another image, play around with it, see it before and after. Make sure it looks natural and it's well blended into the image. Now, the lip also is pretty dry looking. What I'm going to do is duplicate this, delete that layer mask, make a new one, hold down alter option, click lower the fill and just paint the lip alone. All right, so I'm going to call this lips, and that one is skin. Smooth skin is all done. Now, there are some areas where I want it to be sharpened more, and that's where we get to make another duplicate of our noise removal layer. Call this detail, Rasterize it like before. If you don't see it when you right click asurize. On detail, I'm just going to go over to filter sharpen, smart sharpen. Then just scroll over to her eyelash or any other detail that you want to highlight and then you can increase or decrease the amount. I like to add a little bit more than usual, but then remove the intensity via the fill. Again, hold down alter uption, click ones on the mask, the layer mask, lower the fill, pay 26% using the color white soft round. Start painting in the areas that need detail. So I put mine to 100% and just go over her eyebrows a little too. Okay. So we got the smoothness. We got the detail. And now I'm just going to add a little bit more color to her lips and perhaps add some flush here too. So in the adjustments folder, let's make a new adjustment. Let's go to Photo filter. Let's see if we have a red filter here. All right. Go to red and then play around with the opacity until you're happy, preserve luminosity. Flip this mask with Command or Control I, get your white brush, softroundT fill to at least 45 just more than half. Then pretend you just have a blush that you're adding onto the subject. If it's too intense, lower to fill as usual, and now you got yourself some blush. The same thing we're going to do for the lips. I'll make another photoflter. This time I get to use, I'm going to use the color feature, increase the density of it. You can also just grab the color that she has originally, but it's not that deep to begin with. Once you have your color, just changes to multiply, and then perhaps we can go to a different red. So I think this one's better. Click Okay invertu mask, Command or Control I, get your brush, lower the intensity, and just color the lips. I'm using my left and right bracket key to change the size of my brush. My flow is set to 30%, which means I get to build up on my brush as I stroke more. Now, you can use the same logic to put on some eyeshadow or anything else, but I'm just going to leave it here in terms of adding color. And that's pretty much it. So we have our adjustment folder, the lips, the skin, detail, noise removal, and healing. I'm just going to group all of them together to show you a before and after. So this was our before, this is after. Using Photoshops many tools, we were able to completely transform our image that not only had a glitch at the top, but it was filled with noise, not a lot of color. So things had to be removed. And then after some tweaking, we were able to get this high end portrait. That is just popping with color. Now, in the next lesson, we're going to learn more about photoshop compositions, mainly how you can combine more than one image. And we're also going to use photoshops built in generative AI tool. So we can generate things to add some elements to our image. I'll see you guys in the next lesson. 20. Portrait Makeup: In this lesson, we're going to learn how to edit a portrait like we would in lightroom. But this time with Photoshop, we have way more control over the small details because in Photoshop, we have layers, things are a lot easier to control. So the first thing you would do is to import your image onto your Photoshop Canvas. To do that, you would go to file up here, click on it and hit Open. This is my image. I'm going to open it, and there it is. Going to close the other tab. This creates a new tab. You can see the names. G just delete that one. And I'm just going to fit it to screen, and this is my image right here. If you look to the bottom right, we can see that we have one layer and that is our background and it's currently locked. What that means is that I can't really do anything because it's a background layer. So if I want to move it and do other adjustments, the first thing I would need to do is to first unlock it, so it's a normal layer. Now I can move it around and do as I want to. I use Control Z to bring it back. It's the same button in every program. So we have this portrait right here and I'm just going to do a little adjustments with maybe her makeup, her eyes, maybe enhance the freckles, change the color of the background, and just some small things because you can see that this image is already edited. We zoom in, you can see that everything is nicely placed. We have a lot of colors here and the face and the details too. Fit on screen. Now, this rule is the most important rule of Photoshop and you guys need to remember this because if you don't are going to get really hard in the future. When you have your original layer, you always want to create a duplicate and that is because if you mess up the layer, you can delete it and then come back to the original one. You don't have to get out of Photoshop or import the image again. For every new adjustment you want to do, make sure it's a separate layer and you're not putting it permanently on the image itself. Because again, that's hard to undo. You would have to keep hitting Control Z or going in the History panel, which is really time consuming so you could really help yourself out and create new layers whenever you're creating an adjustment. So to create a new layer, you would go on the layer that you want to duplicate. Minus layer zero. I'm going to hold Control and hit J on my keyboard. Now we have a copy of my layer. And that means that I have two images, but they're the exact same. I'm going to hit Control Z twice to get things back. Now, let's say if I don't know, I mess up, I did this, and this is my 34th adjustment. But I didn't realize that I did this. I could just delete that layer and I'm back to the original. Let me just undo that as well. So that was how to create a duplicate or a new layer from a base layer. But if you wanted to create a blank layer, you would just come down here in the bottom right and hit this square with a plus in it. So, it says, create a new layer. Now if I turn the eye thing off, this eyeball is whether you see the layer or not. I'm going to turn both of those off. You can see that layer one has nothing in it. It's just a blank layer, and we would usually use this for maybe adjustments, shapes and illustrations. But that's not going to come in handy right now. I'm going to hit backspace while I was on my layer one, to delete it or hit Control Z again. While I'm selecting the layer that I want to delete, I will come down to this trashcan icon and delete layer one. Yes, there we are. Going to turn these two back on so I can see them. And now we can start adjusting our image. When you want to create adjustment, you would first need to ask yourself, what is it that I want to change? Once you know that and your target area, things will work out a lot more smoother. So let's say I want to brighten up her eyeballs. And now that I have a target location, I'm going to go on this Zoom tool right here just to zoom in a little or you guys can hit hold the Alt key or the option key on Mac and then use your scroll wheel to go back and forward. And wherever your mouse is on, it would zoom in onto that area. If it's here, it's going to zoom in here. If it's over here, it's going to zoom in here. And if you're using this tool right here, you can right click and hit Fit on screen or zoom in and out using the tools, 100%, 200%, print size, fit on screen. I'm going to go to my target area, which is the eyeballs. Now if you want to brighten up a dark place, what would you use? You would use a brightening tool. You would want to add light to those dark areas. To do that, we're going to come down to the bottom right and you can see this half circle, it's a circle cut in half. We're going to click on that and it opens this window. It opens this window, and we have so many options. But for now, we're going to work with the brightness slash contrast. Click on it once and you can see that it created a new layer. That's what we talked about. I I messed up in this layer and I don't want it, I don't need to delete the layer below it because I have a separate layer for the brightness and contrast. But let me turn this off. If I go in my layer, go in image adjustments. Let's have a look brightness and contrast. Maybe did something here. This is what I did. This is going to be permanently on my layer. I would have no choice but to delete that layer. Control Zm. But if I have a separate layer and let's open this, let's say I messed up here, all I need to do is delete that layer. Now I don't even have to touch the layer below it. Let me undo that. And double click on the name just like you would in Lightroom. And first, we're going to do what we just did. We're going to increase the brightness and the contrast. Now I know what you're thinking. This is way too bright what is happening. Let me put this back here. Now we can see that we've brightened the eyeballs. But the problem is that we also brightened up the entire image as well. How do we limit the adjustment to only one small part of the image? That's where the mask tool comes in handy. If you look on the right of this brightness symbol, there's this white rectangle and that is our mask layer. Now you should always remember this white means that the area has an adjustment. If I hold Control I, I'm inverting that and black means that there is no adjustment on that layer. Again, control I inverts that mask layer right here. Control I invert, control I invert again. So because we want to remove all adjustments and only keep it in a small part of the image because the eyes are really small part of the image. Most of the image is her face and the background. So in order to do that, we would need to make our mask layer black. So hit Control I, and now it's black. If I only want it on this layer, I would need to make this part of the mask white so that the adjustment layer is only limited to those areas that I painted white. How do you painted white? You would need to take a brush, right here, the brush tool. Make sure you're on this layer and you can see that you get this circle. To change the size, you can right click and here's the size, can change it, so I would recommend starting with a small size and then working your way up from there. Or you can again be on the brush tool and on that layer, hold all using your mouse, right click on it. Hold that right click and you can see this. Move it to the right, it expands it, move it to the left, it minimizes it. This way is a lot easier to Adjust your size because you're seeing the preview for the brush as well. Now, right and left is for the diameter. If you go up and down, you're changing the hardness of the brush because we're using a soft brush, we would need a low hardness. Again, let me make it smaller. And down here in my colors, I have white over black. If this was black, nothing would happen because our entire mask layer is black. But if it's white, you can hit X on your keyboard to invert the colors. Look down here, hit X, inverts the colors. We're going to need white. If I draw something here, I am telling the mask layer that you can add the adjustment to the layers that I paint. If I do here, there it is now that, let's undo that. Now we can use our brush to add that to the eyes only. Again, I'm going to hold alt and use my scroll wheel to zoom into the eyeball so I can see things better, minimize my brush, and I'm going to start painting the eyeball. And it looks a little too intense, but we're going to fix that afterwards. You also don't want to get too close to the edges. Just want to lightly tap so you get a little bit of feathering on the sides. Let's hold Alt zoom back and you can see that we have brightened the eyes on this side, and this is the before and after. Now this is too intense. It looks like her color is orange and we don't want that. That's where we would have to work with the opacity or the fill. As in these two determine how intense or how visible that layer is. If I bring the opacity to zero, there is nothing. If I increase the opacity to 100, it's all the way there. I would need to work with the opacity until I am happy with the color. Let me see maybe a 35% will do. Now we can see that before and after the eyeball, we have this really nice brown color that wasn't as visible in the original eye. Let's also zoom in on this eye and color the edges. But because we have already adjusted the opacity, it's not going to be as intense as it was the first time. So here we are. I'm going to go on the Zoom, fit the screen, and this is how the eye is looking. Did we make that? I can see something over here. Is this from the original image? It is. Okay. We'll fix that later. Let's zoom out. We're going to turn off the eyeball to see it before and after. We accidentally painted this area. Let's go on our brush, hit X to bring the black because we don't want this area. I'm just going to remove that. Okay, I'm happy with the eye color, the brightness of the color, that is, it was already brown. Now the next thing I want to do is maybe change her eyeshadow color. Now, she already has eyeshadow, but you guys can use this on an image that doesn't have any eyeshadow. In order to do that, there are two ways to do this. If there's a current eyeshadow on her eye, you can change the shade of the color, change the hue, the saturation, the lightness. But if there was nothing on her eye, you would use a solid color. We're going to try both. I'm going to use the color, change the hue and saturation for the eyeshadow, and then use a solid color to add some blush for her. Let's start with the eye shadow. Again, I'm going to go in my half circle over here, click on it, come to selective color right below gradient map, and this creates another new layer for me. Now, before I start this, I'm going to close. This is the properties, by the way. If you're on this layer and you click on this, it will show the properties. If you hit these two arrows, it closes it off, but you can always access it over here. Again, we have the same mask layer as we did in the previous one. But this is all white, so we want to limit it to only her eyeshadow, going to hit Control I again to make it all black, hit the B on my keyboard to get my brush, hold Alt and my scroll wheel to zoom in. And then and right click to expand my brush size. I'm just going to lightly paint, although my color is black, it eggs to make it white. Now you can see there's this little white dot here and that's because we're adding the area right over here. Just to see if I'm choosing the area, I'm going to go into properties. We have some color options, red, yellow, green, cyans and the color we have is mostly red. It has a little yellow in it, but we'll get to that later. I'm going to just mess around with the colors until I am happy with the thing, the color. When I brought down the cyan, you saw that it became a darker colors before, this is after. You can work with the magenta, maybe make it pink, make it yellow. Again, if it's too intense, we can work with the opacity and the fill later. I'm just going to bring it a little bit on the magenta side. You can make it more orange, orange or more pink. I'm going to make it a little more orange, like a deeper orange compared to the one we see here, and the black is just the brightness. If I bring it to the left, it's turning bright. You can say it's not even there anymore. If I bring it to the right, it darkens that color. I'm just going to lighten the color just so it looks a little natural. So let me close this off again. Have a look at the before and after. We did a little bit of adjustments. I was going to maybe intensify the red. Now I'm going to see that I made a lot more change. I'm going to click back on my mask layer, this black box right here. And now that I can see where the adjustment is, if I draw here, you can see that I'm adding the adjustments to the parts that I'm painting. It controls you to undo. And now I can use my brush to maybe give her some color on the areas that she needs it. I'm not really good with makeup, but if you are, then you would know where to paint. I'm just randomly selecting these areas. Let me zoom out. Going to make my brush bigger. And then I'm also going to bring the hardness to zero. It a little smaller, actually, and I'm just going to lightly go around the edges. I don't know this looks right. Let's see here. I go to hit X on my keyboard. I feel like it shouldn't be over here. There we are. Maybe I can add some over here, make it look a little messy. Okay. I'm going to stick with this. Go to do the same for the other eye and keep something in mind that this only changes the color of the area. If one area is brighter, you can see that there's more light on here compared to this, but we're using an equal layer and an equal breath size. And that is only because this area has more light to it compared to this one. That's why this looks brighter compared to the one next to it. Don't think it's because of your selective color adjustment. It's because of the original image. It's going to go down here as well. Now we have more darker orange on her eyeshadow. Let's click on the eye before and after. Again, you can work with the fill layer to adjust the intensity. I think 65% will do. Okay. Now, I'm just going to work with the blush that we mentioned, going back in the half circle, go for the solid color that's all the way up there. And don't worry, your layers are still there T just covering them. So I'm going to choose a color that I like. Usually blush, you want a pink color. Let me have a look. You would want to go for a darker color, maybe this one and then we can work with the intensity later. Choose your color or enter a hex code, hit Okay, and now we have this layer. And now we have to change the blend mode. You can see that it's a solid color right now and that's not what we want. We're going to go on this normal layer and we have a ton of blend modes that we can choose from. This was normal. This is dissolve, darken, multiply, color burn, linear burn, darker color, and all that. We're going to get into those in different lessons, but for now, we're going with the soft light. Click on that. Now our blend mode is self light. If you go on the other layers, they're all normal. We only added the blend mode to this one layer. After you're done, hit inter I'm just going to show what that looks like. You can see the blue line around it, hit Enter to get out of that selection. But now the pink is all over her face and we don't want that. We only want it to be on the areas that we're going to paint. Just like any other color, we're going to go on the mask layer that's currently white, hit Control I to invert it. Again, with our brush tool on the white color, we're going to increase our brush size. And paint away wherever we think that deep blush should be. So this is the colors, and that's how it was looking on the on our model. Again, you can change the fill opacity if it's too intense. This is what I'm going for the before and after. It's a slight change, just like how it would be with real blush. You don't want to dab of color. And I'm also going to add a little bit on her nose. It's all limited to your creativity. So this is the before and after, we've added her eyeshadow, her blush, we've lightened her eyes. Now what we can do is change her lip color. We can use the same thing, go to solid color. You want to give her maybe a red. Let's go with the red, although it does not look well with the other colors that we have. So again, go to soft light. This will make it a little bit redder. Doesn't make it red. That's in another tutorial. Then you go back on the mask layer, hit invert, control I. Hit B on your keyboard or choose the brush here. Zoom in and now we're going to paint away. And again, don't stick to the edges because that will look really fake. You want to keep things inside. You can see I'm not going in those edges because they'll look fake, like we mentioned. We want to make this look natural as if she was wearing the same shade of red. And because our brush was big, you can see that these edges look really, round to fix that we'll just use a smaller brush color and just make our way to the corners. The side is fine. Now she has this bright red color. If you added these, you'd made all these adjustments and you just didn't like the color, you can change it. There's no worries. Go on this layer, which is your color, Dapple click. Bring the window here so you can see, and you can now change the hue, saturation and brightness yourself to change the color that you change it to the color that you want. If I darken my red here, you can see that now I have a dark red. If I make it black, it's still the same, make it brighter. It's a really white gloss. I'm going to keep it maybe over here. I don't want it to be too bright, okay. You can do the same things with the blush. And now I'm going to change the opacity just to make it a little more suitable to my liking. G to go with 52%. Let's have a look at the before and after. We just added a little bit more tint. We did her eyes, her eye shadows, her lipstick. Another thing that you can do with portras is add brightness to the teeth. That's if you want to. The same technique we use for the eye, we can use it for the teeth. But we would need to create a new layer. So let's go back in this half circle, go to brightness and contrast. Or another option that you guys can do is go for solid color, just like we did over here. You're not going to look too different, but both options are there. So I'm going to increase it. I like to go with 100% and then change the opacity and fill here. So again, on the mask layer control, I go to my brush with the white color, zoom in. And just paint those areas. It's looking too bright right now, but don't worry, we're going to fix those. Just going to, I can also go to the black color hit X to remove those areas that you accidentally painted. We had some here on her lip and now that my brush is smaller, I can hit X again to invert the colors and just give this I don't know if that's her teeth or not. Let's just leave that out. I'm going to zoom out right now it's way too bright. It's looking really fake. Let's change the fill to around I think 49 will do. Let's have a look at before and after. Her teeth is looking a lot more wider. Apart from the fill, I'm also going to reduce the opacity. Now you can see that before and after, we have brightened up her teeth. Now that we're done with her face, you guys can use the same techniques to change maybe her eyebrow, color, give her a colored mascara, whatever you like. I'm going to actually change the background color that we have right here. I'm going to go on the half circle thing. Selective color. This creates a new layer, and I'm just going to go for yellow because that's mostly yellow. And work with how the colors are. I'm going to first reduce the yellow to make it a white color almost. Then here I could give it a green work with the cyan if I want to, work with the black and white to brighten up or darken the image to bring back a little bit of the yellow. And yeah, I've just made a white background. Now if we turn the visibility off and on, you can see that we also affected her skin a little, but it's not in a bad way. I'm not going to mask out her face and body. I'm going to keep it the way it is. If we have a look again before and after, it cleaned up her hair as well. Now we have almost white background for our image. Another thing that we can do, although her freckles are pretty visible, so we're not going to touch that. We can see that we have a pimple right here and let's say we wanted to get rid of that. In order to do that, I'm going to have to come all the way down to my layer zero copy. And then I'm going with the heal tool, spot healing. There's different ones. When you go with the spot healing because it's a small dot that I just want to remove. Again, I'm going to use the Alt and right click to increase it, go up and down to change the hardness, zoom in, click once, and there it is. It's gone. It's similar tool to lightroom. Going to remove this as well. There we are. Photoshop is going to use its content aware capability to remove that spot, but also replace it with the right pixels that it gets from the surrounding areas. We remove those pimples and in another lesson, we're going to learn how to smooth out faces if there's a lot of texture and if there's redness and scars, we can remove those in Photoshop. So I'm going to say that I'm happy with my image. If we want, we could add a filter on top. Half circle again. And when you want to add a filter, you have so much options. One, you can add a gradient map. Two, you could add a color lookup, which is just presets and three, you could add photo filter. For this one, the easiest one is to just go to color Loup because these are just some presets that you can add to your image. You can see load three D LUT, open that and you get a lot of presets. And if you click on either one, it's going to be a separate layer, don't worry, you don't need to delete the permanent one. And just like with any other layer, you can change the capacity, the blending mode, and all that. For this one, I'm just going to go through and see which one looks good on my image. That's not looking good. Soft warming look, looks too fake, fall colors. I'm just going to stick with this warm filter, close that off. Reduce the opacity a little bit because she was looking too warm. And another thing that I like to do is to add a gradient map. So on top of our selective color, go to gradient map, and don't worry. This is a separate layer. We can change this. Going to open this. Sorry dabble click on the colors. And I'm just going to go into presets to find the one that I like to use. I believe it's not over here, maybe greens, you know, Neutrals, pastels. I'm not seeing the one I like to use, but it's okay. I'm just going to create it myself. Double click on the end and then choose a green color that you like. I'll go with this, this color. And then on the other side, I'm going to double click and get a red. There we are. I'm going to add this to my presets. There we are. It okay. If I change the blend mode of this to soft light, you can see we get a retro filter on top of our image. Again, this is a separate layer. So if you didn't like it, just delete it and you wouldn't have to touch the rest of the adjustments that you made. Again, I'm going to change the opacity, lower it to the place that I feel is good. We added a filter, we made our adjustments, we changed the background color, and we did a lot of things for an image that was already edited. And what I like to do to see the before and after is that I would go on the first layer, the top layer, that is, come down to the layer zero copy, hold shift, and click on it. I'm clicking all of my adjustments and then I will group them. You can go on this folder thing or hold Control G to group them. Now everything is within my group. This way, I can see a really simple before and after. Let me first zoom in. Zoom into my image and then turn off the visibility. This is our before picture, turn our group back on. And this is our after image. It looks completely different. And it looks pretty good. Again, you can make your own adjustments, your own colors. And this is it. This is how you do some basic portrait adjustments, something that you would need to use in a lot of images. It wasn't that hard. We didn't really manipulate anything, we just dealt with the brightness and the colors. So this is it for this lesson. I hope you guys enjoyed it, and I will see you guys in the next one. 21. 3D Portraits: In this lesson, we're going to edit Instagram portraits, which is also sometimes referred to as three D portraits. The reason why they're called that is that the skin is so smooth, there's a lot of contrast, a lot of shadows, and it makes it look so surreal and three D. For this lesson, we're going to go over a portrait, which is the one you see right here. Then we will go over a landscape and finally a travel photo. Basically what Instagram is made of portraits, landscape images and travel photos. Though there are others, but these are the most popular ones. This image is taken by this person. We're going to get started with our editing. The first thing we need to do, like we mentioned, the images have a lot of contrasts. We need to add more contrast to our image. An easy way to do that is to just get the curves adjustment. Go in adjustments, curves Oops that's exposure, go to curves. And if you guys remember the top part means the highlights, the bottom parts mean shadows. Can even have a look at this. Now, using this finger tool, we're going to make some adjustments. We need to add more contrast to her forehead. You can see as I move around, the scale here moves as well. If I bring it down, we're adding contrast. It's too bright, it's not looking good to bring it down a little bit. Same thing with the cheeks. We're going to bring it upwards. Already there is quite a difference. Our image has more contrast. We will also go for her nose, go upward. It's the same location. You can see that it detects and where else should we work? Let's come on this side, which is the darker cheek, the light source is coming from here, it's obvious that this part will be a little dark. I'm also going to bring her eyes, make them a little brighter. And finally, her chin, bring that below. Already, we can see that we added a lot of contrast to our image. But unfortunately, the contrast is everywhere in the flower crown, we got some in the whale here and we want to just limit it to parts of her face. We already have a mask layer before we do that, let's change the blending mode to luminosity. And then we're going to invert our mask clear, get your white brush soft round, make it white and paint in the areas on her face. Because her skin is so pale, it's looking black, but don't worry about that. We just want this on her skin. Got the nose. All right. We are going to lower the opacity a slight amount. We just made the skin a little darker. Now we'll make another curves adjustment. This time we're going to work with the stuff a little. We make it a little darker, make some parts lighter. I'm just working around to see what works best for my portrait. You guys need to do the same. It's going to be different for every portrait because the light source is different and you just got to experiment. If you go in any of the channels, you're going to have in mind that right now we are dealing with RGB, red, green, blue, but we have the opposite of RGB, which is CMYK. If you go on the red channel, see that it became reddish, if you want more red, you will bring this up, but the opposite of red is Cyan. If you bring this down, you can see that it becomes cyan. If your image is way too reddish, you can just lower that and add some siance to it. Similarly, for green, the opposite of green is magenta. If your image is purple, just got to lower the greens and it will become magenta or vice versa. I don't have that issue for my image, so I'll just leave this B. For blue, the opposite of blue is yellow. If my image is too yellow, I can just add more blue to it or add more yellow. I will add some yellow. Now we know that the opposite of red is cyan, the opposite of blue is yellow, and the opposite of green is magenta. And then we have the opposite of white is obviously black. Let me just show this to you guys. Get a brush because this is really important. Give my brush to show you the exact opposites. R for red, the opposite is Cyan. G for green, the opposite is magenta. B for blue, the opposite is yellow. Then we have white where the opposite is obviously black, but here it will be K. So RGB CMYK, white is not really accepted, but just to show you as the opposite of black, you probably remember that when we change modes, we have one for RGB and CMYK. If you were wondering what the differences, now you know. Always keep this in mind when you're working with channels and when you're just dealing with colors in general. Let's go back to our thing. Our portrait, I'll change the blend mode to color. So far, we were able to turn an image like this to this and then to this. But the image is a little too green, so I will have to go back to my green channel and add some magenta. To get rid of that greenness, now it's no longer there. Now that I have my adjustments, I will change the blending mode of this to just normal. Because she's really pale, it's just making her skin look grayish, but this will be different for every skin tone that your model has. After curves, we can start with other adjustments. We will have to add some shadows to our image. Make a levels adjustment and darken the shadows. By pulling the left level, we have to mask out the face later to add some shadows in the back because the main feature is the lady's face. If we bring this, we're adding contrast, but we don't need that anymore. Can work with the middle level for some contrast. Get your black brush and we're going to get our soft round and just remove this adjustment from her face. We already had one done on her face, and I guess we'll take it off her wheel as well. All right. Now we have a darker background. I will make one similar, but for the face only, focus on the face as you lower the as it bring the highlight slider to the left and the middle slider to the right. That just added more contrast to her face, control I on her mask layer, switch the colors by hitting X on your keyboard and just paint in her face. All right. So far, this is what we did. Just darkened the image, first of all, and then we added some contrast to her face. Without the contrast, you can see that the freckles are not really visible, but with the contrast, we are seeing a lot of freckles. Right. And another thing about Instagram, you all probably know this is that they make the skin way too smooth. So most images on Instagram are photoshopped because they're trying to show a really perfect version of themselves. But we all know that everyone has imperfections. But we have to mimic that perfect look because this is a Instagram portrait. So we are going to make a copy of our layer, then hit Control I, it's going to invert it, control or command I, then change the blending mode to vivid light. It smoothed out everything, then go to filter, other high pass. You see it's back to normal, this is where the smoothing effect happens. I'm going to start from zero. You can see that it's just our regular image. If I slowly come to the right, we are smoothing out her face as we go. I'll stay with 6.6. It okay on the same layer, go to filter, blur, gauge and blur. Just to smooth things out and make it look more natural. 1.4 will do. Okay, and I'm just going to name this smooth skin. Then we're going to mask it because it's on the flower, the whale, and everything. We just want that to be on parts of her face. We're going to hit the mask layer, control I to invert it or command I with the color white and the brush we are going to first zoom in. We can always just change the opacity to lower the intensity. I will do that right now. We're just trying to make her skin a little smooth. I'm trying to keep the freckles, so I'm not going to make it 100%, I just want to smooth out the texture that she has. Like we said, that's how it works. On social media, everything is just way too perfect. Got some on her chin, can go over her nose. Make sure you leave the main features out, which is, her lips, her eyebrows. You can add some in on this area. Adjust your brush to get that perfect area and there we are. We have a look at it before and after. Before after, it's a really slight change, but it's necessary. Another thing that we will do, I will name this group. Now, let's bring this This group, I will name this contrast. All right. Now I'm going to add some brightness to her eyes. She does has colored eyes and she is getting married, I think, we want to make that magical moment. Happen as it was in real life. Go to adjustments, brightness and contrast, increase the brightness. Don't worry about it now, add some contrast as well. Invert your mask layer, change the opacity to 20%. We might change it later on with your white brush, zoom in on her eye, make sure it's soft round. We will skip the corners. We're just dealing with the area that has some color, and we're just lightening the thing. I'll make it 15%. I think it's way too much. Again it depends on the eye color experiment with the opacity and see what works best. Let's have a look. Now she looks more magical. This was the before, before, and this is the after just a little bit of color pop to her eyes just to make her look that magical. Now we can add some details to her face. I'm going to make a new layer from my original. I will call this detail and then we're going to do the same but skipping D inverting, go to filter, come down to high pass. That's too much. We just want to because the smooth thing is on, this is what we're seeing, let me turn this off for a second. Go to filter, high pass and start from zero. Move on. That's the contrast that we're seeing here. Keep going until you start to see the details on her face. See you can see the eyes, but don't go in too much because we don't want it to be that intense, we want to make it look natural. I will go to maybe three pixels, okay. Without the contrast, you can see, this is what it will look like. I'm going to zoom in to see if it's all good. It is. Now we are going to change the blend mode to pin light. I believe that was it. That wasn't the thing. I believe it was hard light. It's hard light. You saw the before and after. Now just mask it controller command I. We are only going to apply this detail to the stuff that need the detail, her eyes, her eyebrow, the other eye, make sure you get the lashes as well. The other eyebrow, and finally, not her lip. We want to keep that smooth. Actually, we'll skip the lip. It's just her eye and her eyebrow. We have a look at a before, this is before. This is after, you can see that it's popping a lot better and it's more visible. If you guys want, you can smooth her lip as well. Let's do that real quick. Control J, call this lips inter. And we're going to control I, just do what we did with the skin so we can get a smooth lip effect, high pass. You can always work with the opacities, don't worry about how much you're putting, but also don't go all the way to the end because this is what you will get. Get around. I'll get 8.2. I will also add blur, the Gaussian blur. I want to just lower this to like maybe one pixel. I'll just type it in. A one pixel is too much. Don't add any blurring. I'll just keep it that way, mask it, invert it, white brush, and let's go ahead and paint in the area. Again, avoid the corners and the mouth opening. You want to make this really natural and that way we will that way, we will keep the harmony. Then just lower the opacity until you get the amount you want. This was before. This is after, it's a little smooth. I will have to lower it even more. Now that I'm seeing her face after, just a little bit of smoothing. Let's turn her smooth skin back on and the contrast as well. Her skin is looking a little too yellow, so I will go ahead and let me see, go to hue and saturation to create a new layer and then just lower the saturation. We don't want her to be yellow. Then we're going to mask this invert it and then just apply that to her skin, not her eye or her lip because those are just separate colors. Just try to get her skin because she's not supposed to have yellow skin. Trying to get everywhere. I got a bit of her hair on your keyboard to invert the colors, spring back her eyebrow. Now this is before, this is after we just removed her skin from being way too yellow. You can always lower the opacity to just bring in the amount of yellow that you want. Now we will start dodging and burning. Make a new layer, call it, dodge and burn. You might have wondered why we're not using this. This way we have more control, you can use this. Essentially what this does is that it brightens up the area, although you have to do it on the actual layer. You see it's brightening up that area. But it's best to just do it with the method that I'm about to show you just because you have to then mask it out and then do all of that. This will just save you some time, change the blend mode to suf light, get your brush, get Just click on this to get black and white, go on white. We're going to change the flow to 2%. W are really little adjustments. We don't want it to be exactly white. And make sure you bring back the flow once you're finished so that if you're going to illustrate after it, it won't be that hard. Now if I go on it, you can see that I'm making it a little white. See, this was with the adjustment. This is without it. Do you notice the really slight brightening effect? If it's too small for you, you can always add the flow. See now it's becoming even more white. This is with the whiteness, this is without it. All right, I'm going to keep it at five and use white for brightening and black for darkening. I'll make this part of her face a little bright because it's not really visible. I want her to be alive. Make sure you use that in the right areas. We can add the rosy checks later. I'll hit eggs to invert my colors. I will go over her eyes and the eyebrows and maybe one dot on her cheek. You can use the dark, the black one around the hairline, the around her cheeks, the chin, definitely her neck. Then we'll go with white. If you know how to apply makeup, this should be easy for you. Just add some highlights. I'll add some on her nose on top of her cheeks. And think of the white as highlights and the black as bronzer. Sorry, it was contour, not bronzer. As contour, so just use it where you would usually add some highlights for yourself. If not, just follow what I'm doing because that wasn't a good area. Now we dodge and burn. You can see the before, the after, kind of change the direction. I did make this place dark, so I'll go in with the white brush to kind bring back the light. This was before, this is after. We made her face a little bit more balanced. Now I will go in with the white here as well with the black, guess I'll go around here. No there. Singular clicks so that you get a little bit of adjustment. Hit Control Z if you added the adjustment on anywhere that you didn't like. There we are. Before and after again. Now that we're done with the dodge and burn, I can go in with another curves layer. There's going to be a lot of them. I do want to darken the shadows a little bit more and add to the highlights as well. I'm mainly focusing on her face. And we can just mask out the whale because it's white. It's going to look a little bit too bright. It just going with your black, soft round brush, make sure you bring back the flow because this is curves. Remove that brightness from her white whale. Actually, I thought maybe we can keep it. It's not too bad. Maybe just this part. Although we'll just keep it. Just lower the opacity a little. Now I will make another curves layer to darken the outsides. Just bring back. Don't mind the face. Just control eye on the mask layer, get your white brush and just paint the areas where it would be the shadows, the background mostly. And we are going to add a little bit on her we because like we said, it's too intense, too bright. Then just lower the opacity as you go. All right. Now we can add a gradient map, go to black to white. This is white to black. Go to black to white. You can see that it looks like a regular black and white portrait. Change the blend mode to luminosity. What this did is it just separated the blacks and whites, but we need to lower the opacity, let's say, about 50%. I'm going to remove it from this part of her face because it's looking a bit too exposed. There we are. Now, anything else that you do from here is just some coloring. I'm going to color mine with this green white sorry green to red corten map. I just like that it adds a little bit of retro effect to it. I'm going to lower the opacity quite a bit. Keep it at nine. You can see it adds a little bit of color. I'll add some brightness. Then some contrast, lower the contrast, sorry, not add. Don't add and keep it like that. Just a little bit of brightening. And let me have a look. I was thinking we could add some extra elements to our image. I'll make a new document or just open. I downloaded this book effect from the Internet and it might not work out. I'm just trying to see how I can make my image even more magical. And before I do that, I need to make a um, copy of the entire image with the adjustments. Let's go on the top layer. Hold down Control, Shift Alt and E on your keyboard. That would be a command option shift and E on Mac. And let me do that right now. It's loading. There it is. Now I have a new layer, which is the original layer, but with all of the adjustments. Let me show you what I mean. I'll group all of these guys. This is the before. Once I turn on my layer one, you can see that this has all of the adjustments. On my layer one, I'll call this base. I will go to filter, Camera Raw filter. You could do this before you started all of the adjustments. I just do it after them so I can just add some final stuff to it. This may look familiar to some of you guys if you know and have worked with Lightroom has the similar settings. In effect, I want to add some vignetting. I will go to the left because I want to darken the edges. I guess about negative 27. We can work with the colors as well. Not the light. I will make the temperature a little bit colder, negative two. I will dehaze plus four, we can change the opacity, don't worry about it. Lower the vibrance because she is looking yellow. Then we will go to a color mixer to work with the colors. I want to change the green into a I don't know if it can detect it. This is a really vibrant green. If you turn it this way, it looks wilted, so I'll just keep it green. The yellow, I will bring it a little bit to orange. And what else do we have? We have some reds in the background, but that's not important. The orange, it will mostly be her face. So be careful with this. If you want to brighten her face, you will go to luminance and then add some brightness to orange, which is her face and her hair, plus ten will do. What else do we have that we can work with? We have some blues, which is her eye color. Just add on to the blue, just to make it pop even more. And if you go to just see what else I can do to make it better. Calibration, we can work with the primaries. If you want, you don't have to do this. I can make it a little bit more to the magenta side, we lower the saturation. Okay, I will go to detail. We don't have any noise. The curves layer, I will kind of bring down Thing brighten up some areas. I was looking for the point curve. I will go to this and again, work with the curves. This is just optional. I want to make it the way that I will be happy with. You guys can skip this step if you are happy with your portrait. All right. I'm done. I'm going to hit. We can see the before and after. This was the before. Since the after it's a lot less crowded. I will bring back the highlights. And this is where it was. Bring back the shadows. I think our vignetting is a bit too much. I will bring it to around 20% and also bring back some of the vibrant that I removed. Actually, since we already changed the skin in our color mixer, we can just keep it at zero. This was the before, this is the after, the outside is a lot less crowded. It looks less intense. I can add a photo filter if I want to bring some of the warmth back. Keep it at ten and then I'll go here and on the FX, go to blending options. And then we're going to remove the blacks, just a little bit, then hit alter our option on the button and then just go away until you are no longer seeing those black backgrounds. I actually decided against this, no. I'm just going to keep it as it is. I feel like it's already magical. I'm going to see the before and after going to group everything, zoom in, fed on screen. This was before and where is the after? This is the after. It's three D like. This is what we mean by three D. I see here, it's flat. But with the adjustments and the effect, it looks three D because we can see the contrast on her skin. Her eyes are popping and so are her freckles and the background is darker than the actual model. If you noticed on Instagram images, they are rather dark compared to other images. If this was a studio image, it would look something like this with the contrast, but the background would not be as dark as we made it here. All right, so in another lesson, we will go over the landscape and the travel images because it will be a little bit too long. This is it for this lesson. In the next lesson, we're going to see how we can edit travel photos and landscapes like Instagram photographers do, which is similar to this one, but it takes a lot less time because we're not dealing with faces and features. We will, however, have to add contrasts and shadows like we did here, but it will be applied to another style of photography. I'll see you guys in the next lesson. 22. Studio Background: All right. There are times when you just want a studio image, but it's just not doable. You don't have the background, you don't have the right location. Maybe it's too hard to go out in nature and take a photo, you end up taking it indoors and you get some background items that you don't want. You have to come back to Photoshop and try to figure it out and put your subject onto a studio background. For this lesson, I got a image from pixels. I was taken by this person and this image from Osplash by this person. So essentially what we want to do is to just cut out this model here. And put it onto this layer. There are a couple of things that you guys need to pay attention to is to first look at our subject. She's sitting down, and as you can see in the image, there is a ground. But in our studio backdrop, these are called backdrops, there is no ground. So preferably, if I want to show that she's sitting, I need to get a backdrop that has a ground, but we are going to try to make it look like the image was zoomed in and maybe we have to take it from this area and above. Because we don't have a ground, right above the line that we see here. So it's not just cutting the subject out and putting it onto a backdrop. It's more about the adjustments and to match the lighting. You can see we have a light source coming from this direction and this side is shadowed. So we need to create that effect onto our backdrop and also leave a shadowed layer because you can see the light source on this image is also coming from the left. So just like here, there's a shadow of our subject. We need to recreate that onto our backdrop. So that it looks more natural and it looks as if this model was actually in a studio when this image was taken. The first thing we need to do is to obviously cut out our model, and there are a couple of ways to do this. We already went over them. You can let Photoshop figure it out by selecting subject. You can select mask, use the quick selection or just anything else you want. I'm going to try and let Photoshop do the thing. I did good. I didn't quite get the chair that we have or the flower. We need to help it out a little bit and add to our selection. To do that, you can go with the plus and just bring in the selection because we need the chair. She can't just be sitting on nothing. Yeah, we got some stuff there. Let's get the flour first. Really lightly add onto the selection, don't rush it or else it will jump to a really big selection, and it will include things that you don't want. Actually, this is something in the backdrop, so this is her flour. To remove Farmer selection, hold down alter option and just go over the areas that you do not want. If you want to bring onto a selection, hold down Shift to bring into the selection. Because my brush is really small, it's six pixels. Let me make it larger. You don't want to make it too large, or else it will be difficult. Let's whoops that's the plus. Look at your brush and make sure it's minus instead of plus. I'll do, single clicks and let Photochef figure things out. You can see that it'll jump back to where it should be. When it comes to sensitive areas, make sure you make your brush smaller, so it doesn't become frustrating and does not take a lot of your time. Alright, now I need to add to my selection. Can lightly bring in those areas. It's okay if it's not perfect. We will go to Select and Mask and use the different brushes that we have to bring in more of the detail that is in the flowers, especially here. Let me also select this area. Let's not do that. We got her hand, we got the flower, we got some extra parts that I will just remove by single clicking. And we have some stuff in the hats that we didn't bring in, so just go over that as well. We ended up bringing the wall. But like we said, it's okay hold down an altar option and let it do its thing. All right. Now let's move on to the selected mask. Let me first grab this part of her dress, and let's go in selected mask. Make sure you are seeing the marching ants. All right we have our wheel mode. You can always change it, go in here and choose anything that you like. I like red because it shows me what I have selected and what I haven't. Using the different brushes, can go over sensitive areas like this flower that we see here. Go over it and you can see how it brings in those little lines. Whereas if we were to use the quick selection tool, it would not have detected the lines here. We got some for her hand. And this is mostly used for fine details. So don't use it for her arm. It's usually used for maybe flowers like this and hair. So really small details that you otherwise couldn't bring in with the other brushes. And you see how perfectly it finds those flowers. Let's do the same thing on this side. It might get some of this flour, you can see, but we can easily remove that with the brush. Now let's move on to the hair. It did good here. We got some stuff over here and this accessory that she has. Just look how perfectly it's detecting the edges, and it's making our job a lot easier. We go in between the hair as well. When you come in this panel, the select and mask panel, you will need to use different brushes. To perfectly select your subject. If I bring this to 100, you can see how perfectly detected the hat, the fine lines, and all that, and saved me a lot of time. Let me go over this part of the hair. All right. Let me check the flowers as well. We have some issues here because it's interacting with the other flowers, so it's understandable. It's a little hard for it to determine. And I will get one of these brushes or actually this, bring in this part of the flower. Okay. Actually brought in make single clicks until the edge of your flower is seen. This is the edge of my flower. It goes from here, and it did a good job. I'm going to let it be. Now let's move on to the other parts of our model. I will zoom out and have a look at what we have here. Again, we're going to cut out this part, so don't worry about the bottom. Or if you have a ground in your backdrop, you don't need to do that. Single clicks, that's the wrong one. Go with this guy. Make single clicks. Let Photoshop do some processing. And you can see that it removes it. We can always feather out our selection. Don't worry about that. All right. Let's move on here. I'll get my plus because we didn't bring in her dress. Oops, I helped Shift Control Z, get my plus. And you can see by just single clicking, I was able to bring back her dress. I'm just going to do this all around my model so I can get every piece that I need, and then I'll be back so we can continue. All I went ahead and cleaned my selection, then I hit done, and I was given a layer mask, and then I proceeded to use my black and white brush to remove some leftovers. I left this one for demonstration. Go on the mask layer using your black soft round brush. Just get rid of any extra lines that ended up coming Onto the visible layer. Also once you're done, again, we're not using this, so that's why I didn't clean this area. If you want to check that you removed everything perfectly, you have to place solid colors below your mask layer. This is a great way to check if you maybe missed some leftovers, maybe you didn't clean up her shoulder right. Below your mask layer, let's call this lady. Below the lady layer, go on the original layer, make a solid color adjustment, fill it with the black color. Or in this case, it has to be she's wearing both black and the chair is white. I think we have to create two solid colors. It all depends on your image. To check her dress, I will use the black color to check her hair, hat, flowers, couch, skin, and all that, I will use the color white. Another thing is that, let me turn these off. If you're bringing back something, let's say, for example, this part was not in the image. I don't know once I'm bringing it back, I don't know when I should curve it in, and I might end up bringing in more than I should and it will be confusing. On your mask layer, go to the properties. If you're not seeing that, go to window. Where is it properties. Then go here, make sure you're seeing this and lower the density. It will bring it back. Now that I can see the original layer, you can see the mask layer, it was black. Now it's gray. Now I know where I need to paint. Just in case you needed that, I will undo what I just did. First I'll start with the couch, I'll turn on my white layer, go in the mask layer and just look for any flyous and you can see we missed this area, and if I didn't put the solid color, I would have a hard time finding these little details that I need to attend to. I'm just using my black brush on the same mask layer to clean up those areas. And right, her couch is finished. Now we'll go to the flour. Can see, again, we have some stuff that we need to clean up. You can always go back in your Select and mask layer or just go to Select and Mask to further enhance the selection, maybe add on or remove something. Just make sure you make a duplicate of your already selected layer like this layer. If you messed up in the second version, you can always come back to this. I didn't finish here. But if I wanted to see if I chose a white dress correctly, I selected it right, I will turn off my white layer, bring back my black color, my black layer. You can see we do have some issues. I think that's part of her dress. Yes, it is. Just by using this, I'll alternate between the black and white color fills to clean up the edges and remove the imperfections and then I'll be back so we can continue. All right. I have cleaned it up and see it's clean, let's delete our color layers. We don't need them anymore. And just as a backup, copy your mask out layer, Control or Command J, and then turn it off. We can bring it below layer zero just in case again something could go wrong. Drag our let's call this lady, drag your subject layer onto the second document. There it is. We just need to resize it. Like we said, we want to cut it out from this area, so just hit Control or Command T on your keyboard, just expand it and let's see. I'm going to to make her bigger. I guess this will do at the checkmark. It's going to do some transforming. There's our subject. Now, we cannot just leave her like that because it looks like this was cut out with some scissors and just stuck onto this paper. We need to make it look like this image belonged to this background. And I'm going to make a copy of this layer. Again, I guess, I'll keep the copy for reference, bring it below here, I'll lock it, then I'll turn it off. In case we need it, I'm going to apply this layer mask and turn it to a smart object because we are going to add a lot of settings to it. It's going to load a little All right. Now we can begin. I did not clean this area. It's fine. The more time you spend on it, the better it will look, obviously. I just try to do the best that I can. Now, obviously, when the camera is focused on a subject and the subject is placed far from the background, the background would be blurred. Let's blur out our background, go to this layer zero filter, and go to Gaussian blur. Actually lens blur is better. Let's add to the radius. We're just experimenting to see what works best. You don't want to make it too blended out because she's not that far from the backdrops, maybe I'll type in 50. I think 50 is good. Hit Okay. Go to wait until it applies the filter. And there we are. So now it's a little blurred. And I'm actually going to undo that. I think 50 is way too much. I'll make a copy. Go to Lens, I guess, if you go on the top part, it just brings back the same settings you had. So right now, I can just click on that. It's adding the same settings that we just made. I just don't have to go in that panel again. And I'll just lower the opacity because I have a copy of the layer below it. There we are. Now I can lower the opacity. Let's try 50. That's a lot better. Hit Enter. Can see before has so much detail after it's a little blurred because again, the subject is not that far away from our backdrop. Now let's add adjustments to the subject and make her look like she belongs in this composition that we are creating. Go to image adjustments. And before I do that, I need to rasurize one layer. So we're going to try this. Sometimes it works, other times it doesn't you've rasterized your lady copy two, go to image adjustments, match color. Again, this might not work. We're just testing things out. And this image, choose a source as the lady image and then make the layer onto layer zero. So as you can see, it didn't do so well, unfortunately, let me try it this way. It's really dark. This did not really work, but it does work with some images. In this case, it didn't. It's all right. Let me delete that layer and I will just make curves layer on top of my lady layer. And we are going to just bring down the highlights a little and limit it to the lady layer because the background is the background. We don't want to change that that much. We are lowering the highlights. That's all we did so far, we are going to maybe add to the shadows because this was supposed to be shot in studio, so we need to match the lighting. I'm lowering the contrast as well. And darkening the shadows. Actually, let's bring it upwards. Just a few adjustments and already you can see it's getting closer to the image. All right. I went on my curves layer. You need to make sure you're on this because this was a mask layer. We don't need to work with the mask yet. Go on this curves icon, and you will be given this property panel. If you're not seeing properties again, window properties. Now, it's different for every background. If our subject was sitting in front of a beautiful sunset, we will have to map the three colors and not really colors, the shadows, midtones, and highlights of that sunset and then bring it onto our subject. The reason why we're not doing it with this is because this is just a solid backdrop and the backdrop is not really emitting white, so we don't really need to change the colors of our subject. But if it was a sunset, like we said, she needs to have a orange hue, maybe on the dress, maybe on the back of her head and all of that. I'll just show you what I mean when I say a sunset background. I'll use this as an example, but it will obviously look different if it was an actual sunset. On your curves layer, go on this eyedropper with a black tip, dabble, click on it. Go before we do that, go to custom right here. I'll just dabble click on the midtones. All right. Then you would have to choose the mid toned from that sunset image. For me, it would be one of these gray lines. I'll just select it and make sure it's like this. If it's white, then that means you are on the wrong layer. Make sure you're seeing some colors. Hit Okay. I'm going to hit no for this, then go to the white, double click, get the brightest color, and we're talking about the background, not our subject. The brightest color would be like maybe this, hit Okay, no, and finally, the darkest color would be something like this. No. All right. At this, what we're about to do is not going to look good because like we said, the backdrop is not emitting light. There is no colors from it. It's just a gray backdrop. What you need to do is to just pair each of the eyedropper icons to the subject. The shadow in Rs object would be maybe this area. You can see it made it like this and make sure it's limited to the subject layer. Then go to midtones, her mid tones would be something like this. Finally, the highlights, it would usually be her cheek or the forehead. You can see we matched the color, but it's not really working out because there was no need for us to do that because the backdrop is not really emitting light, but if we do lower the opacity, it does work out. If you had a landscape image, you will not be lowering the opacity. We matched the mood. You could even try changing the blending mode. I will go to let's see. Now, actually, that'll be too dark. Just lower the opacity until it looks good. I will go to, like, maybe 18%, and we kind of faded out the thing. Let's make another curves layer. Now we're going to work with the lighting. Again, there's a clipping mask. Make sure it's above your subject layer. For this backdrop, if you pay attention, let me turn this off for a second. You pay attention to the backdrop, the light is coming from the left, but it's not as intense compared to the light that's coming onto our subject. We need to lower the highlights for our subject layer. Just grab the top point here and just strike it down slightly. All right before and after, we reduce the highlights and you can also darken the shadows if needed. I will do that a little bit. There we are. We work with the lighting and coloring. You can always lower the opacity if you want. Now, like we said, because both of the light sources are coming from the left, she will need to cast a shadow a really slight one onto this area. Go on the lady layer, go on DfX, and we're going to go to drop shadow. It will open a panel for you. And that way, we can put a really faint shadow. I did not clean this area, but we can mask it out later. So make sure this is checked. You're in drop shadow. You can adjust the opacity. I'll bring it high so we can see the outline. Choose the angle first. So like we said, it needs to be on the other side. Oops, that's the wrong way. That's the right angle. I guess about there, but we want the distance to be more. Oops, that's too much. Maybe around here. Now the shadow is way too harsh, which is not the case if the light source was far away and we also have soft light in studios. This is the shadow you'll get if the light source was right in front of the subject and there's no softeners, and it will end up giving you really sharp shadow lines, which is now what studios have. Increase the size, you can see that we are feathering it out and also increase the spread. But now it's way too intense, lower the opacity just a little bit. Although before I do that, I want to work with the angle. I guess we'll go with this. Then I will lower the opacity. We just want a really faint shadow. We don't want it to be intense, blend mode and multiply and the color is black, hit Okay. Because this was a smart object, we can now see the effects. You can always mask out. If you forgot to clean certain areas like I did, there we are. If you ever wanted to make some changes, just double click on the effect and you're going to get the panel going to lower the opacity even more. That will do. And now I'm trying to see what else we can do for the shadows. It's all right. You can add some more color overlays on top of our layers. Now, when there's something that you often do for your photo editing, let's say it's putting on a color lookup, it's putting a gradient map. You can do something so that you don't have to bring in that adjustment every single time. That is called the actions panel. Go to Window and click on Actions. There it is. Now what this means is that, for example, if I choose a certain action, you can see there are some out there, the Photoshop will do it automatically, so I don't always have to go to the adjustments and choose a gradient map and all of that. Let's do that. I'm going to show the action that I do. Let's say I always add a gradient map that is this color, and then I always end up changing the blending mode and I always lower the opacity. This is an action that I do quite often. But I don't want to do it every single time. I will create a action for it, delete that. Go to the action. It's this play button here or go to Window and bring it and go on this. It says, create new action. We're going to name it so I will write gradient map, red and green. You can name it something related. Set as default action. You can add a function key. If you want, you put a color. I needed, I will maybe add a green color and hit record. Once you hit record, you want to start doing that action and Photoshop is going to track what you do. Then once you finish recording, this part will be red and then you will hit this once you're finished. Then our gradient map red and green will show up here and then whenever I click on it, that gradient map will be there. Let's see how that works. It's going to start recording, go to just do what we were doing. Don't mind anything else, hit Okay, close that, change the blending mode, and then bring back the opacity to whichever number you want. Then go back in the actions and hit this. We did that and going to try to find my actions. Here it is, gradients map, green and red and green. You can see if I close this, there's nothing there. When I open it, it says make adjustment layer, set current adjustment, set current layer, set current layer, which is what I just did. Let me delete this. Now, if I want that gradient map, I'll just go on my layer, the action. Make sure the check mark is turned on and also this little box. I then hit Play. It will ask you to name your layer. I'll just name it Gradient Map one and it will ask me to choose the gradient that I want. I will go to my red, red and green, okay. You can see it added that, it reduced the opacity and change the blending mode to soft light. This saves me some time. I don't have to do it every single moments that I need this retro effect. This is a really handy option that Photoshop gives you. You can use it for anything, maybe you want to turn your image into a black and white, which is a single action click, you can do that. I use it for gradient maps. You can create one for maybe any adjustments that you want. There are no limitations, but I'm going to delete my gradients map. Oops, I deleted everything. Bring back the lady. There she is. I just wanted to remove the gradients map. And what else can we do? I'm going to lower this effect and I forgot to name the so let me figure out what they were. Now I remember this was light and dark and this was color. There we are. Now let's match the hue and saturation as well. Go to human saturation, and we're going to first make a clipping mask. I am going to remove some of the lightness and we're going to add some saturation, leave the QB, the color is all right to bind it all together, I will lower the opacity and I will add more to this light and dark. Then we remove too much of the effect. And to bind everything together, you can add color lookups. Before I do that, I'm going to delete this document. I do not need it anymore. Go on top of human saturation, color lookup. This time we're not going to create a clipping mask because this is a overall effect. Choose any that you like. I'm going to scroll through the codec things that we see here. I see it creates a really retro photobok effect. I guess I will try Fuji. Okay. I like that looking good. We can lower the opacity, maybe change the blending mode. Because the background reminds me of yearbook pictures, I'm going to keep this really contrasted effect and this makes it look the same as the yearbook photos do. It's vintage, it's retro and with what she's wearing, it does create that effect. The hat and the flower, it looks pretty good. This is before and after it was dead back then and back there and now it's alive. Let me go through some more gradient maps. I will try to add some more color to it. You can make it black and white, but it beats the whole purpose of us spending that much time on it. We'll create a black to white gradient, close the panel. Because we didn't close the panel, go to luminosity and this works with the shadows and the highlights. I will lower the opacity a little bit. Again, I did not create a clipping mask because we want it done to the whole thing. This was before and after. You can see it's a little bit of adjustments. All I have my retro image. I am happy with it, though before I finish, I feel like shirt, her dress, actually, is way too bright, so I will lower the brightness a little bit. Okay. Oops. Al right. Let's see. It's a little less bright now and I'm happy with the way my image looks. Let's have a look at it before and after. I guess I'll bring this up so we can have a look at the before and after. It's kind of lagging. We have a lot of layers. And let's group all of our adjustments. So let me turn that layer off. This was the before. This is the after on second thoughts, we made it a little bit too dark. I will delete that. This is why we always do it before and after because we want to see if we overdid our adjustments or if we did them the correct amount. I will delete my gradients and also my color lookup, and there we are. Actually, I needed that. I will just add a really low opacity. Go around. Let's try 28 and see how that looks. I think that looks better, it's not as intense as it was, and it's not as flat as it is without it. Now we will look at a before because we didn't have any shadows. Image looks flat and after we do have the shadow and everything is looking good. All right. That's how you can change the background. Like we said, you can always go back in these layers as long as they are smart objects, you can see I can go back in and kind of lower the shadow opacity. I'll keep it at ten because like we said, the light is not that intense for it to have a harsh shadow. So I hope you guys enjoyed this lesson. We learned how to change the background of images, make it look like this image was taken in the studio, and we also learned the action panel in Photoshop, which is really helpful. Make sure you create your own actions, and I forgot to mention, but you can create your own groups such as the default actions by just clicking on this, we can call this custom. Now we have a custom one. I will drag my uh I'll drag my gradient one inside my custom. Let's close that. And now whatever I create, I will put it inside my custom thing, which you can do by going here and changing the set. Before it was on default actions, now whatever I make will be in custom. I hope you guys enjoy this lesson and that it was helpful for you. Make sure you spend time on your images. Look at it with a fresh set of eyes every time you're not missing out anything, definitely spend time cleaning your image. As you saw, I didn't spend that much time and I ended up bringing in a really untidy selection. But you guys need to definitely clean up your edges. You can soften out the mask as well, spend time on it, experiment with a different adjustments, and see what works best for your subject and your backdrop. I will see you guys in the next lesson. 23. Color Change: So we have two instances of dresses here. We have a dark dress and we have a light dress. What I'm going to do is change the color for both using a few simple techniques. And you can use this for anything else, such as a wall, a book, a couch, anything else that you want. So let's start with the things that are easier, and that is a lighter original fabric. The reason why is because Photoshop can easily tell where the shadows need to be. If there's any details, it needs to conserve. And here we do have some texture on there as well. Whereas with a darker dress, those details are harder to see. So if this had little textures on it, we can't really see it that well compared to our first image. Begin, we're going to grab our object selection tool. You can grab any other option and just go around the subjects dress. I have this on last hope. You have to change yourself, then click and drag, creating an outline for where her dresses. Go once you're done, and then you can hit Q to make sure everything looks good. If not, you can use your brush. I'm getting some details here that are not well, hit Q again and then go to Select and Mask. I'm going to turn this to overlay, use the refine edge brush. I'll just go over the area where the hair is and then this way I could get those little bits of the dress in as well. Hit Okay once you're done, and now we're going to hit Commander control J to create a separate layer from her dress. Duplicate this one more time, and I am going to change the blend mode into something else. I'll go to multiply on top of the base layer. Let's call it that. Let's add a solid color effect. So choose the color. I'm going to do red for both of the dresses so we can tell the difference. Alter option, clip that onto your shirt. Now we're going to change the blend mode here as well. You can see how going over each of these will give you a different result. Think I'll go with multiply, and then let's call this multiply as well. On the multiply layer, we're going to add a levels adjustment. Let me select something else. Once again, clipping this only to the dress. So the more you darken it, the darker the red is going to be. But I am going to leave mine just the way it is. Now that I made my changes, I am noticing some areas where it could be better. So all you have to do is simply hold down command or control on the base layer. Let's actually make a duplicate, commander control, and then make a mask underneath that base layer. So you can delete base for now and just clip this into this layer with a mask. And then duplicate the same thing. Instead of having a separate layer, we can do a mask layer where we can let me just hide this for a second, where we can fine tune the mask with a brush. Click on the mask itself on properties and increase 0.5 feather. And now I can replace that top layer with a duplicate of this since we adjusted the mask and then clip on, and there we go. So we changed the dress color from white to red. Now, for the black dress, it's basically the same process. So what we're going to do one more time is grab the base layer. With any selection tool of your choice, grab the dress. Let go and then zoom in to make sure everything looks good. Then just make a layer mask. Make a duplicate first, and then do that. Another duplicate. Now, over here, I'm going to use the exact same red, clip that on, top layer, set it to multiply, and then go to adjustments levels, clip this on first, and then work with the middle slider. And there we go. Now, starting it this way is really helpful because if you notice something weird, you can always go into one of the layer mask and simply remove it from there. Okay. And there is our other color change. So that's looking pretty good. One other way that you can change the colors if something is by isolating that color within the picture and simply switching the hue and saturation sliders. Let's go over to Camera Raw. I'm going to hide this for now, go to our base layers make a duplicate first. Camera Raw filter. Then going down to color Mixer, we can find the color we're trying to change. Ours is green, and then I can go to hue and simply change the way that looks. So I'll turn it like this. Let's add some saturation and say this is what I'm going for. Click Okay, and that's another way where you can change color. Now, sometimes you may end up getting greens from areas you don't want, such as if you were to have a green necklace. To exclude that from your selection, you can just make a selection of your subject, make a copy and place it on top. And that way you will avoid changing the color of something you don't want. That's how we can change the color of things within Photoshop. In a few chapters, we will dive deeper into this, seeing how we can add a design onto a fabric or an aluminum can, how we can blend things in and fine tune those color adjustments. I'll see you guys in the next lesson. 24. Golden & Blue Hour: Another fun activity that you can do with Photoshop is to manipulate an image and make it look like it's during the nighttime or maybe during sunset, early morning, whatever time you like. Again, it's really simple, just a few adjustments and you can turn this image into that was taken during the daytime. You see that's all bright. We can make this look like she has been working so hard that it's sunset now. All right. I'm going to unlock my background layer before I begin, I'm going to of course, make a base copy. Going to remove certain things like this vogue thing and the hat. That's because I'm trying to make it look like she has blinds over here. And since the sunlight is shining through that, there's going to be some blinds reflection here. Just with my last or tool, I'm going to go one object at a time. I'll go around the vogue frame and then right click go to fill. Make sure it's on content aware. Pass through full mode normal, color adaptation. Okay. Go to wait. It's going to process it. This is really easy because we have a white background and we have colored objects on the white background. Using this method, you can see, flawlessly, we got rid of it. I just hit Control D to D select. Let's do the same thing around this hat. Right click, fill content aware. Okay. Because it's surrounded by nothing, it would be harder to remove, let's say, this frame because the bottom is interacting with the bed frame. Control D to deselect. Already, we just did this, but we're seeing something here. I'm just going to use the same thing. Or let's just try another tool. Go to the Clone tool, make it bigger, hold down Alt to choose a source point and just click on D affected area. Make sure to go over the areas that you just cleaned to make sure nothing is out of shape and everything looks nice. Just a quick before and after. We removed two objects. This golden hour is probably something you've seen online, but sometimes the creators don't tell you how you're supposed to get it, and it's just a quick tutorial to show you how I forgot to mention that I got this image from pixels was taken by this person. Now that we have our base that we can start putting the effects on, I'm going to go to on our base layer, go to camera raw filter. Go on this, it it wait. Camera raw filter as it says, if you have a raw image, telling me more, just hit get started. When you're importing and trying to edit raw images, this is JPEG. We talked about raw. This is the first thing you're going to see. Camera Raw, just raw images in general, they have a really high file size and really high resolution. That's why a lot of photographers they shoot in raw. In your camera settings, you can change the output to either JPEG or raw. So hence the name Camera Raw because this is the first thing you'll see when you bring in a raw image. This is where you can edit your image. It's quite similar to light room. It's like they brought lightroom in Photoshop, not entirely, but they brought all the panels, which is really cool. So the first thing we want to do, if you think of golden hour, the first thing you know is that it's really warm. It has this really nice orange color, and we need to mimic that. The first thing you would do is to change the temperature. If you bring it here, it's too cold, we want to make it warm. Go to 63 and also because it's golden hour, the sun is setting. That means we have less light than we would normally do. Now we can bring in the let's come down. Also because of the intense orange color, we need to increase our saturation. All right let's see. Going to reduce the whites as well, the exposure, not the whites, increase the thing temperature, and I'll leave the saturation as it is, and then come down to color mixer because again, we're dealing with colors. Open that in saturation. We want to increase the saturation for the orange to mimic that intense orange color that golden hours do and all the other warm colors with it. Red we do want to decrease the yellow. Do that and then we're going to come down to color grading. We're still not done with the colors. Make the shadows, orange yellowish color, just orange actually, and make the highlights, sorry, the mid tones, make them the same. So it's really intense orange color. As for the highlights, I'm just going to slightly make it orange, not going to be as intense as the other two. Now that we're done, I'm going to come back to basic. Now I have my colors planned out, I'm going to lower the exposure a little bit more and even just increase my contrast a little maybe a little dehazing. Now that I'm done, let me just increase my saturation, hit Okay once you're finished. You can see a lot of change has been made. It went from morning to the sunset. Now what we can do is mimic those blinds that I told you, I would say it's optional, but if you do this, it's going to look a lot better than if it were to not have any blinds. So I'm going to create my blind with my rectangle tube because there are rectangles. Go to fill, make your fill white. Let me make sure it's, it's white and turn off my stroke. Then we're going to there's no need to hold down shift. Just click and make a thin rectangle. About the size. It's going to fill it in for us. I'm going to position it in the middle. You got to think where you want the blind to be. I'm going to make it look like she has a small window and it's only showing the reflection over here and not on her paintings, but we could also do that on the paintings after we're done. Going to increase the size a little, bring it to the middle. Then we're going to hold down At or actually hold down shift so I can go on the rectangle one, hold down shift to make similar shapes. Or actually we could just copy it. Go to the move tool, hold down Alt to make identical copies of the rectangles. Hold down shift, select all of them. Let's merge the shapes. We have a bunch of them. Let me name this reflection. And now we need to change the perspective because she's sitting at an angle and if the blinds were here, they would not be a straight like this. You need to make it make sense. Control T on a reflection layer. Click, go to perspective and we want to first of all, make it a little bins because like I mentioned, this is taken at an angle. I'm trying to bring it down here just for reference. Try to match deep bed frame so we can keep the perspective correctly. Let me zoom in to see. Just a little lower and then move all the way to this side, you see we missed the spot, make it lower like that. Now the side perspective makes sense. Now if I bring this back up, I will have to make one side Control Z, make it a little like this because again, it's coming from a corner, so we need to make it that way. I'm going to put it in the middle and we can always come back and change this. After you're done and enter. And now we're going to mask our layer because with blinds, it's not going to be just some straight rectangle. Go to your mask layer and using we made a mask layer, and then on top of that, just go with a rectangle tool to create that cut that we mentioned. We're going to copy the same thing, hold down Alt and then bring it to Another location, try to make the edges similar, again, merge the two, the new rectangles and then hold Control and click on it once so that we are selecting both. Actually, let me unselect them. Let's see. Select them again, merge them. And now we can control I. D select remove that. Now it's on one side. I'm going to bring this onto the other side. I don't know why it's acting this way. Let me just bring it here. Again, control, but now it's holding both. S control I. Control I again, go with a black brush and just get the thing done there we are. It's not the right way to do it, but I'm just doing it for now. Now we have cuts in our blinds, which regular blinds would have. We're trying to make it look as realistic as possible. Now in the mass layer, the mass layer, go to properties. We're going to feather it out because it's not going to be as rough as we see it here. Just increase the feathering into it some more oops, sorry, we're on the wrong layer. Go to this layer, and then we're going to do what we were doing. It's too much. Guess this much we'll do, and then we want to go back on our mask layer. Always do the shape first and then come for the mask. This will do. Now it's looking more like the blinds. Just to make sure that it makes sense, make sure that the input, 24.4 pixels is the same here. Or let's just make this 37.8. Now it's looking better. Now we can just change the blend mode. Let's see. I'm going to try to move it. Maybe we should make more. Should we make more? Let's go on Control T on this one only, right click perspective and bring it in the right direction, the space is too much, make the space equal. I might delete this afterwards, change the blending mode to overlay. Do the same thing here. I'll decide if I want to keep both or if I don't want to. Let's see. I guess I don't want the second one. It looks way too excessive. I'm going to actually work with the perspective more, right click, go to perspective, bring it higher and then bring back the corner a little. You can also bring it onto the frames if you want because our layer mask, the blending mode is on overlay, so it will mimic the shapes and you won't have to be worried about it. We're just going to copy, I feel like we need a little more. Let's see. Now I have to change the perspective because it's not even in between. C right click perspective, click and drag, now it's even. You can create a space because most blinds have a hard plastic in between the blinds. But it all depends on what blinds you have in your room. The reason why the corner is smaller, this side is smaller than this is because if the mirror, the blinds were here in this wall, it would start from a corner and then make its way up there. That's why we're making the corners like that. I'm just going to stick with the one. I feel like that's too much. Going to bring it onto my frames just to make it look a lot blended in there we have it. We have a golden hour effect with our blinds, our blinds reflected onto our object. If you guys want, this is optional. I'm not liking that there is nothing here. I'm going to just crop my image. Maybe about this size, hit enter, and then make this smaller so it's in the frame. We worked hard for that, it enter, and now I'm liking this. I didn't like that there was a empty space here, although we did that ourselves when we removed the hat, but now it's better. Just bring it a little down. That's how you fake a golden hour on your image. That's how we look at it before and after, I'm going to group these two by selecting them Control G. Now this was the before, this is the after. Complete different images just by using a few techniques. And now that we're done with the golden hour, we can go ahead and go for another style, which might be interesting to you guys. Again, we're just sharing this for a fun activity. We're going to do what is considered the opposite of golden hour, and it's called the blue hour. And we're going to use similar techniques. We're going to use the camera raw filter and the same blinds that we designed for this because we're going to use the same image. So you can just see how the different lighting and colors will look and the overall image. I'm going to open my layer. I'm going to delete base, but keep the reflection copy. Let me just name it to reflection because we still want the same window. We just want to change the lighting. I'm going to delete base and then just Control G to make a new base. We're starting from scratch. Going to bring this in our group one. Then on our base layer, we're going to do the same thing. Go to filter camera raw filter. Don't go on the first one because that's just the effects that you previously did. Go to this camera raw filter. Now we're going to do the opposite. Instead of making everything warmer, we're going to make things colder. Again, temperature, bring it low. We're making the thing colder, reduce the exposure because again, it's nighttime. I guess this much to increase the highlights a bit because moonlight, reduce that here, make this a little colder, increase the dehazing makes it more intense, where's the contrast? Increase the contrast a little, as well as the increase the saturation. We're going to keep the blue hour effect to make sure it's blue. Now we're going to go in our color mixer. We're working with the cold colors now. Blue, we want to increase the saturation and the same thing goes for aquas. And we're not going to touch the hue. Maybe reduce the purples a bit. That was a magenta, reduce the purples. Come to color grading. I think our blue is too saturated. I'm going to leave it at that. Make the shadows blue, the midtones blue, go for a darker blue. I'm going to make it darker because it's nighttime and the highlights, it's going to be blue but not as blue. I'm going to go with a cyan let me increase this here. The mid tones and the shadows are going to be more saturated compared to the highlights. That's it. Hit Okay once you're finished and now we have a blue hour effect. There is our reflection and because it's on overlay, it's going to go on top of all of our adjustments and we can adjust it if we want. I'm going to keep the vogue photo so it's a little different. And I want to increase the blueness. I'm going to go on top of my reflection layer, adjustment, gradient map, go to blues, go for a darker color. Let's see. Which one will look better. I think this will do, Head okay, close that, change it to let's see which effect should we go for. I guess I'll go with multiply. Let me see how it will look like with reduced opacity. Okay? It's a little too dark but it's nighttime. What can you do? We're going to create a new adjustment layer. Let's go to levels. Sorry, not levels, go to curves. It's the wrong one. Curves and just increase the brightness a little bit. Because we're planning to share this somewhere. I'm assuming that's what you guys are trying to do. You want to make it at least noticeable. I'm going to get the bottom one and just bring it slightly to the right, not too much. And there we are now it has a more night effect. We have the nice moonlight color. It's named lights and darks, darks. The gradient map, we're going to leave it for shadows and reflection. This didn't even take that long. We're going to see the before and after, this was the before. And this is the after. Didn't take that long. It's really nice. Hope you guys enjoy this and you will use these for your images to show your Photoshop skills. I'll see you guys in the next lesson. 25. Instagram Landscapes: This is another part of our Instagram series where we will take this image taken by this person. And we will make it Instagram, give it an Instagram style. This image was already edited, but we're going to go further and add those cold colors that you usually see on Instagram travel photos and a lot of shadows. Let's get started. As always, let's duplicate our layer just in case and then go to our curves to work with the contrast and the shadows like we mentioned to just get a point and just lower it a little bit. Already, you can see we're getting closer to that style. Do the same with the shadows and already we made the image quite dark. We will also add a black to white gradient, but make sure it's not white to black. Change the blend mode to luminosity. This will only work the shadows and the highlights, whereas if it was on color, it's just going to be black and white. Hit enter, then we're going to just lower the opacity as much as needed. All right. Now, another thing that we mentioned, now that we got these shadows out of the way, we need to add some contrast. Go to brightness and contrast and just add some as much as you need. There it is the contrast. We can lower the opacity or just go back in the panel to minimize the effect. As you can see, this image already has a lot of blue and green. You can see here and a lot of brown. We need to enhance those colors and make them shine through because those are what make the style look Instagram like. Make a new adjustment layer, go to selective color. Going to move this a bit here, zoom in. Selective color, as the name says, it will allow you to make some adjustments to the selected colors. We're going to start with the blues, so we can see. If you guys remembered the opposites that we saw in the last lesson, the opposite of cyan is red, the opposite of magenta is green, the opposite of yellow is blue, the opposite of black is white. If I turn it this way, where is our blue. Because that would be more of a Dale click to reset it. I'll go in our science. You can see if we come here, we are removing the science. Therefore, we're making it red, more to the red side. But if we add science, it will be even more vibrant. This was the before. The difference is very little because the image has a lot of vibrant science. And then we can add or add or remove the magentas from our color, I will remove it so I can get this vibrant blue color. Then we can add or remove the yellows. I want some yellows in there, so I will add maybe 19%. As for black, you can add black or remove blacks. I will remove it and remove 18% of the blacks. So already we dealt with the color, the cyan color. I will kind of minimize the magenta. This is not really having an effect, so I'll just tap a click on the name to reset it. Our next color is the greens, go to green, and it's the same logic for every color. Add cyans, remove it. I will add. Let's add the magenta. We are looking for dark greens. Same thing goes for yellow. If you remove it, it will be similar to the blues, add yellows and we're going to add some blacks as well. All right. Let's see what other color we have. I guess these count as red. Let's have a check. It is red. We can add some cans to our reds, remove some magenta or actually add some magenta, can add some yellow and add some black. So with just the selective color, we made a lot of difference. I will use the mask options, go on the mask layers, use the soft round black brush. I want to remove the effects from our model because her skin is looking way too dark. It will get sensitive once it gets to the skin. But if you like the amount that's there, you can leave it B. I'm just trying to make her not look like she's blended into the landscape around her. I will also remove it from the sun hat and also her swimsuit. Now she stands out from the background or the stuff around her. Let's also add some gradient maps, go and Go and discuss the one that I made. Instead of red, we're going to add a blue. I'll go to blue and add a darkish color. I'm just experimenting. Just remove that I just click and drag it down. I will have to replace the two colors because it's always dark to light, as you can see. Keep it dark to light. The blue is way too dark. Let me have a look at my green, look at the settings. The brightness is 60, whatever we choose in here needs to have a brightness of 60 and a saturation of 100. Alright. You can always come back and change it if needed. Change the blood mode to soft light. Just lower the opacity to minimize the effect. Before is after. You can keep the warmth if you want. I'm actually thinking of keeping the warmth. I'll just go back in my gradient map and get my custom one, which is green to red, and this really complements the cyan and the greens that we already had. Hit Okay, close that off, work with the opacity if you need. All right, see what else we can do. Go to hue and saturation and we're going to do with all of the colors at the same time. But of course, we can always work with the mask layer, going to reduce the lightness. Going to add more to the saturation. I'm not going to touch the hue because we just spent a lot of time trying to select the hues, leave the hues be. I also wanted to give it a faded look. I will make another curves layer, bring the darks and lighten them. Try to keep it minimal. I'm also going to perhaps add some to the highlights, which is the white parts of our image, add a little bit of contrast. All right before and after, it's a little bit more faded and we can also add some let me have a look. Actually, I would say it's over. We don't need to do much except I do want to balance the colors. It's a little too red, so I will add some cyan to my colors. So you can see, it is also a little purple, so I will go. I will go towards the green. It's a little too blue, a little bit towards the I will remove some of that green. I was looking too green. After balancing the colors, it's less purple and it's a little bit balanced now. We just balance the colors. I would say I'm done with my image, so let's group everything to have a look at a before and after. This was before and this is after Thursday after, there it is. It's a lot more. It has a lot more contrast, a lot more shadows and it's more on the colder tones than warmer tones. It's actually somewhere in between. We have cold colors, but at the same time, we have some warm hue going around our image. We did a travel image. And now you get to edit yours as well and make it something like this. Now let's look at a landscape image and see how we can make it Instagram. I have this image. Again, I took it from pexels taken by this person, and this time, we have a landscape of mountains and the lake. You can see that it was wintertime. We have a small amount of light. And overall, it's looking bland, so we need to work with it, maybe replace the sky and make it more Instagram like. Because we have a lot of repeated mountain and water, I am going to resize my image or actually crop it, so it's a vertical shot. Just go in your crop tool. We're going to write nine by 16. Which is the although if you were to put it in a post, it would be four by five. This is where it would be Instagram post. Trying to make it leveled in the center. I'll use this and then hit the checkmark once you're finished and now we have a cropped image. Now we can begin editing our image. Go to we have to first identify the issue. Right away, we can see that it's way too blue. We barely have any colors, and it's just looking really flat and boring. Before I start anything, I'm going to replace the sky. We'll go in filter or actually edit Sky Replacement, I'm making a separate layer. I just brought it to the other side. I did a processing, but it gave us the wrong sky. We want to add a blue sky but something more fun with clouds. There it is. This is looking a lot more fun. You can even scroll through and see what works best. Let me try this. I don't like that. Let's go to this. This looks the most natural, so close that off and we can work with the colors, maybe make it a little bit more blue as in cold. You can scale it in or out if you want to. Oops, I went out. I got these empty lines here. The edge, I do want to see if the edge is okay. Let me zoom in. Right. I did well with the edge. I don't need to work I don't need to shift the edge. And let me have a look. Maybe I should brighten the image up a little. Okay. I done. Now we got a lot of options. Before and after. I need to copy this and put it in the reflection. I will grab my quick selection to just select the sky, use the plus like this, not this part because there's this thing here and we are going to copy this and then mask it on our selection. Well, actually, first, we need to rotate it. Control T, right click, flip vertical. And I did the order wrong. I will just make a mask here, and then on this hit Control T and flip it vertical. No seeing much here. Enter. I will do something else, delete that, undo the copy, Control D to deselect. I will make this and this a singular layer. I'll merge the two. It's looking like that. I will create a new layer, Control T, and then flip that vertically. There we are. On this, let's call it reflection. On this reflection, I will just get the eraser tool. And where's the horizon? I'll get a ruler, then bring this back so I can click Hold down Shift to make a clean cut. All right. I'll get rid of my ruler, turn this off for a second on my Sky Replacement group, get the quick selection, and then just select the sky. Then on reflection, hit the mask layer. Now it's only on that layer. I will bring it in closer and then hit Control T. And just wait. Go on the image layer, get my Marquee tool to select this area. Right click, fill Content Aware, and let's see if it can fill it up. I can't really see it because our mask layer doesn't allow that. Let's add this area to our selection and it did a pretty good job. Control D to deselect, and I'm just going to turn this off for a second. I'll make another selection of the sky. Delete this layer mask and then make another thing. Now it's in the water. Then look at here, it's a little bit rough. I'll go in the mask in the properties. If you're not seeing properties, go to window. There it is properties. We're going to feather the edges of our mask by maybe one pixel. Let's try 1.5 whoops. Where's our mask layer? There it is. I will try 1.5. Close that. Let's have a look. It's better, but it's actually the rippling from the water, so we can't really change that. We need to if we have a look at the before image, there isn't much rippling going on. Especially as it gets closer here. Let's just bring this back. We need to do some editing on the clouds. Now that I'm certain that I do not want to bring back any of the reflection layer, I will right click Apply Layer Mask, then we will convert this to a smart object. There it is. Now we have to add some filters to this. First, go to filter, blur, motion blur, bring it here. And I'm going to add a angle to this. Let's try. Okay? So distance. We need to add the distance. That's too much. I will add like 11 angle. And we just kind of want to distort it. You don't want to overdo this. Before I do that, I'm going to copy my reflection layer because as it gets further and comes towards you, the ripple effect won't be as much. We need to recreate that. Let me have a look. We're going to recreate that on the reflection reflection ripple, let's name it that. We will do the same thing. Go to blur motion blur, add a 30 degree angle and add to the distant little by little, and hit Okay. Now we need to make a new document or the rippling effect. Go to file new it's going to take you here, make the width 600 and the height 1,000. Leave the resolution B and make the background contents black. I create and you will get this long document, and we're going to add some noise to this. First unlock it, to filter noise, add noise, come here and we're going to add the whole thing. 400 for the noise. Let me see. Then hit Okay. I actually did something wrong here in your motion blur adjustment, Alright. In the angle instead of 30, go to 90 because the rippling is happening towards us and not to a 30 degree angle or anywhere else. Want to make sure it's straight. So hit 90 and then just adjust the distance as needed. I will kind of reduce it to 47. All right. Now let's go back, and I'll just undo what I did. I'll make a new black layer. I forgot to turn it into black and white. Filter at noise than what we just did, but make it monochromatic, hit okay. Then we're going to go to filter, blur it out because it's way too rough right now. Blur, Gaussian blur. I guess I'll go with 1.5. I see we're just smoothing things out. Maybe I'll just stick with one actually. Ido. Okay. Now we are going to work with the channels because every image has channels, RGB, go to channels in the red one, can see it changes. Let me turn that off. See that it's green blue, it's just green. If we add the blue, it's just blue, you add them together, you get RGB. On the red one, go to filter stylize emboss and add the angle at 180, keep the height like two amount 100. Now go on green and we're going to do the same thing. Filter, stylize emboss and this time we will make it 90, the angle 90, hit Okay, and then go back to RGB, which selects it all, go to layer. Now we're going to zoom out. We're going to expand it towards us, which is the thing with with water in the beginning, it's really intense and as it fades out, it gets less intense. We need to make that perspective. Control T on your layer one, right click perspective, drag it from the side. We want to just experimenting. I'll stick with 67. You can see how from the beginning it's really intense and as it fades out, it's becoming less intense. I will actually make it larger perspective. Add more to it. Okay. Now it's less intense, you can see the blue channels, and then you see the red and the green just go in random directions, which is the thing with water and the ripples in them. Now we are going to save this as a displace map. We will go to first we're going to flatten the image. It's a lot easier to process, go to file, save as, go on your computer. I'll just text up. As a PSD format, just choose Photoshop. Call this water displace map. It's safe. It's going to save it down here. Let's come back to this on our reflection ripple, go to filter, distort, displace and make the vertical scale larger. Like we said, it's going to become larger as it comes closer to us, hit okay. It's going to ask you to choose a displacement map. We already made one. It, it's going to do its thing. Now you can see it's rippled. It's not as smooth as this. We can, however, add more to our values. With the displacement, you just got to work with it and see what works best. For vertical scale, I'll make it 17. I'm just experimenting to see what works best for my clouds. You can see we're getting the effects. And I don't want to do it more. I feel like that's enough. Actually, we should do more. Just experiment with your image. I'll add some to the horizontal scale because it's like 90. Stretch to fit, leave all the settings B, hit okay. It's going to ask me to open that. Let's see if this is better. This is better. We got some of that ripple effect, and now we just have to adjust it and make it better. Can go ahead and close your water document. If you guys did want to change, I just remember that you guys can go in display because it is a smart object. If you didn't convert your image to a smart object, you wouldn't have this option. I will go with ten. I'm just trying to see what works best for my image. No, we don't need to do that. I will, however, put it to instead of 90, make it 85. Choose the same map. It's a little less intense, which is what I wanted. Now, this area, I'm a little confused because once we turn off everything, the original image has this cut from the center and I don't know what that is exactly. I don't know if you guys can see. I will just fix that myself on the Sky Replacement group, the reflection group and the ripple. I will hold down Control Shift, alts and then press E so I can make a copy of everything. Then we are going to just grab everything until that weird part Control J, delete the previous layer, and I will just bring layer two closer. I don't know why it looked like that. It was weird. I'll do that. Then we will go to the mask layer and fade out using a soft round brush, fade out the edge. So it's not as sharp as we saw it. If the line is there, it's a lot more simpler. If it gets on the mountains, just bring back bring back some of that stuff. I will bring it above this a little bit. Oops go to brush. It'd be on your keyboard if needed. I'm just trying to clean this area. Now we need to fix this that we did, we can just go ahead and go on the image layer, get the marquee tool, select some of this and some of that. Click, fill Content aware, it okay. Let it process and fill up that cut that we see. Okay, so it filled it in. We can hit Control D. It's not exactly smooth, but it's right. And okay, we can even go in with, like, the clone tool. Hit S on your keyboard to get the clone tool with a soft round brush, hold down to kind of fill in this gap here. Now that we have edited our image, let me group everything control G. This was before dis after. What we can do is now start adding our colors and all that, because like we said, everything is blue, it's not going to take that long. Although if you guys want, you can change the mountain color. Let me choose this brown. You can always come back and change it. Let me see what color will work best. You can go to color. Try and multiply. Try to see what works best for me. Go with this and enter, Control I on the fill, get the soft round brush, and I'll go with multiply, lower the opacity. I just want to darken the mountains that we see here, although I just realize there is snow. We'll just not do that. Instead, we can just add some filters on top. Let's add our favorite filter and then change the blend mode to soft light, lower the opacity to around 28%, can also add some color lookups. And just experiment and see what works best for you. I will look like fall colors. Don't like that. Just going through each one. I like this more, lower that. Another thing that I wanted to do was to add fog to the edges here. But before I do that, I'll make a curse layer to make it brighter. It's a little too dark. And Bring up the highlights as well. Close that and I just downloaded this fog image from the Internet, drag it onto your screen. Color is black, so we have to change the blendings. Go on the FX blending options. Bring the screen here. On this layer, just bring this slightly until it didn't reach the edges. Hold down tor option, click on the button, and just fade it out. Can also change the blending mode to screen, and I will get a mask and just remove the bottom because it is looking sharp, whoops, with the color black. Just kind of remove that. So now we have a really cool fog effect that I can scale in or out to put it on this. And I want it to come towards me. So right click perspective and just lower make it smaller as it goes towards the top. Or is that not the right place? I'm not sure. Let's not work with perspective. Instead, I will just leave it like that in the corners and then make a copy, Control T, and just flip it horizontal and then vertical so it looks different. Like that. And you can see the edges are rough go with the black soft round and just remove those edges. Get some fog effect that you can actually minimize because the fog would be near the mountains, not exactly near the water, it would be on the mountains. Let's just spring it here. Now we need to remove it from the water to a certain degree. Whoops. It shouldn't be on the clouds that's the wrong layer, shouldn't be that much on the clouds. Lower the opacity until it looks natural. Just do as much as you can. We got some cool fog effects to add to that mysterious landscape that we have here. I will also try to change the color here because you can see that it's reddish. I need to make a color balance layer. If you want to remove the magenta, we need to add some green. Just add some green. If it's too cyan, add some red. If it's too blue, add some yellow. Although the mountain is not looking that nice. I'll make this zero. I'll just work with the magenta and green. I will remove this just hit Control I and just bring the effect on the sky and not on anywhere else because the mountains are looking fine. I'll make a selective color, go on the science and just remove some of that. Should we add? Let's add some science. Let's also add some yellows, add some yellows. It will make this green hoops. A nice little green effect. Let's add some blacks to the science in the image and add some purples. I think we're done. I can do the same thing with the blues if needed. Mine does need it, so I'll just do that. We intensified the colors, now it's looking a lot better. What is that exactly? I'll just remove that because it's going over the mountain. Actually, we should bring it back because it's showing this. I will also go on the smoke layer, the one on this side and lower the opacity even more. 20% will do. And I'm just looking. The ripple should not take place in the end like we mentioned. I will on the mask layer with the color black, soft round just remove that effect and also the same thing for the reflection ripple, can tap in those areas to make it less intense bring some of that back on this area. And also this area. Trolls trying to find this layer. This is the layer. I'll just get the clone tool to just fill in this area, so it doesn't look repeated and also something here. And there we are. We have a really cool landscape image. We manipulated the whole thing, but it's all good. Going to group everything so we can have a look at the before and after. You guys can do this with any landscape that you find is a little bit too bland and needs a little bit of extra elements. This was the before, and this is the after. I kind of look shortened because we removed this. It looked like it was cut. I don't know why the reflection did not start from here. From here. I hope you guys enjoyed this and I will see you in the next lesson. 26. Neon Signs: In this lesson, we're going to look at the many effects that you can put on top of your regular images. These are really cool effects. They don't even take that long, but always fun to work with Photoshop to see which style matches your image more and you can use it to either impress your friends and family and make a cool composition out of your images. For this lesson, I'm going to try to make a neon frame behind our subject. I'm also going to make it look like she is in an underground maybe cafe and is sitting in that area. So this image, I took it from pixels. It's taken by this person Eon the first thing I did was to just unlock my layer by just clicking the lock and then always, we're going to hold down Control us J to duplicate R layer. Let's name this base so that you know what layer I'm referring to when I'm talking about it in the lesson. Before I start with the frame, I'm going to first make the black and white image more dramatic. I can do that by just going on our adjustments and gradient map. This is my way. I like to do it this way, but there are a lot of other ways to do it. Go to basic, make sure it's black to white and not white to black. Black to white, okay. Close this off and I'm going to change the opacity until I am happy with it. I guess 47% will do. This was the before, this is the after, just a little bit more dramatic. Going to name this black and white. All right. Now I can start making my frame and then continue with our neon frame effect. For this lesson, you can use either the Pen tool to make your own design or you can use a shape. You're going to try with a shape. Go to the shape tool, choose whatever shape you like. You have a lot of options. Again, you can go in custom shape tool and just choose a shape that works well for you. But keep in mind that we're working with the stroke. If it's a shape that's all fill, we cannot really use. So I'm going to go with the Ellipse tool and going to hold down shift to make a perfect circle and just hold down shift, click and drag. Adjust the size, let go. Now our fill is turned off, make sure that's the same for you and our stroke is white. Then we're going to make the stroke larger because we want to see the outline for sure. 88.62 is good. You don't really need to change the sorry, not this. You don't really need to change the alignment, but you can make it either a dotted line or a dash line. That's fine. Close the properties. Let's name this just llips and then we're going to move it in the place that makes sense. You want to make sure that the circle is behind your subject. If my subject head ends here, I cannot put my circle here because this is going to just look really fake. Make sure it's behind your subject. You can see that the head ends here and I have this circle here, same over her arm. Now we want to make it look like the circle is behind her. We can do that with a mask layer. Go on the ellipse layer, go to this mask icon, hit it once, go to your brush, make sure it's on soft round. Adjust the size if you need to with a color black, let me zoom in and just start painting away until you guys can see that her head ends here, so we need to go before that. I'm going to just delete the rest of the circle. And just do the same thing. Already just by using a soft round brush and the mask tool, you can see that we made it look like we added a shadow effect on our ellipse shape. Now that we have it, you can change the position again. I'm not going to do that. I hit Control Z, and now we can begin creating that glow effect that neon signs have. Dabble click on your ellipse layer. You're going to get this panel. Let me bring it here so we can see, make it. I'll just put it here. Now let's go to Outer Glow, which is the sky right here. Click it once to check Market, go on the name. And let's see. We're going to first, I'm going to start from the top, change the blend mode to Color Dodge right here, then hit click away or just leave it B, bring the opacity to 100%, and we're going to leave the noise at zero, leave it white, make it softer, make the size bigger. You can see bring it here. You can see the preview here. We want the size to be bigger so we can actually see the effect. And once we're done, just hit Okay. You're not going to see much of a difference now, but that's okay. We're going to see it later. We clean the edges. We have our outer glow. You can see it here, like we said, we're not going to see an effect unless we add a gradient. Now on your base layer, not your original layer. Let me name this original, not on the original layer. Go on the adjustments, go to Gradient Map. Now you can see the glow, although it's not looking good with the white to black, go on colors and you can see the glow happening now. I like this. Let me see if there's other colors that I like. Maybe purple will work better. Let's see. Try and look for a color that will look nice. If you guys don't like you like the colors, but you don't like how it's looking, you can always just move things around. Let me see if you're moving these around, you're messing with the colors. Let me see which one works. I think I'll just go with the blue 27. I like the coldness of it. It looks cool as well. It looks like a club. But because our image is mostly dark, make sure it's darker to lighter. In our purple layer, if you guys like this, we got to switch the two colors. I'm just going to switch it like that. Now you can see that it makes more sense. Would have to make this color a little darker. I'm going to bring this here, lower the brightness. Let's see how that looks. You can see that it looks better. We can see our subject. Make sure it's darker to lighter and then adjust the color according to your image. I'm just going to stick with blue 27. Head once you're finished, and it looks a little pixelated, but once you zoom in, it's not going to look as such. Gradient maps are great because you can see how with just a few clicks we were able to create a nice effect. So my opacity is too high. I'm going to bring it to like 89 or just 90%. And there is our frame. It looks cool. I'm just going to bring back some of this circle. I think we remove too much here, go to color white, and just zoom in so I can see better, make the size smaller and just kind of make it look better. This the same thing for here. Just make sure you're not going over your subject because that would be obvious. There is our shape. It's looking pretty good. Another thing that you guys can do is to duplicate this layer. I'm going to Control J on our ellipse copy. Let's name this ellipse two. With the first one, I'm going to lower the opacity even more, maybe 44%. Then on ellipse two, go to your shape tool and just adjust the fill layer that's too little. If it was 88, make it 78. Or maybe 68, just work your way through the numbers and see which one looks better. I think this looks better. Let me try to change the size even more. I can just go properties here. 68, go to 58, and there we are. Close that and then go on the mask with the color black, soft round. I'm just going to brush the edges a little. Or better yet, we could just lower the opacity a little bit more. I will bring back the size. Don't turn off the link. We need the link, make it, I believe it was 88 and just just work with the opacities. You don't need to try so hard. This is 44, make this 80 or 90. Now it looks better. Now, if you want, you can stop here. You can also go ahead and make extra adjustments. I will go to curves, create a curves layer on top of all of my layer. I'm not going to limit it to anything because I want it to be an overall thing. I'm going to fade the image a little bit, or I could darken it if you guys want. It all depends on your image. I think I'm going to darken it like so and then I'm going to bring down the highlights as well. All right. Now if we think about it, if there is a large frame behind us, we would need some highlights on our subject. Let's go ahead and do that. Go to adjustments, solid color, make it color white, go to overlay. And enter once you're finished. Let's name this white. Go to the mask layer, Control I to invert it with your soft round brush and the color white increase the size. I'm going to have to first make a selection Homer. We're going to delete the layer mask. And I'm going to turn that off for a second. Go to my quick selection, select my subject in the way that I can, mainly focusing on the top part of her body and not the bottom part. Get her arm, can't really see her head. Se Photoshop can. And then I'm going to go with the minus and just remove this part. Let it do its thing. I'm seeing some stuff here. Let me turn up my gradients in black and white just Photoshop help me with the selection. Just bring it in a little I went out again. Let's go back with the minus and I'm going to use the brushes now because it's hard for Photoshop to see, hit Q and then with your brush, with the color white because we want these areas in our selection. We make the brush a little smaller and also work with the hardness. Just bring in my subjects hair. Hit Q again, analysis our selection, and turn these two layers back. On my color fill, I'm going to hit the mask. Now you can see that it's only on our selection. Now with the color black, we're going to fix what we have made, delete the parts that shouldn't have a glow on his arm, her arm, I guess it would not be on this part. Let me also smooth out those areas. I'm not sure if this makes sense. Let's try to make the opacity lower. Just trying to connect the two images. So the glow would mostly have to be here. Let me bring that color back and also here, delete this part in the middle. Let's try changing the um overlay was the best thing. Let me just enter. Now it's making more sense. We have a glow like we're supposed to have to enhance the glow. I'm going to make a new layer. Let's name this white name this white. Again, with the brush, the color white, I'm going to dab a little white dots here. And then change the blend mode to overlay again, lower the opacity, just so we are creating a gradient with the color black, remove that white from the wait, I'm coloring with the color black. Just make a layer mask and then use the color black to remove it from the outside areas. When we zoom in here, it shouldn't be on her head as much. I'm going to remove it from there and then make the opacity lower. In the color fill, I'm going to reduce the thing here. We can also add more gradients. You guys can stop here. I'm going to add more gradients. I want a Sci fi Look, which would you normally include maybe greens? Again, make the darker first and then bring the lighter second. Should I go with this? Hmm trying to figure out which one will look better. I think purple would work best. So go to purple and just scroll through to see which one looks better. And let's try to make this a little darker. Okay. Is it okay? Change the blending mode to overlay. I think this looks more sci fi compared to what we had before. Let me see. Should I bring it on top? Let's bring the gradient maps on top of our ellipse layers. Well, actually, let's not do that and remove the glow. Let's see. Bring this grading map to over all of our other layers, and that's looking good. Let's kind I'm going to keep that. Lower the opacity a little more. I think it's way too intense. Just working with the opacity, see what works for you. And we're finished. Go on the top layer, the base layer, hold shift while you do so, Control G or this icon. Let me it on screen, this was the before, and this is the after. It's a fun little thing that you guys can practice with. There's a lot of other images that you can use. I could just be a coffee shop, a table with no human subjects, see what works best for you. This was it for this lesson. In the next lesson, we're going to see other styles that you guys can use to enhance your images and make your social media pages a lot cooler. I will see you guys in the next lessons. 27. Removing Subjects: Now, sometimes you may find yourself having a great image, but there's some subjects that you would like to remove. Or maybe you want to repurpose an image like this and turn it into one where there's only this main subject in purple so that you can put some text here and other materials. So we have these two images, and they're available for you in the resource pack. The first one is very easy because he is separated from the subjects that we want to remove. Whereas the second one is a little bit more complex because our subject is at the center. There's nothing around the subjects that we do want to remove are exactly behind her, so we need to do a good job of separating her from the people in the back. So these are two common scenarios that you're going to deal with when you're working with Photoshop and any sort of photograph. And I hope that this lesson will give you the foundations to apply to any other scenario. So first, let's begin with the easier example. I'm just going to duplicate our layer, make our image full screen with Command or Control zero, and the easiest way to remove a subject is to head over to one of your tools. I'll go with the selection tool, grab that layer, and then simply select on Select Subject. Now when you go on this drop down menu, you have the option for it to be processed on your device or on Adobe Cloud. If you choose Cloud, it's going to be a lot more detailed. But device will limit it to the amount of space that you have on your computer. So go for the Cloud version and then select subject. This is going to focus on the main subject, but you can see that it did still grab the people in the back. Now, with the recent Photoshop updates in 2026, AI is integrated in all of the removal tools. We also have generated fill. So together, you can easily remove a chunk of your image while maintaining the composition. So I want to remove these people, but I do want the railing and the wooden floor to be continued in their place. So just use your Marquee tool, grab it, and then click on Remove. So this is using AI right now. Of course, you could use the traditional tools to remove the subjects, but that is going to take a lot more time. So let's see the result of the removal tool. You can see just instantly our subjects are out of the way. So this was before, this is after. And the good thing about the AI tools is that they're going to create a new layer. So if I changed my mind, I could just delete this layer and see basically what Photoshop generated. If I do the same thing again, we're going to get a different layer. So maybe this time, I wanted my selection to be more close to the subjects rather than one square. So I could just select to the Object Selection tool, have Photoshop, you know, look at my image until we can see these pink overlays. That was the first subject, second subject, third subject. We can easily click on one, hold down Shift, click on the other subject, and even use the Quick Selection tool. So you can use whatever you see fit. The goal here is to get something more detailed rather than one giant square. I am holding down Shift while I'm doing this, so we're on the plus, not on the minus. And when you click on Q, you want to make sure that all your subjects are in there. We can see that we missed his hand. So we want to go in with the shift again and grab that area. Now, we have the selection, but it's kind of bleeding into the subject. If I zoom in, you can see that it's missing like a blurry bit of the subject. So if we end up removing this current selection, we're going to be left with a halo. So with this selection, we can go to select, modify, and click on Expand. We can decide on the pixels. I'll go with, like, five pixels, and you can see that we're now going basically adding to our selection, we're growing it by five pixel. We're going to need a little bit more. I think I'll go for, like, 20. So now we have everything within our selection, and we're not going to be left with that. With this current selection, you could do that remove thing again, or you could switch to generative fill so that Photoshop can use Firefly to put something else in their stat. So maybe you want a little cat to be there instead of these three subjects. I'm just going to go with remove. And the better approach for that cat example is to remove that subject first and then generate something on top of that remove layer. So something over here rather than trying to do two things at once, because if it gives you a result that you're not happy with, you would have to do a lot of editing. Here we can see that we did get rid of the subject, but we still have that halo. So that just means that I need to go back and further expand my selection. So you can see why it's really cool that we have this additional layer. I could always go back, make my adjustments and come back. So let's go with 30 pixels this time and then click on remove. Just make sure you're on that layer and not on this layer. There we go. I got rid of my subjects using a different method. If I bring them both of the remove layers, I'm going to put them side by side. We can see the difference in the removal process based on the selection. Whether you do a square like this or something more detailed, you are still going to get a good replication of the textures and whatever background that your image had. Let's control Z, make sure they're in the right place. And now our subject is sitting all alone without anyone in the background. But like I said, this is the easier example because this subject does not interact with anyone in the background, whereas the second example is going to be a little bit different. So, again, we're going to unlock our layer. And using whatever method of selection you like, we're going to select our subject. So now we have selected our main subject, a person in focus. But because we have some hair and we have some smaller details, we want to go to Select and Mask first because we have to do a little bit more work than our previous example. First thing is the hair. When we zoom in, we can see that there's some, like, imperfect lines. And to fix that, you can easily click on refine hair. So you can see it introduced a little bit of the background to bring in the little hair strands. And a lot of times it may not do a perfect job, so we still have the option to refine this further. So the refined edge brush tool is made for details like this, whether it's hair, fur, the bush or something, something where there's fine lines at the edge of that subject. So with the minus because I want to remove the background, I'm just going to go in and let go once I'm done selecting. You can see that Photoshop is going to analyze that image again and exclude this hair strand because that's what we're trying to keep here. Same thing here. There we go. And then we have some stuff at the top. If you want to bring something in, easily go in with the plus tool. So this guy we need it in usually Photoshop does a great job with smooth lines like shirts, arms, legs. The part that it may struggle with is the hair, as I said, so make sure you zoom in and check every detail as much as you can. So click on Okay, and now we have an updated selection. Now, you may be wondering why I selected my main subject instead of the subjects that I wanted to remove. The problem with that is that while we're trying to remove the background, we may remove this main subject because they're interacting. It's always a good idea to make a separate selection of your main subject and keep it on top in case we do mess up details from her. We are just going to make a mask and have her separated like that. I'm just going to duplicate and keep our original image at the bottom. Now, whatever removal process we do, it will be between these two layers, and I could easily make sure that my main subject is fully intact while I try to remove all those people in the back. Let's hide this subject layer. I'm just going to call it hide that layer, go to the main layer. And we're just going to hold down Control or command and click on that mask. Now we're going to invert this selection because we're trying to remove everything else but her. So that's going to be command shift I or Control shift I on Windows, and you should see the marching ants at the edge. When you click just like that, and now we're going to click on remove. I should have made another copy. Let's do that. I'll call this the removal layer. Once again, command on that and then Control Shift I, command shift I, and simply click on remove. And there we go. The background is completely removed. And if I bring the subject layer back, you can see how that really helps because details from her hair is removed from this original image. So that's why I want to keep that in there. And essentially what it did is that it removed the people, but it actually ended up changing the background completely. Now, if that's something you're okay with, you can leave it like that. But this gives you the opportunity to now put this subject in front of a different background. So right here, it looks like she's at the beach, which is fine, and it works well with, you know, her outfit and the image lighting. But like I said, you could put something completely different in the background. Combining it with our subject layer, we now have a clean selection of our subject. And there we have it. We now have our subject separated in two different scenarios. And no matter which scenario you deal with, you know exactly what to do. Again, if you don't want to use the AI tools, we have all the original tools still there. So you could make different masks and make your selections, refine them. But if you're in a rush or you want something very detailed, the integrated Adobe firefly feature is really helpful, and as you saw, it's very clean. It comes in handy whether you have an easy scenario or a harder one. 28. Replacing Skies: When it comes to replacing skies in Photoshop, we have two options. The first one is the manual replacement where we select our subject, change the background, and then blend the two images in. But the second option is the Sky Replacement tool that's built in Photoshop. So in this lesson, we're going to check the manual version, and in the next one, we're going to check out that tool, which is a faster way of achieving what we're going to do here. There's two images that you can download from the resource pack. We have the Eiffel Tower, and we have some smaller details that we need to mask out. And we're basically going to replace this boring blue sky with this cloudy sky. So you can see that the color hue is very similar, and I just need to do a good job of selecting and then blending the two once I have those selections. So first, let's start with our main layer, the one with the subject. I'm going to make a duplicate as always when it comes to removing the sky, you have a couple of options. As we saw the AI one didn't really work out. But instead of just grabbing this selection tool and trying to make a big selection, you can utilize the color range option because we're only trying to remove blue instead of anything else. So the good thing about this image is that the background is very solid and it's very easy to remove. Head up to select. You could select Sky, but the reason why I'm not doing that is because let me just flip the selection and make a mask. We're still going to get this halo around the leaves, and, you know, it even missed some areas at the bottom. So that's not the option we're going to select. Instead, we're going to go in with the color range. Click on the color once, and in here, you can see exactly what is being selected and what is not. So black means not selected. White means selected. And you could use the fuzziness slider to photoshop determine how much what the range of that blue should be excluded Included. So we can see right now that this little section that the first tool missed is now being included. So we just want to go somewhere around 133. You can invert the selection. So now we have everything but the sky, and that's exactly what we need. So click on Okay, and now we can make our mask. So you can see that this is a lot more clean compared to what we had before. Now, it is still missing out, basically leaving out a little bit of the sky, but this is not that concerning because it's kind of faded, if you guys can see by Zoom in. It's not flat. It kind of shows us the background, meaning that it's not like 100% opacity. So that's fine. We can work with that. Because we're going to have to blend this image into the new background anyway. We have our selection. Now we're just going to upload this image or just copy paste it and put it in that image. So unlock the layer, Commander Control C, Commander Control V, and there's the sky. And you can see that I chose a second image that matches the hue and the overall lighting of this original image. And that way, I don't have to spend a lot of time trying to blend it in later. So right now you can see that those halos, these guys, they don't really matter because my new sky, you know, is perfect for this image. And I don't need to do a lot of adjustments. Now, if you did want to do some adjustments, you can easily make some things up here. Maybe we could go in with color balance, cut out some of that blue that we have, make it summary, and fix that greeny color it has and continue building upon this. We can even put a general filter over the whole image, which is a very easy way to try to make the image look like one. But so far, we have achieved the main goal, which was to replace the sky. So as you saw, it wasn't that difficult. I'm going to bring that layer back. So this was our original, and this is what we have now. So this was the longer way of trying to replace skies. As you saw, we did have to make mask. We did have to clean it up, add some adjustments on top. But in the next lesson, we're going to check out the Sky Replacement tool, which is a dedicated tool for replacing the skies. And I'm going to try it with the same image and we can see what the difference is going to be like. 29. Sky Replacement Tool: Alright, we are back with the same image. We're now going to replace the sky using Photoshop's built in tool. So duplicate your layer, then head up to edit Sky Replacement. So it's going to first analyze the image, and now you can see that it understood where the sky is. And now on this panel, I just need to decide the sky and then all the adjustment tools for blending that image in is already here. So I don't need to do any separate adjustment layers. When you click on this little triangle, we're going to get different skies and they are categorized based on what they are. So given that we want a blue sky, I'm going to go to the blue skies collection. Clicking on each one, it's going to give me a preview, and I could just go about choosing the perfect sky for my Eiffel Tower. So I really like this one. And then down here, you could decide how zoomed in you want these previews to be if you're having a hard time seeing them. And if you wanted to upload your own Sky, you can easily do that by clicking on Get More Sky. So you can import the image from your computer. You can download free skies from Adobe, Import presets that already exist, but the easiest one is to just grab the first once I have my sky, I could try to blend it in. So the first option, the first slider is the shift edge. So that's basically adjusting the selection that Photoshop made for you. So we can see that if I go to the left, I'm going to be removing from Photoshop selection and I'm bringing back the original image. If I go all the way to the right, I'm bringing more of the new sky into the old image. So you could easily use this feature if you feel like Photoshop missed some details. So for me, I'm going to go to 41. Then if the edges are too harsh, you can fade it. Fade edge is going to fade it the more you add and if you go to the other way, it's going to basically keep the lines very sharp. I'm going to go for 16. Next thing is the sky adjustment. Whatever you do in this area is going to be applied to this image, so not our original. We can decide on the brightness of the image and then the temperature. So I'm going to go for a little bit of brightness and some warmth to the image. And lastly, we have scale. So how zoomed in do you want that sky to be? So, you know, I could zoom in to one area, zoom out, which is not really gonna help. But usually what Photoshop selects for you is okay. So I'm just going to keep it like this 183. You can also flip the image if you want a different side to be in there. So I think right now we're on this side. Similarly, we have foreground adjustments. The foreground is your image, and we can decide on the lighting and, of course, the blend mode. So now, the first thing is the blend mode of these adjustments. We have multiply, which is burning those adjustments into the image, and then we have screen where it kind of dodges those adjustments. So it's just a matter of those adjustments being bright on top of your images or being dark on top of the image. Usually you would want to go for multiply and then decide on these adjustments. So you can see that right now, though this is a foreground lighting, it's getting darker the more I add it because we're on the blend mode that does the opposite. So the more you add, the darker the image is going to be. But if you switch to screen, it's going to be the opposite thing. And if I try to make it very dark, for screen, it's going to look normal. So use these accordingly, and then we have the edge lighting. That's the edge of your selection. Then we have color adjustment. So do you want to be warmer, cooler, you can make those adjustments here. Finally, we have output. Do you want this to be a new layer or a duplicate of what you have? Usually, I go for new layers, and that way, I could always go back and make a new one. On the left panel, we have the Move tool, so I could manually move the sky. Then we have a selection tool, which is similar to what we saw in Select and Mask. If you felt like deselection is not good, you can come in and make those adjustments yourself. Then we have the hand tool for moving the canvas around and finally the Zoom tool. These are the same as the ones here. Preview allows you to see a preview, and once you're finished, you can click on Okay. So now we can see that I got all of these adjustments done from this one tool. So before, after does a pretty good job. And this way, I didn't have to go in with the traditional tools to make my perfect adjustments, blend it in and all of that. I could just leave it up to Photoshop to detect my subject, take out the background, and replace it with a better sky. 30. Object Color Change : There are times when you're looking through a furniture stores catalog and you notice a couch that comes in different colors. But then when you look at the catalog, it's the exact same couch, in the exact same position and the image is taken from the exact same angle. Then you can see that they use that to show the different colors of the couch. You might have wondered how did they recreate this photo maybe seven times? Wasn't it hard for them to keep the same angle, keep the same position, and all that. But the thing is that most of you probably realize this, but that's just Photoshop. There's no way that they can actually keep that couch in the exact same position and take the image from the exact same angle, make the cushions look the exact same with different colored couches. So conclusion is just one singular image, and Photoshop was used to change the color of that couch into seven different colors, and they were exported as separate files and put onto that catalog. Those images weren't taken seven times, it's just Photoshop. That's what we're going to learn about today. We're going to learn how we can change the color of objects. We have several examples. Here we have a couch. After this, we're going to do maybe mugs, dresses, and just different materials and different surfaces. You guys can know what techniques you need to use to change the color of objects. And just make sure that you keep this in mind, when you have a brighter color, it is much easier to change the color. What that means is that if you were to dye your hair, you are a person with black hair and you want to change your hair color to red. So what you have to do is to first bleach your hair, make it lighter, and then proceed to make your hair red. It's the same thing here. If I had a black couch, I had to first make it white or a brighter color, and then I can make it into, let's say, blue. But if I have a white couch from the beginning, I can easily just change the color. The thing is that it's the same logic for hair. I'll use hair again. If someone is blonde, they can make the dye their hair red easier than if someone's hair was black. So just keep that in mind when you are editing, it helps with the process and the thinking so that you don't skip the bleaching part. All right. So we're going to start with the couch. We have this simple couch against a white background, and we're going to use different tools to select and mask out the couch because we don't want to change the color of the parquet or the wall and not even the couch stands. So before I start selecting it, I'm just going to make things a little easier for Photoshop because I will be using its tools. I might as well make it a little easier. First, I'm going to I have already unlocked my layer. I'm just going to make a copy, turn off layer zero, name this background. Just in case I will need it. So on background, just make a brightness and contrast layer. You guys don't have to do this. If your backgrounds and the color of your couch are not similar, you can just skip this. I'm just going to lower the brightness. Then I will merge the two layers. So now it will be a lot easier for Photoshop to detect the edges. Like this than if it were like this. But again, you guys can just skip this step. You don't need to do it if your background color is different. On the couch layers, go to filter, sorry, go to select, select and mask. And you will be brought to this panel. If you're not seeing the red, go to properties, scroll to the top until you see view mode. Change your view to whichever you like onion skin. And there's so much more options. I like to be on overlay. You can change the opacity of the overlay, if you want and change the color as well. And we're going to work with the brushes that you see here. When the whole image is red, that means that nothing is selected. Everything is masked out. If I hit okay, it will just be a black page as nothing is visible. With my brush, I am going to go in with the plus and just drag until I reach the edge of my couch. Now we are doing the exact opposite of what we will normally do. We are selecting the outside. And masking out our couch. But then later, we're just going to invert it. The reason why we're doing this is that it's a lot easier because the couch has so much details and curves and all that. But the wall on the floor, they're just really easy to mask out. We're saving ourselves some time and just proceed slowly and let Photoshop do some processing before you let go and see it snapped into the right place. I'll go with the minus to bring back the edge of this couch. Again, with the plus, start from a corner just tapping, whoops, you may do this. It's okay. Just hit Control Z and just try to be a little gentler, or if it's not working out, just go with the minus and bring back the couch. If your brush is smaller, the intensity of the effect is less. But if it's bigger, the intensity is more. All right. I'm just going to use what we just said, The quick selection tool, the plus and minus to just select my couch. Just my couch, the white parts is red, or in your case is masked out. So that it's not visible like this and then I'll be back so we can continue. I have selected or should I say mask out de selected my couch, and it's okay if the edges are rough, we're going to come back for that later. Once you have selected your object, the object that you want to change, as in you selected the background and left the object out, just hit Okay. And yeah, it okay. We're going to you can see that it masked it out, just hit Control I to just bring back our couch. Now, below your couch layer, make a solid fill layer. Go on adjustments, go to solid color. Choose a color that will help Photoshop differentiate the edges. I guess I'll go with this bright blue, choose a bright color. This is just our background color, and now we're going to go back to our selected mask. Just go to select, come down to selected mask. Now we're going to use the refine edge brush to well refine the edges. Go to this refine edge brush and just start from a corner. Just use the brush to I would have to remove this area to again, roughly clean the edges. This will be a little difficult with kind of smooth areas. We usually use this for hair. But yeah, I'm going to leave it here, I clean the edges, and now we will make some global refinements. So you can just smooth out the edges a little bit and also feather the sides. I'd recommend a lot, maybe like 1.3 pixels, add some contrast, and then finally I'm trying to come down here, hit Enter once you're finished or just come onto another part and we're going to shift the edge. Reason why it's changing is because it's processing the stuff I asked it to and shift edge. Waiting for a preview. It's expanding our selection. I'm not really seeing a preview right now, but it's fine. We'll just leave it at 40. Or maybe it's here now. It did make some expansion. I'm just going to do that myself. Just go to negative 1%. And now it's going to output to the same layer mask, hit Okay. I didn't make a new layer, it's in the same layers. Now I can just go ahead and use my brush to make better selections because I have the color fill behind it, it's a lot easier to see than if I didn't you can see I can use it to see the edges a lot better if something brown pops up or some detailed wall effects, I will know that I'm outside. I'm going out from the selection. So I'm going to use the brush to just bring back some of these areas and then I'll be right back. There's my couch. It took a while. But if you guys again had a image where your subject does not blending with the background, then it would be a lot easier to mask it out. And now we are going to feather the mask because we did make a new selection. So go on your couch mask layer, this one, then hit the properties, and, uh where is the properties. I think it's reset it. Here it is. And we're going to feather it by one pixel, a really small feathering. This feathers out the edges for us. So we don't have rough and sharp edges on our couch. We want it to look as natural as possible. All right. Now I'm just going to turn off, get rid of my color fill. Actually, I could just use this go on top of your couch layer. Let's name this color. Now you got to choose what color you want your couch to be. I will, let's make a new one. Bring back the layer zero, hold down Control and press on the couch mask layer to select this. Then go to adjustments solid color, choose your color. Let me try this. Let's try red. Going to hit Okay. Now let me name this to color. Change your color layers blending mode to color. Right now it's looking too bright. That is because we need to adjust the color. I think this makes more sense. Just experiment with the colors. If you come down, it becomes darker. If you come here, it's brighter, choose any color that suits you for red. I think I like maybe this color. So, there's my red couch, just like that. You turn it off as just a regular couch, right. You can also just go in with a brush. This is something really silly. You don't need to do this. I'm just trying to show you guys the options that you have. Again, hold down Control on your couch mask layer, make a new layer. And if we go with right click on gradient, let's make a gradient. There will not be a couch with gradient colors, but we're just testing it out. Choose a gradient and just click and drag. All right, change it to color. It's a cool couch. And you can also change it to overlay. Whichever works best for your couch. Now we have a cool little unicorn couch. You can see how easily we change the color, I just deleted my layer one. If I want different colors, just control your color layers, and I'm going to bring this one. Change them one by one. This was red. Let's go for a blue, a blue couch. Although I need to adjust the color to make it realistic or to the color that I like, I'll go with this, okay. On the third one, let's choose a third layer. Let's make a yellow or actually this color is nice. Stick with this. If you were to make a catalog for your couches, just make as many color fill layers as possible. Export this, then you can export this, export this and even this grayish color. Yeah, that was how you change the color of object, a couch in this example. Let's try another example. This is another example. This is a mug and you can see that the materials different, it has a shine to it compared to our couch. Let's see how we can change the color of a object like this. Unlock your background layer, Control J, name this mug and on top of Mug go to select selected mask to mask everything out, sorry, mask out our cup. Let me zoom out and then go with a quick selection tool, the plus, and start painting away All right. Now, you can see because we have a background that's darker than our mug, it's a lot easier for Photoshop to detect those areas, whereas in our couch layer, it was a little difficult because the couch was white, the background was white, too. Not only that, the couch had details similar to the wall behind it. So if you want to save yourself some time, just try to choose images that are easier to change the color of. But if you don't have a choice and someone gave that to you and wanted it done, then you just have to spend some time to make it perfect. You zoom in here. Actually, I could just do this with the brush. Yeah, I'll just do it with a brush. I selected everything that I want to change the color off and hit Okay. Make sure output is to layer mask. Now we have a selection of our mug. I'm just going to turn off our layer zero and invert my mask layer by holding down Control and pressing I want. And now I can go and start painting. Now, in these cases, it might be a little difficult to know where you should paint, right? You don't know if you should go this way. How big should your brush be and all that. There's another thing you can do with layer masks, go to your layer mask and then go to properties. I'm going to reset it, go back to layer zero, come back to the mug layer mask and reduce the density until you start seeing the area that you're trying to bring. I'm choosing 31%. Close that. Now you can see that the mask is grayish now. Go with the color white and just start painting back the handle of your mug. Let me zoom in. I can't really see that well. All right. Um going to look at the other places. We also have a spot here that we need to clean. I'm going to clean that with the brush hard round, black and white, and I'm just going to change them as I clean the edges. Then I'll be right back. I cleaned the edges as much as I could and now we can go ahead and start adding our colors. Hold down Control or command on Mac, press on your mask layer until you see this, the marching ants, and then go to adjustments solid color, choose your color. I think for a MAC like this, let's try a purple Okay. Then change the now that I have the color, I can see that I need to fix this area. It's on the mug, actually. It is a little rough and the thing is that once you change the blend mode, it will not be as rough as you see it right now. Change the blend mode to color. Or overlay, whichever works better for your object, color works better for me. And then you have to go back to the colors and just change I changing? I'm changing something. Change the purple until it looks good on your mug. Actually not liking the purple. I'll go with this green. I like this green better. And yeah, just work around until you're happy with the color, hit okay. Let me call this color. And you see that it preserves the shine and everything and also the text. But with mugs, the top would be white, right? So just go in with your brush soft round and just remove the color from the top part. That's just how mugs are. The tops where you sip is white or another color. It's not the exact same color as the part below it. Alright, bring back the background layer. There is our mug. Really easily done. We didn't have to spend that much time because we had an easy image to mask out. Now let's look at another example. This is a dress. Again, it's white. It's easy to change the color of. But because our background is also white, we might have to spend more time on it. I'm going to unlock my background layer, make a copy, and now I will go to first I want to see what that is. We'll just let it be. I'm just trying to change the color of her dress. Now, go to your background layer. Let's name it background. All right. Go to your background layer. We do select, select and mask. And just do what we have been doing all this time. Let's see if this will be easy or will it be hard? I'm just trying to remove the parts little by little. Oops, I just removed everything. Bring it back and make sure you work slowly and you don't rush things or else Photoshop will be confused. Let's try to remove her arm, I forgot there. Let's remove her arm, and then we'll be finished with our selection. Lagging. There it is. Let me zoom in, see if I can get her hand out. See if we can do the same here. All right. There we are. Is that her dress? We'll just fix that with the brush. All right? Now I'm just going to hit Okay, output to layer mask. And I'm going to turn this off, control eye on the background layer and just remove this part of her hand with a soft round brush and the color black. So just lightly remove her dress, her arm, actually. We also have another part here. We don't need to clean much. The selection was pretty clean, just zoom out and make a selection from the mask layer. Control, click once, solid color. Let's give it a pink color. Change the blend mode of your color layer to either color or overlay depends on your image and object. And let me bring back our model. I'm not liking this color. After seeing it with the model, I feel like it needs to be a little darker. Maybe I'll choose a different color. Oh, I like this. I'll stick with this, it okay. And now I have changed the color of her dress. Let me actually choose overlay because we have shadows and you can see the light reflection overlay works better on this object, her dress, and I'll just go with something like this. Alright. We change the color of her dress just like that. Now we have one final image to change the color off. I have this final image that I'm going to change the color of her coat. I chose this image because it has patterns and I wanted to show you guys that it doesn't matter if it's not a flat solid object. Duplicate our layer like we have and go to select and mask on your layer. Then using the minus start from actually the plus sorry, we were doing the opposite, I forgot. You can see it slowly finding the areas. Looks like a contagious thing. It's processing. Make your brush bigger if you see a spot like that. Go in with the Zoom tool and we need to bring back her sleeve. Again, quick selection, minus and just click once on the areas until Photoshop detects the area itself. Come up here and we have this sleeve as well. We will clean that. Let's see if we can do it here. So what did it. Now we have her shirt. We don't want to change the color of her shirt. Go with the minus or the plus. I keep going for the opposite. Single click on her shirt. Whoops. Control Z. We'll just do that with a smaller brush and just Okay, it does not work that well. Let me try single clicking. Okay, we'll just do it with a brush. It's fine. It okay. I'll put two layer mask. Zoom out. Turn off layer zero, invert your layer mask, and then go with the color black and just start painting away her shirt. First, I'm going to bring back this part of her color. I will actually use a hard round, maybe add a little bit of remove some of the hardness, and the color black to remove. I'm just going to remove all of those areas. Going to do that, clean everything out, remove parts of her hair, and then I'll be right back. So we will do the exact same thing. Control, press on your mask layer, adjustments, solid color, choose any color you like. Let's stick with yellow, and then go to overlay. And if you look at color, just see which one looks better. I think color looks better for me. Just going to dabble click on the color to just make more adjustments. Maybe I want it to be I'm not liking the vibrant yellow, but let me see how it will look on her. It doesn't look bad, actually. Let's just stick with the yellow. Now I want to change the color of her laptop, her pen, and her k will be a little difficult. Let's just do her laptop and her pen. It's like she's setting her workspace is matching with her outfit. She is a really cool flex. Just go make another ayer. This is easy. You just go in with the quick selection tool and just select the laptop. You don't need to go in the mask thing that we went to. A couple of times hit Q if you need to bring in anything that Photoshop is not detecting. Again, it doesn't have to be perfect because the blend modes do a great job at blending things in. Mask it out and then make a selection at Control and then press on that one, go to color fill, and we are going to I'm just going to double click on the first image, copy the code you see here, and then I'll copy that onto the laptop back. And then we'll just change the blend mode to color. It's the exact same color, but it's not looking the same. I think it's because of different surfaces and colors. But I will just try to change it up a bit so I can at least try to make it look like that. Then we're just going to hit okay. All right. Let's name the layers so we don't confuse anything. This is laptop, this is code. And finally, we have her Pen, go to the pen, and this is easy too. Just to make another copy of your layer zero and get the quick selection tool and we can just easily select the areas using the tool. Here, because everything is blurred out, you should use the Q and the brushes to bring in parts of the pen. I'm going to lower the. Actually, that's a brush. Never mind. Is this the right part of the pen? I can't quite tell. Let me make my brush smaller. We'll just clean it later if needed, once we chose our color. I unders the top part. We don't need to change that. All right, and Q again and then make a layer mask. Keep it that way. Again, hit Control, press once to make a selection, go to solid color, and it's going to keep the same color. Let's paste the code and then go to Let's go to so you can see that actually color is better. Go to color. Zoom out. Let's dabble click to try to match the code and the laptop. Alright. And there we have it. We have made her look as if she has matching, laptop, pen, and coat. I really cool. Let's name this pen. Now let's look at it before and after. Group everything together. This was the before, this is the after. Previously, she had pink, now she has yellow. That was how you can change different objects and different materials using Photoshop, which is some few selections, masking and blending modes. It's really easy, and it will be something that you will need to do quite a lot. Sometimes, like we said, you have the perfect image, but the models dress is not quite matching with the background, so you will have to Photoshop it. Or maybe a a sunglasses frame or a glass frame is not matching with the models shoe. Doesn't matter, anything you like. You can easily just change the color using the techniques we learned today as you saw, it was really simple and you will be using this a lot. I'll see you guys in the next lessons. 31. Introduction to Composition Smart Tools: Before we move on to how we can make complex compositions, it's important to know how some of the basic functions of the tools are. So in this lesson, we're just going to learn how to use the tools, and in the next one, we'll apply them to a bigger project. So the first tool I want you guys to be introduced to is the Adjustment Brush tool. Now, this is in the latest versions of Photoshop. So if you're not seeing this, it may be because you have an older version. So you can just update it by going into Photoshop about Photoshop and you can see that this is the version I have. The adjustment brush tool basically functions the same way as if you made an adjustment in your layers panel, made a mask and start brushing with the wider black brush. They simplified that with this brush. And when I select it, we can see right away that we have some of our familiar adjustments right over here. These are the exact same things than if you were to click here or over here. This list of adjustments is now put over here. Now, whatever you choose, say I choose hue and saturation, I get to choose a minus or plus brush, the sides of my brush. Select the subjects to make it easier and show an overlay. So before I do anything, let's go ahead and apply some hue and saturation. Let's say this is what I want to do. Because of the overlay, we're seeing exactly where I'm painting, so that's not the final effect. Let me just turn this off. And then this property panel starts. So instead of making an adjustment here, say, I want to do a levels, doing that, then getting my brush, switching between the two in the layer mask, this has automated that process. So now I have a hue and saturation. I can change it up with the slider here. Then if I'm not happy with something, I can use the minus to remove. I can also adjust the flow of my brush to make minor adjustments. So that's how the adjustment brush works. So it's not that new because we have been using the same functionality with different tools. Now the next tool that I want to show you is a Sky Replacement tool. This is Photoshop's automated tool that detects the sky in your image and then gives you some options to replace it with. So I have this image right here, which is in your resource pack, unlock that layer, and I don't really have to select anything. All I have to do is go to edit Sky Replacement. This is the current sky that it replaced for me. This is a before, after. If I click this drop down menu, I can see all the other skis that I have available to me. And some of these guys are things that I added by clicking the plus and then just importing it into Photoshop. But there's already a lot of options for us to choose from. And they are categorized based on the way you look. All you do is click once on it, and then Photoshop will not only add it to your sky after detecting it, but it'll also shift the rest of your image to make it look natural. Options we have down here are shift edge, which is when you get to work around with the edge of your sky. If you wanted to go further in or further out, that's what we do. Set it back to zero, fade the edges. Do we want to soften out the way the edges look. By default, it's on 50. Now, sky adjustment, you can work with the brightness of it. And the temperature. And you can see it's also shifting the rest of my image as well. You can also scale the sky inwards or outwards, then flip it if you wanted to. We have some foreground adjustments, which is the rest of the image. You can adjust the lighting. It's currently on multiply, but you can put it on screen to make it brighter. We have the edge lighting. The edges here. And then color adjustment. Then we get to decide where this new image is going to output to. We have new layers or a duplicated layer. There's also some other tools to fine tune your adjustments. This is our familiar brush tool where I get to introduce parts of the sky back to the image in a more precise manner. You can do addition, subtraction, and then change the size of your brush right over here. Mode is not overlay by default, but for whatever reason, you can just change it into something else. We have our hand tool, as always, and the Zoom tool. So that's pretty much it in terms of the Sky Replacement tool. I'm going to hit Cancel to revert my changes. And the last tool that I want to introduce you guys to is the generative film. If you worked with any generative AI tools out there, this should be pretty familiar to you. But you can find it down here on the latest version of Photoshop. If you click it once, you get this panel. And now you get to type in the prompt that you want to show up on your screen. So I will say bird. Then you get to decide the content type. Is it an art form, photography? Mine will be a photo because I have a photo here. You can choose an effect, which I will not because these are mostly for illustrations. You can add a reference image for your style. So I'll go with something realistic and then composition. Once you choose an image, you can replace it or delete it out, and then this will revert everything back to the default. It generate once you're done, and then your options, the variations will show up down here in properties. There is my bird. It's a little too big, but you can see how pretty high quality that is. If I wanted more variations of one of them, I can go to the three dots, generate similar. There are three other variations of my bird. We also have the remove background, which Photoshop will do automatically. There it is. Now I just have a bird. And this is outputted in a separate layer. Going back to the generated film, you can always get back here by going down. Look at some of the prompt inspirations. Like, if I click on this, I get to see what took to make this image. And then the prompt is a really important way that you're going to get good results. So you can't just write type in bird a lot of times. You have to write details, more adjective, so you get a better result. We'll take a look at that in the next lesson, but that's generally how you use this tool. There's also the option for you to add smaller adjustments. I'm going to delete that, get my Lasso tool and then maybe grab this area. Now, you can see when I let go, generated fill will show up, but this time it's only going to be within the marching ants. I'm going to type in flying birds. It generates. And once again, I'm going to have variations to choose from. I could generate similar, give feedback and just fill up my image. All right, so that's the first choice, second choice, third choice. Now, whatever you like, you can blend it in better because it's a separate layer. So I'm going to hit it, yes. And then everything that's generated by AI has this icon in the corner, so you can tell the difference between your layers. And when you go over here, we do have some other options. So you can modify the selection, invert it, create a mask, fill the selection, or create a new adjustment layer for it. There's some other tools as well, and we can just deselect and be done with it. So those were some introductions to these tools. In the next lesson, we're going to put them to use and make some cool compositions with it. M. 32. Compositions: In today's lesson, we're going to take this image, replace the background, fine tune the lighthouse over there, and just turn this into a whole new composition. Now, the definition of composition is when you put different elements together to form one image. In Photoshop, you can do it in many ways. You can combine two images, or you could use their generative fill feature, generative images to create images via AI and blend those in. Whichever method you want to go for, you can go ahead and do that. But in today's lesson, we're going to focus on the generative AI feature and the other tools that we looked at in the previous lesson. Download this image from the resource pack, import it, and let's go ahead and get started. So first of all, before I begin any sort of composition, I need to make sure that my image is ready to be built up on. When I zoom in on the lighthouse, you can see that it's pretty blurry. So let's go ahead and fix that. I have my layers panel here. We can start by duplicating Commander Control J. Call this detail. Actually, let's call it base. Our base layer, we're going to convert it into a smart object and then add on a sharpen filter. So smart sharpen, that on, and we're going to choose a low radius and simply increase the amount until it's good to go. Once you're done, hit okay, and now it's a lot better. If this is too intense for you, you can always double click to go back in here. Another thing you can do is go to this tool, this icon right here. Double click. And this is just going to deal with the blending of this filter, so not of the whole layer. And we can also change the blend mode for anything else. I'm going to reduce the opacity to like 66%, then hit Okay. So my layer's opacity and fill is still 100. That was just for smart sharpen. All right, so that's in terms of sharpening. Now, my image is a little tilted. If you look at the horizon right there, it's a little bit tilted towards the right. So what I'm going to do is go to my crop tool and use the straighten feature. So click it once and then you're going to get this on your cursor. Simply click and drag from one end of that straight line till the end. You can see we have a 0.5 rotation. When I let go, it straightens it for me and I could just hit the checkmark. That's just a quick fix. There we go. Another thing we can do is zoom in on that lighthouse because that's our main subject, we could also push it towards the right to not only have it more focus, but get rid of this area. So what I'm going to do is use Photoshops generative expand once on the crop tool until you see the borders here, and I'm just going to shift this to the right. I want my lighthouse situated right here, so use those guidelines. And then when you're done, generative expand, expand background. The entry key, and let's see what happens. So now my background has been expanded. You can see did a pretty good job with the stones over here. It's pretty consistent. It did kind of mess up our straightened feature. We could have done that after this, but no worries. We can just click this again, find that horizon. So it's like off by 0.1. Click that. The reason why it's taking a little longer is because of our smart sharpen that we did earlier. If you reverse the process, do your cropping, and then sharpen the image, you will not run into this. Okay. So everything looks good right now. What I do want to change is the look of these branches on the sides. First of all, we're getting a little bit of a white space. So I'm going to crop it one more time so that there are no white spaces in my image. Can actually set a ratio to make sure everything looks good. So let's do a 16 by nine. Hit the checkmark once we're done. All right. Now, let's grab our Lasso tool. And again, using the generative AI feature, I could get rid of things. So with the Lasso tool on that base layer, let's actually merge all three. Before we do that, right click, merge layers or Command E, and then we can let's first leave it like that. I'll call this base. If you wanted to adjust your sharpening features, your sliders, then be sure to duplicate that layer, but I'm pretty happy with the way it looks. So that's why I got rid of that smart object feature. On base using Lasso, I'm going to focus on one of these branches, roughly selected, let go, generated fill, remove wranch then hit Enter. Now it's going to attempt to remove it and give me a bunch of options. You can not only use it to add things, but to remove things as well. There are a bunch of other ways to remove things in Photoshop. We have the content aware. We have the fill, we have the cloning. But this is the fastest way. You can see it gave me a pretty good result. If for some reason I wanted different variations, I can choose one. Once I'm happy with one of them, you can upscale it using this icon on the left, just so that it fits well with the rest of the image. I go in my layers, you can see, it's the removed branch layer. Going back to base, I will do the same thing for this guy. This will be a little bit difficult because of this middleman over here, but nonetheless, we're going to try. So when I right click on my selection, this is the part that I was talking about. If you hit fill, we have the option of filling it with a color. The pattern or content aware, which is going to use the content around the selection to fill in that area for you. There's also filling in the stroke, content aware fill, which is just with the image itself, generated fill, which is what we've been using so far and then delete and fill selection. So I'll do the generated fill again, remove French. And there we go. I got some options here. I'll go with this one, upscale it. If you're not happy with any of your variations, just generate more. And there we have it. So now I don't have any branches, and my image has been expanded. Merge these together with Command or Control E, and I'll call this base one more time. Alright, let's go to Edit and replace our Sky. I'm going to use one of Photoshop's default sunset features, Sunset skies, but you can go ahead and upload your own whatever you're most comfortable with. Gonna try this one first. It looks pretty cool. Let's try this. That one looks much better. So I'm just going to hit. First, I'm going to export it because at some point, we need to have it reflected on the water. But I think this looks much better. Now, in terms of the edge, it's a little too faded. I'm going to lower this to around 35. And then let's shift it a little inwards towards the left, so it brings back some of the original sky, and this can help blend out everything. And in this case, let's actually fade it a little more. Okay. We've got brightness. Let's make it a little darker, a little bit more yellow. Scale wise, maybe a little bit because we got some of the mountain in our image, but not a crazy amount. Okay. And then foreground adjustments, which is our original image, we can work with the lighting. The edge is fine. Color wise, we do want it to be more intense. So that pinkish Sorry, the orange. We want to reflect it. Once we're done, we can hit. Okay. And now you can see it gave me this whole group of auto adjusted colors with me just pressing a few buttons. So that's a pretty good sky. Now, let's duplicate the same thing, Commander Control J on the sky and then just hit Commander Control Flip this over. Oh, that's actually going to merge it first. So it's easier to work with. Commander Control flip vertically, so I can create some sort of reflection. Lower the opacity, and then we're just going to right click to perspective. I'm holding down shift when I drag the corners so both corners move. Hit the checkmark once we're done. Let's bring back the opacity and simply change the blend mode. Still lighten. And then using the gradient tool. It's right over here, have it black to white, which you can find, I believe in the basics black to white, have it to gradient and then linear gradient a mask first and then do that. From the top to bottom. Alright, and I can't really see where the horizon is, so I'm just going to hit Command or Control R to bring the rulers. Just track a ruler for here so that I can know where I need to stop my gradient effect. Okay, so I get to move this a little lower let's hide this for a second and grab our subject. In this case, the object, and I'm going to click and drag with the lasso, change it up here because I want all of this and not just a lighthouse. All right, let's hit Commander Control J. Bring this above this so that we're not excluding it in any way. G to hit Commander Control T and have the start matched with the horizon here. That's much better. All we miss the spot. And if you missed, like, a little bit here, you can just use your black brush on the layer mask. Hard round, click once on one end, hold down Shift, and just go around. And that's going to give you a clean cut between the two. Okay. Now let's go back to the blending options. Then use the underlying layer sliders, hold down alter option, click on on this triangle to split it and just move it down. Like so. And another thing we can do is just use our brush to exclude this area. With a color black and a low fill. Let's get it a little bigger and soft brown. Something like that looks better. I'll reintroduce the edge here with white and a low flow just so it looks a little better. Oh Now, go back to base, and I'm going to convert this to a smart object. Now we're going to begin defining the water a little more. It's pretty faded. So let's start with adjustment Bush too. Then go over to strike curves. So like curves, go to properties, and I'm going to introduce the area first. So basically, any area where the water is I want it to be pretty dark. The flow is set to one, let's increase that. Oops. There we go. Going over the edge here. Pretty good. Next, I want to add a hue and saturation brush. So go down here, saturation. I'm not seeing much of the water color. So I'm just going to paint that area first. And then using the hue, try to grab a color that not only matches the sky but can also show that this is water. Increase that saturation. Let's make it a little dark. Cool. All right. Now, the house is looking a little bit of out of the curve, like left out. I'll also convert this to a smart object and then using the adjustment brush, I'll do the same thing. First let's start with the curves, paint over that. Alter uption clip it to the house only, and lower the brightness. Let's use any of her blurring since it's a small area. It shouldn't be that intense to begin with. So maybe 28.9 for my case, that looks better. Okay. So I have all of these. I have change of Sky. We've added the reflection. I'm still going to do some overall edits once I introduce the smaller elements with the generative AI feature. So let's grab our Lassa tool and first of all, decide what we want in this landscape. I was thinking some fishermen boats maybe in this area. So I'll just grab a large chunk with my Lassa tool. Generative fill, let's call this fisherman fishermen boat. And let's see what we get. So these are the options. We have some people here. Let's see. Oh, that's not a person. I think this one looks the best. So I will upscale this, and then we can have it blend in to its surrounding, which is mostly just making it really dark and softening the edges. So go to the mask that it generates on its own, then use a soft round black brush to clear the edges. My flow is set to 30%. Make sure to leave this ripple effect because it's only expected. Now, on this layer, it's called this lighthouse. I'll start grouping things based on what they are. The lighthouse, these are all the sky. On that same layer, I want to separate the boat from the ripple. Let's grab with our lasso tool. Okay. That looks very good. I'm going to duplicate this. And then on this, which is just a boat, let's clip it onto the boat first. Lower the exposure of the boat a lot. So it looks affected by that sunset. The offset, we can bring it a little bit to the left. And click here and use my arrow keys to make finer adjustments. If there's any gamma, we can fix that, which is those blue things in our case. Okay, so these are the settings I have. I did want the outline of the boat to be a little bit visible, but now I get to clean it up by making a layer mask, my black brush, semi soft round, start cleaning up the edges here. You can see there's some areas poking out. So this right now is my layer. I'm just going to blur this out a little bit because it's not close to our main focus. Photo filter blur, and we can do I think I'll do caution blur have that blurred out a little bit. To finish this off, I'm just going to merge everything and go into my Camera Raw filter. Call this my photo, my Camera Raw filter to just do some final adjustments. It's bringing the entire layers in. We just need to focus on this area. Now altogether, I'm going to lower the exposure, increase the contrast, some highlights. Shadows. Color wise, let's make it more pink, a little bit yellow, add some vibrans then for the effects, we can do a little bit of dehaze, some in the other way. I think that's pretty good. Before, after it's more sunsetting. Once you're done, click Okay. I'm just going to expand this so we can see before and after for this image. Alright, so this is what we have so far. You could go ahead and use the generative fill to add some birds, fine tune some other adjustments, maybe add a person here. But that's just how you get to use Sky Replacement tool, the adjustment brush, and the generative fill to create works like this. In the next lesson, we're going to look at how to change color within Photoshop and how we can add more designs onto a piece of fabric. So I'll see you guys in the next lesson. Mm hm. 33. Text & Surfaces : In this lesson, we're going to try to put text onto different surfaces and we're going to use blend modes and the right fonts and the right positioning and perspective to make it look as if that text was either painted on this brick wall or maybe tattooed onto someone's skin. Yeah, if you want to put a message on your social media, it's a creative way to do that. It also makes it look as if you actually paid someone to spray paint your message. But in reality, it was just Photoshop. We have different surfaces. We have skin. We're going to try to put a tattoo on this person's arm. We have a corner, you can see here, a brick corner, so it's a textured wall. We have a straight brick wall, which is the easiest one, we're going to start with this. We have a faint brick wall which we need to blur out to make it blending and we have another corner, but this time it's not textured. It's just a regular wall. I'm going to start with the easiest one, which is this. It's as simple as you don't need to actually duplicate a layer here because we're not going to touch the original layer that much. Even if we did, we'll just do it then. Go on your text tool, horizontal type tool, click once, adjust the size that's way too small. I'm going to, I guess this much we'll do, change the color, change the font because this is not looking like something you would put on a brick wall. Again, you want to make sure everything makes sense, so you're choosing the right font for your wall graffiti. Let's see, does this have a bold option that we can use? No. We just want bold stuff on this let's see on this area. I think this was nice. It says already bold. Let me try searching for bold. See what we have. Can't really see. Just search it here. Bold. Going to scroll through. I think this one was the best one. What is this? What is this? This is too wide, so I'm just going to go with this. I like that the letters are close to each other. I can adjust the weight and the width if I want to. I'm going to make it a little larger. Let's start with our text. I'll actually make it black for starters and then hit Control T because I want multiple lines, and this is way too much. I'm going to start with 100, we may change that later on. What will my text be? I'll put B Now we need to increase our size. Control get larger, go to 250, see if that's okay. I still not, but we'll change it after B happy. Control A, go back to the Control T to bring the properties or just go in here and make this larger until you're happy with it because seven or five will do, make it a little bigger. And increase the space again. Let's try to make it start from one corner. Be happy, be grateful. Or actually try to make it look nice, be happy and smile. Now it's matching. This is my text, really simple. I'm going to hit Okay, and then go into Move Tool, Control T, and try to move it to the center. If you look at the pink lines, you can see they're snapping in place, I can just bring some rulers and if I want it snaps into place. Once I bring it to the center, let me also do this here. I'm going to look at the white stuff, the white lines and make sure it aligned perfectly. Use your arrow keys to move them up and down, just a slight bit and we're just going to bring it away because our middle line is not exactly in the center. There we go. That's the center. It's like it because we have so many images open and hit the check mark once you're finished. I have my text really simple. Now what I need to do is to change the blend mode, go to the blend mode and put it on overlay. You also try multiply this overlay will do. And there it looks like a faint text. I'm going to actually move it here, can change it and you can see the overlay. It matches with the color in the background. This looks really realistic because normally a really solid vibrant black will not be on such a brick wall. You can see how it perfectly mimics the texture and it left the white lines in between. Really simple, I added a text. Let me just change it to center. Anything I like this better. Going to bring it back in the center. Just like that, I'm just going to make it a little bigger. I was able to put a message that I want onto a textured surface. Just a few clicks, didn't even take that long. Let me just hit Enter or the checkmark. I can again change the color if I need to. Let me choose red, if you want, choose purple, blue, pink. I will choose maybe a purple, a darker one. Maybe this blue will do just so that it looks more vibrant. There is our text before and after. Now whatever adjustments I do onto my brick wall, make a cradian map. Or actually not a gradient map. A curves layer to maybe reduce the size. I have to bring this on top actually. The text does not change. You can see that it still has the texture, still has the white lines. If we zoom in, you can see that nothing has changed. This was a really simple surface. It didn't even take that long. I created a new selection. Now we're going to move on to harder text. Let's start with this. I'm going to because I want the same text, I'm going to go on this layer, click and drag it and bring it onto this canvas. Then I'm going to just delete this so it doesn't lag it much as much. No. Because this is on overlay, you can see it even went on her face. Where's her text? Control Z. If you zoom in, you can see it went on her face like a paint, but that's not what we're here for. We wanted this to be a faint text in the background. We also need to blur it out because the subject is clearly our model here. Going to minimize it and bring it to this area. I'm going to use my arrow keys. To bring it behind our models head, this way, when you interact with the original image, it looks a lot more natural than if it were to just be a separate text away from the subject. As you can see, I'm bringing the S in her hair. I later need to delete that the parts that are going on her hair to make it look like she is sitting in front of our text. Hit Enter once you're finished. Now on the Be happy and smile, I'm going to create a mask layer. Go to brush the color black, soft round, zoom in and just delete our text. Can see that it's all over her hair. Go here, delete this. W you bring back to color white. Whoops, no, not the text. I'm trying to make the There it is. Trying to make the brush white and just make it make sense. There we are. Now it's as if her hair is in front of the text. Because our layer is on overlay our blending mode, you can see that it blended in with the light streaks. But what we need to do is make it blurt. And how we can do that is just by going on to first, I'm going to rasurize my layer. Going to copy it so we have this for our other canvases. Just bring it below. We don't need that. I'm going to rasterize this layer. Right click. First I'm going to apply right click on DMsk layer. Apply, we can't apply. Asturize the layer. Click asturize type, and now I can go on the mask layer, apply layer mask. Now this is a regular layer and I cannot change the font anymore, so make sure you're done choosing your font, your size, your color and then come to rasturize it. Now I can go in filter, blur. Let's go to first change it to a Smart Object. I keep forgetting, right click, Convert to Smart Object. Like we mentioned, this allows us to come back and change the values of whatever filter we put on. Filter, come to blur. Let's try Gaussian blur. I will have to look over and see which one looks better on our thing. I'm going to that's too much. I want the text to be readable. I'm going to look at her pillow and try to match the blurredness. I guess that's the same hit, going to zoom in to make sure. Where is it? I would say they're equally blurred out. Now I can just reduce the opacity. To make it less intense and make it blend in more with the soft look that we have on our image. There it is. We have a text that looks nice. It makes sense with our image. It makes it look like she had this text on her wall, and we match the softness and the blurred of the image. If you guys did want to change the color, you can just so click on that layer. Our Asurized type layer until you see the layer style, go to color overlay, go on it, and now you can change the text color to whatever you want. I guess I'll go with a similar orange. I just use went from here to here to choose the same color, it makes sense. Again, always try to match the environment of the image to make it match more. So this lady would have to when she was decorating her room and even her spray paint graffiti, she would want it to match with the bed in her room. There it is. I another simple way to put it on a blurred image on a blurred part of an image. Right now, let's go to that layer that we had. I'm going to delete the layer mask. Let's see which one should we go to next. Which one is less hard. I guess this is less hard. But for this, we wouldn't use the same text. So we want a tattoo on, this will be harder than the rest. Let's go to here. Going to go on the text layer, bring it back, click and drag it onto this canvas now. Then we're going to delete this because we no longer need it. Control T to adjust the size. Again, we want to make sure everything makes sense. Now for this because we have a a corner. I guess a text like this wouldn't make sense. Let me just delete this and try to make it on a long sentence. Oops, be happy. And smile. Instead of it being like this, I made it horizontal because we have a long space and we're going to mimic that. Choose your color. Again, I'm going to use a color similar to the surrounding Control A, going to go to the eyedropper tool and just get some of the colors going to sample some colors from around the image, see, which one works better. I'm going to go to the text tool, click on this Control A. Let me try this. It's barely visible. This one. This is better, okay. Now we have a text layer. Make sure you're always on overlay. Now what we need to do is use vanishing point to make this text look like it was drawn within the corner. We cannot use transform. We have to use a new tool called the vanishing point. Now we're going to make our vanishing point, create a new layer on top of layer zero. Let's call its vanishing point. On the vanishing point layer, go to vanishing point right here. Now on this Create plane tool, we're going to outline the wall that we see right here. I'm going to start from the top, bring it down to the bottom. We're going to miss the rug, and then go to you think the middle would be and then just bring the other part up. We can change this if necessary, we will bring it here. Now we want to bring the same thing here because it's a corner. Hold down Control or command if you're on neck. Click on this point on this point and just click and drag it until it meets the end. Do worry the selection is still there, move the bottom, let go of the control. Just click and drag until it's there. Now we have two selections that outline the vanishing point of our wall, hit Okay once you're finished. Now on our B happy and smile layer, I'm going to hold down Control and press on the layer and then we're going to copy the surrounding, hit Control C to copy or go to edit, copy, Control D to Dislate, go back to the vanishing point layer, filter vanishing point. Once you're here, hit Control V to paste and just drag it and as you can see, it mimics the vanishing point. Come back here and there we are. I'm going to hit once I'm finished. I'm going to delete this layer because we don't need it anymore and I can move it if I need to. Let's just lower the opacity and we're going to change the blend mode to overlay. I enter, then I'll need to bring back the opacity. I'll bring it a bit up because there's this thing here. Although it would be nice for it to interact. And there is our vanishing point. We added a text in a corner. It makes complete sense. Our layer is overlay, so it's matching well two. That was how you can add it to a corner. But although because this is not a textured wall, we're not seeing any texture, I can just leave it on normal. Or let me see. You can leave it on multiply and not normal. Now I can lower the opacity as much as I need, maybe 41%. But if it was a textured wall, which we'll see another example, we will need to change our blend mode to overlay. This is it for this image, let's move on to our next one, which is our brick wall which has texture. Unfortunately, I deleted my text layer. Let me delete vanishing point. Go my history. Let's see. Edit type layer. Actually, we'll just type it again. No big deal. Close this. You don't need this. Let me type in. We already have the settings. All I need to do is just write be happy and smile. Hit the checkmark Control T to adjust the size. It's laggy, bring it to an appropriate place. Look for this one, similar to the previous image, we need to make it longer so it looks better. Going to hit backspace here, hit the checkmark it's all in one sentence. Then I'll make it smaller and make it a little bit more smaller, a little too big. We have a small sentence and we're going to use vanishing point to make it look like I'll put it in the middle. It was actually painted on the wall. Hit the checkmark once you're finished. Right click on the text layer, Convert to Smart Object. There we are. Oh, I'm sorry, I want to rasterize the layer. Right click. Go to Rasterize Layer, not Smart Object. Unlock your background layer, create a layer in between, calling this vanishing point. On the vanishing point layer, we're going to do the same. Filter vanishing point with the plane. You will be on this when you come in. I'm going to start from the edge here. Click once there, drag it down to the other end, and then just connect the edges to one another. Then hold down Control, get the middle and just click and drag to the edge. There we are. Now we have two vanishing points. I mean, one vanishing point, which is here. I okay once you're done. Go on the text layer, hold down Control, press once on the thing until you see this. Then we're going to Control C or go to edit copy, Control D to deselect, go back to vanishing point, go to filter, vanishing point, and Control V to paste our text, as you can see, as you can see, it's not exactly correct because the corner in this image is not that visible. So Photoshop, as you can see, it's confused. So using a vanishing point will be a little difficult for this particular image, and I can't change the sides either. Let's try again. Go to vanishing point in the filter. Wait. I turn this layer back on fine, start from a corner and meet the edges until you reach the vanishing point, okay. Then hold control to just expand it or actually cool down alt. Let me select the first, expand it and the angle is not right. Let's try to make the angle straight. I'm going to, I'm just going to leave it like that. We have two selections. I'm just going to leave it like this. We have two different selections. This is like that. Make sure you change the angle, okay. Go on your text layer, control, select it until you see these. Go to edit, copy, and then deselect by holding down Control and pressing D. Go to the vanishing point layer, again, filter vanishing point. With the edit plane tool, hit Control B to copy it and on the thing. All right. Then I'll go with the edit plane and go on this one. I feel like the angle is not right. I think this is better. Yeah, I think this will do. Okay. Let me turn that layer off and there we are. We have whoops ring the vanishing point. I forgot to put the text. I'm going to do that again. Copy it. Filter vanishing point. All right. And then Control V. Make sure you make your selection here and not in the outside of the vanishing point panel. Go to this, and here we can just kind of work with the angle a little. Okay. Go on D. I think that's good, hit Okay. There is our text, but you actually delete the text layer. We don't need it anymore. There is my text. It's a little bit of a corner. That's why the edges is not that noticeable as our first one. But you can see that it bends this way. Now our final surface, we forgot to make it overlay. Change the blend mode to overlay and you can see that it mimics the bricks and the opacity is right. You can always dabble, click on the layer to get the layers out, go to color overlay and just change the color if you want. You get a dark red and make the blend mode overlay as well, okay. Now it's more noticeable. You can even change the opacity. All right. Now let's go to our final image. Our final image is adding a text onto someone's skin, and that would be in the form of a tattoo. We're going to mimic a tattoo style onto this person's skin. The first thing you need to do just unlock your background layer. Going to name these because this process is going to be a little bit different than the other ones we've seen. It's not as easy. I'm going to first create a text. Just click anywhere. Let's write power. Control A, let's change the font to a font that you would normally see on tattoos. Want to make sure your tattoos make sense in terms of you're trying to mimic that tattoo, you need to make it look like it is someone's tattoo. I'm just looking through to find a font that could be used for a tattoo. I'm just going to choose Bernard empty condensed. It looks good, it looks good with the text, what the text is saying, and it's already bold, so I'm not going to change. I mean, I don't even have the option. There's my text at the checkmark. We're going to start with the color black, going to zoom in and we need to rotate it and scale it according to the person's arm. Control I'm first going to rotate my text Yeah, there we are. We also need to make it bigger because the text would normally go around the arm, it needs to be bigger than the actual arm. As you can see, the P is going out of shape and so is the R. I'm going to use my arrow keys to make a more precise selection. A more precise placement, that is. Once I'm done, I'm going to hit Okay. All right. There's my text. It has the right font and all of that. Now we need to warp our text to match the arc that it would have. Just go on this T with a curve under it and then go to this arc. It's both below and above and adjust the bend according to the person's arm. 12 is good, can work with a horizontal vertical. Actually, we're not going to do it here, arc it according to the person's arm. There it is, and now we need to adjust the letters. If you look at a tattoo, when the letters get farther away from you, they get smaller because of perspective and we need to mimic that. We're going to grab what is going to be minimized when we look at it, which is the PO and the R. Just grab the PO, we'll start there and then go to this character panel. If you're not seeing this, you can either hit Control T with your letter selected or just go to Window and then bring in character. All right. I already have it. Going to go in here and we need to first change the space in between the two text because it's getting smaller and smaller as we go. Let's start with negative ten. I guess that's not good enough. Let's go for negative 25. Also let's reduce the thickness of the two letters. Now we get to move it in a corner. Because it doesn't continue to the second curve, we don't really need to work with the R that much, but after we did the PO, we need to add more effects to the P because the P is also getting further away. That's the properties. We need to make this smaller. The P needs to be tiny, and that's way too much. Let's go negative 30. I was talking about this negative 30. As for this, let's see, what do we put for this guy 49. I guess that will do. Okay. Now once we zoom out, we can see whether the positioning makes sense. Just hit Okay if it does. I believe that D you also needs to be made smaller. I'm going to go for 55, made it a little smaller. As for the space, let's go for negative five. As you can see, it's gradually becoming smaller. If you have a longer text, you need to do the same thing for the other side. But because we have a short word, you don't really need to because there's nothing going on here. And I'm going to bring it let me zoom in. I'm going to bring it quite close to the edge, leaving some parts out because we're going to mask that later. There is a text. It's placed nicely, but it's not blending in with the person's skin. I'm actually going to work with the Warp a little more. I'm going to go back to the text tool and just go on the Warp text. And we can actually mimic that by adding five to the horizontal distortion. As for the bend, I feel like it should be bent the opposite way. You hit Okay, Zoom out. I think that makes more sense. Now we can start blending it in to the skin. The first thing we need to do after scaling, after warping and changing the characters is to rasterize our type. Right, click on the type, go to Rasterize type. Just like that. Now, power is our text name, and it's also our layer name. Now we need to duplicate our background layer. Bring it down to the plus or just hit Control gene. I'm going to leave the name as it is so it's not as confusing. Then we're going to drag this on top of our power text. Now on our background copy, we're going to go to filter sharpen smart sharpen. Going to wait for the panel and I'm going to work with how much I want the amount to be. I can't quite see. Let me zoom out here. I'm going to pay attention to the arm only. We don't really care about the rest. Increase. We're trying to enhance the texture of the person's skin. That's way too much. Just go ahead and play around with it until you feel like it's in the right area. Because this is smart sharpen, it's removing the blend blur, so it's not sharpening the areas that are blur, which is why it's smart. That's not even what we want. We don't want this area to be sharpened because then we will have to come back to it and work with that mask it out and stuff. I'm going to keep it that way, hit Okay once you're finished. Now we are going to wait for this. Now we want to remove the color because like we said, we just want the texture and the color is going to get in the way of us putting that on top of our text layer. I need to remove all of that color just to show you guys what happened. This is the before. Let me turn off the text layer. This is without the smart sharpen. This is with the sharpen. I don't know if you guys can see, but the texture on the skin is a lot more. It's arm hair, which is great. Let me turn this back on. Background copy, go to image adjustments and then come down to desaturate. It's going to remove all the color. It's going to make it black and white. So now I'm going to name this black and white. Black and white, and we are going to change the levels to add more contrast. We want that texture to be as visible as we can. Again, on the same black and white layer, image adjustments come down to levels there it is, levels, bring this here so you can see, we're going to add more contrast by bringing the left side inwards and the right side inwards. Now we are starting to see all of that texture. Can even work with it more if you want. All depends on your image. I'm going to leave it here, it okay once you're finished and now we have to save this as its own project. What that means is that we are going to first let's say, I'm going to create a new file new. Just leave the same thing doesn't really matter. Oops, not this way too bad. We are going to just do this right click and then go to Export as Actually, let's not do that, save it as an image or we can just copy it actually. Let me open the same image again in a different or a similar sized image. I'll just do this. It has a similar size, and I'm just going to click and drag black and white to copy it onto this canvas. Just bring it in. Delete our background layer. You can crop this too, bring the edge in. Now we're going to save this as its own Photoshop document. That's why we created a new file to go file, save as, because I want to choose a location, save it on your computer because we're not going to need this that much, let's name it map because we're going to use it as a map. It's save. All right. Now we have this, close off. We don't need it. Now that we have our map, we are going to first hide our black and white layer. Now that we hit our black and white layer, we're going to go on our power layer, which we just let's name this text. On your text layer, you're going to displace. That means go to filter, then come down to distort and then displace. Horizontal scale, you can change it. I'll go with seven on each one, stretch to fit, repeat edge pixels, hit Okay, it's going to ask you to choose a map, and we named this map. Open that weights and there it is. G zoom in, I can't really see. You're seeing the effect. It's a weird thing. I think it's way too much. I'm going to hit Control do the same thing, filter. Where is it distort displace. Let's try nine. See how that works. Again, this all depends on your image, give it different options and see which one works better on your text and your thing. I think we'll go with maybe six. Filter, distort, display, go for six on each one, hit okay, bring in the map dot PSD. I think that's better. Now we have our map. We are going to group the text layer on the text layer head the group, name it text group and make sure this guys in the text group. It needs to be a bit further from this side. Now first before we do anything else, we're going to mask the text group, use the black brush, soft front to remove anything extra. Zoom in and just remove all the extra bits that are coming out of the skin, especially the effect that is doing that. Want to reduce the opacity so I can see. These are his hairs, it looks like his skin. Let's see how it looks from afar. We need to go with a white brush and bring back some of that stuff. It's not supposed to be straight because it's skin. We're trying to make it look as natural as possible. All right. We now have our text that is perfect for the skin. Now once we're done, we're going to again duplicate our background layer, Control G, background copy, bring it on top of the text group. Now the text will be gone because it's on top of the text group. We're also going to smart sharpen this background copy as well. Filter sharpen smart sharpen. I think I will leave the settings that I did before. Let me just try to make it there. Okay. Now it's sharpened, but now we only want this for our text. We don't want it to be everywhere. We need to do what we've been doing a lot recently, which is altering it and clipping it to our text layer or our extra layer. You could have chosen a shape, a picture. Doesn't matter. We're just trying to mimic the skin onto the text layer, the text group as much as possible. Hold down, click in between the text group and the text. And now we are going to change the hue and saturation. So go on this guy. Go to, let's see. Go to sorry, image adjustments, hue and saturation, bring this to the side, and just lower the lightness. We'd want to make it blue. So you got to change the hue first until you get a blue, increase the saturation. That's too much because tattoos are not exactly that dark, especially if they've been worn out for a while. I'm going to keep this dark blue because we're trying to make it look as realistic as possible, okay. We're going to change the blend mode to where is it darken. I will actually need to change the hue and saturation even more, go to image adjustment, hue and saturation. And hold on. Before I'm going to undo the human saturation part. Go to image adjustment, human saturation, or we could just make something additional. Go in here, then go here in saturation I can come back to this. Clip it to this group, lower the thing, make it blue, increase the saturation. Now let's change the blend mode to darken. All right. And make it darker even. Make this dark into. Let's actually not do that. Keep this normal. I'm just going to merge these two layers. Let's name. We'll name it human saturation. Actually don't mind. I'm just going to change the blend mode and leave it to the dark color. Color is not important the techniques are. I'm just going to clip this black and white layer to the one below it by holding down Alt and click in between. And we're going to change this blend mode to screen and that rhymed at Enter. Now we're going to dabble click on the black and white layer. Double click. There it is. In the blending options, the first thing you guys will see, we're going to make the blending a little gradual because that's just how it is with tattoos. It's not one I forgot to mention. If you want to cut this in half, hold down Alt and then click let go and make the thing more gradual. I guess this will do just nicely. I'll do this a little. You see it's gradual. Hold on toga to make things a little better. Now we are going to it okay. Then we're going to change the opacity to make it normal. 38% will do. Now we are going to go on the text layer, the sky. Double click. I've noticed with tattoos is that they bleed a little onto the skin, so it's not a perfect rough selection, and we need to mimic that go to drop shadow, hit the check mark, make the color black as well. All right. And we are first going to lower the opacity. It's way too much. The angle, I would say, it's good for like 120. The angle hoops. That will click on dropshadow if you accidentally clicked you accidentally hit Enter. And we're going to lower the distance. So we don't want it to be so far away from the actual text and then increase the opacity and add some noise as well. Make it spread or actually don't give it some size, make that. It's not. Just playing around here and seeing which one works better. Lower the noise and lower the opacity. You can also do that even more by going to outer glow. Change the blend mode to normal and can change the opacity if you want. Don't make it white, needs to be black. That's good. Okay. Now we are going to close this layer and see what else I can do to make it better. It's actually looking pretty good. I'm worried about the Human saturation, I think I will maybe, let's see, can we do? No, we can't. I wanted to make it saturated. I will go in the human saturation guide, go to image adjustments, human saturation, and this might not work. We're just trying to see if we can do anything. Oops, is is like this. Clearly, we can't. It's a really faint adjustment. I can, however, go to my text layer and just lower the opacity, 80%. And there's our tattoo. Looks pretty cool. You can work with the opacity even more if you want to. These effects are clipped down to this. So when you're changing the opacity for the text group, you are doing it for everything. Now we have a cool little tattoo on this guy's hand. Let's have a look at what we did. I'm just going to group everything, Control G. This was the before, this is the after. You can see we didn't change anything else. You guys can do this with shapes. You can get the shape tool to maybe draw a circle or triangle. Again, I wouldn't recommend doing it with images because the techniques will be different. You would use this technique for solid shapes, solid text, meaning that if you draw a circle, the shape, the stroke is solid. It's just a flat color. Same thing goes for text. If you're typing something, the filling inside those letters are flat colors too. But with images, you got different colors all at once, you got maybe different textures and all that. This technique will not work well. On other things, I could only work with shapes and text. You can even use a pen tool as long as it's a flat color. Again, before and after, I hope you guys enjoy this lesson and that was how you can add text onto different surfaces. We have tried this and we didn't mention other surfaces such as glass, plastic, cardboard, and all that. That is because we will be getting into those in further lessons where we will do mockups. And we'll learn how to add those images or text onto the mentioned surfaces. But these were just some of the few surfaces for you guys to consider. If you want to maybe give yourself a tattoo in an image, maybe prank your followers, or if you want to just add a text on the wall to make it look like you got graffiti done. So this is it for this lesson. I hope you guys enjoyed it, and I will see you guys in the next one. 34. Restoring Old Portraits: We all have seen old photographs from our grandmothers, grandparents and you can see that they're perfectly good photographs, but they do get some folding lines, maybe a big stain, maybe a part of it is torn. You might have thought to yourself that if this image was in good shape, it would have been a great image of, let's say, my grandfather. Thing about Photoshop is that you can restore old images and bring them back to their perfect form as they were many years ago. Right here, I have this image. I got this from the Internet. And you can see that there's some big folding lines and it has caused a tore in the image. It has separated the colors, remove the first layer. It has also cut through one of his eye, part of his lip, his hat, and we need to restore this image and bring it back to the way it was. For this lesson, I have two images. One is a close up of this man right here and the other one is a portrait of people standing. The difference between the first one and the second one is that this has a overexposed take compared to this. The exposure is fine, but here we have some overexposure. Which we're not going to touch because that's just how the image was taken, but we do have a lot of folding lines. This is what we refer to as folding lines. These lines right here. I can see that unlike the first one, the faces are in good shape. They just have a slight cut on the cheeks and the chin. But we'll get into this after the first one. We also have this stain here. Maybe it's coffee or it burns and we're going to get that out as well. Let's go to the first image. We're going to start with this if you want to do it with your own images, I suggest scanning them. Make sure they're really good quality. The quality really matters because as we said, Photoshop works with pixels and when you have limited pixels, it's really hard for Photoshop to find the right areas when you're trying to use, let's say, the spot healing, the healing brush, the clone tool, and all that. Try to scan it yourself and get a high quality scan of your image. If your image is just overall low quality, it's okay, I will still work. I just went ahead and unlock my layer because now I want to start working with it. As we always said, the golden rule of Photoshop is to always make a copy of your base layer, our base layer being the background layer. We're just going to make a copy. You can either click and hold it down to this plus button right here to make a copy or hold down Control Press J wants to make a copy. Can use either way. We're going to name this base. Just to separate it from our background layer. When we look at this, we see that a lot of the problems are on the subject, but some parts are outside. These lines right here, these little stains and we can easily just use the spot removal to remove those tiny spots, but it will get more difficult as we get to our subject. So I am on my spot healing brush tool, going to adjust my size by holding down Alt and right clicking and then dragging to either side to adjust my size, and left for the sides, up and down for the hardness. Just adjust your brush. Want to make sure that you have a soft round brush. This is the soft round. Let me show. This is soft round, and this is hard round. The thing about hard round, as you mentioned, is that it will leave, let me put one here. I'll leave really sharp edges and it will not look natural. Whereas if we used a let's see, a soft round, see that it's a lot more soft, but we chose the wrong location for it. Generally, you just want to use a soft round brush when you're trying to create new areas, but want them to blend in with the previously existing ones. Let's get rid of the easy parts. I got my spot removal tool, I got my soft round brush. Click on the areas that you're trying to get rid of. These little dots here, we're just going to get rid of them. We have some here. Then we have this folding line here, which is faint compared to the rest. When you have one continuous line, you want to make sure that you're getting all of that line before letting go of your click. What that means is that I have this long line starting from the top and ending at the bottom. I'm going to click and drag all the way keeping the space between the subject and the line. Then I will let go and now it's gone. The difference is if I just did a little bit, it will take forever and you can see that photoshot will just bring back those areas because it's confusing for it. But if I just made one long selection of the line, just make it again. I missed it here. I just go on it a couple of times and it will go. That way, it's easier for Photoshop to understand that it's trying to get rid of the line and not create samples of the line. We got everything out, I got some dots here. We got rid of everything that was next to the subject. Now we got to start working with the subject. I'll just do a quick before and after, this is what we got rid of. Now we have a lot more to do. Again, I recommend starting from the outside and then getting to areas that are not touching the subject yet and then finally getting to the subject. Again, starting with the easier parts like his shirt, and then moving to the hard part like his face. We got rid of the outside. Now we will get rid of the parts right here. It's still on the background, but it does meet the subject. We're going to get rid of those parts just so that everything is easier for us. Now here, instead of using the spot removal tool, which you can, I personally like to use the Clone tool. We'll just get rid of the top parts because you can see that the edge of all of these areas is still the edge of his hat. It's one subject, and we can use a clone tool to clone the edges from here and add it onto here. It looks more natural. Again, holding down Alt and then clicking, going to the right or left to adjust my size. I'm going to choose a large size so I can get the edge of the heat in the middle, get some of the bottom and the top as well. I'll actually make it larger. With the clone tool, we have to give a source. Because without it, it won't do anything because the area to clone has not been defined. We need to define a source point. How we can do that is by holding down Alt or Option on Mac, you will get this bullseye thingy. Click on your source, which is right here and now you can see I'm moving around that area. Because we have a soft round brush, the edges are not as hard and it's easier to blend in. Let me just show you what it would look like with a hard brush. Let's say if I click here, you can see that the edges is really sharp and it does not blend in. Let me do a softer Brush, do you see the difference? The softer one blends in a lot easier than a hard one. Let me just undo what I just did that too. Now that I have my soft brush, I will again, hold down all the option, click on my source point, and then start clicking on my areas. You can see because there was this dot here, it's also getting that dot. I'll just use the Clone tool, make the brush smaller, choose this source point and just get rid of this so I'm not carrying it around. Everywhere. We also have one here. Let's get rid of that. Again, I'm going to enlarge the brush about this size, choose my source point and continue going around the hat. You can see because the hat has a cone shape, like a pyramid looking shape. It does go along the line perfectly. We also have one here, but because this is the top, I cannot use this area because this is how it will look like. I need to choose somewhere that has a similar curve which would be right up here. Can't really see or up here actually. Let me make my brush smaller and just slightly go around The hat. Then we have this top part which I could just get rid of by clicking a source point anywhere because it's just a regular background color. I'll get rid of this too. Our dome shape hat is finished the top only. Now let's work with this part. Again, the background is one color. You can even make your brush larger, choose a source point and just click away, get rid of all of those little distortions, clicking away. And once we're close to the head, just let it be. We'll come back to that later, click a source point close to the area, so the lighting is the same, the brightness and all the clone tool actually follows you. If I hoot a source point here and I'm done with this and I come down here, you can see that the source point changes. This is the difference between the clone tool and the heal brush. The healing brush, sorry. The healing brush does not move, but the clone tool does. I have some areas here. Let's get rid of that. Going to get close to the shape, the hat shape, and also close to the ear. Let me zoom in so I can get a more precise selection. It's remove that white halo around his ear. We'll have a halo around this edge, his head and hat. Make my brush smaller to get into a little crevice right there. Make it bigger, choose another source point and just follow along the line. All right. Now we will have to zoom in again and work with this area. Choose a source point, click and drag across his shoulder. Now we are at his shoulder, cut it and fix it until it has a regular edge as a shirt width. All right, we're done with this part. Now we have this final part, then we can move on to the subject itself. Let's come down here, choose a source point, and just paint a weigh those areas. Make it larger, so you're selecting more pixels at a time, can speed things up as well. Once you get closer to the face, make it smaller, choose a source point. Choose one near the face the lighting is the same. I want to see where the ear starts. We have a small area to change. This is what I meant when I say try to get a high quality scan of your image. Because when we zoomed in, I couldn't quite tell where the ears ends and whether this line right here is part of the ear, it is, but it still is tiring to the eye. If you're working with an image that has a lot of distortion and folding lines, then high quality image will definitely be a great thing for you. Let's just do a quick before and after, so we can see what we got rid of exactly. Get rid of the outside lines. All right. Now let's move on to the harder part, which is the subject. If we look here, we have the same edges right here and here as well. But here, it's darker because the light source is coming from this side mostly. But if we also look, this part is just a dark brown color, and there's not much detail because there's no light. We can easily just clone this area and just paint in those cremass. And we can only do that because there's no detail in this area. If it's just a blob of dark brown, it's not going to make a difference. But if it did have detail like this part, it will be a bit more difficult. Now moving on we have this area, which I can also use a clone tool to add that darker part next to the lighter part. Again, because it's darker, it has less detail, we can easily use the clone tool. Let's also do that and always make sure that the source point that you're choosing is close to the area that you're trying to fix because you can pick up the lighting difference and the right brightness while you're selecting. Okay. Always try to add adjustments click by click. You don't want to do that because it will be really obvious. But when you're clicking and clicking, you're making tiny adjustments and you can always hold Control and press C to undo your actions, which would be a lot helpful because you're removing it dot by dot and not section by section. Saves you a lot of time. We got near to the golden piece. Let's choose the source point. Just click away. We did this part. Now we have I missed this tiny spot right here. Let me just get rid of that. I believe that was the curve from the symbol. Okay. I also miss this spot. Let me just click. Now we have this metal part that we can easily just choose a source point from the same edge and just use it to go along the area like that. Then we have the top part. We can also do the same. It's really helpful when you have identical parts. In an image. If I didn't have the rest of the hat to choose from, it would have been a lot more difficult. You guys are probably noticing the continuous points that are placed next to each other. We're going to fix that later on. Right now we're just creating a base. Actually forgot to name this. Creating a base for later adjustments. We got this part of the hat. Again, let's just remove it point by point, click by click to make sure that we are making the most precise selections and adjustments. Let's zoom in. It's hard for the eye, but it's just a little bit to endure. Okay. We got this edge right here. Let's make our brush small. Let's make it a bit bigger. Choose the top part and just copy fat the middle. Let's make our brush smaller. Fix the middle as well. We also have the dark part. This is just a reflection. That's why it's a hard cut. The bottom of the hat and then we'll be finished with the hat. This part is easy. It just has one lighting. Let's copy and clone the source point onto the hat. All right. Let me select something here. All right. We're done with the hat. It was easy compared to what we're going to do right here. Now let's get to the shirt. On the shirt, we have a really big stain. I don't know if that's a food or it was torn. It doesn't matter. We're going to fix it regardless. If you guys have any knowledge of these uniforms, you know that they had a really thick color and then there's this shoulder thing right here. You can see the edge of the color here. We need to look on the other side, unfortunately, we don't have the same edge. This is going to be a little bit difficult, but luckily, we do have this edge which you can use to mimic the edge of the color. So I'm going to clone a point going to zoom in, clone a point from the top part, and then I will click again, click again, and I could actually use the edge here. I'm going to choose something that makes sense. Okay. Nine to mid. I'm going to start with the bottom as well. I'm trying to create it in a way that I can meet the two points in the middle. There we are. It's a little thick, but like we mentioned, those uniforms were pretty large, the colors and all that. So it's not too bizarre once we look at what we did. Now, the difficult part is trying to understand where the shoulder flap started and where the color started. But we now have to. Well, actually let's clean this part first and then we'll get into that. Just like we did until now, choose a source port and just try to you can also use here. Just try to clean the uh, the shirt right here. We have a small area. Let's try the different healing tools and see which one works out for the best. Go to try the patch tool. Let's see if it can be of any help to us. Go to select an area, click and hold, and just bring out the area that I think matches in lighting. And actually selected the wrong place. We just select the area that we want to change. Let's just try this. It's not going to be that good because it's connected to this area. I'm just going to bring it here and it does not work. The only thing that we can do is just use the clone tool and be careful with it. Because the other part will do a kind of a healing after it's been placed. I will change the lighting, the brightness and all that, and that will not look good. We did the area right here. This area gets darker compared to this. We need to start working with this part. Just click source point and just follow along the color. We don't know where the edge begins, but I'm guessing this is where it would be. Again, click a source point from here and just go on the edge. All right. Let's clean this. We also have this sky right here which we will use later as well. I'm not quite sure where it ends. Blei stop here. And don't worry if you guys are not sure how the original image is supposed to look like. Nobody is perfect. Just the fact that you cleaned up the image is a pretty good thing. So if you're like me and you don't know where the color began and where the things went, it's all right. Okay, so we have this button right here that we ate away half of it. I mean, we didn't stain was on it. Now we need to bring back the edge that was there. If you guys pay attention to the light source, you can see that the light stroke comes from this area. That's why half of his face is lighter than this side. This area would not have had any of the shadows, which means I could easily just grab my clone tool again and just clone to make a circle. There we are. And this is doable because again, there's not supposed to be any shadows on the tip of the button because the light source is coming directly at it. All right, so we have this small area too. Let's just quickly get rid of that. And also let's fix this area. To bring the edge of my color, I'm going to copy this area and bring it onto this because I have nothing to copy the color edge from. This part it's cut out, so I can't really use that. Using my lasso tool, I'm going to select the edge of the shoulder thing. Hold down Control press J to make a new layer, and then hold down Control press T to transform it. Going to rotate it to where I think the color would be. We actually had a helping point. It tells us that this is where it began, we need to just let it lower down the opacity here so I can see where it's going. Wanted to align with that part that we were given I guess over here we'll do. We turn it a bit. Let me bring them back the opacity so I can see what I'm dealing with. Now, it has some parts that I need and some parts that I don't and it doesn't quite blend in in these areas. One way that you can help it blend in is by using a mask layer. On my layer, I'm going to name it color edge. I'm going to click on this. Click on this rectangle circle thing, and now we have a mask layer. Remember, white equals visible, dark, equals invisible. I want everything to be invisible, so I need to invert my mask tool. If you go on the mask layer, hold down Control pi, it's now black. That's because now everything is invisible and the layer is gone. To make some parts some selected parts visible, I can use my brush tool. Go on the brush. The normal brush, choose the color white. You can flip it here. You can see the white comes back. Choose a soft round brush and then hold down right click, drag to the right to make it larger, go up and down to choose your hardness, this will do, make it smaller even and just start painting the layer back, just the parts that you want it. I would imagine the color would go on top of the shoulder thing. But I'm not quite sure how. I'm just going to end it here. Choose the color black to remove this area. Okay. Now we have the color edge. It's not exactly blending in. That's because we didn't adjust the lightness to the way it's supposed to be. Now we were on the mask layers. Go on, the actual layer and I'm going to create an adjustment. I'm going to go on this half circle. I always start with curves because I have a lot of control. Click on curves, creates a new layer. If you look down here, we have this square with an arrow pointed down. Now, what that means is that if I just make any adjustment, I'm affecting the entire image. You can see that the lighting is changing for everything, but I only want this adjustment to work on this area and not the rest. That's where this comes in hand. If you click this once, there's this arrow now. Now, whatever I do, whatever adjustments I make is only affecting the layer that is below it, precisely the area that I chose. I'm just going to make a slight adjustment. All right. Let's lower the white parts. Okay. I'm also going to reduce the fill. I was reducing the fill for curves. Go on your actual layer and reduce the curves there. It looks more natural. Always use this as a reference, you can see that before, if the fill was 100, this is way too dark compared to this, lower it until it meets that reference. Another thing is that the color is too straight, and that's just not how colors work. Again, go on your layer, control T, and then right click and go to Warp, right? This will allow me to curve the layer. See as I'm moving these down, it's curving. It's going to work with it until I'm happy with the curves. I would say that's good. Click on the plus the checkmark. Now we have a somewhat curve. It's not exactly to curve because that's not what we want it. It is pointing down, so we need to have some of that curveness. Okay. Another thing that I wanted to do was to again, go back to the clone tool, go back to base, and just use this point to just this part is too light, so I want to darken it and make it look natural. Then using a source point from here, I'm going to go to sorry, select your source point in the base layer. Source point chosen. Now go to this layer that we chose to apply that source layer onto this area. And bring the colors together. Have some here. All right. It's looking good. Again, it's not perfect. Because the original image had a lot of distortion and errors, and I actually don't like that these two are meeting. I don't think that's how it's supposed to work. Just use the clone tool to clone this area on top of the shoulder thing. Go to your mask layer, the black one, choose a white color brush and just bring back the thing that we weren't going to add. Now we have added it. Again, go to your base tool, clone tool, hold down Alt, choose your source point, go back on your color edge layer, not the mask layer, the layer that has those transparent things, and just paint the corner so it looks nice. Now it's making more sense. I'm trying to move here. It's making more sense, here it's looking a bit. I think that's the base. Yeah, that was the base. Now it's fixed. We're done with the easy part. Now it's going to be a little difficult because we're dealing with the perfect features of human beings. Let's come down here and again on the base layer, use our Clone tool, you can see the color that this part is lighter than this and we want to mimic that. Although again, with my knowledge of these uniforms, there would be a space here because then there would be buttons down here. Going to start with here, source points, get some of the edges as well, but not the neck. Copy those edges. So here, some down here. We're also going to do the same thing on the side, come down as we go. There's something we missed here. Again, if you guys have more knowledge about how the uniforms work, it would be really helpful. But in my head, I think this is where there would be a space. If the shirt has a space behind that space would be the neck or the body. But we could just use a neck for color reference.'s just choose the neck to do that. Again, we're going to create a new adjustment layer, go on the half circle. Solid color black is fine, okay. Soft light, hit Enter, go to name the color fill if you want to. Name this color edge. Although we named it. Neck edge, I guess. A enter, go to your mask layer. Hold down Control, press I to invert it. Go to your brush, the color white, reduce your brush size, again, holding down, right clicking, dragging to the left or right, and just brush. That's too big. Let's make it smaller. Brush the area that you think needs edges. In my idea, this would be it. To make it blend in, we're going to actually change the blend mold to multiply, hit Enter, reduce the opacity. Right now it's looking natural. It's barely visible and that's what we wanted because it's an old photo. Nothing is perfectly detailed. Now we can move on to the neck. Zoom in, go back to your base. Our favorite tool, the clone tool when it comes to restoring things. Hold down alter option, click on the source point and paint away the bad parts. We got some in the edge here, be careful because we just fix that area. When you're dealing with a lighter side, choose a lighter source points. Whoops, we chose the neck. Go point by point. There's some up here. All right. The neck is done. Now we have the chin. So we have some neck here. The chin, we have this area that we can use to clone the chin. There's a chin. Sorry, the jaw line, not the chin. This is the chin. Source point, click and paint away all of those bad folding lines that we do not want in our image. Choose from here to blend in these areas. Let's choose some here. That's too dark. Let's choose this. You went down, don't go down. Just paint the edges. We're going to come back and fix the blotness here. I think maybe we can use. No, that's too dark. Zoom out. We fix the chin. We'll get back to it to fix the things that we did that does not look good. This is the hardest part right here because it goes straight through the corner of the mouth and the eye and the eyebrow as well. Let's first fix the easier part here. We have the eyebrow and some of the hats, increase your brush size and click ones to bring back both those areas, make your brush smaller because we have a small area to fix. Click source Point. And choose a larger brush if it's a large area. All right we have something here, make your brush small, lightly tap on his eyelid. We have the ear, which I could use this ear as a reference. Just choose this area on the base layer, Control J, Control T, right click, flip horizontal, bring it onto the sky, adjust it. I think this is good. Let's hit Enter. I'm going to bring my rulers. Hit Control, press R to bring the rulers up here. Click and drag a horizontal ruler to see approximately where the ear would start. I'm also going to lower the opacity for my layer one. See where the ear starts in the original image. I think it starts here actually because he is standing at an angle. Going to hit to remove this ruler click and drag it back to where you took it from. Bring back the opacity. Again, going to name this ear so I'm not confused later on. Go to the mask icon. Hold down control I, make sure you're on the layers. Control I, it's black now. Brush the color white. And bring back your brush size and just paint away. All right. I accidentally painted this area, hit X to flip and switch your colors, and just hit that once. I'll go to the base layer, use the clone tool to just remove this area. All right. Now this ear part is too dark because that part was darker than this. Now we just need to make another curves, go to the half circle, go to curves. Again, press this to limit it to our selection and just bring up the Okay. The brightness. Let's see where would it be? I would say would be around here. Close that. Go to your ear mask layer, go to brush, the color black, and just lightly press on the edges because we don't want that. Go to base layer and just remove this area that we do not need. Have something here, fix that. Go back to the ear mask layer, paint brush, color black, and just remove this area. Then we can just fix that in our base layer with the clone tool. But that's too dark. Let's use the right source point, which would be here. Use this to mimic the edge. He has an ear now. Now we have no choice but to go with the hardest part of the image. Which I'm not really too confident. I feel like it will not look that natural, but we got to give it our all and see what we can do. Again, because we have a identical reference point right here. They have the eyes, the eyebrows, the cheek, mouth, nose, and all that. We can just go to the base layer, use AasaTol to select a larger area that we need, hold down Control press J one, to name this I copy. Control T on the same layer. This will appear, right click, flip horizontal, and just place it where it's supposed to be placed lower down the opacity so you can place it in the right spot. You can use your up and down keys to make more precise movements. Press Enter once you're finished and then we're going to bring back the opacity so we can see the layer. Again, make a layer mask by going on this icon on the layer mask, hold down, control, press I. Brush tool, the color white and just paints the eye area only. We're going to get into the rest later. Always go point by point, don't rush things. I think we accidentally that's not by accident, go back in and just paint that area. Again, we'll work with the brightness. Don't worry about that. We're going to get the wrinkles. He had some wrinkles around his eye. If you notice any rough edges, that means that it's the edge of our layer. Remove that. We don't want that. Now we have AI copy. I believe we need to rotate DI a little. On the I layer, hold down Control press T, and you can see that the rotate thing comes on, rotate it to where it needs to be, hit Enter or the check mark up here. Now it makes more sense. I'm going to go back to our base layer, use the Clone tool to choose a point and choose one point from here as well, and just select the areas. You got to choose the right areas that makes sense in terms of brightness and location. Can't choose one random spot because it will show that it was done by accident. All he has a mustache right here. We can just click on that and just add the mustache on. I'm not sure why this spot is dark. Maybe his mustache was uneven. And his lip copy it he's smiling, you can't really tell he's smiling now or we can just remove that. Again, copy the edge of his lip here on the base layer with the last tool, Control J, control right click, flip horizontal, and I think this is where his smile would be. Again, it's wrong actually. Control T again. Use your up and down your arrow keys to make more precise placement. Let's call this lips, the mask layer, control I, and then brush with the color white. Bring back some of that lip that we lost. All right. I could actually use go to the base layer. I try to copy this area. I don't think it will be that dark as we made it. Doesn't quite make sense. I'm playing around to see what color I need to make exactly because the shadows start from the middle, so I need to use this part. I mean, the darker part as a point, a source point because you can see it his face is cut into half and that is where the shadows begin. We have to mimic that so it looks more natural. Now we need to change the light of the eyes. The eye is too bright, go on the eye layer. That was an ear layer. Go to the eye layer. Again, the half circle, go to curves, press this button to limit it to our eye copy layer and just bring down although I would say you have to do this let's move the brightness. That's nicely blended in. There we go. Get out of the curves. Let's do the same thing for the lip. The lip is blended in, but it does need a little bit of adjustment. Go to the top part, the highlights, and just bring the highlights down. All right. There we go. I'm not sure. I feel like his eye is tilted. Hold down, control press move your arrow keys to make it right. On my mask layer, I'm just going to make my brush black and I guess that's just supposed to be there. Go to the base layer, and that doesn't work. Not sure. It looks strange. Okay. I think we can go on the I can make a overall copy of everything I did. Hold down, Control, Shift Alt, and then E to make a copy of everything you just did, all the adjustments, everything, every layer before this. Then on top of this, I'm going to go with the patch tool, go with the spot healing brush tool and just tap to make things smooth. Because it wasn't smooth and we had to make it smooth. We add some here, just tap away. I believe we're getting closer by ruin the tear control Z to undo. Use Clone tool, again, one of the best tools for this adjustments there we have it. We also have some areas here that we need to fix looking patchy. I'm not sure if we did good with a smile. We made him smile. I don't know if he was smiling in the original image or not, but it never hurts to smile. I'm also going to clean around his mustache. I feel like it doesn't make sense for his mustache to be longer on this side and shorter on that. Oops. Let's lower the size. I keep pressing out. Don't press out and just clean any areas that you feel like it needs a little bit of smoothing. I got this area right here and the chin as well. This area still not. I'm going to make this bigger. Now it's looking a little bitter. Let's just do that. This is the person. Obviously, if this was my grandfather and I had other images of him, I could tell whether I made it look like him or someone completely new. Hopefully, I did make it look like my grandfather. Well, this is someone else's grandfather, probably. But overall, this was just how you can restore an old image with really bad distortions. To see the before and after, I like to go on the top layer, which is layer one right here, go down to my base layer, not the background because the background was our original image. Hold down shift, click on the base layer. That way we're selecting every single thing except for the background, hold down Control, press G on your keyboard to group it or just click this folder thing. Let's name this soldier. Right, time to see the before and after. Let me zoom in. This is the before and this is the after. It's looking quite different, but I'm actually noticing that we need to fix the chin area. Let's go ahead and do that. When I looked at the previous image, I saw that this area was brighter and the colors that we made were not exactly right. So I just made a mask layer and removed those areas using my black brush tool. Then I made a layer by holding the control shift l and impressing E on the keyboard. So this way the lighting is correct and using my lasso tool, I'm just going to remove as in fill this layer. I'm just going to roughly select that area, right click content aware fill. We'll bring this up. I'm just going to look at the area. I'm going to remove these areas because I don't want Photoshop to sample from his uniform or his shirt and just his face, not even his eye or anything. Just removing those Make sure his mouth isn't in there. Using the plus one, I will add more of the chin that we lost. His face is okay, but again, not his eyes are anywhere. All right. I will hit Okay. Control D and on here, I can make another mass layer. I think if you just remove the lip area will be okay. Will I remove too much, get a little less. Then with the clone tool, I guess this area past it onto the corrected area. Then looking at the background, the original image, I'm just going to get this clone this area. Then just paste it onto where I think makes sense. If we just bring back everything, it will be okay. Just use the ops not on that layer. On this layer, it'll have to make another layer of everything I just did, just smooth out this area. I have a bad feeling about his lip. If you look at the original image, that's where his mustache ends, but his lip ends here. I'm confused as to why his mustache is continuing on one side and not the other. Then what we should do for that. I guess I'll just keep it because no matter what I think about it, doesn't make sense. Choose my spot tool to smooth out the edges here. I think now it looks better compared to what we made. Now we're done. We were easily able to restore this image. It did take a while but the results are worth it. This line of work has a lot of demand. So if you know how to restore all the images, you're in luck because you will be getting a lot of orders, and who knows? Maybe it could be your business. You guys enjoyed this lesson and found it helpful. In the next lesson, we will try our second image and see how we can use the same things we 35. Coloring Old Photos: Mm hm. In this lesson, we will see how we can color a black and white image. More specifically, a old image that may need some restoring. It all depends on your image. We already went over how we can restore old image like this. Now, if needed, we can color it using some simple techniques. This is the image we're going to color today. I was taken by this person, or at least it belongs to this person. We can go ahead and get started. I'm going to unlock my background layer, make a copy just in case. Background. I'm going to name it background. It's a really simple way to color your images, but before I do that, I'm going to get rid of this area. I'll just use it's the patch tool. Just select the area, the patch that you want to fix and just drag it onto another area that's similar and then Control D to let go. It's really simple. Go to your brush, right click, soft round. And we need to first decide what color we want the things to be. I'm going to start with a simple thing like the flowers. Let's make those flowers a really light pink. I will go to maybe before I do that, I forgot, go to image, change the mode to CMYK color. The reason that we do that is that not only is it better for printing your image, but it also helps blend in the colors better compared to RGB. It's a more detailed color mode, which we really need in this lesson because we're going to be blending in colors that aren't captured in the camera. To go to CMYK color, it will ask you to merge the layers, just hit Merge and there. It merged at all. I will now start coloring. I will choose a light pink color and just going in or actually go to solid color. You can change the color if you want. After we change the blending mode and we chose the areas, we will still need to come back and make adjustments to our color. We're going to be coloring our image using color fills such as this one. I'm going to name this flowers. It always helps to name your layers and then we're going to go on the matayer Control or Command I. Using our soft round brush and the right size, we are going to start coloring, with the color white. We are going to start coloring our flowers. Now, I'm going to change to blend mode. You got to see which works best on your image. Sometimes it's overlay, sometimes it's color. For this one, I'll stick with overlay and there are other times where soft light works well too. The reason why this may be the case is that when you have bright areas such as the flowers or someone's skin, soft light gives it a faint color effect and that was the case with cameras back then. Everything was faint. There wasn't much contrast in images, especially when they were colored. You've probably seen your grandparents images. They were faded. We want to recreate that look. We don't want it to look like someone just took a bunch of colored paintbrushes and painted over those areas. So if it's a light area like this, go for soft light. But again, it may not work for you, so just go in with different blend modes. Before we continue, I actually forgot that we need to remove some of the dust and scratches. I'm going to delete my color fill layer, go to filter, come down to noise, dust and scratches. Make the radius three. Three is too much, actually, let's go for two, make the threshold 30. What this is going to do is that it's going to remove most of the dust and scratches. These areas are not considered dust or scratches. We need to remove those using the heel brush. When I looked at this from far away, I thought the image was clean, but apparently, it's not. Go in with your spot healing brush to heal those spots. To make my brush smaller and just paint away anything that is not supposed to be there. Trying to make this. We are not only trying to color this, we're trying to restore it, too. So when someone gives you an old image to restore, you will first have to restore it like this as we went over in a previous lesson, and we will color if they ask us to. Sometimes the aesthetic is that it's black and white, and it's faded. Okay. I think that's about it. Got some stuff here. Got this line. All right. I might fix a bunch of things as I go on, but for now, we're going to stop here. Now we're going to make our solid color. It already has our color in it, okay, soft light, change the mask layer, invert it, control or command I to invert the mask. Named this after the part that you're coloring. Flowers go in with a soft round brush with the color white and start painting those areas. You could use the quick selection tool to make a selection and you would just fill that in. For small areas, I like to use the brush so I can make it as precise as possible. Go with the X on your keyboard to switch the foreground and background color to just remove those areas. Now, you can see how realistic this looks. You can even make it look even more realistic by changing the color, paying attention to how it looks here. Although I'm looking at these flowers, they're not supposed to be pink. I think they're supposed to be white, turn it to white. My mistake. And if I'm not mistaken, the insides have a orange yellow color. I'll just make this white and I'll just color it in. You might be thinking might be thinking why we need to even color it in if the image is already white. The thing is that this is gray because the image has a gray scale color combination. We need to make it white if we're going to bring the image restored using real colors and to make it look modern. That's why we are coloring it using a white brush. A color fill, actually. So I'm just coloring around the area. And then on the inside, like we said, here would be let me go back, go to I think they're called lily flowers. Yeah, they're lily flowers. Let me see what color is the stuff. It's a orange color and these stems are yellow. Using that as a reference, I'm going to recreate that. Make a new solid color, go for maybe this orange. We might change it. Flower tips, I guess. I don't know what they're called. Now for this, we will have to go with overlay because soft light, you can see that it barely has an effect and seeing if color looks better, overlay looks better, inter flower tips, control or command I, and let's color in those areas. It's smaller even. Once I have selected my area, I'm going to have to change the color, bring it here into the right color source. Another one for yellow because the stems are yellow. I'm choosing these and then I'll change them as I go. Flower tip stems. Still don't know what they're called. Go to have to go to Let's go to overlay. We will change the opacity and stuff later. Control eye, brush, the color white. It's getting a little hard to see. But we have to do this. Let's stay strong. That's now looking good. Let me change the color. That's good. And what color is the inside? It doesn't really have a color. Is it green? I think it's green because if you see here, there's some pigmentation going on. I'll just make it green. Leave it at color fill. I'm running out of random names to call the flower areas. Change the blend mode to color. I'm going to make this a little lighter. It's too dark for this area. Go back with the brush in brush and faded into the flower. That's just how the flowers are. We might change the color later. It's looking neon, actually. I'll choose yellow. I mean, I'm running out of ideas as to what color it will look like. I'll just choose this yellow and then we'll just lower the opacity. Like that. We can go in with a black brush, make it extra large to soften the areas. Make it look less harsh. All right. I'm going to do that to all the flowers, and then I'll be back. Color the flowers. You can see they're a bit too bright, so I'm going to lower the opacity, and this is good. Now they look a little bit more alive. Now we can move to the table. Table is easy, it's dark. It won't take that long either. Going to group all of these, name it flour. And then I'll make a new group, call it. Although table doesn't need a new group, it's just one table. I will make a solid color, choose a brown. Okay. Invert my color fill layer, call it table on the mask with the color white brush, with the color soft round. Forgot to change the That's like red. This time, you can see color works better. We just need to change the color a little bit. Alright. It's a little red, but we'll just change it later. It looks pink, actually. Mm. We'll change that later. Zoom in to get the legs off the table. It's looking really pink. We have to go back, maybe change the brightness. You never know what could be the real issue until you test out everything. Get the other side, watch out for her finger. And I guess we get the chair too, because it's just wood. Go with the head X on your keyboard to invert the selection. The colors. All right. Going back, I guess it would be I don't know what color is brown? It doesn't look brown like this. Let's change it to overlay. There we are. It's looking brown. We go back in to brighten the color. It's slowly coming together. Now let's think about her dress. What color should we choose? Choose a solid color, maybe a blue. We could change it later. Call this dress, change the blending mode to, let's try overlay. Although it's white, so we have to go for soft light. We just have to test and see what works better. Is this the right color? Let's change that up a little. I'll make this baby blue color. I like that. Zoom in and just get all those little crevices along the table. Let me try overlay or color. Soft light is the best one. Just wanted to make sure that I'm choosing the best blend mode so that it doesn't look patchy as I color. You can spend more time on it and make everything clean. Just trying to quickly get this going. Let's paint her. Let's leave the start of her sleeve year white because I don't want it to look identical because dresses back then especially, a lot of thoughts went in them. And we want to keep that because we're trying to preserve the details of the time that this photo was shot in. All right, I think I'll keep the collar as well. I will make a white layer for those sleeves because right now it's gray. That's not what we want. Make it white, lower the opacity a little invert the mask layer, call this collar, I guess. And just paint in those areas. The most tricky part about coloring and restoring old images is the skin color, especially since if they have a mid tone color range, then it will get really difficult trying to find the right color. And I hope that it won't be as hard for this image. We just have to see how it will go. It might work out for the better. Never know. Let's color, and she has a necklace. I think we'll make that red was a popular color. But with what she's wearing, I don't think that will look nice. Maybe we should go for a dark blue. I'll remove this because it's the shadows. Let's go for a dark blue for her necklace. Change that to color. Yeah, because it's in the shadow, it's hard to look at it. Whoops. Control eye. Let's call this necklace. Go in with the brush, the color white, and just Oh, there it is. Pretty nice. I'm going to change the blue. I don't like how bright it is. Let's make it like this. We'll try bringing it to the side, I don't want it to be too vibrant, but at the same time, I don't want it to be desaturated. Using the same color fill, we're going to use it for her book because it has white pages. And then let's work with her skin color before moving on to the other things. Right, make a solid color. Let's choose a skin tone, a PG one. We'll adjust it later. Control I, call it skin. Same white brush. And let's test it out first. See. I think soft light is still the best choice. And I think her skin is too peachy. Let's make it Brighter. I think that's good. It okay and continue filling in the skin. As you can see, we do have some areas to clean on our layer one, the first layer that we had, so we have to come back to that and just to what we said we will do. I can't tell if that's too peachy. I think that's a good color. And one thing that I forgot to mention, a lot of times these old images can be in a in a brownish color, like a sepia tone color. What you have to do if those are the images that you have, you have to turn it black and white first. The reason for that is that we can neutralize the colors. So that neutralize the image so that the colors that we're about to put on it do not get affected by the colors that the image already had because we're using blend modes and blend modes will blend things in with the previous stuff on that layer. If you have a brown layer and you add a red color on top, that red color is going to be mixed with that brown layer and it's not going to look pretty. Make sure you make your image black and white first. You can use a separate adjustment or just put it in put it on the image with a filter, but it's definitely something you have to do. We didn't do it for this image because it was already black and white. So we saved ourselves some time by choosing a black and white image. All right, I'm almost done with her face. I'm just trying to avoid her eyebrows and her eyeballs. Using the same color thing, I'm going to color in her eye whites because they're gray, we need to make it white. Bring it to the other side. And the thing about the eyes is that they will be black regardless when they're shot in black and white, so you get to choose the color that you want her to have. Let's go for green, testing it out and then go to color. Invert your mask layer, go in that area, as you can see it looks way too intense, just go back in your color, bring it to the right area. Then you need to reduce the fill of that color. It's a really faint green, and that's just the same thing with everyone else's eye colors. Let's name it eyes and finally we have her eyebrows. Then we need to choose the same color for her hair. So choose the right color. I'll go for a brown, name it hair. You don't need to make two separate colors like we said. Instead, just make one. And once we change the blend mode, you can see that it becomes red. Let me draw some more, and then we can go back in and kind of darken the color. I guess this will do. And it's really hard to find her eyebrows actually. Don't to make her look angry. But that's the guides that I'm getting right now. Yeah, I don't know. Go with the color black, remove what you just did. Is it just me or I her eyebrows going upwards? I don't know which area I'm supposed to paint. I'll just add a little bit of it myself because she will end up looking angry if I follow the area. Okay, she's starting to come together. Let's add a lip color. Now, the lip color, it will be the same color of the skin. Just duplicate that delete the layer mask. Make a new layer mask invert it and we're going to darken this skin. Instead of the brightness being at 95, make it 75 because the lip color is just the skin color, but a little bit darkened. You guys can put a lipstick. I think that's what I will do because it looks like she's all dressed up, maybe she was reading a book during a party, you never know. I'll choose this color and then I will then I will use it like that. We have some areas that we missed for the skin. So here, let's name this lips. We also drew it over her nostrils, make sure you don't do that. There we are. There is our character, she's starting to come to life. Now I will use the same techniques to color the background, which will be a similar color to the table and also the vase and the green stuff. I'm not sure what that is. Is that a reflection I think it's a mirror. I don't know. We'll just figure it out as we go. I'll do that and then I'll be right back. Okay, we're finished. I colored everything in, and I just used a similar color from the table for the wall behind her. The background that is. And using the same techniques that we mentioned and some opacity and fill adjustments, I finished painting in this person. And you might have wondered why she looks cartoonish. Now that she is colored, it looks a little cartoon like. If you look at it before and after, the effect is more clear. This was the before and this was the after. Maybe wondering why she's looking cartoonish. The reason why is that with older cameras, let's go look at some images. The effects, the way the photo was taken smoothed out people's faces. If you look at any image like this, for example, you can see how smooth the faces are, and that's just how the images were processed and how they were taken. It's only the recent cameras, as in as the cameras got better that they started to capture the a little effect this is an AI tool. Let's have a look. As time went on, this is a recent images with a new camera. Look at all the details that the camera caught. This modern camera took and compare it to let's find an older image. Now, this is new, too. Just comparing it to older images like this guy right here, you can see how his face is smoothed out or this woman, and the details were mostly burnt out. So look at her dress. The dress clearly has some lace here, but because of the lighting and the camera, it's kind of burnt as well. We also had something I believe it was down here. Alright, I lost that image, it's fine. But that's the whole point is that when we try to add color to old image like this, it's going to be a little weird. Like you can see here how this part of her neck and face is kind of shined, overexposed. So it's all white. And when we try to color this, it's going to look cartoonish. So these are just some of the cons of coloring in old images. But maybe with some photoshop adjustments, we may be able to get some realistic effect. Normally, when you want to restore old images, this is all you do. There are rare times when they ask you to color it, maybe you turn into black and white, but coloring it is not something you are asked every day. So we're just going to go back to Photoshop and see if we can do anything with the adjustments to make this image better. I'm going to start with some levels to add some contrast to our image. I can do that by bringing in the left slider and the right slider. Oops, that's too much. The right slider just a little bit. You can also work with the middle slider to bring back some of the darkness that we brought. Just like that, you can see that it's a little more we added some contrast. You can also reduce the fill if you feel like it's too much. This way, we can keep a little bit of the effect and not too much of it. Let's try curves as well. We're going to lower the highlights a little bit. Bring it to the other side. It's too much. I don't want to work with the shadows anymore. It's already pretty darkened. Let's just lower the fill a slide amount. We did that, we can also add a gradient map. Go to adjustments gradient map, and we can try the little bit this one. You try this, okay, close this and change the blend mode to luminosity. As you can see it added more contrast, but we need to lower the opacity because it's just way too much. All right. Let's proceed by adding maybe a color gradient to add overall filter to the whole thing. I'll go with my favorite one. I do want to have a retro effect, go to soft light. Head inter and then lower the opacity as much as you need to 18%. We were able to clean it up a bit in terms of lighting and color and all. With the adjustments, I'm going to group them all and just show what we did. This is the before, and this is the after. We added a little bit more contrast and we added a overall filter. I am going to lower the brightness of my leaves because it's just way too bright. All right. That's better. All right let's not do color lookup. I'll go to where is it? Photoflter. You can add a warm effect or a colder one depends on your image. But because this is a vintage image, I do want it to have a little bit of warm effect to bring everything together. 18% will do close that. We'll just put this in group two, and there is our image. Let's merge these and then put them into one group. And we are going to have a look at a before and after. This was the before. And this is the after. This is what I was talking about. If you zoom in on her face that we didn't clean, it's okay. You can see how her face is flat. There is barely any detail. But when you put color on it, it's still the same, but it just has some color. Don't be too worried about why it looks cartoonish. That's just the regular result you will get with this process. That's it for this lesson. I hope you guys enjoyed it and that you can practice coloring things using your grandparents old images. It's a fun activity, sometimes necessary, sometimes not. It all depends on you guys. I will see you guys in the next lessons. 36. Restoring Overexposed Portraits: In this photo, the first thing we can notice is that it has a frame. It's not even because the person who took who scanned this image or just took it, I think they just took it didn't quite take it from the right angle. We have a corner here, corner here, but nothing here. Unfortunately, we can't change the corners, but we will get rid of all of these folding lines, this stain right here and some little marks in the frame. Okay. As always, after unlocking your background layer, hold Control press J to copy your layer. If you want, you can name it base. It's really helpful that way you're not mixing the layers. I'm going to start from the easiest part, which is the frame. It's easiest because there's a solid color behind them, and all I need to do is kind first of all, remove these parts and the blend them in with the color. I'll use my spot healing tool right here. Actually our clone tool would be best. I'm going to meet the edges here. Going to also remove the corners because like we mentioned, it's weird having half a corner and a full corner here and nothing on the other side. Hold down Alt, choose your source point, and just go along the edge. We'll remove those later. Don't worry. We're just trying to blend, fill in the white spots that there is. There's nothing here. Let's come up here and just fill in this corner. Should leave that for the next part. Another source point. Okay. Now our corners are filled in. What we can do to make it look more even so that it has an even frame is get our rectangular tool right here and just select the area in a way that it has even framing all around. I would say this selection would be okay. Let me just have a look. Our image is in straight, so let's straighten it first. Go to the crop tool, clear the numbers. We're not trying to crop it yet, just make it like that. Then with the straighten tool, I'm going to click on this and then I'm going to zoom in because we have straight lines, the frame here is considered a straight line, click on it again. I'm going to click on one corner and then drag onto the other corner and Photoshop is going to straighten it for me. You can see now it's straight. It removed some of those edges. I'm just going to zoom in to see how it's looking. I could also give it my own frame. I think I'll give a frame by myself. We can do that at the end or actually we just do it now. Go on my rectangle tool right here, start from the corner. And just bring it all the way in. All right. Zoom in to make sure the corners are met. It's not exactly precise. Let's bring it in. Look on this side, everything's good. Now what we can do is to let this rectangle thing be. I'm going to name it frame, and I'm going to come back to this later once we're done with the healing to just add a top layer, and it'll be fine. But before I do that, I'm just going to change the color, go to stroke, go on this rainbow thing, opens a new window and just sample this cream color, which is the color of the background. I'll choose the wider one, hit okay. Now we can turn this layer off. We'll come back to it later. As you guys can see, this part is larger than the other parts. We're going to leave it like that because that's just think it gives that polroid effect, but I actually don't like that because it's not exactly even. I'm just going to crop out the frame because I'm going to add one myself later on. So let me just use my arrow keys to make a precise selection. Do that for the bottom. Can't quite see the right side. I'll just eyeball it. Hit the check mark once I'm finished. Now I just have I missed the bottom here. Let me zoom in a little. Now I just have my image. I don't have any frames, I will add the frame later on. I turn the frame later on, and first of all, I have to bring it back because we've cropped our image. Then increase our stroke pixel size. You can see now we have added a frame with the same color. But again, we're going to put this at the end, so it's a perfect cherry on top. Okay. In this image, the easiest parts would be the overexposed parts like the wall, the floor, and later, it would be the dress and all that. Like before we will start with the easiest part. Go on the spot removal tool, come here and start single clicking on the areas that you're trying to get rid of, do the same thing for the line here, but we're going to leave this to the clone tool. Leave that B, do the same thing here, leave a little line. I'm going to do that, so this continues. Continue with that, here I have to zoom in a little. Make the brush size smaller, make a selection, and just remove all of the dust particles and folding lines around the image. We're going to leave that part. Although if I select this and I hold shift, it will allow me to create all the whoops Hold shift, it will allow me to create a straight line, which I will use and then let go and it kind of continue the sleeve. We'll fix that later. Again, we got some stuff on the white wall. So here. Got something here, we'll come back to that. Then we have this area, which is a bit large, so I can just go ahead and make a giant selection and actually that wasn't a good idea. I should just go point by point. Yeah, that's better. It's more precise because again, we have low pixel size, it's not going to be as easy. We just got to make more detailed selections. It's a lot of clickings and so we're here, again, make a line, stop where the line ends. If it's by an edge, let that for the clone tool, we're just trying to get the separated lines that are not connected to anything like the lines on the walls and the corners that we just fixed. Now with the clone tool, we would be following a pattern. We want to make sure that also we have to do this with the clone tool. I want to make sure that we leave the right areas for the clone tool. You can also use it for flat areas like that. It's just a gray. Let's do that here. We got some dark gray, lighter gray, and some in this window Got a darker window. I'll just use the Clone tool later on. Going tool by tool is actually a great thing because it will save you time and you're not always changing between things when you're first starting out. It's a checklist. You're done with this tool, now you can move on to the next. I can move onto her sleeve, then her jacket. Again, avoid the lines. So here, some on the wall. Or skirt is easier because it's just one flat color. We don't have any patterns that we would need to copy every step. Just follow the lines, go once you're finished and Photoshop will automatically sample the area it needs. It's really helpful tool. Makes things really easy. Got a big one right here. Let's make sure we select it correctly. Okay, I missed that part. We'll come back with it. We'll come back to it later and also these, some stuff on the wall. All right, can move on to the though we have something here. I don't know what that is. I got the wall here. There are a lot of folding lines in this image and a lot of just lines. Which is why this example is separate from the first video because it's a lot more complicated and it will probably take us longer than the first video or the first example. I'm going to just remove the areas that I told you that's flat. I'm going to use the same tool, the spot healing tool to remove those areas, the flat ones, and then I'll be back so that we can use the Clone tool to fix the edges. I'll be right back. I remove the flat areas. As you can see, I only left the ones that are on the edges. Now we can move on to using the Clone tool to fix those edges. Again, the Clone tool is a stamp icon right here. I'm going to start from this area from a corner. Again, hold down to our option to get a source point and then you bring it with you. Click on the areas you want to effect. Going to choose source point from here to make sure that the lighting and deposition lines up perfectly with the area that I'm trying to fix. We're done with the edge of her skirt. Now we have I have to make my brush smaller. A for source points. Click to finish that adjustment. You have something here, we're going to make our brush larger and just follow along the natural elements of that image. Okay. Something's here, let's fix that. Not sure what that is. I think it's a belt or something. Let's just leave it in. And once again, I took this from the Internet. So I'm not quite sure how these people are supposed to look like. But if you know the people, it's a lot helpful because that way you have seen other images from the subjects and while you're restoring an image, you know exactly what that person is supposed to look like. But it's difficult when you don't know who those people are. So you might end up creating someone new basically. So for practice, I'd recommend going to your maybe grandparents or your parents and ask them if they have old images that you can use to practice your Photoshop restoring techniques. Get something here. But if you don't like me, I currently don't have access to those images. I just went ahead online and searched for old photos, and I just found this one in particular on Pinterest. But you can choose it anywhere else. You can find it on Google or via Instagram, or you could borrow images from friends. There are many options out there. And finding images online or from people to practice is the best thing you could do in order to get better at working with Photoshop. Just cloning away the problems, make that smaller. All right. Get some lines here. In this lesson, as you saw the subjects are really white because of the overexposure. We can also fix the exposure just like how we would with any normal image to just bring back the fineness of the image. By maybe reducing the exposure, working with the contrast, maybe adding color, where in fact, we're going to learn how to add color to old photographs like this in another lesson. Because this one, there's a lot of subject and it's just going to take a really long time. I thought it would better if we use this example for a restoring tutorial and then use another example which doesn't really need that much storing to color that. Okay. We have a big one right here. We have the baby's arm. That's very gently, see, I just created a dent there. Very gently remove those bad areas. And the overexposure actually worked in our favor because the baby's head or the baby in general, barely has any detail except for the eyes. So this makes us this just makes things a lot easier for us. We just need to we can just choose a source point anywhere on the face except for the eyes and just fix those areas. I'm not sure if that's something we need to fix or maybe it's flowers. I'll just remove it just in case it was something that wasn't supposed to be there. You've got this white thing here. S. Again, if you're dealing with a corner or a line, you want to choose a bigger brush, so you're taking the middle as well as the left and right. That way you can copy that pattern. In this case, it's the bricks very easily, and you don't have to spend that much time trying to fix them because you just copy the left and right parts and you just need to do a single click and it's gone. Just fixing here as well. All right. Now, I think the grandma is done too. I'm not seeing anything that we need to remove or the baby has some extra parts that we need to fix. I'm not sure what are those. The grandma and the baby are done. Now all that's left is the grandfather and his side of the image. Again, large piece, copy. We need to make it smaller and just come from one side because here we have a difference in lighting. We don't want to pick the top because we're going to pick a corner as well. Just very lightly follow along the pipe, choose source points. I went too far and we have something here as well. I can make my brush bigger. Again avoid the top part of the image. Just click away. We also have I think a wall here, window not sure. Click on that area, got something here, though, we need to get rid of this first, and then we can move up higher. The grandfather's situation is a lot worse than the rest of the subjects. As you can see, he has curved pants. I'm just going to slim it down a bit to fix it. There's a lot of distortion on his end. I'm not sure why. But it's going to take a little longer compared to the child and the grandma. I don't know why one of his legs is bigger than the other one. Maybe it was windy. Not sure. This is the sun. We're going to fix that. I have to minimize my brush, the edge here. Fix this. Going to make my brush bigger and just click this area. I have the outfit here, let's slowly click away. I have the jacket, the coat. Just fix those areas. Compared to what people had to do back then to restore images, which I would imagine would take days or maybe weeks. Photoshop really made things a lot simpler and has allowed people with any skill to be able to do this. By just selecting a source point and clicking, it's that simple. I would imagine people back then if they knew that in the future, they could do things this easily, they would not have tried so hard. All right. We're almost done, and now we are at the hardest part of the image we have. We believe the grandfather's arms, not sure what is happening here. Maybe it's a pacifier. His face is distorted as well as his arm, which is in his pocket. And we have his arm sleeve here, which we can easily just do that. Choose the different source points. Make our brush smaller if the source point is too little. And just click away. We have an edge here which I can use. What's next to it. This is just the sun. Sunny day. Click. We have a line that we can copy. Now, this is where things get a little tricky because I can't really tell what is happening here. Okay, I think that was his sleeve. I'm just going to close the edge here, and then we have something poking out from here. I can't tell if that's a folding line or just how his jacket is, let's just fill it in. Let's have two dots here. It's still there. I think it's a folding line. Then I'll just make it in a way that it doesn't look like a straight line because that's really obvious. Let's try to fix the baby's body, the grandma's hand, and the grandfather's hand, which I think is holding a pacifier, follow along her hand. We have his code. Let's fix his code. It's easy. We have an edge here that we can use. But as for the hand, we don't really have a reference to follow. So I would have to do a random selection. Even if it doesn't look good, we really don't have a choice here. I would have to leave it because I can't even identify what he's holding for me to make it look normal. I'll just use my spart removal tool, just give it a little tap to smooth it out, at least. That's the least I could do. I also have this area which I will just paint in to make it smooth and also remove the lines that we saw. Alright. We have this big spot I'm going to choose the points and just paint on the side. Okay. The rest is on his face. Now that we're on his face, we could just went to his hairline. Click in those areas. I think we can sample this area to remove the stain here. Okay, there we go. And again, because the image is kind of low quality and the face is really far away, it's hard to tell where each of the features are and where I need to stop exactly. It's not really helpful. Let me do something here to zoom in into the pixels and just remove this area. I think this has to be black as well. I would have to be a little darker. All right. Use the same thing to make this part darker, too. Here is a little difficult. I would probably have to copy this onto his face. Let me first clean the ear. I guess we would have to cut half of his face and copy it to the other side except for his eye because his eye is in the right position and one of them is squinting. I'm going to get my assotol and get this part of his face. All right. Hit Control press J, control T. You would have to get these blue lines, right click on that selection, flip horizontal and reduce the opacity so you can see what you're doing. I think that's too little. I'll just make it full. Try to place it in the right position. I think this would be the right position. Just by doing this, we removed and fix the cheek area. Now I need to fix the nose, go back to base, Oh, hold on. Let me reduce the size. It just makes really small selections. Around, that's not it. We have to use the Clone tool for that. Lower that part and just click away. Mm. Let me fix here first while I think of how I can restore that area. This is not looking too good. Okay, maybe we can make another lasso selection, close the shape with the lasso tool, Control J, control T, flip horizontal. And bring it on top of layer one. Again, control teeth, rotate it, and enter. All right. As for the lip, I think we have to do the same thing. I'm not sure how can I think we did well, I just need to go on the base layer, make my brush smaller, zoom in and get this gray color to match the area. I have this black line. That I can use to kind of collect connect his lip to each other. Okay, I think he has a mustache actually now that I look closer. Gonna keep his mustache. We have his nose that I need to fill in with that moustache color. The tip of his nose is still not right. His ear is not looking too good either. Let's just use the spot removal because we don't have any detail that I can mimic. There's no ear on this side weirdly. And let me undo what I just did. We have one line here. Let's get rid of that. Some dots over here. Okay. I have some lines here. Let's just quickly get rid of that. All right we got rid of the folding lines. Make fix this part. The folding lines are gone. The image is still overexposed. We need to fix that. On top of my, I'm going to actually combine layer one and layer two and then select the first one, hold control, select the second one, right click Merge layers. Click on that. It merges them. Name it again to stay more organized so that you're not getting lost. Let's name it face. All right. On top of face, I will go on this half circle, go to curves and just use my curves. We're not going to use this button again because we want it to be applied to the overall image, not just to one layer. I will grab the top one, which is the highlights and just reduce it slightly. And then just bring the bottom circle to the right. We just darkened the image as you can see. Now we can see some of the details, but unfortunately, because the baby was wearing white, the sun reflected on that white and the baby is blending in with the wall right here. We can't do much about the baby. It's just the sun is reflection. But what we can do is fix the grandparents. After curves, we can go to the half circle again go to human saturation just to enhance the brown color that it has. Reduce the lightness as well. Go again, half circle. Let's see where can we go? Go to brightness and contrast. Lower the brightness a little, increase the contrast. You can also add a gradient map, half circle again. From below gradient map, click on it. It's black and white. Perfect. But make sure black is on the left and white is on the right. But it's the opposite, it's going to look bad. Close that panel. On that layer gradient map one, go to the blend mode, which right now it's on normal and choose luminosity. Hit Intra once you're finished. This just enhances the shadows and the highlights, but we do need to lower the fill and 53% will do. If you guys want you can make the image black and white. If you're not really into that brown color. I'm actually going to do that because our previous image was brown. I'm going to keep this black and white just to add some variety. Half circle, go to black and white right here and it's just black and white. Automatically chose the values for you. But if you guys want, you can work with each of the sliders to choose what you want. I'm going to keep the rest. And going to make another half circle adjustment. That's just the adjustment thing and just work with the layers. Bring down the highlights, this brings it up actually. I would keep it like that. The image is a little dark, but that's just because of our difference in lights and darks. I could actually go on the white layer here. This is a mask layers you can see each one has a mask layer automatically created. Just go on that white thing. Go to your brush, choose a black color, right click, make sure it's on soft round. Hold down all, right click, direct the right to increase and remove the effects on the edges or any dark area that was affected by this adjustment. Going to hit X to bring the white because I accidentally painted her outfit. All right. Okay. What else can we do? Now that we have our adjustments, if I turn on frame, we have a frame like that. But because we change the color from a brown cream into black and white, we have to turn our frame into white. Click on the frame, go to the rectangle tool, and then the stroke color, click on it, change it to white. You can see looking it makes more sense because it's a black and white image. Okay, so I want to make it more natural. Right now, it's just a white solid layer. And because this is an old image, it's not looking exactly natural. So what I can do, one of the ways that you can add texture to a solid layer is by downloading a image online, I just searched old paper and a lot of results came. I downloaded this in particular. Let me just drag it onto my Canvas. You can see it's just a old paper. It's nothing too weird, nothing too fancy. And what I'm going to do is right click on it and rotate 90 degrees so I can make it vertical because my image is vertical. I'm going to make it as big as my canvas and then hit the check mark right here. All right. Right now, the thing is everywhere, which is now what we want. I'm also going to increase the sides a bit more because the edges of this image are darker and I don't want that. I just want that texture to be everywhere. So I'm going to go on my photo layer, hold down Alt and my frame layers after this. Make sure they're on top of each other. Hold down alt and click in between the two layers and once you click this image will only be limited to the area of the layer underneath. If I bring this on top of my levels, where we created mask layer, and just do the same thing, click. I will only be limited to the area that we kept, which is white. I'm just going to bring it back, hold down Alt, click in between, and there is my layer. But like we mentioned, I didn't want mine to be colored. I want it to be white because we have a black and white image. I'm going to go on this layer. The blend mode is normal, click on it. If you scroll through, you can see different options. I usually like to go for multiply. You're not seeing a difference right now, but that's because we need to change and adjusted to fill and opacity. I'm going to lower the opacity. Okay. I just did that. It's not that noticeable. I guess I chose the wrong image, but it's okay. I can actually delete this, make a new layer, go to my brushes, use the brushes for help. Right, click on the screen. Right now we're in general brushes, and when it close this, go to, I guess dry media will do charcoal pencil. Let's increase the size and see how that looks. Choose a gray color. I'll choose this. Just make blobs around the edges. This is optional. You just leave it white. I'm just trying to see how I can add to the oldness of the image. Did that, hold down Alt again, click in between. It is only limited to the frame that we created. Change the blend mode, go on this. Let's see. Let's go on. I want to see which one looks better. Let's go to linear burn, Enter and I'm just going to reduce the fill a lot. I just wanted to be faintly visible. Seven is too little. Let's go for ten. I'm only doing this just in case I wanted to maybe print this image. It has a little personality to it. Okay. What we can also do is add a little shadow. I'm going to create a new layer, go to black, and add black to the edges with the same brush, I'm just doing a little doodle. Although that was too much, let's just make it very random. Don't want to be too precise. Then I'm going to lower the fill. To about 11%, just a little shadow on the edge. I can see the difference here. I chose the wrong brush let's just use a regular brush. Going to go on the eraser tool and just delete what I just made. Brush tool, right click. I guess the soft round brush will do. Do the same thing and just go on the edges. All right. Just like any other image, you cannot put shadows everywhere. They would have to be a lighter side and a darker side. For me, I chose the left as my darker side. And there we have it. There's our restored image. Let's have a look at the before and after. When first name my layers actually, name this shadow, name this texture and that. Go on my top layer, which is a shadow layer, scroll down to my base layer, hold shift, click on base layer, press this folder thing. It groups it all together. The layers are still there, but they're inside a group. Close that group, and we're going to have a look at the before and after. Let me zoom in enough. This was the before this is the after. It's completely different. We removed all our de folding lines, the stain here, we changed the color as well, and we just restored an image to its original shape. Which we would imagine would have looked like this if it wasn't folded and wasn't left to just hang around on the shelf. All right. I hope you guys enjoyed this lesson. In another lesson, we will learn how we can color old images after restoring them. I restored this, but I want the colors to be there. I can do that in Photoshop too, but we will get into that in another lesson. This is it for this lesson. I will see you guys in the next one. 37. Skin Smoothing Pt. 1: In today's lesson, we're going to take a look at two other methods of skin smoothing inside Photoshop. So the first method is going to be something that we haven't talked about before, and it's actually quite popular. It's when we separate the frequencies inside the image, and we use them independently to get rid of any rough textures on the face. The second method is going to be for the built in neural filters that Photoshop released in recent years, I will show you that after this frequency separation method. That way we get to explore all the other neural filters that Photoshop released since our last lessons. I have this image right here. You can go ahead and download it and open it in Photoshop. When we take a look at the image, we not only have a rough skin texture, but we got quite a lot of red spots. Also this person has a stubble. So the point here is that I can't really blur out his whole face because it will get rid of that, too. So let's go ahead and start separating the frequencies. Generally, your images, any images is made of low frequencies and high frequencies. So basically, think of the image as a flat plane. Anything that goes up like a texture or the nose or anything, these are like kind of bumps on top of this plane because these are the details. Let's just visualize that with a bright color. Imagine this is your image. Then on top of this image or inside it, we have high frequencies which look like this, and then we have low frequencies, which are a bit more mellow. So what happens here is that these sharp high frequencies are the details. So it's the pimple, the edge of the lips, the nose, the eyelashes, anything that is sharp and counts as the details of the face. It also counts for the skin texture and the pimples. Now, the low frequency is the base of that. So it's talking about the color and the tone of the skin. Because if we just get rid of the little bits, we may end up discoloring this person's face. So these two work together, and when combined, we get this regular image. But in today's lesson, I'm going to show you what the separated frequencies look like and what they do. Remember, the blue is the low frequency, the green is the high frequency and the red is like the base. We got our base image duplicated twice. Let's call the bottom one, low frequency. Now why is it at the bottom? Because the color and the tone sit behind the details. And the top one, high frequency. So it cannot be the other way. It should be this way. Let's hide high frequency and see how we can get this. Go to filter noise, dust and scratches. We're trying to get rid of any detail at this point. We're trying to get something rather flat for the subject because the details are in the high frequency. Dust and scratches. Let's get a nice preview here so I can see your skin. Going to go somewhere that has a lot of detail. So it eyebrow, this eye mask and the pimples. Then we're going to reduce the threshold to zero. We don't want any sensitivity. Remove the radius to one. Now we're going to increase the radius and try to get something flat but not exactly distorted. So when you move your cursor on the image, you can see this square thing, and we can use this to kind of create a focus point. So if you're not getting this one, you can just click it with this square cursor. I'm going to go with here. Increase the radius little by little until we smooth it out, but we're still able to see the features of the subject. Alright, so I'm going to go with 420 threshold because if we increase the threshold, it's going to be very sensitive, and we're just bringing back the details. Click Okay. And now it looks like this. Now, let's bring back our high frequency, and we're basically going to apply the details in this onto this flattened out version. So we're just getting the eyebrows, eyelashes and all that applied onto this so that it's not exactly flat. Go to high frequency, enable it image, apply image. We're going to get this one. First of all, we don't want merged. We want it to be on low frequency. Make sure that this is RGB, source should be our project file. Now, the blending should not be multiplied because right now it's combining the two images and it's darkening them. But we want these things to subtract from one another so that we can only get the details. So this is high frequency. Opacity set to 100, scale two, offset 128. This should be there by default, but if it's not, just enter them. Click and enter the number. Once you're done, click Okay, and this is what high frequency looks like. Now we have separated the high frequency from the base image. Notice how the background is just gray and the neck is gray, so it's the shirt. This is because these areas weren't really textured. You can see it's pretty flat flat here. The only areas that are showing through this layer are the areas with detail. We basically took the high frequency which looked like this and separated it into a layer. So this is what high frequency looks like. This is what low frequency looks like. Now we're going to change the blend mode of this sky into linear light. So it blends in on top of this low frequency. All right. Now let's group both of these together. Now we're going to open this up, grab the low frequency, K your lasso tool with a lot of feathering, 20 pixels, click away, and what we're going to do is to grab the areas that we want to be smooth out. That would be the forehead, the chin, the neck, the temple area, and I'm going to start with the forehead. So first of all, let's pull it a bit here, grab it. Just go around it like that. Try not to go over the sharp areas like the hair or the eyebrows, close it off. Now, it's important to go over these areas one by one so that you can check one before moving forward. Now we're going to use the good old Gaussian blur. Go on low frequency, filter gaussian blur. So keep adding to this until you get a smooth texture. Now notice how the details are still there, but I am just flattening out the rough textures. So let's go with, like, 40. Click Okay. Commander Control D. Now, of course, these guys are part of the high frequency layer, so don't worry about that. We're just trying to deal with the tone and color. Make sure we get an even tone around the skin because currently it's not even. Go back to low frequency and start with your next selection. So that's going to be like this. If there is no pimple on his mustache area, you don't need to go there. But if it was, you can. Just go to filter and apply it right here or Option Command F, Alt Control F. That's going to apply the same amount that you did before. Next, we got the chin area. Be careful of his lip. Do this area independently and make sure that I am not applying too much. Let's go with 28. For the nose, we want to start here and carefully make our way down all the way to the tip. Alright, I'm going to go back here because I want to add 40, 40.2, just as we did with the other ones. Command or Control deem. Don't forget the neck, that's a part of his skin. Go over it like that. Gentle around the jawline. And there we go. So this is what it looks like without high frequency, we kind of blurt it out, and we can see how the pimples and the rough patches are not standing out as much as they did. Now let's get rid of these high frequency areas that we don't want. So let me just show you what we do want. We want these little bumps, these pores on his face because everyone has that. And if I had something like this, then it would not have been natural. No one's skin looks like this. Let's bring this back. High frequency grab your tool of choice. I like the clone stamp tool. Going to grab it with 100% flow opacity, soft round, get a nice size. Sample with alter uption then click. You will see a gray thing, but that's because we had the frequency separated and upon changing the blend mode, we got this. Before that, it was gray, but now we're on this. Don't worry about that and just paint over these big areas. But notice how nothing looks flat. That's exactly why we did this. And Once you're done removing the scars and the pimples, we now have to go back to our low frequency and fix the tones underneath these bumps. Notice how there's these red bits on the areas where the guy had the pimples because they were quite big. If we look at our base image, they were quite red and they were quite big. Let's go to low frequency, but this time just isolate these reddish areas. You don't have to go over the whole process. Just make sure you have the feather, go to Gagen blur. And normally adding the same amount would work, but you can experiment with higher numbers. And now we kind of blurred out those three specific points that had the pinfles. Again, we have a bump here. Let's add the same amount, softens it out, looks good. I am just adding the same 40 pixels amount, nothing too different. Sometimes you may have to do more, so for me, that's not enough. I'm going to go in again, and there we go. I added 80 more pixels, but I'm not worried about the details because it's on a separate layer. You can always go back to either one of these layers because we separated their frequencies, they're not that related to each other. So when you're trying to blur things out, don't worry about the details. When you're getting rid of the details, don't worry about the color underneath. So I'm done with this. I'm going to close my group, and I'm just going to make a new curves adjustment on top of this group. So with the curves adjustment, we just want to kind of make things pop. So make a little shadow area here and increase the highlights. So we get an S curve, close off. Let's get a vibrant layer, clip it onto curves, and we're going to just fix the coloring a bit. Increase the vibrance and work with the saturation. Think I'm going to reduce the vibrance. Just a bit. All right, so this one is making my subject pop, but the problem is that it's going everywhere. So to limit it onto the highlights of my subject and not on the shadows, I'm going to double click and get my layer styles. On the blending options, head over to underlying layer, the shadow sliders, pull it to the side, and we can even separate the two. So bring it to around 88. And if I bring this back, you can see how it's not affecting the shadows as much. That's what we want. Go back here to make things a bit softer, alter option, click, separate the two, and just soften things out. So before, after is just going on the highlights. If you wanted to not go in the background, just make a simple mask with the color black. I made a vector mask by mistake. There's already a mask. Get a nice size and get rid of the things. And there we have it. Let's take a look at it before and after. I'm going to clip this to frequency separation. This was before. This is after. He's looking a lot better and a lot more refreshed, no more pimples for him. We made the procedure go smoothly. This was how you can make frequency separation inside Photoshop. It's actually quite simple. It's just all about how you adjust each layer for your image. In the next lesson, we're going to take a look at the AI tool that's inside Photoshop for smoothing out the skin. I'll see you guys in the next lesson. 38. Skin Smoothing Pt. 2: We have another image where our subject skin is just not looking the best. So this time, instead of making the layers ourselves, we're going to take a look at Photoshop's AI tools. We looked at them in the previous lessons, but now they're improved, and there are some new ones. I'm going to start with the skin smoothing filter, and then in the next lesson, we're going to take a look at all the other filters that are new or have been improved. So this image right here, I'm just going to duplicate it. And call this base. So before I go into the filter, I'm just going to zoom in and show you guys what we're dealing with. So apart from a rough skin texture, we do have a lot of bumps, just as we did in the previous lesson. But these bumps are kind of blended in. Maybe she's wearing foundation and we're not getting vibrant red behind every pimple. So that's a difference between the previous image. I'm just going to head over to filter. Neural Filters, and let's see how the tool works. Bring this aside, portraits, skin smoothing. You may see this button, that just means that you need to download it, download it, and then turn it on. So processing on device, this is what it looks like after the default numbers. We're just going to zoom in here with the Zoom tool. This was before. This is after. So already it did a good job. It kind of made things a bit blurry, which gives me a good starting point. Now, we have option for how much we blur this out. So this is, like, all the way and I can just reduce it, as well. So it depends on how my image is looking. We have another slider for smoothness. I'm going to increase that and that's going to get rid of any sharp details on the face. Now, because this is an AI tool, it's not touching the eyes, the eyebrows, and the lips, or any other area that is not supposed to be smooth. So it's a smart filter. It knows what it's doing, and this kind of saves us the time of masking things out and adding different layers. So smoothness 100. I'm also going to increase the blur until I have a nice base to work on. Just playing around with these lighters. Sometimes you will find yourself going all the way to 100. That's no problem because we can always fix the fill percentage and the opacity percentage. So these are the other two sliders. We do have a lot more filters that have been released or improved. I'm going to show you guys in the next lesson. So once I'm done, I can come down here to the output. I'm just going to make a new layer masked. Click Okay. I just have this as a mask. If I alter option, click on the mask, we can see how everything was done in a really precise manner. I didn't go over the areas that is not supposed to be flattened out. Let's go back, alter option click. So let's just bring this to 100 as we did and change this into a smart filter. Click Okay. I now have my Neural Filters listed just as we learned with the previous lessons. And delete one of them. I made two. All right, so let's hide this for a second and go back to this guy. So over here, I can see that it went over the eyes a little, and it needs a little bit of tweaking. But overall, it did a good job. So just go over your mask with a black brush and fix this up a bit. The parts that we know are going to be black for sure. So that's the pupil. We can see the edge here. We don't want that to be smoothed out. Once we're done, we can go back, Alter option, click, and just use our regular brush to remove it. But now I can see what parts I'm going over. So let's remove it from the nostrils. The eye whites so that I get the natural edge of the peeples. The lip is already blurred out, and there we go. So there we have it. It's looking good. Now, if you want to get rid of these bigger bumps, we can just go ahead and use any of the tools that we've used before. So I'm going to use Clone stamp again, zoom right in, get a smaller brush, terroption and simply click. So I would recommend using the frequency separation method areas or subjects that have a lot of bumps under skin and the skin smoothing techniques for situations where you just want a smoother skin. Gonna go back in here and introduce this layer, this area, I mean. Right, there's my subject. This was before, this is after looking a lot better. So these were two other methods that you can use to give your subject a smoother face. You can go up from here as well, grab your layer and add some adjustments. I think I will add some curves. To her diselection. You can see that it's just going there, maybe make it a bit brighter and have it stand out. So before, after. In the next lesson, we're going to go over the other neural filters and see what Photoshop has to offer. 39. Neural Filters Pt. 1: Okay, let's take a look at the new and improved Neural filters inside Photoshop. For the first filter, we're going to use this image and the subject from this image. Let's grab our subject. Command or Control scene. Paste it onto this new environment. Scale it as you see fit and put it right there. So first of all, I need to make sure that the coloring is right. Now, usually we would have done this ourselves with different adjustments, but Photoshop has released this new filter that I will show right now. Let's convert this into a Smart Object. Call it subject and head over to Neural Filters. This filter is new, and it basically combines your layer into the background. So first of all, select your layer, which is the reference image. This is it. It's going to do some adjustments and make some things happen. So he's already a lot more colder and a lot more contrasted than he was before. If we scroll down, we got a bunch of options which we can use to add more of the adjustments that Photoshop made. But if you don't want that, you can make it so that it's less. I will go with around 84 for this. Next, we have some color balance features, which allows me to work with the coloring. This image behind him is pretty blue, so I know that I need to get rid of some of that red inside my subject. The opposite of red is Cyan, pull the slider towards the left and you can see he's starting to blend in. Next, it's a bit greenish in the back, so I need to get rid of that magenta. Finally, we have blue and yellow. This is pretty blue, so we're going to get rid of the yellow by adding some blue. Really slight adjustments here. The last two sliders are for your saturation and brightness. I think he's a bit desaturated. Let's add to that, and he's a bit too bright. So let's reduce the brightness. And there we have it before, after. It's looking a lot better. So we're going to make this into a smart filter, then click Okay. Already, it's looking a lot different. Now, let's grab the background, and we need to blur it out so that he is the focus of the image. Just going to make it duplicate. Head over to let's actually convert it first. Head over to Neural Filters. And use another filter. Enable the depth blur, which is in the photography section, come down here and we can click to Edit Focal Point. Right now it chose this guy as the focal point, but that's not really what I want. Uncheck this and I just don't want any subjects to stand out. I will, however, choose this section down below as my focal point because that is where he is standing. So right here, choose that, and we got some blur strength options, which you can increase. Some haze options and some white balance options. So I have the following settings on. I'm not going to touch the white balance or anything. Now, Photoshop did detect this person that's closest to our other person or just the front of our camera. So he is going to be in focus, but it did blur out everything in the back in a realistic way. Going to output this into a smart filter. Click Okay. Now, what I'm going to do is to add another blur just above this so I can get this person out. Blur, Gaussian blur. Nothing too extreme. And remember that he's pretty close to our main subject, so he cannot be that blurry. Around seven pixels is good, and there we go. Now it looks better. And I made this image possible using two neural filters. So this was the harmonization and the depth blur filter. Let's take a look at the others. Next, we got a filter that works with landscapes. So I got one here during the daytime, and I got one during a darker setting. Let's convert both of them into a smart object and begin. Let's start with this one. Filter Neural Filters, push this over here, and down below, we can see landscape mixer. You're going to get a bunch of presets, turn it on and choose one of the options we have here. These are all presets. You can also customize this. I choose this one and you can see how it changed the lighting and I made it look like a sunny afternoon. We can try something crazy like this really pink sunset. We can also come down here to preserve subject, which is basically this guy. So this will give me a natural look. We can try to harmonize it And that's just going to give me, like, the previous result. Apart from that, we have the options for spring, summer, autumn and winter. Each of them are self explanatory. I just want to show you guys the winter one because it's pretty awesome. It adds snow, and I can take this maybe make it more spring like. So it's going to introduce more greenery. All around. If I increase the autumn, it's going to introduce some orange while maintaining some winter stuff. So these are really cool. Everything is done with AI, and I can get good results with a few clicks. Now, let's explore the custom section. And the custom section allows me to choose an image from my computer instead of choosing one from here. So I'm going to choose one. I believe we had it opened here. There we go. It's pretty different. It's dark, and it applies like so. I can again, go to here and perhaps make it spring like, preserve subject, and get something more natural. So there we go. This is how the landscape mixer works. Go to click Okay. And enjoy my new look. Now, there is another thing out there, which was in the same category, and that is style transfer. So as the name says, it's going to transfer a certain style onto your image. Let's turn it on. We got some presets, artistic styles and image styles. I'm going to bring it here. We got drawings, Da vinci styles, oil paintings. I just kept this guy on, and now it looks like a painting. Let's try the one next to it. And we get a more intense look. When we come down, we can reduce the strength. And of course, the opacity, the detail. It's going to make it softer, background blur, which I usually don't use because the whole point of this is the texture over the painting, and I don't want, a blurred background. Then we have brightness. Go to increase that and finally, the saturation. It could be higher or lower. You could also just preserve the original color while you move these sliders. Then we have some image styles. So these were artist styles. Let's try the image one. We got the famous Japanese painting style here. Let's go to try to apply it there. We got this. Can't quite see, but it looks pretty abstract from here. And just plenty more options for you to choose from. You can download them all if you don't want to wait for them to download one by one, and, of course, upload your own style. So I'm going to download something from the Internet, and then we can explore this. So let's bring in the image and it select this. It's a painting that I got from Pixebe. Let's see how it transfers the style. There we go. So we have these blocks of paint. If I don't like the intensity, I can always come down here, reduce the opacity and lower the detail. Let's darken the brightness and bring it back. And there we have it. This was a new filter style transfer. Now let's move on to the next ones. 40. Neural Filters Pt. 2: Next, we're going to see what Photoshop has for old images. So I have an old image here, which is pretty torn up, and I honestly don't know how Photoshop is going to fix this. But let's see what it got. We have an image like this, a vintage image like this with just some scratches and an image that just needs some coloring. So there's no dust or scratches, and it's pretty good. So let's start with the easy one, filter Neural Filters. And for situations like this, we want to use the colorize feature. So click it open, and there we go. With one click, it's pretty good. If we come down here, we have some adjustments, auto coolorimage, profile, you can choose them. For example, retro high contrast or maybe retro brown. So it's basically trying to keep that vintage style, but just give it some color. We can work with the profile strength saturation, go to increase it and some color balance features. So if it's too red, add some cyan, if it's too green, add some magenta, if it's too blue, add some yellow. Then we have artifact reduction, which if you zoom in, you can see if you need it. There is a little bit of noise introduced, so I'm going to add a little bit of both. That's going to give me something better. Reduce the saturation. There we go. Before, after. Much better. Click Okay. And there it is. Let's try a level harder with this one. Et's see what Photoshop has to offer. So for situations like this, we have another thing. You can either use colorize or photo restoration. For this image, we need both. We need to first get rid of these scratches on the image and then later colorize it. So turn this on. This is a new feature. It's going to get rid of the little dust, increase scratch reduction so it can fill in these lines. So with just 24, we got rid of those scratches. Pretty good. Bring the adjustments, we have some noise reductions and more artifact reduction sliders. Gonna leave it like so, and then I'm going to click OK into current layer so that I can use the coolrized feature right above. Let's go back. Let's add colorize, and there we go. It looks pretty natural. I can use the settings just as we learned. So there is my vintage image. Now let's see what Photoshop is going to do about this super hard image. Now, I'm not sure if it will bring back the subject phase and there's no other detail to use. So I'm kind of curious to see what it will do. G increase scratch reduction and leave all the other settings. So as I thought it couldn't, it disabled the filter because of an error. So there are some limits to this filter. At least we know now. Let's hit Cancel and take a look at our next filter. The next filter is about JPEG artifacts, which we learned about. They're really helpful for when you have a low quality image such as this one. You're just supposed to go in here and Photoshop is supposed to give you a sharper and high quality looking image. Come down here, enable it. We only have a setting for low, medium, and high. So this is high, and it did a good job. This was before. You can see all these pixels. This is after. So if I wanted to use this image, I can use it now. It's not exactly four K, but it looks way better than what we had. If you found it to be too much, just work with the strength here. The next filter allows us to transfer the color from one image onto another. So I got this super pink flower background, and I'm going to try to add it onto the shoes in the second image. So this is going to be interesting. Let's first get our neural filters, head over to color transfer. And by the way, whatever has Beta on it is basically under improvement as we speak. So maybe after a few versions, you can see that these guys are different. All right, so let's take a look at the presets that we have. I'm going to have my own image. So let's head over to custom and Oops, that's the wrong image. And choose the correct image. So the flower one is what I want. It's going to try to process it. And now I got the same pinkish color. Let's go to RGB for the color space. We got some saturation, hue, brightness lighters. Now let's try this with one of the presets. Going to try this blue one. And I just change the color of my shoes in one click. The final filter is for smart portraits. We went over this previously, but there are some improvements, and now you get to do a lot more. So grab any portrait, good Neural Filters, portraits, smart portrait. We have features for happiness, age, thickness, for hair, and eye direction. There are plenty more down here. Let's make her a little bit sad. The processing will be done in the cloud, and I'm going to make her a little bit younger. So there we go. I'm gonna make her angry. For global features, let's change the head direction and perhaps the light direction. Let's feather the mask. Quite a bit. And yeah, so this is what I did before, after. There are some improvements compared to last time, and they're pretty fun to play with. Gonna grab another image where she has a poker face and she's looking straight ahead. So let's see what we can do with this image. Smart portrait. Let's change her eye direction. And now she's looking towards the right. Facial age, let's make her a bit old. There we go. Expressions, surprise. Got some global features down here. I think I'm going to make her happy. So you can see it gave her a little smirk. Let's go all the way up to plus 50 and increase surprise to plus 50 as well. So this looks pretty awesome. It's different, and I'm not seeing any errors here. I would like to try the head direction. Let's have her go all the way towards the left and see what that looks like. So she's looking a bit towards the left, but I was kind of expecting her head to move. I guess it's just the face direction. Alright, go to get rid of that. The rest of the features were okay for me. I made her smile and change her eye direction. This is before. This is after. So this is way better than what we had before. And as I mentioned, all of these are improving as we speak. You can also always check out wait list and see when they are released. Water along exposure, shadow regenerator, noise reduction. And portrait generator. So these are pretty cool. I'm just going to hit okay and be done with this image. So this was a quick look at the Newall filters, the old ones, and some new ones. Just make sure that you start with a smart object so that you can always change things as you go. So I hope you guys enjoy this lesson. Let's move on to the next one. 41. Glow Pt. 1: Let's learn how to make things glow inside Photoshop. I will go over two methods. One of them is using parts of the original image to make something glow. And the second method is using something outside of the image, such as a shape to make it glow. I'm going to start with this image. We have this creature in a dark environment, and I'm going to use the antilars to make them glow. So first of all, we need to select them. Now, instead of using the Quick Selection tool or the Lasso tool, we're going to use a Pen tool. The reason for that is because we're really trying to get those perfect edges, and we don't want anything to be smooth in this case. So start from where the antler separates. Click and Drag, make sure you have no fill and no stroke, and I'm going to make this a path. So switch it up there. Try to match the curves the best you can. If you want to work with one handle, hold down alteruption, adjust it, and then move forward. You can also use command or control to work with one of the points, so you can move them around without disturbing the rest. To get rid of a curve, hold down alter ruption and click on the main point. So that's going to give us a sharp turn. I'm just going to go all the way around. Do not bring in the ear, just go around this and end it here. So once we're done, we want to go over here, combine shapes, and then make our other selection. So this way, we can maintain the other one and start over from this point. They need to be in the same layer so that we get a more natural result. So once we have the two selections, we're just going to head over to paths. We have work path right here and I'm going to name this. Click Okay. Right click with the Pen tool on your image to make your selection. I'm going to add one pixel for feathering, and there we go. Now, before I move forward, I'm going to remove this section by hitting Q going right in with my brush. You could still use the Pen tool, but it's such a small area. I'm not going to use the Pen tool for it. Spring back the flow. Once you're done, click Q, Command zero to go back to full screen, I mean, and then make a new layer using this Commander Control J. And I'm going to name this antlers. C get rid of this shape. So now you should have a layer with just these two. Let's bring them back. In this stage, if you want to edit your image, you should do it. Just grab your main layer, go to image, and add any adjustments that you want. I like the way it looks, so I'm just going to leave it like that. Now we're going to duplicate this Command Control J, copy, convert this into a smart object, and change the blend mode to linear Dutch. So already it looks brighter because it's going above the original ancillar selection. But that's not what we want. We want to make it softer. I Photoshop, there is no button to make things glow, especially when it comes to parts of images. So you need to do it manually. If you think of glow, it's just basically a bright light, which is sometimes colored and it's blurring out, starting from the source and then fading as it reaches here. That's exactly what's happening here. We made this layer glow. Now we need to blur it so that the light can emit in a softer way. Code you filter on your copy, filter Gagenbler. And we're going to start with a really small number. So something to just soften it out, nothing too extreme at the moment. We need to stack the different blurs on top in order to get a more natural result. So already this is looking pretty glowy, but it's not enough. So now we're going to duplicate this one more time, Athlerscopy two, dabble click on gaussian blur and increase the radius. So let's go with, like, 20 then click Okay. Duplicate it one more time. Dabble click on Cusionblur and increase this. About 60. So now it's looking pretty good. I'm going to make a new layer and call it Light, grab my soft round brush, a bigger size, and using the color white for now, just make sure it's all the way white. We're going to add some external light to this. So just go over it with your soft round. On the ancillars for now, we're going to do with the creature later. Then change the blend mode to soft light. So already it's looking pretty good. And now his antlers are emitting light. Alright, now let's group all of these together. Call it glo Effect. Now we're going to color this glow. You could, of course, leave it white, but I want to add some neon colorings right above. Clip this onto your group and colorize it. So you can make it red, blue, purple, pink, or any other color. I think I will go with something similar to this environment. So maybe some cyan, increase the saturation, and increase the lightness around this much. Close this. I'm just going to head over to this layer and blur it out so that I get softer edges. Something like this, click Okay. You can also reduce the flow if it's too much. All right. Close this off, and now we're going to make a layer for the glow to affect the creature and the ground. So make a new layer above your group. Above this with the same color white, and where you're just going to make those glowing lines on his body. Let's start from the face. Make a small brush. So look at the face of the creature and add it on the areas that were already bright. Gonna hide glow effect. And if we look at our subject, we can see that this part of his ear is glowing, a little bit there. His temple is glowing, tip of his nose, the bridge, his eyes, the top of them, a little bit underneath, around his mouth. These guys are the shadows and the back of his body. Same thing here. So here's the shadow. We just want to add this glow effect. I'm going to make my brush bigger on the areas where this subject was bright. Once we have this, I'm going to change the blend mode to overlay. This is just going to go on the areas that are bright and not on the other side. Bring the glow effect back, duplicate this man saturation, then clip it onto this new layer. Now go over here. Let's call it highlights. Let's reduce the film to get a more decent look. I think we can remove the ears from the highlights. I'm going to grab the eraser. Soft round. The parts of the group is getting on it, and it's not looking the best. Just remove it like that. Alright, now let's make a new layer, but for the ground, which is not that visible, but we do get some highlights there in the back. So let's call it glow environment. Grab our soft round, big size. The color white or you could grab this light blue color that we got and just go over these areas. Try not to go on the subject and just focus on the outside. Go on the trees maybe. Go around like that. The bottom is black, so we don't want to go there. Change the blend mil to overlay, and there we go with gluing, and this creature is emitting light to this whole thing. It just to fill to get a more natural look and repeat with the highlights. Right, so we got the glow effect. Now to make this more magical, I'm going to add some particle effects over this. In your resource bag, you're going to find two overlays, add them above your subject. So let's start with this one, this one, actually. Flip it over, shift, alter uption to scale from above. G to kind of keep it on the ancillars, change the blend mode to screen, stbally call it particles. And then I'm going to grab my lasso tool with quite a lot of feather to just add these in between his antlers. So just go like this. Make a mask. Going to double click and make it even more feathered out. Then I can just go on my original image, double click, layers styles, or actually a levels adjustment would be better. Clip it on darken the shadow, so we get less of that faded look. Like so. It's just a film of the overlay, and now he has this effect on top and around his antlers. I have another overlay that I would like to add over the entire image to give it that magical look. Fit the whole screen. And I'm going to rasterize it. Let's call this particles antlers and this one overall particles. So bring this above levels, clip this back. So over here, we're first going to hit Command Shift U to desaturate it, and then we're going to head over to the levels to darken up the shadows more and get these gloey effects. Now change the blend mode and then blur it out. Something a little less extreme. And there we have it. Now our subject is glowing. Let's take a look at it before and after. This was before. This is after. You can always go back in and reduce the fill of your layers. Everything is separated. So you should have no problem with that at all. So this was our first method. Let's take a look at our second method in the next lesson. 42. Glow Pt. 2: Now let's add a glowing shape behind our subject. First, we're going to start by editing the image. Unlock it, convert it Camera Raw filter. Gonna darken this up so that the glow looks better. Lower the exposure, increase the contrast, darken the shadows, and maybe make it like bluish. All right. I'm going to reduce the vibrant so that my glowing shape is the only thing that is standing out. Once you're done, click Okay. Now, either grab the Pen tool or any of the other shapes to make something for your subject. Starting from the center, alter uption. Hold down shift as well, and just scale it out until you get a nice shape. Add a white stroke, no fill. Let's increase the size so we can see it. Something like this. Let's go ahead and add 20 pixels for stroke. Let me call it glowing circle. Double click to Inter layer styles. The first thing we want to do is to give this a color. So just go over into color overlay, click at once, blend mode to normal and add your color of choice. I will go with a bright cyan Click Okay. Next, we're going to start making things glow. Add inner glow, leave everything as it is. We just want to increase the opacity to 100. You can look at it in the preview panel. Reduce the choke to zero and increase the size until you get a nice selection. So I think for our case, it should be something around here because I still want to see that cyan color that we kept. So maybe around 18 pixels, change the contour into half round, then go back to adjusting the size. You also want this to go on the center and not on the edge. Next, we want this to go on the outside too. So there's the outer glow option, and we want to choose the color to be that cyan that we had before. Doesn't have to be identical. Just try to guess it here. And then we're going to change the blend mode tool in your Dutch, leave the opacity at 50%, we're going to come back to this later, reduce the spread to zero and then adjust the size. I go back to opacity. Try to figure it out. I think around 63 is okay. The size, I will keep it around 87. We're getting there. It's looking good. I think we can work with the size. Going to get 12 pixels, go back to outer shadow, get the same contour style, and increase the range. Finally, to add that extra glue on the outside, we're going to use drop shadow. But of course, we're using the opposite of shadow, which is highlights. So first of all, change the blend mode from multiply into linear Dutch, which is going to make things brighter. Then we're going to change the color again into something similar. Let's go to Cyan and add a similar color. Next, change the angle into something reasonable. I want more of the glow to go on his body, so it should be in this angle. Distance, we want to turn into zero, spread zero, and just work with the size alone. Thing will go all the way up. Click Okay. Now we're going to make a new layer above this. Call it extra glow. Grab the Pen tool, and using the rulers, I'm going to make let's bring this circle layer back. I'm going to make guides for the center of the circle, glowing circle. Click on it with this tool path selection tool and make a horizontal ruler and a vertical one. So if you're not seeing your rulers, command or control R, to enable them, just have it be like this. Now go to your extra glue layer, bring it back, grab the Pen tool, and we're going to make a path on these points. So one, two, before you let go, click and drag to match the round. Doesn't have to be identical, but try to make it somewhat close. Once you're done, 0.3, click and drag going to come back for the handles later, click and drag, and finally meet it, click and drag. We can get rid of the rulers for now. Going to lock my glowing circle so I don't move it around and just use the path selection tool to kind of work with the way it looks. So some of the handles are a bit too extreme, I would say. We can just grab one of them, alter option to kind of dial down the intensity. Let me just prepare my brush. Make sure your brush is soft round and choose the size to be somewhere something reasonable for this circle. Use your left and right bracket keys to adjust the size. Think around this much, 400 pixels. Go back on this, right click with the Pen Tool, stroke path with the brush tool. Click Okay. The wrong color set. Grab the cyan color that we had from before. And then stroke the path. With brush, click Okay. There you go. So now we got this extra glow that I've got above my glowing circle. Let's bring it below. If you're seeing the outline of your path, you can just go over here and delete it. We do not need it anymore. Your path panel is right here if you're not seeing it. There's my circle. So let's blur it out even more. Like, so let's change the size of my glowing circle, the stroke width, and we go down to 15, and that's better. Alright, now group these two. Glowing circle. I'm going to go back to my glowing circle and increase the size of it. This is a shape, so I can always do that. And if you are going to change the size of your circle, be sure to change the inner glow properties. That will click, right now, this is what we have, which is not good. Work with the size so that we're getting a soft glue on the inside. We can also go to outer glue and reduce the opacity a bit if you find it to be too harsh. All right. Click Okay, go to your extra glow and reduce the fill so that things look a bit more mellow. Now we're going to close this off the group, and add a hue and saturation effect. Clip it to the group and you can work with the overall coloring. Go to go with my original can. Go my cyan here, increase the saturation and the lightness. Now group these two together. And now I'm going to make this more interactive. Grab your base layer, select subject. Commander Control J, good your Commander control on this layer and make a mask while holding down alter rupion. Now using the mask with a white brush, I'm going to introduce the glow effect back on to either his antler or his body. I think I'm going to go with up here. And now this is more interactive. To make the glow stand out better, I'm going to make some overall curve adjustments above the whole thing. So let's darken things up. And make that glow effect stand out. I'm going to delete this layer. We don't need it and perhaps add a color lookup above my base. So you can experiment with any of these. I like this one. I just need to lower the flow. Go above your glow effect with a highlight layer. Grab the same blue which should be in your swatches. You can find it here. Soft round and just go over your subject's body. Again, looking for the highlights. Basically anywhere where the glow would go over. So that counts for this. This is glowing on. Grab it the tip, the temple, ears, the back of its body. Just go over all those areas. Tip of his nose too. Change the blend motu overlay, and I'm going to hit Commander control, mask out these extra areas. So alter uption, click, and it's just going to go on the deer. I'm just going to go in here and delete these gloey effects. Hit X and remove them with a soft round brush. Zoom right in and let's fix the selection. H. There we go. Now we've got the highlights. Let's add particles as we did in the previous lesson. G to add this one, flip it over. All druption, scale it up. Change the blend mode, get this magical effect, and I'm going to use my elliptical marquee tool. All druption to only apply this on the subject surrounding. Click Okay. Table click on the mask and feather the edges. So we get this sparkly effect on the subject. Call it particle. Dabo click on this layer styles, blending options, and get rid of it on the dark areas, Alter option on the shadows and simply lift this up. So it's more interactive. You can work with the levels to kind of limit the amount of particles. Finally, we want to blur this out. And there we have it. Two different methods on how you can add glue inside Photoshop. 43. Apply Makeup Pt. 1: In today's lesson, we're going to learn how to apply makeup inside Photoshop. We will go over different techniques, and for each part of the pace, we'll be adding something different. So let's get started. I have two images for you in the resource pack. One of them is of this subject, which has a round face, and we have one of another subject. We're going to contour her face using some techniques, and in the other image, we're going to add things like eyeliner, eyeshadow, lipstick, blush, and just a bunch of other makeups. So let's start with this image. I have a guide for you in the resource pack as well, just in case you don't know where you should put the highlights and where you should put the bronzer. So this is the bronzer areas, and this is the highlight areas. In Photoshop, the term would be dodging, which is to make things brighter and burning, which is to make things darker. So throughout the lesson, I will be using these terms. The first thing we want to do is to zoom in onto her face. Get a nice view and then create two curve adjustments. One curve, and then another one. Call the one on the bottom burn, which is, as we learned the bronzer and the one at the top Dutch. All right, so in the Dutch, we're simply going to put our cursor in the center. I'm sure you can see the guides. Click on the center and push this up. So we get a brighter look before, after. G to go a bit higher. For the burn, we're going to do the exact opposite. So this is bright. This is dark. Click in the center, bring it down. Now we're going to invert both of these with Command or Control I. We got our dodge and our burn, which was the highlight on the contour. I'm now going to grab my brush with a hard round. A decent size maybe use the left and right bracket keys to determine your size. I'm going to go with this, which is 45 pixels. Go on your dodge layer with the color white, and I'm going to refer to this image. So I'm going to need a triangular shape on her forehead, two lines below her eyebrows, which ours isn't that visible, but we do have this tiny area. And then we have two big triangles around underneath her eye, and they meet at her nostril. For her forehead, we can't really see it because it's underneath her banks, so we can skip that. Next, we have down here, click once. We're going to need a smaller brush. Just going like that, straight line over here. She also had one going from the top of her nose to the bottom. Make one click, come all the way down, shift, all down, shift, and then click again so we get a straight line. Then we have a big triangle area just going like that and meet by her nostril. That's one spot going to repeat on the other end. So try to make it the same. Just like makeup. You can't really make identical strokes, and that's the whole point of it. So just do your best. Alright. She also had this little spot on her above her lip. Just go in once. Let's go back here, and that's it. So that was the highlights I'm going to go to burn and at the burn areas. Again, we have this forehead place which we can't really add because there's already a shadow cast it. So let's move on to the rest. We got two strokes above her cheekbone, on the side of her nose, on the bottom of her chin and below her lip. So let's begin with a hard round brush. Let's get a bigger size. And right here where you see this curve, not here, a little below it, we're going to make that contour. Something like that. We have that area on the chin. Below her lip. Let's make the brush smaller. And one last one to follow her nose shape. Now, here's the thing about the nose. Some people's noses are round, others are kind of straight and pointed. So depending on your subject's nose, you would want to change your contour. So for this subject, her nose is round. Therefore, I want to follow that and give it a natural result. But if you had another subject, for example, her, her nose is less round and it's more pointed. So I would kind of have to make a straight line. So this is how the contour is looking. I'm now going to feather both of the mask. A click on the black area and increase the feathering. You can see that we're getting a pretty good highlight effect. When you go with 20 pixels, Tan repeat with burn. Whatever you add for Dutch needs to be the same for burn. They work together, and now we have this. Alright, so these two are above each other, and it's most likely that we drew the dodge mask over the burn mask. Happens all the time. To avoid the dodge areas going above the burn areas, we're going to go into blending options. So this is Dodge. I do not want it on the shadows. So alter eruption, click on underlying layer and just pull it away. So you can see the difference, not too much around this much, maybe 87. For the burn layer, we need to do the opposite. So we do not want the burn areas on the bright places. So alter eruption, click and remove it. So that's looking way better. Now we're going to group these together. Hold down Commander control, Commander control gene. Call it contour. Lower the opacity to get a more natural result. Going to go with 62% and there we have it. She now has contour. Before, after. So adding contour, just like how it is in real life, helps to shape the face and make it appear more sculpted. You can use this in your photographs, especially when your subject does not have any contour or maybe you just forgot to add the contour. You can always add it like this with no problem. I'm going to increase the feathering of each one by ten, so 30 pixels instead of 20. There we have it. Before after. Now, while we're here, I'm also going to add a little bit of blush for my subject because they all go together. So closed contour. Let's get a glass or two and go over the areas where there would be blush. So that's just the cheeks. Grab a rough selection, hold down shift until you see a plus on your cursor and draw on the other side, too. The subject kind of has blush, so you can use that, and then we're going to go over two adjustments, photo filter. I also had my feather at 30 pixels when I was drawing this. Now, change the filter into red and work with the density. So there's your blush. You want something really subtle, something like that. And because we had the feather, this has been blurred out. But if you need it to be more, you can just drag this slider. And now she has blush before, after. We can always go back here and reduce the density if it's too pinkish. There are also other colors, but red is the most natural looking one. So now she has blush. Now let's see how I can change her eye color and make it look like she's wearing some contacts. Zoom in onto your subject's eye and get the hue and saturation effect. On the mask, we're going to invert it. Command or Control E. Go to standard mode right here. It's going to turn this red. Using the color black, we're going to go over her eye. Zooming. Try not to go over her eyelashes and leave a little space around her pupil. Go to the other side and repeat. Once you're done, hit Q to get out of standard mode, and I'm going to delete this layer mask to make a new one. Command or Control I, and now whatever I add inside here is going to be applied inside the eyeballs. Table click and feather this out by six pixels. Click on this to get the hue and saturation. I think for her, a green eyecolor would look nice. So I just went on plus 36, work with the saturation. And there we go. So the reason why we didn't add a solid color is because we wanted to work with the hue of the color that she already had in her pupil. If we used a solid color, we would have had to spend the time cleaning it up, changing the blend mode, the blend of sliders, and it would just take a while. So this is the simplest way of changing eye color. So now my subject is looking pretty different. Let's move on to our next subject and give her a makeover. 44. Apply Makeup Pt. 2: Mm hmm. Welcome back. Let's get started with her makeup. I'm going to begin right on her face with a eyeliner. She currently doesn't have one, and I think it's very light. So what we're going to do is to grab the Pen tool with the shape, no fill and no stroke, zoom right in and start from this darker area. So click right here between the whites and her eyelashes, decide how long you want the wing to be. Click drag for a nice curve. I am just doing this randomly, but if you want to be precise, you can get a reference image. So Alter option click here to get rid of the handle, and this will let me get a sharp pointed wing. I'm going to drag it here a little bit above this, click and drag, and there's my wing. Now I go around the eye Alter uption to work with this handle so I can get a smoother curve. Commander control, click on your last point so we can continue from there on. Click and Drag and keep going until you reach the end of her eyelashes. If you want the eyeliner to go all the way down here, just go down. I'm trying to make it really gradual, so I'm going to bring it down here, but then my other line would have to be super thin. This is the end of my eyeliner. I'm going to return back to the first point. Let me just bring this below. Click on at once with Commander Control, and then on your way back, you're just following the shape of her eyelid. Now zoom right in and work with your points. Command click to work with one point. I'm just going to pull this down and work with the points again. There we go. That's her eyeliner. I made a shape here so I can use it for the other eye and save myself the time. Right click, make selection with one feather radius. Get a black solid color. Click Okay. If you have doubts about the way your shape looks, you can delete this mask and readjust your shape, make a selection, and make another mask. We also have the option to use the black and white brush, but I would recommend using the Pen tool because it gives us the cleanest curves. Let's work with her other eye. Commander Control team, right click, flip horizontal. Bring that on the other side. It's going to need some tweaking, but it gives us a good starting point. Make your selection. Solid color black. And there we go. We can now hide this for later if we need it. And now I just want to blend this in. So let's call this right eyeliner and this one left eyeliner. Turn both of their blend modes into multiply, dabble click on both the layers and feather out the layer mask and feather out the edges. So maybe around two pixels is good. It cannot be super sharp because all the other features are slightly blurred. All right. Then zoom right in and reduce the fill. Something like that. It should look really subtle. We can combine it with a little bit of opacity as well to get rid of the overall look. So 80% opacity, 69 fill. That's pretty good. Type it in 69 fill, 80% opacity. And now she has eyeliner. Group these two. These three. Before after looks pretty good. If you want to change the color, you would have to go into the colors here, dap a click, make it red, brown, blue. It's completely up to you. So we're done with our eyeliner. Let's close that and work with some eye shadow. So grab your lasso tool and start from the dark area, go above it like this and have the line go through the area where you made the eyeliner. Hold down shift to add to your selection. Again, start from a dark area, go around it. You could use a reference image, but I'm just going to show you guys a general look. I'm not being that precise with it. Make a hue and saturation effect. Dapple click on the mask, feather it out quite a bit. Go back here and choose your color. So I don't want anything intense. I'm going to have it be on a reddish color, reduce the saturation and the lightness to get this soft purplish look. Once you're done, you can go back in here and adjust the feather. I think 14 pixels is good. If you want to bring more, just grab a soft round brush with a color white and introduce it in. I would recommend lowering the flow for when you're drawing so that it looks the most natural. I'm going to go in with a smaller brush and apply a little bit of this color underneath like this. So before after, do the same thing on the other side. Alright, looking good. Next, I'm going to add some highlights onto her face. She already has that, but I want to intensify it. So let's make the same dodge and burn effect that we did in the previous lesson. This one will be our burn. This one will be our Dodge. Invert both of the mask, start with your Dutch, put it above, burn, get your heart round brush, increase the size. And this time because she has a little bit of conjuring herself, I'm going to follow the areas that she applied it on. So that's the forehead. We can see a little bit of it here. I can use the triangular shape that we saw on the graph because she has no banks. She has some on her cheek. We're going to apply it there. Because she's smiling, I can't really make a triangle. On her nose, she has a pointy nose, M one click, go to the end, shift, make another click, and we forgot to bring back our fill. Make a point, shift, point, a little on the top of her lips, and a little down there. Now, you can also add it in here on her inner corner. If you know how to apply makeup and just think of it as that. Also apply a little bit underneath her eye because they need a little brightening. There we go. Then go to burn. And I'm going to start here to define her dimples. Just go with, like, a C shape underneath her lip on the side of her nose, this one will be a little bit sharper than the other lesson. Got another one there and get a bigger brush for the cheek contour. Follow the shape of her smile. We forgot the top area for dodge. Had that there. Burn, we got some on the edges of her forehead. You make dots around it like this. Let's see. Cut some areas on her chin. And there we go. Now dabble click. I'm going to add 40, which is what we applied before. Stay exact same thing here. 40 there. Dab a click on Dodge, remove it from the shadows, Alterution click, increase it like that. 87, repeat on the other one with brightness. There we go. Group these together and lower the opacity. Before, after. So her face looks way more defined. Let's move on to Sblush. Follow her cheeks, the apples of her cheeks, hold down shift and make the same circle there. Once you have that, make a photo filter with the color red and give her some blush. Dabo click on your mask and feather the edges. And now she has some blush. Let's go back here and reduce the density to 24% to give her a realistic look. Call this blush. The next makeup we're going to add is lipstick. I'm going to go down here, grab the Pen tool again, with no fill and no stroke, go inside her lip, so we're not going to go right to the edges. Just something like this. Everything will be feathered out, so you don't have to be that precise. Once we have this, right click. Make selection and make a hue and saturation adjustment. When it comes to makeup, this adjustment is your best friend. It gives you the most realistic results, so you can really use it for any type of makeup. I will go with, like, a pinkish color, increase the saturation, and then reduce the lightness. Let's call it lipstick. And this one, I believe was eyeshadow. Temple click on the mask and feather the edges. So see how natural that looks. Then we want to bring back some of the highlights. So dapple click underlying layer, alter uption on the slider and remove this from the highlights of her lips. There we go. Looking pretty nice before, after. If you want to work with the hair, you need to make another adjustment. I'm going to make her hair a bit darker. We're not going to change color here. Make a simple curve adjustment just like the burn layer. Keep going until you're happy with the brightness. Close this, invert it, get your white brush, hard round. The reason being that we can get a smoother result by feathering out the edges. So soft round will give us a bit more of a random thing because we're drawing it. But with hard round, the softness will be happening in one rate because there's one slider. Get a bigger brush for the hair and go over it. And now her hair is much darker before, after. The effect is going on the brighter areas, so we need to blend it in with the same technique, ultra ruption, drag the slider away. So it will not go like this area and the part where the light is shining directly at it. For the cherry on top, we're going to change the eye color, make your hue and saturation effect, go to standard mode, cue, and draw on her eyes. Remove the top parts with the color black, Q again, invert the mask. So we want nothing but the pupils, Commander Control D, change the eye color as you see fit. Then I'll go with blue, work with your saturation, and the brightness. Then feather out the edges. Go to zoom right in and get my soft round brush to introduce a bit more to the sides. Grab a harder round, like 72% the color black and remove it if it came on her eyelash. Or the eye whites. And there we go before, after. She now has blue eyes. So that's how you can apply a full face of makeup using Photoshop. They're pretty easy. It's just the masking and using the right amount of each effect. Let's move on to the next lesson and see how we can transform bodies into different materials. 45. Gold & Silver Pt. 1: We're going to take these two regular subjects and make one into gold and the other into silver. Let's get started. Start by unlocking your layer and duplicating it twice. The first one, we're going to call it silver. Second one will be gold. So grab your gold layer with the silver hidden. Long click on this to get the Object Selection tool. Start from the edge here, click and drag until the sort ends. I think it's about here. Let go and it should select your subject. If it did not bring parts of it in, we can just use a brush. Go back to quick selection alter rupion and remove these extra bits. You can hit Q to use your black and white brushes. So we just made a mask after the selection for the gold subject and the silver subject. And when you're making a selection in the standard mode with your brushes, I want you guys to click on the end, hold down shift, and then click on the other end. That's going to give you a straight line, and that way you will not get a wiggly sword. So that's one tip. And now when I hide my original layer, we have the two subjects separated. Now, the cleaner your selections, the better the effect. So take your time and make sure every bit is nicely separated from the background. Next, I'm going to create a solid color underneath, so they're no longer going to be in that environment. Calling this BG for background. Let's start with gold. Going to bring silver below so we can work with it later. So we're going to duplicate gold, Commander Control J, and I'm going to make this black and white. So just go to the image Command Shift, control shift U, and that's going to give us this effect. And now we're going to duplicate this one more time with a black and white effect and change the blend mode to difference. Then we're going to invert it Command or Control I. So we're going to get this effect, which is going to turn into something really cool later on. So now we're going to merge these two. Grab them both merge layers, and I just have this. Bring back gold. I'm going to hide it and bring it below. We may need it later on. So right now, we just have the merged layer, when you call it merge. Layers and the black and white background. Merge them together, and we're going to duplicate this one more time. Change the blend mode to difference. And then we're going to invert it again, Commander control I, and slowly you can see how we're getting that metallic look. So that's looking good. And then we will merge it again. Merge layers. Let's remove Copy. Merge layers number two because we merged it twice. So this right here is my base. You could do this one more time for a better effect, difference, invert, and I'm going to do it three times. So this is the third time that we're merging layers. I call it number three. Now we have this base. I want to add the gold color because I wanted her to be gold. Go right here and get a gradient map effect. Clip it onto this, click on this one, and type in the exact colors that I'm about to name. So double click on Den here. First one is two D 1203, which gives us this brown color. Go to your midtones in the middle. Click to make a point. Click O on the color, CO 7e00 for this brownish orange color. And finally, for the highlights, we're going to add F seven, E for A three. And there we go. She's looking pretty golden. Convert this into a Smart Object and get some blur effects in. If we zoom in, you can see that it's really chiseled and it's not looking that good. So we want to make this look like it's actually gold. Go to filter blur, surface blur. So the radius, we want to increase it. I'm going to show my subject here, can't really see her. There we go. Swim right in on one of the chisold areas. Increase your radius and increase your threshold. We can see what that looks like. I'm going to go with this. You can copy the numbers. Alright. Now, to make the surface more kind of slippery looking and not as chiseled, we need to add some oily effects. Go to filter stylize, oil paint on the same merchant layer number three. And what we're going to do is just work with the sliders here and see what works. Go to grab my cursor and click on one of the chiseled areas and just work with it. I want the edges to be somewhat clean. Let's reduce the scale. And reduce the bristle. Get a little bit of stylization. For lighting, I think I'm happy with it, then click Okay. So before, after. I'm going to zoom in here and show you a close up before, after. I think I'll go back and remove the spirals a bit. Let's remove cleanness and work with the stylization a bit, scale it down, there we go. So this is what I have. You can increase the shine, too, but I like to keep it around zero. Already, she's looking good. Now let's make it even more slippery with a filter gallery effect. Filter gallery, and in the artistic section, there's a plastic wrap effect. And I'm just going to leave these settings as it is. Click Okay, and then go to Filter Gallery. Double click until you get this option, change the blend mode to color dodge. So you're going to get this. And of course, the opacity is too much. So dial that down 34%. Next, we're going to make the edges glow. We can do that simply by adding inner glow onto the layer. So open this up, and what we're going to do is to change the blend mode first of all. We want the color in there, lower the opacity quite a bit by about half, and then go even lower. Change this into edge instead of center, so it glows on the edges. No choke, and you can work with this size. So I will go with maybe 87. I have my contour set to half round, come down here, half round, and just leave the rest. Click Okay, and she's coming together. Make a new layer underneath your gradient map. I'm going to call this shine. Get your white soft round and create dabs on the brightest parts on her hand, face, the finger up there. Follow the highlights that you see already. We're just trying to intensify it. The sword should be really bright. Once we're done, we're going to change the blend mode to linear Dutch and then change the fill. Before, after. Make it a bit less, and there we have it. There is our gold subject. We now need to make her reflection. Group these three, Commander control G, call it gold, duplicate gold. And merge this Commander Control T, right click, flip vertical. And now using Shift click and just bring it down in the same level. Her feet should join, but if it's not, just right click and warp it so that the feet is touching it. So we need to kind of create this effect. Grab the handles here and try to match the bottom of her shoe. Repeat on the other end. And once we're done, we're going to click Okay. Grab our mask, get the gradient as we learned black to white, black to white. Let go, can do this a bunch of times. Going to go a little higher so I can get a better reflection. Reduce the opacity. And now we have this invisible ground that our subjects are fighting on. So that's how we can make our gold effect. Go to show you what it looked like before. This is what she looked like before. This is after way different. And now she's just frozen in time. Head over to your gold layer on the shine where we added those white spots and pull her this out so we get a softer look. Click Okay. So we're done with the gold. Now let's work with the silver subject in the next lesson. 46. Gold & Silver Pt. 2: Welcome back. Let's transform our second subject into silver. I'm going to hide gold so that we can focus on him now. So the process is similar, but there are some additional things that we need to do. So duplicate this layer just as we did, and we're going to make it black and white. Command Shift to you, control shift you on Windows. Duplicate this. I'm going to put silver aside for now. You only need these two. Change the blend mode to difference and the second one, Command or Control I to invert it. So you're going to see mostly white because our subject was mostly dark, but that's okay. Now we're going to merge these two. Duplicate this again, difference, invert, and now merge these two. So we're going to get this effect. And now what I want to do is to add a black to white gradient above this. So this is where things get a bit different. Add a gradient map, clip it on. And by default, it should look pretty decent. Go to switch these up and get a different look. I'm going to add the white here, and around this area, we want to add a grayish color. So not exactly white, and that's going to give us silver. So we have black, white gray. T's get a darker gray. And we can even convert the black into a darker gray, so not exactly black. Click Okay. And if we zoom in, you can see how it's getting that silver look. Alright, now we're going to clip this on as we did and convert this into a smart object. Nice. Add surface blur. I'm going to go with the same numbers, nothing too different. Add your oil paint to make it slippery. I will add the same numbers, maybe a bit more for stylization. Click Okay. The subject here has less detail compared to the first one, so the numbers will be slightly different. Now, in filter gallery, we're going to add the chrome effect, which is inside sketch. Work with the detail slider and make it smooth. So let's take a look. I think the less detail, the better smoothness to ten. Click Okay and go down here to filter gallery. Click on this button twice to get the blend option, change the blend mode to overlay. Leave the opacity as it is, then click Okay. I'm going to add the same filter gallery effect, Chrome, same options. Click Okay. So it's going to happen twice. We're going to keep the blend mode as normal and just reduce the opacity. Around 33%, then click Okay. Inner glow to add that brightness, keep the numbers as it is. Nothing too different. And now add the white bits that we did for the gold subject. Bring your shine layer above gradient map, add white to the areas that need highlights. Add a few ones on his body, even if you don't see it. And then we're going to change the blend mode into linear Dutch, reduce the fill. And now it's looking pretty silvery. Now, group all this together. Call it silver. And I'm going to hit Commander control on my subject. This is why we saved it. Then I'll go to select, modify, contract. Contract it by ten pixels and make a levels adjustment. So it's going to get the inside. I'm going to invert it, so I get the outside. Dable click on the levels, increase the contrast all the way up with the same mask. Dabo click and feather it out so it looks softer. Reduce the fill if needed. I'm going to keep it around 70. Put this in your group, and now I can make my reflection. Duplicate your layer, right click merge group. Call this reflection. Commander control T, flip it vertically so that it's just there. Hold down shift and pull it all the way down. Warp it onto his toes just as we did before. Basically where the floor would. Click Okay, get your mask, your gradient map, black to white. Pull to make your reflection. Let's check the opacity for the reflection 67, doing the same thing on this reflection layer. They should be equal. This is reflection two. Bring back our gold subject and bring gold above silver. And there we have it. When you put reflection in silver, they're having an epic fight. To make it even more epic, I'm going to add some surrounding elements. We may need these in the future, so I recommend having them until the end of your work. Now, go to your resource pack. I got two overlays for you. The first one is this moon thing that I want to be in between them. So it looks pretty cool. Put it right there. Change the blend mode. Let's get it out of the group. Change the blend mode. Into hard light. So we're just getting the moon. Get your Lasso tool to make a selection and mask it out. So we just get the moon and not the surrounding areas. Commander control team, Alter option to scale it from the center. I wanted to go above the subjects slightly, something like that. Then bring it below both layers. Let's go in silver, and there is one effect that is not clipped. It's the levels. Clip it on so it does not go over the moon. Close this off and change the color. So go to image adjustments, human saturations. Let's colorize it and make it look epic. So a reddish color. Et's decrease the saturation a bit. Let's see what color looks best. I think red is pretty good. Click Okay, and then feather out or blur out the image itself to get rid of the sharp edges that we see. Let's actually do this on a new layer so I can only apply it on some areas. Let's get Gagen blur, pay attention to the edges here. Click Okay. In virtual mask. Let's make a new one. Alter eruption, click on mask and introduce that blurry area to the edges only. There we go. Now we need a reflection for the moon. So group them together, moon, change the blend mode to hard light again, and duplicate it. Commander Control T. Flip it vertically. But this is what we're going to do. Hold down, shift, bring it down. We want it to kind of come towards us as a camera person. So have it be like that and then use the perspective to pull it up like this. So it's kind of being reflected on the floor which the warriors are standing on and have this line be at the bottom of the floor. So right where they're standing and work with the way it looks. I'm going to use my rakes to just pull it down a bit because there's this black space between the bottom of the moon, and I'm trying to put that on the ground here. Once we have this, we can scale it down. Hold down al eruption, so it goes from the center because the reflection cannot be that big. Click Okay. And try to match it here and then use the same gradient method black to white to make it softer. You can go in a bunch of times. Let's start over. Lower the opacity, and that's looking pretty good. Now, grab moon copy and pull it below the actual moon so we can get a softer look. Next, we have this smoke effect that I'm going to put above my subjects. Let's push it to the center, Alter option, click to fit the screen, and perhaps a bit more, so it goes above the subjects. Bring this above them, like we said, change the blend mode to screen. If the color is not to your liking, we can just grab you in saturation. Clip it and change it up. So I guess we can go with this blue color. So there it is. I'm going to scale it up so I don't get this thicker part. I just want the thin area up here. Next, I'm going to blur it up and make it look a little bit further away from the battle scene, something like that. And then I'm going to get my elliptical marquee, start from the center, Alteruption and just drag until you get both your subjects so that I can create a wining effect on the other end. Commander control I feather out the edges. This should go above all your other layers. Lower the fill, and then we have it. I'm going to add one final effect, which is color lookup, something that will make the colors look more sci fi. So, I used three strip. You can try two strip, but that's going to change your subject. So just stick with this one. I'm going to blur out my moon a bit more. Let's convert it first. Get a Gaussian blur effect. And there we have it. We completely transformed our subjects and kept them into this futuristic battle scene. So I hope you guys enjoy this lesson. Let's move on to the next one. 47. Liquify Overview: We're going to talk more about one of Photoshop's most powerful tools, and that is Liquify. We're gonna go into different parts for this tool because there's so much that you can do with it. I'm going to start with how we can push and pull using Liquify and in what situations we can use that. So in a lot of the medias out there, every photo, after they've been retouched, after they have been color corrected, they go through some manipulations. Basically editors use tools like Liquify to either get rid of a devil chin, make muscles look bigger, make legs look skinnier, make, chocolate drips, pull more, and a lot of other things. So every time you open a magazine and you thought to yourself that, how is it possible for this person to be this perfect? Be sure that there is at least a little bit of liquefy involved. Here I have a side profile of this person, and we're going to use Liquify to kind of work with the way she looks. Duplicate your layer for later reference, and I'm going to call this Liquify. So imagine yourself as a plastic surgeon, and this is your patient. You're going to transform the way she looks using Photoshop. Filter, Liquify and there we go. So we have a lot of tools on the side, and the first tool that we're going to use is the Zoom tool down here to zoom right in. Hold down the space bar to move your canvas. Right here on the side, we have a lot of brush settings. The first tool that I'm going to grab is the forward warp tool. This is something we have used before. It basically pushes and pulls whatever point you click on hit Command Z. We can adjust the size of this. You can also use the left and right bracket keys on our keyboard or just type in a number. We then have the pressure from which the tool is going to pull. So if you add a lot of pressure, it's going to just completely distort everything. Then a height show backdrop. This is what we have right now. If you lower the pressure, it's going to be very mellow. And if you're going to use liquefy for human subjects or just anything that is supposed to look realistic, you want to use a really low pressure. So everything is really slight. And no matter what I do, it's going to look realistic. Next, we have density, which is how heavy this will affect that area. So this is low density. Manc And this is high density. So you can see how it has more power when it pushes and pulls. Although I'm going in a circle, so density, 50% is good. Sometimes when you're working with subjects, you want to go lower. But I'm going to leave it at a default. We will come back for this later. You can check this to lock the image edges. So without this turned on, I'm going to grab the Warp tool and push this forward. So notice how I'm kind of pulling away from the background, and it command. Now I'm going to turn this on and do that again. You can see that nothing is happening because Photoshop is keeping the edges pinned. If I turn this off, we can see the damage that we did, it command sm and go back. So this is the brush tool options. No matter what you choose here, you're going to have these options. So I'm going through each one and you can see we have those options. All right. The next item is for phase aware Liquify. This is for when you're dealing with a phase looking straight at the camera. They have a side profile here, so this will not be as helpful. I'm going to explore this with another example. So the next category is for mesh when it closes two. Now, these are just basically presets. So if I use Liquify a lot and I do a certain thing often, it's kind of time consuming to start over for each project. So this allows me to save these presets and use them later. So I'm just going to do something random here. Grab let's grab the twirl clockwise tool and, like, twirl her ear. Just do something like that. Then I'm going to save this mesh. Liquify that mesh. It's in the same folder. Click Save, and I'm going to hit Commander Control Z to get my original image. Then load the mesh. So it's going to open up. We need to open this, and there we go. It applied that exact same thing. Now, if I worked with the previous mesh recently, I can also click this to load the last mesh. Enclose this. The next category is for masking. Now you're going to need a selection before you jump into Liquify. So let me just hit Cancel, grab my marquee and grab the ear, let's say. Then go to filter, L five, and now I get to use the mask options. So notice how already there is a mask on the outside of my Marquee selection. So I can either replace the selection with this new thing that I'm about to do. We can add to the selection, subtract, intersect, and invert. So it works the same way that mask works in Photoshop. Let's say I want to add to my selection. So I'm going to do something. But with the push tool, it's like push it like that. Add it to selection. There is a little triangle here, click it, hit selection, and it's going to load it up, then I'm going to hit. This just applied it to my selection, which was inside the marquee. This way, I did not affect the rest of my subject. The hit Command C and go back Kofi. Personally, I like to mask things out in the normal layer panel and not here. That just gives me more control over how my subject will look. The next option is for view. We have show guides. Don't have a guide right now. Show image. That's what we need. Of course, we're going to need that. Show mesh, which is going to go over the entire thing, and it will show you what you're doing with those lines. Let me just hit Command Z. And right now we have really tiny mesh lines and make them smaller. Let's get, like, red and make them large. So this is what mesh looks like. You can use it if you want, go to close it. Next, we have show mask, which was the red part that we just explored and turn it off. And the last thing is for show backdrop. Now, if you want another image to have a say in how this image is going to look, you want to turn this on. So let's say I want to, like, push her neck in like that. I'm not trying to distort her in any way, and I want to keep it similar to the original image. So instead of going back and forth like this, trying to check what the original looks like, I can just click this show backdrop, use my layer zero. Which is the background layer and have the mode be behind. So my backdrop, which is layer zero is currently behind, and I can change the position. It can be in front. I can blend it, which I don't usually do. Behind is the best one. So now I can see that this is way distorted compared to the original image. This is the original chin, and I just made it look like this. So this tells me that I need to be careful with my selections. Kit Command C, go back to the original, and we can also work with the opacity. So the opacity is right here. Kit Command C. And then we have brush reconstruct options. If you've worked with these guys, you can kind of bring back the original, the default settings. So that's what this side is for. Let's explore this side. So we are pretty familiar with forward Warp tool. It allows us to, like, push things around depending on the pressure and the density. The next item is the reconstruct tool. So this is going to bring back a distorted section. Let me turn this off. So reconstruct. You can see that it's going back to how the image looked. And I can lower the density to have that work in a gradual manner. So this tool is perfect for, like, hair. I'm going to lower the size here and distort it like this. So with this guy with a medium size pressure, you can see that I can very slowly kind of smooth out my selection. And let's say this is what I've been trying to do. It doesn't look as bad because I use this one to kind of smooth it out and make it look a little bit like the way it looked in the original image. Let's go back Commander Control Z. The next one is for Smooth Tool. This is similar, but it does not revert it back to the original. It just smooths it out. So let me do something with her nose here to that. Smooth tool, but it does not look like the original. You can see the original is way different. So this is just going to smooth things out and give you a better look. Commander Control Z. The next one is the twirl clockwise tool, which as the name says, twirls things clockwise, so going this way towards the right. It's pretty self explanatory. The next one is the Pucker tool, and that's going to make it smaller. So you can push things away from us and make it look smaller. The next is the bloat tool. That's going to make things bigger. So let's make it bigger, enlarge her cheek, larger lips maybe, her nose, and you get the idea, just kind of inflating the parts that you click on. Next thing is push left. Oops, let's make it a little bigger. And you can see how if I'm going up with my brush, this one is going down. So it's going in the opposite direction as your brush stroke. Let's take a look at the next one, freeze mask tool. Now, this is for times where you're trying to distort something, but you don't want the rest of the image to go with it. So let's bring show maask back and I have this red dot. I'm going to draw over this area. And now with this, I'm going to, like, maybe push your chin inside. Notice how it's not distorting the area that I just painted red. So that's going to freeze this part and not allow any room for distortions. Pretty helpful, actually. Let's go back. Command Z. And I'm going to erase with the thaw mask tool. So freeze thaw. We're going to defrost this mask. Alright, next item is for the face. Pase tool currently does not work on this because we have a side profile. So I will show you this in the other example where we have a face looking at the camera. Lastly, we have the hand tool, which we're pretty familiar with and the Zoom tool. Zoom in, hold down Alter option to Zoom out. So those were the tools and the options in the Liquify panel. In the next lesson and the ones after it, we're going to look at some situations where we can use these tools for different purposes. I'll see you guys in the next lesson. 48. Liquify Practice Pt. 1: Welcome back. This is where we stopped. We learned all about these tools and options. Now let's push her chin inwards. If you're going to do this, make sure that your backdrop is visible. Choose your original layer, mod behind, opacity, 40%. Grab your push tool, make the size bigger. And reduce the pressure around 30. Now, simply push this slowly inside. And already you can see that she has a different jaw line. Going to push this in a bit more, and there we have it. So that right there, that curve is our backdrop. It's not the effect that we just made. Once you're done with your effect, be sure to turn this off to check for anything like this area poking out. I can actually use the smooth tool to smooth this out. And then we have it. Once I'm done, I'm going to click Okay, and now she has a different chin. So I did not distort anything else. And only targeted one area. So this is our first example. This is our second example where we want to pull things instead of push. Right here, I have this dessert, and I just wish that the chocolate kind of came lower and it made it look more delicious. So start by duplicating your layers. This is really important. We're going to grab these chocolate drips. So it's going to be a little difficult, but try your best to get the bottoms. Then hit Q and make sure that the edges are correct. Get our brush, a semi soft round and just try to get the edges here, it should be visible through the mask. And I also want you guys to go around the edges one more time. So you don't get these sharp cuts on your chocolate. There we go. I'd Q and make a mask. Commander control zero. And from afar, everything should look okay. If you saw that the edges are not rounded, this is the time to fix them. Because once we go into Liquify, things will be a little different. Make your brush bigger and just try to get the same round shape. Like so. Once we're done, we're going to convert this into a smart object. So we just have the chocolate and call it chocolate, bring back the original layer, and now we're going to add Liquify on the chocolate layer. Let me just unlock this, grab that layer back and go into Liquify. So we want to show backdrop because I need to see how far I should go with this pool effect. Let's zoom right in. Grab the first tool, forward warp tool, lower the size so that it's inside the chocolate. So it shouldn't be the exact size, but something close to it. Show backdrop behind, and now I'm going to pull these down. I'm going to actually pull this front so I can see it like this. Dabble you for the tool. Make it a little bigger and drag it from this point down, so not the top part. And always be sure to maintain the roundness of the chocolate. So you don't want to get one thin line coming down. But I go in with my smooth tool and I click once or twice. Now let's take a look at the chocolate and work with the way it looks. If you see that things are getting pulled, try to pull the highlights with it too. Something like that, just to make things look a little bit more organic. We have some blurring to do here. I'm going to click Okay, and now the chocolate has been pulled down. Duplicate your chocolate layer, rasurize it, the new one, and using the blur tool, which is right here, I'm going to blur up the surface. Strength, let's go with maybe 23, 25, zoom in and blur up these lines that you see. Don't go on the edges, focus on the lines. It's like streaks that are getting pulled down. We don't want to let anyone know that we use to liquefy. Continue the blur onto the top, so it looks like this was all part of the original image. If needed, increase the blur amount and have it go on like that. So before, let's zoom in. This was before, this is after. Pretty blurry. Let's also mask this out, Commander control I and only show it on those areas because there is a chance that we might have brought it onto the edges. Let's bring it back with the white brush. Be careful about the edges before, after. Continue that onto the top. And now I need to add a slight shadow underneath my new chocolate swirls to go to drop shadow on the original layer, get the color black, changes to multiply and the size is way too big. Lower the side and look at the light direction. So right now it's on the opposite. Let's increase the distance so you can see. Everything needs to follow the light source. So this is good. Work with the distance, something like that, and have the spread be at zero. Next, we're going to lower the opacity so we can get a slight shadow. So nothing too major. Click Okay. I'm going to bring back the top of this chocolate copy so I can get rid of the drop shadow that's going on the top. Now I have more chocolate on my cup, and you can repeat this with any other food that is pouring like honey, syrup, water. If you do food photography, there is a chance that the food itself will not pour as much. So liquefy can be a great tool for you to make it look ideal. All right. Our next example is going to be pretty complex because we have a subject looking directly at the camera. So right now she looks great, but I'm going to show you what fashion magazines do usually when you're retouching the images. So make a duplicate as always, convert it into a Smart Object. Call it Liquify, then go into Liquify. So the first thing that they do is that they make your chin go inside, and we actually need a separate layer for that. Let's duplicate the background one more time, bring it above and call it chin. Now, on the chin layer, we're going to grab this line that you see. We can grab the quick selection or the Pen tool. Then I'll go with the Pen tool and just follow the lines from below her ear going forward. No fill and no stroke. Once you're at the end, we can just close it off near the other ear and go in like that. Go to chin, make a selection with the pent tool first. Chin, make a mask. We can get rid of this. And now we just have this selection. Now go back into Liquify. Alright, so show backdrop, we're going to use layer zero, have it be behind, and I'm going to push her chin in. So before I do that, I want to create a freeze mask. I don't want her neck to move and I don't want her hair to move as well. So draw here. Try not to touch the chin and go on the edges like this. So leave a little space between the neck and the chin because that is what we're going to push inwards. So once I have this, I'm going to grab this one, the forward push tool and just push this forward. Don't worry about the way it looks because we already have a separate layer for the chin. Go to click Okay and check this. Now she does not have the chin problem. Go back into Liquify And now I get to work with the rest. So the other things that they do in fashion industries is that they work with the way your hair looks. So hair isn't always perfect. Sometimes it looks flat. And during photo shoots, it's kind of hard to keep the volume up as the model has to move a lot of times, and there are other things that may cause the model's hair to get ruined. We're going to grab the bloat tool, make it bigger. And not that big around this much, lower the density. Now again, I don't want her face to get bloated with the hair. Grab this one, draw over her face, being very careful about her features, go on her ear as well if it's visible. Hairline is also important. Hairline and face should all be covered, go on her neck as well. Now we're just dealing with the hair. Go on the sides here, grab your tool and blow this up. Make it bigger. Right now, you don't have to worry about the face, so it can be pretty big. Just go over the edges. You can see that it's getting inflated, but the details of the hair are still there. Going on the edges, let's go in the corners a bit. Bloat that up, make her hair look really nice and luscious. And you also have the option here to kind of get curls for her, kind of like a wavy line, I mean. So you can bloat one side more than the rest. Do the same thing here. Make it look like her hair was blow dried. Once you're done, click Okay. And now her hair looks way more volumus. Before, after, let's move on to the other features. Double click on Liquify. So now we have her eyes. They usually make eyes bigger than they are. So grab a smaller size. Let's first zoom in onto the eyes. The blue tool is actually this one. And I'm going to use my right bracket key to just have my brush be as big as the eyeball. If you want, you can freeze the eyebrows, but I'm being very careful about that. Go to hide show backdrop, and then you can see before, after. So you need to make them look the same because it's one person. Go back and forth if needed, and always be sure to check a far. Now her eyes are way bigger. If you want to have them be smaller, you would have to go into the Pucker in tool. Click twice on each one, make them a bit more subtle. There we go. That's the eye. The next thing that they work with is your nose. The nose usually follows the beauty standards. This is up to you, but they use the forward push tool and the Pucker in tool to make your nose look more petite and smaller. Let's use the forward push tool to kind of push the sides in to make it look more pointy. Push the nostrils in. I'm doing this with 30 for pressure so we're not doing anything extreme. So that's the nose. Next, we have the lips. Usually, they make the lips bigger, so let's grab a brush and bloat her lips. We do have something to keep in mind, and that's the line here. So we can't do something like this because you can see it's distorting the line in the center. So what we need to do is to get a really small brush and bloat each part individually. Going in like that. Then grab the forward push tool and push up the edges, trying not to go over that line that we talked about. Her lip was great, but I'm just adding a little bit to show you guys the process. Now she has bigger lips. Other times, if necessary, they will kind of make your forehead smaller. So I'm going to grab the forward push tool and freeze the features down here. Like, just go over it like this. Then grab the sky and push down the hairline. So it looks like she had a smaller forehead. Alright. Once we're done, click Okay. So our subject is completely transformed right now. This was before. This is after. So it's just looking really different. I think we accidentally distorted her eye. So that's actually the mask. So go on your mask with the black brush and get rid of the areas that goes over the features, the lips, the nose, eyeballs, and the hair. Just have it be on the chin. Dabo click on the chin, the mask, and feather the edges. There we go. And now she has a new chin. So I use the tools available to completely change the way she looks. In the next lesson, I'm going to show you that phase aware feature that the Lucify panel had on its own. And then we'll see what options Photoshop has for situations like this. I'll see you guys in the next part. 49. Liquify Practice Pt. 2: So I have another image and it's a portrait. She's looking straight into the camera, and this time, I am going to use the Face aware tool. So let's duplicate this. Call it Liquify and then convert it into a smart object. Open the Liquify panel, and we're going to click on this button. Face tool, and now you can see that as I hover over each element, I'm getting these outlines. So basically, what's happening here, let me close these off. What's happening here is that I get to grab any of these and work with them like this. So there's no need for me to grab any of these tools, and I can use this to make her eye bigger, this to stretch the length, and this to work with the people size. So let's try to recreate it here, get the same bubble eye effect. We have one for the nose, drag the length and change the width. Lips, we can make it more pouty or more stretched out. We can also work with the size of per lip. Top and bottom. Next, we have her face. I can bring her jaw down or up. We can make it wider or smaller to get the check bones here and make her face more round. So I'm just shifting the entire thing here. Then we got the face here. I'm going to track her forehead down. So right now she looks really different. I just used these points. But if I head over here, I can use the face away Liquify. So select the face. We already have one here. We have the I size, which I can work with. As we talked about, this is the other I. Now, if you want things to move in one rate, you have to click this, and for eyes, we do want that. So I'm going to press that and then adjust the size together. Eye height, again, clip them together to make them a bit smaller, the width of the eye, and the tilt of the eye. Now, this one is for situations where your subject I is already tilted, or else there's no need to, like, purposefully do this. I'm going to put it on zero and have it look straight ahead. Eye distance. Work with that if you want. Notice how all of these sliders do not affect any other part of the face. When I'm working with the eye, the eyebrows are saying there, the nose is still the same and we're not distorting anything else. This is all things to the face tool that you can enable when you got a subject looking at the camera. Next is nose height. Nose width. That's the nose. We got the mouth. You can decide if you want her to smile or not. Let's give her a slight smile, upper lip, lower lip, mouth width, and mouth height. Finally, we have the face shape, the forehead, height of the chin, the jaw line, and the width of the face. There we go. I'm going to close this off, and now I have a subject that looks completely different. I'm going to use the freeze mask tool to cover the face, and that way I can bloat the hair. Grab the bloat tool, get a bigger brush, and bloat the hair. There we have it. Click Okay. Now she looks completely different. So that's how the face aware tool works pretty handy. And now let's move on into our next example. So we have four other situations where we would use Liquify. First one is the ice cream. I'm going to duplicate it, convert this one into a smart object. And I just want to make my ice cream look fuller and make it look like it was a bigger scoop. Because as I said, on the set, the foods will not look the way you wanted to. For example, an ice cream can melt. So that's why in post production, they usually plot the ice cream to make it look rounder and more appetizing. So let's get the kefi effect right on here and I'm going to use the But tool. Gently go on the edges. Now my ice cream looks way fuller and way chubbier. Now, be careful about distorting the objects in your food. For example, I don't want to go over the strawberry bits because I am bound to distort them. So just go over the areas that don't have anything specific in them. Once we're done, we can click Okay, and now I have a bigger ice cream. Our next example is food, but this time it's meatballs. So Command or Control J, repeat with the same process going in here. So with meatballs, we want them to look big and juicy. But sometimes when you cook them, they will not look that way. So we're going to reduce the density and click on the center of the meatball just until it becomes a circle rather than a weird shape. We're just trying to get a circle here. Let's get the one on the fork. And there we have it. Now we have bigger and juicier meatballs. Click Okay. When you have stuff under the items that you liquefy, chances are that you're going to distort them as well. So the greens below the meatballs have been distorted. You can see that right there. And to avoid them looking that way, I just need to grab my meatballs and mask them out. So grab your Quick Selection tool, then grab each of these meatballs. We can try the object selection or the magic one. There's so many options now. Let's grab the Object Selection tool on the combined shapes and grab each of these meatballs. There is already a plus, so just go for your next shape. Going in on the areas that shouldn't be there. We just have a few of those places. I hit Q and go over them with my brush. Grab a semi hard round, color black, and remove them. Hit Q one more time and mask it out. So now the greens underneath are not distorted and we simply worked with the meat balls alone. Just be sure that your top layer is placed right above the original or else the mask will look weird. Because right now it's looking pretty good. We can't feather the edges of the mask just slightly so that we don't get sharp pixels. One last thing that I'm going to do since we did blow to the meatballs. I'm going to go with sharpen more, smart sharpen, and it's going to make them look more glossy. Let's pull this to the meatball. Amount radius, reduce the noise and remove the gaussian blur. Shadows we can work with the fade. We can keep the rest as it is. Click Okay. And now the chiseled areas are even more sharp. This was before. This is after. Now, right click on this little thing, edit smart filter blending options. It's going to give you this window and simply lower the opacity. And there we have it. We got bigger and juicier meatballs. Alright, so I'm going to stop here for this lesson. Let's continue the rest in the next one. 50. Liquify Practice Pt. 3: Welcome back. Let's continue. You can also use this effect, Liquify effect on here to make them look more volumous and bigger. So grab this, convert it, Liquify. And before you begin, be sure to freeze her face so that we don't distort it. And also include the hairline. There we go. Then we're going to grab the forward push, a lower pressure, a big size, and gently push this to the edge. When we're done, click Okay, and now her hair is much bigger. The reason why we did not bloat it is because bloating takes one pixel or a small number of them and enlarges them. Because we have really fine details, we don't want that and we simply want to lengthen these detail. The difference is like this. If this is our original detail, with the push forward, we're simply making it longer or shorter. But with the blow tool, we're going to grab one of the points here and make it really big. This will result in something like this. That's only in one section of my detail. So if you look at the meatball, when we zoom in, you can see that it brought one part of the meatball and it made it scale up and at the same time pulled it apart in a circular manner. Now with the meatball, it's not a problem because the whole thing is a circle and meat balls are not perfect. The texture can vary. But with hair, we have details that we don't want them to be that big because hair details look the same, hair strands are one thickness and they're placed next to each other like this. So we cannot have one white section and the rest of these sections being a smaller way. Everything needs to look the same. We simply want to make them longer so that when we continue that all around, we get a circle. All right. This was for hair. The last example is when you want to make someone buff and more fit. Duplicate your layer, convert it, grab the filter, Liquify. And a lot of sport magazines take the models and kind of bloat their biceps, quadriceps and triceps to make them look like they're fitter than they actually are. So it's actually really simple to do inside Photoshop. We're going to start with the freeze mask and make sure that her ankles that are supposed to be one size don't get changed. So no matter how much you exercise, your fingers and your feet will remain as they are. And we just want to bloat the areas that would get big. I'm going to also grab her shirt here, her head. Exercise doesn't make your head bigger, so cover that up, and don't worry about the background. We're going to mask it out later. G to get her back because it's covered with a shirt. And now we're going to begin. So the reason why we're going to use the blot tool instead of the push forward is because there isn't much detail on the skin from this distance. So we can't really see the pores of her skin, and all that we see are the color and the tone. So I get to use this blow tool. Let's get a smaller size. And just bloat this up. The shoulder area is going to be a bit larger. So start from there, and then we're going to bloat the rest. So before, after. Also, be careful about making your bloatings unrealistic. The point of liquefy is that we don't want anyone to know that we have touched this image. So click slightly on the areas, don't go on the elbow and make her look buffer. So before, after. As you can see, I'm not going crazy with the amount because then it would be obvious that we used Photoshop. Get a bigger size for the thighs, bloat them. Mind the curve that there is from the thigh to the hamstrings. So don't go straight down. Go on the edges here, blot it again in one rate because people work their legs together. All right. Next, we have the lower leg, which we're going to add a little bit to it. Skip the knee and just add a little bit down here. Same amount on the other side. Now, we're going to bloat it towards the inner thigh as well. So go on it slightly until you get something like this. Once you're done, be sure to go over it with the smooth tool to get smoother curves. I click and come down, repeat with the arms. Go to reduce the pressure by half before I start the arms. There we go. Before after. I'm going to add a little bit more on the back so the top can match the thigh area. And there we go. So once we're done, we're going to click Okay, and now she's looking bigger. Now, we're going to mask this just as we did with the meatballs so that we don't get a distorted background. Grab it like that. We brought in a bit of the building. Hold down option and get rid of this part. Make sure that all of the areas you liquefied is within the selection. Make a mask, and I'm not going to care too much about the shoe and the Dumbles because those were not even in our selection. The Liquify selection. We do need to fix this area. So I'm just going to use my white brush and black brush to get rid of this chunk. Commander Control Zero, bring back your original layer. So this way, I'm just affecting her muscles and not the background. So this is how you can use Liquify for different situations. It's used a lot more than you think. And you can use it for literally anything. I hope you guys enjoyed this lesson. Let's move on to the next one. 51. Puppet Warp Pt. 1: We're going to completely shift the position of these subjects using the Puppet Warp tool inside Photoshop. I have four situations here and I want to completely change the way they look. There are different levels for this. Let's start with the easy one where every limb of our subject is separate, so there are no overlapping arms or overlapping legs. First, we're going to duplicate our background and call it subject. Then we're going to head over two properties, remove background. Going to make a mask and give us the subject. Go to your layer zero, Command or Control on the mask. Then on layer zero, edit content of air fill. It's going to open up this window, and you should be getting the background alone. Click Okay. Output to current layer. Let's hide the subject. Command or Control D, and just clean up this thing. And bring it back, and let's modify it a bit. Expand it by five pixels and then fill it up again. All right, Commander Control D. If there's any little bits, we can just grab the Clone tool, sample the side, and go over those areas. There we go. So now the background is separated from the subject. Before we continue, I want you guys to make sure that your subject is nicely selected. A lot of times that does not happen. So the reason why is because when we warp this, Photoshop will kind of stretch out the areas that are missing, and she will end up with, like, really long legs, no nose, and just she'll be looking really weird. So make sure that you zoom in and make sure that every part of her is there. There's her head, her arm is okay. You can see that her fingers were removed. This can happen with the automatic buttons. And it's okay if you get a little bit of the background in, especially if there's no, patterns or anything back there. So mine is a flat gray color, and that means that I can be free with my selection. Once you're done, hit Commander Control zero and convert your subject into a smart object. Head over to edit Puppet Warp. So the first thing that you see is this mesh going all over your subject. This is to guide you and you can turn it off up here. Now, the more complex these lines are, the more distorted that area is. So right now, let's take a look at an example. Here we have a clear grid. But if I make a point, and, like, squeeze them together, you can see how much smaller those points are going to look. So let me hit this reset. So if you see her arms, they are closer together, and on her fingers that are smaller, things are a bit more complex. So meshing is just there to guide you. Okay, so we have our cursor, and that is going to make points on wherever I click. I want you guys to click on the areas that you want to kind of anchor down first. So if I want to warp this area, you can see that she ends up flying because she's not grounded on any other point. So obviously, she's standing here, so I need to make a point. And then whatever other area that I move is going to be stuck to that point. Next, if I want to maybe move her head, I need to make sure that her shoulders and her neck are based and anchored so that she has a more natural head movement. Of course, we can't move it up and down, but I can maybe move her back or front. So we're going to start with the ground and then make her way to where this leg, which is what I want to move, is connected. So let's make a point here on her shoulder, and now I can move this arm and the other leg. I will also move the other limb just so we have a lot of option. So once you have your anchors down, I'm going to let's make one for the neck. I'm going to click on the tip and change the position. Going to move this upwards. The other arm, I'm going to do the same. So try not to stretch anything and think of this as a normal human movement. So if one part of her arm is squished in, then that is not natural. Make every movement slight and try not to drag like that. Alright, so for this leg, I'm just going to pull it up and bring it closer to the other arm. Let's also move her head a little forward. And there we go. Before, after. So just with this tool, I was able to move my subject. Now, this was easy because none of her limbs came in contact with the other one, so I could just move them freely without any interruption. But what if you had limbs that were interacting and you still wanted to move them? I'm going to show you guys this example, which is similar. And basically, I want to bring this foot forward and make it look like she's only standing on one toe. So begin with the same thing. Duplicate, call this subject. Go to select subject. I'm going to hide this and make sure that everything is good. We have room for improvement. Let's hit Q and get rid of these little bits. Before hitting masking, we're going to refine the edges here. Go on subject, select and mask. Got this extra bit here by accident. Let's hold down Alter ruption and remove it. Click Okay. And then make your mask. So now I have my subject completely separated. Now, before we go into Puppet Warp, we are going to make different sections from this one selection. So duplicate subject. I'm going to call this front leg, another duplicate, call it the skirt, which is going above both of her legs. So hide, subject, and skirt. And now let's focus on the front leg. Commander control, grab the quick selection, the minus, and remove anything that is not her front leg. I am going to apply this layer mask and just mask out this section of her leg. So now this is front leg. Same thing with the others skirt. Let's grab the skirt. Select the pixels, alter rupti and get rid of anything else. I'm actually going to keep the top half for this. So let's apply this, make a new mask. Call this skirt and top half. All right. I got the front leg, and we need another one. We're gonna duplicate this for the back leg. So commander control on the mask. Then delete the extra bits. Okay, so we're going to leave a little bit more than the corners here because we don't exactly know where the back leg is. Apply the layer mask and make a new one. Then get rid of anything else that is around, hold down ruption. Click on the mask and get rid of any, like, left doors that may be around. Repeat this with all the other layers. So these are what I'm talking about. Get rid of them now, so they don't disturb the warping process. We're going to use subject later. Commander control, go on layer zero, expand it by five pixels, and then fill it up. Get rid of the parts that are okay and just keep the ones that are distorted. Fill it up one more time. And this is much better. G to use the Clone stamp tool to fix up these little bits, lower the flow. Okay, so I have her top body separated, her leg, and her back leg. Altogether, I have my subject. Now we're going to convert these into a smart object, each one individually. And now I'm going to go on front leg, edit Puppet Warp. It's going to give me that guy. First, I want to make sure that it does not move from where the leg is connected to. So make a point right here. And then I can make another one here and just pull it up, maybe make it look like she's taking a step forward. Click Okay. And there we go. I just need to do some minor adjustments, which is to push this guy in like this. We need to do some fixing on the back click. Tap or click to go into the Smart Object, and this is where we get the previous mask. So using the tool of your choice, I'm going to use the clone tool right here. Just try to copy this side and push it on. Now, it will not go on the outside because we have a mask. So this is why we went inside the Smart Object. And there we go. Commander controls, go back in here, and now your leg should be looking normal. There's a little halo back there. Let's see where that's from. I'm gonna hide everything and clean it up in layer zero. Let's bring it back. And now there we go. She is standing in a different way. I'm also going to warp her arms and give her a different position. Again, you want to make a point on the areas that need to be still. Be sure to make one down here or else her skirt is going to move with the cursor. Put one for her neck. Gonna bring her top arm this way and the bottom arm a little down. Let's also bring her head and tilt it backwards. There we go. The movement is very slight and that gives me a more natural result. Now go on your layer zero and we need to create some shadows because we deleted them ourselves. Let's just grab a new layer, black brush, soft round, squeeze it like this. And just draw something slight. Try to figure out where that would be. Multiply, then reduce the fill. All right. I'm going to make a new layer and go for the darker shadows. Let's first blur layer one. Click Okay. So on layer two, we're going to do the same thing, but we're going to keep the harsher shadows more visible. So multiply this time, try to keep a darker look, then blur it out. There we have it. So now my subject is looking completely different. So by separating the limbs and the different parts of your subject, you can completely shift the position without making them look distorted. In the next lesson, we're going to learn more about harder situations and how we can deal with it with the right techniques. I'll see you guys in the next lesson. 52. Puppet Warp Pt. 2: Let's continue with this example where our subject is leaning backwards and they're standing on one leg. So we're going to begin by duplicating this and then selecting the subject. Next, we're going to select a mask and make sure everything is in there and refine the edges if needed. Once you're done, hit Q. And if there's any bits that made it into your selection, you want to remove it now. So like her legs, we need those. Make your mask, then command your control on the mask. Go to your layer zero, and duplicate it for later. Let's call this BG. On the BG with the subject selection. We're going to expand it by maybe 20 pixels. Then fill it in. Then we're going to fill it in. Click Okay. Commander Control D, hide your subject and try to make this a bit leaner. Now, one tip for areas where you got kind of a symmetrical thing going. Instead of grabbing the clone tool and attempting to do this because it's going the wrong way, we're going to use something called the clone source panel. So Gou Window, get clone source. This is going to allow you to save different sources within your project. So I'm just going to use the first one, Alter uption on the point that you want to sample. And now I want this to be exactly on the other end, but flip. So hit this button, and it's going to flip it. So now I can get the exact same side without having to make a new layer. So this panel is really handy. And it works great for these situations. Let's see where else we can use it. We have this part. I want it to be here. So alter option. Let's make a bigger brush. And it's already flipped, so I just need to hit it once. See where it ends. Click once, go in. There we go. I'm going to sample this area for here. Now I don't need it to be flipped because it's for this rectangle, so I'm going to click it again and get the regular clone stamp, the default clone stamp. Just go over it like that and fix the edges. Repeat with this top brick section, making sure that the lines are aligning. I'm going to use this alter uption, flip it. Let me get the corner and try to match it the best you can. Maybe we can start from here. Again, interruption, turn that off. Go in the corner, scrab this corner and paste it like so. Now, I'm just focusing on these bricks. These little ones, we're going to do something about them later. Just try to focus on these smaller things before moving on to the bigger things. I'm going to use this guy, alter uption but I want it for here. Flip it horizontally and then vertically. That's going to give me the area that I need. This is for vertical, this is for horizontal. You can also manually type in the width and the height, but I don't really use that that often. There's also a rotation if you wanted to change the angle. Let's duplicate this, turn this off alter uption and just get the horizontal bit. If you're getting straight lines, hold down shift, and then draw away. Sample a new point, try to match the lines and keep going. Sometimes you got to stop clicking and dragging so that Photoshop can get the new area sampled. So you can't exactly go in one line. So I'm going to stop, click again, stop, click again until I reach the end. Let's get this side that we ruined. Click, click. Keep clicking down. Let's get the top bit from here. Try to match the lines. Let's get these bricks from this point and paste it on trying to get the lines aligned. One floor down. Let's sample here. Get one point below and finish of this middle section. Got a little bit of a problem here. We can easily fix it because there's multiple breaks. Okay, so the bricks are looking good. We do have some lighting problems, but we're going to come back to that later. So our subject is separated. The background is cleaned up. Convert this into a smart object, and now let's warp her into place. Okay, so this is the floor. I'm going to grab a ruler to aid me as I go on. And I want to drag this leg, put it on this point, then grab her body and lift her up. Trying not to distort her. Let's pull this down a bit, bring her along. And now she's standing on the other leg. But maybe I want to fold this leg. We got to kind of balance her first. Make some points on the areas that you want anchored, and then move the other bit. Like bring it above the bag. We will mask it out later. Also grab one point for her knee because we can't have her leg be weekly. So she's standing like that, let's move her arm a bit further away, make it look like she's running, and I'm going to leave her head as it is. The reason for that is because the head is connected to the rest of the body. So if your subject had, like, short hair and it didn't interact, then you can use it for warping. But when everything is connected, we want to avoid it. It's possible, but you would have to create a lot of masking. Okay, I'm going to click Done. And now I need to bring her coat and bag in front of her foot. So duplicate this layer, go into Puppet Warp and right click delete. So on this layer, we don't have the situation, and I'm just going to rotate this so it meets the same area. We're just talking about the back here. Click Okay. Now I'm going to hide this and just get the coat and her bag. The rest is not important. First let's select the subject. Then with the quick selection tool alter option, I'm going to remove these extra bits. Make a mask. So now, her leg is going behind the coat. I'm just going to lower the opacity and make sure that these two are lined up. Syn the sizing is a bit different. Use your arcs to make a precise selection. Click Okay. Now, I'm just going to go over this with my black soft round on the mask and get rid of the top bits because we don't really need it. Going around here, let's bring back the opacity and make a mask on the bottom layer with the color black. Get rid of the edges here so that the original warp does not exist on the new selected layer. So it should be something like this. And there we go. Now she's standing in a completely different way. It looks like she's running away. We are going to, however, convert these two in a smart object. Going to warp again. And I feel like she needs to bend her knee a little. So first, let's ground her to the floor. One point for the hip, one for the knee. Push this a bit forward, just so that she's not standing straight. The rest will move together because we converted it. Just a slight bent, and now this looks better because she's about to take her next. And there we go. Now you can go ahead and clean up her background. I'm going to go over here and use the clone source one more time because I can see the outline of her hair. G to sample this area, flip it, and just have it. Give me the exact same patterns on the other end. To clean this up, I'm going to blur it out by maybe five pixels. And there we go. I'm going to show you before and after. This was before, this is after. So as long as you can separate the different parts of your subject, you can really be creative with the way they look. So that was how we can use the Puppet Warp tool. It's really fun. And just be sure to follow the right human anatomy so that your subject does not look distorted. You can go on the Internet and look for a similar post, bring the new image above this, lower the opacity and try to match the position with the Puppet Warp tool. And that way you will not get a weird distortion. So I hope you guys enjoy this lesson. Let's move on to the next one. 53. Change Backgrounds Pt. 1: M We're going to place our subject in a completely new environment using the color match feature and some additional techniques. I have a subject right here, which is standing in this position, and I have another image that has a couch. I'm going to place her onto the couch and blend her into the new background. So notice how the colors in these two images are completely different. We got a warm tone here and we got a colder tone here. Things are a lot more contrast here. Things have less contrast here. The only thing that I want to check is depositioning. Will my new subject be fitted nicely onto this couch? And if so, how can I achieve that? So she's sitting and she got her arm on a flat surface. The couch is a bit flat because the subject is not standing on it and it's not getting pushed in. So in terms of placement, I have no problem. The only thing that would be a concern is the blending, but after this lesson, you would know exactly what to do. So let's bring this back in here and start by grabbing our subject. Duplicate it, select the subject. Going to zoom in. Sometimes it leaves out chunks of the subject. Zoom in with the shift press down, the shift key, and bring in any areas that Photoshop left out. If you want to remove, hold down alter option and just go over that section. Once you're done, select and mask so we can get the finer details. Refine the hair, and go to remove that little bit with ulterruption pressed down. Gonna bring this in by grabbing shift or the plus here. Make sure that my subject is nice and well. The bottom of her shoe was removed, and I think that's a bit of the wall coming in. Alright. Now, the edges of the subject are really sharp. So we're going to feather the edges in global refinements and smooth it out as well. Just slightly. We can't even shift the edge by one or 2%. All right, output to selection. Now our subject is separated. Let's go to the other image and remove this subject. Duplicate your layer, grab the subject. And then we're going to go in here to expand the selection by 20 pixels or so. Then go to edit content and were film and remove her. Click Okay. Commander Control deep. There will be some spots left over, but we can clean that up with the clone tool. G to use the healing brush tool for this so it can kind of adjust the lighting for me. Let's clean up the couch as well. She the new subject may cover this up, but we should just do what we can. Let's drag her in. Commander Control C, Commander Control V. She's obviously way too big. Let's lower the size here. And I think if she was flipped, it would be better. Yeah. Just make sure that she's sitting and position her where it would make sense. We can rotate this and leave her. You can refer to the original image and help decide how big she should be. Now, we're just going to match the two colors. Grab your layer, make sure it's not the mask. Go to image adjustment, match color. So go in here, I just renamed my layers, then choose the source to be your project. Subject to be the background. She's going to look a bit odd, but that's why the sliders are here. So she's way too bright. Let's lower the luminance. Color intensity I think it's too intense. The image in the background is a bit faded. Let's fade things out and then neutralize it. Add some more, and you can see slowly she's coming alive in this new environment. So if you notice back there there is something red. Her red leggings should kind of resemble. Click. Okay. So if you bring the other subject, she should look a bit similar. I'm going to hide background fixed and use her as reference. So first of all, we're going to convert this into a smart object, Command or Control L to work with the levels. Let's increase that contrast, lighten up the darks, work with the contrast. Next is hue and saturation. Let's desaturate her and get a darker look. Click Okay. I'm also going to get a photo filter for this. Let's take a look and try to make her warmer. So I think this is Zepia what we have here. Let's increase the density to something like this. Alright, get another photo filter. Actually, let's try color lookup, see if there's anything in here for us to use. Tension green. Let's click Okay. Tap a click here. Soft light and reduce the opacity. So we can get a little bit of this green that we had in the background. Okay, so she's looking very different. Next, I'm going to add a curves, Commander Control M. Try to match the lighting here. Okay. Let's bring back the background, and she's looking a lot better now. Going to pull her a bit to the side. And now I know that I need to fix this area. Let's get the clone tool, zoom out a bit. Lower the size, sample this area, and let's get the clone source to rotate things a bit. So let's increase it. You can see a preview of the image. I think we need to go the other way. There we go. Let's just follow it down. Next, we got this cloth that's going around. We have to kind of make the edge ourselves. So let's lower the size here. Start copying this with a rather hard round, and this will help us define the edge of the cloth because we don't know what it looks like. We have to kind of guess here. I'm not sure if that's part of the thing. Let's cover it up. And then clean up the inside using the clone tool as well. It's remove the angle. Maybe we need a bit more rotated towards us. Go over this line. Alterupion, rotate it even more, and just keep going down. Gonna grab a softer round for the inside. Back with the hard round, clean up the edges. Okay, so we go to assume this is what the background looks like for the cloth? Let's fix up this area with the softer around. Bring the subject back, and now I'm going to blur the background a bit. So we're going to use the filter gallery blur for tilt shift. Rotate this so that things get in focus on our subject. The rest can be blurry. Let's go with a bit more blur, then click Okay. So we're going to blur out these two areas. And give us a good starting point before, after. It's a really slight blur. Okay, so now I need to make the shadows for where my subject is because she's sitting directly on this couch. So make a new layer below your subject, and I'm going to grab one of the darkest bits from the couch. Hit beef or brush, grab one of these. It's a really dark brown, soft round. And I'm going to start drawing below her, Lower the flow of your brush. That way, I can add on as I'm going. The more you click, the darker it's going to be. So if one area needs to be lighter, go over it once and not multiple times. If an area needs to be dark, we need to go over it more than once. So that's how this is going to work. So this is what we did. Now we need to blur it out to give it a more natural look. By about five or six pixels, not too much. And there we go. So now she has shadows, but the couch is looking rather normal for something that's sitting on it. So we're going to use Liquify in the next lesson to fix it. 54. Change Backgrounds Pt. 2: Welcome back. Let's grab background fixed. Gonna hide the shadows for now. Go in here and grab Liquify. So backdrop, you want to grab subject. That's going to be the guide. Put it in front and lower the opacity. So we're just going to bloat the areas that she is coming in contact because when you sit on something soft, it's going to kind of get pushed in. So that's what we're trying to do here. Grab the bloat tool with a low density and bloat this up. Very gently, you don't want it to look distorted. We're just trying to make this not go in a straight line. So maybe this area, we can grab the forward push tool with a low pressure. Kind of, like, get it pushed on the side. Same thing here. So the weight of the subject is going to show through. Repeat this with the hand, the area of the hand needs to get pushed down. To some degree. Let's take a look at the other end. Then we can push that up, push these areas down because she's sitting. Those areas aren't that visible. There we go, so it's going lower than this guy because the weight of her hand is lighter than the weight of her whole body. So now we got a curved line instead of a straight line. Go to fix this up here. And there we go. Click Okay. This was before, after. Okay, so, we got that. Let's get the shadows going, maybe lower their capacity. And now all that's left to do is a little bit of overall adjustments. So the first thing we want to do is to grab a curved adjustment above everything. This is going to help us get started with the whole mood of the image. So I'm going to add more contrast by darkening up the shadows and add some brightness into the highlights. So I got my S curve. I'm going to add a photo filter. Let's go with the same sepia that we applied earlier. The next item is going to be a color lookup, just to give it some flavor, tension green. Lower the opacity. As the original image had that green look to it. Next, we're going to go into levels and reduce some of that contrast. Just a little bit 0.13. Coming in with a gradient map. I'm going to go with this, this brownish color and change it to blend mode to soft light. Lower the opacity for a more reduced effect. I'm going to go into curves in the subject. And I think she's looking a bit too bright. All right. Now let's make a merged version of this whole thing. Command Option Shift E, control Alt Shift E altogether. Call this merged. On the merged layer, we can just blur it out. Let's go to Blur Gallery, and I'm going to get Iris Blur. Let's make these bigger increase the space between these points for a more gradual effect. Maybe ten pixels, nothing too extreme. So now, this was before, after. We're getting this soft look. And for the edges of the subject, which are currently looking too sharp, I'm going to grab the tool here, blur tool. Get a very small amount, maybe 15%, a soft round brush, decent size, and just go around the edges to soften them out. The edges that you brought in, which is the subject, these areas are already blurred out, so we just need to do that here. All right. So we're going to switch into the smudge tool. Get a normal brush. And this is going to smudge things in. Of course, it's way too much, 10%, and just smudge these areas that are poking out inside or at least closer. They're kind of going to get lost in there. Going back in with the blur tool going to increase the strength and just go over the edges. Let's add one final effect. Let's grab the rulers Commander Control R. If you're not seeing it, go to the center. Alter ruption, click up. Let go. Make a solid color with the color black, inverse your mask, feather out the edges quite a bit. Lower the opacity, and now you got a wig effect, which is going to help with this whole vintage looking image. You can also grab a reddish color just to make it look better. And there we have it. Now our subject is in a new environment. We use the match color feature and some additional techniques. Now let's move on to the next lesson where we learn how to give people hair transplants. 55. Hair Transplants Pt. 1: In today's video, we're going to give different people hair transplants. We're going to start with an easy one, which is to give someone like him a mustache. Of course, we're going to need to borrow the hair, the mustache from someone else and give it to this guy. The first thing I want you guys to notice and keep in mind is the way the mustache would look on someone like him. Now obviously, he has a lighter hair color, so I cannot give him a thick and black moustache. It will not look natural on him. I need to grab something light and have it blending with his skin tone. So try to grab someone that looks like him. So someone that has brown hair, something like this would look okay on this guy. So that's why I chose this image. We're going to begin by grabbing the Lasso tool and selecting the hair. Once you're done, Commander Control Z, Commander Control V on this image. Now, because the angles of the face were similar, this will be pretty easy. I'm going to place it the best I can. And then before placing it, I'm going to warp it in a way that the edges are lifted because he's smiling. So try to lift the edges here. Let's actually try to stort Like push this a bit. Once the corners are done, I can grab the Warp tool and bring back these middle sections. All right. Click Okay. Bring back the opacity. Now we're going to get rid of the color this hair layer. Go to image adjustments, black and white. Change the blend mode to multiply Command or Control L, and get rid of the white bits. Once we're done, click Okay, make a mask with the color black. Soft round and get rid of these lines that are going around. So there we go. We gave him this hair, which wasn't for him to begin with. Now, I just grabbed a textured brush from the dry media brush, which should be in your panel. I think I chose chunky charcoal, Kyle bonus, chunky charcoal, the color black. And in these areas where everything looks way too even, I'm just going to go in with this brush and create this disturbance. Grab a low flow. Just like click to get it like that, just so the edges are not perfectly straight. Okay. I'm going to go back to the warping and kind of bring this part down. Click Okay. Alright, now the mustache is there, but it's not matching his hair. So this happened because we desaturated it, but that was necessary to make it blended. So above this, we're going to grab Command or Control U, and now we're going to colorize it. Click that, grab like a reddish color, and then remove from the saturation. And click Okay, and now you can see it's not exactly black, and it's similar to this hair color. Finally, we're going to blur this out by a tiny amount, just to have it look better, but it zoom in here. And I think 1.4 is good. So this was our first example really easy. Let's move on to the next one where we want to give a person a beard. So a bigger area of hair going on about half of his face. So I have another image where someone has a beard and I want to borrow it from him and give it to my first subject. I have two images right here so that we can test it out. And since I don't want to get the beard, de mustache. You want to make sure that there's a clear separation here. For example, an image like this will not work out because his mustache is so long that it goes and blends in with the beard. So it's kind of hard for me to cut this part out and try to make it look natural. Choose something like this, I'm going to start with this image. Grab the beard. And again, he has a really light color. So that's going to work out for me. Grab it, select and mask. So I'm going to grab my brush tool right here with a minus, get a bigger size, kind of get rid of the areas that don't have any hair in them, but don't get too close. Once you're done, we're going to refine the hair, and again, use the same brush to get rid of these extra areas that Photoshop made. So we don't need these. Let's make get a harder brush. Try to clean up this area. Grab the refine edge and get these little hair bits that are going all around. The only thing we need is hair. So if there's, like, parts of his ear in there, get rid of that. A All right. Once we're done, click Okay. Copy this and paste it onto this guy. Gonna hide the mustache for now. I may use it later. Let's call this beard. Commander control team, place it onto this guy. Let's first lower the opacity, and these parts need to meet his ear. So you will need to scale and rotate. Let's take a look at here. So it's kind of connected to his hair. I'm going to need to do some distortion later on. So first, let's work with the middle section. It should be around his chin. This part underneath his lip. The rest will be left for distortion. So distort it up and repeat on the other end. Click Okay. There we go. Now one thing that I got to check is the direction of light, which is coming from the opposite way. Let's undo that the distortion, flip it horizontally and then distort it. Place it back where it was, then bring these guys in. So now the direction of light is correct. So my beard is looking right since we got rid of those extra bits, I am going to desaturate it with a command shift, control shift. I'm going to desaturate it, and that way I can add a new color onto it. Command, colorize. Try to get a similar look. All right. Maybe make it brighter. Click Okay. Alright, so the hair is looking okay. I do have some parts that I'm trying to push in so we can use Liquify for this. Clip it first. I mean, convert it into a Smart Object, Liquify. I have the show backdrop for our layer zero, I believe. Put this behind our beard, and then I'm going to zoom into this area and push this into the hair. So grab the push tool and just lightly push it there. That part is fine. Let's zoom out. It C and then hold down option to zoom out. W for forward push tool. If you need to bring these closer, you can do it with this tool as well. G to push this area down. It's kind of poking out. And I can't really see the other end, but you can kind of push it in here. Alright, so let's see if his beard is even. You can use a reference image if you're not sure how it should look like. But I think mine is good. Gonna click Okay, and then I'm going to hit Commander Control T to just move it further from his chin. So this kind of goes on the edge rather than on his cheek. So that's why I'm doing this. Just pull it down till you get this effect. Next, make a mask and get rid of the sharp bits. And I'm using the same chunky charcoal brush. So I don't introduce any, like, soft edges. And we keep everything nice and tidy. You can go on the edges here, make a bigger brush, and kind of recreate these hair pieces all around. Now, this part is not looking even, and I think we can fix that with some cloning. So I'm going to rastize this. Apply this layer mask. Grab the clone tool, the clone source. And as you recall, we're going to do the sampling here. Just make sure that it's only on current layer and not the below. So it's only sampling the beard. So make a point at the top, flip it over, and then we're going to need to kind of twist it like that. So the placement makes sense. All right, let's get this bottom bit reduce the beard rotation so that I could get a curve going around. All right. Let's grab the burn tool because we kind of dodged it on that layer and darken up this area. Looking good. The beard is nicely there. I'm just going to grab the same burn and dodge to add some dimension, burn the bottoms, looking at the direction of light, grab the dodge tool and brighten up these areas. Like so. Next, I'm going to create some shadow around the edges. So make a new layer above your subject, grab the soft round brush, get a dark area of his skin, lower the flow, and go over that area. Oops, get a smaller brush. And the flow is way too big, 12%. Just go on that to create some shadows because these little bits of hair are going on his skin. Go on his neck as well. That's part of his skin. There we go. Then kind of burn this into his skin with multiply, lower the opacity. Finally, we're going to blur this out a bit since the focus is on his eye, just a tiny amount, like 0.7 pixels. I'm going to do a final adjustment above everything, just to bring the whole thing together. And there we have it. Now our subject has a beard. Let's test the mustache and see if that looks good. This is what it looks like with the mustache. In the next lesson, we're going to give our subjects a hair transplant on their head. 56. Hair Transplants Pt. 2: Now let's give our subject a fresh look with some hair. I have here a bald subject, and then I have someone with a lot of hair. I'm going to grab his hair and give it to him. So the process is the same. One thing to keep in mind, again, is the hairstyle and how it will look on someone like him. So they both have rather bright hair colors, so that's going to be good for me. And they're both looking in a similar direction. Go in here, lasso tool and grab his hair. Because the background is white, I can kind of be free with how much I select. Just be sure that you grab some of his forehead and his temples. I'm holding down shift and getting these areas to get rid of that bit. Don't get his eyebrows, alter uption to remove that section. Once you have this selected, select a mask. And refine the hair. Because the background is white, it did a pretty good job. I can just go in with my brush and get rid of these. Big her bits. Then go in with the refine edge tool, a bigger size and refine the edges, especially down here. Just go around these hair bits. Photoshop should be able to figure and separate those strands out because the background was white. Okay. So now we got rid of that. If there's any extra bits here, just get rid of it with the brush tool. This skin, we're going to keep it in. Click Okay, then copy and paste. There we go. Fresh delivery, Commander Control T, put it onto his face. You can see the ear in the first subject. So try to match the ears, and if needed, rotate it. Go to match one of the ears and then distort the other onto his face. Bring back the opacity and check the hair. We may have to bring it down and make it look suitable for him. Once you're done, click Okay. So now he has this fresh lock of hair. We just need to work with the way it looks. So we're going to blend this in with the match color effect. Let me call this hair. Grab the hair layer, match color. Grab your source and not the other image. Choose layer zero. So it's going to look way intense. We already know what to do. Fade it out, neutralize it if needed, and fix it up. There we go. Now I'm going to grab a mask with a soft round with the color black, and just get rid of these bits really slightly. So we're going to lower the flow to around 21 and slowly get rid of the edges here. So you can see how it blends in, and this is only happening because of our low flow. You may need to go in the hairline to get rid of the areas. Okay, so we're done here, but the face shapes are different. So we need to do some additional layering for this. Duplicate hair, and I'm going to call this back hair, hide the first hair layer, and get rid of these front bits. Let's get the flow back in. So below his ear was where the back hairs were showing. These need to go behind the subject so it cannot look like that. I can use the color white to bring in some of that area that we deleted. Get a harder round. Go to bring that area in and we can fix that later. Now go to layer zero, Command or Control J, grab your subject. Going to hide that and make a mask. Bring back hair below subject. And now he has back hair. So this part needs some adjustment, Commander control T, distorted in a way where we can get a little bit from that back area. So now I can get rid of this bit that we left from the time before. Go on the mask, color black, and just go behind his ear. So now he has the back hair, and I'm going to get rid of the back hair from the front hair section. So grab your black brush, and there should be a clear cut between the two. There we go. So now they are separated. Going to grab front hair and mold it on its head in a better way. So let's go here. I'm going to rasurize this, apply the layer mask, convert into a smart object, and you guessed it, Liquify. We're going to liquefy this onto his head because the first subject had, like, a wider hair than him. So I'm going to pull these in just slightly. Et's zoom out, grab a bigger size, low pressure, and push the whole thing in with one rate. I think we're using all layers, let's grab the subject alone. Push this in, match the new face shape. Click Okay. Alright, so it's looking good. I am going to reduce the edges a bit more by using a mask, black brush, semi hardness, and a low flow. So go on the edges one more time, just to clean up those orange bits from our first subject. There we go. Okay, so now let's blend this in. The first thing we need to do is to match the color. So command or control you on this layer. I'm going to reduce the saturation because he has, like, a brownish color and maybe reduce a little bit from the lightness. So now the coloring is better. Click Okay. Command or Control L, and if needed, work with the contrast. So his highlights in his beard is very dominant. I'm going to increase the highlights in the hair as well to match what's going on down here. Click Okay once you're done. Now, above your subject, make a new layer, and we're going to add some shadows. Color black or actually a dark area from the hair, low flow, and just draw on his face where the hair strands are coming in. Switch between the eraser if you drew on the areas that you shouldn't. We missed a spot here and a little bit here. So let's get a smaller brush. Now we got some shadows going in. Blur it out as always and try to make everything look realistic. 1.8, going to burn it into his skin with multiply, then lower the opacity. We're going to add some sharpness to his hair. You can see how his beard is really sharp. You need to copy everything from the base image. Go to sharpen, smart sharpen. It's going to open up this panel and we're going to increase the amount. Remove gaussian blur. This is what it looks like. It's way too much. Let's lower that. And now his hair is much sharper. This was before. This is after. We just need to add some overall stuff because as we learned, this helps bring the whole thing together. Nothing too major. You can also just add one color lookup and call it a day. And there we have it. Now he got some hair. I'm going to group it all together to show you a before and after. So that was how you can add hair on different parts. We started from the mustache, the beard, and finally, the hair. In the next lesson, we're going to learn how to remove hair, so the exact opposite and see how we can use the right techniques to get it done. 57. Hair Removal Pt. 1: Our clients are here to get rid of their hair. We're going to start with the head and then move on to the facial hair. I have a subject right here that has a little hair, and we're just going to make him bold. So I have the image from the previous lesson of our bald subject. I'm going to grab it and blend it in onto his head. Again, we have similar phase angles, and then lighting is similar too. Begin by grabbing the head, which should be pretty easy. Just be sure to grab from above the eyebrows above the ear. You go up like this above the eyebrows and close it off here. Commander control C and paste it on. Grab this one. Let's lower the opacity. Call it bald head, Commander Control C, and work with the sizing alter uption to scale from the center. Put it right above his eyebrows. Use your arrow keys to make a precise placement. Then click Okay. Now, hide that, duplicate your base layer, and we're going to get rid of this area completely. So let's make another one duplicate it called this subject. Height subject, grab base and height layer zero. So let's grab this middle section right here. Alright, click. Fill. We want to empty out this position and then with the marching ants, grab S or the clone tool, alter option the area there and just paint it in. Let's actually grab a brighter area and just painted inside. Commander Control D, grab the healing brush tool and clean up this harsh line that we see. So now he just doesn't have a head. Bring back the subject and the bald head. So what we're going to do is to bring back the opacity for the bald head, and I am going to make a mask around the head. So let's hide everything. Quick selection tool. Let's grab the background. Like that, alter uption to get rid of it. Got a little bit left here. Let's remove it. There we go. So now bring back the subject, and I'm going to apply this layer mask because I'm sure that I don't want the background. Now we're going to distort it onto his head using Warp because they have different head shapes. So bring this right above his ear and the other one right above his ear as well. Push the bolt head in and pull it out on other areas. Click Okay. And now it looks like a helmet. Make a mask, the collar black, soft round, low flow, and start getting rid of the top until you reach the head. If you start seeing the hair, bring back from the layer. All right. Now go onto your subject, bring back the base, make a mask on the subject, and get rid of the hair. Again, with a low flow, just go around it so we don't get those bits that we were seeing. The goal here is to not get any harsh lines. So go over it as many times as you need to ensure that we don't get any sharp cuts. So now it's placed nicely on his head. And if I hide my subject, you can see that I got rid of the top. You missed out this part. And this will prevent little things poking out from behind the bald head. So there we go. G to go into Liquify. Let's convert this into a smart object and push it in a bit more. Subject behind 100% opacity. Zoom right in. And I'm talking about the E bits. So push it in. Let's actually use base. Pull this down. Click Okay. Okay, now let's blend this in a little bit more. I lift out this little hair bits, use a smaller brush, very gently, get rid of those areas. Okay. So there we go. Let's start adding some adjustments. Command or Control M and work with the lighting. Command or Control L for levels. I'm going to go right here in the curves thing, that will click and get my blending options just to lower things up. All right. Now I'm going to just make another mask with the same low flow brush, soft round, and go in further on the edges. Saw that I left out these bits on his eye, let's delete that. Try to clean up the edges. All right. I'm going to go in with the levels one more time. On the image, not the mask. Reduce the levels and make the dark bits a bit brighter. Next is human saturation. Oops, command or control. Let's increase that saturation leafy lightness beam. I'm just trying to match this skin tone. Alright. Hide the bald layer, and we need to get rid of these side burns, which we can use the clone stamp tool, healing brush, whenever you want. I start with the healing brush, not the spot healing. Alter ruption to sample the area next to it and make your way up. Click by click so that we can get the same lighting and everything. If you got hair down here, be sure to fix that as well. These little believe they're called peach fuzz, they're okay. I'm just talking about the dark hair. Bring back the head, move on to the side, clean up this side as well. All right, so now I just need to kind of burn and dodge this into place, which we can do easily. Let me convert this into a smart object again and then rasterize it. So grab your burn tool, and this is where the shadow is hitting. This is the light source. We got shadow, so burn that place up that selection I mean. And then if needed, lower the exposure and go around the edges. Next with the dodge tool, around 10% exposure, go over the forehead, which currently needs to be brighter. Switch between these two until you get a decent coloring. Because that's what we're doing. We're coloring this in to make it look better. Okay, once we're done, this image had a lot of sharpness, but this image is a little blurry. So you already know what to do. We need to blur out this bald head just slightly until it matches with the rest of the skin. So maybe 2.2, click Okay, and now it looks better. So we're going to also make a merged layer of everything we did. So Command Option Shift E, control all Shift E on Windows, merged. And I'm just going to bring more of these lines onto the rest of his forehead. Then using the smudge tool, we're going to get a bigger size. A soft round gets a little bit of strength, and we're going to much things up a bit. Then with the tools that we used before, blur, 33%, I'm going to go on the edges and on the forehead. Next, we got the dodge tool, which is going to make things brighter, actually, the burnt tool. And I'm going to darken up this bit that is currently uneven. Dodge tool to do the exact opposite on his forehead. Finally, we got the sponge tool to desaturate the areas with 16% flow. And this is going to kind of even up the whole thing. So we can have one part B orange and the rest a different thing. Get that going. And now I just want to add some final adjustments. First one is curves. Let's add some contrast in there. Next one, I'm going to add a color lookup film stock for a little bit of a warm glue. To go back to merge to kind of fix up the edge healing brush tool, let's grab a normal spot and fill in those bits. Okay. Next, I'm going to grab a curse layer for certain parts of the subject to make it bright. Invert the mask, get your brush, soft round, the collar white, a low flow, and apply this onto certain parts of his forehead. Lower the opacity, and there we go. So now our subject is bold. It was pretty easy to do. We show you before and after. This was before, this is after. So we got rid of his hair. In the next lesson, we're going to get rid of facial hair and learn how we can get rid of the hair but maintain the texture on the subject. Oh 58. Hair Removal Pt. 2: Let's take away the beard of our subject. We're going to begin with a new layer. I go to call this new beard. Now, Zoom in onto your subject's face, Now, one thing is that we cannot really remove beards like this. You could, but it's going to be rather hard because it extends over his neck and clothing. So a stubble like this is easier to remove because we still have access to the outline of his jaw. If his jaw was covered by a beard, we would have to guess what it would look like. To go to no beard, soft round, zero hardness. And we're going to sample an area close to this. So I'm going to get rid of this part. Therefore I need the color from this area. Go in with your brush, lower the flow to about 15%. And we're basically going to continuously sample and continuously draw because the tone of his skin changes over time. So if I just grab this guy and make a point here and grab another one, you can see how different these are, and they're kind of changing as we move forward. And if I grab a hard round, it's going to be easier to tell. So I'm going to sample this sample here, here, and you can see how it's changing over time. To avoid it looking like that, we are going to keep the flow very small and also sample as we go. So there's no way to just get one sample and go over the area. So I'm going to sample this area and start going over the side burn. Sample again. Light clicks all over. Now, don't worry too much about the texture. We're going to do something about that later on. Just focus on his skin. Grab something from there. For the area down here, grab the color from below his lip because it's supposed to be a little darker than his cheeks. Just go in like that. You got to kind of guess what the jaw line looks like because there's a lot of shadows blended in. And now this side doesn't have a beard. Okay, so right now he's looking like this. It's a little weird, but we'll fix that later. Now, zoom in on the edges, and we kind of have to define a new jaw for him. So get a rather harder round and go on the edges. So this is a completely new chin for him. Alright, so now he technically doesn't have a beard, but it's looking a bit odd. So what we're gonna do is to grab the original layer, grab like a marquee to grab his face. Commander Control J, Commander Control and we're going to use this as reference. Just put it aside. Because we need to match the highlights and the shadows. Now using the same brush, same flow and everything, I'm going to introduce some shadows and some highlights. Let's sample this dark area and go around his face. Gets dark here, gets brighter. This area gets dark again under his lips, a little brighter on the chin. Once I'm done, I'm going to grab a hard round, eraser. Not a hard round like 67% to get rid of these glue that I brought in on the edges. So we're just trying to get rid of the stubble and not anything underneath it. So just bring it close to this. It's not going to be that good yet because there is no texture. We're going to grab a picture of someone else that has a similar face angle. So I have this guy here, and I want to add his skin texture onto that. So just grab his face. I'm going to Command or Control C, paste it here. It needs to be flipped. So right click, flip horizontal. Lower the opacity and we're going to warp it into place. Match the lips and the nose, then warp the rest so it matches. Trying to see the bottom area there. There we go. Click Okay. We want to also put the lip where it should be. I'm going to liquefy this in a way that we can get the lips on the lips. Spring the opacity here, filter, Liquify. We have an odd looking image now. Zoom in here, lower the opacity. So layer zero behind about 50% opacity. Grab the brush forward warp tool, kind of stretch this lip part onto his lip. D lip isn't that important. We're just trying to get the edge of his skin. Click Okay. Now desaturate this, command shift you, control shift you, and change the blend mode to overlay. So now we just got the textures. What we're going to do now is to make this into a smart object, the texture layer, and bring out more of this texture. So go to filter Pass and add a good amount, maybe eight then click. Now that we got this, I'm going to warp this one more time. I can see the edges are not meeting our subject, put it past a bit like that. Before we move on, I want to fix up this lip area. Let's bring this back to normal. Grab the clone tool and get rid of his lip completely. A sample from current layer, let's get a bigger flow. Grab a similar area and draw over the lips. You can get rid of the nose, too, then bring these back, change it back to overlay. So that's going to give us the texture, and now we're going to mask out any extra bits. So the color black, clean this up. Make sure it doesn't go above the lip. Get rid of it on the eyes, the nose, the ear. We don't need that texture in those areas. Alright, now, go back to no Beard and continue with the dodging and burning. I'm gonna switch here to dodge and burn. Let's make a selection of the beard, command or control, make a mask. So whatever I dodge and burn will not go further away. Let's burn this area again using this as reference. G get a smaller size here, go on the edges. Make a smaller brush and go below his lip. Let's get a lower exposure, go in there softly. On the bottom of his jaw line, we got some shadows. Got some in this curve, switch to dodge, bring out the highlights on the center of his chin. Something there, add some more here. So it's coming together. Let's add a little bit more here. Switch back we're just going back and forth with this. Keep going until you're happy with it. So we're done with this. I'm going to just add some textures from our original image and add it past our beard layer. So make a new layer, call it extra texture, grab the clone tool, sample current and below. And I'm going to hide the second texture. So we're just getting texture from here. Alter eruption on his cheeks, lower the flow, and go over. I Going in with the blur tool on the no Beard layer, and I'm just blurring out things. We can delete the reference, and now our subject doesn't have a beard. So I hope you guys enjoy these hair removal lessons. We learned how to add hair and then how to remove it. It's actually pretty easy to do if you have the right images to start with. Now let's move on to the next lesson. 59. Filters - Portraits: Neural Filters have been around for a while in Photoshop, and essentially what they do is that they complete a task for you with a few clicks and a few adjustments. So in this lesson and the ones after it, we're going to be looking at different scenarios where we need to do one task and see how neural filters can be helpful. So this is our first image. A task that I want to do for this image is remove the imperfections and give her clear skin. So instead of going for these tools, I'm going to jump straight into neural filters by heading over to filter. Neural filters. It's going to open up this panel, and we have a bunch of filters to work with. Now, these are the things that are available, but there's also things on the wait list, meaning that they're going to be developed and then brought into Photoshop for everyone to use. But for now, we're going to focus on what's available. Essentially the way these work is that you have your image, and it's immediately going to detect the face because a bunch of these are for portraits only, and you can easily enable one of these tasks by clicking on this button. So now we can see that skin smoothing is turned on, and it already did some stuff, but I'm just going to zoom in on her face with the Zoom tool so we can see what's going on. You can switch to the hand tool to move the canvas. Let's switch to Zoom out so we have all of her face. Now, before you do anything, make sure your output is to a new layer, just so that, you know, we have our original and we can always go back. Now, there's only two sliders here. The first thing is blur, and the second is smoothness. Now, if I remove blur, this is the original image, and I could start by smoothing out her face and then blurring it completely. So you can see that it did clear her skin a bit. I did have to use the full potential of the sliders, but now I could easily click on Okay and see exactly what the neural filters did for me. So this was before, this is after. It's obviously a lot more clean. The only problem is that missed out some of the areas, and it ended up smoothing out parts of eyebrow and bridge. So the good thing about outputting this to a new layer is that I could make a mask, make more adjustments in this layer, and adjust it to what I need. So with the layer one, I'm going to call this filter. Filter layer, I'm going to use my Lasso tool to remove the smaller areas as well. Let's just select them real quick. Right click, fill. Click Okay. Commander Control D. Next area, we can grab a bigger one. You can zoom in if you felt like there's, like, a glowing effect, and then use either the clone tool or the heal tool to replicate part of the skin. So I'm going to go in with the healing brush tool and maybe grab this part, remove the hardness. We want something soft and, like, replicate that, you know, darker skin onto her face. All right, so we made our adjustment, and now she has no acne on her face. Now we just need to make a mask and remove the smoothing and remove the smoothness adjustment from areas that is not needed, such as her eyebrows, eyes, nose. Those parts of the face should never be flat. So we're just going to make a mask with white and then grab our brush, zero hardness, adjust the with the color black, we're going to exclude those areas. So make sure you're on the mask and just go over those places. It helps if you have a lower flow so you could build up on those adjustments. So the eyes, make sure that's fully there, the nose, and this whole part of your face, actually, we could exclude from the filter because the problem area was here. And now we can see that it's not really affecting parts of the face where we need the details. Going to bring her forehead as well, and basically only include the areas with the acne. And there we go. So the neural filter was helpful. It wasn't able to fully remove all of these imperfections, but it did give me a leg up in removing them myself after exiting that panel. So that was the first portrait filter. We're now going to look at the second one. We're going to use this image for the second filter just because we want to make sure that our subject has a neutral facial expression. In the first image, her mouth is open. Her eyebrows are kind of pulled in, and that's going to be hard for Photoshop to manipulate. So that's why we have to switch over to this image. Again, we're going to go to Neural Filters. Look at smart portrait. This is going to detect a face, and essentially it's going to work on moving different parts of the face to either show her being happy, looking at a different direction. The age can be different. We can make her surprised, angry, move her head as well, and do a bunch of other things. It also works with the hair. Now the thing about this is that it does all the processing on the cloud, so that is going to take a little longer compared to device processing. So what I'm going to do is add a little bit of happiness. So she's smiling. Let's go with five, nothing too extreme. And we're going to change her eye direction. If your subject had glasses on, this will not work. So you want to make sure everything is in the clear. I could change her direction at five to the right. We can make her a little surprised. Maybe move her head to the left, and I'll see what this is going to look like after it's done. So I added very minor adjustments just so that I don't distort my subject completely. So, already, you can see with the plus five, I only added five for each one. It did a little bit of distortion where my subject looks a little odd. So this is before this is after you can see that we have a halo because it ended up moving the head, but the eye direction is different. So she's looking towards the other side of it. Her lip is bigger for some reason, but it did do exactly what we asked it to do. So I'm just going to turn back head direction and work with some other things. So let's remove surprise, and I'll make her very angry. Let's go for ten, remove eye direction, and then remove happiness. So let's see what it looks like once we focus on one slider. So she is more serious. Let's add a little bit more 30. She's looking upset all the way plus 50. And this is where it kind of messes it up. So with these sliders, you don't want to go too overboard because you're going to get some distortment like this. So let's bring this down to 20 somewhere in the middle. And I'll work on thickening her hair. And we could make her a little older. There we go. So the hair is definitely thicker. The face is different, too, because she's no longer smiling. The age, I don't really see anything different. But if I add some more, I'm sure we're going to get some wrinkles in there as well. So we have some lines, but it's very minimal, so we could just work with that. So let's actually move this. I'll make her hair very thick. And this back and forth is the purpose of this portrait. You know, it's not something too intense. It's just completely changing your subject. You could use this in addition to other portraits. So I could pair this with the older one to smooth out her skin a little bit. So now the skin is smooth as well. She looks completely different due to that filter, but I could continue building upon this. So that's the smart portrait. I'm going to output to a new layer, and we can use this however we like. Now, going on the same layer, I'm going to go for the makeup transfer. Makeup transfer, it's where you have an image with someone who has good makeup, and you want to transfer that onto this face, so the selected face. So I'm just going to upload an image of someone with makeup, and then we're going to see how Photoshop is going to extract that detail and paste it onto her face without me doing anything. That is my image, someone with eyeshadow, and Photoshop just pasted that onto her face. I think because it's building upon the previous smart filter, it's kind of messing that up. So let's actually cancel and do that on the original image. So turn this on, grab the photo. And then we can see what that looks like. So I did attempt to put the eyeshadow onto her. She definitely has eyeshadow now and lipstick. It's just not that ideal because it's not fully blended in. But again, because we're outputting to a new layer, you can work with masking and additional adjustments to make this look better. So we're going to click on Okay, and I'll call this the makeup layer. This was the smart portrait layer, and then I could make a mask with holding down altar option, make a mask to slowly introduce parts of that makeup onto her eyelids. So the color should be black. Click on at once, get your brush, soft round, adjust the size, adjust the flow, and start painting that in with the color white. So I could bring some of that eyeshadow. And then as I reach the outside, I could lower my flow and bring in smaller sections. So think of this as if you're actually putting on makeup, you want to soften the edges and keep the sharper parts for the main area. Switching back to black, I'm going to bring some details for eyelashes. And so far, you could see that this is working better. You could also switch the blend mode, change it to color if you want to bring color, apply if you want it to be a little darker and soft light if you want something, you know, soft. So that's what I'm going to do. And we have that orange eyeshadow effect. Then I'll go to color. Just to make it a little fun. Same thing on the other eye, bringing that eyeshadow, get some green. And then we had something from the lip, so I'm just going to paint that in with the color white. So instead of just going in with what that filter gives us, we can kind of adjust it so that it's a better result. There we go. You can also work with the fill if you want. But this way, we have some options as to how we can alter our images using neural filters. Now, these three were the ones for portraits. There are different categories. And in the next lesson, we're going to explore the landscape ones. To go in again. We have some for creative. This is for landscape and style transferring. We have some for color photography, and restoring images. So in the next couple of lessons, we're going to go over each category to see what Neural Filters has to offer. 60. Filters - Creative: Welcome back. We have this image now, which we're going to alter using neural filters only. So unlock the layer, head over to filter, and let's see what we could do with landscapes. The first one is the landscape mixer, where we get to mix different hues from different images onto what we have on screen. So turning this on, we have some presets that we could use or we could upload our own image. This is great if you want to basically alter the image's setting, such as the time it was shot, the amount of light it had the season and all of that. You can see exactly those sliders. And you can easily get started by clicking on one of these. So given that this is somewhere in spring or fall, I could go for something relevant. So let's go for this one. It's going to process it, and then those same colors are going to be brought onto my image, which on its own is not that interesting. Now, this is full strength, which is a lot, so let's tone that down. And work with these sliders underneath instead. So that is my image. This is before and after. You can see that it's completely altering my image. I could add some sunset in there, so it's going to be more dark and a little orange. We could turn this to autumn so the color of the leaves could be altered. There we go. And we could click on preserved subject so that Photoshop doesn't really work with our subject that much. But we don't really have one, like a human subject. It detected the cloud instead. So so far, we completely shifted our landscape using this neural filter. And then we could try turning this tonight. Let's see what that looks like. That's pretty cool. And, of course, if you work with the amount, you can try to make it look more realistic. So that is the landscape mixer, mixes different landscape images. The results are not that perfect, but it is still in beta mode. So if you come back a couple of months from now, it may be better. Now, the style transfer is where you have an image that you would want to put the style onto your image. So if I turn this on, we have some artworks that we could apply here or I could just upload something that I like. So we have I believe there's, like, acrylic, oil, and I could just click on either one to add a little fun for my landscape image. So now it looks like that. Of course, if you work with a strength, you can make it look a little more natural. So now I have a painting instead of a photograph. Same thing can be applied with all these different art styles as it's going to be the same sliders. There we go. You can preserve the color so that Photoshop does not change the hue of your elements. So my trees are going to look the exact same. Could make it Japanese style, right here. So these were the artist styles, actually, but you could turn it into certain image styles. So the artwork that those artists made. So this is the classic the wave art, and then we could, you know, switch to something a little bit more abstract and just have fun with our landscape, really. This is more of an experiment. I could be helpful for posters, but you would have to work on it to make it look really nice. So that's just the sliders. When you're done, you can output to a new layer, and then if you want to put in a text, add a little border or blend it into your image, so you have a new style. So those were the two options for landscapes. In the next lesson, we're going to go over the photography category and see how those can help our images. 61. Filters - Photography : H the next category is only for photography. So when you're working with landscapes and you want to do either a Zoom or add some blurring features that looks very natural. We're going to use this image. It's in the resource pack, and we're going to head straight to neural filters. So right here, we have two options. I'm going to start with the depth blur, and then we could use Super Zoom to zoom into our image. So turn this on, and it's going to be a very straightforward process where you can change the focal length of your image as if you took it like that from the start. So we just turned it on, and I need to now edit the focal point. So I'm going to press on that and then have everything else be blur. So you can see that this section of the mountain is blurred out, and it's a pretty natural result. Once we have that, we can adjust the range. You can also select the subject, but we don't really have one here. The next thing you could do is change the blur strength. So I'm just going to show what it looks like when it's at full capacity. Then you can go to the other side. You can haze that selection as well, just to add that distance effect to it. That makes sense for my scenario. I'm going to add about nine points of that. Then we have the usual sliders with temperature, tints, saturation, and brightness. Since my image was edited, I'm not going to use any of those. So you could just come in here to add some depth to your images. To build on top of this, I could also turn on the Super Zoom. So essentially, you are zooming into a point in your image, but the details are going to be maintained, meaning that it's going to be a little bit different from the usual cropping that you could do in Photoshop, and you could do this version you know, this option to maintain those details and don't get, like, a blurry image by the end. So I just zoomed in by two times, drag your canvas. I'll go with this part of the image. And then we have the option to, of course, enhance the details which you should turn on. And next is the JPEC artifact. Anytime you compress a image, a JPEG image, you may end up with some dots and basically pixulated results, and that's what we call JPEC artifacts. So right now, we didn't really compress the image, but we did basically cut out half of it because we zoomed in by two times. So now, in order to take this cropped version and make it the same size as the original. That is going to be some sort of compression. And if you don't want to lose quality of your image and you don't want those little dots, you can turn this on. In our next couple of lessons, I'll show you the artifacts in more detail because there is a separate filter just for that. Could then add some noise reduction and sharpen the image if needed. Then there's also an option for phase details. Again, there's no phase here, so I don't need to do that. So here's our zoomed in image. We can see that it's quite the improvement, and we do have some nice details from our mountains. Now, going back to this guy, I'm going to do another output with the depth. The blur that we added beforehand so that it could process these separately. That's the blur that we added with neural filters. So the photography section is not that intense. They definitely come in handy when you want to repurpose an image or maybe cut out a chunk of it because you want to zoom in on one point. Now let's move on to our next category. 62. Filters - Color: Alright, so we have three images for this lesson, and those are going to be used for us to understand how the color category is going to work. So the first thing we have is our subject, and we're trying to blend her in onto this background. So first, let's set this up. I'm going to copy this image and then paste it in this project. Make sure it fits onto our screen somewhere like that. And then bring it underneath. Then we're going to select our subject. So you do need to start with a cutout at the start and then have the neural filters blended into your image. I'm just going to make a mask so I know what I'm dealing with. So we're going to go for something like this. But as you can see, it looks very fake. It looks like a sticker cutout. To change that, we're going to use the neural filters for harmonization. So grab that top image, go to filter. Already know where to go. And it's the first thing in the color category. So you're going to need two layers for this to work, and that's exactly what we have. We're just going to turn it on and select our bottom layer as the reference image because that's going to be what the new environment looks like. Then we have our strength for the color adjustments, and then we have some color balance features. So if our subject is, let's zoom in. If she's too cyan, you could cancel it out with red. If she's too green, cancel it out with magenta and so on. Goal here is to make her look like she really belongs to this background that we have. So we can add some coolness to her. She's a little too saturated. And that's pretty much it. So not a lot to do here. We're just going to click Okay to output to a new layer, and we basically have our subject adjusted for this new environment. Now, I could just hide the original and sort of blur out the background to make you look like she really belongs there. We're just going to convert to a smart object, and I'm going to add a very simple Gaussian blur just a little to make this believable. Let's also just crop in 'cause we have all these space that we don't need. Gonna go for a square. And that's our new image. So that was a harmonization, very straight to the point. You can also do something with color transfer. Now for this, I'm going to make a merged layer from everything that's visible on my canvas. We have two layers right now that are visible, so all we have to do is hold down on Mac, it's Command Option Shift E, on Windows, it's Control Alt Shift E, all at the same time. And you're going to get a merged layer based on everything that's visible. On top of this, I could go back to my gallery. And turn on the color transfer. So I could transfer a different mood onto this image since it's now one thing. So just for demonstration, let's try this blue one. You can see I added a blue filter on the entire thing. You can switch over to different options, and then you can adjust based on the color space. I'm going to use this one. It looks like an Instagram filter. Let's preserve the illuminants, play with the brightness of the image, and make it look nice. Now the color strength is going to be based on the original image and not so much the filter. So that's something you can explore if your base image was way too bright or intense to begin with. If you don't want to use any of these presets, you can also upload your own reference image. So I'm just going to do something with one of the pictures that we've had so far, and then we can see what that looks like. This blue image is something we have used so far. So I'm just going to add that. And then, again, we have color space, and, of course, our settings. So we're just going to turn this on and maybe keep most of our adjustments the way they are. Once we're done, we can output to a new layer and then blend this with a blend mode or simply lower the fill, whichever we prefer. So I'm just going to go for color because it makes it look like this winter cool mood, and that looks pretty nice. Again, you can just not add a blending mode and simply lower the film for, like, basically a blue film over the entire image. Now, there's one more filter, and that is for colorizing black and white images. So I have this picture for you guys who try with me. And again, we're just going to go in there and turn on that filter to colorize our black and white image. So it doesn't always do a good job, but you can kind of work with the adjustments to make it better. So we have some profiles that you can explore. You can go for retro green. To make it look like that. Now, this right here may look a little odd, but what we can do is output this layer and then make our own adjustments. So first, let's click Okay. We're going to get this new layer that is obviously a little too intense. But if we duplicate it and then basically separate it based on where the issue is, which for me is the face versus the body. I could easily use this filter. So with the body, we're going to make a mask with the color white, get your brush, soft round, and then switch to black as your four color. And we're going to exclude this section. Let's turn on the flow all the way and just remove that yellow entirely. So now we have the image, partly colored, partly black and white. With the top layer, we're going to hold down command and click on our mask. Then we're going to make this visible, make a mask while holding down alter option. So this way, we have this filter only applied to the face and the body only for the body. Now, here we can change the blend mode to get something normal. We can see that she is already pretty pale. So doing something like that and then lowering the fill, it's going to help us make this more believable. What you could also do is add some adjustments only to this layer. So we can go to filter. Actually to image, and I'll go to color balance for this because we can easily add some redness to her by balancing those colors and try to make it similar to her skin down here. So definitely more cool. And so far, you can see that it's less yellow and more her color. Let's play with these a little bit more. And already it's doing very well. Another thing you can add is a levels adjustment because it's a little bit too bright. So we could add some contrast here and here. So that's gonna help like that. So we did have to do some adjustments afterwards, but you can see how again, neural filter gave us more of a kick start and we didn't have to start from scratch. So those were the color category. Let's go ahead and look at our last category, which is for restoring images. Mmm. 63. Filters - Restoration: So our last two images are going to demonstrate how the two filters for restoring are going to work. The first one is an image that we have used before. But what I did was that I compressed it multiple times so that we could get some artifacts. And if I zoom in, we can see that we get these dots. Not tri if you guys can see, but everything is pretty blurry. There's not that many details. And let's say you had to compress an image for your website. If you end up doing it multiple times, you're going to get some artifacts. So let's see how this filter is going to help us combat that issue. The last two things, the first one is the JPEG artifact removal. Let's turn that on and we can see it's on high right now what it's going to do. So that's what I did. We can see that it kind of helped remove those noise with the high setting. And now combining that with some brightness adjustments, I could get less of those little dots and keep the contrast of my image as well as the details. Very straightforward like all the other filters. Something a little bit more hands on is the restoring filter. So let's try it with this one. Simply turn it on. This is still on Beta mode, so it's only going to get better. But we basically have two sliders here. We have the photo enhancement, and then we have something for scratch reduction. Now, depending on what your image has, you may want to switch between the two or use both of them, but it really depends on what you're dealing with. So scratches are these lines that we definitely have and if we go down to adjustments, we get more options. So I'm going to turn on scratch reduction by about 53, and let's see how it deals with the scratches across my image. So all of these scratches, well, most of them are gone, we can see it before and after. And this was just with the two sliders so far. So enhancement, we can increase that, and so can we with the scratch reduction because it left out a few more of those scratches. Now, for noise, we can definitely use some help from Photoshop because if you zoom in, we get all these tiny dots that can be removed with the artifact removal and the noise reduction. So let's increase some of that and see what that looks like. There we go. We have restored our old image. There's obviously some major parts here and here, but that's something we can easily fix with other tools in Photoshop because there are larger sections and we may have to do some blending ourself. There's our image. This was before this so that includes all the neural filters. There's a lot you could do with them. Of course, they're not perfect. But think of them as a sort of assistance to your usual Photoshop tools. They are cool to experiment with and for you to get a little help with cleaning things up, blurring them out, or transferring different colors onto another image. 64. Class Project: Create Your Photo Edit / Creative Photo Composition: M Mm hmm. Now it's time to take everything that we have learned and apply it to a photograph of your own. For your class project, I would like you guys to do a complete photo edit or a creative composition in Photoshop. Start by choosing an image that gives you something interesting to work with. This could be a portrait, a landscape, a product shot, or something that needs to be restored. You can also try combining different images into one polished composition. Once you have that base image, you can decide on what needs improvement or transformation. Try to combine several Photoshop features rather than relying on one effect. Use layers and adjustments to have more control over your work, make careful selections when needed, and pay more attention to the smaller details that can help make the edit more convincing. And if you like, you can incorporate the AI tools that we looked at to help you with the workflow. Most importantly, try not to recreate the edits in the course, but rather something of your own so that you can have more hands on experience. You're finished, you can upload the project to the class project gallery. I would also recommend uploading the original image or a collection if you did a composition, just so you can see how far you've come and what your process was. And speaking of process, you can include a little description about that, which tools you use, what you found challenging, and what you want to do in the future. Good luck with the project, and I look forward to seeing your transformations. Mm hmm 65. Congratulations! What’s Next?: Mm hmm. Congratulations. You have reached the end of the course. We have covered a lot in this course. We started with Photoshop's essential tools and then made our way to professional photo editing techniques. A big part of editing with Photoshop is to be able to look at an image and see what needs improvement. That analyzation part is going to get you very far with this program. Sometimes it's a complete transformation, and other times it only needs a few adjustments. So keep working with your own photographs. More you edit, the more you're going to naturally gravitate towards the right tools rather than rethinking and thinking your steps. If you haven't already, be sure to upload your final edits to the class project gallery. I would love to see your before and afters and understand your workflow and process. If you enjoy the course, please consider leaving us a review as it really helps us improve our courses for future students and for you. Thank you for joining me and following me all the way to the end.