Beginner to Expert Course: Adobe Photoshop for the iPad

1. Welcome to this Photoshop on the iPad Course: Hi, my name is Tim Wilson. I'm an Adobe certified trainer and I would love to help you to learn Photoshop on the iPad. With a you've worked in Photoshop on desktop, or whether you've got no knowledge of Photoshop at all. This course is for you. We'll go through Photoshop on the iPad from scratch. And I'll explain all tools, concepts, and techniques to get you creating amazing images will work through everything in bite-size portions step by step. Here's some of the projects you'll work on during the course, as well as your own examples. At the end of the course, you will be a Photoshop on the iPad. Master. My goal is for you to have a productive but enjoyable course to help you to pursue your creative goals. I can't wait to help you to learn Photoshop on the iPad. 2. How to Use this Course!: Hi, I'm Tim Wilson and I'm going to be taking you through this course from start to finish. Now, the way this is going to work is that I'm going to show you some stuff on video. And if you watch that through and then try it out on your own machine. And we'll go backwards and forwards like that. And I'll do it in nice bite-size portions. If you miss something or you're not sure, just go back and watch the video again. Now, all of the files that you need are in the course resources. So when I mentioned images and say download this images, that's where you go to find them. Let's jump straight into it now. 3. Getting Started - Intro: During this first set of lectures, we're going to be looking at the interface. So I'll take you in our show you where the different panels are, with the tools are, and how to find your way around it. 4. How to Sign In: Let's get Photoshop started. What I'm going to do is click on the icon and it takes me into this window. So I can then create account or login if I've already got an account. So there is a sign-in option over here. You can either use Adobe if you've already signed in with Adobe, Sign in with Apple, Google, or Facebook. I'm going to sign in with Adobe. Now, it takes me into the sign-in area. If you haven't created an account already, you can click on Create an account in there. Otherwise, you put in your email and then go into your password. I'm going to do that. And then we'll have a look at what it looks like once we've signed in. Once you've signed into Photoshop, you'll start-up page would look something like this. Now I say something because you won't have the same pictures that I've got down here. But you will have these menu items down the left. You'd have a Get Started area. And then recent. Over here, there's also a new and upcoming features that you can look at. On the right. The important things that we're going to be starting with, though, of course, is creating or importing photos directly into Photoshop. 5. Learning the Home Screen: Let's have a look at the home screen in a bit more detail. We've got the home at the very top, which is the screen that you're seeing over here. We then got a learn option. And there's a number of videos in here that it's well-worth going through. Once you've done the course. Discover shows you live streams of other people, either showing you techniques or how they work. If you go down here to the files, your files, we'll take you to the Cloud and show you any documents that you've either been working on or you've saved to the Cloud. Now this could be something that you've actually saved from within Photoshop on the desktop to the Cloud and they will appear here as well. If anybody sharing your work with you, there's a shared with you option. And finally, the delete will show you anything that has been deleted. And it's great because it means that you can always go and get work back if you deleted by mistake. Now let's go back to the home button. Over there. We've then got a Create New button. Down the bottom. Create new is for creating new documents from scratch. So you'll get a blank piece of paper. It's not ready paper, digital paper, a blank document, and you'll be adding your own pictures and text to that. We also have looked at import fairly soon actually open what this does. It allows you to open existing documents, Photoshop documents, jpegs, or the photographs as well. In the top right-hand corner, we can go into the app settings. Now, the first setting we've got just the general setting and the main one. Actually that makes quite a difference. The interface, do you prefer a very lighter interface like this? Or do you prefer the dark and down interface? It's entirely up to you. There are some more advanced settings in here where you can just reset all of your defaults back to their original state. Some input options over here, e.g. about the Apple pencil and the touch, which touches you're going to be using. And of course, we're going to be looking at all the touch options throughout the course. Some account settings in there to do with your account about and help. 6. Create a New Document: Let's click on the Create New button. When you open the create new options, it takes you into the window with some presets. So along the top here we've got print. And these are preset print sizes. And when you click on one of them, e.g. if I click on a five, it will show me the size over there. If I go to screen. Once again, we've got Screen Options and screen options could be web, it could be a Mac screen, could be a PC, it could be a surface, it could be an Apple Watch. Those are all different screens. And it automatically puts in the sizes for you over here. Same with film. Over there. We've got the film preset sizes. Now of course, if you don't like those sizes, that's not a problem because you can choose something and then just change it with the width and height on the right. Now, the print defaults to millimeters over here. But if you prefer to work in inches or pixels or centimeters of points, that's fine. Just choose the one that you like. Below that, we've got the orientation, either portrait or landscape. Similar with the screen. But the default setting is in pixels. Over here. Once again, with the Film and Video, we go to pixels in there. Now what other things do you need to look at in here? We'll print when you're going to print, and we'll talk about resolution at a later stage. You'll find that your resolution default to 300 pixels per inch. If you prefer to work in pixels per centimeter, that's absolutely fine as well. If you go to screen, it defaults to 72. Now, screen resolution will really depend on the size of the document that you're going into, because it's all about the number of pixels in an inch. And depending on what size you're showing it, you might find it actually appears different resolution on different documents. If that sounds a little bit out there, don't worry about it. We'll be looking into resolution later on. So I'm just going to go to print for now and click on Create, and that will open up a blank document for me. 7. Importing Files: Let's have a look at the import and open options. I'll click on Import and it gives me three options. The first is photos. If I click on photos, it takes me into my iPad's photo library and I can choose a picture and click on that to open it up into Photoshop. Let's go back again. If I go in here and choose files, it takes me into the filing area and I can navigate my way around my iPad, find pictures which on the iCloud or on the iPad itself. And then open them directly from there. Let's just click on this little picture of a dog and this has opened it from my files. Lastly, if I go to important open, It's got a camera option. If you click on the camera, Well, you won't see anything on mine because I'm recording at the moment and my iPad is facing downwards. But normally that would be your whatever your camera is seeing. And you can then just take a picture and it will go straight into Photoshop. Try that out. 8. The Interface: Let's have a look at Photoshop's interface. Now I'm going to actually go to Import. And I'm just going to open up a picture. And for you, it doesn't really matter which image you open up. Anything will be fine, but I'm going to go to my files and I'm going to choose an interesting picture over here. And I'm going to take the picture of the camera. Now that I've got the image in here, the first thing before we even start working with the interface is working our way around the picture. And we can use gestures for this two fingers to zoom in and out, like you do on most things on the iPad, to be honest, you can also twist the image around once again with the two fingers. Or you can move the image about with two fingers as well. But let's have a look at what we've got in Photoshop. On the left-hand side, we've got a number of tools. If you use Photoshop on the desktop, you'll actually be pretty familiar with those tools. They're down here is our foreground and background color. And then we've got some options down here. So if I were to go to one of these tools in here and e.g. I. Will just pick a tool. I'm going to go to the Lasso Tool. I've got some options for the last sue tool or for selections. If I go to the Dodge or the bone tools, I've got brush options down here. Now, if you're used to furnish up on the desktop some of these options you'll be used to getting from the top menu. It's the same thing. They've just moved it down here. We'll be looking at those options as we go through the course. On the right-hand side, we've got a number of different panels. So this little button here allows me to show or hide the layers. Below that. I've got a more detailed version of the layers. And After that, I have the properties of the layer. But within all of these areas, I can then go in and choose more options, e.g. in here we've got more quick actions that I could do. Like there's a button here that says Remove Background. And it will just go through my image and try and remove the background while it's okay, it's not the greatest job in the world, but it's just a quick action in there. And we'll have a look at how we can do these things. Ready, ready well through the course. So all of these little areas on the right-hand side can be opened and closed by clicking on the little button. Along the top. We've got the name of the document over here. And this little drop-down menu. You can see a little bit more details and a save button as well. There's also the percentage for how far you've zoomed in or zoomed out on the document. By the way, this is bothering me having this transparent background. So what you do is use two fingers and tap to undo, That's your multiple undoes by just two fingers to tap. There's also some other buttons over here which allow you to either tap. You can go forward or you can go backwards. It's the, it's the equivalent of the two finger tap where you can just go backwards and undo or you can redo in there as well. Lastly, at the top here, a few more little buttons. One is a sharing button. We'll get to these later on. Another exporting option over here where we can export the document out. We've got a help button. And finally, the little button over here, which is the document properties. And this is showing me some information about the image itself, e.g. here, the width and height in pixels, and the fact that it's an RGB document. Have a little bit look around that on your machine. So trout those, just switch them on, switch them off. Go to the tools over here, click on a few tools. And if you go to a tool that's got a little arrow on it, if you click and hold, so it's one movement just clicked down and hold. There'll be more options for that tool as well, e.g. with the brushes, we've got different types of brushes in there. If I go over here, must have got different selection tools in there. Try them out, get a feel for the whole interface. 9. Using the Heads Up Display: Now when you start to work with some of the tools, you're going to find. Another little menu appears. E.g. if I go to the last sue tool and I create a little less who area, I've got a little heads-up display that pops up at the bottom. Fruit with things like e.g. de-selecting or Content-Aware filling. If you click on More, There's a few more options in there to know about as well. 10. Touch Shortcuts: Let's have a look at this little white circle or gray circle on the left hand side. Now this allows you to work a lot better with the tools because it gives you a lot of shortcuts. E.g. if I'm in the paintbrush over there and I'm just painting with black. If I hold down that little button there, you can see up at the top it says it's changed it to an eraser. If I'm erasing, it will be erasing on the whole document, by the way, not just that little line. We'll have a look at how that works later. But what about if I move to the outer edge? Because you can see there are two circles. If I go to the outer edge, now it gives me the eyedropper so I can actually go and sample a color. If I let go, I'm back to the Paintbrush tool. So paintbrush, in this case, eraser, and I drop it. All the tools have different functions with this. So e.g. some of them, it's just one function. Some of them have two functions. You'll see as we go through the different functions that appear. Now, if you find that this is in the wrong place, maybe you're left handed or seven, you want to move it over, not a problem. Just click and hold on it. You can move it to wherever you want in your document. I'm just going to put it back because I'm right handed over to there. But whatever works for you. 11. Touch Shortcuts Help Menu: Let's go across to the little question mark up the top. I mentioned that this is some help for you. I'm going to click on that. And you'll see the important thing here for now are these options. Over here. We've got gestures and we've got touch shortcuts. So this little touch button on the left-hand side here. If I click on View touch shortcuts, it will actually show you what the primary, which is the center circle or the secondary touch we'll do depending on what tool you're in. So if I scroll down here, you can see that my brush became a razor eraser and then an eyedropper. Whereas if I had chosen something like the last sue, it subtract from the selection, but the secondary touch doesn't actually do anything at all. And it's worth just having a look at these, although you don't need to know them backwards because the little helped us come up. In the top right-hand corner. We've also got gestures. And I mentioned gestures here, which was the two finger tap to undo. And you can see we've got three fingers to redo. We've got zooming in, zooming out and panning around. And this little one here if you have zoomed in. So you can just flick to get your image to fit the screen size again, well worth checking those out, there are so useful. Lastly, we've got the keyboard shortcuts. Now you don't have to use a keyboard for your iPad. But if you do like to, then you can use a lot of the shortcuts which are very similar to the desktop version of Photoshop, e.g. I'm sure those of you who are using desktop versions will know v. We just press V to get to the main Move tool again. And there's lots and lots of them in here. Try them out on your keyboard. And you just attach your keyboard by Bluetooth. Then work with one hand on the keyboard and the other hand working on the iPad. 12. Layers: One of the main things about Photoshop is layers. If you've never come across layers before, don't worry, I'm going to show you exactly what they are. And we can have a look at them going from scratch and working through everything about layers. They are so useful and you will enjoy using them. 13. How Layers Work: Let's have a look at the basics of Photoshop and that is layers. Because most things tend to work with layers. Now, if you've never used layers before, they are a stacking order of pictures, parts of pictures, or adjustments. Let me show you what I mean. I'm going to go over to the right-hand side. I'm going to click on the little icon. Second one down from the top. And you can see it opens up various parts of this image. So looking at the image here, this image is actually made up of four parts. One is the background, which is the the beach scene. The second part is this no swimming sign up here. The third one is actually the shadow underneath the dog. And finally, the dog is the top layer. Each one of these is known as a layer. Let's look at them in a little bit more detail. So this is your fast way of getting two layers. If you want more detail about the layers, you can click on the next little button down and you can see they have got lead to less for layer three. Now it doesn't matter about the numbers are what they're called at all. If you want to hide a layer, you can click on the little eye. And this will just hide that particular layer. So I'll click on the eye of the dog. Over here, all the I in the layer. And you can see how it hindsight layer. Once again with a shadow, I can click on the eye and I can hide the no swimming sign as well. You can always hide the background if you wish. Now, it says that the background was promoted and that means that it was called the background and it's now become a layer. And I can then just hide dislike. So whenever you see this check it affected means that that area is transparent. So I'll switch that one on back. So now, not only can we hide and show layers, but we can also move them around. So I'm going to go across to my move tool, that's this one right at the very top, that little arrow at the top there. I'm going to choose layer two, which has no swimming sign. Now you can see I can actually just move it around anywhere that I want. Likewise, I could go to the dog, click on the dog's layer, and I can move the dog and move it around as well. Of course, I'd have to move the shadow too, so I'll click on the shadow and then move the shadow into the right position over there. So we can just change everything around inside here. Let's change the composition so I'll move the no swimming sign there. Let's go to the shadow. With the shadow there. And the dog will move to this side. Over here. Let's move that no swimming sign a little bit out of the way. I want to move the dog down a bit. So I'm gonna move it back down towards us and the shadow at the same time. Now, this image of this composition is provided for you with a support files. So if you'd like to open up and try it, Do have a look at the layers, either in here or in the top button where you can see them there. And once again, you could just click a layer and then use the Move tool and just move that layer round. Once again, click on that layer and I can move that around as well. In this area here where we're seeing the sort of shortcuts or the quick way of seeing the layers. You can also hide a layer. If I don't like the no swimming sign, I can click on the No swimming sign and click on the little I in there. It's exactly the same as doing it over here and choosing that little I in there. Have a bit of a go, move the composition around. And then we'll look at the next stage of the layers. 14. Changing Layer Stacking: I'm going to move my composition around a bit so that I can see what I'm actually doing in here. And to make life easier for myself and you, I'm going to double-click on this no swimming sign. And if I double-click over here by the name, I can then rename it. And click on Rename. You can rename any of your layers that you want. I will just do this one very quickly. So this is gonna be the shadow, and this will be the dog. And my layer zero, I'm going to double-click on that and call it the C. Now, I would like to change this composition, so I'm just going to hide the no swimming signed by clicking on the eye. I'm going to go to my dog and move the dog because I want the dog to be in the middle of the picture over there and move the shadow across as well. Now I'd like to bring in the no swimming sign again. And I want to take the NO swimming sign and place it where I want it to be in the foreground. Over here. You can see the problem though is when I move it, the dog is on top of the nose swimming sign. So we can change the stacking order of these objects because of the moment the back object is the C than the no swimming shadow and dog. So what I can do is I can take the no swimming sign and I can just drag it above those two layers and drop it. And this will change the stacking order of this. We can have that right in the foreground above the dog. And the stacking order is quite important. E.g. here with the dog and the shadow. If the shadow was above the dog, it would look a bit strange over there. So let's move that shadow. Below the dog. Of course you can move this background or the C above everything else, but then you're not gonna see anything at all. So let's just change that and move it down. Once again, try that out and have a go changing the stacking order by just dragging and dropping. Can you do it down here? Absolutely. You can take one of these layers and you can drag and drop them in front or below another shape. Try it out. 15. Filters & Adjustments: Now, on a composition, we can target particular layers and we've got more options for that particular layer. When I click over here on this layer for the no swimming, one of the options I've got is to hide it. And I said there's a shortcut over there. But I can also delete that layer if I want to get rid of it. Now, I don't want to get rid of that. I want to keep it. So two fingers tap to undo or you can use the little buttons at the top. We can also move down over here and we've got some other options that we can use with our layers. I'm going to click on this little layer with a lightening bolt on it. And this is filters and adjustments. And what I'd like to do because I'm on the swimming layer. You can see that there are no swimming layer. That's the one that is surrounded by blue. I'd like to blur that out, so I'm going to click on Gaussian Blur. And in the top, I've just got an adjustment here so I can adjust how much blur I want. I want that to be just a little bit out of focus like that, so it looks a little bit more realistic. I'll click on Done. So when you target a layer, you can then just go in and you can add any filter and adjustment. What I'm gonna do this time is just inverted. So as you can see, I'm on the dog and it inverts it. Of course I don't want that. So I'm going to undo that with my two fingers over there. Try that out targeted layer by clicking on it. And then you can try out one of the filters and adjustments in there. 16. Paint on Blank Layer: If you want to add a blank layer that you can work on, what you can do is you can go to the little plus over here and click the Add button. And then in here we've got a number of things that we can add. So first of all, I could add a new layer. And this adds a totally blank layer of there. Now I'm going to go over to my paintbrush. I'm just going to click on the paintbrush. And I will use this hard round brush. Now, this hard round brush, if I paint with it, you can see it's really quite big. So I'm going to undo that down the bottom. I'm going to change the size of that brush and just make it really quite small in there. And then I can go and paint directly onto this layer. So I'm just going to zoom in here and I'm going to do some little city bird shapes. I know they don't really look like seagulls, but we'll just pretend for the moment. So now I've got the little birds over there. They behave exactly the same as any other layer. I can use the Move tool and I can move them around. If I don't want them. Well, by clicking on them, I could choose to delete them totally. Or I could go in and I could just hide them. If I didn't think they looked any good. I'm going to stop at that point there. So you can just do a new layer. Click on plus, add a new layer there. And for the moment I'm going to suggest you just use the pencil, sorry, the paintbrush. Click and hold on it. It will open up the brushes in there and you can pick a few brushes to try things out on. So I'm gonna go with this old brush. Now down here, I can change the size of the brush. And I can also go to the color and change the color. So if I click on the color up here and maybe choose an orange, and then down here I can choose the opacity. With 100% opacity. It'll be a solid brush like so. If I change the opacity, I'll get more of a semitransparent brush like that. Once again, have been vigor with that. 17. Layer Transparency: Another thing that we can do with our layers is we can change the transparency on any type of layer. I'm going to click on the little button up the top here, which opens up my Layers panel. And I'm going to choose the layer that I want to effect. Now. I'm going to go over to the no swimming so that you can see the effect. And then I'm going to change my birds. So down here below that, we've got some options or properties for the layer. And you can see I've switched it on and it says Layer Properties, and it shows me which layer has been selected. And then in the Blending Options, I can go to the opacity and I can change the opacity of any given layer. Let me do the shadow of the dog, e.g. here you can see I've selected the shadow and I can just adjust the shadow underneath the dog. But what I want to do is I want to make the birds are less obvious. So I'm going to go up to layer one, which is my birds. And just reduce the opacity of them. Just about see them on the clouds over there. Try that out, open up a layer, change the opacity in the blending options. 18. Adjustment Layers: Now let's have a look at the other type of layers that we can use. I'm going to close down these areas. So close down the properties and the layers. And I'm going to go to this little quick layer at the top. So I can just see my layers on the side. I'm going to go to add the little plus over there. And I'm going to add an adjustment layer. When I click on the Adjustment Layer, it brings up adjustments which allow us to change things like the color and the lightness and darkness of the image. And we're gonna be looking at these in detail later on. For now, I'm going to choose something really simple, like black and white. You can see how my whole image has been converted into black and white. There are some settings down here that will go through later on. So I'm just going to close down those property settings. And I've got a new layer at the top. This is my adjustment layer. Now, if I take that adjustment layer and I'm going to drag it below the birds, below the no swimming below the dog and the shadow. You'll see it's only affecting the background. So an adjustment layer affects everything below itself. I'm going to move it up over here, so above the dog, let me just move it. Sometimes these little, little things gets stuck. So I'm just going to click and click and drag. There we go. Here's my finger this time. And now the dog and the shadow in black and white as well. If you don't want one of them, you just click and hold or click it. And you'll find that little bin appears and you can remove it. Let's do that again with a different one. So what I'm going to do is I'm going to go along, click the Plus, Add a new adjustment layer. This time, I'll use brightness and contrast. And in here, in the properties, I will change the brightness and darken the whole thing down. Once again. Over here, I can choose to move that above or below the other layers depending on what I want to do. If you want to get rid of it, click on there and choose the little bin to get rid of that adjustment layer. Adjustment layers are not set in stone. You can always remove them at a later stage. What you're probably thinking is it affects the entire document. What about if I only want to affect one layer is time will be, we will be looking at that. And we'll be using something called a clipped adjustment to create that effect. Try that out and have a go with some of those adjustment layers. You can always delete them later on. 19. Clipped Adjustment Layer: Let's have a look at how we can change just one layer. The no swimming sign in the front really needs to be a bit brighter, I think. And maybe the dog needs to be a little bit darker. So I'm going to go over to my layers in the top here. And I'm going to click on the layer. Options are properties. Down here you can see it says Add a clipped adjustment rather than just an adjustment layer. So I'm going to be adding this will not do the dog but to the no swimming sign. So add a clipped adjustment and exactly the same ones come up. I want to use the brightness and contrast. And in the properties here, I can then change the brightness and it's only affecting the layer that I'm on. You can see as I do that, the no swimming sign is changing. Let me do that again on the dog. So I'm going to go to the dog. I'm going to go down to Add clip adjustment. And same again, brightness and contrast. And we've then got some brightness contrast settings in here. Incidentally, if you don't see them, just click on little arrow next to it. And I can then affect that. Maybe darken down the dog a little bit because it looks a bit too bright compared to the three people in the shot. Try that out. Just choose the layer that you want to work on. And we'll do the birds this time. Go to the Add clipped adjustment. Not forgetting to show you layer properties had kept adjustment and add any of these settings that you want to try out. 20. Linking & Grouping Layers: Lastly, in this section, I want to have a look at how to link layers together and also to group them. So I've got my dog and I've got the shadow. Now at the moment, there are separate if I move one, the other one doesn't move, I'll just use two fingers to undo that movement. So there's a few ways that I can go about this. I can select the dog and then move the shadows separately. Or I can click on the dog and I can drag across the shadow to the right. And that will select both of them at the same time. So now when I move them, either one of them, they're both move together. But if I want something a little bit more potent because I always want the dog and its shadow to move together. You'll notice that the options down here have changed a little bit. Let me show you. If I've just clicked on one layer at a time, we'll just get rid of those. If I just click on one layer at a time, these are the options we've got here. If I drag across to select two, they change and now I've got a padlock, I've got this little chain, and I've got a folder. If I click on the little chain, those two layers are linked together. So it doesn't matter if I select just the dog or the Shadow. They'll both move at the same time. If I want to add a third one into the mix, I can go along and drag over the no swimming. So now the dog and the no swimming are selected and I'll link those together as well. So now if I move any of those three, they will all move together. If you want to unlink them. Well, there's a little unlink Option down here. So I can just unlink that. Click on the dog, unlinked that. So there back to the original state where they weren't linked. You might also find that you want to put things into folders for, well, mostly fought for neatness sake. And just so that it's easy to find what you're doing when you've got multiple files or multiple layers up. What I'm going to do is I'm going to select the dog and its adjustment layer and its shadow. And then in here I can click on the little folder. And you can see it's made a group out of them. If I click on the little arrow in the group, it shows me everything that is in that group. If I start to move them around, once again, you can see all those items in that group will move. They're not linked together, but everything in that group moves around. However, if I click on just the dog in that group, then I can move the dog without its shadow. So by clicking on the group, everything in that group will move. Have a bit of a play with that and get to know these options. They are really useful. Firstly, the two ways of grouping things. You can either group them using the little folder or you can group them with a chain or the links to link them together. You choose the one that you like. I prefer this folder method because that folds things up really nicely into little groups. And it makes the whole thing a lot easier to work with when you don't have so many layers up all at the same time. I'll do this one small click on No swimming, drag across the adjustment layer and just put those two into a folder or a group. You can see how much neater that is, more pleasing. Like everything else. You can double-click on the name and give it a name. Once again, I could do the same with that. Sign. Have a go. 21. Tone & Color: One of the main things about Photoshop is retouching images and sorting out things like the lightness and darkness, making sure that your color, your image is correct. And in this set of lectures, we're going to look at that. I'm going to show you how to work with your lightness and darkness. How to change the color, adjust the color, and even go into black and white as well. 22. Brightness and Contrast: Let's start having a look at the brightness or lightness of an image and the darkness, I'm going to open up an image. So I'm going to go to Import and open. I'm going to click on Files. And in the files that you've got for you to download, there's a number of different images in here. Now let's just start with a very simple image. And I'm going to click on this little car over here. Now, what I want to do is to look at the brightness, the lightness, and the contrast on this image. I'm going to go over here up to my layers and make sure that I can see my layers there. If you can't, it's that little button at the top. Then I'm going to add an adjustment layer. So I'm going to click on the plus over there. And we're going to do a new adjustment layer. Remember these adjustment layers are the ones that affect multiple layers. And I'm going to start off with brightness and contrast. So now I've got some sliders over here for brightness and contrast. And I can just increase the brightness on the image or darken the image down. Over there. We've got another slider here for contrast. So I can increase the contrast on the image and you can see how the darks are getting darker and the lights are getting lighter. If I decrease the contrast, it goes the other way and it flattens out the whole image. And we have more detail in some of the darker areas and lighter areas as well. There's no right or wrong for this radius depending on what you want from your image. So this is all about very simply taking an image and adjusting the lightness and darkness and the contrast to your own personal taste. 23. Understanding Levels: Let's have a look at the other options. So I've got my brightness and contrast over here. I'm going to get rid of the adjustment. Now I can do that by going to the layers here, just clicking once on the Adjustment Layer and then choosing the little bin to remove it. Now that when you do it the first time, it actually gets rid of a mask. The second time we'll get rid of the adjustment deck will be looking into that later on. So now that I've gotten rid of that, I'm going to go and add another adjustment. I'm going to click on the little plus here, new adjustment layer. And this time we're going to go down to the bottom two levels. Now what levels do is they show you in a graph form. This is called a histogram, the lightness and darkness in your image. So looking at this image here, you can see there are some dark areas, probably in the wheels. Over there. There's lots of mid tones. There's some lighter areas on the road and the highlights on the car as well. And you can see if we look over here, there's not that many dark tones, but when we go up, there's a lot of medium tones in here and going down, we've then got the highlights and there's not that many highlights in the image. Now, that's how the histogram works. Let's look at it, a different image. So what I'm going to do is just go back again and import and open another file. This time I'm going to try a different image here. Now, I've got this particular image, which to my mind, it looks quite dark now, maybe that's what the photographer wanted. But personally, I think it's a bit on the dark side. I'm going to go and add a Adjustment Layer. And it's going to be the levels. Now, look at the image. You can see the image is very dark. And if you look at the lightest areas on the image, that's probably this chair, the back of the chair here, maybe his belt, possibly the cigarette. Those areas are not really white if you compare them to the white of the layer of They'll on my computer, you can see that's actually gray. When you look at the histogram, you'll see that there's a lot of darkness over here. The histogram graph goes right up high. In the darker areas. This is the darker area, the lightest area, and the mid tones. And in fact, it shows over here that pretty much the lightest areas of the image are rarely. They sort of tail off at the mid tones, the grays. Now, once again, if we like that image like that, that's fantastic. But if you want to lighten it up using histograms, you can actually take the highlight, that's this little dot over here. And you can just drag it back to where the majority of the detail for the highlights start of there. And you can see the difference that it's made of. They're already, if I just go back to my layers for a moment over here and hide and show that you can see it goes from there to there. Once again, it's about how you feel about the image. Do you want it to be darker? Do you want to be lighter? There's no right or wrong. But this little histogram you'll find appears all over the show. They are not on the back of a lot of cameras. And you can actually to some degree edit the lightness and darkness or see the exposure of the image by just viewing the histogram without seeing the image itself. It's also very useful because you might find that you're in a very bright area. And because they're bright here, you can't see on your image or they're dark hair is, are they light here is properly. But if you look at the histogram, the histogram will tell you is exposure, okay. Now what about this other output levels over here? Because what we've got here are a few other options in there. Well, let's look at a different picture for this area here. Once again, I'm going to go back and find a different image. So important, open over to the files and I'm going to find a different image here. I'm just going to choose this very bright image over there. Same again, I'm going to add an adjustment layer. It's going to be levels. You can see the levels on there are great. That goes from black through to white. And let's go down over here to the output levels. Now, if I were to drag this black dot to the middle, what it would mean on my image is that there's nothing in that image which is actually darker than medium gray. So it's taken the dark hairs and moved it up to what is actually gray. If I did it the other way and drag this down over here. Now you'll see that there's nothing in the image which is pure white. The lightest area is actually a middle gray in there. You can actually drag it from both sides as well. So in fact, the image is very great. There's nothing black, there's nothing white in that image. So why would you want to use that? Well, number of reasons ready. But some of the more practical ones are if e.g. you're creating a image and you wanted the image to be, well, maybe your background to have text on top. So maybe you could do that and then use this almost like a background or a watermark and then put your text on top of that. Or if you wanted to white text on top, you could do it. Something like that. 24. Mid Tone Levels : Let's go and open up another picture. So I went to important open files. I'm going to go back to that Mercedes Benz that I had over here. Now, this car, when we looked at the histogram, had white points that had black points in there. What else can we do if we want to lighten or darken the picture? Well, if I go back in here and go to my adjustments, put in my histogram, the levels. You can move the middle slider. And the middle slider. If you push it over to the right, we'll darken down the middle tones what it's doing. It's compressing these tones here and expanding the ones over here. So from Black through to the mid tone there, it's expanding those tones. And it's compressing from the mid tones through to white. Exactly the same if I do it the other way. Putting it over like this, we're getting more of a lighter tones. We've still got our absolute blacks in there. We still got our absolute whites. So by moving the middle, you can adjust the middle tones. This is more like when we looked at the brightness and contrast slider itself. This is a very quick one. Have a go with that. 25. Adjusting Tones with Curves: Let's get rid of this levels and have a look at how we can be even more accurate about changing the middle tones. So once again, I'll do it this way by going there and clicking once, choosing the little bin and deleting. Now, the other way that we can do the same thing as a histogram is we can go to the adjustment layers and we can add what is called a curve. Now, when you look at the curve over here, you can see it goes from the bottom to the top there. But look at that net in the background, there is a histogram. So the first thing that we can do with a curve is we can adjust the middle tones and I'm going to click on the middle over there. And then if I pull this up over there or pull it down, this is like dragging the middle slider on the levels. So I can take my middle tones and I can lighten up my middle tones, or I can darken down my middle tones in there. Now, if you've put in a point like that, you can just click on the little bin to remove it. You've put in a few of them. You can always click the reset button to reset it. Incidentally, there are two options along the top that I wanted to draw your attention to because we are on the points Option. If you're on the draw option, this actually allows you to actually draw in the curve yourself. Let's go back to points and just reset it. On my image here. I can click in the middle and I can lighten the image up or darken the image down. The other thing that I can do is I can change the contrast using these curves as well. If I click on the middle, what I'm going to do is I'm going to make an S shape over here. So I'm going to keep the middle points where there are. But I'm going to lighten up the lighter parts of the image and dark and down the darker parts. If I do that, you can see how it's increased the contrast on that image. This is usually known as an S shape in the curves. So we're doing that little S over there. Now you can go fairly extreme on there as you can see. But we're going to keep it nice and gentle with a little curve like that. But we can also reduce the contrast and that's the opposite. So this is kind of a reverse. So if I pull that down and pull this up, they've got the reverse Hess and we're reducing the contrast. Now. Let's just reset this. So it could be that you like the picture. You think great, those lighter areas on the top of the car are fantastic on the yellow and the taxi is brilliant. So you might want to say, well, that's absolutely perfect. So we don't want to move that at all. And the middle tones over here, they're great as well. But maybe at the bottom, in the darker areas, you want some more detail. So you can click on the curve and you can drag up to get more detail in the darker areas. So this allows you actually lighten and darken various parts on your image in a custom way. If I pull that down, you'll see I'll get less detail in those darker areas. You can see here it's becoming a lot more contrasty and Auden lot darker. And if I go up, it's lightening the darker areas on the image. Of course, it's also lightening the bits inside the taxi as well. Let's just reset that again. These two points over here are very much like the points that we looked at on levels where you had just black to white and when you put them in, you lost all the dark or the light areas. It's exactly the same five. Pull this up and pull this down. What I'm doing is I'm making sure that nothing is pure black over there. Let's just do the one side. Take it up to there. So my darkest tone in here is that medium gray. And if I take this down, I went too many highlights. The dark, the lightest tone is this gray over here. Okay, so finally, what would happen if you pull that one up and pull that one down when you get a negative of your image. There are other ways of getting negatives as well, but this is one way that you can do a negative. Of course, you can just go wild with this and just experiment and put in all sorts of points and see you when wonderful things that you can create like so you can try drawing it as well, and you can just draw a new curve as you want. But let's reset that. Have a go with this image here and try opening up some of the other images and trying to turn those as well and seeing what you getting from them. Remember, you can always click and delete. And if you delete the mask first, you can do it a second time to delete the adjustment layer itself. However, though. 26. Changing the Exposure: Let's have a look at another adjustment layer. This one is going to be the exposure. So I've opened up another picture. Once again, this image is in with your files, so you can try the same one. I'm going to go over to the little plus again, and I'm going to add an adjustment layer. This time I'm going down to exposure. And we've got three sliders over here. So these sliders affect the contrast as well as the highlight and the shadow areas or the lighter or darker tone. So you see if I do the exposure over here, It's lightening it up, but it's lightening particularly the lighter areas. You can see how the sky suddenly disappears when I go too far. And then we've got this offset over here. And as I pull this the other way to darken it down, you can see it's affecting predominantly the darker areas or the shadows of the image. Then we've got a gamma here, which is contrast. So we can increase that to increase the contrast or reduce the contrast with that little slider as well. Try it out. 27. How to Color Balance Your Documen: Once again, I'm going to open a picture from the files and I'm going to go to this owl and handler picture. Now as you can see, it doesn't look quite right. So the first thing that I'm going to do is to check its lightness and darkness. And I'm going to do that by going to the Add New and add an adjustment layer. And I'm going to add the level so I can have a look at the levels of this image. You can see over here that, well, there's no real black, so I'm going to pull it up just a little bit so I get some decent blacks in there, is probably blacks right in the middle of the eye, around the feathers maybe over there. We don't want to lose any detail in the dark areas. This will just help make the image, well, do you want of a better word, pop. And then over here this shows me that there's nothing in the whites. Now there should be some sort of white in the highlight of that person's shirt in the background there. I'm going to pull this over until I get something like that. Then you can use the middle slider if you wish to lighten or darken the image I put down, I'm going to leave mine set to its normal level. Now that I've done that, the next thing we want to do is have a look at color and sorting out the color of the image. And we're going to be using a color balance slider for this. So what I like to do is before I actually go in and play with the settings, I like to have a look at the image and try and figure out what's wrong with the color because it makes more sense doing it that way. So looking at this image, I'm looking at, and to me, the image looks, well, it looks very sort of yellowish and maybe greenish in there. I know that's not a very technical way of looking at it, but it really helps when you look at an image in these terms, sort of a yellowy, greeny type of color. I'm looking at the skin tones. I'm looking at the OWL maybe to solve the highlights on the L, which I'd expect to be neutral. Now that I've figured out what I think is wrong with the color, the next thing to do is to actually go along and add an adjustment layer over here. And the one I'm going to add is all about color and it's called the color balance. Now, when you first come into here, you get these three little slide is going from sine to red, magenta to green, and yellow to blue. And it's quite confusing because if you start moving them around, your colors just go all over the place. So these colors are opposites of each other. We've got cyan, magenta, yellow, red, green, and blue. And if I were to take e.g. cyan and push it that way by adding sign, what I'm doing is I'm subtracting red there. Let's get that back to zero or pretty close to zero. Same with magenta. If I added green, I'd be subtracting magenta. So that's the way that it works and that's why it's better to actually try and figure out what's wrong with your image first. Now, I know, I believe that this image is yellow and green. So therefore, if I want to subtract yellow and green, I can subtract a little bit of yellow by adding some blue. I can also subtract a little bit of green by adding magenta. And you can see the difference that I've got on that image over there now. Now, the thing about the color balance is that these three sliders here, you generally only tend to work with to one or two. At the most. These are in relation to each other. You see, it's about the shape that you make here. You see this little triangular shaped go from there to there to there, and that makes a triangle. Now, if I did, if I put magenta and yellow over there and sign of the day to make the silver similar one and just preserve the luminosity. You can see I can correct the color that way as well, as long as I've got that curved triangular shape going on. Exactly the same if I push it to this side here. And did something like that, once again, I could correct the color on that end. So it's not about moving all three. You generally just want to move toward a time. So what I'm gonna do is just get rid of this. So I'm going to click on there and delete. Let's delete that again. So look at the color, decide what's wrong with it. In this case, we believe it's yellow, green. We go along, we add the adjustment layer when we go to color balance. And because we know that there's too much green, we can add magenta which subtracts the yellow, the green. If we want to subtract some yellow from that, we add blue. So just a little bit of blue and I've gone -26.9, which to me seems about right for this particular image. 28. Brightening the Colors with Vibrance: Let's open up another file. I'm going to go back to this image over here that was quite a, I thought was quite dark in there. And I'm going to go and add my adjustment layer to make the colors as I want them to be. So new adjustments in there. I'm going to put in the levels as we've done before. I'm going to pull that over to get the colors as I like them. Now, as far as the color balance goes, I like the color balance. But be that I thought maybe the image was a little bit too vibrant color wise. There was too much color in there, or maybe not enough. And this is where we can add another adjustment layer. And this adjustment layer is called vibrance. Now there are two sliders over here, vibrance and saturation. The easiest way to think about these two is saturation is a very pretty rough way of saturating your colors. You can see I can really push the colors up. The colors go very bright. Look at how horrible the skin tones become really over the top. And likewise, I can reduce the saturation in the image until the image becomes black and white. Incidentally, if you want to make an image black and white, this is not the best way to do it. But then we've got vibrant. Now, vibrance is a lot more delicate. When I push the vibrance up here, you can see how the colors, particularly the blues and the greens over here, is genes that become a lot more vivid. But it hasn't made the skin tones look really bad, like saturation can do. Likewise. If I start to reduce the vibrance, we get rid of almost all the color, but there's still a little bit of color in there. In that black and white, the saturation will reduce all of that color. So think of them in terms of this one is a fine-tuned version of that. There's a bit more to it than that and the way that Adobe programmed it, but that's the best way to think about it. What I do is if there's anything with skin tones, I will always go with vibrance. It, it's the best for skin tones. Anyway. I wanted to just knock out a little bit of that color. So it wasn't quite so well. Bright and cheerful. It's quite a dark picture in all sorts of ways. Try that out with these settings. The vibrance and saturation. 29. Changing the Hue & Saturation: I've opened up another on those images from the folder, this fox bargain. And I'm going to go to my adjustment layer. And this time I'm going to look at HEW slash saturation. Now we've got some sliders. Over here. There's a hue slider is saturation. The saturation is similar to the one that we had looked at before, where you can desaturate an image or you can raise saturate the image. Look how nasty those colors become. A few really push that too much. There's also a lightness and darkness slider. In using this lightness and darkness slider, see if I push it over to the lighter area, you lose your blacks in there. For pushed over to the darker area, you lose your whites. This slider is similar to the one that we looked at using our levels where we had the slider, the second one down. And we could reduce the whites or knock out the whites will knock out the dark areas. The one at the top, the hue is about moving your colors, all the colors along the color spectrum. Now, this is a lot more useful when you actually have something selected, e.g. if I had the car selected the car color, then I could actually change the car color by dragging this little slider. But as I'm pulling this along, you can see what it's doing is it's changing all the colors appropriately. So what was this sort of TLS? Suppose it is over there. When I move that along, it becomes yellow than red. The other side, it'll go sort of pink, purple, blue, all the way back to its original color. And at the same time, all the other colors in here are changing as well. If you look at the little bit of sky right at the top over there, as I'm changing that the sky is now changing color. At the same time. The wall, the wall starts off as orange and then it goes red appropriately. So all these colors are moving equivalently along on the color spectrum. But what I like about this is actually the settle colorized button in here. If I click on the colorized button, the first thing that it does is it makes my image a single tone. Then I can choose color that I want using this hue slider in here. So I'd like this image to be maybe an older looking car. So I'm going to go with something along that line there, pull it over to the yellows and browns. And then I can choose how much saturation I want in there, from black and white through two, well, really over-the-top saturation in there. We changed that again. So I'm gonna try blue this time. I can go for fairly bright blue, or I could knock back the saturation there. Now, while we've got this image up, what we haven't looked at yet is an option down here called the blending options. And with the blending options, I've got an opacity. So when I reduce the opacity over here, what it's doing is it's reducing the effectiveness of this adjustment layer on the layer below. So with 50 per cent of pasty in here, the adjustment layer is only showing through 50 per cent and the image underneath the colors showing through the other 50% in there. Let's just pull that back up again. We'll have a look at some blend modes later on in the course. I'm going to knock that back down to I think just making it just a touch of blue in there. And I'm happy with that. And with all of these adjustments, I've got my layers, I've got my Adjustment Layer there. If you don't want it or you want to get rid of it temporarily, you can just poke it in the eye or you can delete it. And down here in your Properties, when you go to a layer, you can always change the opacity of that layer. Try that one out. So rather nice way of making a colored image, but with a single tone or colorizing your image. 30. Converting Your Image to Black & White: Let's take this image on to the next level with some proper black and white. I'm going to go in here to the adjustment layers once again and click the black and white option. Now the difference between this and just desaturating your image is that you've got full control now of all the colors and how light or dark you want them. So e.g. the car itself is a sort of a teal or a cyan color. So when I darken this down, It's darkening down. The science in the image. You can also see it's affecting that a little bit of sky at the top there as well. So I could lighten up the car or darken down the car. Now this is not affecting the wall because the wall was sort of a yellowy red color. So I can go to the wall and I can just adjust the wall separately. Now the reason this is so important with black and white is because sometimes pictures rely on their color for the beauty in them. And when you get to black and white, you don't have that color. So what you have to do is look at shapes and make sure that your shapes are really jumping out. And in this case, it's a Volkswagen over there. Then I'm interested in I'm going to maybe take the wall, lighten up a little bit so the car is ready, jumping out at me. Or of course I could go the other way and make the car pretty light and dark and down the wall. So once again, we're seeing this lovely shape of the car. And you've got magentas, blues signs, greens, yellows, and reds that you can play within there. Sometimes like the war, you'll find it's a combination because it's orange of yellow and red. You might want to have a go a few different colors in there. Let's have a look at one more image over here and then you can try them out. And I'm going back to this picture over here. Now we've got some, well, it's an orange colored chair there, but the rest of the image is pretty much blue or the background bluey green colors. And then we've got the skin tones as well, which are more sort of a yellowy, yellowy orange. So what I'm going to do is I'm going to add new adjustment layer, black and white. And you can see if we go to the reds and yellows, we can then adjust the skin turns their particular red. But it's also going to adjust the chair as well. Once again, this time now I'm adjusting the yellows and you can see how the skin tones are changing. But chair not so much. But then I'm going to go to the science and greens because that's what the rest of their clothing is. With the science, I can darken it down or I can lighten them up. Same with the greens. Who actually I thought there was some green in there, but obviously there isn't. The science tend to do most of the work here. Let's have a look at the blues. The blues as well. There's obviously some blue in that colour. So in fact, I could give them virtually black clothing over here by darkening the sign and blue write down. Or of course, take that up and lighten everything up. Totally. It's about telling a story. You're telling a story here with the picture. What do you want your story to tell? And you use the black and white options in here to decide how you want that story to run. Tried out, not just on these pictures, try it on your own photographs and see with a black and white adjustment layer. 31. Selection Tools: When you're working with images, one of the things that we need to do is to select certain parts of the image. And Photoshop has got a number of different selection tools. Now some of them are very manual and you'll actually go in and use your pencil to work around something. Some of them, you click a button and it'll automatically select your subject for you. And that can be really, really cool. So come have a look. 32. Lasso & Adjustment Layer: Let's have a look at doing adjustment layer on specific parts of an image. So what we're gonna do is we're going to use these selection tools. Now on the left-hand side, over here, I'm going to go, well three tools down. And you'll see there's a little last sue. If I click and hold on that last Sue tool, we have a number of different selection tools in here. Let's start out with the Lasso tool or the Lasso tool is quite a simple tool because you just draw in the selection you want, but you do have to be a bit accurate for that. Let's move on to the image and I'm going to zoom in. I'm using two fingers to zoom into the car. And I'm going to go over here to the back light. Now taking my last Sue, I'm just going to draw a little shape around. Let's make sure I'm on my last three first, I'm just going to draw a shape on that light with my pencil, trying to be as accurate as possible for the moment. Now what we have are these little dots which still move around. These are often called marching ants. And at the bottom, we've got a heads-up display, which is pop test popped up to allow us to work with that selection. So the first thing we can do, of course, is we can de-select it. So I can just click on de-select to de-select it. Let me do that again. Or you use two fingers to just undo what you've done or use the back button to go back. Now, the next thing that I can do is I can mask, I can erase, I can Content Aware. I can invert, or I can use the roughen edges. And we've got even more options in here. But what we're gonna do is we're just going to now that we've selected that goes straight to the adjustment layer, click on my adjustment layer. I want to change this to a much brighter red. So I'm going to go down and choose one of these adjustments in here. And the one now choose is the vibrance over here. And within the vibrance, I can track my vibrance and make it brighter or less bright or better still in this case, are probably use the saturation to really saturate the color. And you can see how that color is coming up quite nicely and very bright. And if I go to my vibrance adjustment layer, I can switch that on and switch it off in there. Let's do that again with a different one here. I'm going to go to the front light in there. Use my lasso tool. Just draw around that area. You can see I'm not being super-duper careful but enough. Then same again. I'm going to go in here and I'm going to change the color of this. So I'll use an adjustment layer in here. And I'm going to change the color by going to the color balance. And I can make it more orange or less orange. Try that out. 33. Adding & Subtracting from Selections: Now how about if I was trying to do several selections at the same time? So I went into the wheel and I selected this part of the break in there. And then I also wanted to select this part. So you'll see when I do it, it just gets rid of the first one. Well, this is where the little buttons on the left-hand side come into play because I can then go down to the second button. And this will allow me to add to my selection so I can keep doing that a little bit there. And this part here, one more over here. And I'm going to make a mistake with NGO woops all the way out. Like that. The third button will allow me to surround that area and subtract from my selection. So you can add to your selection. You can subtract. I'm just going to keep adding in these ones over here, this little bit here, but there. And finally this last one in there. And then maybe I'll do the middle as well. And then I changed my mind. So I go note, let's subtract that bit and I can subtract it like so. So same again here I'm going to find an adjustment to work on. So I'm going to go in there. I think those could be done with brightening up quite a lot. So I'm going to go over to just something simple like brightness and contrast. And then really pushing the brightness of those breaks in there. So do try that out with your selection tool, select the area, and then use add and subtract to add and subtract from them. There is one more here that I haven't mentioned. And that is if you've made a selection like that, you can go to this one here and you can do a second selection. And before I let go of my pencil, it's going to keep the overlapping area, that middle square. So over there. So this adds the subtract and that one keeps your overlapping or your intersection. Try them out. 34. Using the Object Selection Tool: Let's have a look at another selection tool. So in here, the next one down is the object selection tool. Now the object selection tool is really good because it just finds objects for you. So I want to try and find the car to select the car. So I'm going to the object selection tool and I'm just going to click and drag around the car back. So look at that. It just finds the car automatically for me. It's even added in the wheels. Now of course, we can go and subtract from those areas as well as have I don't want the wheels. If I go to the subtract option and drag around that is, I can subtract that one misstep bit. Let's subtract that bit. Now sometimes you can subtract everything and you have to use other tools to do it. But I'm going to subtract the wheels there. Then these little bits that I want to get rid of, I can then go over to the last sue tool again, use my Subtract option and just surround them. Same over here. Just surround those ones as well. Now, there's a few other bits that I don't want selected and I would probably do them manually. So going into the car here using my last Sue tool and subtract, I'd probably go in and manually subtract these little bits around here, surround that area. And this little one as well. I think that's supposed to put the carbon. I'm not sure. I think I'll just get rid of it just in case. Then the same at the back. Just go in here and I can then start to subtract these areas around there. Let's get rid of this one all the way in. As you can see, I'm not doing a great job. But that doesn't matter because we're going to be able to tweak this selection later on. Now there's a bit in here that I need to add in, so I'll click on the Add button and I can just add that little bit in. Like so. This tool is great for objects like this. It's also fantastic for people as well. We'll have a look at that in the next video, but do try it out. 35. Object Selection on People & Animals: Let's go and find a person and try this tool on a person. I'm going to click Import open files. And there's another folder in your resources called image selection or selection images shall I say. I'm going to click on this person over here and just download them very quickly. Now, same again, I'm going to use exactly the same two objects selection. And in here, I can then just click and drag over him. And it should just find him perfectly Look at that. What about if I just wanted maybe his head? Well, once again, we'll just de-select that. I just have to drag over his head. It will find his head. And it works quite well with hair. It's not perfect with hair, but we can always sort out the hair later as you'll see. But I'm going to go back, find another image of a person with hair. And same again, I'm going to drag over her. And it hasn't done a bad selection at all. As I said, the hair needs a little bit more work, but we'll get onto how to do that later in the course. Let's look at one last one with this tool. So I'm going to go and find a dog. I really liked this image of the dog. I use it often, will as often as possible, because it's great. And I can either drag around the whole dog to select the whole dog. You've seen this image before in that when we look at layers or if I just wanted to maybe affect the jersey on the dog, I can drag over that and once again, select that. And if I don't want something, I can go to the subtract option and I can subtract the area that I don't want. So it's going to get a little bit in there. We can add and subtract with these little buttons. So I'm going to go to Add, and I'll see if I can add in the hood as well. Not bad. There's a little bit missing there. But I'd probably go into my last Sue onto my Add option and just add that little section in manually. Like so. Try it out, try it on different pictures you have, by all means have a go on the ones in the training folder, but try it on your own as well. Sometimes you'll find that the tool works so well. And sometimes you think, well, this should have worked well, and it looks awful. But have a go see what you can do with that tool. It's just a starting point and we can always add and subtract later, as well as sorting out the edges. So it doesn't look quite so rough. 36. The Quick Selection Tool: Let's look at the Quick Selection Tool. Now. That's the next one after the object selection tool. What I'm going to do is I'm just going to select his top again with the Quick Selection Tool. All you do is you click and you paint on the area you want to select. Now, this has missed out the band. So I'm just going to paint into the band and you can see it's just selecting things which are similar, same with the top here. I can then start to paint these areas in like that. If I wanted all of the dog, I just end up painting over these bits like so it's a really nice, quick and easy way of selecting. And of course, you can subtract very quickly by just painting out the areas that you don't want. Now, I gotta be honest, sometimes I find that it's faster to use the other tools and the Quick Selection Tool, but you just do what you do and try it out, see if it works for you. 37. Marquee Selection Circle & Rectangle: Now the marquee selection tool and the marquee ellipse. We've got a rectangle and lips in there just to allow you to create squares and circles. So if I go to the Marquee rectangle, I can just click and drag to make a rectangle. If you use the little button down here, the touch Control and click in the middle, it will constrain it to a perfect square. Now, if you want to draw from the middle out rather than from one side to the other. Say e.g. a. Starting in the middle of the dog and I was drawing a rectangle out that way. If I go down to the touch and go to the outside, now it will draw from the middle out. So that's with the middle. This is on the outside, and it's exactly the same. If you go to the Ellipse tool, let's just deselect that one. Once again, I can draw from the middle out. Now I'm going to zoom right into the eye because I want to select the eye using that tool. I would start from the middle of the, I start to draw out, go to my touch and then to the outside. And that'll allow me to draw from the middle outwards. Now, obviously, this is not a great selection, but it gives me a starting point. And then I can use some of the other tools to just adjust that. And I normally go back to the last sue tool onto the adoption. And I can add this little bit of iron every day, maybe that little bit in there and the subtract option. And I can then subtract this section. Down there. You'll notice when I subtract things, I go all the way round. I don't just go across and let go because otherwise, it doesn't take up the whole section. Two fingers to undo that, and the eyes pretty much selected. Have a go with those two. They are useful quite often. Just if you need a square or a circle. 38. Using the Magic Wand Tool: Now the last little tool in this section is the magic one tool. And the way the magic wand tool works is it select pixels which are similar in color. And down the bottom we have got a tolerance, which is the sensitivity of the tool. So if I went to the background, e.g. here, and I had the tolerance. By the way, 32 is usually the default. But if I took it right down to ten, let's say I clicked on this side here you can see it's selecting pixels which are similar in color. If I did it over here. So once again, I'll de-select that. Click up here. It's selecting pixels which are similar in color on there. But of course, if I increased that tolerance and it's go right up to about 140. Once again, if I click on that, it selects pixels which are similar in color all the way round. It's also selecting bits inside, then it's selecting other bits which are not touching. So there is a selection in here called contiguous. Now, what contiguous does is it allows you to select pixels which are touching and similar, or which are not touching and similar. Let me show you how this works. So I'm going to take my selection right down again. So something like that, to about 30 to the default. And let's switch contiguous on. So if I go along to the top here and I click on the white part at the top, you can see it selects those white pixels over there. Now, if we switch contiguous off, then do it again. Oops, just de-select that. If I click on that, it selects pixels which are not touching each other. Contiguous is continuous, or pixels which are touching each other. So you just need to be very aware in there. Have you got contiguous on or have you got it switched off? It really depends on the picture and what you're trying to select as to whether you switch that on all for naught, but have a go with that. Try it out with us on this picture or some others. You can see there's a little bit of a selection on the nose there because I had that contiguous switched off, switch it on, try it with things switched on. And then tried with things switched off and see the difference that you get. And also experiment with the tolerance. The higher the tolerance, the more of that color it will select. The lower the tolerance. Just deselect that, the less of that color. It will select. Tried out. 39. Action: Select Subject: The last two options in this little menu or the actions. And the first one is to select the subject. And all that doesn't, it doesn't really matter which one of these tools you're actually on. When you click on Select Subject, it will just look at your picture and try and find the subject in the picture. And it's usually pretty good. I mean, that's the same selection that I did with the object selection tool. Let's try that again on a different picture. This time I'm going to get back to one of those cars that are in the other folder there, in the fixed folder in there. Let's see how it works with this and see if it can find the subject. Yeah, there we go. Pretty good. Really. Try that out. It's a very quick way to get a selection. And then you can then sort out that selection yourself and refine it individually. 40. Action: Remove Background: Now if you haven't tried it yet, the last action that we've got at the bottom is to remove the background. So all you do is once again, it doesn't matter which of those selections you own. You don't need a selection up. You just say remove background. It will look at the picture. It will find the object in there, and then it will make a mask to remove the background. Now we'll be looking at these masks later on. But at the moment you can see if I just go to my layers there that's made a little mask every day to get rid of the background, I can actually remove that mask and I can still tweak the mask. But we'll look into those in more detail later on. Have a bit of a go with different pictures and see what happens when you use this. Select Subject on there. Don't just try the obvious pictures in there. Have a go with some more complex ones like this and see what happens. So if I just go back to that layer zero at the bottom in the Remove Background and see what it can do with that. Oh, it's okay. We've lost some of the person over there. We've got some extra bits and pieces in there. But once again, it's a good starting point for you. Try it out. 41. Refine Selections & Maskings: Once you've done your selections, of course you want to refine them because as you found already, there can look a little bit rough around the outside. So in this set of lectures, we're going to look at how to refine those. And we're also going to add masks. So we can work with masks and we can delete from selections. We can add two selections using those masks. 42. Adding Mask, Refine Edge & Add Image as Layer: I've opened the picture from the select subject folder. And what we're going to do is we're going to select her. And then we're going to look at refining that selection. So it looks a lot better. But let's go and see what it looks like with just the standard select subject selection. So once it's selected the subject, what I'm going to do is I'm going to mask this area. We're going to start by looking at masking because masking is really useful. All you do is you go along to the little mask icon here, click on the mask, and you can now see it's made a mask of the image. So all of this checkered area here is transparent. But you can see the head doesn't look very good in the shoulders, okay, but the hair's not so great. Let's have a look right at the top here and see what this looks like on a layer. And you can see I've got my layer there and the mask next to it. Now when we're looking at layers here, you will just see the mask. Or if you drag left and right, you can see the image itself. Now, if you want to get rid of a mask, you just drag across. We've got the mask selected. You can click it and you can delete the mask really quickly. Now, you can see that was a pretty rough old selection there. Let's try that again. So select subject, wait for it to select the subject. And I'm going to add the mask. This is the little button over here on the right-hand side. We'll just hide those and you can see it a bit better. That's the one there. It's a square with a circle in it. And that automatically makes that selection into a mask for you. But I want to put a picture behind this. So I'm going to bring in another image. I'm going to do that by clicking on the plus. Remember we went to the plus over there before. So we can make or add an adjustment layer. This time I'm going to add a file. So I'll click on file, and I'll just find an image to go in the background. I'll use the dog picture for now. You can see it's brought in the dog. And the dog. If I just scale it right up first, is actually on a new layer. So I just want to use some of this background, really that blue bit. There. I'll click Done. And you can now see that the dog layer is above the masked person. Or if we look at it in this list view, it's above there. If I drag the dog below that one, will then have a person with that blue background. Now, when we look at this, you can see the head doesn't look that great. It's not bad, but it's not brilliant at all. If I go to the dog layer and click on the dog layer and move it up there. When it gets over some areas like this on the yellow, you can see it's quite a bad selection. So let's see what we can do now with this. What I'm going to do is I'm just going to get rid of this layer. Let's go back here. Click on that bin, that layer. And I'm going to go to the mosque. So we'll just click and drag over, click on the mask and the mask. So that takes me back to the original image. You can see the great thing about these masks is that they are non-destructive. So we can always get back to the original image. We're not erasing permanently anything at all. Let's try this again. So I'm going to go up to the selection tool. I'm going to click on there. And I'm going to select the subject as we've done before, just wait for it to select. Now, instead of actually doing any mask or cutting or anything like that, I'm going to go to the little heads up to split the bottom. Over here. Once again, you can see there's a mosque. They're the same as we had over there. There isn't a raise option. If I click erase, it just erases out what's inside that selected area. Two fingers to undo. I can actually go in over here to the refined edges. And this is where we're going to look at cleaning up or refining the selection. Now, when you come in here, you might find that your image still looks like the dotted outline over there. Right at the top. You can actually view your image either with marching ends, which is the dots overlay, which shows that as red on black, which will give us a black background on white for a white background, or purely in black and white. So you can actually see the mask and see what it looks like instantly. If you can't see this, just click on the little arrow next to view mode. Right at the top. I'm going to go and show this on a black. Now, what we can do is we can start refining. The edges and the hair. There is a nice little option here called edge detection. And I'm just going to switch on Smart Radius over here. And as you pull this up, you'll notice that the hair actually starts to look better. Now, I want to do the edge a bit more and do it manually. So I'm going to go up to the top on the left-hand side. And I'm going to choose a brush size. And then I'm going to click Plus. And what this will enable me to do is to add to my selection. You can see as I'm going around the hair, I'm getting a much better selection from the hair. I'm just painting around that area where the hair is a little bit funny. If we have a look down here at the edge of her clothing, it doesn't look so good either. So I'm going to maybe just go round that as well until that improves. And maybe the same on this side as well, just around that edge there. Now, if I feel happy with the hair, actually there's a little bit over there. Let's see if we can just get rid of that. When I'm happy with this, I can either click Done and make it into a selection. Or I can actually go in here and cut out the middleman and say, let's make that into a layer mask straight away. I will just click on done. Over there. You can already see that the hair looks better and you can see some of those bits coming through. Now let's do the same thing. Let's bring in a picture in the background and you can bring in any image that you like. But I'm going to do the same one that I did before. I'll click on Plus. I'm going to go into files. I'm going to choose that same picture to place it in there. I'm going to scale it up. So all I want is to use some of that nice blue background that we've got in there. It'll work. Click Done. I'm going to move this layer below that one. And you can see what a better job we've now got with the hair. We're starting to see some of that background coming through. Could still do with a little bit more work. Maybe over there. It's not looking quite as perfect as it could, but with a little bit more work, we'd be able to sort that out as well. So do try that out, try it on this person here. Once you've had a go with her with that tool, then go along and find and we're just going to go back again to open up another picture from files. This chap here. Once again, do the same thing. Have a bit of a go, select the subject, it selects him really well, actually. Go to refine edges. And over here where you can see what the clothing where it doesn't look quite so good and round the hat. First of all, try the edge detection in there. Try your smart radius. There's no right or wrong here. You just use these tools and get what looks good on the image. And then you can go to the little plus over there. And I could sort of paint around the edge if I thought it would improve it As well. That's not a bad selection. If you find that that edge is still giving you a little bit of white and you've painted on it. By the way, when you do paint, you have to wait for a second for it to kind of update. But you could go in here to the shift edges. What shift edges does is it tightens up that selection over there. Oh, that's made a bit of a mess then typing it up like that, or making it bigger. But we don't want to do that on here. But sometimes you might find that this just gets rid of a nasty little edge around the outside. I'm just going to paint that a little bit over there. Once I'm happy with it, I click on Done and don't forget, you can check it on black, on white in there. So I've now got this as a selection. And then I can click on Mask or you can cut this bit out, this little step out and just do mask directly from the roughen edges. So I'll just click Mask and he's all masked up. And we can then put a picture behind. So to add an image behind that image, you just go to the plus over there, Choose Files, find the picture that you want to add behind that one. I'm just going to go, oops, that one there. And you can then, once you've got it in the right position, Let's make this really big. Once you've got them in the right position, you can just change the stacking order of your layers. So heal them. Be standing with that background behind him. There are a few little extra areas here that needs a bit of a cleanup, but we can do that manually. I'll be showing you how to do that directly on your mask shortly. Try it out. 43. Adjustment Layers with Masks: Now we can use masks, not just for normal layers, but we can use them on adjustment layers as well. So I'm going to make a selection of the dogs Jersey, and I will use my object selection tool. I'm just going to click and drag around the Josie of the dog. You can see it hasn't selected perfectly. If I zoom in over here, there's a few little bits missing in there. So I'm going to go over to my Lasso tool. I'm going to make sure I'm on the Add. I'm going to add that little section in like so. And maybe that bit in this bit as well. Like that. I think I've got everything selected that I wanted. Now, if I add, remember, the adjustment layers, add an adjustment layer and I'm going to do a hue and saturation. You can see straight away we've got a mask on the adjustment layer. This means that if I make some changes to the, in this case hue and saturation, it's only going to change what is inside that area in the mask. Once again, I could increase the saturation or decrease the saturation in there. And in my case, I can change the color as well. Now, this is not too bad at all. It's given me quite a nice little selection. But let's try another one. I'm going to go over to the eye of the dog. I'm going to click back on the dog's layer. I'm going to use my selection tool to select the eye. Now I'm going to do a slightly rougher selection. I'm just gonna do it by, by hand there. I've missed out a little bit as well. Now, let's say that I decided to do something with that, like going to the adjustment layer. And I'll use the same hue and saturation. You can see now, if I were to change the hue, the color of the dog's eye is changing. If I were to change the lightness and darkness, it's pretty obvious. The bit that's actually being changed in there. If I've got a good, very accurate selection, this is not too bad. So by changing the color in there, it would be perfect. However, I haven't, I've got that little bit over there and a little bit as going over the dog or his eye, the top of his eye as well. So what can we do about that? Well, I'm going to get rid of this adjustment layer. So I'm going to just drag it over until I can see the adjustment layer, click on it and then choose to bend it in. I think what I've done is I've been the wrong one. As you can see if I zoom out. So two fingers to undo. I'll just go to this one over here. Sometimes it's easier to see them in this mode as well, but it will stay there. And once again, I'll just click in there and been the eye. So I'm gonna do the selection again. So using a selection tool, I'm going to just go round and make a little selection of the eye. As you can see, I'm being a bit rough with that. But if we go to refine edge and I'm on white over this, I can see what I'm doing. Moving down to the global refinements. If I change the feather, what this will do is we'll just soften the edge of that selection a little bit so it's not so harsh, otherwise, we'd be able to see it very clearly. Then I could use the Shift Edge to make it smaller or larger. So I'll just make it a little bit smaller. Like that. You can see my feathering is looking pretty good in there. I'm happy with that. Now click done, and now do exactly the same thing again. Click on the plus to a new adjustment layer. And well, let's use hue and saturation in there and adjust the color. Or we can even click on colorize and then choose one color for the eye. Let's go and get a sort of a dark blue eye color for that. So a few ways to work with this. You can make your selection and you can go straight to the adjustment layers. Or you can make a selection. And let's do a bigger one over here. So all you can make a selection like that shown on the right tool. And make a selection like that. We can go to the roughen edges. We can use the feathering to just soften the edge so we're selecting a rough area in there. Click on Done, and then you can add your adjustment layer so you won't see that edge. And if I use something like brightness and contrast, I just lighten up the eye and there's no harsh edge in there. You can see as I'm doing this, no harsh edge, edge at all. 44. Using the Brush on Layer Masks: What we're going to do now is to look at adjusting the mask. We're going to use the paintbrush for that. Now let me show you how the paintbrush works. If you click on your paintbrush, you have a number of brushes, pre-made brushes in here. You can, of course, bringing your own, but these are the basic ones that we're gonna be working with. There's a soft brush and there's a hard brush, basic ones. And if I paint, I'm painting at the moment with this foreground color. I'm just going to choose a very vivid green. And you can see if I paint with that soft brush. I've got that. If I chose the hard brush, I've got something like that. Now we have more options for the brush. Down the bottom. I can go to the size and I can choose a different brush size in there. I'll just make that a bit smaller. I can also click in the middle to adjust the opacity of the brush. So I can have a sort of a semitransparent brush in there. Let's take the pasty up to 100 and you can see the difference in there. And down the bottom, we can change the hardness and let's try that again. Down the bottom, we can change the hardness over here. So very hard brush will give me that was I can adjust it to being a soft brush, something like that. And that those are basically those two brushes. They're the hard and the soft brush. I'm going to undo all those awful marks that have made on the dog. So what I'd like to do now is to actually work on a mask. Let me show you how this works. I'm going to select the jersey of the dog once again. So objects selection tool. Let's get that selected. And now you can see when I've selected it, I've actually got some of the hood from the dog. And maybe maybe I want that, maybe I don't. I'm going to go and make this into a mosque straight away. So I'm going to click on Mask to add a mask in. And you can see now how to just select that area. If I click on the mask in here, then I go and get my paintbrush. I'll click on the paintbrush. And my foreground color is set to black. When I paint, what it will do is it will erase part of that image what it's doing because I'm painting with black. It's adding black into my mask. You'll see if I then click on this little button which flicks those two colors to around. Now I've got two white, white or painted back. If I keep going over there, can just paint some more of those straight back in and we'll get a little bit the dog coming through. So black will hide from a layer, and white will show on a layer. And just changing the mask because the mask works with black and white. Let's get rid of this mask. I'll click over there. And Binet. Have a bit of a go with that. Don't worry about what you're selecting. Just get some sort of mask going and then use your paintbrush. And it's just a standard brush. Pick a software hard brush to start off with. Have a look at the settings in here. You've got the brush size. You've then got the opacity, and you've got the hardness down here. But when you do it on the mask, make sure that you've got black and white set up in there. It should default to it. Try it out. 45. Using the Brush on Adjustment Layer Mask: Now let's try this again with an adjustment layer. I'm going to select the jersey of the dog again. And I'm going to go in and add an adjustment layer. And I'll go down to hue and saturation and change the color of the dogs Jersey. And let's go a little bit extreme with this. So really making it look awful. Now that I've got that and I'm on the mask, I can go and get my paintbrush. And I'll just make sure that I'm on either one of those hard or soft brushes. I'm going to zoom in over here and I can paint out the areas that I don't want. So if I want to get rid of this area here that's turning blue, remember that's in the white, but I want to make it black so it hides that adjustment. With my paintbrush. I choose. Well black over there. When I start to paint, it looks like the painting white, but it's actually painting back. And getting rid of the adjustment layer on that mask. Now, if you find that that's not quite right, you can always adjust your brush. I'm gonna go a little bit harder in there, and I'm also going to change the size a little bit. I'm being very careful to keep my opacity at 100% at the moment. I'll show you how that could help you later on. But I'm gonna go all the way down and just paint this part out really quickly. So all I'm doing is painting straight onto my mask. Now, I think I'd like to bring in a little bit of the color in there, bring it back. So I'm going to adjust my brush again, make it slightly softer. I'm going to flip over to white. So now when I'm painting, I can sort of paint a bit of that color. Back in a bit. You can see it's painting in really far too much color in there. Let's undo that. So two fingers to undo. If I were to change the opacity, take it right down, then I can maybe just paint back, just a hint of that color. Back into there again. Few little strokes on there. I still have a problem because down here there's something missing. So I'm gonna take my opacity up to 100 per cent. I want this to be white. I want to paint that back with white. And I'm going to make sure that my brush hardness is reasonably hard. And we're going to take the size down a bit so I can then paint that little bit back. Now, I've gone a bit too far. As you can see. I can click onto black and then paint that back. Painted out again with black. So you're just using black and white to paint or hide part of your adjustment layer. And it works the same with an image. Now that I've done that, I'm going to make sure that I'm over on the Adjustment itself. And then I can just change these settings in here, make them less harsh. So let's just take this back to zero in there, this color. And I can adjust and we'll look a whole lot better. I hope if I see something and think, oh my goodness, That's a mistake in there, I can always go back onto the mask. So I'll just flick, flick over to the mask itself, get my paintbrush, and then paint with black or white, just show or hide. So I'd like to hide this little section over there where it's going over the dogs fur. Have a go with that. 46. Adding a Clipped Adjustment Layer: Let's bring in another picture on top of this one. So I'm going to click on the Plus. I'm going to say, I want to go to files and I want to find an image. Now, I've gone into the Masking folder, which is in your Photoshop iPad resources. And I'm gonna choose the cat on the orange background. Now, if I zoom out a bit, I would like to make that catch yes, a little bit bigger. And I'm going to go and pop him down. Over there. I'll click on Done. Now I want to separate the cat from the orange background. So I'm going to go over to the selection tools. I'm going to select the subject. And we're going to just tweak the subject a little bit. Because if you have a look down here, you can see it's missing a bit. So I would probably need to go in to my last sue, go to my Add option and just add in that bit down the aisle, surround the whole thing in there. Now that I've got that, I would like to just check out what the selection looks like using the roughen edges. And well, as you can see against a white background, it doesn't look very fair. It's like a hard, hard cut out. So let's change the edge detection a little bit. Now switch on Smart Radius as well. And we'll pull that over until we get a slightly softer edge. Then we can also choose decontaminate colors so we don't get so much of the orange coming through around the edge. Let's just try that a little bit more. Now that's, that's looking pretty good, I think. Now down here, I want to make this into a new layer. You see if I choose new layer and click on Done. What I'll get is a fully cut-out layer. Over there. There's no mask on it a tall it just cuts it out, makes a total copy of that and just cuts it out in there. Let's undo that. And that's obviously two fingers to undo. And do this again. Roughen edges, go in, do the edge detection, switch this one on as well. And if I'm feeling happy with that, once again, book decontaminate the colors too. But if I say new layer with a mask, then when I click on Done, what I'll get is a new layer. Have a look at these in layer form. I'll get a new layer with a mask on it. It still keeps your old layer in there. In fact, we don't need that second layer, so I could just go onto it and it deleted. Like that. This is the one that I'm interested in. Now I like the cat over there, but maybe I want to adjust it a bit. So first of all, I'm going to go in and I'm going to just move on the wrong layer, click on the correct layer over there. So I'm on the layer itself and we're going to move the cat around. We go, We'll move it slightly over to the corner. You can see what a really good selection we've got from that cat as well. The only thing we're missing actually asked the other whiskeys, but we'll get to fine details at some point later. If I want to make the catalog smaller, I would go down to the second button down here. This is my scaling option. And I can go along, grab a corner and scale. Now when I'm scaling, I want to scale, and I want to scale this proportionately. So as long as I'm on the top one there, I can just pull it up. Now you can see there's some background over there. I don't want that. I want to make it quite small. So the cats heads just popping up on the side there. Click on Done, and that scale the cat down. But I'd like to put an adjustment layer on the cat. So there's a mosque on the cat. But what about an adjustment layer? I want to adjust the whole of the cat. So I'm going to add an adjustment layer. And because I'm on the cat's layer, instead of clicking on the plus and doing an adjustment layer that way, what I'm going to do is in the layer properties, I'm going to say add a clipped adjustment. And in here I'm going to choose some curves. And I'm just going to adjust the lightness of the cat with the curves so we can just make a little bit more contrast. He may be putting those around like that. So how does this clipped or what does this clip adjustment to? Basically means if a layer is clipped, it only affect the layer underneath itself. Let's try that again. I'm going to delete this. Get rid of it again. Delete that adjustment. And this time, instead of adding a clipped adjustment. I'm going to add a normal adjustment. I'm going to go over to the curves and I'm going to affect the lightness of the cat. Maybe a little bit more contrast like that. But you can see that adjustment is affecting all the layers below itself. So if we've got an adjustment layer, can we make it into a clipped adjustment? Absolutely. So if I go over to this adjustment layer here, you'll see on the side the little icons there. Second one up from the bottom. There's a little, well, it's supposed to represent a layer being clipped downwards. And as long as I'm on that adjustment layer, I can click and it will clip it just to this layer here. Let's have a quick look. So you can see once again, there's a little arrow down there to say it's clipped to the layer below. And if I show and hide it, it's only affecting the layer at the top. I can still go in and make some final or finer adjustments. On my cat. Of course, we can always add adjustments to individual parts of a layer as well. So if I go back to my, to my cat, I'm going to change the color of the eyes, the eyes of the cat. So I'll use a selection tool. I'm going to select pretty roughly that I there. And I'm going to go to my Add option to select roughly the sky over here. And then I'm going to do refine edges and put some feathering on that. And then maybe shift that edge in a little bit as well. So we're affecting most of the middle of the, of the eye of the cat. I'll choose Done. And then same again, I can add an adjustment. Now, I don't need to add a clipped adjustment this time because I'm only affecting the cat, not anything below it anyway, so you wouldn't see it. So same again, I'm going to go to the plus. I'm going to add an adjustment layer in there. And I'm going to use a color balance and just change the color a little bit on the, on the cat size, make it a little bit more orangey. But you can see because my adjustment layer was above the cat but below the curves, it's automatically made it a clipped layer. Anyway. But as I said, it doesn't need to be clipped layer. Let's undo some of these. So if I click on this one, this layer and clip it, I can just undo those clipped layers. I'm going to change this, move it above that one. Click on the curves, the curves to only affect the cat. So I can then just clip it in there. This one, it really doesn't matter whether it's clipped or not. It won't make any difference. If I clip it or unclip it. Try that out. Getting your adjustments to just affect one layer at a time and use a clipped adjustment. Now, you can either do that by going and adding an adjustment layer to it, or you can, if you own your layers here, you find that you can then just add a clipped adjustment. If I just go down over there to show the details, add clipped Adjustment. Layer Properties, slide out. 47. Clipping a Normal Layer: What I'd like to do is to bring in a pattern that I can use on this evil looking cat in the corner on the clothes to just soften it down a little bit. So I've got some flowers that I want to bring in. By the way, all of these images that I'm using comes from the website Unsplash, which is, well, it provides free, royalty-free images. So I'm going to go and add in another picture in here. And I'm going to go to Files, find the picture that I want to bring in. That's absolutely perfect. I might make it a little bit smaller over there. Move it down to roughly with a cat is, and click Done. Now, if I were to take this image and drag it underneath that one there. And then I'm going to go to clip. You can see it clips it to the photo as well to the cut-out photo. So when you're using clipping masks, then not just for adjustment layers, they can be used with photos as well. Now that I've got that, I'm going to add a mask to that so I can then erase some of it. Use a paintbrush and I'm going to use a largish brush over here, quite a decent size, making sure it's really soft. And just erase out some of this over here. I'm not being accurate with this. I just wanna do a very rough edge on there. Now, I'd also like to change the opacity of this particular layer. And you can see we've got in the blending options here in the layer properties, a percentage so I can just reduce the percentage. So we just get a little bit of that pattern going on in the cats clothing. Let's do another one over here. This one won't have a clip on it. I'm going to go and add in another picture. So right at the very top files, bringing the same picture again, this one, I'm going to pull out a little bit, make it a bit larger. Click on Done. I'm going to add a mask to that. And then once again, use my paintbrush and a very large soft brush. I'm gonna go pretty big. Illnesses have a look. Maybe even bigger than that. Very, very soft. I'm just going to paint back the bits that I want in there. And same again, I can change the opacity of this. Just have a few little flowers coming through. And if I've gone too far, remember you can go to the white. I just paid back some of those in the background. Like so. 48. Project: Social Media Post: This is one of my favorite parts of the course. We're going to create a project. And for this project we're going to do an Instagram post. And we're gonna be using all the techniques that I've shown you so far throughout the course. Let's get going with this. It's really, really good. 49. Create a Blank Document & Blend 2 Images with a Mask: Let's start our project. And we're going to use adjustment layers and masks and a little bit of brushes for this project. What I'm going to do is I'm going to start by creating a new document. So I'm going to click Create New. And for this project we're going to create a post for a social media. So I'm going to go across the screen options along the top. We've got a lot of different sizes. In here. You can see that the main devices are actually in here, like the MacBooks and the Surface Pros and all sorts of sizes. But I'm going to make my own custom size. I'm going to go to the top two pixels, and I'm going to make my size 1080 pixels. By 1080, that's square. And that will be perfect at the moment. For Instagram. Now, these things change all the time. So when you're watching this back, Instagram might have changed their sizes. So it's always a good idea to Google the size that you want. What this is going to do is it's going to create a new blank document for me and we can then bring the pictures in and work with those images. So I've got a white background on here. I'm going to click on Create. And here is my white page. And if we have a look at the layers, you'll see by going up to the layers here, it's just a white background. I'm going to bring in my pictures on here. So back to the little plus that we've used before, over to Files. And there's a folder in your downloads area called well, it's project and the project for adjustment layers and masking. I'm going to start off by creating a, by bringing in this picture of some coffee beans. And what we're gonna do is we're going to make a coffee bean or a coffee post. Now, if you don't like coffee and you want to do something entirely different, that's absolutely fine. Just find similar ish images. Once again, I got these from unsplash.com. You don't have to register. You can go in there and find your own images. So I'm going to just choose Coffee. And you can see it's brought it in. I want this to cover the entire page. So I'm going to put it up like that and like that and get my coffee beans looking good. Now click on Done because I'm happy with it. And you can see I've now got a new layer for my coffee beans. The next thing that I'm going to do is I'm going to bring in another picture on the top. So I'm going to click on the Plus. I'm going to go to Files. And I'm going to bring in the second image that I want to mix in with this one. And that's going to be this picture here of some coffee being poured. Same again, I'm going to just make it a bit bigger over there and move it into the right sort of place that I'd like it to be. Click on done. But what I'd like to do is I'd like to blend these two pictures together. So on the left I'm having the coffee beans. On the right, I'm having the coffee poured through the, the filter. So what I'm about to do is to add a mask. We go down to the mask. I add a mask to that layer. You can see I've got a white mask on there. Now you can either choose the layer itself or you can choose the mask. You click on the one that you want to work on. So I'm clicking on the mask and I'm going to go and get my paintbrush. And I'm going to flick over to get black. Black is my foreground color now. And in the brushes, I'm using one of these two brushes in here, doesn't matter which one you choose harder, soft. But I'm going to go down over here and make sure it's pretty large that brush. And I'm also going to make sure that my opacity set to 100 per cent and the softness, hardness is set to zero. So the hardness is set to zero in there. Then when I paint, you can see, because I'm using a large soft brush, it just blends those pictures together because what it's doing is, I'm painting on the mask with a big soft brush. Let's see what happens if I had a really small brush. So if I had a small brush like that and I painted, you can see by painting on that, Let's show these in a slightly larger way. The mask is then hiding parts of that and showing the coffee beans through there. I don't want that. So I'm going to use two fingers to undo and go back again. So let's go back to these layers. So once you brought in your picture, add a mask with a little mask button, and you'll see the mask button. It's that one over there. So once you've added a mask, make sure you're on the mask. That's really important to be on the mask. If you're on the layer and you end up painting, you'll probably end up painting whatever is your foreground color in there. Two fingers to undo. So I'm on the mask. I'm going to make my brush really quite big. And I'm probably going up to about 900 over here. Then when I paint, I'll start just on the side here and just gently painting like that. And you can see how by just blending that in. And I can keep going and blend it as much as I want. And then you can get those two Looking good together. If I don't like the top. Once again, I'll just paint over here with a soft brush and just blend them in like that. Have a go get up to that stage. They take two images. They don't have to be the ones that I've given you. You can find your own if you wish, and put one on the top and blend the two together. Now to make this document, don't forget, you go to create new, you don't go to important open. You go to Create New gov to screen and put in your pixel sizes. As I said, I used 1080 by 1080 pixels because at the present time, that is ideal for Instagram. But you can do any size that you like in there, in pixels and click on Create and that'll give you your blank document. Try that out and then come back and we'll add some more to this image. 50. Add a Third Image with Mask: Now the next thing that I'd like to do is to add another image in. So exactly as we've done before, click on the Plus, go to files. And I'm going to go and find another image over here. And this one, I'm going to blend in as well. I'm going to put it on the left-hand side, so I'll just move it across. Remember, although you're moving it in here, once you've clicked Done, you can always move things around with the move tool. I can move it around in there as well. If I want to scale it because I hadn't got it quite right, I can click on the scale tool, takes me back into this area and I can scale it up and down by grabbing a corner. Like so. Let's click on Done in there. So I would like to blend this image in a little bit as well. I think I'm going to move it over to the side just a bit. I know it's looking a mess at the moment, but we will improve it. I'm going to add the mask. So remember that's the mask option there. Click on the mask, go to my paintbrush. Black as my foreground color. Large brush, 100% opacity and a soft over there. And then I can just blend this. I think that brushes a bit too big, so I'm going to take it down to, let's try about 400 or so. That's better. Once again, I can just erase that edge and blend those images together. Like so. Try another image. 51. Add Adjustment Layers: Now what I've created here is just my background. And then I'm gonna be putting details on the top. And it is very busy. But then again, so a coffee shops. So I'm going to go and add an adjustment layer on the top of all of this to try and unified together. I'm going to go down to the plus, and I'm going to add a Adjustment Layer. And the adjustment layer that I'm going to use initially is going to be my hue saturation. And with a hue slash saturation, I can actually colorize that background. So it's all the same color and it just unites it maybe into one shape or one cohesive image. I'm going to pull the hue across a little bit and find the color that I want. I want a sort of a nice brownie color in there. Now, if I'm gonna be putting text on top of this or other images on top of this. This is still pretty bright. So I could add another adjustment layer on top of that. So I'm going to go to Adjustment Layers. I'm going to go to the levels this time. I'm not going to use this level here because this level is all about increasing the contrast you can see. I can pull it both ways like that. Or lightening and darkening the mid tones. What I am going to do is I'm going to go to the output levels. Because the output levels, I can pull that up like that and make this image almost like a watermark image. Or let's say e.g. I've got text on top which is white. I can pull that down to make the whole thing a lot darker. Now remember, when we're working with these, these are adjustment layers. If you don't like them, you can always remove them and you can change them later. Because if I did that and I thought I wonder what that would look like in blue. Well, I can just click on my hue and saturation adjustment layer. And I can go in and try out the different colors in there as well. As happens, I quite like that sort of brownie color that I've got in there and change the saturation in there as well, by the way. Anyway, do have a bit of a go with that and put on a few adjustment layers to make this into a background. And then we can put other things on top. 52. Add New Image, Select Refine Mask: I'm going to bring in another picture of this is going to go on top of everything. So back to the plus, I'm going down to the files and remember, I'm in this adjustment, There's unmasking project folder. And we're going to find this picture over here. Now this picture is very different to the other images. But the first thing that you'll notice is it's very light. I just pulled this up because I want it to be quite large in here. And I click on Done. You can see it is very, very pale. And that's because when I brought it in, I had the hue and saturation adjustment layer selected. So of course, the new layer came in directly above that. If I drag this above my levels, now it's not being affected by the levels because the levels affects everything below itself. Adjustment layers affect everything underneath. Now I want to cut this out. So we're going to be using, well, some of the selection tools. And I'm going to go with the object selection tool and just draw a little rectangle around the cup. It's made a nice selection there. But I still want to make sure that it's looking good. Because over here, go in, you can see it's not quite, it's missed the cup there a little bit. So maybe I can go in here into my last Sue tool and just draw a little less Sue along that edge and surround that to make sure I add in the adoption by the way, in there. Let's just check this out. Are you can see the spoon as well, not quite as good as it could be. So I'm on the Add option and I'm just going to add this little bit in down there. And over here, these things look great and the distance, but when you go in, sometimes you got to fiddle with them a little bit. I think that's just about okay. So now what I'm going to do is I'm going to click on roughen edges. We're going to see this, not to the marching ants, but I'm going to see it on black. All look at that, that looks very rough around the outside there. So one of the things we can do down here is we can use smooth and smoothing will just smooth out those edges in there. And I'll just smooth out a bit or put on just the tiniest little bit of feathering in there. Not much, just a fraction in there, hardly anything until maybe one pixel. I mean, if you want to try the edge detection you might find doesn't work very well. Edge detection is really great for hair, but smoothing will just smooth out that line. So a bit of smoothing and then maybe the shift edges and you can see I can tighten that edge will make it, make it bigger or smaller. So I'll just tighten it up a little bit. In there. You can play with these settings yourself and see what you get. But once I'm happy with that, I'm going to click on Done. And now I can add my mask to mask out my cup of coffee, dried out. 53. Adjust Adjustment Layers: Now straight away I can see that that just does not look very good at all. So what I'm going to do is I'm going to go to my levels, click on levels, and just experiment with the levels and see if it will look better if I just darken down that background that looks so much better that way round. And then maybe I'll use white text when it comes to putting texting. So you might want to try adjusting your levels and your hue and saturation color until you get something that works really well with your image. Have a go. 54. Add Color Balance on Selected Areas: I'd like to change the color of my spoon. So what I'm going to do is I'm going to go in here and I'm going to select the spoon. Now, what selection tool should I use? Well, I'm going to go in and I'm actually going to do it manually with the last sue tool. And I'm just going to draw a little less align around like that. And this is the great thing about using the Apple pencil. And you can be reasonably accurate with your selections. And don't forget, you can always add and subtract over here. So over here where I've gone too far and go to my Subtract option. Just surround that area that I don't want over there. And over here where I've missed a bit and go to the Add option and just draw that in and editing like that. I'm also going to add in the spoon on this side. So I'm going to draw a round there. And if you hand is not quite as smooth as it could be, all you need to do is just draw the rough first of all, and then you can always come back and just add in more and do it in smaller increments like that. So we can just add in those bits there. Add in this bit over here. If you've gone too far, use the subtract and you can just subtract some of those bits where you've gone too far. We've zoomed right in. So this is really is a bit extreme. What the area that we're looking at. Once again, I'm going to go to refine edges and I'm going to use a little bit of smoothing on there to smooth out those edges. And a touch of feather, not much, just maybe one pixel in there, just enough to take off those hard edges from that selection. Click on Done. Now, I would like to change the color of the spoon to something more in keeping with the upmarket cafe that this might be. So maybe something a bit gold. I'm going to do that by adding an adjustment layer. Remember it because I'm adding an adjustment layer and I've got a selection there. It'll automatically make a mask for me for the size of the spoon or the shape of the spoon. I'm going to do that by going over to the color balance and trying that out with the color balance. If I added some yellow and some red. First of all, you can see that not very much is happening at all. And it's because my color balance is below my layer. I'm not seeing anything at all. So I'm going to move that color balance layer up above the the coffee cup. And you can now see how to change the color. So let me adjust that a bit as well and you can see how I can do then just adjust the color, maybe make it more of a goldfish or bronze type of color. In there. Have a bit of a go with something like that. Take something from your image. It could be absolutely anything. Do a selection. I'll just do another quick one over here with my last Sue tool. I'm not going to be too careful about this. I'm just gonna do it roughly around the coffee itself. So take an area like that, go and add an adjustment layer. Choose any adjustment layer you like. Once again, I will just choose color balance in here. Make sure that it's above the layer that you want to adjust. And you can then go and adjust that layer so I can warm up the coffee and maybe make it a bit more orange. That looks really strange in there, but a little bit of warmth will help. Try it out. 55. Link Layers: Now the problem I've got here is that if I go to my coffee cup and I decide that it's in the wrong place. Let's go to the Move tool and move it. You can see it leaves all the adjustment layers over there. So I'll just use two fingers to undo that. So what we're gonna do now is we're going to select the coffee cup. And then I also want to select that layer there. And you can see by just dragging across, I can select these items. It's gone into Select mode. And I can then choose those three. Now if I move them, they will all move together as well. But just so that I can move them at any time, I'm going to click on the little linkage over there. So all those layers are now linked. So if I go to any other layer, now I click on my coffee cup. It will move with the adjustment layers at the same time. So have a go with that and link some of your layers together if they need to stay together. 56. Add Text: I like to put some text in here now I know we haven't looked at text yet in the course, but we're just gonna put in a simple little bit of text and I'm going to go into text details later on. So I'm going to go down to the Type tool that's the T three-quarters of the way down and click it. To make your text. All you do is you just click once and you can see it's brought in some text over there. Now I'm going to put in the text that I want. So that's selected. So I'm just going to go coffee time. I'm going to close my keyboard. Now that is in there. I want to double-click it to select it. And I'm going to go over to the top here. And I can then choose the typeface or the fonts that I want to use. And you can just flip through these and see what looks good. With your document. You'll also find that you can go to more fonts in here if you haven't got enough or you can't see what you want, you just click on More Fonts. And there's lots and lots more fonts down there. Now, we're not going to go into that the moment. So I'm just going to choose the typeface that I'd like. Well, I'm going to have something very classical here. Something like that. To get out of this font area, just click on that little back arrow there and that takes you back to the layer properties again. So now I want to change the size. I can go to the font size in there. You can change the color down here to anything you like. I've got white as mine. You might find the jaws came in black like that and you can actually see it. So when you go to the color, you can then just change it to see what you've got. I'm going to change the size and get it to a good size in there. And then I'm going to go down to something called tracking. Tracking allows me to move those characters further apart or closer together. So I'm looking for something like that. I'll click Done. And then I can use my move tool to just move that text around, try it out. 57. Add More Text: You can add as much text as you like. I can go back to my type tool over here, click at the bottom and just add a bit more text. So near you soon. So this could be the opening of a coffee shop. And once again, I'm just going to select that all. You can see, I'm just clicking a few times to select it. Let's get rid of this keyboard here. And I'll just change the size of that. And once again, when I'm done with this, I choose Done. And I can then use my move tool and I can move it around to where I want. I'm just going to pop that bottom. Now. Even now I'm thinking, you know what, this is in the wrong place. So I'm going to go back to my cup of coffee and just move it up a fraction like that. Add some more texts, have a bit of a play with that. 58. Save Your Image: Now that we've got this, we are going to save it out. Now of course, when you close this document down, it's automatically saved into your Cloud area. But I'm going to click on it again and just open it up. We can also go to the top and we can export this. I'm going to go to Publish and Export. And you can see you've got PNGs, jpegs, PSDs, and tips. Let's say e.g. that I wanted to continue working on this on my desktop version of Photoshop so I could get a PSD in their choose Export and then decide where I want to export this to. If I want to save this out for the web, then maybe I'll go to publish ex, export. And I would choose JPEG in their same again, I'm going to just have a look at this, these options here. And I'm going to go with fairly large size, but this will be the quality of the image. If you go too small, you get a very small file size. But the quality looks really bad. We're going to take this write-up fairly high. The format I'm going to leave on standard and I'm going to click on Export. And once again, I can choose where to save this too. I'm going to save it to my files. I'm just going to pop it into my documents folder in there, give it a name, and click on Save, and that's done. So I've now got a JPEG version in there, but this is saved up to the Cloud in here as well. But I can also export a PSD with all the layers intact at the same time. 59. Brushes & Retouching: There are a lot of brushes in Photoshop. Brushes on not just for artists. If you are a photographer and you're going to be doing retouching on your images. Brushes are amazing for helping you to retouch. They're also great if you are an illustrator working in Photoshop. Basically, if you work in Photoshop, you need brushes. So let me show you how they work. 60. Understanding Brushes: Let's get into brushes. I'm going to click on important open, go to files. And in the Photoshop iPad resources folder, there is a folder called brushes and this a few pictures in there. I'm going to start with this one over here. Now. I'm going to go to my paintbrush up the top there. And when I click the paintbrush, we have got a number of different brushes. In here. You can experiment with different brushes. And if I just click on one of these brushes here, e.g. it's moved, zoom right in. We've got kind of a rough, rough brush in there. If I go over here to the shady graphite to flat, totally different brush. Really, it is just a matter of going through these brushes and trying the ones that you want. Now, a lot of the brushes on tendered for illustration and Photoshop on the iPad is brilliant for illustration. But they also work for retouching, especially the, the main brushes, the main sort of round brushes. I'm going to undo those. Now, once you've tried the brushes in there, and you want to look for more brushes. If you click on the plus at the bottom, you'll find that there is a discover new brushes in there. And you can also import brushes as well. Up the top. I can click on those three little dots. And I can go to manage my brushes. I can reset all the brushes to default. And there's a learn more about brushes in there too. But if I click the Manage brushes, if you've got some brushes in here that you want to rename or you really don't like. Well, you can just go along to the brush. Click on the Brush. And we've got a little option over here. If I click on those three, I can rename the brush or delete the brush as well. So this whole area allows us to show and hide brushes and manage them. I'll just click Done in there. 61. Choosing Color: Let's have a look at using the color with the brush. And I'm just going to go over here to the hard round brush. Now, I've got my size down here, which is fine. I'm going to go to my opacity and just take that up to 100%. And over here the hardness, I'm keeping that as a hard brush. Now when it comes to color, I can click on the foreground color, That's the one at the front. And I can choose the color from in here and then choose the shade in there. So this is really your hue, the color on the color spectrum. And then this is your saturation and brightness area. And you can see that this is actually called HSB, which stands for hue, saturation and brightness. If you want to put in your own color in there, there is a hex number that you can type in over there That's also known as a web safe colors, by the way, or you can put your web safe colors in there, shall I say? If you go, if you don't like HSB, you can click on those three dots and you can work with RGB. You can work with LAB colors, or you can work in CMYK. I'm going to stick to HSB. And even in HSB, we can still go in there. We can choose to work with the hue along that line there. The saturation along this line, or the brightness along that line. My own personal preference is Hugh, along that little line there. Now another way to get a color is to sample the color from your image. And you can do that in here. So I can click on that little sample button. And I can move across and you can see as I'm moving over the areas, whatever is in the middle, it's selected that color. So now when I'm painting, I can just paint with the color that I've selected. We've also got an eye drop over here. And that does exactly the same thing. So I can go to that yellow. I can then paint with a yellow color. Try those colors out so far. 62. Paint Brush Roundness, Flow, Smoothing & Pressure: Of course, don't forget your little shortcut over here, the touch control. You can always go to the outer edge and that automatically gives you the eyedropper. Anyway, I mentioned that earlier in the course. But let's move down to this area. Now. I'm going to go and just pick a slightly darker color over here, maybe something a bit extreme like that. And just something that really that I want you to be able to see against the background. We've got our brush size in here. You can try that again. You've got your size where you can drag that up and down. Below that, you have got your opacity. And after that is the hardness of the brush or the softness of the brush. Under that, we have three little dots. If I click on those dots, we have more brush settings in here. So first of all, we've got the blends at the top. This is how the brush will look based on what is underneath it. And we're going to be looking more into that later on. We've also got a roundness here. Now at the moment my brush is round. But if I change the roundness, I could get something which looked more like a calligraphic brush. And the angle is to do with that calligraphic brushes angle I can angle it around. So I'm getting a totally different angle from my brush. Two fingers to undo. Take that back. I get a round brush once again. Now we've got the flow over here. Another flow is quite interesting because the flow is like when you're using a spray can or real-world spray can, you might spray with your spray can. And if you're spraying along and holding down the nozzle and you're getting a certain coverage. If you stop, the spray can will continue to spray out paint. Let's have a look. First of all, before I show you flow at capacity because it's very similar to opacity. If I put in the opacity here at about 50 per cent and I painted over this image. Now you can see I'm covering areas that have been over already. All of that is at 50 per cent. Let's undo that. I'm going to take this back to 100 per cent again. Let's go back to the brush now with the flow. If I do the same thing with the flow, if I were to stop, it will just keep building up the paint in that area. Now you can see that we're not getting we're getting quite a lot of coverage in there. Let's go down to something a little bit less. So if I keep going and I stop and it's going to continue to build up the paint as I go over it. Like so. The flow percentage is not exactly the same as the opacity. And you might have to fiddle around with these settings to get something different. But as you're doing this, as you're painting, it's building up the paint without you having to let go and redo it again like you would with opacity. Let's undo that. And then the last setting in here is, and we'll just put the flag to 100% again, is the smoothing or the last slider shall I say it's the smoothing. The smoothing smooth out your brush for you. So if I were to take the smoothing right down to zero, and I'm going to make my brush a lot smaller. When I'm painting with this. It's pretty much following my Apple Pencil as I'm going along. Any little mistakes I'm making will be picked up on. Whereas if I did the same thing using smoothing, what will happen is, as I'm going along, you can see my cursor is slightly behind the brush and it's smoothing out my brush. So any little mistakes don't, don't show up quite as much. There are two more settings down here. This uses the pressure for size. Pretty much does what it says over here. So as I'm going along, I can push harder to get a thicker line and release the brush for thinner lines. And I can just change the line width as I'm going. And finally, let's make this bigger so you can see it easily. I could also have the pressure for opacity. So as I'm going along, the harder I press, the more paint I'll be getting At my brush. Experiment with those settings, see what you get. 63. Recoloring Part of an Image: I'm going to go to important, open up two files. I'm going to choose the person here with the B array. I want to change some colors on her and I'm going to start off with her eyes. Now. I'd like to give her a slightly different color eyes. So I'm going to go in and choose a sort of a turquoise each type of color for her eyes. If I use my brush and with 100% capacity, may be a lot smaller than I've got. When I paint on it. Eyes, you can see, well, it's a nonstarter ready. It just looks so very, very bad. So two fingers to undo. So what I'm going to do is go down over here and change the blending mode. The blending mode is how the paint works with what you're painting it onto. So if I go down here, I'm going to paint with just color. Normally when you paint with a paintbrush in normal mode, you're painting with both the color and the lightness and darkness of that area. But we just want to paint with purely color. So I'm going to paint on that area. And you can see it's not affecting the lightness and darkness of that. It's only affecting color. Let's just use two fingers to undo that. I can also go in here and change my opacity. So don't get quite such a harsh area, would just keep some of that original color in there. Now, let me go over to this side over here. And once again, just paint that in very gently. Right? So that's looking a little bit more interesting. Let's try changing the color of ellipse. And it's exactly the same thing. I'm gonna go with. Maybe more of a goal type of color here. When I'm painting on there, That's what it's doing. If I just paint over a face. You can see what we're doing is we are adjusting the color. Let's take the opacity up to 100 per cent and go over that. Well, that's not very nice. Let's undo that straight away. So using color mode allows you to adjust, adjust the color of an area. So same with a hat over here. I'm going to keep it on that, that blue. Now, I'll just go back and find the blue again, which was this sort of turquoise color. And as I'm painting over it, you can see the dark areas remain dark. The lighter areas remain light. And if I went over here and a forward, that's what we're going to get. So try that out, changing the color on something by just using a color in there. You find that the lightness and darkness doesn't matter when you're using this technique. It's purely the hue that's actually going to change anything in there because it uses the lightened dark that's already on the image. 64. Eraser & Spot Healing Tools: Let's have a look at what else we can do with brushes. I'm going to go back to this image that I first opened up. It's in the same folder. And moving down from the paintbrush, we have got an eraser. Now, the eraser will just erase from your layer. You can see this transparency behind it. Now, that might be useful if you've got something on a secondary layer and you want to erase part of it. But to be honest, it's much better to use a mask for those type of things. But sometimes if you need to erase it is there. Let's move straight on to the next set of tools, and that is the clone tools. Now this spot healing brush is brilliant. It's very much the same thing as we have in Photoshop. And what it does is it copies areas from around the area you paint onto the area that you're painting on. If you've never used this before, let me show you how it works. If I go along to her bracelet and what I'm going to do is just click and paint along the bracelet. And Photoshop will just copy the surrounding pixels onto there, but it doesn't just copy flat colored copies the details as well. Sometimes you might have to go over it once or twice to just sort out the bits and pieces. Now, let me do another area over here as well. So I'm just going to go along to her neck because there's a bit of a line on her neck there and just run along that line. Now, you can see sometimes you've gotta go over it a few times like that, but we can just reduce those areas as well. And the same over there, we'll get rid of that line. Now. That does look a bit strange over there, so I'm going to undo those areas. Let me go and get another picture up. So I'm going to go back to the woman with the Blu-ray and we've got these tears coming down her cheeks. So I wanted to see if I can try and get rid of those and using the same brush. I'm just going to go to my sizes, make it a little bit bigger, and then run down this area over here. Now you can see my brushes changing size as I'm running down there. And that's because in the settings here I've got use pressure for size, switched on. But let's done quite a nice job and I'll just paint a few of these little bits over there. There's a bit of a tear there. And let's see if we can get rid of this one as well. That little tear there, that one can go. Here we go. She's happiest anything? Well, maybe not happy as anything, but we don't have the tears on her face anymore. If you do see any details, you just paint over them and it will re-sample that area. If you get a weird thing, like I've just got the two fingers to undo and try it again. Now, if you want to try retouching a photograph to change, well, maybe change people's ages. There. This is the tool for you. I'm going to go back and find one more file here. And that's this one over here. And I'm going to make them look a little bit younger by removing some of these lines on his forehead here and then maybe reducing the ones and reside. So first of all, there's little mark over there. I'm going to get rid of that. And over here I'm just going to take my pen, pencil and run over that area there to remove that. Now what about these bits over here? Will you see if I were to remove them like that? We'll end up with having something where he actually looks wrong. It doesn't look right to have an I like that this should be something underneath it. So what we're gonna do is we're going to reduce it. I'm going to do that with another layer. Now with your layers, if you click on the plus over there, we've got new layers in there which are new blank layers, adjustment layers, and new empty layers. But if you click on the layer itself, there's a little button here which allows you to make a copy of the layer. So I'm on the top layer. Let's have a look at those in our layers area here among the top layer there. I'm going to do this technique to remove these lines a little bit. I'm just going to paint along them a bit. And although it doesn't look good at the moment, we will sort it out soon. So let's just get rid of that, reduce that, reduce that those as well. So now that I've done that, if on the top layer, I go to the properties and reduce the opacity of that layer. You can see how we can bring back the other details. So I don't want to bring it all back because of those are just my work. But just reduce it slightly. So once again, we have just DH Tim, if you like. Anyway, do try that out on some images. I've shown you this on people, but don't forget you can try it on absolutely anything. Just to give you one quick I'm example here. If I went too long to a car, e.g. like this one here, I could use it to remove parts of the car. Over here. We can just go up this line there and get rid of the line very quickly and get rid of the petrol tank area. There. Just paint that butt out. You can see how fast it is. Just get rid of details. Let's get rid of those as well. Have a bit of a go with that, see how you get on. 65. Clone & Healing Brushes: Let's have a look at the other tools in here. I've got the Healing Brush and the clone stamp brush in there. The clone stamp brush, we'll start with that one, allows you to copy something directly. So if I put my finger on to the touch, you can see it says set the source. I can set the source, which is going to be that one there. And I can click and paint. Whatever I'm painting here will be copied directly from there as I go around like that, you can see how it's copying it absolutely directly from there. And straight in. Now as I'm going up, It's also copying this darker area. So it's a bit of a problem because I've got this horrible dark area over there. So that's why we have the other tool in here, which is the healing brush. It works the same way as the clone tool, but it actually blends as it goes. So I'm going to set my point by holding down the touch control. Touch, click, move to where I want to copy. And then I'm going to click and start painting. Now you see it starts out very light because it's trying to blend from that to that that's keeping the color and likeness from there as well. But as I go round, the middle is going to get a little bit darker. And even if I go up here, It's blending that darkness into the lighter area of there so it doesn't look nearly as bad as it did before. Now sometimes you want to use one of those tools, sometimes the other. E.g. let's have a look here. I'd like to copy the heart onto this coffee over here. So if I were to use the healing brush and I'm going to set my point. I click over here, you can see it's trying to blend that shape and that color onto this one. And what doesn't actually look very appetizing at all. Whereas if I did it using the clone stamp tool this time, so once again, I'll click in there. It's a direct copy from there straight across. And I can just go in and do the direct copy. There's no blending going on at all. And that's working a whole lot better for that one. Let's have a look at another image as well. So I'm just going to go back. I'm going to open up something else that we had from the project was in the same folder. It's this little coffee once again. So here very easily and I will use my healing brush. I can go in to this and say, well, I want to copy this one up to there and that one over there. But I don't want that one. So if I put my sample source over there, I can then copy that over that. That's pretty much the same thing as using the spot healing tool. Try it out and see how you get on. 66. Lightening and Darkening with the Dodge & Burn Tool: Let's have a look at some of my favorite tools. Now. I'm going to go to open and import files. And in the Photoshop, iPad resources, brushes folder, I'm going to choose this image over here of the fruit. Now, the brush that I want to look at, all the brushes that I want to look at are down here, then the next one is down. And what you have are adjustment tools. There's a Dodge tool, a burn tool, sponge. They are brilliant. And then smudge, which is okay. These Dodge and Burn tools come from traditional photography, where you would use a Dodge Tool, an actual tool under the enlarged to lighten area, or we burn in area to make it darker on the final print. So that's where the terminology comes from. Let's start off with the dodge tool. So the Dodge tool lightens areas up. And once again, I've got a brush in here and I'm going to use a sort of a medium-sized brush. I want to make sure that it's very, very soft. And I can just go to any areas here and you can just about see if I'm dragging on here. I'm lightening those areas up like that. The more that I paint, the more it will lighten them up. Like that. The next one down, of course, does the opposite. It's the burn tool. If you can't remember the difference between dodge and burn, the easiest way that I find to remember it is if you burn your toast, it will go darker. So the Burn tool darkens areas down. Same again, I'll use a brush and I'm just going to darken down some of these little areas here. And I don't want to see now in here, I can go to my exposure and I can increase the exposure if I want to darken it down more as I'm going around the image. Now, I use these tools to be able to bring out certain parts of the image. So let's go and have a look at a different image. Here. I'm going to go to import files and find this one here. With this image of the strawberry. I would really like to darken down some of these areas here, but lighten up parts of the strawberry. So let's start off with the ball because the ball looks okay, but it's not great. So I'm going to go into my Burn tool over here. I will choose a brush size which is appropriate. I'm going to have some, something fairly large like that. And then go down over here to my settings. And I'm going to choose some settings in here where I can affect either the shadows, the mid tones, or the highlights. I'm going to choose the mid tones in there. And then when I'm painting, it'll keep those mid tones, mid tone details. And I wouldn't lose any of the highlights or shadows. Once again, I can go over the newspaper here. If I went into the same settings and chose to dark and down the highlights, then it will predominantly be darkening down the lighter areas like this newspaper there and that detail in there. So I want to focus the eye on the strawberry. So now what I'm going to do is I'm going to go to my dodge tool, which is the opposite. Once again, I'm going to click in there and I'm going to be using the mid tones. And let's make sure my brush is a reasonable size. I'm just going to lighten this up and you can see how that's Latin beautifully. Let's lighten this one up a little bit. That one there. So if I want to bring out some of the details in the green, I might even make my brush smaller. And that could go to some of these green leaves and just lighten them. I think I've gone too far with that. I'll just undo that a bit. But we're just lighten up a few of those leaves to get a bit more life in them. And few bits on. What I'm looking at doing here is trying to concentrate the attention on the fruit or less on the newspaper or the document that's in front of the fruit. There's one more option that we can use over here, and that's the sponge. The sponge will either intensify the color or reduce the color. It saturates the color or D saturates the color. If you remember, when we were in the adjustment layers and you went into the adjustment layers and you went to hue and saturation. You could saturate the color or you can desaturate the color in there. And that's exactly what this brush does. I'm just going to get rid of that adjustment layer. But I'm going to use the sponge and be a bit more specific on the areas. Now, I need to go to the bottom here and choose do I want to saturate or desaturate the color? Well, I want to saturate the color because I'd like to bring out a little bit more of some of the reds, want to go too far. But I think over here we can just saturate some of those colors. Maybe some of the greens will saturate them a little bit as well. Now, nothing's happening. I don't know whether you noticed a little thing popped up over here to say could not use this. Because let's see if we can get it to do it again. The content layer is not directly editable. This is my fault. I'd love to say that I made this mistake deliberately to show you, but I forgot to delete the layer. I deleted the mask, but I forgot to delete the adjustment layer. I've been working on the adjustment layer for this last little section. Let's been that makes sure we're on the picture this time and do the same again. So I'm in the sponge tool. I've gone down to saturate and I'm going to saturate those colors. Okay, That's looking better now let's make that brush a little bit larger. There we go. You can see how the colors now coming up, the greens are coming out. In fact, if I went over the bowl, how we can bring out some of the color of the bowl as well. If we thought it would look good, then we could do the same to knock things back. So I go over there, go to D saturate, and then I can remove any color that I don't want. Anything which is distracting from the image, maybe just some of these bits. Let me just make sure I've got a decent sized brush over here. Maybe these bits down here, we don't want any color in there. And possibly those background bits as well. So you can use these tools to really bring things to life, to saturate areas, to lighten details that you want to lighten or darken down details that you want to hide and really make your image. Well for want of a better word, Pop. Have fun with it. Use it on anything. Fruit, people, landscapes. Try it out. 67. The Smudge Tool: While we're here, we'll have a look at the last little tool in this set, and that's the smudge tool. And what the smudge tool does is it just allows you to smudge things around. Once again, I've got a brush size in there. We've got the strength and we've got the hardness over here and the bottom. There are some settings to do with smudging what, what's gonna be happening the way that the tool is going to work. So as I pull down, you can see I can just have smudge those lines around if I did it on the bowl. Well, you don't really want to do it on that, but it's possible to do it. But maybe with some of these leaves, maybe I want to smudge them out a little bit. Or even some of these areas here which are out-of-focus, I could maybe take a larger brush and smudge them around as well. But personally, I don't use the smudge brush very much at all. It's great for a lot of painting, but less so for retouching. Try that out. 68. Using the Paint Bucket to Flood Areas with Color: Let's look at the Paint Bucket Tool. I'm going to go to Import and open up two files. And I'm just going to open up this image. Once again. The paint bucket tool allows you to choose a color. And I'm gonna go with sort of a more of a green, maybe a slightly darker green in there. And you can then just click on an area and it will fill that area of there. And I can just keep going and adding this bit in there that put in there. It's just a quick way, to be quite honest, a quick and nasty way of changing an area and filling it with color. So I can just go through here. It's fine for a quick way to flood a background with color or an area with color. But it doesn't have the subtlety that we have with some of the other tools. Try it out, see what you think. 69. Creating Gradients: Let's look at using the gradient. Now. I'm going to go to the gradient tool over here. And what this tool does is it uses your foreground and background color to create a gradient. So if I go in and pick a light blue and an orange, and I just click and drag. You can see, we can just get a gradient and it just drags from one color into the next. As simple as that, I'm going to undo those gradients. So if I wanted to do the background behind her, I'm gonna go and pick two colors. I'm going to start off by picking maybe one of these yellows from her dress. And then I'm also going to go in for the background color. I'm going to click on the red. So I'm going to use those two colors there. Now, if I were to use my gradient over the, over the entire picture, it will just fill the whole picture with color. So instead, I'm going to go over to my selection tools. And I'm going to say Select Subject and very quickly pick up the subject. There we go. We've got all the subjects all selected. So now what I need to do is to invert that selection. So I've got the background selected. And there's a little button down here. We haven't looked at yet. It's called the invert tool. If I click that, it gives me the opposite. If you're working in Photoshop on the desktop, you'll notice as inverse. I don't want to work on this layer here. So I'm actually going to go up to my layers. I'm going to add a new layer in there. And then I'll use my gradient and just drag from the bottom to the top. So I'm filling the gradient with that color. Or if I prefer it the other way round top to the bottom. Like so. You just drag as you want it to look. I can de-select that. And because this is on a separate layer, if I don't like it, well, we can go in and we can hide the layer. That's what it looks like on its own. Don't forget if there's a mistake in there somewhere. You can see this a little bit of orange coming through over there. I could just go into this layer. I could use the erase tool with a small brush and just erase that out. From there. Try that out, have a bit of a go with the gradient tool. 70. The Amazing Content Aware Tool: I'm going to open up an image that we've looked at already. And it's in the images to fix folder. And I'm going to click on the little Volkswagen picture. Now, the problem with this picture is the top section over here. It's very messy and it looks like somebody's actually been trying to paint out a little bit of the wall right in the background there. So what I want to do is I want to remove the top section and increase the wall. I'm going to use a rectangular marquee tool and draw marquee straight across that whole area. You could have gone right over the edge of the war down to about there. And now if I go over to my fill tools, there is a Content Aware Fill tool there. It's also repeated at the bottom with these tools with a heads-up display section for the selection tools. There it is. Over there. I'm going to choose Content-Aware Fill. And what it will do is it will just fill that area with what it thinks should be there. And it actually does a very good job. Let's just de-select that. So there it is. There's a few giveaways in here. One is the way that the wall just disappears or the line just disappears. So if you have that, just go along, use your spot healing tool and I'll make sure my brushes a reasonable size and I can then just get rid of that very, very quickly. Now here we've also got something which looks a bit strange. So I could either try using the spot healing tool on those areas and getting rid of some them. Or I could take my spot healing tool, make my brush a bit bigger and just remove this entire section. Sometimes you got to do things a few times if they don't appear correct. And you can see there we've got a funny little mark in there. I'll just paint over that a few times until I can clean this up. Let's get rid of that bit there and this bit over here. And look out for things which repeat themselves because they're giveaways like this section of the wall. I'd take that section out over there. Try it out. It's a great tool to quick fix and it'll get you out of trouble sometimes when you've got an area that you have to extend in a photograph or something you just need to remove very quickly. 71. Using the Crop Tool: Of course, another way to clean this picture up is to just crop that top section of and there is a little crop tool over there. If you didn't see that, it's the two little cropping else just above the type tool. Click it, it takes you into this area. And I can just pull this down to maybe crop off the top section of that area. If I move this in a little bit, like so, I can also rotate the picture if I need to straighten it as well. Once you're happy with that, click done, then we go, That's not too bad. There's a few little marks along the top, but I would use my once again, try this again. Once again, I'll use my spot healing tool and I can just clean them up really quickly. Give it a go. 72. Project: Restore & Recolor an Old Photograph: It's project time again. This one is a great one. We're going to take this old photograph and we're going to reattach it. We're going to get rid of all of the scratches. We're going to make it look so much better, but we're also going to color it up. So it looks like one of those old photographs That's actually been hand colored. This is such a good technique because you don't just have to use it when you're actually retouching old photograph. You can take a new photograph and colors up to give it that really all the world look. But let's get going on that. 73. Getting Rid of the Tears on the Photograph: So let's use some of those tools that we've looked at, the brushes, healing tool, etc. To retouched image. We're going to go to important open into files and I'm going to find my way to the folder. So I'm just going to go and get the Photoshop iPad resources. And the one I'm looking for is the project retouch in there. Now we've got a really old picture. Here. You can see this sort of a bit of a tear to it. It doesn't look good using the light and darkness shall we say, doesn't look good. There's no blacks in there at all. It is a typical old picture. Now an image like this has got its own character and you might just love it exactly the way that it is. But if you want to bring it back to its original state, then what we need to do is to start retouching on there. The first thing I want to do before I go any further is to actually get rid of this great big tear down the picture. And there's another little one over there. Well, that's really easy because if we start with going up to r, If you remember our little clone tools and using the spot healing brush. Then in there I can just paint on that area to get rid of it. Let's try this bit here. So I'm just going to paint these areas over them like that. Let's do this one as well. And into her hair to try and get rid of that. But once again, with this, you'll notice that I do go very, very close. Our zoom right in. I can get right into there. Now that works absolutely beautifully. And the line is kind of come across. Sometimes you might find, especially if you're on a larger brush, doesn't work quite so well and you've done that and you end up maybe without the middle on there. If that is the case, if you didn't manage to get it to automatically do it. Now, the trouble is I can't get it to go wrong when I wanted to go wrong. But if you find that it does go wrong, you could actually use the clone stamp tool. And you could click on a point and you could just clone that point in elsewhere. Obviously, you'd be cloning it on top of that one in there. Moving back up to here, I'm going to go back to my spot healing brush and I'll just heal this area. However they're funny little mark there. And even this, if I go across that, we'll see if it can figure it out. There we go. That looks so much better. I'm not going to do too much about the outside. I believe that that sort of gives it the character of that old photograph, whether there is a little mark there that I might remove as well. We could get rid of the text on the side using the same tool. If you see, I can just paint over those bits like so, and keep going all the way along. But once again, I feel that that gives it the character. So do have a bit of a go with that using this tool and get rid of some of those tears on that picture. 74. Using Selection Tools to Add a Selective Adjustment Layer: Now the next thing that we want to do is to adjust the lightness and darkness so we can bring the picture back to life again. I'm going to go and I'm going to use one of my selection tools. And the one I'm going to choose is the marquee rectangle. I'm going to try and draw a rectangle from the top all the way down to the bottom. Over there. You can see a few little issues that I've got here. One is that this hasn't actually got all that in. And on this side I've got too much and it doesn't seem to be quite straight. So I'm going to use another selection tool. And we're going to the selection tools again. I'm going to use the Quick Selection Tool. And with the quick selection tool, if I zoomed in here and go to the Add option, I can maybe just try adding in those little bits and painting them in until I got that area all selected. Let's keep going again. That's not too bad. I think I'll be okay with the bottom like that. But then I'll use the subtract option to subtract this little area. Over here. Worked my way all the way up to the top. If you find it too, too delicate, shall we say? You can just zoom right in a bit and you can then go in a bit better. Once again, if you find that things are not quite as you'd want them, use some of these tools to add and subtract. I'll just add in a little bit over the top very gently as well. I don't wanna go too far here, going to the side, I might end up actually selecting some of the top as well. Now that I've got that, I'd like to go to my roughen edges. And instead of the marching ends, I'm going to look at this as an overlay nettle shirt up in the sort of orangey pink. Then I can change this a little bit here. I could go into the feather and maybe just feather that ever so slightly to adjust it. So we're not getting such a hard edge if we've missed it. You can use Shift edges to tighten it up or extended out a little bit. I don't think I really need that. So I'm gonna go with what I've got. Click on Done, and then we're going to do the changes to it. Now what we're gonna do is we're going to click on the plus. We're going to go up to the adjustment layer. And I want to add something that will allow me to work with the dark and light areas. Now you can do this in two ways. You can either go to the levels over there or you can go to the curves. I'm going to do the curves. You'll see down the bottom here. We just hide that for the moment. Not only do you have the curves line, but you've also got a histogram in the background going up and down there. So if I were to go to my histogram and I move this point up to there. That's basically starting giving me the, the blacks that I need. And this point across to there That's going to give me the the whites are the almost whites in there. But the reason I've gone for the curves over the levels, maybe I'd also want to go in and adjust some of these settings in the middle so I could darken it down or lighten it up if I needed to. Or I could actually use this to increase the contrast. I could decrease the contrast by using these S shapes. If you remember, if you've got an S shape in there, it increases the contrast. If you've got a reverse S-shape, then it reduces the contrast. So I've just ever so slightly reduce the contrast in that image to make sure that keep all these lighter tones in there. I always just pull this back a little bit as well if I needed to get a few more of those tones right in there. Now, the other thing, remember is that this is all about lightness and darkness. But what about the color on the image? Well, I can do pretty much the same thing. And I could add another adjustment layer over here. And this adjustment layer, I could use a color balance. If I just wanted to adjust that color a little bit, maybe go into color balance in there, and it's quite yellow. So I could subtract some yellow by using a little bit of blue in there. I could subtract a little bit of red, but I quite like actually just subtracting some yellow. And this gives me this lovely sepia, brown tone. Of course, the other way that you could do this is you could go along. And if I just go and find my adjustment layers, I could use something like my hue and saturation. And in there I could switch on colorize and I could put a color over the top. And that way I could choose any color that I wanted to and decide how much saturation I did or didn't want. As it happens. I don't want that top one, so I'm going to click on here. Remember, when you get to this area here, you have automatically got masks. So you can just drag left and right, depending on whether you're on your mask or on the image itself. So this one here, if I were to click and delete, I've just deleted the mask. If I click on that again, I can then delete the adjustment layer. Remember, all you have to do is just drag left and right across to choose the mask on the layer itself. I think I'm happy with that. It's worked out really, really well. So I'm going to stop there. Try that out with a selection, add and subtract from your selection using any tools you like. Adjust the selection using the refined edges tool. And then just have a bit of a go using things like levels. 75. Adding Selective Color with Masks: Let's have a look at how we could actually add color to the photo if we wanted to bring it back. So it looked like one of those lovely old hand colored black and white pictures. What I'm going to do is, first of all, go to my color layer here and I'm going to get rid of it. So I can always put on later if I wished, but I'm just going to remove it by burning it in there. I'm going to zoom in over here to the lady. Now. Of course it's still very, very yellow. So if we want to make it black and whites, I've got sort of a black and white image to start off with. Then what I can do is click on the Plus adjustment layer and just choose black and white and that will just clear all that color off for me. I'm going to zoom in once again. What I'm going to do now is I'm going to do a selection around her face. Now we can always add and subtract from this later on. So I'm gonna be pretty rough about it using the last sue tool. And I'll start over here round her year, over her head, down there and down her neck. Over that to the pendant and up the side there. Now, I would like to refine the edges. So I'm going to go into refine edges. I'm on the overlay setting in there. I'm going to feather it to soften that edge a little bit. If your area is not quite right, remember you can always use shift edges to tighten it up or loosen it in there. But I think I'm reasonably happy with that. Maybe, maybe just a little bit less feathering on that, and I'll click Done. So now I've got a selection. I'm going to go and I'm going to add an adjustment layer. So I'll go to my adjustment layers. And of course, I will use color balance. So to try and replicate her skin tone, I'm going to probably add a little bit of yellow and a little bit of red to kind of get that orangey sort of look over there. Remember, you usually use two in here, but you can always tweak the middle one. If you think you want to adjust it slightly in there. Right now that I've done her. What I'm thinking is that the other people in here have probably also got very similar skin tones as well. Obviously you could do one for each of them. But the first thing is that her hand hasn't been done over there and there, but I'm actually going to give her skin tone and the baby the same skin tone color. So let's zoom in in here now I don't have to re-select again because I've got an adjustment layer with a mask. As long as I'm on the mask, I can go to my paintbrush. Remember, on the mask, black hides all of the areas in there, and white will show. So if I go to white as my foreground color, I can then get my paintbrush and I can just paint in these areas here. If I go too far, it doesn't matter because I can always change over to black to paint them out. Because if I just say e.g. wind right up there, I just flipped over to black. I could paint that back to black and white. And then we can very quickly go around the rest of the people here. And I am using a medium size brush and made sure that my brush is reasonably soft as well. So the hardest is write down near the bottom. So just making sure I'm on there with white as my foreground color. And I can then start to paint in these areas in here. When you come to do it, you might want to do it a little bit more carefully than I'm doing it. I'm just doing it quickly because I don't want you to get bored sitting here watching or sitting watching me do every single detail over here once again, very quickly in there, and I could even go to the other children, color them up very fast. Now, how far you go with this is entirely up to you. You could then do another adjustment layer for, let's say, the lips. So you could give them slightly red lips or, or slightly pink cheeks if you wished. I'm not going to go quite that far. I'm just doing it as fast as possible around here. And remember, nothing set in stone, you can always go backwards and forwards to add and subtract bits. Let's do her leg there and hands really quickly. Remember, I'm doing this at a really fast, fast pace. I now want to change the color of, let's say e.g. her top. So once again, I'm going to start by doing an adjustment layer, but I'm going to do a selection first because this is going to be a different color. So I'll just go down here around these areas. And as you know, I don't have to be too careful because I can always fix it later with a brush. Let's go down to about there. All right, guys, we'll do this bit as well. So I'll go to my Add option and just add in that little section around there. This little section that I think that's all actually, I just realized this is part of the skirt at the bottom. So I can go to subtract and I can just subtract that bit. Like so. Same again. I'm going to just go in, add an adjustment layer. There. I'm going to use color balance. And I can then just pick the color that I want. Let's try server. A bluish coloring in there. One last thing, color on the face. So if I did want to do hurt her mouth, I could use once again, quick selection on there. Go into refine edges. You can see that it looks almost cartoony, but I will feather it and maybe make it a little bit smaller. And then same again, add my new adjustment layer. It's going to be color balance, and this is going to go towards the red side. You can see how I can just bring it a little bit of red on her lips. And that way I could do the same on the lady here. Oh my goodness, that is way too big. That looks like the Joker. Let's go back here and change my brush size and make it a whole lot smaller. Now, that looks awful. It looks really very, very bad. So I'm going to go over to black. I'm going to make my brush a little bit bigger and quite soft. And I can paint out some of those that as well so we can just get a hint of the red coming through. So if you wish to go this far, you can go through your picture and you can then we cut out all these bits and pieces in there. Nothing set in stone. Because if you look at this later on, you think, oh my goodness, the skin tone is just not right? Well, I can go to the skin tone adjustment down here. Let's just pull it over to them. And I can then adjust the skin turns. I could change it. As I wanted. Remember over the top you can also add another adjustment layer. So in here, I can go in, I can add a new adjustment layer, which will maybe be a color balance. So I could put a little bit of a yellow and red to give that Brown feel over the entire image. I'll stop there. You can try us out and see how far you get on that. 76. Your Final Result: So here's my final results with tons and tons of layers. Each color is a separate layer, and sometimes some of the colors are actually two layers. E.g. with the trees, I want two different shades of green. And I hope you get on well with that. Try it out. It works beautifully on old pictures, but it also gives a lovely feeling of hand colored prints to more modern photographs as well. 77. Using Blends & Smart Objects: If you've ever worked in Photoshop on the desktop. And I mentioned smart objects. You probably know what I'm talking about. But for those of you who haven't, it doesn't matter. Smart Objects are great when you can take something you've brought into Photoshop and you wouldn't be able to play with it. You might want to scale it up and scale it down again and not lose any resolution. So in this set of lectures, we're going to be looking at Smart Objects, but we're also going to be looking at a favorite of mine called blends. And this is where you can blend one layer with another layer. Let's go. 78. How Blends Can Remove Lighter Pixels: Let's have a look at some blend modes. I'm going to go to Import and open, and open up a file. And I'm going to choose this shopping type of picture over here. Now, I'd like to bring in a logo onto this. So I'm going to go along and I'm going to find it. I'm going to click on the Plus, go into files. I'm going to choose the one that I want and I'll choose this Bond Street tube station logo. Now, this one's an easy one to bring in because once I've click Done, I can go in to my settings and I can say Select Subject until pretty much selected. Very well. Now you can see there's an area here that it's kind of, well, it's selected everything except this little bit over here. So I want to add that in using my lasso tool. I can then go to Add, and I can add that bit in very quickly. And then if I choose to refine the edge, I can then go in and I can add a mask to that. And there's my logo done and I can re-scale it to the right size. So that's what I'm going to do. I'm just going to click on Scale button at the top and scale it down to the size that I want. And I won't bet one to b top like that. Let's click on Done and that'll get rid of the background. But what about if it was something a little bit more complex? Let's have a look. I'm going to go and add another image. I'm going to go to files. I'm going to choose this Halloween's type of picture. And let's see what we can do if we try and select that. Well, if I go up to here and choose, Select Subject, it's sort of selected. It's left some areas in there, those bits there. In fact, if I show you with a mask, it hasn't done a great job. To be honest. I could try and do that. Let's undo that. I could try and do this by using the Magic Wand. But a quick way to get rid of a white background is actually just change the mode or the blend mode on the layer. So I'm on this layer here, I've got my layer properties up, and I'm on this layer, I'm going to go to my blend mode and I'm just going to choose Multiply. And you can see straight away what it's done is it's got, let's get rid of that selection. It's gotten rid of the white background. You can just about see it in there. Now. If I wanted to adjust that background a little bit more, I could try various things. I could go in and try and darken. There we go, that's much better, so dark and we'll just remove that background totally. Now of course, I've still got that little Halloween stick in there. I don't want to get rid of that. And I've probably do that by using a mask. So I could add a mask to that, zoom right in and paint it out with a brush. So let's go over to black over here. And I can just paint that out really quickly. And with a slightly harder brush ups gone too far, doesn't matter. We can flip it over or undo it and get that spot on. And once again, I can just keep going with these bits. You say I'm using two fingers to just rotate this around. And we'll go back and get these done as well. So I'll make my brush a little bit smaller. So there we go. I've got my Halloween now. And all I want to do is to maybe rotate that a bit and scale it to sack and scale this down. And rotated with the top. Click on Done. Try that out, have a look at the blend modes. And this two that I'd like you to start off with. And that is either darken or multiply. What these two do is they remove the white part or they hide the lighter pixels in an image. You find that if you use them on different pictures, you'll actually see through to the background. So if I went over to the Bond Street graphic and I moved the one street graphic over this texture. Now I'm going to scale it again. So we'll click, rotate, rotate it around and scale it down. Just having issues trying to grab the corner of that to to scan it. There we are rotating this right position. I'll just move it up. And I'm going to click on Done. Then if we try some of these on that, if I go from normal to multiply, you can multiply the two together. And we seeing the texture coming through on those colors. So let's multiply, and this is darken, which gives me a very similar result over there. Although we're seeing some more of the white coming through, you can try some of these other ones and see what results you get. There's no right or wrong with this. You just pick the one that you think would work best for your particular work that you're doing. In this case, the color burn has worked a real treat on that. Try them out. 79. How Blends Can Remove Darker Pixels: I'm going to go to important open to files. Once again, we're going to find a darker picture. Over here. I want to put a little logo down on this. Same again. I'm going to go in to my files, find the picture that I want, and I want to use this Red Bull graphic in there. It's been photographed in a shop, presumably. So what I'd like to do is first of all, just choose Done. I want to just select this little area over here and I'll use my lasso tool. And just select that little bit. In there. I'm going to add a mask to it and we're going to move it down into the right position. There. Now, I want to hide the darker areas on this particular graphic. So we go to our blend modes again, instead of using darken or multiply, which will be honest, just hide the lighter parts of the image. I'm going to go down and use the opposite. And we've got a few opposites here and we've got lighten. You see light and gets rid of those lighter pixels. Pixels in the screen. Very similar, although we're seeing some of that dark area coming through. So I think I'll probably use lightened for that. If I use my move tool and move this around, you can see what it does when I move it over other areas of that image, but it's showing up really nicely on the darker parts of that. So much quicker than trying to do a cutout. So going back to these, once again, we've got lighten and we've got screen, which will get rid of the darker parts of an image. Or we have darken and multiply, which will get rid of the lighter parts of an image or on a layer. Try it out. 80. Decontaminating Colors for Better Selections: I'm going to go to open an import and files. Once again, I'm going to find a background picture. So I will choose this one. And I'm going to go along and get a picture that we've used before. And this is that they're really grumpy cat or evil cat as I like to call it. I really do like cats to be honest, but this one just looks really evil. I'm going to go up to the plus and I'm going to go to files. I'm going to go and find that cat. Now, if we go to the other resources over here and we go to the mosque and resources. There's the cat there. And before I do anything else, I want to mask the cat out. So we can't use any of those blends to mask the cat at all. If you do try, you can see you're gonna get some interesting results. Of course there's nothing wrong with using any of these results if that's the thing that you want from them. So let me use one of the tools to get rid of it. And I'm going to go up to the top to the last sue tool. And I'm going to choose Select Subject, which will select my cat. Let's go into refine edges. Here. We did this before. I'm going to use some edge detection to try and find that edge in there. And the Smart Radius as well. Now, I also want to get some of these whiskers in. So I'll use this brush and just brush in some of those whiskeys over there. And some of them on this side as well. I might be able to get a few of them coming through. Now let me show you this decontaminate colors and see what that does. Because if I just click on Done and I were to mask this image, I'm going to go and click on the Mask button there. You can see what's happening is it's bringing in some of the orange background. If I were to hide the mask, this little button here which allows you to hide and show the mask. You can see the orange is actually coming through onto the whiskers of the cat and it looks pretty bad. So let me undo this or I can actually just go straight into be fair and delete the mask. And I'm going to try it again. I'll use the same thing. Select subject. Then going to go into my Refine Edges. Same sort of settings that I had over there. Also going with this brush and just brush on those whiskeys in there, maybe a few on this side, very, very quickly. And down here I'm going to go down to decontaminate colors. And then click on Done. Now, look at the difference there. You can actually see that on the side here, we are getting the whiskers coming through without all the orange behind it. There's a weird looking thing going on. That's actually this background picture. If I were to just move that cat out the way you can see, that's a flower behind, behind the cat. So what is it actually done over there? Well, I'm going to get rid of the underneath layer. And we've got the layer and the mask. Over here. You can see I can choose the layer of the mask. If I go to the mask and hide the mask, you'll see by decontaminating colors, it changes the color of the area around the edge of the image. And that's what makes a copy for us by the way, because this is actually doing some bad stuff to the layer. And then when we put the mask on that, you're not going to see the colors coming through from the background. It's a great technique, but that's why we get a layer underneath, which is still good for a layer in it. Which one? It hasn't been, been ranked. So I'm going to move the cat I think, down to the corner over there to try that out. Get your cat in there. And then we'll make some changes to this with the Smart Objects. 81. Why You Should Use Smart Objects: Right, so I've got my cat in the corner and I think what I'd like to do is to scale it. So I'm going to click on the scale button. If you didn't see that it's one of their second one down, I'm going to grab a corner and just scale down. The cat always have problems getting hold of that little corner there. Let's scale that down and make it quite small. I'm thinking maybe it's sort of sitting in the background over there and click on Done. Now, if you do something like this new scale, an image down, then you change your mind later. This is a layered file. I can come back to it in three weeks time and think, I want to make that bigger once again. So if I went into scale and I scaled it up, you can see the cat actually doesn't look that good. When I click on done. It's not as sharp as it was before. It's slightly out of focus. Let me just undo that. That's the original which was nice and sharp. And that's the version where I've scaled it down and then re-scaled it up again. So it's important if you're going to scale something, write down very swollen, re-scaled up, up again, that you use smart objects. So what is a smart object do? Well, I'm going to take this layer here and I'm going to make it into a smart object. And you'll see there's a button here which says Convert to Smart Object that's in the layer properties for the layer that I'm on. So I say Convert to Smart Object. And well, you'd expect something exciting to happen, but it doesn't. What it's done is it's made this into a smart object. So now when I scale it and I'm going to go to scale, Let's kick click on Scale. I'm going to scale it all way down. Really small, very, very small. This one, you scale something the worst, that quality will become fat and get hold of it. It's zoom into there. I'm going to click on done. It's tiny. Now, if I want to bring it back again, I can go to scale and I can just scale it out again. You can see, you will see when I get into the right size, that the quality is absolutely perfect. So using a smart object allows you to scale things down and then up again, and you don't lose any quality from them. Now there is more functionality to Smart Object in Photoshop on the desktop if you're using that than it is on the iPad. And I'm sure there'll be bring more functionality to this later on. But this is one of the main things that we're looking at on the iPad for the moment. Try this out. Take any shape you like, logo or a photograph. Scale it down, see what happens when you scale it back up again without having made it into a smart object. And then try doing it as a smart object. And you'll find the quality will be so much better. Have a go. 82. Adding Type: If you're using Photoshop for making posters or social media posts or anything that requires type. Then this next set of lectures is for you. We're going to be looking at all the type options, how to bring in type, how to work with type, a lot of typographic terminology. So we'll talk about things like a lending and kerning, tracking, those type of weird words that you don't always come across in the normal world. So come and have a look, let's try it out. 83. Inserting Your Text in 2 Different Ways: I'm still in this picture of the cat and the flower. And what I want to do now is to just flip the camera around so it's sitting on the other side of the flower. So I'm going to go into my Scale Options. And you'll find over here you've got a Flip option. So I can just flip things up and down, backwards and forwards. You can also skew things. So I could skew the cat a little bit if I wanted to. I can distort the cat. And I can change the perspective as well. And in here we've got some transform settings so I can put in an exact rotational angle as well. I'm just going to choose Done in there. And then two fingers to undo all of those settings. I want to bring in some text on this picture. So down here, I'm going to go in to the type tool. Now there are two ways to work with the Type tool. The first way, and we looked at this in the project, is to just click once. And you can see it's brought in some text. I can put in the text on one straight on the keyboard here. If I've got an attached keyboard, I can do it on that. I'm just going to type in evil cat. I'm going to double-click to select the words, or click and drag to select over the words. So you can just click and drag the words like that. I want to get the keyboard out the way. So I can then see the layer properties over here, which are to do with type. And write the very top. As we've seen, you have got your different type faces. Let's go with their evil looking typeface. You can add more fonts in there. I'm going to go back again. I can then also that my font size and change that. I can go to my tracking which pulls those characters further apart or closer together. Now, I'm going to stop there for a moment because I want to cancel this and come back and bring it and do it again. This time, I'm going to go to the Type Tool and I'm going to click and drag. Last time I just clicked once this time I'm clicking and dragging. It puts in all of this. Well, it's called Lorem Ipsum or filler text. It's just gobbledygook, to be honest. And I can then type in what I want. I'm just putting some text in there. You can't see it. It's just this is the story of the evil cat. And now what I have is this little window, and I can actually just change this so I can get the text to flow in that box. I might move that a bit like so, let's pull it up a little bit like that. I can then select the text and once again, change the settings. In here. I'm going to go to my typeface and just choose a different font. In there. You can see some of this is now missing says this story of the evil. And I need to pull that down a little bit to get the word cat coming in. You see the fonts just chews back to go back to this little window here. So two ways of bringing your texts. One way is to just click once and put the text in. The other way is to click and drag. And then you can actually change the size of the window that the text is in. And the text will just flow in that little window. Like so. By the way, we can also rotate this really easily. If you need your text to be at an angle, try it out. 84. Scaling with Baseline Shift & Masking Text: Now you have clicked Done, and I want to go back into the text. I can use the text tool, click inside the text and just go back into the editing area. And in this editing area, I want to go down over here to the paragraph options, and I want to make this right aligned for my text. So now, once I've done, I can use my move tool and move that wherever I want. Of course, could I scale this text? Now, if I go to the scale tool, I can just grab a corner and I can scale all the text straight up, like so. And click on Done. I'm going to bring in some more text along the top. So this is going to be a large, large word. So I'm going to go to the Type tool. I'm going to click once. And I'm going to put cat story. Let's go cat tail and make it a little bit more exciting. And then I'm going to select that. I'm going to double-click. And so I've selected all those words. And over here I'm going to change the size of the text. Can move that along with that little circle at the bottom. Tracking allows me to change the distances between the characters. But what I'm thinking over here is maybe to look interesting. If I selected the a from the cat and I can use the options down here to adjust it. E.g. I. Can go to vertical scaling and I can scale that word up or down. I'm going to horizontal scan. I can make it wider or narrower. And I can use the baseline shift and move it above or below the baseline that it's on. So we can get a cat up a feel from this. I think I'm going to move it up so we get that almost like a cat Stretching type of look. This will probably look a lot better when I do it with the next two characters in there. And then really push those up using the baseline shift like that. And maybe the L, I can select that. And I'm going to go and vertically scale that becomes the tail of the cat. Awful typography, but the effect looks interesting. Maybe stop over there and I'm just going to click on done. And I can then move that around. I can scale it using those options in the scaling. Let's click on Done. Now what about if I want to change the color of the text? Well, it's exactly the same. If I go back into my text tool, I'll select the text. It's hide that Here's the color over here. And I can either choose a color from there, or I could go over my image and pick a color from the image. So let's click on the option there and pick up that color. Now, I would like the cat tail to look like it's going behind that flower. Just a little bit. Nothing too extreme, but just a little bit over there. So we zoom in with text. You can do exactly as you do with a normal layer. You can go and you can add a mask. You can get your paintbrush. Black is your foreground color. I'm going to hit my brush being quite hard and quite small. Maybe just a little bit bigger than that. And I can paint some of those areas out with that tool and paint them back. So if I flip over to white, I can paint them back with white as well if they weren't quite correct. And that sort of gives us that behind the flower type of look. To try some of those bits out with some text effects in there as well. 85. Leading, Superscript & Subscript: Now looking at my graphic here, I'm thinking the text in here, this is the story of evil cat. Could be maybe moved closer together. So I'm going to go to my type tool. I'm going to select all the text. So you can just click and drag over it. Sometimes this keyboard really can get in the way a little bit. I prefer to just keep clicking until I can select it all. And then down here, I can go down and I can change the letting. The lending is the distances between all of these lines of text. And you can see how I can move it closer together or apart. So we can just adjust the letting of multiple lines like that. And I want this to be a little bit close together, but without actually touching, we can still use the baseline shift on there and I can move the whole lot up or down, but where it was. Absolutely perfect. Now while we're here, let's have a look at some of these options. In here. There is an auto leading setting which gives you what is normal letting normal living is usually the size of your font plus 20 per cent. So if you're not sure what to do, just switch on auto lending. But I'm going to change the letting and just pull it back a little bit like that. Then over here we've got things like all capitals. We've got small capitals in there. So the first capitalist bigger and any other capitals will be larger. Now superscript and subscript are interesting because they allow you to make things smaller and go up for superscript or small and go down for subscript. So if I went in there and after the cat, the word cat makeup trademarked this saying. So I can then put in my team over here. Let's just go and get that selected again. I'm going to put in TM for trademark. Now. I'm going to select the TM and I'm going to make it a whole lot smaller. That's why it's trying t m. So we'll select those two. I'm going to make them a lot smaller. So I'll go into my sizes in here. Take that down. And then I can use this superscript to make it small and go up, or the subscript and small and go down. Now it hasn't gone up nearly as much as I want. I can always use my baseline shift to move it up as well. After that, we've got two more underlying puts a line underneath it and strikethrough. Let's select a different word here. You'll see strikethrough puts a line through the middle. 86. Putting a Photo into Your Text: Finally, what about if I wanted to put a picture inside type? Well, I'm going to go along and find the image, so I'll click on the Plus. I'm going to go to Files and I'm going to find what I'm going to use those flowers that we've got in this folder. So I'm going to go to find my smart objects folder. There's some flowers there. And I'm going to move them over the texts. I'll just click Done. Use my move tool to move them to where I want over the text. I'm going to move them above the text that I want to effect. And you won't believe how easy this is. And we've done it before, you just go down and you choose this little button, which is your clipping. And it'll just click that and I, to the one below. And I can still move those flowers around inside there. It really is a very, very easy effect to do. Give that one a go. 87. Final Big Project: Creating a Multi-Image Advert : Another one of my favorites, this is the big final project. And we're going to use everything that we've learned in this course so far. We're gonna be adding in mask, we're going to be adding in layers, adjustment layers, selections the whole lot to create an incredible composition. Of course, I've got some images that I've thought that you might want to use. But if you would prefer to use your own images and you can go into somewhere like Unsplash or Pixabay to find joy in images, that's absolutely fine. Of course, if you've got your own photographs that you've taken and you want to work with those. That's great too. But let's jump into this one. I can't wait for this. This is a really good one. 88. Make a New Document & Add Image: For the next project, what we're going to do is we're going to make an advert and we're going to use multiple pictures. And a lot of the stuff we've done in the course to make it look really cool. Now, although I'm going to do mindful social media, like an Instagram post. If you wish, you could do yours as a full A4 page or even as a poster. But the important thing here is we're actually going to start by creating a new document and form a new document. I'm going to go to screen. And I'm going to put in the size that I want in pixels, which at the moment for Instagram is going to be ten by 1080 pixels. I'm going to make sure that I've got my sizes correct. I'm not too worried about the PPI because I've got the correct pixels in the background. While it really doesn't matter. For this particular example, you see we are going to be bringing pictures on top of that. Of course, if you prefer to do something for print, by all means, go over to print, sit and A5, A4, A3, whatever size you want, and whatever resolution you want. In here, It's absolutely fine. But if you are doing this and you want a high-quality image, let's say a four, e.g. keep your resolution nice and high. So that would be 300 ppi. Like I said, I'm going to go for screen in there. So I'm going to have to put in my 1080 again. I'm going to click on Create and that gives me my white page to start off with. Now, I'm going to do one more thing before I stop. I'm going to go along and I'm going to bring it into the first of my pictures, the background picture for this. So, so far, what we've done is we've gone over to there and we've used files and found a picture that way. You can also do it from here. Click on the little plus over on that side. And this allows you to go into your files, photos, libraries, or camera. And I can go and I can find the image that I want. Now, these images are already for you. They are in the project had advert folder. And we're going to start off with this picture of a souk down there now it just drops in and mixes of the same size as my document. This particular advert that I'm doing. I want to have a background which has got a really nice feel to it and not terribly worried about the details. I'm just looking for the field, the background. And in here, I'm interested in this top section, so I'm going to just scale it up a little bit. Like so move that down. And this is the area that I want. I think I'm happy with that. So I'm going to click on Done in there. If you'd like to get that far on yours, make a new document, decide the size that you want. Bring in the picture, and then come back. And we'll add the second image which we're going to cut out. 89. Add a Second Image. Select, Refine & Mask: So for the second image, I'm going to do exactly the same thing. I'm going to go into files. I'm going to find that picture and I'm going to use this picture of a whole lot of ******. And I'm going to scale it up a little bit over here and bring it down there. So why am I putting this picture in the foreground? Will, first of all, it adds to the whole feel of the image. Secondly, I'm kind of cheating a little bit because this is nasty plastic bag on the side and some old Mike's in there. And I don't feel that those really add to the feeling of the document. So by placing an image on top and kind of get, get rid of those. Now, I want to actually cut away this part of the image. So we're going to use a selection tool to just select the bits that we want to keep. Going to zoom in a bit here. I'm going to go along and for this selection, I'm going to use the Quick Selection Tool. And so I can just paint in the areas that I want to select. Now sometimes you might start painting thing, oh my goodness, this brush is far too big. Let's de-select that. So just go down. And I'm just going to make it a little bit smaller in there. Let's try that out there. Slightly better. We can still tweak this later on. So I'm just going to paint in these bits here, down to that, but all of this I want to keep in. So I'll just paint it in across to there and up to there. Now, this has gone too far and I've added into many bits. So I'm going to go to my Subtract option down the bottom there and just subtract this. I think this is some sort of shelf. I want to get rid of that and get rid of that, like so. And then let my Add option add in any other bits that I wanted again. And just keep going until I've got exactly what I needed from that. Now, same over here, I might go to the subtract option, just try and subtract those little bits and those, that little bit in there. And add in this section. Remember with all of these selections, if it's not right, use different tools to get it sorted out. That edge there is a problem. So I'm going to actually go in and I'm going to use my Lasso Tool, go to my Add option and just less sue that to add that in. Like so. And I think I can use my Subtract option for that little corner, my Add option for this one. And I think there was a bit down here. Maybe I can add this patina as well to just roughly have that one. Now to see it, I'm going to use the refined edges as per usual. I'm glad I did that because I'm actually missing a bit in there. Well, we can fix that afterwards, remember. So it doesn't really matter. I'll add a little bit of feathering, not too much, just a small amount of feathering to this. And maybe shift the edge in a little bit to tighten up that selection so I don't see any of the extra areas around. I'm going to say done. And I can then go in and make a mask. Remember, you can also make a mask noon cut out the middleman by just changing the settings in the refined edges area. So this is the bit that I've got a problem with. So of course I can go over to black, remember black hides. Make sure I'm on the mask. Use my paintbrush. Much smaller brush than I've got, just a little one like that. I can then just paint that black to paint it out. So that's nearly there. I'm not sure what what is what is part of this layer and what is part of the layer underneath it. There we go. Okay, this doesn't have to be perfect. We're just getting a rough for the moment. Now remember, if you go and you move this layer around, of course, your mask goes right the way to the bottom so you can sort of pull it up if you need it. If you did want to pull it up, you may have to go in, go to your mask, use white. And then just with a paintbrush. And then just paint it in with a paint brush to add in all those extra bits at the bottom. Obviously a bigger brush than the knife cut. I'm just going to use two fingers to get that back to the very nicely Hyde said old bicycle and the plastic bag and just keeps the very leathery look that I'm going for. Try that out. 90. Add a Clipped Adjustment Layer, then Dodge & Burn Image: These two images don't seem to gel together properly. Um, so what I think I'm going to do is I'm going to adjust the color of the background image. To do that, I'm going to click on the lower layer. Of those two layers. I'm going to add an adjustment layer. And I'm going to go to color balance and just try and adjust the color. At the moment. I don't know, it looks a little bit too purply. So maybe it's a little bit blue. So if I added some yellow to the background image and maybe a little bit of red, I might be able to get them, the two of them to work together a little bit, a little bit better. That looks a lot better if I just hide this adjustment layer. You can see there's before. There's after. Likewise for the top one, the top one might be too bright or maybe it's too contrasty. So if I go to the top layer here, now this time I'm going to add an adjustment layer, but I want to add a clipped adjustment layer because I only wanted to affect that top layer. So I'll add the clipped adjustment layer. Once again, I'm going to go and choose something in here and I'm going to just choose brightness and contrast. So nothing too exciting. I'm just going to go to my contrast and try adjusting the contrast down, maybe darkening it a little bit like that. Let's switch it on, switch it off. I like doing this of switch on, switch off because it gives me an idea of how things will actually look. And if we darken that down a little bit more, I think that's that's improving it a little bit. We're going to have somebody standing in front of this, so it's not too bad. That looks maybe not quite correct with the lighting. However, if you did look at the lighting, you thought you know what? The background lighting seems to be coming from the left. But the lighting on this is coming from the right. Maybe I could actually go into this layer here and flip it over. So to flip it over, what I'm going to do is just go up to the top, to the scaling options in there. And there's an option here which just allows you to flip a layer like that. And I can move it around in the right position. Now, look at this. Why is this coming in so small in there? If I just click Done, I seem to have lost quite a, quite a lot in there. Well, I think it's because it's moved over. And now we've got a problem of that black been oh, sorry, not the black pen, the blue been down there. So although you can flip things over, I think it'd be better for me to just do something like that. Then if I read, it really bothered me. I could actually go individually into the layer. And if you remember our settings here where we could actually use Dodge and Burn, maybe I could use my burn option to burn-in or darken down some of the sides over here. Of this, it was there was less contrast. And maybe I can then also go across to dodge, which is the lightened option. Just going to choose a slightly smaller brush, might be able to just lighten up some of those edges. Over there with a light was, was coming in. We've got to watch out for that. Look how bright that is becoming. Now that might be just right, just what I wanted from the brightness. But if it was too bright, don't forget we've got a sponge and you can either saturate or D saturate with the sponge tool down the bottom over here. So I'm going to choose D saturate from this for three buttons. I'm just desaturate that colors. It's not quite so vivid. 91. Add a New Image & Mask Person: Let's go and get our next picture to go in here. I'm going to go across to my importing from the files. I'm going to find the next picture, which is the Woman with a Hat. Same again, I need to scale it up till I get it to the right size. I'm reasonably happy with what I've got there. I think that's probably about the right size for for this document. I'll click on Done and then now want to cut her out. So let's try cutting her using the object selection tool. And you can either go to the Object Selection tool there. Don't forget, you can choose the Select Subject. In here. I'll just choose Select Subject and see what it does. It's selected quite nicely, but it's not perfect. If I zoom in here, you'll see that there are parts which are missing and parts which are well, have gone too far. So I'm going to clean it up using the Lasso Tool, go to my Add option and just work my way around here. And just adding those bits that I need so that can be added in. I think there's a little bit of a shoulder thing going on there, which I need to add in and see if there's anything else that needs to adding on hat. Once again, we can add that in. We've got most of that shoulder. I don't think there's anything else that's missing. But of course, there are some parts which have gone too far. There we go. We've got a bit of that one, a little bit of that in there. Now, I do need to remove these bits. So I'm going to zoom in. And every time I zoom in, I see extra little bits that I need to add in. So if you want to be very accurate about this, I would say zoom in and go round the document until you can see exactly what you need. I'm going to subtract option up here and just subtract these little areas around there. So that bit there, I'm just going to twist this around. It's easier for me to actually use my pencil at the angle that I want to use it at. There. I think that's a, that's looking right there. Let's do this little section here. Remember we are looking at this, really zoomed in. So if things are not quite as perfect as they could be, you probably won't see it when you look at the final image. Let's take that a little bit over there. Out. And I think, I think I've got everything. Well, almost I've just noticed another little bit over here by her clothing, which I want to add in UPS, two fingers to undo. Don't forget. Right? So of course, the next thing we do is we go to roughen edges. I'm looking at this using the overlay option because it shows things up very, very quickly. Looking at this here, it doesn't look too bad. I could try a little bit of edge detection. But too much edge detection. You see what it's doing on the clothing, it's pulling it in and the hat as well. So I'm not going to go with that. I might put on the tiniest bit of feathering, just a little bit. I might use the Shift edges to tighten up that selection as well. Then for the hair, I will actually use my pencil. And I'm going to go and just change the brush size to make it pretty small. And let's zoom in a little bit here and just paint around the hair. Their paint there. Those little bits as well. If at all possible. If you can try some of these smart object, smart options in there and see what it does. But do be careful, you might end up with very, very soft edges like that. Right? So, um, so that I don't have to make a mask, I'm going to go to selection there and just say put that out as a layer mask. In there. We'll click on Done. And that gives us the layer with layer mask. I'm going to move it above that brightness and contrast layer because I want to be right at the top. If you see any other bits which aren't quite right, remember, you can always go in and use your paint brush to clean them up using black or white. Have a bit of a go with that. Do a cutout. See what you can do with the cutout. And anything that which is not right, use your paintbrush directly on the mark. Make sure you click on the mask before you start painting. By the way, try it out. 92. Add Depth with Gaussian Blurs: Now my image is very, very busy. And the whole idea behind this image is the apparel company who make hats and travel clothing. So I'm more interested in the hat and her clothing than I am in the background. The background is there just for the effect. So what I'm going to do is I'm going to go along to the background and I'm going to blur it. So to find the blurring, if you go down on the right-hand side here, there's a little icon with, I suppose it's a lightening bolt. If I click on that, I can then go to Gaussian Blur. And I can blur the background a little bit like so. And you can see it sort of separates the background from her. And I'm going to just choose done. But obviously this needs to be blurred as well. Now of course, there's some depth that we have here. So she's right in the foreground that the camera is focused on her. The next thing in all these bits here, so they need to be more blurred. The background needs to be very blurred. So let's undo that and start again. So if I'm looking at her, she's gonna be sharp. If I go to this background here, this is the, the ******, etc. I'm going to use that blurring on that. So I'll go to Gaussian Blur and just a little bit of blur in there, not as much as I've done before. So a little bit of blur like so. Then I can go to my background over here and I'll put in even more blurry. So I'll go to Gaussian Blur, increase the blur of this. It'll give the appearance of depth. She's here that's slightly in front of her, and that's really in the background. Now, at any point, I can look at this and go, you know what? These look really strange. They look almost like a shoulders coming out there. I don't like that. So I'm going to go back to this layer using my move tool. I'm going to move it across over here somewhere. So I still wanted to cover up this blue been in there, but because of the blurry, but it doesn't really matter that it's missing out on a bit here. Or I could then go into my tools here and just really increase the size of that. And that might just do the trick. Let's move it around until we can see what it should look like. You can even rotate it if you need to get quite into the correct shape. I think that's something like that, that I'm after. There, That's perfect. I'll click on Done now I'm happy with that. Once again, try that out. Add a little bit of blur to move things further into the distance and unify your whole image. 93. Add Warmth to the Image: If I were to click on this brightness and contrast are only wants to affect this layer here. So I used a clipping adjustment, but for some reason I've lost it. So I'm just going to read clip it again. And you can see now it's only affecting that layer. In the front. Feel free to add more adjustment layers as you go as well. You might find that when you look at this, you thinking what the colors are not working quite so well. Well, go in, try another adjustment layer over the top. Remember with your adjustment layers, you can put in colors over everything. Let me show you what I mean. If I went into hue and saturation and I colorize the image, and I found a nice brown color like that. Then on this layer itself, which is this one at the top here, I can actually reduce the opacity on that layer. You can see down here, I can just reduce the opacity. That's what it looks like normally. That's what the brown adjustment layer on it. So I might reduce that. So we just getting some of that brown coming in. Let me switch that on no, for you. So it just gives that lovely warm feeling to the image. And you can still play with these settings in here. You can still play with the hue and change the color, but you're getting some of the original color coming through at the same time. And there's no right or wrong here, you just adjust it until you feel it is correct. To try that out. One of the top, check that your layers are correct. And then we'll start to put in some text and logo. 94. Add a Black Rectangle to Show Text: I would like to put my main bit of text here called apparel and adventure. But I know that if I put in that text, there are light bits on her clothing, there are dark bits on her hair. Some parts of the text is going to get lost. So what I'm going to do is I'm going to do a new layer. And I'm going to put a black square in there so my text will show up. But don't worry, it's not going to look awful. Promise. I'm going to go up to the top. I'm going to add a new layer. And I'm going to use a selection. So I'm going to go into my selection tools. I'm going to use a marquee rectangle. I'm just going to draw a rectangle in there where my text is going to go. So something like that. I want to fill it with black. So I've got black as my foreground color. I will use the little paint bucket and just click in there and that just fills that area with black. And I can then de-selected. Now, you're probably looking at me and saying, Tim, It does look really bad and you're right. But if we go in here and we change the opacity on that layer, it doesn't look too bad. Try it out. 95. Add Text: Let me bring in my text. Now. I'm going to go to the Type Tool, click once to put in my text. And this company is called apparel and adventure. So APP ARE L. I'm just gonna put in the first word. I'm going to select the text and I'm going to go and find the typeface that I want to use. And we can just click in the typefaces and go and choose what we want. Now, I want something which is fairly classical, but without looking too boring. And I quite like actually the one that's on the moment, which is basketball, but you can choose any typeface that you like. Then I'm going to increase the font size in them. But I also want the font to be more interesting than that. So I'm going to go down and I'm going to choose a small caps. And what that does is it makes everything capitalised. But the first letter over there be the size of a main capital and the other ones will be the size of a lowercase. And of course, down here we can change things like the tracking so I can move them further apart. So now when it comes to the color, I can click on the color area, the color down there. And I can choose a color from in here. Or I can click on the little sampling tool. And I can go to my image and I can sample a color directly off the image itself. You can see I've sampled this rod so delicate, orangey type color. Now there's my text layer and I'm going to move it into the right position. Now, I want to it adventure in here as well. So rather than having to redo that whole thing, what I'm going to do is I'm going to take this layer. I'm going to make a copy of that layer. You see down here there's a little to a two squares. One's got a plus on it. If I click on that, it copies that layers. I've now got two of those layers. And the top one, I will move down. And I'm just going to change the text of the, I've just double-clicked on the text layer, which opens it up in here. And then I can do the same thing. We'll have the word adventure in there. I'm done with that. So I can now move these around individually. I'm going to have the word adventure there. And apparel is going to go on top of that. Now also want an ampersand underneath that. So I will do one more layer here. And just that it keeps the same feel using the same typeface. I'm going to make a copy of this one. So copy that. There it is there. I'm going to double-click on the t over here. And I'm just going to find the ampersand symbol. I would like to make this white. So I'm going to select it and just choose white in there. So it's more of a pure white. And I will make it a lot bigger than the font size. I'm going to go in there. This is just for an effect. So I've then got the big ampersand. I can move that over there. It's going to sit behind those. I'll move that layer behind those two. And I'm going to change its opacity if we go to the options for the layers over them, and I'm going to go and see the properties. I can then just change the opacity down here, go all the way down to the bottom. There's the opacity and I can adjust it. If you have something more subtle like that. If we wanted to change the ampersand again, I can also click on the options to scale, and I can then go and manually scale this up and down. I get hold of it. There we are. Sometimes you just got to use your fingers for these things. As the Apple pencil. Occasionally goes a bit funny. Now, when I move these around, I always want them to move together. I want them to scale together. So I'm going to select those three by selecting one and then dragging on the next and the next. And because all those three are selected, I can click the little link here, which will link all of them together. So if I click on one, I decide to scale them. Well, if I go to scaling, you'll see that all scale. At the same time. I'm looking for something like that in there. Of course, this background area that I've got over here. If we wanted to, we could remove some of that in there. We could scale that one down. So I'm going to my scaling and just pull that in a little bit. There and there. I think that's that'll probably look a whole lot better. So we've got a bit of texts there and we need another bit of text to go across the top. So for the bit of texture to go across the top, I want to say explore in style, but I wanted to be in a different typeface. So I'm going to go to my type tool, click up there, putting explore in style. And I'm going to keep that all lowercase. I'm not even going to bother to do my sizes in here. I'm just going to say done. And then I can use my move tool, move it around, and maybe then I can adjust it by scanning it up. If I needed. Let's almost done. I think we've got one more thing to do and that is to bring in the logo in here, but do try this out. First of all, have a bit of a go, go to the different parts, try adjusting the opacity on some of them so you can get a more subtle effect sometimes and link them together as well. Have a go. 96. Add Logo, Blend & then Save & Export Your Image: Let's bring in a logo. So once again, I'm going to do the same thing. I'm going to go across to my files. And I've got this hat picture. Now before I actually do anything else with this, what I'm going to do is I'm going to convert the hat into a Smart Object. So to convert into a smart object, I'm on the head layer. I've got the layer properties up and I'm going to say Convert to Smart Object. Now why am I converting to a smart object? Well, it's because I don't actually know yet what size I want to use it at. So I might want to scale it down. I realize it's too small and then scale it up again and scale down, scale it up. And that way, if it's a smart object, I wouldn't lose any quality while I'm scaling it. So let me start scaling it. I'll go to the scale options. Over here. I'm just using the standard scale option. They're scaling it down. And I might rotate it a little bit over here. So it's gonna go on the side of that. And I'm going to click Done. Then once again, if I change my mind, I can then scale it up if I needed to. Now that I've got that. I don't like the little black line that's around the outside. So on my layer, I'm going to go into the layer properties and I'm going to go to the blend modes. If I click on the normal blend mode, if I were to e.g. go to darken or multiply, that would get rid of the white pixels from that layer. But I want to get rid of the darker pixels and keep the white pixels. So then we've got two options here. We've got lightened screen. In there. You can see screen is bringing through a little bit of the gray in the lightened is pretty much getting rid of it. And that's really what I want to just that white logo outline in there. Of course, at anytime I can still go back in there again, I can scale it down. And I can scale it up. Now that I've got my logo in there, I'm ready to save this out. So there's a few things I want to look at when saving. Firstly, if I just go here and close down this document, so I just click on that to close it down. The document is sitting over here. So this is now saved into the Cloud. If I go into Photoshop on my desktop, I can go into the cloud and I can pick that up with all the appropriate layers. But if I wanted to pass on to somebody else, I want to keep all these layers in here. Then I'd have to go to the top, the export options, click on Publish and Export. And I would choose PSD or Photoshop in there. And when I do that, it'll ask me where do I want to save that Photoshop file? I can save it like you would save normally to something on the desktop. If I'm saving this out for something like, well, let's say InDesign e.g. I. Could either saved as a PNG or JPEG or a tiff or a PSD. I prefer when I'm going to InDesign to say things as PSD files. Because that way when you import into InDesign or you place actually into InDesign, you'll find that you can actually choose any options too, show and hide certain layers. So it could be that I want to actually change this a little bit of text here. And I can switch that off in InDesign. I wouldn't have to come back into Photoshop for that. But for social media, I'm going to go to JPEG. I'm going to just take the resolution down a little bit to maximum in there and click Export. And once again, it'll ask me where I want to export it and I can then choose to. In my case, I'm going to save it to my files over there. Give it a name. And we'll call this one hat advert. And click on done. And I can save it out from there. Have a little bit of a go with that. Bringing your logo, make sure that you change your logo into a smart object. Because that way you can always scale it up, scale it down. The other thing that also did with this, as I went into my Blending Options and I change the blend mode, you can of course change the opacity in there as well if you wish. But honestly, I don't think it would work for the hat, especially in pure white. So try that out and then save it out. Don't forget, saved as a PSD. If you've got Photoshop on the desktop, open on the desktop and have a look how these layers look in there. Once you've had a go with this one, make up your own, find your own pictures, go to unsplash.com or Pixabay, get some pictures from there. Or if you've got your own images, try making up your own composition like this, cutting things out, adding in bits of texts and trying to unite them all with similar colors as well. Have fun with it. That's the most important part. 97. Thank You!: Well, we've reached the end of the course now. Thank you so much for doing Photoshopping iPad with me. We would love to see anything that you've done. Please post it so we can have a look. We cannot tell you how much joy gives us when we can see the stuff that people have created. Now, we've got some other courses to do with graphics on here as well. Have a little bit look. Some of the iPad, some of the desktop. I'm sure you'll enjoy all of them. See even the next one.