Digitize Artwork with Adobe Photoshop: From Paper to Screen

1. Intro: Digitizing offers a lot of new opportunities to artists. When you turn an analogue art into a digital version, it gives you the chance of editing, enhancing, as well as creating new variety of the same art. You don't have to become a digital illustrator to benefit from advantages of digital art. You can create your hand-drawn art with any physical medium. Watercolor, gouache, ink, oil paint, actually pastel, pencil, anything, and then digitize it afterwards. Hi, I'm Sarah Wyman said, I'm a graphic designer and design teacher based in Vienna, Austria. Over the years, I've coached many artists into the world of digital art, teaching digital drawing software, vectorizing, digitizing, and all sorts of graphic design tips and tutorials. In today's class, we are going to learn a to Z of how to digitize your art like a pro. Digitizing is a process of converting a physical artwork into a digital version of it. We're going to use Adobe Photoshop, but you don't need to have any prior knowledge of the software. I will break down each part in the most digestible way so you can understand the concept of professional digitizing and have your own approach elsewhere in other softwares be stored with a full guideline on how to properly scan different types of artwork that include how to use a scanner, how to use a camera as a scanner, and how to scan big images in a small portions and then photo merge them back together. We will learn most important Photoshop tools for digitizing, which our layer mask and selection tools. We go through different steps and techniques to remove the paper background, dividing the artwork into individual elements, learning to adjust an enhanced colors and create new color alternatives and pro tips to export your art for different layers. We will also have some technical talks. What is the difference between digitizing and vectorizing? When to say DPI and when to say PPI. Your assignment for this class is to do the full process of digitizing an analog art and shared the final project here on Skillshare class resources. I will give you all the artworks that I'm using to demonstrate the process. So you can easily follow along and practice with me at the same time on the same material. You could also work on your own artwork as the class project, I would list the actionable steps and walk you through each one of them and give you all the tips and tricks until we finish the class project together. This class is for any kind of Illustrator, hand lettering, artists, pattern designer, or hobbyist of all skill levels who wants to digitize their hand-drawn art made with any kind of media. By the end of this class, you will be able to digitize any type of physical artwork in a professional way. Digitizing can be such a fun and profitable process for artists. If you don't have a membership on Skillshare, but you want to join this class. Use the link below and get 30 days of free membership of Skillshare. I'm super excited to get started. See you in the class of citizens. 2. About The Class: Welcome to my Skillshare class, digitizing artwork with Adobe Photoshop from paper to screen. Thank you for joining me here. In this class. I will walk you through the full process of digitizing an analog artwork. This course is for any kind of Illustrator, hand lettering artists, pattern designer, or anyone who wants to digitize their hand-drawn art, mate with any kind of medium. Watercolor, gouache, ink, oil paint, accurately pass the pencil, anything? Now let's start with the class project. You get to choose to either work on the same art form that I'm using in the class or work on your own artwork. The choice is yours. Either way, your assignment for this class is to remove the background, enhance the colors, and share your work here on skillshare. How to find your class resources and references on the Skillshare website, not the app. Go to the Project and Resources tab. Then you can directly download the class guide PDF here, or download the individual resources over here on the Project and Resources tab in case you're watching via Skillshare app. Then go out of the app into your internet browser and type in this link to download your class PDF. Your class guide is a clickable PDF with all of the resources, references, files, and links to every single thing that I refer to during the class, as well as some information about me in the wild. Please make sure to download the practice files before you start the class. During the class, whenever you have a question, hit to the discussion tab here, start a conversation and post your question for me. I'll be more than happy to answer all of your questions along the way. Okay, we're all set. So let's get started. 3. Difference Between Digitizing Vectorizing: In this video, we will learn about difference between digitized and vectorize. Digitizing and vectorizing an artwork are not the same process. What is the difference? Let's start with digitizing. What does it mean to digitize? Digitizing is the process of converting a physical artwork into a digital version of it. The first and most important step of digitizing an image is to scan it into a raster image. But normally when we digitize an image, we will do more than just scanning and making a raster file. Most of the time, digitizing includes some enhancing and editing as well. But apart from having extra adjustment or not digitizing an image, we'll give you a raster image. Now what is vectorizing? Vectorizing is the process of converting a raster image into a vector graphic. So in order to digitize, you'll need a non-digital art, a physical hand-drawn art on paper. But in order to vectorize, you need a raster image. A raster image could be scanned or fully digitized image of a physical artwork or a photo taken by a digital camera, or an image that was created using a raster drawing software such as Procreate or Adobe Photoshop. Now, what is a raster image in computer graphics and digital photography? And raster graphic is a mechanism that represents a two-dimensional image as a grid of squares that are called pixels. Now what is pixel? Pixels are the smallest building blocks of a raster image. When you zoom into any raster image on your screen, you will get to a point where all you see is colored squares. These are pixels. Since a raster image is made of pixels, many people in the industry just refer to a raster image as a pixel image. I don't recommend you to do so. Common raster image types are jpeg, tiff, GIF, PNG, and PSD. We've learned what is a raster image. Now let's learn what is a vector image. Simply put, vector is a mathematical calculations that keep track of points and equations for the lines that connect them to determine how the path will appear. Therefore, regardless of how much you zoom into your vector artwork or how much you scale it up. The resolution, aka the image quality remains the same because the machine will recalculate for the new dimension or viewpoint. Common vector file types or EPS, SVG and AI. Now let's get into the work and learn about how to digitize step-by-step. Then I see you on the next video. 4. How to Digitize Step by Step: In this video, we will quickly review the steps that we would take to digitize an artwork. There are five steps in digitizing an artwork. To make a proper scan, to remove the paper background, then to divide the artwork into individual elements, into color enhancement and boost the look. And the last step is to finalize, fix the composition, resides, and export. For the first step, we are going to work with the scanner and the rest of the steps will be done in Adobe Photoshop. Now depends on your project. You could skip some of the Photoshop of steps, e.g. if you want eventually vectorize your artwork, then removing the background here is not necessary. Vectorizing tool, we do it for you. Another example is when your artwork has been drawn using a very high-quality print and the scanner pick them up quite nicely. In that case, you could perhaps skip the color adjustments step and just remove the background and export it into a PNG. There are other situations as well, like in this piece, we need a little bit of a color enhancement, but there is no need to remove the background as the background is already a part of the artwork. This up to you to choose which steps are necessary for your project before jumping to the scanning video, let's first have a quick yet very important technical talk about the DPI and PPI. I see you in the next video. 5. The Myth of DPI & PPI: In this video, we will talk about difference between DPI and ppi. They are often used interchangeably when they shouldn't be because they are not the same. Understanding how PPI and DPI are different, and how to apply each in your project is one of the keys to produce a quality print and optimize a digital image. Then why so many people are using DPI and PPI interchangeably or incorrectly? First of all, because for decades DPI was used to measure everything. The second reason is that the industry experts, professional photographers, and well-known graphic designers are constantly, constantly telling DPI. But what they actually mean is PPI. Ppi stands for pixels per inch, DPI stands for dots per inch. Dot and pixel are not the same, absolutely not. What is pixel? In order to understanding pixel, you need to learn what is a raster image, computer graphics and digital photography. A raster graphic is a mechanism that represents a two-dimensional image as a grid of squares that are called pixels. Pixel is the smallest building block of a raster image. We learn what pixel is. How about dots? What is dot? Dot stands for ink dots that a printer can print per inch. So pixel is the smallest building block of a raster image. And dot is the amount of ink spots that the printer can print per inch. How about the scanner? When we are using a scanner or should we say PPI or DPI? Well, as Kanner is the bridge between the two worlds of digital and analog. And because of that, there is a big conflict about it in the industry and among the experts. So depends on the scanner software that you're using. You may have either DPI or PPI in your setting box. I personally think scanner should use PPI pixels per inch since they are generating pixels. The outcome is pixels. So I believe we should say ppi, a lot of experts thing the same way as I do, but others are arguing that the scanners are sensing and reading dots, not pixels. So they think we should say DPI or dots per inch. You see it is the question of input resolution and output resolution. Scanner reads the DPI and then generate an image in ppi. With that said, scanners are the only, the only instance. The two measurements are corresponding and mean the same. But please remember just for the scanner setting, that's it. For the rest. You gotta learn when to say DPI and when to say PPI. E.g. whenever you are in Procreate or Photoshop, drawing or editing a digital raster image, you're working with pixels. So CPPI, a handy tip, is to remember that p stands for pixel. Now it is time to bring in your scanner and start the project. Then I see you in the next video. 6. How to Scan an Artwork: In this video, I'll be showing you how to scan your artwork. Lucky pro. Scanning is the first and most important step of professional digitizing. Editing an image that has been poorly scanned can be unworkable even for an advanced Photoshop user. How do we scan with a camera or scanner? I always, always recommend using a scanner instead of taking a photo with your digital camera or for a great camera, gives a great photo, but not necessarily a greater scan. Camera is for capturing photos. It's not for scanning. Even a basic scanner can give a better result compared to an iPhone with 12 megapixel camera. Not to worry if you don't own a scanner. At the end of this video, you will get some tips and tricks on how to make a solid scan using your camera or your phone. Generally, scanners are quite affordable. You don't need to get fancy ones with extra features that you're not going to use. Basic scanner, we do the job in general, dimension resolution and bit depth defines the price of scanner. As for dimension a4 is convenient enough. You can always photo merge the papers that are bigger than your scanner. For scan resolution, 4,800 is plenty already. For color depths are bit depth. 48 bit per pixel would be ideal, but 24 is already a decent bit depth for artworks, color depth or Bit Depth simply refers to the number of colors that the scanner is capable of reproducing. At higher bit depth, more colors are rendered and the scan looks better. But the trade-off is a large, huge file size. Each pixel requires 24 bits to create standards through color. And these, these all scanners on the market already support this. So bringing your scanner and let's go over some pro tips to have an excellent the scan of an artwork. We will go through each tape together. Tip number one, kinda scanner, inner surface of the scanner, clean this glass part. I mean, every dust and pet her and microparticles that is here will be shown as a spot on your scanned artwork. Tip number two is to flatten the paper. If your paper is a big buckled and not quite flat, then put an additional piece of thick paper or a couple of normal papers on top of your artwork. And then close the scanner lead gently and hold onto the scanner. Just a little soft push to help the scanner to flatten the paper to the glass when the light is going over it don't press down too hard and do not put heavier stuff on your scanner that can compromise the scanning process and damage your device. Back to the scanning tips. Tip number three is the scanning software. All you need is to make sure the software that you're using allows you to choose these two options, the file type and the resolution for art digitizing. The only care for these two, and the rest will be done in Adobe Photoshop. Now my artwork is inside that scanner. Open your scanning software and let's get into it. Depends on the software that you're using you're setting dialog box is going to look different than mine. Tip number four is the file type. Prefer to set your file type as tiff, which is abbreviation for tagged image file format. Tiff files retain details and color depth of the original image, and that makes them ideal for high resolution scans ahead of editing an asset creation. Exactly what we want to do here, right? All those details and resolution leads to tiffs being quite large file their file size make them difficult to share or send via e-mail and make them poor choice for web design. But for scanning and digitizing an artwork, tiff is absolutely the best fight. Every time that you save an image as JPEG, you lose some of the image quality due to the compression. But tiff files are not compressed or they are lossless compressed, you can always save a tiff file as j peggy later on, but once you scanned it and saved it as a JPEG, you will lose the data that cannot be restored. It is irreversible. Tip number five is resolution. What is the suitable resolution setting for scanning? Is it a golden number regardless of what is the dimension of your image if the final print is going to be in the exact same dimension of the image than 300 PPI is generally considered industry standard print quality. The final print is going to be bigger than the dimension of the original image. Then you need to know in advance and create a scan with higher resolution. Have in mind that increasing the resolution will increase the size of your file on your hard drive. Not the dimension, but the file size. So do not get reckless with it. Just go as high as you actually need. E.g. this art form, that is A4, eight inch by 11 inch, will be printed double-sided at a tree. So I shall set the resolution at 600 ppi when I'm scanning to get the same result and higher than these would be unnecessary for me. So generally the best is to set the file type on tiff and the resolution on 300 PPI or more. Right down there, scan settings, especially the resolution in a corner of your page or on the filename. So when you want to set up your phi in Photoshop, you can make sure the resolutions matches. For this project. I'm going to stick with 300 ppi. Tip number six is do not edit the image inside the scanning software. Just set the file type and resolution and do not mess with the rest of the setting here. As I mentioned before, this is a scanner software, not a professional editing tool. On top of that, any changes in the scanning phase will be permanent part of your image. Whereas you can have a proper and non-destructive editing with the premium tool like Adobe Photoshop later on, tip number seven, scanning peak papers when the paper is bigger than a scanner to scan your image in pieces. I don't mean cutting your artwork in pieces. I mean, scan it in overlapping portions. Then use Photoshop to put the pieces back together like a puzzle. Things to consider when you're scanning a big paper. First is that all the pieces of your image should be scanned with the exact same setting. And the second one is, you should not rotate the paper. We should scan each piece by moving the paper horizontally or vertically. Other words, the shadows may not match up perfectly when you are trying to put them back together using Photoshop, best would be to try to line up at least one edge of the paper to the scanner age and then move towards that direction. Scan with the same setting and do not rotate. In the next video, you will learn how to put the pieces together using a Photoshop action called Photo Merge. Now let's go through the camera tips. What if you don't have a scanner or you're drawing material aren't fitting in your scanner and you have to use a camera. Here are my tips on using a camera as a scanner, set your camera for capturing the highest quality image that it can handle. Turn the focus off so you don't have a part of image crisp and the rest blurred out. Do not use the scanning apps. Those are great when you're taking a photo of a text and received a document, they manipulate the image, and that is not what we want for our outward. Use the camera directly, use overhead gear or a tripod to fix the camera or phone in a leveled and a steady position and avoid any unwanted angles are movements. We want a perfect, stable overhead shot. Makes sure you have a soft source of light. Avoid using Flash and direct sunlight. They can influence the color of your artwork and create harsh highlights. Natural daylight is a great source of soft light, but when there is no Cloud and son is not too harsh, you can use a thin curtain or a thin piece of paper to soften it down. Make sure your artwork is receiving light equally from both sides. You don't want it to have a brighter lamp in one side and create shadows on the other side of your image. Now that you have properly scan your artwork, it is time to save it on your computer, give it a proper name, and get ready to learn the next step of digitizing. Don't forget to include the scanning resolution that you use in your filename. Perfect. I see you in the next video where the fun starts. 7. Photomerge the Scanned Parts: In this video, you're going to learn all about photo margin. We already learned that when the artwork is too big for the scanner, we should scan it in parts. The trick was to scan all parts with the same setting and do not rotate the paper. Now we are going to learn how to put those parts of the scan back together. This process is called Photo Merge. I already scan this image into pieces. You can download them from your project resource and follow along. Before we start, I want you to pay close attention to the edges of these two scan parts. Every time that our paper is poking out of the scanner, we will get a bit of shadow along that edge. Now our goal here is to make sure after putting these parts together, those shadows are not visible. There are two methods to bring the scan parts back together. The old-fashioned manual match and the Photo Merge action manual match is what we were doing back in the day when there was no such thing as Photo Merge tool. So we would eyeball the position of each part on delay line up. And then we will use blending modes and layer masks to get rid of those shadows. But we don't need to manually match the scan parts anymore because now we have the Photo Merge tool, which is a fantastic Photoshop action that will do all those steps for us in just one click. So no one needs to manually do that anymore. Alright, let's give you the right. Here I am in Adobe Photoshop. We want to open the scan parts with Photoshop. Careful. Don't create a new file. We want Photoshop to open the scanned image for us at their full size and resolution, whatever that is. So press Open and navigate to the image. I'm going to select the half a scan part one and hit Open. Then I'm going back to the home screen and open the second part as well. Okay, great. Now we have both parts of the scan open in two different tabs in Adobe Photoshop. Let's go to Menu, File, Automate and photo merge. The setting window of the photo merging tools opened up here, keep the layout on auto. And down here, check the blend image together and leave the rest uncheck. Click on Add open files. See we have both opened files here and then hit Okay. And watch as Photoshop does its magic. This may take a moment and absolutely gorgeous job. This was a perfect performance. Actually. Check this out. The mask is not a straight line. This is where the shadows we're locating. This thing is so smart, it just followed the pixels so precisely that the shadow parts at the edge or smoothly mask that way. Awesome. Photoshop did all the steps for us and all its left for us is to merge the layers and save it. Now both are selected, right-click and choose Merge Layers. Now let's go to Menu File Save As and pick a name from the Save As Type. I will choose the file format as tiff because I don't want any compression. And then hit Save. This was the photo merge method. Are you ready to learn the next step of digitizing? Then I see you in the next video. 8. Photoshop Desktop or iPad: Adobe Photoshop on desktop or on the iPad. And which one is better? This question comes up every time that I'm teaching a Photoshop paste content, which one is better? Well, it depends on the royalty of things like the fundamental differences between the two version and their performances or on your personal preferences and what is convenient for your workflow also depends on what fits better to the project that you're working on. Are you drawing, editing photos, digitizing, making more cops? It is as well. A bought the equipment. Do you have both computer and the iPad or not? Assuming you have both. Let's see what is the differences and when to use which the desktop version is the comprehensive bond and the iPad version is more of a compact one. Adobe Photoshop on the iPad has many of the features that they all know and love, but it doesn't offer the full capacity of the desktop version, even though the iPad version is not as powerful as its counterpart, it has its own advantages. It is portable, which makes it very convenient. And not to mention that voting with the Apple pencil is whole. Other level of joy when it comes to drawing motions. Apple pencil is not comparable with mouse or any other stylists that is out there. It is simply awesome. For when I'm not at my desk, I'm just drawing on the sofa at definitely go with the iPad. On the other hand, when I'm doing heavy editing, I would much rather using the processing power and graphics of the desktop version with a large calibrated monitor and a proper keyboard to hit the shortcuts. So we can agree that for non drawing projects, the desktop version of Photoshop is an entirely different beast. Lot easier than using the iPad. How about digitizing? Digitizing is not a drawing based project and we normally have to deal with heavy files. The whole process of file prep layer organization, photon merging, adjustment layers and so on, can be done much faster and easier in a bigger screen using a mouse and keyboard. For the sake of productivity, this class is based on the desktop version of Adobe Photoshop. But those of you who don't have a computer, you can also follow along just using the Photoshop on your iPad. I personally have both iPad and the desktop, and I swap between the two version quite often to get the most out of each application and make my workflow smoother. Alright, grab the gear of your choice and lets Photoshop. I see you in the next video. 9. Layer Mask in Photoshop: In this video up living, learn how to master the Layer Mask. You don't need to be super advanced in Photoshop in order to digitize professionally. But you really need to master to features in Adobe Photoshop to use the layer mask and how to make a perfect selection. So in this video, we will learn about the mask, and in the next lesson, we will learn about the selection. Let's unpack the concept of masking from a to Z. What is a layer mask? There are two different approach to removing parts of an image in Adobe Photoshop, you can erase the area or you could concede, meaning to hide it in Adobe Photoshop instead of hiding the same masking, what is the difference between erasing and masking? Erasing is a destructive method, which means the deleted area of the image is gone forever and we cannot modify it later on. Whereas masking is a nondestructive method. This means the mask area of the image is still there, but it's not visible to us. So at any given time, we can come back and modify it. A layer mask is a grayscale cover zone. The area you paint in black are masked and hidden there concede. The area you paint in white are fully visible, they're revealed. The area you paint in shades of gray, they appear in various level of transparency. So we only use black, white or gray layer mask. And remember, black conceals, white reveals, and grace are semi-transparent. Now how to apply Layer Mask and how to conceal or Ruby. There are two methods for masking. Let's try the first method, add a layer mass to the entire layer, and then start defining the masking area and hide them away. So go to the lower part of the layer panel and click on this button. It is called Add Layer Mask. Layer Mask by default is set to reveal all. What does it mean? It means when you add a layer mass to the entire layer, it will appear as all white, meaning everything is revealed first. And you can see the whole mask is white. Then you would grab the brush with black color. I start to define the area that you want to hide. Every word that you paint in black will be masked, away, will be considered. Remember, black conceals. White reveals. Let's try the second method and make a selection first, and then add the layer mask. So we create the selection. And before I hit the Layer Mask, I want to grab your attention. Once I add the layer mask, selected part will be the white area or the area that is visible and everything else will be concealed and mass the way it makes sense, Photoshop things that the selected area is what you'd like to keep visible. That's why you selected. Now, what if you selected the opposite part? Meaning you selected an area that actually you want to mask and high. Then first, you should reverse your selection before hitting the mask. And how to reverse the selection to reverse a selected area or go to menu select inverse. Another way is to directly go to Menu Layer, Layer Mask, Hide Selection. So the default is to reveal the selected area and hide the rest. But here you are saying no, I prefer to hide the selection this time. Perfect. Now, which masking method is better? Depends on your project and your personal preferences. You could use either of those methods or even mix the two of them. Let's finish this video with a handy tip. At any point, if you notice that you must the wrong area, you can change the brush color to white and go over the area that you accidentally concealed and then bring it back and reread it again. Remember, black conceals and white reveals. Alright, I see you in the next video. 10. Perfect Selection in Photoshop: In this video, we will learn how to make a perfect selection in Adobe Photoshop. Photoshop offers ten different tools to create a selection and a variety of features to modify an adjusted that alone should picture the importance of the selection. Mastering the selection can really boost your workflow in Photoshop. But what is the selection? Selection is the area of an image that you define for manipulation of any kind. Election allows you to isolate one or some parts of the image for editing by selecting a specific area, you can edit and apply effects and filters to portion of the image while living on selected areas untouched. So making a perfect selection is a very basic skill for majority of editing work in Adobe Photoshop. Photoshop offers ten different selection tools in three groups. Click and hold on each group to open the nested tools and see the options. We've got four different more ketones, three different Lasso Tools, and three different tools. Let's start with the Super easy one, the Marquee Tools for more keys, option rectangle, ellipse, one pixel, one pixel column, select the Marquee Tool and drag over the area you want to select to have more control and more keys to start dragging. And as you drag, hold down the Shift key to constrain the more keys to a square or circle, or begin the dragging. And as you drag, hold down the Alt key on Windows or Option key on Mac to drag the more key from the center instead of the corner. You could also hold both keys to do the both functions. Alright, before going to the next group, Let's learn how to de-select. So make a selection first, then go to menu, select and de-select people. Chocolate for de-select is one of the most useful keyboard shortcut in Adobe Photoshop. It's Control D on PC or Command D on the Mac to deselect. Next scope is the Lasso Tools. There are three lasso options. Normal Lasso, polygon lasso, and magnetic lasso. Let's see what are the differences within normal Lasso tool you can drag to draw a freehand selection. I'm grabbing the Lasso tool and freely drag around to define the selected area to close the selection border just released the most. Next they have the Polygon Lasso Tool, which is useful for drawing straight edge segments by clicking. So select the polygon lasso tool and then click and click and click to draw a straight segments around your object to close the selected area, position your polygon lasso pointer near one of the points, and then you see a closed circle. Here's an extra pointer. Then click, alright, last Lasso tool is the Magnetic Lasso Tool, which is this model version of the normal Lasso photoshop, will be in charge of tracing instead of you with the Magnetic Lasso Tool selected, click the first point. Let your fingers go and hover the mouse around the area to move and try to stay as close as you can. Magnetic Lasso Tool. We'll do the rest for you. Once you make it round, press Enter on your keyboard, and then you have the perfect selection. In the last group, we have the wand tools. There are three options. The object selection tool, the Quick Selection Tool, and the magic wand. Let's start with the object selection. So grab the object selection tool up here in the option bar and make sure the object finder is enabled, is checked, and then hover over the object that you want to select and have a pulse. Then photoshop will automatically select the object and highlighted for you. This highlight is just a preview and you have to click to submit the selection. So I'm hovering my pointer over the sun and click to make the selection. Alright, next we have the Quick Selection Tool. You can use the Quick Selection tool to paint a selection using an adjustable round brush. Alright, last but not least, we have the magic one tool which is really amazing. So click and hold on bond group to open the nested tool and select the Magic Wand Tool. Magic Wand will select based on colors. So let's click this blue sky and ask Photoshop to select everything with this color. You see magic one tool. It's letting me to select the consistently colored area without having to trace the outline. So you're selecting every pixel that has the similar color. Magic wand is a very handy tool, especially when you're digitizing an artwork or you want to remove the paper background, most of the selection tool, especially the Magic Wand, can perform much better with a proper setting. Let's see what we have in the option bar. Some of the setting here are available for all the selection tools and some are just for certain tools. The first thing is the selection options, which works with all ten selection tools. We have four options selection here we'll add to subtract from an intersect with. By default this is set to the first option that is called knew. As soon as you change from the first option to the other tree, the pointer of your mouth will change depends on which option is activated. The first option that is the default one is called nu. So every time I select this, we overwrite the previous selection and create a new one. Let's select the second option, Add to look the pointer change. Now we have a little plus next to the pointer. So now every time I select, the new selection will be added to the previous ones. So I'm constantly adding to the older selection. Now let's try the third option. Subtract from again, the pointer change. This time we have a little minus here. Now every time I select, the new selection is subtracted from the previous one. I'm cutting constantly from the last selection area. Now how about the fourth option intersect B. Again, the pointer change this time we have a little x here. Now, every time I select, the final selection will be the intersected area of the two selection, the old bond and what I'm selecting right now. So we have the overlapping of the old selection and the current one as the final result. So we have new act to subtract four and intersect with next item on the Option bar is anti-alias. This will create a smooth edged selection for you. So let's try this with magic one tool, e.g. with anti-alias checked, I will select the black leaves here and mask it. Now, uncheck the anti-alias, select the black leaves and mask it again. You can clear see that this one is much smoother around the edges. Next, we have the sample size. This was only with the magic wand tool. And you want to always set this on the point sample to be as precise as possible. Next, in the option bar we have the contiguous. This one is really important in handy. When contiguous is checked, it only selects the same color that are connected to each other. If you uncheck this, it will search all over the image and select all the area with that color, even when they're not connected. Sometimes this is what we want and sometimes this is not. Next we have sample all layers that again, only works for the magic wand tool. This create a selection based on all visible layers instead of just the currently selected one. So if I select the black pixels with Magic Wand Tool, this would select every black pixel in all the visible layers. This tool has a potential of being a troublemaker and you've gotta be very careful with it. I personally always have this option off. Next, we have the tolerance, which is a super important setting for the Magic Wand. Tool. Tolerance determines the color range of selected pixels, lower value, select fewer colors and will only grab those pixels, have a very similar color to the pixel that you click them. A higher value, select a broader range of the colors. You can enter a value ranging from zero pixel to 255. Basically zero, select nothing and 255, we select everything in that layer. There is no fixed setting for tolerance depend on your project. You need to experiment and find the sweet spot for your current artwork. Now how to modify the selection? We can go to menu, select and modify. We can modify our selection in five different ways, border, smooth, expand, contract, and feather. So we're going to select these apples one by one. And then we're going to modify the selection using these options. And then we're going to paint over the resulted selected area so we can compare them at the end. Obviously, I'm going to keep the first apple on touched without any modification on for the second one, after selecting it, I go to menu, select, modify, and let's try border. Border, just create a border around the selection area. I never use this and let me know if you have any good use for this. I'm curious, but basically this is what it does. Isolate the next Apple and this one, I'm going to choose, Modify and smooth. Smooth. We'll refine the selected edges. It allows you to remove the jagged edges into smoother one, very useful for digitizing. For the next Apple, I'm going to modify and I'm going to hit Expand. Sometimes Magic Wand can be conservative and not get as close as we want the edges of the object. In this case, we can use the expand to push the whole selection by some pixel towards outwards. Okay, for the next APA, I'm going to select and go to menu select, modify. And this time I'm going to choose contract. It is opposite of expand. So if we pull the selection edges inward, this is handy when you select the object and want to make sure you didn't pick up some of the background and avoid those white outline around the drawing for the next Apple, go to select modify. And this time I'm going to choose feather. Feather will modify the edges of selection into a softer look, which makes the blend better. I think this looks really nice, especially when you are working with watercolor. Just the heads up don't mix up smooth and feather smooth, refines the jagged edges while further mixed, ages softer with adding some transparency. Okay, Perfect. Let's talk about the inverse selection. Sometimes it is easier to select the opposite part because it has a distinguished color or it's a smaller area, or you just simply made a mistake and you selected the opposite part of the image. In this case, we should first reverse our selection by going to menu, select an inverse. This is very useful for background removal when we are digitizing. Now let's see how to save our selection. I'm creating the selection and to save this, I'm going to menu select, save the selection. You can give it a name and next time that you needed, you can come back here, loaded here from the same place. Alright, let's wrap up this video with a very handy tip. Selection by itself is not a final command, is just appending the status. We can use any layer to just make our selection. And then we can go to completely different layer and apply the final command of the selected area in that new layer. Be careful. This has nothing to do with the visibility of the layer or which layer is on top or not. Alright, we are done with the selection. Let's head to the next video where we can finally start our class project. 11. File Preparation for Digitizing: In this video, we will prepare a Photoshop file for digitizing. We have learned the first step of digitizing, which was to scan. Next step is to remove the paper background. But first, we want to set up our file and open their scat. Here we are in Photoshop. Now we can go two ways. We can either create a brand new file with a specific settings or we can directly open this scan for digitizing an art work. I almost never create a new file, but instead, I prefer to directly open the master of scan that they fight. I'm going to open navigate to the master scan, ice-cream 200 PPI. You'll have this scan in your project resources. But if you wish to work on your own artwork, please go ahead and choose your own scan, then hit open. This way, Photoshop will open the canvas as big as the scan and will match the resolution of the file to the scan. Or the first thing I'm going to do is to save this as a Photoshop file. It is very important to save this as a separate file right away before doing anything on it. Otherwise, if we make any changes and hit the Save button, it will overwrite the master of scan. So go to Menu, File and Save As, and let's pick a name. Now the important thing is to go to the Save As Type menu and change the file format to PSB, large document format, which is a Photoshop file for big documents. Digitizing can get heavy. So we do these to be sure we wouldn't reach the two gigabyte limit of the normal Photoshop files. You can change this back at anytime. Now before jumping to the background removal, Let's prepare this Photoshop for it and stay organized. We start with a layer organization. If you can see the layer panel, go to menu, windows, and layer. First, I'm going to crop and remove the extra empty areas. So toolbar and the crop tool or use the shortcuts C to activate the crop tool and then drag it in and clean this up, nice and easy. Then I'm going to click on the lock icon here and unlock the layer and double-click on the name and rename it to master a scan. Now, duplicate the masters can layer by dragging it into this plus icon here, or using the keyboard shortcut of Control G on PC or Command J on Mac. And rename this to editing ways. We want to lock the masters can layer and hide it. This is our backup for the future references. We're not going to touch this at all. Now click on this plus icon here to create a brand new layer and name it dark background. Now, we want to fill this dark background layer with a dark color. So I hit the circle icon here. It is called create new fields and adjustment. Then choose Solid Color. Now, drag around and choose rather dark color. I prefer color that is different than my current art for palate because it is easier to navigate when we are masking. If you like to have the exact same color as mine, tied to hex code of 447447 here. Okay, next I'm going to duplicate the dark background layer by hitting Command J. Then double-click on the name and rename it to light background. And same as before, add a solid color. And this time I'm going to pick a very light color. I prefer the pure white hex code for white is six times F. By the way, white background comes really handy, especially when we want it to do color adjustment. Now, let's drag the editing base layer on top of these two backgrounds. Next, I'm going to duplicate the editing base. Then I'm going to rename it to selection. We're going to use this layer just to create a perfect selection. And then we're gonna get rid of it. We are not going to perform the selection here, alright, at this point, you should have five layers in this order, from top to bottom. Selection, editing, base, dark background, light background, and masters can now hit the group and create a new group and rename it to original backups. Now, drag this all the way down below everything and so forth. This master's can layer is the only backup that we have. So drag it and bring it on top of this group until you see a blue rectangle around it, and then release the mouse. Now the masters can is inside this group, makes the whole group invisible and lock it. You can click on this drop-down here to open and close the group and see what is inside of it. Alright, let's save the file. Go to Menu. File, Save. You don't need to use the Save As anymore. Just save or use the keyboard shortcut Control S on PC or Command S on Mac. I recommend you to memorize this safe keyboard shortcut and get the habit of saving your file really often are foil is prepared and now we are ready to remove the paper background. So I see you in the next video. 12. Remove the paper Background: In this video, we will learn how to remove the paper background like a pro. There are two different approach to remove parts of an image, such as the paper background. We could erase it or we could use the layer mask to hide IT. Professional and sustainable way is to use the non-destructive method and mask it. Here are the steps that we take to remove the paper background. Redefine the white select with Magic Wand, modify the selection, reverse it at the Layer Mask, modify the mask and applied. We will go through each step together. Step one is to redefine the white. What does it mean? Let's zoom in and have a good view of the background. You see we don't have a Pew flat, white background. This is a watercolor paper with a lot of texture. These gratia spots here, they represent the texture of the paper and will interrupt our selection. So if I grabbed a magic wand and select the white, it will not properly pick up all those gracious parts of the texture, even if I set this to add to selection. And then I start to click around to pick the grades and cover more. It never covers all those spots. How about increasing the tolerance? Then this would pick parts of the artwork as well. So what do we do? We redefine the white. So we want to get rid of all those gray spots, right? In this process, we are going to also mess up some of the artworks color, but remember we created this extra copy, the selection layer, just to do that. And our artwork is over here safe. We can smooth the paper texture by redefining the right. To do so, we need the adjustment panel. If yours is not showing go-to menu, windows adjustments, double-check that you're on the selection layer. Now from the adjustment panel, click on levels to add it to your selection layer. In levels, we have a black to white slider. This defines the black to white levels, meaning when this is at the far end of the very black, it means only a total black is black. If I slide this a little bit away, I'm telling Photoshop that okay. When something is this dark considered also black, this means Photoshop would take all of those dark brown, dark gray is anything that is dark, super dark. Photoshop would take them and we'll turn them all to pure black. So the general look of the art board will be darker. On the other side of the spectrum. This will redefine all of the off-white page, creamy part, and we'll turn them all to pure white. Okay, let's press Reset to redo this. And we also have three Eyedropper tools to do the same, but with sampling and exact color, these redefine the black levels, these redefine the levels of gray, and this one redefines the white levels. In this project, we want to redefine our paper. So let's select the white one at the bottom and zoom in a little bit. Now, every time I click, I'm telling Photoshop this part that I clicked on should also be considered as white. So let's click on this slightly gray area. The parts that are the paper texture and Photoshop will adjust the rest of these pixels that have the same gray color to white. Let's zoom to all and see what we did. I'm turning the adjustment layer on and off so you can see the difference. That is how we redefine the white. Before we use this layer to make the selection, you have to merge this effect with the adjustment layer is still selected. Hold Shift and select the selection layer. Now both of them are selected. Right-click and choose Merge Layers. Now rename this again to selection, to stay organized. Now that we redefined our white is going to be much easier for magic wand tool to select the whole background. So let's go to the step two and make a selection with the magic wand tool. Grab the magic one from the toolbar. It is nested under the Object Selection tool. Let's have a look at the option bar setting. Their sample size should be on point, sample, contiguous should be checked, and sample or layers should definitely not be checked. This should be empty. The tolerance has no fixed setting. We need to play around and find a sweet spot for this artwork. In most cases, I'm somewhere 10-30. So let's start with 20. Very important to make sure that you are still on the selection layer. Now, with the magic one activated, when I click on the white area, it picks up all the paper area. But as you see, it also picked a little bit of the artwork wherever the artwork was also super light, almost white to fix this, first de-select everything and let's go and reduce the tolerance. I'm going 20-15. So let's click again. And if Bala selection looks good to me, that means we don't need this selection layer anymore. You can just drag it into the pin. And as you see, the selection itself was independent of the layer and as the steel there, now turn the visibility of the editing base layer and click on it to make sure you are on this layer. Now, step three is to modify the selection. First modification is smooth. We want to refine the edges of the selection and make it smoother, turning these jaggedy edge into soft and smooth or rough to smooth the selection, go to menu, select, modify, and a smooth best is to smooth up small and go higher if needed. So I'm going with eight pixel and hit Okay, Well, it goes much better but still can be smoother. So I do another round again. Menu select, modify, smooth. This time I'm going with 20 pixels and hit Okay. Next modification is expand. We expand the selection because magic wand tool is a little bit conservative. So when it's selected the white, it didn't get as close as I run to the edges of the artwork. So we ask Photoshop to push the whole selection by some pixel and get closer to the art form. So we won't have those weird white outline around our drawing to expand the selection, go to menu, Select, Modify, Expand. Same as a smooth. I like to spend small and go higher if I needed to. Most of the time, 123 pixel is more than enough. I'm going with two pixel and hit Okay. Oh, that's great. We don't need more. Next modification is feather to further the selection, go to menu, Select, Modify, Feather bit further. You got to be extra careful. I wouldn't go more than half a pixel, otherwise you may lose the edges we hit. Okay? Next step is to reverse the selection. As you know, Layer Mask by default is set to reveal out, which means the selected part will be stay visible and everything else will be masked away. So we just made the perfect selection of the area that we don't want to keep. So let's quickly undo this masking. What do we do now is to ask Photoshop to reverse our selection. So go to menu, select an inverse. At this point we switched to having everything selected except the white area. Now next step is to add the layer mask. Now we can go ahead and finally add a layer mask on this selection and a Walla, right now, it looks much better than it actually is because there is no background. You can toggle the visibility of the background layer and check all the details. Now next step is to modify the layer mask itself and push it to the perfection. So let's modify the layer mask and remember, black conceals and white reveals. If your swatches are set on other colors, Click here to reset them into black and white, and then make sure that the black color is on top here. You can toggle between the black and white. I'm going to keep my colored background on. This would make it easier to see what should be done. Now the most important thing is to actually be on the mask itself. Careful. If you are on the layer itself, you will be painting black and white all over your artwork instead of masking it. So you'll want to click on the mask and be on the mask because we are modifying the mask, not the painting. So I am under mass. The black fill color is on top. And I'm going to go grab a brush, set the size to something a little bit bigger. Let's start to getting rid of all the unwanted parts. Like my name here, those color palettes that I sampled up here, and these brushes, strokes. Now I'm going to get to the details and clean up the ice cream one-by-one. So zoom into the first one and make the brush a small enough that is conveniently controllable. And then since I like to have soft edges, I'm also bringing the hardness down to 80 and start painting over the area that I want to get rid of them. At some point, you may notice that some parts of your drawing or mass, but they shouldn't have. So toggle to the white paint, and I start painting over it with white. Remember, black conceals and white reveals. Now that you see how it works with mouse for the sake of productivity, if you have one of those fancy drawing equipment, then grab your stylus and do this step using vacuum or Photoshop on your iPad. Other words, you're welcome to continue with the mouse. I'm going to swap to the iPad and continue there. So you can also see how it works there. So go to Menu File, Save As, and save this on your Creative Cloud. Then close the file here. It is very important to close the file here. Alright, so here I'm on the iPad. I found my file and I open it up. Now we want to continue and finish refining the mask here with the Apple Pencil. So in my layer panel, I'm going to the editing base layer. Then I'll swipe left to see the layer mask and stay on it. Then grabbing the brush, color black, size, something small, Let's say 50. And then opacity stays at 100%. But I'm going to bring the hardness down to 80, same as the desktop one. And let's go. It is better to stay small with the brush size and take it easy and every avoid, zoom out completely. Look at the full view. I'm going to speed up the video and go through every single part. You do the same with mouse or a stylus. Okay, now I'm happy with it. I prefer to go back to the desktop and do the rest there. So I exit here, go back and open this file in Adobe Photoshop on the desktop. The last step of background removal is to apply the layer mask. So far we just added the Layer Mask. Now we need to apply it because mask is an effect and can make the foil insanely heavy in order to apply the mask, go to the editing base layer. And here go to the Mask thumbnail and right-click. Pay attention. You shouldn't right-click on the layer thumbnail or on the gray area. They give you different menu. You got to right-click on the Mask thumbnail itself and then choose Apply Layer Mask. Don't forget to save the file. The shortcut is Control S on PC and Command S on Mac. Perfect. Remove the background and ICU in the next video. 13. V13 Erasing Pencil Marks: In this video, we will learn how to erase the pencil marks and fix all the mistakes that we made by drawing. I use these to Photoshop tools to do that. The spot healing brush tool and the patch tool. You can make these changes directly on the image or make them on a separate layer. Let's try the first tool, which is the spot healing brush tool. First, I want to create a new layer, rename it to spot healing and put it on top. Then grab the spot healing brush tool. It is this top one here. And make sure that up here in the option bar, it is set to the content. Ever. Activate sample all layers. Let's zoom into this ice-cream here and click on this tiny spot and see what happens. It magically disappeared. The content that we're allows Photoshop to analyze the image and recognize the irregular spots and then change it with the pixels around it. This was made to help photographers to heal the small skin spots like pimple or freckles. But I like to use it for digitizing and correcting my drawing mistakes. So you can just click on the spot or drag over a larger area to remove it. For tiny spots like ink splatters. Step-by-step clicking gives us smoother result compared to dragging around. But for pencil marks, dragging over it will do the job really nicely. Let's turn this on and off and see the before and after. As you see, this is a pretty powerful tool. Next tool I use is the patch tool. So again, first we create a new layer, rename it to the patch tool, bring it all the way on top. Grab the patch tool and make sure that up here it is on the content. Ever activate sample all layers. This time, I'm going to zoom into this ice-cream. And let's say e.g. this spot here was a mistake and I want to remove it. This is too big to use. The Spot Healing Brush is not a spot, it's an area and we have to patch it to patch. First, grab the Patch Tool, then drag to make a selection like how you would select with the lasso tool. Another way would be to first use any of the selection tools, make the selection, and then grab the patch tool. As soon as you hover over the selected area, the mouse icon, we have an extra arrow. This is Photoshop asking you to show in which direction to sample for patching. Let's see if I go right, I will sample all these problematic area on the right. Same is if I go down, I want this to look something like the area on the left side or on the top part. So I drag up. And as soon as I release the mouse, photoshop will patch the selected area for me to look similar to this top part. Now let's turn this on and off and see the before and after. Also very cool tool, right? I have two tips for you when creating a selection for patching. First tip is to avoid making sharp edge selection one, like more keys tool or polygon lasso tool, prefer to create more organic looking selection. The second tip is to not go wildly around the area, but instead make it very nice and tight selection around the part that you actually want to change. So we use separate layers to fixing all these mistakes. But now that they are happy with the result, there is no need to keep them separately. So let's stay organized. I'm going to hold Shift, select these two layers and the ice cream layer, and then right-click and say merge layers. Don't forget to save. The shortcut was Control, S&P C and Command S on Mac. I hope you enjoyed this little bonus video and I'll see you in the next one. 14. Divide the Artwork into Individual Layers 1: In this video, we learn how to divide the artwork into individual layers. First, let's have a backup of this by hitting Command J, then rename it to all transparent and then toss it into the original backup group. So I use the lasso tool and cut and paste technique. So grab the Lasso tool of your choice. My favorite is always the Polygon Lasso Tool. I'm simply clicking around the first ice cream to make the selection. Don't worry about selecting too much. A transparent area has no pixels. You cannot select the void. We have the selection. Now, we are going to cut this part out. To do that, go to menu, Edit, Cut, or use the keyboard shortcut of Control X on PC or Command X on Mac. Then we are going to paste this part in the exact same place but into a new layer. To do that, you don't need to make a new layer. Just go to Menu, edit, paste the special, and then choose Paste in place. When you hit Paste in Place, photoshop will create a new layer and paste a selected area in the exact same position that it was located when you were copying or cutting it. As you see, the bounding box is tight around the ice cream and you didn't select any of the transparent pixels. To select the next, go back to the editing base layer, then select the ice cream, cut it, and then paste in place. If there is enough room between the motifs, you could even grab the Marquee tool to make the selection. To select the next, go back to the editing base layer, Cut, Paste in Place, and do the same thing for the other ice cream. Okay, great. Now we have four ice-cream in four separate layers. Let's just say organized and rename them. Let's say soft ice cream, Magnum waffle cone, and perhaps ice in bold. Great. Don't forget to save. The shortcut is Control S on PC and Command S on Mac. Alright, now that we layered up, we can move on to the next step of digitizing the color enhancement. I see you in the next video then. 15. Color Enhancement: In this video, we will learn how to enhance the colors and take the artwork into the next level. If you're happy with the colors of your art for, of course, you can skip this step, but based on my experience, scanning always reduces the saturation and makes the image to look less vibrant or even a bit dull. So let's get into it. First thing we want to do is to turn our white background on to have a better view of the changes. We need the adjustment panel if yours is not showing, go to the menu windows and adjustment. When we add any kind of adjustment layer, the changes that we make will be applied only and only on the layer that is directly underneath the adjustment layer. Here we want to change all four ice-cream and we want to make sure that the background layer stays white and untouched. First, select all four ice-cream and then hit the Group icon here. Now, with the group selected, if I add any type of adjustment, it will be clipped and apply to the whole group. Perfect, Let's undo this now. What kind of adjustment should be made to enhance the color of our artwork? What I always do on top of my to-do list is to boost up the saturation, darken the mid tones, and balance the colors. First enhancement is to boost up the general saturation. So going to adjustment panel and click on this hue saturation layer to add it to the image. By the way, saturation value refers to the purity and intensity of the hue. So I will just increase the saturation until it looks similar to my original painting. I have the painting here around and I'm using it as a reference. You could either move the slider or directly type in the value. In this example, 20 is where I would stop. Let's turn this layer on and off and see the before and after. Nice. Next enhancement is to darken the mid-tones. Pay attention. In the hue saturation panel. I only use the saturation and sometimes the heel, but I almost never touched a lighter slider here. Why? Because this actually changes the light intensity of the image. Whenever I need to change the darkness of the image, I don't use this, but I use the level adjustment instead. So let's go to the adjustment panel and add a level adjustment layer. On level panel, we are changing the intensity of black and white. So instead of changing the light intensity there, I changed the black and white levels. Here. In levels, we can change the intensity of black and white in three different levels. The highlights, the shadows, the mid tones. This is why it's called a level adjustment layer. In most cases, I would not touch the highlights or the shadows. What I would do is to make them mid-tones darker. So we want this number from the default, that is one to be slightly lower value somewhere around 0.8. We can do this in three ways, using the preset menu and choose midtone darker. This brings it down to 0.75. Or we could do the same by dragging the handles or by typing in the exact value. I'm going to stick with 0.8 for this project. Let's turn this layer on and off and see the before and after. Oh yeah, that was much needed. Next enhancement is the color balance. I would again go to the adjustment panel and this time I add a color balance adjustment layer. Pay attention. This is not changing the hue, but shifting the balance to enhance the colors for this artwork, since the main color is blue, I don't mind to charging up my blue's a little bit. So I'm going to be 50. Not all the blue colors are stronger. Let's turn this on and off and see the before and after. This is just perfect. Let's turn all the three changes off and check the steps that we made. Here is how it looked before any changes. First we increase the saturation, then we made the midtones darker. And finally we charged the blue colors. Let's stay organized. I'm going to select these three adjustment layer and group them. I'm renaming these two basic enhancement. Okay, now it's the show time. If I turn this group on and off, we can see the before and after of all the enhancements at once. That's why we all love Photoshop. I mean, look at this. It took my art for truly to the next level. I hope you are as excited with your enhancement result as I am with mine. And don't forget to save. The shortcut is Control on PC and Command S on Mac. We're not quite done with the colors yet. Their situation in which enhancing the colors is not enough. And we need to actually change the hue and have some color variety. I see you in the next video when we learn how to change the hue. Ceo. 16. Color Variation: In this bonus video, we will learn some additional steps on how to change the heel and create color variations. Again, we need that Trustman panels. Let's make a new group first, rename it to blue channel. We want to add the new Adjustment levels inside of this group to make sure it will impact all the groups underneath it. If I add an adjustment layer freely without putting it inside this group, it will be clipped to the only layer that is directly underneath it. So we are going to be careful about it and make sure that we add adjustment layer inside this group, we are doing step-by-step changes here and we want to keep the orders right? So pay attention. We want the basic enhancement that we did in the last video to be always directly on top of the ice creams. We can even lock it to make sure we don't mess it up. So we have the ice cream, the basic enhancement, and the blue channel. We are building up layer on top of each other and we want to keep the order correctly. Now I am on the blue channel group and I start with adding a hue saturation layer. I personally don't like messing with this slider and clown changing the hue of the whole image. Most of the time that is not going to give us what we want. I much rather to change the hue per channel. Let's say we want all the blue part to look greenish. So instead of master, I will go to my blue channel and then move the slider till I get what I want. Then I'm going to rename this to green to stay organized. Now let's duplicate this, rename it to purple and turn the green one off. So green is off a mistake and the purple layer, and again, I go to the blue channel and move the hue slider until I get in really nice purple. Okay, We already have three color variation. The original blue, the green one, and the purple. You can go on and create as many as you want. You can also change the other channels if you like, make sure only one of them at time is. On. Other words, they blend together and create a mixed color that could be not what you choose. These are single choices, so only one of them can be on at the same time. Otherwise, we have a mixed view. Now, what if we want to make adjustments on one of the ice creams and not the rest. That is why we divided our artwork into different layers to be able to enhance individually, right? We can go inside ice-cream group, select our ice cream and hit the Group icon. Make sure that ice cream is inside the group and rename the group to stay organized. I'm going to go ahead and put each ice cream inside its own group. Now with one specific ice cream selected. If I create any kind of adjustment layer, it will be clipped to data specific ice cream. This way, any changes will be only applied on that one. Now, what if we want to make adjustment on only some parts of an ice cream? So let's first turn off all the other ice cream. We don't get distracted, you can, of course, leave them on. So I'm going to first choose my ice cream and actually stand on it. And then I'm going to make a selection on the parts that I want to change. Grabbed the Quick Selection Tool and click on, let's say this melted chocolate part. Now with that part selected, I would add a hue saturation adjustment layer. And as you see, the beat in layer mask of the adjustment layer is limiting the changes only to the selected area. Okay, cool. So we have some general changes, like the basic enhancements and color variations. And also we have some of the ice cream that they have their own private options as well. Very fancy. Don't forget to save. The shortcut is Control on PC and Command S on Mac. This was creating color variation by changing the hue. And I see you in the next video. 17. Digitizing Sketches & Doodles: In this video, we will learn how to digitize a black and white sketch doodle or lettering while retaining the character of the hand-drawn lines. Let's go to the Menu File, Open and open the sketch file from the class resources. This will open it in the new tab. In colored artwork we had white versus tons of other colors. But here we have white versus black. So instead of messing around with the paper texture, redefining the white and all that. I'm going to directly select the black parts, easy peasy. To do that, I will make a selection with a magic wand tool. With the Magic Wand selected, let's go to the option bar. The sample size should be on point, sample, contiguous should not be checked. So it should be free. Sample or layers should definitely be unchecked. And as always, tolerance has no fixed setting. We need to play around and find the sweet spot for the current artwork. So let's start with 30 now with Magic Wand activated when I click on the black part. In most cases, this is already perfect. If not, you can go to menu, select, modify, and make some adjustments. I don't use further or smooth for sketches. This will kill the character of the lines, but we can contract if there is a gap between the selection and the sketch bar, or we can expand if the selection is too close to the sketch. In my case, selection looks pretty neat, so I will leave it be, the selection is perfect. Go ahead and hit the Layer Mask and wallah. Let's add a background so we can see better and check if we need to work on the mask or not. Create new fill or adjustment, and then choose Solid Color. I'll drag around and choose a rather nice light color. Okay, let's modify the mask. In order to edit the mask. As you know, most important thing is to actually be on the mask terminate on the layer. I'm not on the art for, but I'm directly on the mask Tom name itself. And remember, black conceals and white reveals. To conceal, black should be on top. I grabbed the brush, fix the size and gently conceal these lines and the rest looks alright To me. There next step is to apply the layer mask. As always, once we're happy with the result, there is no need to keep the heavy mass. We go to the mask Tom nail, right-click and choose Apply Layer Mask. Now let's say I'm not happy with these to be so black. And I want to change the color of this sketch part into something that would match better to the rest of the artwork. To do that, you need to select everything in the layer by holding Control on PC or Command on Mac and clicking on the layer thumbnail. Now we selected every object inside the layer. Pay attention when you just simply click on the layer itself, it selects the whole layer. But when you hold Control or Command and then click on the layer, you don't select the layer per se, but all the pixels that are inside it, okay, with everything selected, let's go ahead and add a solid color and then mess around until we find a nice color. We still want to stay in the dark side after adding a color I like to also lowered opacity a little bit so the texture of the lines can come true. If you change your mind, you can double-click on the swatch and really play around until you settle on a color that you are happy with right now, the new color is just an overlay effect on a separate layer. We should select them both, right-click and choose Merge Layer to have the final result. Alright, let's rename this to sketch all. And now I want to copy this and the background layer and migrate them to our main art for tab. I select them both by holding Shift, then I copy them, I go into menu Edit Copy. You can also use a shortcut. And then I go to the main tab with ice cream artworks. And here I'm going to menu, Edit and Paste. To stay organized, Let's create a new group, rename it to sketch or doodle, and then put this two layer inside of this folder. Now we can go ahead and close the other tab. We don't need it anymore. Alright, I'm back here. The reason I wanted to bring the background as well is because it makes it easier to see. Otherwise, we would see on the ice creams underneath it and it would be harder to work with. Now, let's divide each part into individual layers. Make sure you are on the sketch layer, and then grab the Marquee Tool and select apart, then hit Control X on PC or Command X on Mac to cut it and then go to the menu, Edit, Paste, Special Paste in Place. Photoshop will create a new layer and paste a selected area in the exact same position when you cut it. Let's rename this again. Go back to the sketch layer, select Cut, Paste in Place and rename. So back to the sketch layer, select Cut Paste in Place and renamed, do this with every piece and rename as you go to stay organized. Now I'm going to turn them all off, including the background. Now I'm going to turn them one-by-one on and place them where they actually should be. I start with, all you need is ice cream. Turn it on, then I activate the transform by hitting Control T on PC or Command T on Mac. Now I can move it, resize it, rotate it until I have it in a really nice position. Let's do the same with the next thing. So turn the layer on. It's Control T on PC or Command T on Mac to activate the transform. Move around, place it in a nice position, and go on. You really don't have to bring all of the motifs are placed them in exact place that I do. I made some extra elements so you can choose what you like and add them wherever you want. Be creative. There is no. Alright, now let's turn this group on an off to see it before and after of the sketches. Nice. Don't forget to save the shortcut is Control S&P C and Command S on Mac. Alright, we will have another bonus video to learn how to add some texture overlay. I see you in the next video. 18. Texture Overlay: In this bonus video, we will learn how to add overlay texture using an image. You can either use the metallic texture image that I provided in your class resources or use any other image with texture. You don't have to use metallic image. You can also use other kinds of texture like concrete, marble, rude, anything. Let's first bring in the texture. So go to Menu, File, Place Embedded, navigate to the image and bring in this gold image and make sure this one is on top of everything. We want to select the part that we want to be cold, then mask the rest. So let's turn this off for the moment so we can see what we're selecting. I want this. All you need is ice cream letters to be gold, we are going to hold Control or Command and then click on the motifs layer, create a selection and then modify the selection if needed. There's always nice to feather the edges of the selection when you are adding metallic texture. To further the selection, go to menu, Select, Modify, Feather. I'm going to go with two pixel and hit Okay, now we have the selection. I'm going to go ahead and hit the Layer Mask. Now let's say that my intention was to only have the ice cream part and not the rest. How to fix this? Remember, black conceals and white reveals. So let's go on the layer mask thumbnail. So you don't want to be on the gold but on the Mask thumbnail and then grab the brush, the color black on top. Now, everywhere that I paint in black will be concealed and mask away. Perfect. Now what if we changed our mind and we decided that we want to bring some of them back. First, we want to hold control and select a layer. And then we want to toggle the color of the brush from black to white. Remember, black conceals and white reveals. Now I'm going with my brush and reveal the gold texture in every place that I want. Okay, nice. Now what if you also want to make a part of the ice cream itself gold? So let's say for some unknown reason, I want to make this chocolate part gold. Same as before. We go to the layer itself, but this time to the ice cream layer. And then I'm going to select the area with grabbing the Quick Selection Tool and then simply select it and go back to the mask thumbnail of the gold texture. And I want to reveal the gold using the brush or the paint bucket tool. This looks terrible by the way. So I'm going to undo it by flipping the black and hide it. Let's have Control D on PC or Command D on Mac to deselect this and now go around and select whatever you want and add it to the gold mask. Pay attention whether you want to conceal or reveal. First of all, you have to hold Control or Command. Click on the layer to make sure you are selecting all the pixels in that layer. And only then you can grab your brush and concealed with black or reveal with white. So this is what I ended up with. Now, what if we decided that we don't like this gold and we want this to be another texture. Do we have to do all those masking steps? Again? Absolutely not. First, you go to Menu, File, place Embedded and being in another texture, this time on bringing the silver one. Now go to the mask Tom nail, right-click and say add the mask to selection. So now this has all those cold area selected for us. Now that we have our selection, let's go back to the silver layer and hit the layer mask. And there we go. Nice and neat. Now, let's say you prefer to have a solid color on those selected area, instead of having these metallic textures, again, go on the Mask thumbnail, right-click and choose, Add Mask to selection. Then come over here and add a solid color. Choose whatever you like and hit Okay, So instead of the metallic texture, now we have a color. Now let's duplicate this layer by dragging it to the plus icon. Now, double-click on the swatch part and choose a whole new color. Now you can also mix colors and textures together, like lending them, Let's say I want to have this red bond and the silver on both on and turn the others off. Now reduce the opacity of this red layer to let it go pass through the silver texture. Now we know that having a semitransparent red color over a silver texture will give us a rose gold. You may create as many textures as you like once you're happy with the result, don't forget to go on the Mask thumbnail, right-click and apply the layer mask because those textures are very heavy as always, to stay organized, I'm going to create a new group, renaming these two texture and then bringing all of them inside this folder and rename it as I go, I'm even putting the red and a copy of the silver one into their own subgroup and rename them to Roscoe. Show time, let's turn everything off and see the before and after one-by-one. So this is before any texture. Then we have the gold, then we have the silver, then we have the green. And finally we have the rose gold, that was a mixture of the silver and it transparent red. Alright, don't forget to save. The shortcut is Control S on a PC or Command S on Mac, that was adding texture overlay. And I see you in the next video. 19. Layouts File: In this video, we will learn how to create a file for all the layers that we need. First thing first, we want to go to Menu phi and create a new file. I'm going to set the file name on layouts phi. And as for size, I want to pick Size A4. So from the print templates here, I'm going to look for A4 at 300 ppi. A4 is equivalent of 210 by 297 mm, or approximately eight by 12 " or 24, 80 by 3508 pixels. I preferred to stay by pixels here. My original scan was A4 and ICE candidate at 600 DPI. I want to double the resolution so it can match the resolution of the original scan. Change these to 600. I'm going to flip this horizontally and you want to make sure that the art board is check this is very important. Background doesn't matter, but I always like to keep it as transparent. Let's create the file. Don't forget to save this as a Photoshop file somewhere in your computer. Now let's build a layered file together. We do this by creating artboards. At the moment we just have one artboard. As always, it is very important to stay organized. So I'm going to the layer panel, double-click on the name of the art board, and rename these to all PNG. Now let's create a new art board. There are two ways to make a new art board. You can go to toolbar, click and hold on the Move Tool to open the nested tools, and then choose artboard tool. Now you can drag to create a new art board. Now, let's undo this and try the other methods. Another way to create a new art board is to activate the art board tool. And then simply press on one of these four plus icon on the side of your art board. This is Photoshop asking you in which direction you want to have your new art board. I'm going to click on the top one. And this will create a new art board with the exact same size as the previous one right above it. Now again, I'm going to layer panel, double-click on the name of the artboard and rename these to pay per display. Now I'm going to need a background, so let's add a solid color as background inside this artboard. Pay attention with the Artboard tool activated. You could go to Option bar and change the color of whole art board up here as it temporarily solution to have a preview of the art board. This is not a bad idea, but to use it as a background, I much rather to add a solid color because this way I can turn the layer on and off and have Boss background and transparent version. And I can easily duplicate these, double-click on the swatch and have variety of different backgrounds. Alright, so far we have two artboards with the exact same size. One is called all PNG and has nothing inside of it. And the second one is called Paper display, and inside of it as a solid background color of your choice, mine is white. Now we need to create another artboard. If you don't like to go to the toolbar and activate the art board over there. You could also do it by clicking on the artboard name on the Canvas. Pay attention, not the art board itself, but the name of the artboard here. And this would also activate the art board tool. And then you can click on the plus icon to create a new art board. As you know, this would create a new art board with the exact same size as the previous one. But it doesn't bring the property that we created like the background layer. I mean, we want to have that background layer on the new output as well. And we don't want to make it all the time again and again. Let's undo this first. Now, instead of creating a brand new art board, I will go to the layer panel and duplicate this art board by dragging it to the plus icon or using the keyboard shortcut of Control G on PC or Command J on Mac. Now, this way we also are duplicating the property of the art board, which in this case was this solid color background. Let's double-click on the name of the artboard in the layer panel and rename it to Skillshare dash cover. Now I'm going on the canvas, clicking on the name of the artboard to activate the art board tool. I'm going to resize this art board. So up here in the option bar, I'm going to the width, and I'm going to change this to 690 pixels. And then I'm going to the height, and I'm going to change this to 380 pixels. Then hit Enter on your keyboard to submit a change. This is the size that you need for the cover of your Skillshare project. I'm going to hit Control J on a PC or Command D on Mac to duplicate this artboard, this time, I want to change the size in a way that the width is 10,000 pixels and the height is 690 pixels. Then from the layer panel, double-click on the name of the artboard and rename me the Skillshare class project. Now I'm going to duplicate this again and change the size this time to 1080 by 1080 pixels. Hit Enter to submit and rename this art board to Instagram. Okay, perfect. Let's stay organized and close all the artboards so we don't see what is inside of them and we only see the title of the group. Now we have the main art boards that we need. So we have all PNG, paper display, Skillshare cover, Skillshare class project, and Instagram. If you'd like, you can go ahead and add some additional artboard for Dribble, Behance, Facebook, your portfolio website, anything. You could also drag and move this art board, changed the position of them. Okay, great. Don't forget to save the shortcut was controllers on PC and Command S on Mac. Alright, next we want to add our logo or signature on the paper display art board. I'm going to File place Embedded and place in my logo, monogram, signature, whatever you want. And up here I hit Okay, then I adjust the place and put it in a corner, wants the artwork is here. You can move this around until it looks good next to your drawing. If you don't have a logo, you can also use the text tool here and add your name as a watermark. Alright, now what if we want to have this signature also in some other art board? You need to go to the layer, meaning staying on it's selecting it, copy it, go to another art board, and then paste it there. Then you need to use the Control T on PC or Command D on Mac to activate the transform tool, resize it, change the position, and put it in a way that it fits nicely to that specific art board. Now let's add the paper texture inside the paper display art board. I know we went through a lot of trouble to remove the paper background and have the transparent version of the art. But a C sometimes we need to display a mock-up and show how this artwork will look like after it has been printed on paper. Alright, going on the paper display, art board, open the group, go to the File, place Embedded and then place in this paper texture that I gave you as a class resources, you can also bring in some other paper texture of your choice up here, hit OK, and make sure this paper texture is on top of the background and your signature. Now I'm going to double-click on the background swatch. And for the moment, I want to temporarily change the background color so you can see better. Otherwise it will be really hard to see these changes over, right? So right now this paper texture is on top of everything and it's covering everything. Now go ahead to the paper texture layer. And then up here where it says normal, change the blending mode from normal to multiply. This way, the texture would pass through all the layers that are below it. If you look closely at our blue background, it feels like as if this is a blue paper with all the texture. If you prefer your logo not be influenced by the paper texture, you can go ahead and bring it all of it on top. Now it's time to stay organized, make sure everything is closed, and don't forget to save. The shortcut is Control on PC and Command S on Mac. Alright, now that we built an empire here, before going ahead and bringing the artwork here, I would like to encourage you to save a copy of this file somewhere on your computer as a template for future Photoshop project. So you would skip all these steps for the next project. So go to Menu File, Save a Copy, and I would name this layout template. I'm also sharing this very template with you. So if you're lazy to make it, you can go ahead and use mine. Okay, perfect fee. Create a layered file. And now we can bring in our artwork, finalize it and export it. Alright, I see you in the next video. 20. Art Placement & Export: In this video, we will learn how to finalize the artwork and export it. As a start, I like to keep the old PNG art board on and turn all the rest of so for the moment they are out of my way. I also like to keep all pinch under everything all the way down. Now it's time to head back to the master edit phi and make sure all the layers are unlocked and visible. And then hold Shift on your keyboard, click and select all the layers except the solid background colors and the original backup folder. We don't need those. Then hit Copy and then go back to the layout file, stay on all PNG art board and then hit Paste. And here we go. Now, if you open your art board, they are all here with all of them still selected. Hit Group. Honestly, this is a very important step here. If you don't group them right away, you will have a very confusing and messy layer panel later on. So now we have one group that contains all the artwork with all its layer enhancement colors and everything. And this group is inside of the art board that is called all PNG. Now we can safely close the master edit file for the future references. Very well. Back to the layout Phi. Now you don't have to do this, but I'm going to change the color of the art board to white to make it easier for you to see what I'm doing. I'm just doing this to make the video more visible for you in any way, I will change this back to transparent when I'm done, we already have multiple version of this artwork inside this group and we want to choose some options. So let's stay on the group and duplicate it. I'm using the keyboard shortcut of Control G on PC and Command J on Mac, hit the shortcut a couple of times until we have, let's say six of them. Now we want to turn each of these into different version. You don't have to do the same thing that I do. You can create your own combination. A handy tip here is to have a more clear view. Start from bottom to top. So I'm going to turn all the layers off and only keep the button von on. Okay, let's open the group for this first group, I want to have no texture and no sketch. And I wanted to be on the green channel. Like that. I'm happy with the first group, so I don't need to keep all the layers and effects anymore. So I'm going to merge them just to make sure you wouldn't merge the wrong layers. Close the group, and then stay on the whole group. And then right-click and say Merge Group and then rename it to all green nodes. Sketch, perfect. Now we turn all those madness of layers and effects into one single image with transparent background. Now turn it off so it is out of the way. And then turn the next group on this. And I want to be on the blue channel and I want to have the sketch on, but I don't want any texture. So just like this, now I'm happy with the group. Again, close the group, stay under group and right-click and say Merge Group, rename it to all blue brown. Sketch, turn it off and go to the next one. For the third group, I want to be under purple channel, but I also want to have the sketches, but this summer I also want to have gold texture. Just go to the layers and find the options that you like. Turn them on and turn the rest off. Now close the group, right-click, merge the group and rename it. This time I'm going to say all purple, good, sketch. Now turn this off, so it's out of the way. Now let's turn to next group on this. And I wanted to be on the purple channel, but I don't want to have any texture or a sketch. Alright, now I'm happy with the group. Again, choose the group, right-click, merge the group and rename it. I'm going to say all purple nor sketch. Now turn this off. So it's era of the way. Let's turn the next one on. This time, I want to have some individual ice cream. So choose the ice cream that I want to keep and turn the rest of. And then I'm going to choose the color that I want to have. And once I'm happy, I'm going to close the group, right-click and say Merge Group, rename it. And this, I'm going to call it ice cream in bold purple, the last layer is my backup. So this one will have all the layers inside in case I just changed my mind. So I can at anytime Come here, duplicate it, create whole new version, and move on. Okay, great. Let's turn them all on. All the variety that I needed. Now let's click on the name of the artboard, activate the art board tool, and then go up here and change the color of the artboard into transparent again. Okay, great. First thing we want to do is to export each of these as a transparent PNG. Very, very important. So open, they're all PNG art board. Select everything and with everything selected, right-click and choose Export As now makes sure everything here is selected, choose PNG, transparent background. And then we're going to go for it Now since we've already named or layer properly, this will export all these PNGs with the exact same name and give us a very nice and organized Export. Now we're going to have a quick technical talk and I'm going to ask you to pay very close attention because this is extremely important. At this point, many artists would distort, mess up the resolution that they've worked so hard on it by resizing. Now here we have live pixels. If instead of saving as PNG, I will just try to resize the artwork here. I'm going to actually mess up the original pixels. Let me show you an example. Duplicate this ice-cream and the left one will be entourage, and I'm going to mess around with the right one. So make it a smaller submit. You may not see, but right now we actually lost a lot of pixels. Now I'm going to make it bigger again and submit again, you may not see, but Photoshop had to create some new pixels for us to make up for this size. And this process is called resampling. Now, if I zoom in and compare these two together, you will see that this one is a little bit blurry, so we don't want any resampling or changes of the resolution here, otherwise we will lose the quality of our artwork. What we wanted to do is to first export each of these as transparent PNG like we did before. And then bring those PNG file here and then create the different layout using those PNGs. Now let's place in the first PNG, that ice cream bond and compare it. Now, if I do the same, make this a smaller, and then make it bigger again and zoom in, you would see what happened. It stayed sharp because it's not a live pixel, it's a PNG. If you scale a PNG down and then bring it back up, it will stay sharp. But if you do the same with a life pixels here, it will get a little bit blurry and not look exactly the same as the original one. Because in the process of making the smaller scaling it down Photoshop would get rid of some of the pixels. And then in the process of scaling it back up Photoshop with resample and create new pixels. As amazing as resampling is, still, it will never compete with the original version. So be aware of that. Alright, now it's time to bring in our PNG images and place them into their proper art board. At this point, you can simply turn that all PNG art board off. So it is out of our way and turn on all the other artboards. So let's start with the paper display art board. Let's open the group. I'm going to find the background layer. Stay on it. Go to menu place, Place Embedded. This, I'm going to bring all blue brown sketches and say, Okay, this way it will come directly on top of the background. Otherwise you could drag it and make sure that it is on top of the background and below the paper texture. Okay, great. In last video, when we set up this template, we change the blending mode of this paper texture into multiply. And that's why when you zoom in, it feels like this has been drawn on a paper. Next, I want to go to the Skillshare cover art board and place in the next PNG and then hit Okay, good. You could also change the background color if you wish. Next, I want to go to Skillshare class project art board. And then I'm going to the menu place, Place Embedded, select the image. Now resides if you want, and make sure your signature is on top and the solid background is beneath. Next, I wanted to go to the Instagram art board and place in the single ice cream. Resize. Change your background color if you wish, and done a to be organized, close all the groups. You can go and create as many layers as you wish. But I'm going to stop here and export them as JPEG. To export, you can either select the art boards here from the layer panel, then right-click and choose Export As or just go to the Menu File, Export, Export As. I want to make sure all the layers that I want to save or check. The format is JPEG and the quality is all the way up. And then I want to hit Export. This is the magic of working with the art boards. You can save once and everything will be exported accordingly with the names and everything. Don't forget to save the Photoshop file as well. The shortcut was controllers on PC and Command S on Mac. Now you can already share your projects on Skillshare that was layered making an export for delivery and ICU. In the next video. 21. Final Thought Digitize: Congratulations for finishing the class and thank you so much for your time and engagement here. To celebrate your awesomeness, I'm going to give us a one year of Skillshare membership to one of my students. It means I will pay for one year of Skillshare membership of the winner. Even if you already have a paid membership, you're eligible to participate to enter the giveaway, all you need to do is to share your class project here on Skillshare or post your class project on Instagram. And tag me at Zoho MSR, you can do both to double your chance of winning. The winner will be picked randomly and announced on Instagram. And here on this picture, if you liked this class, you can go to my profile here on Skillshare and follow me to get notification as soon as I launched my next class. And for those of you who don't want to miss any of the important things. You can follow me on Instagram, YouTube at soho, MSR, or sign up for my monthly newsletter through my website. Design. Don't forget your assignment for this class is to remove the paper background, enhance the colors, and share your work here on Skillshare. I can wait to see your class project, please do share them here on Project and Resources tab, I will go through every single project and give you my feedback. I will be more than happy to answer any question that you have about digitizing. Please go to the discussion tab here, start a new conversation and post your question. Also, it would be very lovely if you could give me feedback on skill share so other students can find my class easier. I would truly appreciate that. To give feedback or write a review, please go to the Review tab and let me know what you think of this class. This was how to digitize and artwork with Adobe Photoshop from paper to screen. I hope you had fun and this graph could help you to sharpen your skills or learn new wants. Thank you so much for joining this class. And I see you in the next line of fit as an