Introduction to Photoshop || Book Cover Design

1. Course Introduction: and welcome to entered a photo shop. Have you ever been interested in learning photo shop but weren't quite sure where to start ? Or have you used to in a shop It feel like you need a little bit of a brush up. This class is perfect for beginners and the like to give you a sampling of what Photoshopped conducive for you and your design work as well as your photos. And it's well, give you a little bit of a brush up and maybe learned a few new techniques to put in your design arsenal. In this class, we're going to be designing a book cover and you're going to learn a lot of the tools and a lot of new techniques, and we're gonna see how all of them could work in one final product. Can't wait for you to take the class and see what you dio have fun 2. Supplies: all right, supplies for the class. What you're going to need is a computer and access to photo shop. I have provided you a template. If you didn't wish to create a new document for your book cover as well. There are two files that are of hands to for you to choose from or you can use both. It's up to you. I just wanted to do a quick note on the actual book cover itself. When we think of book covers, this is actually what we think of the front part. But what we're also going to design is this fine and the back. So what you're actually designing is this back up her spine and front, so it might seem a little counterintuitive, But whenever you're actually laying out your file, you're gonna probably want to put your front cover immediately on the left hand side of the page. That's actually incorrect. So its back cover spine front cover. So if you forget, I will repeat it again later when I have the project demo. But just keep that in mind the whole time while you're working. So if you are sketching, you could be sketching those some nails properly. All right, let's go ahead and get started 3. Document Set up and Workspace Customization: All right, let's go ahead and jump into Photoshopped. We're going Teoh ultimately be making a book cover of a classics using one of my files as a basis to jump off of. But before we get into that, let's go ahead and familiarize yourself with photo shop. If you've used it before, consider this a nice brush up. And if you haven't welcome aboard to photo shop. Um, I am a quick user, so when I use them, I will let you know. But for the first little bits, let's just go ahead and go to the menus. We need a new document. So let's goto file and new. If you are on a Mac, that is command. And if you're on a PC any time I say command, just insert the control because it's going to be doing the same thing. All right, so here's our documents. Mine has already set up two inches. You can change the pixel centimeters, millimeters points, Pikus columns, Whatever your preference on unit of measurement of working is, if you're going to print this, which this is going to be considered a print project, I'm gonna change this to see em one okay, and I'm going to keep my background as White says, a little bit easier from right to see. Right now, we have kind of a weird size. Let's just go ahead and get 10 by 10 for our Dumbo. Um, but if you look under here, we have all sorts of defaults. Actually, let's just pop in US paper. We have letter legal tabloid, International Paper. These are eighties, Arby's in our seas. Photo sizes Landscapes four by 65 by 78 by 10 Oops, and my mouse is kind of weird. And then we have all of our Web. It's Web with multiple screen sizes are mobile app designs. Film and video icons are bored and custom. Let's just go with paper size US paper and was gonna go with the letter. And I am just for, you know, practice six. Going to get it into C N y que and I'm gonna hit. Okay, now let me make this a little bit bigger. Thes three buttons will control how you view things this one's going to maximize and take it back to where it waas. This one minimizes you can go back down into your doc get it. This one closes it. So you have three options. Therefore, your navigation for this demo, I'll just go ahead and expand it so that we can see every thing. The Julie of the creative cloud is that everything is customizable. And once you get familiar with it, you can create a more efficient workflow which, ultimately in and graphic design this is what we want to sort of have is our end goal. But probably this is one of more frustrating things in the beginning because you have no idea what is efficient for you. So in my classes, I always recommend that you live with it in one style for about a week. Mix it up, try something else for another week. Keep going. Keep going until you really get the rhythm of what it is that you are looking for, Um, the customization when we have our window, this is our workspace, and it's already defaulted. You are essentials. You can see we have three D defaults, a graphic and Web motion painting photo and our recess. And then this is the area that we're going to be sort of focusing on. This is our new works faces. So if you wish to experiment, you're going to be able to try and save it and save another one and delete etcetera until you get the sort of style that you're looking for right now, you're probably saying, what is workspace? Ah, workspace in front shop is no different. That sitting down at your desk and Graham and your pencils of your cup holders in your coffee cup or what have you get everything nice and be an orderly around you. It's the tools that you're going to use, and it's going to be the order at which you feel the most comfortable sort of grabbing at them whenever you're working. So this is our default. So here are our tools on the right side. Here are pallets on, and we also have extra commands up here at the top that you will have as an extra option for some of these tools wherever you see the two little arrows there. And I'm just going to sort of wiggle my mouth so you can see it. We have two errors here, two arrows here. This is going to give us options to expand and collapse. So right Now, this is in loan skinny line. If I click on this, we get a double line. This looks more like what I'm gonna call the classic photo shop. Look where everything was sort of stack side by side. Um, this is nice, because it logically arranges the tools together. That's one of the pros. One of the cons is it does take a little bit more room of your screen. So if you're not feeling that, maybe you'll collapse it right back. You can also see the icons, at least for foreground and background for our colors are a little bit larger. Eso This might be useful. If you feel like this is a little bit now all way down here to grab it, it's gonna be again. It's gonna be up to you and your personal working style. I do actually prefer it to be in the single lines for my demos. I'm going to stay there. We can expand this one out. Also, this gives us our history, our actions, properties previews and are tight. Um, if we don't want one, let's say I don't want the device preview because you know this is gonna be a print project , so I don't really need that. And if I want, I can slide. Click, hold and drag this one up to this one. You can see how highlights and blue when I let, though that is going to be all nice and neat and orderly there. All right. And then our character and our paragraphs. Maybe I'm with them up like this so that I'm going to be a public bounced back and forth between the two. And I don't have to jump between tabs if you find yourself more of a type of user. Um, and again, if you don't like it like that, it does take up some room, go ahead and collapse it. And you can see where these that were grouped together. They're still grouped together than there's this line of separation. And there's are individuals for our type. In our paragraph, I have these set to be expanded. So if I want to collapse it, this is the icons for that. So you can still see what they are. Color swatches. Right now, adjustment styles, libraries, layers, channels and paths are out. Uh, you know, again, explore. See which working style works best for you. If you have things arranged in a way that you like, maybe I'll keep my libraries up. And I do want my layers here. But maybe, you know, maybe you like swatches more than you want to have. The color mixer completely up to you and under our window. If you accidentally close something, all of these are your palettes. So if you go Oh, no, I have no idea what happened to it or oh, maybe I want brushes out. Go ahead and pull them out. Same thing you could drag them out. And I know some people like to work with two monitors. Uh, you know, this is perfect for that. You know, toss these on your second monitor, and then all you have is your workspace. No, for working again. Completely up to you. Maybe my brushes I want right there. So I'm just gonna go ahead, drag those in now. I don't work with the way calms. So if you are Wait. Come, User, you know, you might want to have these out. That would be somewhat logical again. Completely up to you and your working style. You can see when you grab on the dark gray line. You can get these sort of sliding bars. I felt that the brushes took up in it, readjusted that space just a little bit too much, which I didn't like. So I went ahead and I expanse, he expand it, but that's really strange. But, hey, if that's what if you like, go for it, um, again, Explorer and experiment and see which way works best for you. When you have something you're happy with, go back upto workspace. Go ahead and save it. I'm just gonna call it, um what? Today? The 30th. And that way I can keep track of what they did is again. You're naming system whenever you want And just try this style for a week or two and, you know, keep exploring experiments. Scene which one works best for you 4. Tools in Photoshop: all right, let's just go ahead and jump in to the tools so we can sort of see what's going on. One of the powerful things about photo shop is you have control over your layers layers and just drag them out up here right now, you can see we have just our background, so whatever we're doing on that, it's going to be on that layer. But if we want to have flexibility, so let's say I want tohave. I was making new layer brushes, so I'm gonna go over to my brush and let's just well, we have all these big brushes out. Let's go for it. Who is so pretty? I should also let you guys know whatever I demo, I make really weird, stupid things. So you know, he's got a pretty nonsensical, but they do get the point across, and what's nice with this is if I change my mind. If I want to see what's happening underneath, I icon is gonna toggles his ability. So you have a little bit when you when you get into layers, is a lot of management with it. So that's why you know, double click on it double click on it. Make sure you change that name. Is that you know? You know these air, the brushes. Maybe one is going to be. What tools do we have? A paint bucket. So I hit the wrong key paint bucket, which is our next tool down, and you could see its its grade. So that's the one we're working on. And I'm gonna put that gorgeous, weird color there. B takes you back to your move tool. So I will talk back and forth between those once in a while. One more thing with later management, but I really want to see my brushes. You can rearrange these how everyone they just got click, hold and drive. You'll see the line, and then it could put it wherever you want. Eso layers do get comfortable with using them and get comfortable with double clicking and typing in the name. And there's that you know exactly what is going on that layer so that if you do change your mind later, you're not sifting through, you know, let me just make a couple event that later. 1234567 etcetera. It's gonna give you a lot more sanity. So this one creates new layers. Obviously, I don't want ones that I just clicked. Just click on the trash can delete. You can also click, hold and drag it into there. If that is your working style, I'm gonna add a layer so you can sort of see some of these. You can add solid colors to this one. If you wanted I here. We just did that once. Let's put another weird color on there. So maybe you just can't quite decide We're gonna drag this one up there, which is better the blue of the green blue with the greens. It's gonna give you instant, sort of, um, decision making on this, and that's really useful and beneficial in that design stage. So maybe you feel like this one is a little bit better. Go ahead and hide this month of it won't print, so you don't have to worry about it. Plus, it's gonna were gonna be, you know, toggle behind it so you don't have too much to worry with that. And same DeLeo baby, just really don't want it. Click drive or just click on that trash can and it's going to completely disappear. All right, so now let's. And if you don't like it, there's a new That's command Z Kanzi is It's gonna be one of your best friends. So in photo shop, you only have one on do. But we have our history. Uh, which shows us everything we've done since we've opened or since our previous safe. Basically. So you can always go backwards into time and fix anything that you didn't. What like So it is a little strange at first to get used to versus the other programs which you know have a lot more. But you know that our options around it so it does give you an immediate you know I do. But you do have that option later of going to your history the second you save, though it's sort of clean slates that. So just keep that in mind. I, also regarding saving, have about every five minute rule every five minutes. Just get used to hit and save, so that if something happens that when you have a little bit of a back up with that eso, just be aware of that and have some computers have little grumpy problems of yours eyes grumpy or even if it's not, it's just a good practice to get into jazzed. In case that way, you don't have to redo anything. So how you can tell is there is that little sort of asterisks beside it, where it just says are entitled one. So let's go ahead and save this gonna file save. I'm going to keep it as a PSD, which is a Photoshopped format. I'll talk a little bit later about the different types, but when we're working the photo shop formats going to allow us to preserve her layers, and we are going to want to keep those layers and I'm just gonna call skill, share a demo and it is going to go on my desktop. Alright, that Astros disappears so we know everything's a OK. Let's look at our selection tools briefly. I'm going to feel like I feel like the blue one has a little bit better contrast for you guys, so let's stay with that one. I've re selected my brushes layer and let's hop down to our marquee, so I marquee. When we select over it, you can see right now it's just repositioning it, but the second I switch back to my move tool. It's going to take those elements and drag them wherever the mouth stops. If I wanted it here, it's going to remember it's there, Um and we can move it anywhere we want. It gives a That's a little bit of flexibility with it. Maybe we wanted Teoh Don't know, offset these for whatever reason. Nice way to get a quick sort of selection on these. This is also remember, it's gonna be on the same layer, so it's all going to flatten the second we hit these select, which is Apple D. Now that's it. That's where it belongs. So, you know, wherever you select a movie to, that's where it's going. Anything with the little parrots in the corner me that there is something else going on under there. So if you click and hold, here are our options Theological. Now, let me talk with foot with this one more time. Uh, the rectangle tool. You know, we could have rectangles. If we hold down our shift key, it's gonna make squares. Eso is going to constrain this proportions again if I want it just this corner for whatever reason going back to our move. Tool. There we go. Maybe I want it right there. Apple d will de select it. Let's go into our circle. Same thing he lips the for our move. Drag it down here. Apple d D Select. Go back to the circle. Obviously, this is looking really weird. Let's just roll with it, though. All right, hold down that shifty. We're going in our circle hitting RB switches tools and now we could reposition it wherever we want out. You know, for this part of our working, just don't even worry about the content, necessarily. Just play around the tools and see what they do. Then that way, you get more familiar with him without worrying about the content. It makes like, a little bit easier. Um, a single row mark, Easter, vertical and horizontal. Or more useful when it comes to Web designs. If you're doing a single color, Grady and etcetera, you could just sample one of these and then tossed a into your CSS file. And it's only gonna be this teeny tiny row, uh, rather than one giant huge background on, and you can just put it on. Repeat So for print design. I really don't think you'll be using this often, but if you're a Web designer, you will be using this If you're designing backers, um and it will remember the one that you had last selection Waas our last So tool, we have three options under here. All right. This one's a freeform style selector. Alright, guys, that v I'm gonna drag it around and then an apple dd selecting it. The polygon is gonna give us more straight edges. And actually, I think I'm gonna pull a photo up so you can see it in action. The lets drag it down here, since we sort of a weird empty space now and the magnetic is going to latch itself. Let's say we want just this one. If we loosely drawl around it, it's going to do a pretty good job unless a mess up there. If you mess up, double click and on, do it where you start. It's where you end with it. You're gonna get a little circle when you let go. That crabs that go to your move and you can slide it wherever you want from their This is more useful when it comes to photos Apple D for D Select These I used quite a bit on and you're going to find them to be really useful. Uh, one more note on all of these. I know I've just been drawing individual ones. You can also hold down the shift key, and you can see what happens when you do that with my mouth. There's a little plus in the corner, but so you can grab multiple selections. Also, when you're movement, they all move at once to keep that in mind. Also hit copy and paste for all of these. Talk wise, if you hold down the option key, um, you're going to get more added to that selection, and we have one more option. Let's say, actually these like to make it really big. Let's say I want this space here, but I don't want this quadrant here. Pull down your option key, and now we see a negative. Now there's gonna be a little bit of a whole nut. So whenever I dragging around, it's gonna have that space left behind. Same dealio. Positive ads, negative Takes positive ad negative. You get the idea. All the selection tools work exactly the same with that. So whether it be the marquees or the lassos, you're going to have that. Uhm, I'm going to go ahead and bring in a photo. You can goto file open. But if you're on a Mac, you can go ahead and, you know, bring in. I have three photos that I was gonna demo with, so let's just go ahead and bring them all in It just clicked and drive and dump them onto my photo shop icon, and they all opened up in tabs so they will navigate just like your Web browsers. Basically, the next one is going to give us some selections, ones a quick selection, and one's a magic wand. Let's start with most people's computers. Air defaulted to the quick selection. So if I just wanted this inkblot here, I grabbed a little bit more than I needed. It will actually add all that you sort of skim over, and I'm personally not a huge fan of it, because I really like finite control on this. Um, I'm sure you can go in and edit and do all that with it, but I'm sort of lazy with it. I'm a lot faster with the other one. Let's just go ahead and we're gonna coffee it. Let's just take it into our demo. Oh, I forgot. Keeps adding to it is gonna bring that one in because I didn't let it go. So just copy and paste Copy is apple. See, Paste is Apple V, and that's gonna allowed to go from one to the other. You can also drag them, and, um, we just drag it in this way and I'll dump it in. I'm not a huge fan of that system also, but just know the sort of same thing with, like, setting up your workspace. It's kind of maddening because each of these have so many ways that you can use them, eh? So just be aware that there are multiple ways of doing any of these. These air just, you know, I usually give two or three and then the rest. You're sort of one your own with, you know, YouTube etcetera. But just know that there are so many ways that you can get things accomplished in these programs. Magic wand. Like I said, I like that one a little bit more cause again. I have a little bit more control with it. Um, this one is set up. Do not be contiguous. So it grab everything in that same tone if you just wanted, and I'm gonna be select this part, turn the continuous check mark on and can see. It's just selecting that or holding down the shift key. And I just wanted maybe these blur X to it on expand. It may be, too. Here, uh, the shift key gives you a little bit more control with that and again, Copy apple See paste, bring it in on and I just put it on top. So it's hard to see. Let's let's move these marks just to make life a little bit easier on you. But you can see how it's bringing from one document to the other end. Um, this This could be really nice on again because you can get the really good solid control over that, um, going back. And you can also for these, whatever your viewing, if you want to turn a couple years off, just click will drag whatever you drag over. It'll turn off of the same thing. Click and drag up and it'll turn them back. One makes it a little bit faster. Let's go ahead. I'm gonna select all its apple A. I'm going to copy Apple C and then going to paste apple VSO. Everything sort of blogged into one document. Like I said in the beginning, usually my first ones for quite ugly. So do bear with that. You also have tools under here. I'm gonna sort of bounce around. We can also erase, take and see what's happening underneath all of this if you so desire. Um, and there's also the background eraser tool and the magic eraser tool for the early stages . Because I'm considering this to be a basic class, just worry about the main eraser and get comfortable with that. You can change its opacity up here, so if you just want it to be softly erased, you can do that. You can also click with the brush portion and change its hardness, and let's make it really big so you can see it. So it's a little bit softer so you can get a lot of options with this. Just play around and experiment with it and, you know, see what? See what all it can dio um, the paint bucket we sort of semi just covered in the beginning and directly, I'm gonna make a new layer, and I see I haven't been labeling us or get a little bit of chaos, but I'm going to go through and delete them later. So let's not worry about that of paint bucket. You can change your color up here, or you can select a SWAT to change the color. Here. Underneath there is our drop down. You can see our Grady in Is there also. So let's go ahead and apple A and hit delete on my keyboards that we totally get rid of that up here we can see the color yellow that's fading to that. Looks like these checkers. It's basically fading to nothing. I'm gonna click down here and dragged. If I hold down the shift key, it's gonna constrain it to an angle or straight up. If I know I have complete control over where I want it. If I want a decent fade, I am gonna hold that down so I can have that fade. I was gonna undo it so we can see each of these under the drop down it's going to change from yellow to white, which the background color and black and white. We have complementary colors, etcetera, etcetera. This one looks interesting. It's gonna sort of scatter it. Each one of these effects are going to do something slightly different. So you guessed it. Try each of them and then see what they dio The fade. One gets used a lot that you might be wondering like Well, okay, what's the point of this one? It's covering our photo. That makes no sense. One thing you can do is change the styling of each layer. So let's get a little bit fancier here for a minute. This layer is selected. I am gonna keep this one. Let's call it radiant layer. That way we can find it. And this waas a And this one was Inc once that way. That way we're a little bit more organized photo with a race that way. We know what's going on. Alright, Right now this is selected and under our layers, you're gonna see it says normal and our capacities at 100% you can play around with the A pass iti if you want, so see what that does. But some of the magic of photo shop is here under our layer styles. So I also people would get into this stage because it's getting a little bit more advanced . But you can also have a ton of fun with it, pop through each of them and sort of see what each of them actually are doing. Some are going to do exactly what you want. Some are not. So it sort of gives you some options during that design process that actually is bizarre as it looks. Could be interesting for something. Hello. The yellow might not have been the best choice for this, but at least to seeing what they all dio, uh, and essentially, like Blake hearings with the overlying and multiply its working with it almost like two negatives. If you were in the dark room so the guests just gonna gel on top of each other, each off their each. Let's just skip, because who you can do these on your own? The bottom. Why don't you start being a little bit more funkier effects on it? Ah, but you can see each one of them is doing something slightly different. I kind of like what was happening with that thing was difference or exclusions Difference. I like that one. So this weird sort of amalgamation that we've been making, you know, just with one layer change instantly looks quite different. What happens then? If you take that layer and slide it under it And then what happens if you put, you know, an effect on this layer, etcetera, etcetera. So and then you can see the inks, watches through it to try them. This is where you can get really interesting effects with it. And there's no way that you can actually mess up. Just take it back to normal. If you don't like it and then you're back exactly to where you were. Let's go ahead and hide that one. I'm gonna push this one under the ink so you can see what's going on with the bank. Well, in theory, I know we're getting a little bit jumbled. Now. Let me take some of the chaos away. So there was to ANC's. Let's get rid of some of the brush is so we can just focus on the bank. All right, so I like what's happening with the ink we can put some effects on it that's feeling a little bit small. So let's go ahead and under soups, my mouse at it, free transform. It's gonna put this bounding box around it. And when I hold down my shift key, I'm going to be able to resize it. And I'm holding down my shift so it keeps it in proportion, cause if I'm not, it's just gonna stretch it and distort it. Which might be what you want, probably for the most part, isn't especially if it's gonna be, You know, poster book covers something if it's an object like the thank you might be able to get away with it. But if it's a person, place or thing our animal, it's just gonna really strange to keep that chip key down. When you're doing this stage, um, you can tilt it and rotate it, flip it, etcetera. That's gonna give you a little bit more ability. Teoh have some scale adjustments, and now you can go in and have some fun. You know, with the ANC's, it looks like it's blogging more on top of it, and it's a little bit more homogenized on that will look a lot better with your tools. All right. We also have the smudge, blur and sharpen, and you can again change the strength of here. I usually have a pretty soft I'm just gonna When we zoom in, I hold down their space bar in your command and you're gonna be able to get really close in there, and you can see what happens. It just is like a charcoal drawling, and it's just gonna soften those edges a little bit. I'm sort of You can make little wisps, so it's very similar to charcoal. Blur is going to blur that a little bit. So if you're getting like, I don't use these tools too often. But if you get like a weird edge, sometimes I will go in and just sort of reinforce it and sharpen. You know, if there's an area that looks maybe a little bit week in the area can boost it just a little bit. I would use them all at lower intensities than the 100% that there at these air more photographic based, I would say for the most part of them, the others. And you can tell this is really bit happy, But let's just go ahead. Dodge burn and smother. Sorry, Spanish told these air from our photo days. Let's make sure, actually, on the photo All right, here's our Dodge. Lighten up some of her areas. That's really exaggerate, so you can see it Burn is going to darken it. And as usual, you can take thes either way too far and sponges going to push the saturation so I actually have it set to de saturate. So let's just dese after this area or change it to over saturate. That works also, so you can see Look how ridiculous instantly that looks, but you can't have a lot of fun with it. You can see this photo shop is a bit map program, so it's working with pixels. Illustrator is factors, so it's mathematically computing everything. So when we're this close, let's zoom in really far. You can see it's abstracting it at a pixel level. If I don't want to be this close pitcher Command zero is gonna reset you out to your full screen, and I can see what those tools have been doing. So as usual, just play around with each of them. I'm not gonna go through every one of these tools in this round, just enough That's going to give you the tools you need to get comfortable with Photoshopped. It's basic navigation and also what you need to do, you know, to get some tools on your belt for your project for our course. 5. The Type Tool: which is a book cover. So of course, books are going to have type on it. So let's go ahead and hit our tea, and I'm just going to write still share with exclamation because I like exclamations. You can see it remembers our foreground colors with our foreground color and our background cover color whenever we're working. So if I want to change the color hit, cancel double click so all of your type is selected. You can use your color mixer over here if you want, or you can also double click here and slide it around wherever you want, and it's going to change it from there. You can cause remember we had these out. Go to our type and make the size bigger is actually pretty huge right off the bat. I'm using my up arrow key. Ope. Sorry, that's matter. Spacing. Oy up Arrow Key is going to make it larger. Down. Arrow, once it's activated, is going to make it smaller. Um, and this is a really handy dandy away. And let's just reset our leading back to normal because it will remember that and with our v weaken, slide it wherever we want on the page. You can see one thing that's interesting is with the type. It automatically will name the layer. Whatever it is that you're typing is that that part is really quite useful If I want it To duplicate this, pull down your option key and click and drag my mouse. Those get stuck on the option key is going to allow you to make many copies of these is you want. This goes for type images, brushes, any layers, anything that's active and selective. So let's say our ANC if we hold down the option key, you can make these really interesting textures with it. Um, you're going to see one thing that happens, though, is it has a whole lot of layers. Go ahead and select him, and then when you click on the folder, it dumps them all in the folders. It does organize it a little bit more. Thank folder, um, and let's just go ahead and tossed these because we don't need all of those copies. But just now that your option key is also another way to do a quick copy and paste Aziz well, t brings you back to the type tool If you don't like that tie face, go up here, change it to anything that is in Arsenal. I use fought squirrel because, ah, the typeface is there a free for public use? And they also have Web type available for the typefaces. So if you're print or Web designer, it's sort of win win and as well I buy my type faces off of creative market. I'm not a huge fan of the public download space one. You know, sometimes they're a little bit wonky. You have to worry about their licenses, so I always do actually buy mine. But if you don't have many on your computer, I am going to recommend checking out won't squirrel just because again, you don't have to worry about copyrights and licensing because it is for public re use public and also for commercial work. So 100% commercial free That way, everything it's on my computer I don't have to worry about it makes life a little bit easier when it comes to type. Um, if you're a type nerd, all of your tracking and current ing and all those goodies are up here in your character and under your paragraph is our alignments The left center right And all of our justified eso You think it really fiddly with those If you guys were interested, I can do it and end, um, to this later. But for type, you know, for now, worry about your science and then what it's looking about. We could get to the fiddly bits later, Uh, for a re sizing, you could see nothing selected If I do, my apple t remember Apple tea was our free transform. Apple T is gonna allow us to resize it this way. And I'm holding down that shift key that I'm gonna let go because if I don't are on that just looks really weird on our eyes are gonna knows it's a hold that shift key down. Um, this kind of nice because you can get it exactly where you want it. Some type purists, you know, probably would cringe. But if you wanted to really arc right here perfectly, then you have the control that you're looking for with that eso for this project. We're looking at images. We're looking at our selections, you know, adding colors to it. Um, but let's let's start exploring, You know, the nitty gritty when it comes to this project 6. Image Adjustments: all right, I'm gonna push my layers back to where I had it, and I'm gonna collapse this, Uh, maybe you're gonna want to bring in some of your photos with it. Um, under, you know, I mean, just think this is from my phone. It was, you know, an early morning sort of shot. Um, it's fine, But under image adjustments, there are whole lot more things you can do to this. So let's go ahead and hop into brightness contrast When I show these and class I always go to the extremes really, really bright. So this is our high key and are low key, and then see, we're getting some blow out here, so we obviously wouldn't want that. But maybe for something like this, you don't want it nearly white so bright. And let's just boost contrast all the way up all the way down So less contrast Mawr contrast. So we could get sort of dramatic with us if we so desire, we're gonna hit. Okay, It was gonna pop through a couple of these. The ones that I think you might use the most in some that you can have fun with, uh, curves is going to find your highest point. Your brightest point exists a sample and image to set white point. So if I want this to be the white point and you can see how the color shifted slightly, it's saying that now this is the white of the paper. And if I click on this one, it's going to say, Let's set the dark point, which maybe I'm thinking here and it's going to sort of dull it down Just that little bit it's gonna be up, Teoh Trial and error. Same thing you don't like it undo will fix it. And I would recommend really getting into their instead of probably something around the trees, Uh, just to give it a little bit more contrast, a little bit more vibrancy and cool, uh, also with curves hit the wrong key. It's apple em. Um, it's sort of have some fun with this one also, and this was more ill saying, nineties effect. You can click on the history Graham and make these weird little s curves out of it s so if you're going some for some really strange effects, you think you can certainly get them with this It's doing more of the sort of solar ization with this. But if you're looking for an interesting textures, let's go ahead and hit. OK, let's stay with the Marquis. I like what's happening here. I'm just gonna copy it and let's pretend I'm just gonna keep it. Letter sized US paper letter. Let's say this was our book cover. This could now be an abstraction, and I'm just gonna free transform and make it large. Uh, this could be a texture for a background if we want it. It was just a nice little sampling of that. So while curves, you know, can go crazy like this, um, you can make some really interesting textures and patterns out of that. I went too far with that one. So I'm gonna go back into time on our history, and now it's sort of fresh slates it from there so you can have some fun. You can also see it has got a tone on a contrast auto color said these could be really useful. Also, eso don't rule those out. You can fix exposure if you want a more less Uh, this is more light, roomy. If you're into that scene corrections. Let's just extreme it versus the other way. Hit. Cancel cause I don't want to do anything with that from this one in particular of vibrance , you might have some fun with Also, you can boost it. It gets attractive. They could get crazy colors that that over saturate under century It's under century. Of course. Gonna be gray scale on. Go ahead and hit. OK, when you're happy, uh, you can see what else they offer. You can change your hue and saturation. You can play around with your color balance. If you think it's to read or to blue, etcetera changes it to black and white. It could invert it so you can If you're working in grayscale. Let's say you want to make a contact Negative. This is a great quick trick for that, and then you can go ahead and print it on, uh, hesitate. And then you could have an instant negative, so that can be a lot of fun. Also, pasta rise threshold Exeter. Do you saturate change colors? All of this is the magic of photo shop in that area. You could get a lot of, you know, sort of fussy details when it comes to your actual photo editing. With that 7. Filters: all right. One final area before we go over. What we're going to have for our project is the area. I think that can get people in the most trouble when it comes photo shot. Because, yes, it's fun. But it also could be kind of limiting. So the filters in the Felder Valerie do come in handy once in a while. But if you just, like, done one effect on it, you know, that might be not as exciting as it could be. When I play around with filters, let's go ahead and bring our layers back out just so we can see right click and I'm gonna duplicate and that we nothing happens to that original layers. If I don't like what I've done, I don't have to sweat it. And I'm gonna actually, I think I'm gonna boost the saturation just a little bit just to make it a little bit more interesting when I put the filters on this one. Um, a note on the filter gallery if you have issues and you can't see filter gallery. And I am gonna bring you in through the filter gallery because I think it's nice to you can see previews of it a little bit easier if your filter gallery is grayed out, which it will be in this one. And they're like, Wait, what? It's because it's understand why. Okay, so you would have to go under image mode. RG being a gig in a grumpy message says you want flatten this. Oh, yes, they do not flatten it because you're gonna bounce it back to see him like a after you're done. And there you can have access to this if I were to put effect on it and I'm happy go back in under image mode and take it back into CM like a don't flat because we want to keep our layers. Um, it's kind of strange. I'm not sure how or why they haven't changed that yet, but just be aware of it. If you are working on the c n y que you do have to pop back and forth or just for go, it's gonna be up to you. But let's hop into filter gallery. Um, all right, I'm gonna zoom this out a little bit so we can see it. When you click under these folders, you can see what each other. Dio, uh, we have our cut outs. We have dry brush with me on not gonna go over all of these. You'll be sort of on your own for this stage of it. But I would just say pop through a couple of them and have fun, so this could be a really interesting effect. This by itself could be kind of designer. Me blah. But here's where you can get interesting. I'm gonna duplicate that original background layer again. I'm a slide it on top, go back into our fielder gallery and maybe for some, it's a love half toes. So go ahead and put 1/2 human one. If you can make the half times larger if you want, you can give it more contrast. If you want, I'll zoom out that way you can see it, uh, and it's going to and I can't, so it's gonna remember the color that you have. So if you don't want to be that color, go ahead and change it. Actually, let's put like a weird magenta on it. That way we think it a little bit more contrast with it. All right, there we go. All right, Let's go back in solder gallery. Let's go in both We get 1/2 town so it's gonna give us this nice in a newspaper. You look to it like if you look really close at print media, you're going to see, um, all the little dots of bits and this is set the DOT There's also lines under this one. So you know, each of these have other options, and it said, Do explore them that you can have a lot of fun with it, and then if you're happy with it, hit Okay. Like, uh, OK, this is not really that interesting. Don't forget our friend layer styles. So what happens when you bark in it or multiply it, you know, color burnt pop through each of them screen. It sounds kind of interesting. What does overlay dio find? The ones that you think are interesting and start experimenting with it and seeing where they go unkind of actually did like up in the multiply. And then you can just keep adding effect in effect after effect of this is where you can have a little bit more interesting this to it. So let's let's just go back in and let's do one more. Uh, sure, Tauron edges. Actually, I should change the color on that once. Let's change the color to a blue one. Edge is great. Same same thing. We're not doing anything different. This is what three effects on top of it looked like, What before? 56 Actually, that was going to stop there. One. Maybe it's not the best solution, but maybe 345 is because now this is feeling a little bit more interesting. And then what if we add one more layer with Let's get ah, weird green. Ah, no, no. Take it on a diagonal and then can light it etcetera. Or Hugh etcetera, etcetera. So you can keep going with these until you get quite interesting effects with it. So the more the merrier is basically what I'm saying with this and you know the worst case scenario, if you don't like it, you've guessed that. Turn it off. Um, and then you can sort of see which ones were working and in which ones aren't. Um and you can have a lot of fun with this, So if you're only doing one that is sort of cheesy ish, and you're going to be able to smell that filter a mile away. So really, dig into it and see what you can do with the effects. So with filters, do more than one if you're gonna explore it and really go crazy with the layer styles and see how you can get them to all interact with them. So they are a lot of fun. Just really explore and experiment and see how many you can get. You know this really cool effect with cause this looks nothing like where it started. So this versus that you have a little bit more intrigue and a conversation with your viewer . 8. Class Project Demonstration: All right, let's go ahead and get our files set up. We're going to be creating the front, back and spine of a six by nine trade style paperback. So with 1/4 of its spine, we're looking at a with 12.12 5 height of nine and the resolution of 300. And just make sure it's on that C m y que and go ahead and hit. OK, All right. So we need 1/4 of an interest. Find one thing we haven't covered. Our gods have my rulers out. They are under view rulers, and you can tell it's apple are. So if yours are not visible, go ahead and make them visible. All right, So what we're saying was our book was six by nine. So I'm gonna go ahead and go to the six, and I'm just clicking on the middle part of the ruler and then dragging over and we had 1/4 of an inch spine. Let's go ahead and set that. And this is what our book is going to look like. Now, this is just assuming you want 1/4 inch spine if you want large or go ahead and change it to whatever you watch, but you will have to do the math before accordingly. So if it's a six by nine without her spine, That way we're looking at wealth by nine. So whatever you want for the whip, it would be 12 plus that spine with by nine. All right, as we covered, this is gonna be our back. Cover the spine and the front cover, and it seems counterintuitive if you've never done a book cover before. But remember, ah, spine would get glued to the pages. So if you're actually holding the book, this is the part that you're going to see first. All right, so slide this over, I have in our project files, uh, a scanned page of hands. And this comes from the Dover clip art books. And these are hands you can use one. Or however many wish for your cover for a book cover, we're going to be designing a classics cover. So what classic book? Are you interested? And then how can one of these or a few of these you know, work for your design? You will be using some of your selection tools. Let's go ahead and just grab this one for the demo sake. Copy it and paste it into our document. They are deliciously high rez. You're not going to have that problem of not having this ability. You can see I can nudge with my left, right up. And now aero piece. If you want it right on that spine, you can do that. Go to your curves. This is where you set your brightpoint that we covered. Actually gonna probably take it over there and our dark point so we can get nice delicious contrast with that. Um, just a little bit boots. That's not my eraser. Use my racer. Go ahead. Clean up a little bit. Inverted. Change the background color. Add color to a panel top whenever you what to do with it. It's just nice to have a common bond between all of our images. And the hands are good version for that. Uh, if we wish to add our background color, let's go ahead and do that. All right. Let's just make it a weird color as usual that you can see the clean up. This is what I like that magic wand Books. Make sure you're on the right layer. All right. And I'm going to take the tolerance down just a little bit. Um, quite a bit, actually. A Stick it to five because it's going Teoh, try to grab as much as it can, and you can see we have some of this here on the inside. If you don't want that, go ahead into your lasso or one of the other tools for selection and just clean up some of that That way. We're not losing all of these details. Uh, this might be better for them, um, magnetic lasso. But just take your pick, and I'm just gonna delete that. So all we have is the hand at as many photos as you want. Teoh add as much type put minimum. What I would recommend is let's just pretend this is a pride in front of us. Jane Eyre. Sorry, I'm more of a Jane Eyre upload today. All right. And the quickie command I'm doing here is shift command. And if you look above your comma and period, you'll see the greater than our last man. While you're type of selected, you confuse your greater than a less than and change a size accordingly. And it was Go ahead and author, and this size it down a little bit. And no, on a lot with Max, you conduce do option e and you get the accents accent the you gives you the a lot on the carrot, etcetera. So and this is under your option e option you an option If you're on the PC and you have the little lot bits, there are codes for it. So you have to sort of program that part in Esso for Bronte A. I'm gonna go ahead and do the marking. For that. I would fuss around with every detail on this, but one more thing we would need is the little bit of info on the spine. Um, don't slide your mouths when you're making a text box change air. All right, So if I want this to go on the spine, I'm gonna go to that free, transform our apple tea, pull down the shift key and get it going that on the spine zoom. And if you so desire and get it fitting in that space really nice if you want it, you know, maybe you want to get it all nice and lying up with top that's feeling good and brought a coupes. Brought a in there, so get it out of the selection tool you're had. Bronte A. Let's put that further down. Something I always talk about when I give this project out in my classes is if you're more of a Web person and you're just not quite sure quite what to do with a book. Cover proof hit seven different keys while we're doing it. All right, here we go. Go to a bookstore, go to the library and really look at them. How are the how is the type lineup? Where are the icons and symbols and barcodes for prices? Is there a quote on the back? Is it a review on the back? Is it a pull quote from the book on the back? I think we look at the fronts because you know the book is sort of being sold from the front cover. But what's happening everywhere else? Compositionally. So I like to sketch when I work, So go ahead and, you know, grab your notebooks and just doodle at some ideas when you're about and start thinking about, how can you spatially arrange this, uh, be really creative with us. Flex those muscles, see what the layer styles do. Make a book cover that people want to go up and chuck their hard earned money at because they couldn't resist. But toe have it. Uh, What covers are a great way to get used to using the design programs because it's forcing you to use a little bit of everything. Eso for this, you know, our dimensions. I'll have, ah template set up for you. But if you want a little bit bigger spine, go ahead. Like we said, it's the base. Size is 12 by nine. But the 12 would be plus whatever you want for your spine. So 12.5 12.75 whatever that would be, then that way you can get the scale that you're looking for for your books. Um, when you are finished, share them. I can't wait to see what you do. The best way to learn and further yourself with these programs is to get feedback from your peers. If you want. Show us your journey shows your sketches. You know, in your ideas, your field trips to bookstores and libraries and tell us a story of how you assembled your book cover. I can't wait to see them 9. Conclusion: all right. I hope you guys have had a lot of fun in this class and that you've taken some extra new tips, tricks and techniques for Photoshopped into your design Arsenal. I hope you had a lot of fun designing that, but cover and I can't wait to see them in the course is below. Share them with your classmates. Show us what you've done. Show some of the process, the sketches, the steps that you took to get it. I can't wait to see them and create a conversation around what you've been making. I hope you enjoyed everything. Have a great day.