Non-Scary Beginner Friendly Adobe Photoshop Including the Powerful New AI Features

1. Welcome to this Non-Scary Beginner Friendly Adobe Photoshop Course: Hi. My name's Tim Wilson. I'm a senior trainer at Red Rocket Studio. I would love to help you to create beautiful and professional looking images using Adobe Photoshop. Not only have I trained for some of the world's leading companies like BBC, Nissen, Adobe, Disney, but I've also spent many years as university lecturer. I know how to create a course which you will absolutely love and get the most out of. We'll start right at the beginning, and we'll go through everything step by step. And you'll never be on your own because I'll always be there to answer any questions. Here are some of the real world examples and techniques that we will be covering in this course correcting lightning, darkening and color balance, making images black and white, making images look old, and taking old images, restoring them, and adding color, cutting out people and hair. Image generation using AI. Creating multi image compositions with shadows and text and reflections, making images look amazing with dodging, burning, and healing techniques so that an already professional looking image can look even better. Creating a logo. Creating a silhouette with a photo inside, and finally, creating multi image posters. Adobe Photoshop is such an incredibly powerful package, and the latest versions have got all the power of AI incorporated into it. So I've crafted this course, especially for you using those AI features. You'll learn all the standard Photoshop techniques, but you'll also learn how to use the new AI integrated features. By the end of this course, not only will you have lots of images that you can use, but you'll also have mastered all the basics of Photoshop. Start right now. I can't wait to help you to learn Adobe Photoshop. 2. The Best Way To Learn, Get Help, Your Resources and Posting Projects: What's the best way to learn from this course? Well, I would suggest that you start off watching the videos once, twice, maybe even three times depending on how you feel about that section. And then once you've watched it, try it out yourself. And once you feel happy with that, move on to the next video. If you're not sure, just watch the video again. Now, once you've finished projects and the likes, please do post them. I love to see the work that you're doing, and it allows me to give you feedback as well. If you do need help along the way, just put a question in the Q&A, and I'll get back to you as soon as I can. I've included all the files that you need. Most of them actually come from Adobe free stock. If you want to use your own, please do so as well. Now, I've also included the finished files in their layered form so that you can go and have a look at my layers if you're not sure of something. If you don't have Photoshop, watch the next video, and that will show you how to get it. 3. How to Get Photoshop: Y. If you don't have Photoshop, how do you go about getting it? Well, the thing is you need to go to the Adobe website. Now, there is a link in my teacher's profile, which will take you through to an area and you can click on a banner and that will take you directly to the page that you want, or you can just Google it. And the one that you're looking for is the plans and pricing for Creative Cloud Apps and more. Now, depending on what you want to get and what your status is, you would either go to individuals, business or students and teachers, or if you're getting it for a school or university, there's different pricing over there. Now, individuals over here, you'll find that you've then got a creative cloud all apps suite or plan. This includes a number of different apps. Or you can buy them individually over there. You can see it actually makes more sense to buy the creative cloud if you're going to be using two or three apps in there. Otherwise, at $20 a piece, it can get expensive if you're just buying them individually. Now, you can see that this one here is sort of a special deal cause that's Photoshop and lightroom, whereas you've just got Photoshop over there, which is more expensive. It doesn't always make sense, so have a good look around in there. If you are a student or a teacher and you can get that deal, it's so much cheaper over here. Now, remember that these prices that you see are monthly. You don't buy Adobe products, you rent them. So that is $60 a month for as long as you want it. So therefore, students getting it for 34 $99 a month makes a lot of a lot of sense. You can also get extra things like Adobe stock, which you pay for those are for the high quality images. Honestly, they're all high quality, really, but there's some extra special ones, and you get a free trial of that should you wish. But Adobe are always doing different deals, so look out for that. Now, once you've got it and you've installed it, you'll be installing the Creative Cloud app. And the Creative Cloud app, once you've installed it, looks something like that. And I'm going to go over here to the left hand side. And there's a home button. I'm going to go to the apps, and this shows me all the apps that I've got that I'm actually renting from Adobe. So this Photoshop there, this Illustrator, this Express, there is a free version of Express, as well. You know, you've got things like Premiere Pro in design. There's so many different ones that you're renting at the same time. And you can then just install them onto your machine and then click Open from here. You can also open these apps in the usual way. Lastly, there's a little button here that says, You benefits. And this shows you other things that you get free with your plan included. So for example, there's quite a lot of fonts that's really useful. There is the stock, which is the free images from Adobe, Adobe stock is divided either into paid images or the free ones, and the free ones are very, very good quality anyway. And there's all sorts of other deals that you've got, you know, 50% off dropbox plus. These change all the time. Over here, we've got 40% off we transfer as well. So keep an eye on the benefits that are included. Now, I'm going to close that down. Once you start up Photoshop, it looks something like this, and then we can start delving into it. 4. The Interface Intro: Let's get started. In this section, we're going to look at the basics. We're going to start off with the interface. And I want to show you where things are. So if you lose something, you know where to find it. We're also going to look at taking photos, and we're going to crop them. We're going to straighten them up, and we're going to save some images and export them. So we'll export as JPEGs. We're going to look at saving to the cloud, and I'll explain all about that as well. But let's just get started. 5. The Interface: I now let's have a look at the interface. I'm going to click this new file button over here, and that's going to open up a blank file. Now, we'll be looking at this later. But for the moment, I'm going to click on Create. We've got a blank document or a blank photo in the middle. And just below that, there's a few little buttons that we're going to come to. Just know that they're there and that you can move them around by grabbing this little it's not lined bit as sort of a gripper on the end. So if it does get in your way, you can move that around. Now, on the left hand side, we've got the toolbar, and the tools are on my computer in a single row. If you go to the very top, there's a little double arrow. Click that double arrow and it makes the tools into a double row. It's exactly the same thing. It's just a different lout. And you might find if your screen was maybe a bit smaller, that it automatically defaults to that double row. It's exactly the same thing. I'm going to put mine back to the single row. Now, the other thing when it comes to these tools over here is that you are always in a tool. There is no non tool for your cursor. So no matter what you click on, you're always going to be in some sort of tool. Now, the way that I like to think about it is it's like my hand. If I was actually physically painting, I'd be holding a brush, I'd be holding a pencil. And if I wasn't holding one of those, then it would just be my hand to move the page around. And there's a little hand down here, and I can use that to move the page around as well. So there is no off tool. You're always in one of them. If you think that you might do some damage or maybe make some changes that you didn't intend, you can just go to that little hand over there, and that's quite safe and you can't do anything apart from move the document or the picture around. Now, the other thing about these tools is that they've all got tiny little arrows or almost all of them have got little arrows next to them. You can see there that one doesn't the rest of them got tiny little arrows in the bottom right hand corner. That means that there's actually more tools in that set. So if I go along to one of these tools, I'll just choose this one over here and I'm going to right click it. And you can see now that it's just opened up these four little tools. Once again, I'm going to go down to a different tool and right click on that. Now, if you don't like right clicking, you can also do it by clicking and holding, and that will bring up those tools as well. Exactly the same thing. Let's have a look at the other side. On this side here, what we have are some panels. Now, there's quite a lot of them. If you've used any other Adobe software you like furnish like Illustrate or in design or those type of things, you'll be used to these panels. These panels can be just dragged out like that. Into well, any order that you want them to be. You can take a panel, so for example, the libraries here, and I can drag that and drop it in with the adjustments panel or the properties panel. You'll see when I go over it, if you can see that little blue, it'll drop it in with that one. I'm just going to change my tool because it's making the background go pink, so I'll just go back to the little arrow at the top. And when you're dragging in, have a look at what happens with the blue. So if I move over this one here to the top, the blue lines all around the adjustment, so it'll drag it in with that one. If I go to the very top, just above the word adjustments, the blue lines only at the top, and it'll now put it above that one. So you can make up your own sets of panels in here. You can, of course, also drag them back in there again once again in with the set or between a set like that. There's no right or wrong, and when you close down Photoshop and open up again, it will remember the last order that you had these in. Now, these are workspaces. What we've got here with the tools and the panels is a workspace, and I like to think of it like my real world workspace. So when I'm recording this course, I've got the computer in front of me. I've got the monitor right in my face over here. I have got some cup of coffee, usually on the left hand side, and my microphones on one side, as well. That is my workspace. And I can move my cup of coffee from left to right, and it obviously doesn't make any difference to the recording at all. And it's the same here. You know, you can move these and leave them where you want them to go. But you can also just pull all of them out and make a complete mess of things like that. Now, I wish this was the same in real life because it's so easy to tidy things up. If I've made a mess like that, you go to the window menu. Go down to workspace. Remember, this is a workspace of all the things. And at the moment, we are on the essentials workspace. When you try this out yourself, if you're not, if you're on one of the other workspaces in here, just make sure you're on the essentials default workspace for now so that we're in the same area. And just say reset essentials. If you were on motion, it would say reset motion. If you were on photography, it'd say reset photography. But I'll just say reset essentials, and it cleans everything up for me really nicely. And as I said, it'd be so nice if that worked in the real world. Anyway, you can have these things laid out wherever you want. And there are more panels. If you go to the Window menu, all of these are different panels. So for example, I could go to the Glyphs panel. There's my Glyphs panel in there. Once again, let's try different panel, parts panel. There's my parts panel down there. But I don't like that, so I'm going to go to Window, Workspace and just reset the essentials workspace. Now, once you've tried that out and had a bit of a play with this, what might happen is that you might manage to get rid of all of these without realizing it because there is a key on the keyboard that hides all of these panels. And for me, it's usually my cat. And he walks across the keyboard sometimes when I'm working, and he might stand on something and all the panels disappear like that. Now, what he's actually stood on is the tab key. But if you can't remember that and you go, Oh, my goodness, where's it all gone, go to the window menu, workspace and reset your essentials workspace in there. Do try that out, have a bit of a go, make a mess of them, pull things around. Even like the 2 bars. You can move them wherever you want and know to go back to workspace and reset essentials. 6. Your Custom Workspace: I now I'm sure you're finding your way around really well, but I want to show you a few more things. In the Window menu, if you go to the bottom, there is something called the application frame. And if I switch that off, you can see through to my desktop over there. So the application frame is just the background in there. Once again, I'll go to the Window menu and choose application frame. So if you find that you can see the desktop and you don't want to, that's the way around it. There's also the options. Now, the options, I'll just switch it off so that you can see which one it is is the little bar along the top. And we switch it on so you can see it. It's this one over here. Now, this options bar changes depending on which tool you're in. So at the moment, because I'm in the move tool, it showed me options for the move tool. If I went to one of the selection tools, it shows me options for the selection tool over to the brushes, and I get options for the brushes. So keep an eye on that because it will constantly change depending on which tool you're in, and it affects the way the tool works. Lastly, there's this little bar at the bottom over here. So if I go to the window menu, that's called the contextual task bar. And once again, you can switch it off, you can switch it on. So if you lose it, that's where you find it. Of course, you might prefer to have a different layout of all of these panels and tools. So let's say, for example, that I prefer to have my tools on that side over there. And maybe I preferred to have my swatches. On that side and I can just drag them over like that. And maybe the gradients, I want those to go in there as well. Now, if you want to save this as a particular custom layout, what you can do is you can go to the Window menu. You can go down to the workspace. Now, you don't want to reset it, but you just want to go down here to New Workspace under reset. So New Workspace, give it a name. I'm going to call this gradient on left. And I'm going to click on Save. Just before I do that, you'll see there's 2 bars over here that you can capture. You can capture how the menus are and the keyboard shortcuts as well. So we don't just change the panels. We've got all sorts of other things that we can change too. We'll just leave that off for now. So how is that any different? Well, if I then started to move this around and once again made a bit of a mess of my tools, I can go to the window menu, Workspace. You can see I've now got a gradient on left, workspace. But now my reset, because that's ticked, says reset gradient on left, so I can just reset that back to the one that I made. Or, of course, I can go back in here to my essentials. Ah, now, look at that. I went to the essentials and nothing changed. Well, that's because you have to go back in there again and say reset essentials. I 7. Open Photo and Pan, Zoom & Rotate: Now, I'm going to close down this blank document, so I'm going to go up to the top and just press on the little X over there. Or you can go along to File and just say close to get rid of it. I want to open up a photograph now, so I can either go to file and open or I can choose open in here. It's exactly the same thing. And I'm going to go along and find an image that we're going to be using. Now, you can open up any pictures. This picture is in your saved images for you to work through, but you can open up any image for this little example. I'm going to click on open at the bottom, and my image opens right up. Now that I've got it, what I want to do is I want to sort of show you how to move around the image. Now, the first thing is down the bottom here there's a little hand, and you can click on the hand and move the image around. Or if you're in a different tool, what you might find that you want to do instead is a shortcut to get to the hand, and that's the space bar. Hold down the space bar. It gives you the hand. You can move the image around, let go of the space bar, and carry on doing what you're doing. Very useful if you've zoomed right in. And, of course, that takes us to the next one, which is the little Zoom tool here. So the Zoom tool allows me to click to zoom in. And to zoom out, you go right the way to the top. You see this little option bar at the top has changed to do with the Zoom tools. Click on the minus and you can zoom out over there. Of course, there's shortcuts for this, and that is now, if you are on a Mac, I'm on a Mac. But if you're on a Mac, it's Command and plus to zoom in, command and minus to zoom out. And there's a new one Command and zero to get the image to fit into the screen size. On a PC, it's Control plus to zoom in, Control minus to zoom out, and control zero to get it to fit to the screen size. You can see when we've zoomed right in, holding down the space bar to get to the hand is really useful to just move around that image as you're working on it, as is Command or Control Zero to jump back to fitting in the screen size. So back on to the little hand tool because there's another option here as well. This is the rotate view tool. And this will just rotate the view of that image. Now, it sounds a bit weird saying rotating the view. Of course, it's rotating the view. Well, there is a way of rotating the image where it's actually properly rotating the image, and I'll come to this later on. But this is just rotating how we look at the image. And now all I've got to do is do that to see the image from sideways on. If you want to get back to how it should be, there's a little reset at the top, you can click on that to reset it again. Anyway, do have a little bit of go with those and don't forget the shortcuts. So for the hand tool over here, it's a space bar to get to that. And for the Zoom tool, it's command or Control plus minus and zero. Of course, I can't just leave things like that. I've always got to add in a little bit of extra for you. And that is when you're looking at the tools, have a look because there's a little letter on the right hand side, H R, and this one over here, or this one doesn't have one there, but you can see down here, it's Z. Those are shortcuts to get to the tool. So if I'm here, rather than going down to select the hand tool or that tool there, I can press H on the keyboard and it takes me into there. R will take me into rotation and Z will take me to the ZoomTol in there. So plenty of shortcuts to keep you going. Do have a bit of a play with that. See how you get on. 8. Crop, Rotate and Magically Fill Areas: Let's close this one down. I'm going to just click on the little X at the top to close it. And we're going to go and open up another image. Now, once again, in the images that I've given you, this one will be there. It's called Crop and Straighten. And we've got the picture of this policeman in presumably London somewhere. And, well, he looks like he's had a few too many to drink, and he's falling over on the left hand side. But when you look close, the sows the road, as well. So we want to just straighten this up. We also want to crop some of this down because I don't like all this gap over here, and I'd really like this to be a nice sort of square that I could use, maybe for Instagram and put some text in there, maybe later on. So I'm going to do that by going down and we're going to go along and we're going to look at the cropping tool. You can see there's this little pair of they're called cropping Ls In there, they come from traditional photography. Originally, when I did photography years and years ago, we used to make them out of bits of cardboard so you could sort of look and see what your crop or your composition would be like. So I'm going to click on that. Now, the curses change to the little cropping s, and what I'm going to do is I'm going to click and drag over here to the sort of size that I want. Now, I want that to be a perfect square. So what you can do is if you want something to be a perfect square, you hold down the Shift key. That's the little up arrow on the left hand side of the keyboard or and I'm just going to press Escape to get out of that. I could go to the top to the settings for that tool and where it says ratio, I could say one to one. So now I don't have to hold down the Shift key. It will always give me that perfect square. Now, that's okay. I think he's a bit too near to the side, so I can actually just drag this around left and right to get it correct. However, it's made him look even more wonky. So if I move to the very edge over there, so instead of that little arrow, which allows me to change the shape here, I can go to the very edge and I can rotate him around. You can see how this grid has come up, so I can use the grid to say, Okay, I think that's right. So he's nice and straight on there. You can see we're cropping out this area over here. Now that I'm happy with that, I'm just going to go to the top and click the little tick. You can also press end or Return on the keyboard. Click on that, and there we go. It's done. He's all nicen and straight over there. And we've cropped out the excess area that we don't want. I'm going to just undo that. So to undo in Photoshop, you use if you're on a Mac, it's Command and Z, on a PC, it's Control and Z. And you can just undo as many times as you wish. Well, within some reason there actually is a limit, but it's set in the preferences. Now, if you go up here, edit, you'll see that there's actually a redo or an undo in there, so you can do the same thing on the top. Now, I'm going to zoom out just a little bit over here, so I'm using my command and minus or my control and minus to zoom out. And I'm going to do that again. So I'm going to click and drag over there. I'm going to rotate this around, but I think it's cropping out too much. I'm going to make this a little bit bigger over there, and maybe a little bit bigger on that side. Over there. Now, the thing is that if I then went and clicked on the Tick, it would do that, but I'm missing this space over here. This is just transparent. You can see if you see a check effect in Photoshop, it means that that area is totally transparent. So let me undo that, and I'll show you how we can get around that with a little bit of Photoshop magic. So I'm going to do the same thing again. I'm going to make my rectangle. I'm going to rotate it, so he's straight up. I'm going to pull it out a bit. So I want a bit more space there and there. And then along the settings over here, I'm going to go in and I'm going to go to fill. And instead of having a transparent area, I'm going to say use content aware fill. So content aware fill is where Photoshop will make it up. And I'm going to say crop off any pixels that we don't want over there. Let me click on the tick and look at that. It's made up all the details over here. I'm going to stop there, have a bit of a go with this cropping tool. Don't forget over here, you can go to ratio and you can put in one to one, as you can see, there's actually some preset ratios in there as well. If you are doing something in here, so you're making a little shape like that, and you think, Oh, my goodness, I made a total mess of it, you can just click on the Clear button at the top to get rid of those settings in there and then do it manually. Like that. Do have a bit of a play with that. Don't forget the content aware fill down here. And when you click on the button, it will make it up for you. Try it out, see how you do. 9. Straighten Photos: I'm going to close this down. I don't want to save it. And I want to open up another one, and it's going to be this one straighten tryout. I'm going to click on open. And you can see this is wonky, but we've got this really nice line, the horizontal line across over there. So if you're using the cropping tool, what you can do is you can go to the straighten button or the straightened option along the top. I'm going to click on that straighten option, and then I just draw a line along the horizon. You can do this vertically as well, rather than just horizontally let go, and it will then put in these cropping, frame for you. I'm going to say content aware fill, delete cropped image, copped pixels, click on the tick, and it's done, and that's really nice and straight. So it's a fast way of just getting something along a line horizontally, vertically. Try that one out. 10. Flip Photos: Let's close this one down. I'm gonna click over there, and I'm not saving it, but if you'd like to save it, that's absolutely fine. But I'm going to go along to one last picture to do with cropping, and I'm going to open this one over here. Now, there's a few bits and pieces that are wrong with this. The main one is actually this line down here. Now, should we straighten it on here or should we straighten it by looking at her? Only you can decide that. And you can test it out by just going to straighten and clicking and dragging down like that and seeing what happens. Does that look okay? When she sort of straightened up, like so, or, I'll just undo that. Would it be better if I use the straightened tool along there. Once again, we'll click on the tick. And the bottom is straightened over there. Or maybe we could go somewhere between those two. So I'm going to undo that Command Z or Control Z over there to undo. So I could do the same thing again. I said, Well, let's try it along here. But you're going to use command command minus or Control minus to zoom out. But I don't want it to be quite so much, so I'm just going to rotate that a little bit like that. I think that actually works for me quite well. But what I'd also like to do is to get her looking the other way. So I'm going to pull this side down over here, and I really want this to be a square. So if I go along to the top to the ratio and put in one to one or choose one to one square in there, or you might have noticed this already, this little display down the bottom says ratio. And if I choose one to one square in there, it's exactly the same as going to the top over there. So I think that's about right, and I'm going to collect the little tick over here. And I'm using the content to wear fill to fill in those bits. But now, for this particular example, I want her to be looking over towards the right. So I'm going to go along and flip her. Now, there are different ways of flipping things as you'll discover when we go along, but I'm going to go along to image and where we've got image rotation over there, we can rotate the image in various degrees. I can flip the whole canvas. That's the image itself, horizontally or vertically. I'm going to flip it horizontally, and that'll flip the whole thing around. So she's now looking over to the right, and I've got space to put in my text on the left. So do have a bit of a go with that customizing your rotation and also looking at using image image rotation and flipping the canvas one way or the other. I could go to flip Canvas Vertical to make her upside down. That looks a bit weird. I'm going to use command or Control Z to undo that. Try it out. 11. Save Compression: I want to resize a photo now. So I'm going to go to File and Open over there or fun and open over there. And I'm going to find this picture here. Now, I would like to have these faces on some sort of banner. Now, if you're going to be using a banner you put in on Facebook or any social media platform, really, you can Google the exact sizes that you need. Or in my case, if somebody said, Oh, could we have that as a custom banner, and we want it to be 1,200 wide by 800 high pixels. Well, all I've got to do is to go to the cropping tool, go over to my width, height and resolution. I'm going to put in my 1,200 px for pixels and my 800 high PX in there. This little area here is for the resolution. Now, don't fill that in. Just leave it absolutely blank. The resolution doesn't matter. Now, I know some of you will be thinking, Are you sure, Tim? We know that resolution is really important. Well, yes, it is when it comes to things that are going to be printed out. But when it comes to images that are going on the web, the only thing that we really need are these two figures here, the width and height in pixels. So now that I've done that, I'm just going to click and drag over there, and you can see it's keeping my 1,200 by 800 oh exactly right. I'm going to move it around until I get what I want from them. I'm happy with that, and then I'm going to go over here and click the tick box. Now, it suddenly jumped and become very, very small like that. Now, that's because the original image was quite large. I'm going to undo this to show you. You see, this image here, if we go to image and image size, this tells me about the image was actually 7,800 pixels by 5,300 pixels, whereas I'm actually making it 1,200 by 800. So I'm just going to cancel that over there. I'm going to do it again. So 1,200 by 800, I'm going to click and drag to get the crop that I want from that. I'm going to click on the tick, and then even though it goes really small like that, it doesn't matter. I'm going to go to Image and image size and just check it, and you can see it's 1,200 by 800 in there. So that's absolutely fine. What I want to do now is I want to save this out, and I'm going to do that by going to File and there's a number of different ways to save. I'm going to go down to Save As and in here, I'm going to choose JPEG. So I'm just going to give it another name. There, let's call this the Team. Well, let's try that again. The team and the format is going to be JPEG in there. If you can't see JPEG down there, what you can do is you can click on Save a copy, and we'll just do it again, but it will give you the option for JPEGs. Now, the other thing that we're going to do is we're going to include or embed a color profile, an SRGB color profile. I'm going to be talking about color profiles later on, but I just want you to notice that the embed color profile option is there and mine is set to SRGB. If yours are set to something else, don't worry about it yet. I will run through all of that. I'm happy with that, and I'm just going to click on save over there. Now, this little window pops up for the JPEG options, and what we've got is a little slider going from small to large. So I want you to see what happens with this. By the way, I haven't saved it yet. I still have to click Okay to save it. But on my image over here, I'm just going to move it along a little bit in there. I'm using my Command plus or Control plus shortcuts to zoom in. And I just want to get it to a size that it would normally be at. You can see this is 200%. Let's just go minus over there, 100%. So that's the size that would appear on a webpage. Now, with a large size, this will be a bigger file. The save file will be bigger. If I go a small file, it will be a smaller file. The number of pixels will not change. But the way that Photoshop saves it means that the quality for a small file will be worse. Now, as I'm doing this, you can't see any difference, but when I switch on preview, you can notice a difference between the large file and the small file. I'll just make it a bit bigger so that you can see exactly what I'm talking about. So there's the large file, and that's what the small file looks at. You can see how Photoshop is breaking up the areas into sort of sets of pixels. Was the large file, it keeps all those pixels in there. So just be aware of that. If you choose a smaller file, in this case, the small file is 97 K, as opposed to a larger file, which is 790 K. So it's quite a difference. There will be a difference in quality. Try taking this down a little bit until you get to the point where you think, Okay, I'm starting to see a little issue in there, and that's 258 K in there. Maybe that's alright. Let's try a bit lower. I might be able to get away with that. Remember, I have zoomed right in on this to 800%. So chances are if it's at, um, 100%. Even down here, people might not see the difference. So I'm going to go with eight over there, which is high. In there, you can choose from different preset qualities in there. Let's just go with high over there. 258 K. Click OK, and it's done and it's saved. Anyway, do try that out. Remember, use your cropping tool, go to width height and resolution, put in your sizes in pixels. When you do this, make sure that you type in Px because sometimes it can default to centimeters, and then you have this really huge image. So be careful of that. In this case, I've typed in 1,200 PX and 800 Px in there. Once you've done that, save it as a JPEG and have a look at that quality setting in the JPEgs. What about this image now? I'm going to go and close it down. But you can see this is not Teams or the team, shall I say? Remember, the other one I saved and I called it, I did a saves and I called it the Team. This one is still the original image, the Adobe stock. So when I click to close it, it says, What do you want to do? Do you want to save it? If I say save, it will save this crop down version. If I say don't save, then it will not save over the original because the original remember was at high resolution, 7,800 pixels wide, and I don't want to effect that. So I'll say don't save in there. So I've still got the original if I need to go back again, and it's the high quality one. So remember, if you're doing a save as you're saving out as something else, you don't need to save the document unless you've made changes to it that you want to keep. Try it out. But 12. Save to Cloud or Export: Let's have a look at some of the other saving options. I'm just going to go and open up another picture again. It doesn't really matter which one I choose. I'll go with this policeman. And let's say, for example, that I decide to crop that picture down. I just want that little area there. I've still got the 1,200 by 800 option. Now, I'm not going to say delete cropped pixels. I'm just going to switch that off because this is something that you might leave switched off in there. But I want you to notice down here that this layer says background. So this is what's known as a flattened image where it's just the background, and we haven't put any other layers on there. I'm just going to untick that for now and click the little Tech symbol. Now, look what's happened here. It's become layer zero. If I do that again and say delete cropped pixels, and once again, do that and click on the tick. I still says background. So that little delete crop pixels option allows us to actually move the picture around. You see, if this is a background, it's stuck. It's deleted all the extra pixels on the outside. But I'll do it again with that switched off, and I crop in like that. Click on the tick, but this is with delete cropped pixels switched off. I'm going to click on the tick, and then I suddenly realize, Oh, you know what? The little bubble on his helmet is too close to the top. Because this is Layer zero, you can use your move tool and you can actually move the image around inside that frame. So using that little crop option in there, if you don't flatten the image down and it stays as the background, you can't do this. If you switch that off, you'll be able to move the image around in there. And this is really useful because this image over here is, if I go to image and image size is 1,200 by 800. So it means that I can then just move that around exactly where I need it in that little area. Now, I've got what I want from that, and I'm going to go and save it. So if I go to file and save as, over here, I've got we'll call this police. Over here, I can either save it as a photoshop file or a JPEG file. But if I go to the bottom, it wants to save it as a photoshop file, it doesn't give me the JPEG option in there. And that's because this image is layer zero. It doesn't have it's not flattened down, shall we say. So how could I save this as a JPEG? Well, if I click Save a copy, now, it goes back in there and it allows me to save that as a JPEg from there. However, the other thing that we can do when we have something which is not a flattened file and not being saved as a JPEG is when you go to file and save as, if you're going to save something as a photoshop file, so it's got layers and that sort of thing, we can say save to Cloud documents. Now, when you save to the Cloud, you are saving to your space that Adobe allocates to you. Every CC account gets a certain amount of cloud space, and when you fill it up, they will sell you some more, should you wish. But I tend to use it for documents that I'm sort of changing between things. When I'm finished with a document, I tend to archive it onto my machine or onto a server somewhere. It's a bit cheaper that way than constantly buying more and more cloud space. But, you know, it's up to you. So if I say save to Cloud document, over here, I can just go into Save to Creative Cloud and click on Save in there. If I think, Oh, my goodness, I didn't mean to do that, well, I can go back to on your computer in there. So you can go between the computer and the Cloud. If I click on save over there, it will save it into the Cloud, and I don't have to worry about finding it on my machine. One more thing in here. When you get a file and save as, instead of going to file and save as and finding JPEG, you can just go to Export. And I'm going to say Export As, and then I can choose JPEG up there. It's pretty much the same thing over there. The result is going to be the same. You've got the same quality settings in there, and you've got your file sizes. This is quite nice because it shows you the actual file sizes in there. And if you think, Oh, my goodness, I made it too big, I could actually go in and change it and just say, Well, let's go in here and make that 600. It in there. And then I'll click on Export there. Then it comes into this savior and says, Where do you want to save it? So I'm going to save it. I'll just put it on my desktop, like so. Have a bit of a go with that. I know it's a little bit confusing when you start to see all of these different file and save as and Export as options, but they're pretty much the same. So Save As allows you to go in here and either save it to the Cloud or on your computer. If you can't see JPEG in there, choose Save a copy. You could also use File and export and choose Export As, and that gives you this little window so you can actually see the JPEG in there. You can also change the size in here if you wish after the fact. Anyway, do have a little bit of a go with that. 13. Mini Project: Save to 3 Social Platforms: Now it's project time. And this first project is really easy. I'm just going to ask you to resize this image over here in different sizes for different social media. Uh, platforms. So what I'm going to do is I'm going to go down and just show you the image resolution sheet sheet that I've made for you. So I've done this PDF, and it's included in the course. You can find it with all the rest of the images. And this is all about image resolution. And I've gone in and I've put in the different social media platforms in here and what resolutions you need for those platforms, all the way down LinkedIn, YouTube, and I've even added the latest one, which is BlueSky in there. Now, when you're doing this, just remember that these sizes are correct at the moment, but things change. The social media platforms change their sizes reasonably regularly and update the size. So it's always worth if you're doing a big job, particularly just going on and Googling it or having a look using hat GPT to find the size at the time. Anyway, what I'd like you to do is a few different sizes over here. And we're going to start off with Instagram portrait vertical. So Instagram portrait vertical is 1080 by 13 50. So let me go back. I'm not going to do all of them for you, by the way, just one or two so you get the idea. I'm going to go back into Photoshop over here. Now, she's kind of leaning over to the left, and we want to straighten up when we do this, as well. So I'm going to go to the top. Remember, I'm in the cropping tool. I'm going to go up to the top and I'm going to choose width height and resolution. I'm going to put in the width. The width is 1080. Once again, px in there, and the height is going to be 13 50. Once again, px. If we have a look at the cheat sheet, you'll see that once again, we've got Instagram portrait vertical 1080 by 13 50. Now, what I'm going to do is I'm going to click and drag with my cropping tool over there, and this is kind of the right size over here. Now, I'm going to zoom out. I'm using command and minus to zoom out or control and minus to zoom out as well because I want a bit more of her in it. And she's also leaning over to the left, so I'm going to move off the edge and rotate until she's kind of looking straight up. So this is a great image because this could be used with a bit of text along the top there that she's pointing to. Now, you can see this bit is missing and that bit's missing there. So we make sure that we delete the crop pixels and we fill with content aware fill. I'm going to click the tick button over there, and there we go. We've got it. All done. Now, you do need to be careful sometimes because occasionally you might find a little funny thing going on. So it's actually repeated her hand down there. Now, I'm going to just undo this again. So occasionally, you might need to do this a few times you get it right. I'm going to do that. I'm going to make this a bit bigger. Rotate her so she's straight, maybe pull it up a bit so there's not quite so much for it to fill in down there. And then once again, click on the tick to get it to work. Let's have a look at that. That's much better, much cleaner. So, here's my first one ready to go. I'm going to go to File, and I'm going to go to well, if you want to use Export or Save As, it's entirely up to you. I'm going to go down to Export, and I'm exporting it as a JPEG file, reasonably high quality in there. There's my sizes, and I'm going to just click Export and save it somewhere. I'm putting mine on the desktop, and I'll call this this one here, portrait vertical. And I'll click on Save. Now, when I do the next one, the next one over here is going to be a Tik Tok image. So that's going to be 1080 by 1920. Now, of course, if I do this again, and go to 1080 by 1920 over there and pull this out. What's going to happen is it's going to keep resizing on an existing small resized image already. And this can lead to a lowering of quality. So I'm going to suggest, and I'm just going to press escape to get out of that. I'm going to suggest, whoops, I made a bit of a mistake there. I'm going to suggest that you undo that. So I'm going to go to edit and undo. I'm going to go to edit and undo again until I get back to the large file, the high quality file over there. Let's zoom out a bit on that. And now I'm going to do that. So that's 1080 by 1920. Let me do that again, resize it, pull it out to there, rotate it so she's looking upwards. Make sure I get everything in there that I want. I think I'm happy with that. Let's try it out. So don't forget delete cropped pixels is switched on. Content aware fill is on there. Click the tick, and we'll have a look at that. Not bad at all, and that's the right size. Once again, file and Export has. And then when you do your next one, undo that again. So undo the content aware crop over there. So we get back to the high resolution image, and you can then go on to the next one there. I'm going to put some details on the screen a moment so that you can see the ones that I'd like you to do. But if you want to try out any of the other ones, feel free to go into here and have a go with different sizes in here. Not just these vertical ones, either. Try some of the horizontal ones, too. So something like YouTube over here, have a bit of a go with some of these sizes. TikTok, once again, different size to YouTube as well. Anyway, try those out, save them and make sure that you feel comfortable with doing that because chances are it's one of the things that you're going to be doing quite a lot of in photoshop generally. Then come back for the next section, and we're going to do some exciting things in there. Have fun. 14. Adjusting Lightness & Darkness, Colour Correction and B&W: In this section, we're going to look at, first of all, fixing problem pictures. Now, sometimes a picture can be too light or too dark, or maybe it's actually perfect, but you want to lighten up some of the darker areas or darken down some of the lighter areas. And I want to show you how you can do that. Once we've done that, we're then going to look at taking an image and correcting the color. And then we'll go and we'll take an image and we make it black and white. Now, making an image black and white is not just about going. Oh, it's color it's black and white. There's far more to it than that. We'll also be looking at taking an image and giving it a color overlay, so a color tint, which will be absolutely awesome. There's so many more things that we'll be looking at in this section as well, so let's get started and enjoy it. 15. Fix Light & Dark Levels: Let's open up a picture, and I'd like to talk about the lightness and darkness in images. I'm just going to go over here and find an image. There's one that says to black and white in there or two black and white, two, and let's open up that one. Now, I wouldn't say good image because it's all subjective, but a well exposed image will have a range of tones which go from black or almost black through to white or almost white. Mostly there obviously are exceptions to this. But most images will have those range of tones. So how do I tell if this image has got a whole range of tones in it? Because I can't trust my eyes. You see, my monitor might be turned up or down, and it might look too light or too dark anyway. So what we have to do is we have to rely on the software, and we're going to use, and I know some of you don't like graphs, but bear with me because it's not a bad graph. We're going to use a graph. So I'm going to go to the image menu and down to adjustments. Adjustments are all the ways that we can actually change the color and lightness of the image. And I'm going to go across to something called levels. Now, levels shows us how much light and dark there is in the image. It's also called a histogram, so you might have come across a histogram on the back of cameras sometimes. And let's have a look at this. Now, if that did really bother you and you think, Oh, my goodness, what on earth going on there, let me explain. This graph here shows the amount of light and dark pixels there are in the image. It's completely ignoring individual colors. It's taking all the colors together. You can see it's using all of RGB and taking all those colors as one. So on the left hand side, this is how many dark or black pixels we have. This is our middle range of pixels, the grays going down to the whites on this end. And you can see there's a little gradient at the bottom showing things going from black through to white. So this particular image is well exposed. It's got a range of tones going from black through to white over there. Let's have a look at another image. I'm going to take this hippopotamus. So over there. Now, if we look at this hippopotamus, well, there seem to be a lot of dark pixels in there. There also seem to be some light ones. So let's see what it looks like using the graph into levels, and you can see there's a lot of very dark pixels in here. There's not that many in the midtones. It shoots right up in the pure whites over there. And I'm going to click Okay with that. Let's go along and look at another image. Once again, there's a good range of tones in here. Are there any blacks in maybe in the middle of her eye, possibly, maybe in her nose there? I don't know. I can't see any pure white. I mean, maybe that's pure white in there and pure white in there. But let's have a look. So image, adjustments, and levels. And there we go. We've got a full range of tones. There's lots of these sort of lighter ones. Presumably, that's her skin going down to white on that side. Gonna click Okay once again. Now, let's have a look at an image, which maybe is not quite so correct. I'm going to go and open up this one called Classic Car. Now, if I show this to you, honestly, I think your eyes will probably lie to you because when you look at this, you think, are there any black bits in there? Mm. Maybe there's some black bits in the grill. It looks like there's some white bits in here because all of these highlights on the wheels and the reflection in the chrome might be pure white. But what I'm going to do is to go to image adjustments and levels. And you can see there's no blacks or dark areas here at all. And there are no whites or light areas either. Your eyes light you, especially about the whites. It's very difficult to see pure whites on a screen. So how do we fix this? Well, that's the easy part. All you do is you take that little slider and drag it up to where the blacks start and this little one and drag it to where the whites start over there. Have a look at the difference now, that's before and that's after. I'll click Okay. Let's have a look at one more image here. I'm going to go and open up this microphone. Let's have a look at the histogram for this microphone. I'm going to go to image adjustments and levels. And as you can see, there is no blacks in this image at all. There's a tiny bit of very dark, almost black, and then it shoots right up. Presumably, that's this area over here. And exactly the same, on this side, there's nothing in the pure whites. So I could pull that along to there and pull this one up to where the detail starts. But you need to think about what's the story that the picture is telling. And this particular image is trying to tell the story of an old microphone, which maybe is in early color photography days. So having an image like that, which is a little bit flat might end up looking like an old photographic print that's faded over the years. You could go with that, or you could get it inverted commas, correct. It's up to you. Go with what the story is telling you. Anyway, do have a bit of a go with some of these images, have a look and try out the car, try out the microphone, and do look at some of the other images and see what the histograms are actually doing. 16. Create a Watermark: Now, we can use the histogram to create things like watermark effects. If I go to levels, you see these little I call them beach huts, little arrows really control the contrast. They increase the contrast. These ones down here will get rid of darker and lighter areas. You'll see if I pull this one along here, what I'm doing is I'm saying, I don't want anything on my image darker than this gray over there. I could do the same thing on this side. I could pull that over and say, I don't want anything on my image to be lighter than that gray there. You can see how it's done that. And as I said, for things like quick watermark type style images, you can just pull that right up and you get this lovely light image, and then you can put your text over the top of that. Use it for backgrounds for social media posts or word, Microsoft PowerPoint templates. Try that out on some images. It can take something which is fairly complex and just make it into a really nice, easy background image. 17. Shadows Highlights & Contrast: Et's open up another picture. Now, this image, I'm going to go to File and Open is once again available for you to download. I'm just going to choose this image to start off with to show you some bits and pieces about lightning and darkening. So looking at this image, what we have are a full range of tones, and let's go to our image adjustments and levels. And there's a nice range of tones there from black through to white and a good range all the way through. But looking at that picture, I'm thinking that this person's hair could do with a bit more detail in it. Maybe we need some more detail in this area over here. So we have got an option under adjustments called brightness and contrast. And what brightness and contrast does is it increases the lightness or the darkness, but it keeps to some degree, those pure whites and pure blacks in there. So as I'm brightening this up, it's increasing the lightness but keeping the Blacks, those Blacks are still there, the whites are still there. If I go the other way, as I said, to some degree, at some point, you'll get to the point where it can't hold it anymore. And then you don't get those pure Blacks and pure whites. But mostly it will hold them. So I could try lightning this up until I'm thinking, you know what? That's the sort of detail that I want in there, maybe a little bit more. The problem here, and I'm sure you can see this straightaway, is that we're starting to lose all the detail in this area here, and the image has started to look a bit lopsided. Also in their face, on the left hand side, here, it's starting to get a little bit too light. By the way, if you want to see the original, just switch preview off so you can see what it looks like. Amazing the difference that it's made, isn't it? When you switch that on and you go, Oh, yeah, that looks interesting. You switch it off, you go, Oh, I can't see all the detail in there anymore. Well, what about contrast? The contrast, I can increase the contrast over there, and we're sort of making the darks darker and the lights lighter over there. Or if you go the other way, we're making the lights lighter and the darks darker. Now, why can't you see anything happening? Well, it's because I've been a bit silly here and forgotten to switch preview back on. So let's switch preview back on, and I'll do it again. So, increasing the contrast, we are making the darks darker and the lights lighter. Going the other way, reducing the contrast, we are then well, some of those darks are becoming lighter and some of those lighter bits are becoming darker. So with this, we can sort of pull the contrast over, and we're going to see some more detail in there. Of course, it's looking very, very flat, so I might want to go to my lightness or brightness and just brightened up a little bit more. Once again, switch preview on and off to see the difference. So that's the little brightness and contrast slider in there. And it's a nice, quick and easy way to work, and I'd suggest having a bit of go with it after this video. But is there anything else that we could do? Now, there's another really nice feature in here under image adjustments, and it's called shadow slash Highlights. Now, I want to mention something which we'll come to later on. These adjustments here that we're going to be using are also going to be used as adjustment layers. So when we get into layers and adjustment layers, we'll be able to put these onto adjustment layers so they won't be permanent adjustments, and you can change at any point, except for the shadow and highlights option. That isn't available as an adjustment layer at the moment. Anyway, let me go to shadow and highlights. And now what we have are two sliders in here. So if you want to lighten up the darker areas, you can go to the shadows and you can just pull that up to lighten up those darker areas. Once again, you can see I can switch that on and off, and we're just affecting the darker areas on that image. That's probably a little bit too much. Let's have a look at that. And you can see it's affecting the person there and the computer. In there. Look at how the detail in the hair is coming up so nicely. When I switch that on, you get a lot more detail in there. So what about this highlights? Well, let's just take that down to zero and do the highlights. So the highlights will darken down the lighter areas. Now, when these two work, it doesn't just darken it down completely. It still keeps your pure whites, but then it darkens down the almost white areas over there, so I can just push those down. Now, you can go completely silly with this and over the top, you get some really wacky effects if you pull it all the way up. It almost looks like a traditional solarized print, but in color. I'm going to just move that down. By the way, if you didn't know what a solarized print is, Google it, and have a look. They were usually black and white. It's a whole traditional photographic technique. So that's a great way to just get a little bit more detail in an image. Now, you can use it for getting a bad picture or improving a bad picture if there's no detail in the darker areas or like this, you can just use it to get more detail in what is already a very good image. Let's have a look at another one here, so I'm going to go to file and open. I'm going to take this image over here. By the way, these images are called shadow highlights. So when you're looking for them, that's their name. I'm going to go to image adjustments, shadow and highlights, and I always, by the way, it puts in 35%. I always push that back to zero. 35% is not the correct amount. It's just the default that comes in. So I always put it back to zero and then push it over until I feel all that looks quite good. Now, do I want to darken down any of the highlights maybe on his clothes? Let's have a look and see if I just pull that back just a little bit like that. If you go too far, it looks awful, just a little bit in there maybe. And then when I stop, I always go to preview and have a look before and after. So with this particular image, we are getting more detail in this image here. Personally, I prefer it with less detail, but the whole thing is, what is the story behind this? Do you want something which has got mood, which in this case, it has with the darker area, or do you want an image where you can actually see certain details in the image because you're talking about the glassware on the side. It's entirely up to you which way you want to go. There are a few other images for you to try out in here, and I've named them Black shadow highlights. So there's the hippo. Try that one out. I mean, it's got a lovely feel at the moment, but see what happens if you lighten some of those areas in there. I've got this one over here, Shadow and highlights two, which is the chap working on the gate. Have a look at the detail that you can actually get back on him. I would maybe not use so much of the highlights on here because the highlights look really good on the metal, but try it out and see what you think. There's no right or wrong with these. Experiment, have a look and decide what looks good for you. So, last one over there. Try this one out, get some more detail maybe into the camera in there, but don't lose the detail in this area. And don't make things too light because they can look a bit strange. Try those out. 18. Fix Your Color and Tell a Story: Let's open up another image and have a look at some color. So file and open. And I'm going to go to this image over here, which says color balance. Now, color balance, apart from just getting things what appear to be correct, can also be used to tell a story. So, for example, something which is particularly blue gives a feeling of it being cold, something which is particularly orange would give the effect of warmth. But I would like to take this image, and I would like to make it neutral, so it's neither warm nor cold. It's just what it is, particularly useful if you're going to be selling an object towards going into a catalog and you want to make sure the colors are correct with lots of metals and chromes. Now, when it comes to color correction, I like to figure out what's wrong before I even go to my settings to sort it out. And it's much easier that way rather than just pulling your sliders around and hoping for the best. So the process that I use is I look at an image and I say to myself, what looks wrong with the color in that image? Does it look too yellow or too blue or too green or too red? Whatever color I think it might look, that's what I think it looks too much of. Now, when I look at this image over here, it looks very blue to me. I don't know how it looks on your monitor, monitors, obviously, have got a slight color change to them, as well. But certainly, to me, it looks very, very blue. These areas here, which should be gray if you compare them to the gray of my background in Photoshop, they've got a bit of blue to them. Likewise, the chrome in here and the whites seem to be a little bit blue. So it could even be greenish blue, but let's just take blue for now. So what I'm going to do is I'm going to go up now that I've figured out what I think is wrong with it, I'm going to go to image adjustments, and I'm going to go down to something called color balance. I'm going to click on Color Balance, and this is why I said always trying to figure out what's wrong with it first. When I'm looking at this, there's these sliders which kind of look a bit scary, think, Okay, now, what do I do with these? Well, if you've already figured out, to me, it looks too blue or too cyan. Over there, this can is kind of that greenish blue. We got blue over there. If it looks too much of one of those, try it out and see what happens. You see, if I go to the blue here and I subtract the blue to get rid of the blue, I'm adding yellow. And a, it's looking very, very yellow there. Maybe that's not right. Let's try the can I suspect maybe it's more that sort of color there. So by adding red, you can see how I'm subtracting the sign. If I keep going too much sign in there, I can subtract that, add some red until it looks neutral. Now, you'll find that your eye adjusts to the color as you're going through these and you start to think, well, it still looks exactly the same to me. So what you do is switch off preview, and you will see the difference. So that's with the slight blue. That's more neutral. I'll just add a little bit more red in there as well. Once again, switch it off. Ah, now now you can really see the difference in there. Switch it back on again, and it's looking quite good. I might go even a little bit further. Over there. I'm really looking at the cup at the moment here to try and make a neutral. There's no right or wrong with color balance. It's whatever you want it to be. I'll click Okay, and it's done. Let's try the same technique on something else. So I'm going to go to file and open. By the way, I'm using a shortcut here. If you're on a Mac, it is command and O. If you're on a PC, it's Control and O, and that's just your shortcut to go to open. So you've got some other color balance files in here. Now, let's take a look at this one over here. This one's a lot more, well, difficult. So before I actually say what I think, have a look at it and see what you think is wrong with that color, especially if you look in the skin tones here or the areas which should be neutral, maybe the concrete on the floor, which should be gray. Does it look too blue, too yellow, too green? Maybe it's a little bit yellow green in there. Maybe it looks too purple to you. To me, I'm thinking there seems to be quite a lot of yellowy green in this image. So I'm going to go to image adjustments and color balance. By the way, I'm saying these colors out very quickly. I've been doing this for a number of years, and it's taken me a long time to be able to recognize colors in an image. So if you don't get the color straightaway, you look at and thinking, I don't know, what does it look like? Just be patient with yourself. It does take a little while to get used to correcting colors. Anyway, if you've got a sort of a skin tone or something like that, that you can view next to it so that you can sort of see it helps as well. I'm going to go along here and say, Okay, it looks like there's a lot of yellow in there. So I'm going to add a little bit of blue to try and get rid of some of that yellow. Let's keep going over there with the blue. Hey, that's not bad at all. If I thought there was some green as well, I could go to the green and subtract the green in there to warm it up. Now, let's have a look at the difference between this and the original. If I click offer that, you can see all that yellow that was in there. Click on that, and we're back to normal again. It's actually looking still a little bit cold. So if I take that slide and maybe add just a little bit more yellow, I think that looks better, and maybe the magenta we'll add a little bit of magenta over there. So for me, that looks correct. If I switch that off over there, you might think something different and you're not wrong. If you believe that a color should be something else, then that's absolutely fine because all colors tell stories. It's not about just getting a correct color in inverted commas. It's about the color of the image telling the story that you want that image to tell. I'm happy with that one. Let's go and open one more image in here. And I'm going to go over to a Image here, this says too black and white. Now, looking at this image, I'm thinking, Do you know what? It looks absolutely fine to me. Would I improve it by changing the color? I don't think so, but let's have a look. Image adjustments, color balance. So if I thought, I don't know, maybe it looks a little bit too blue, I could add a bit of yellow to it. If I thought it looked a little bit too cyan, I could add a little bit of red in there. But honestly, I've hardly made any difference to that image at all. But remember what I said about telling a story, Colors tell a story. So what's the story saying? Is this a sitting outside at the house on a really cold day playing the guitar because one has to, or is it chilling on a nice warm autumn day? I mean, he's dressed up pretty warm, but maybe it's an autumn day. Do you want to show warmth? Do you want to show coldness? And there's another way that we can do this, as well. So if you're happy with the color balance, and you want to then show warmth or coldness in your image, you can go down to something called the photoflter. Now, the photoflter has got different filters in here, and you can see some of them are warming filters and some of them are cooling filters. And then there's a whole lot of just colors in there. So these come from traditional photographic filters back in the days of film, and we used to use these that were usually called atten filters to warm up or cool down an image, but it's exactly the same process. The warming filter here is this orange, and I can just go and change how much orange is in the image. And you can see by doing that, what I'm doing is I'm warming up the picture very slightly. I can go over the top and make it really, really warm. So I'll just make that a little bit warm there, and we can have a look before and after. And you can see how it's just warming up the skin tones. Or if you thought, Okay, well, maybe it wasn't a warm day, maybe it was something really cold, I can go to one of the cooling filters, and I could just say, Well, you know, it was a bit of a cold day. So we put a blue filter on and you can kind of see a before and after with that. So do check these out. Warming filters, cooling filters. There's no right or wrong. You just do what you think would look best for that particular image. Don't just try him. Go in here and just open these up again. Bao means try him out, but also go along. Do these color balance images. So this one here with the coffee machine, that one in the coffee warehouse or whatever it's going to be try some of the other images that you've got in here as well and see what you can make of them. I'm going to suggest when you try out ones that don't have the name on them like shadow and highlights or to black and white, don't do any saving because we're going to be converting those in a while. Have a go. 19. Convert to Black and White to Tell a Story: Let's close down these images. So I'm not going to save them. If you've done your own images, by all means, save them, but for now, we're not going to save those. I'm going to go to file and open once again. I'm going to find an image that I want to make black and white. So I've got this image of these kids, and there's a lot of different colors in here. And I'm going to go along and make it black and white. Now, black and white is not just about removing color from an image. There's more to it than that. I'm going to go to image. Adjustments and black and white in here. Now, what happens in here if these settings are just set to zero is it automatically just converts the image over using the lightness and darkness in the colored areas. And this means now that it's just a straight conversion. This one is not too bad, but sometimes you might find an image when you convert it. I just looks really, really flat. So I'm going to cancel that, and I'm going to go and open up another image over here, and let's have a look at this one once again here. So we'll go to image adjustments and black and white. Now, the thing about black and white images is that they rely on shape to draw your eye in. A color image can rely on color and shape, but black and white, it's just all about the shapes themselves. So with this image, it's kind of lost something. If I just switch off the preview, you can see how the colors are really subtle. He's got this yellow hat, the red guitar, blue and green shirt in there with the skin tones and the green door behind him. When we switch on the preview, let's just make sure these are all zero for now. Well, it doesn't do much. So we can help the image out, and we do that by using the little sliders over here. What I can do is I know that his hat is yellow. I could lighten up the yellows in the image, or I could darken them down. Or, by darkening them down, we get a really interesting pattern appearing on there. I know the guitar is red, so I could either lighten up the guitar or I could darken down the guitar over there. You can see because his skin is a pinkish color by lightening and darkening the reds, I'm also affecting his face. We don't want to go too high on these settings. What about his clothing? Well, the blues, let's try the blues, and you can see how we can lighten or darken. I could try the same with Cyan. Look at the door, the way that's lightning and darkening, but it's not affecting his face at all. The greens Greens are hardly doing anything at all in there. Let's try the magentas over here, and you can see it's also on the guitar. We can get more of a highlight or less of a highlight on the guitar. So the idea behind this is that you can go to an image and lighten and darken certain colors. Now, this helps to tell your story. You see, in this image here, if I go to my adjustments and black and white, and looking at this, if I go to the greens for the background, I can lighten up the greens or I can darken them down in there. Same with the yellows, I can lighten up the yellows, or I can darken down the yellows. Now, by darkening down the yellows, look what happens here. You can actually see a lot more detail of the kids, and it becomes less about the grass and more about the kids being highlighted from the background. Once again, I can darken that down. I can lighten that up. Don't forget that this is telling a story. If the background is too dark like that, are they running into this unforeseen future which could hold all sorts of horrible surprises? If I lighten up a bit, they're running towards a future which maybe looks a little bit less darkened and dingy. You know, you can make up the story for anything if you like. Once again, I can use red to darken them down or lighten them up in there. There is no right or wrong with this. You do what tells the story that you want to tell. I'll click Okay. Let's have a look at one more over here, and then you can try some of these out yourself. I'm going to go to this lovely portrait of the woman with the blue eyes and the orange or ginger hair, and the freckles. So let's see what we can do with that. I mean, the image relies so much on color because she's got blue eyes totally complementing the orange hair, the red hair. So I'm going to go to image down to adjustments, and I'm going to go down to black and white. So if it just sits like that on the default, it looks okay. But what about if we went to the reds and we lightened the reds up? You can see how her skin is actually lighting up, and we could actually darken down her eyes in there as well and give her a very sort of pale complexion in there. Or I can go to the reds, and I could darken down the reds to bring out the freckles on her face. And the same with yellows, we can use that to darken them down. It's also darkening down the ginger hair, as well. And then I could go to the blues and I could say, Well, let's lighten up those blues to give her much lighter eyes. In the image. As I've said before and we keep saying, there's no right or wrong. It's just about what story you want to tell with the particular image that you're creating. I always switch this on and off to see what I think. Can you see how the eyes suddenly jump out at you now that have lightened them? I was like, Whoa, they almost look animal like in the way that they're looking there, sort of. But, it looks back to human in color. Try it out. Have a bit of a go with those images. And if you want to try it on any other images, by all means do so. But there's no right or wrong. Just remember that you're lightning and darkening the colors that are in the image, and you are telling the story that you want to tell with that lightning and darkening. 20. Tinting Black & White: Let's take the black and white to another level. So I'm going to go to open an image. I'm going to use this black and white picture once again here. And with this image, I'm going to choose black and white. So I'm going to go along to image adjustments, and I'm going into black and white over there. Now, why isn't it not black and white? Why? Sorry, why isn't it black and white? That's because the preview switched off. I'll just switch it on so I can see the image. Down the bottom, we've got the option to tint an image. So once I'm happy with this, and I'm thinking, Okay, let's get that yellow down there, maybe lighten up some of the reds, in there and the magentas. I'll lighten it up. I can go along to Tint. I'll click on Tint, and you can see how it gives it a color. Now, although you can actually use this hue slider down here to change the hue and the saturation, I'm going to suggest that you click on this little button over here instead. Now the reason we're doing that is because this is how it works when we use this as an adjustment layer rather than those two sliders. So, click on the tint this opens up the color picker, and in here, you can choose the color that you want. So I want some sort of bluish type of color there. And then I can move around here and decide how much saturation I want. The darkness and lightness doesn't actually affect it. It's all about the saturation so going left to right. And I can choose how much saturation I want in that image. If you've got a brand color, let's say, for example, you're doing this for a PowerPoint presentation, you've got to use a brand color for that. You can just put in your brand color either with RGB, CMYK. Or down here using the hex numbers or the web safe numbers down the bottom. Now, it might put it in being quite bright and you might have to just tint it back a little bit so it's not too over the top. I'm going to click Okay. And that looks great. Let's say this image was going to go into PowerPoint. I wanted to put text over the top of it. I then might go along to image adjustments, and I'm going to go to my levels. Now, I can then go down to this level down here. Remember the watermark thing that we looked at earlier. And I can say, let's make sure that nothing is too dark, so I'll just drag this ittle slider up like that. So nothing in the image is going to be darker than that gray over there. And I've got this really nice, one colour toned image, which I can put text on top of or just use as a background. Likewise, I could go the other way. I could darken that down a bit like that. So nothing's lighter than that. And it looks lovely for white text to run on top of that on a brochure or something along that line. So do try that out with some images, and you just go to image adjustment, black and white, and you want to change or switch on tint in there, and you can then change the color in there to anything you like, to be honest. Right, have a bit of a go with that. When you're finished, close it down. Don't bother to save it at the moment. 21. Undo, Redo & History: Let's go and open up another image, and I'm going to go to this tint and lighten image here. So there's a few things I want to try with this. I'm going to go to image adjustments, and I think I'm going to try black and white. And I'm going to tint it down over there. Maybe I'll just give it a different tint in there. Click Okay. So if you've done something like that and you want to undo, the fastest way is to go to edit and choose undo. You can see it says Undo black and white in there, or you can use your either it's Command Z to undo or Control Z if you're on a PC. So Mac is Command Z, Control Zed for a PC. So I'm going to go and do that again. I'm going to go to image adjustments, and I'm going to do black and white again. And let's say that I left it like that. I thought, Okay, I'll just lighten up some of these areas. Click Okay. But maybe I just want a bit of the color coming through, so it's very desaturated. When I go up to the top and choose undo, well, I don't choose undo, if I go down, you'll see it says fade, black and white. This fade will change to whatever you've done. So if you've done shadow and highlights, it'll say fade, shadow and highlights. If you've done levels, it'll say fade levels. If I choose fade black and white, I've then got a slider so I can instead of undoing the whole thing, I can undo any of that amount, so I just keep going back or something halfway between them. So I can just get a little bit of color coming in like that and click Okay. So whatever you do, if you want to knock it back, just try that fade option in there. I'm going to do a few more things to this image, so I'm going to go to image adjustments, and maybe I do a um another black and white, and maybe I tint it with a totally different color. So let's go with red over there, and I click Okay. And then I'm going to go along, and I'm going to do something else, image adjustments, and I will use brightness and contrast and just lighten that image up. I know it's looking horrible, but bear with me. I'm going to go to image adjustments, and I think I'll go down to shadow highlights and do something over there until we get a really weird effect on that. So I've done a few things to this image. Now, I can multiple undo by going once again to the edit menu, and I can just say, undo shadow and highlights, undo brightness and contrast. If I want to, I can redo the brightness and contrast, and I can redo the shadow and highlights. If you want to undo multiple things by all means, it's just Command Z or Control Z to undo. If you want to redo something, so if I've used Command Z or Control Z to undo those things, then I want to redo them, it's then command shift, and Z or Control Shift and Z to redo. The other thing that we can do is we can actually see this in a little panel. I'm going to go to the window menu, and I'm going to go down and find my history panel. And this shows me the things that I've done to that picture. Let's bring that into the middle over there. So, close that down. So it said I opened the picture, then I did the black and white. Then I faded the black and white. I did a black and white again. I did a brightness and contrast, and I did a shadow and highlight in there. So what would happen if I clicked on that one? I can just go back in time by clicking through those options. And if I've gone too far and I haven't done anything else, I can once again click forward like that. If I'm at this stage here where I've gone to the fade black and white, and then I did something else again, image adjustments, and let's use Photo filter on there, I put a cooling photo filter on there. Click, okay? You can see any history that was in front of that history has now gone, and we've gone to this photo filter in here. It's kind of like time travel ready. You can kind of go backwards, but you can't go forwards if you've done something else to change the future. I'm going to go back to that fade black and white because I kind of like the picture like that. But do try that out where you can actually see these your history in there. Go back to it. If you do anything else, when you're back at that point in history, you will lose the history that came after that. This really messes with your head, I promise you, but do try it out. 22. Project: New to Old Photo Intro: For this project, we're going to take a modern picture and make it look really, really old. And as you can see up here, it's going to be awesome. You can take any image and do this to it. The images that I've provided, you can use, but if you want to try it on your own images, you know, maybe a picture of your kids or family or something like that, please have a go with that, as well. We're going to also have a little bit of a look at layers for this next section. But I think you'll really enjoy this because you'll be able to use it for so many different images. 23. Old Photo Project: Pt 1 - Create an Old Photo from a Modern Image: Now, we're going to do this project to create this image over here. And it's actually in the project folder, you'll find the final version, so I'm just going to open that up for you. And we're going to be using tinting, but we're also going to be using layers. So this is a bit of an introduction to layers as well. And we're going to have a few layers for this. I'm going to explain all about these layers as we go along. So we're going to have the image to start off with. Then we're going to be putting a texture layer on it like that. And finally, we're going to be having this layer here, which will give it that cut out type of old photo or old printed item L. Now, I'm going to just put my layers back in there again. If you mess things up and you put it in the wrong place like I've just done, don't worry about it. You can either move it manually or go to Window workspace and reset your essentials in there. I'm going to close this one down, and we're going to start with the full color version, so I'm going to go to file and open or use Control or Command and O to go to open. Find this image over here. As you can see, this is a very modern image. So we want to give it an old look. So we're going to start off by going along and tinting it. So I'm going to go to Image down to my adjustments into black and white. And it's gone black and white there. I would like to go over to Tint, and I'm going to choose, so I'm going to click on that little square. I'm going to choose quite a reduced yellow over there to just kind of give it that yellow look. Now. But what about the lightness and darkness of that image? Well, I can go along here to the blues and I can say, Well, should we darken down the sky or lighten up the sky? Only you can decide what you want to do. I can go to the yellows and I can darken down the yellows or lighten up the yellows in there. Very often those old photographs don't have much detail in the highlights, so maybe I can lighten it up a little bit over there. What about the reds? Should we darken down those reds or lighten them up? I think I'm going to darken them down ever so slightly. There's no right or wrong here. This is what you want from that photo. And because old photos don't have as much contrast as a modern one does, I'm going to go to image adjustments, and I'm going to go to my levels, and I'm going to pull these little levels in there, so there won't be any pure blacks, and there won't be any pure whites in there, so I can just pull those through. So what it does is it reduces the contrast on the image, so there's no pure blacks or whites. Do try that out. Get to the stage here, make your image look old. I know it's really sharp and crispy still, but we'll put the texture on shortly, but give it that old type of feel. By the way, if you don't like this image here and you want to use one of your own images, feel free to do that, as well. 24. Old Photo Project: Pt 2 - Create an Old Photo & Add Texture: Now let's bring in the texture. I'm going to bring it in onto this image over here, so as a new layer. So I'm going to go to File, and we're going to use Place Embedded. This will allow me to place the image on top of this one and embed the image into the document. If you use Place Linked, it links the document that you're about to bring in or the image you're about to bring in to an external image. So if you change the external image, it would adjust the one in here. But we're going to use place embedded for now. And I'm going to choose this texture file that I provided. I'm going to click on Place. It's almost the right size. I'm going to grab a corner and just size it up to fit and when I'm happy with that, I'll click on the tick. Now, this is a new layer. Let me have a look at the layer or show you the layers panel in there. I'm going to just pull this down a bit. So here is our picture, and there is our new layer on top. If I just undo that, you'll see that was before I'd actually brought it in. So we just had this image here called the background. I'm going to do it again, so file, place embedded, find the image that I want, and I'm going to place it you can see, it's kind of come in there. Just resize it to the correct size with little handles on the end, and then we say, Okay, by clicking the little tick at the top there. Now, it's brought it in as a new layer, and this is actually called a smart layer or a smart object. We will be getting to that later on. But that's why there's a little icon in the corner. Now, I can actually switch this layer off so I can poke it in the eye. There's a little eye there to see the one underneath. If I don't want it, I can drop it into the bin at the bottom, right hand corner, and that will remove it. If I've gone too far, remember you can always go to edit and undo. Over there. I can also change the opacity on the layer. That's this little button at the top here. So if I click on there, I've got that selected by the way, I've clicked on the texture layer, and I can go in there and I can just reduce the opacity so we can see some of that picture coming through. You might look at that and go, actually, that's pretty nice. I like that. It's got that lovely just about printed on some old paper type of effect. And I could leave it exactly like that. The other options that we've got here, though, are ways of mixing this top layer with the one that's underneath. And next to opacity, we've got what are called blend modes. Now, the blend mode at the moment is set to normal. That's your normal blend mode, which just shows the layer up like that. If I click on that drop down, you'll see there are tons of blend modes that we have in here. And you can just move down and see what they do. I'm not clicking on them. I'm just moving my cursor over them. They show you exactly what they do. In there. And you can keep going until you find the one that you like the look of. So by going down here, oh, look at that one there with divide. That's quite sort of black and whitey in there. So I can go along to something like screen or Lighten or colo Dodge, any of these and choose the one that I want to use. I want to use this one over here, this Lighten option. And that way, it looks like the photos been faded out into onto that paper, and it gives that really old faded photograph type of feel. If you wish, you could reduce the opacity of that as well, so you get some more of the original coming through underneath. It's entirely up to you what you want. You can just play with these settings until you get what you need. Anyway, once again, have a bit of a go with that, bring this in by going to file, and it's place embedded. Get it to the right size, click the tick to okay it, and then test out the opacity in there and some of these options lighten, darken and find the one that you like the look of in there. As you said, I'm going to be using overlay for now. Lastly, if you want to get rid of it, you drag that layer and drop it into the bin. If you can't find your layers, by the way, they are in the window menu layers over there. Have a go. 25. Old Photo Project: Pt 3 - Create an Old Photo & Add an Edge Texture: Now, what about if you wanted to adjust that background still? You can click on a layer, and if I click on the background, go to image adjustments, and I could just use brightness and contrast. And you'll see it will only affect that background in here. So I can still go in and make any changes that I wanted and tweak it now that I've got the overlay on there. This is actually not very good practice because it is destructive and we will be looking at better ways of doing this later. But the fact is that you can do it. Now, what about this layer over here? If I go onto this layer and choose image adjustments and brightness and contrast on that, once again, I can affect the adjustment layer. What actually happens, though, is it puts in a little adjustment layer on the object itself. So it's a smart filter that's popped in over there. We will be getting to that later on, but I just want to show you in case you tried this out yourself, thought, oh, what about if I adjust that layer? It will put on an adjustment directly onto the smart object over there, so it'll be slightly separate. I'm going to undo that. I'm going to suggest that you don't actually change that one until we get to the area where we will be working with those smart objects in more detail. But if you want to try it on your background, by all means, do so. Now I want to bring in the other one. So the other layer. So I'm going to click on the top layer. So I've clicked on texture. I'm going to go to File, Place Embedded, and I'm going to choose this file, the edge texture, open that, bring that in, and once again, just scale this up a little bit until it fits. By the way, if you can't get to it, just use your Command or Control minus to zoom out. I think something like that is what I'm after and click the Tech Okay. And now exactly the same thing to mix these together, I can go along to the blend modes, and I just go down until I find the one that I'm after. Multiply that looks quite nice. Darken, Well, that's pretty good, as well. You've got color burn, linear burn, darker color, and you got some of these lighter ones which do the opposite. So down here, I've got overlays. I could try some of these settings and just look for the one that I really like, like the look of. Over there, you've got some sort of negative effects in there. So I'm going to go down to, I think one of these here, either multiply or color burn linear bone actually looks pretty good, to be honest or darker color. I'll go with linear borne, there, which darkens the whole thing down a little bit. If I did go back to this one here, I did make a change. And as I said, this is not good practice, but if I go to the adjustments and lighten up the two kids in there, you'll see how the whole thing will still lighten up from there. Just take the contrast down a little bit on there, and that gives that lovely sort of oldie world type of photographic look where all the highlight detail has disappeared over the years. Now, we want to save this. So I'm going to go to file, save as, and I'm going to save it as a photoshop file with all the layers intact. So let's just call this children with cardboard. Over there. I'm saving it onto my computer. If you wish to save it onto the Cloud, that's absolutely fine. I'm going to click on Save. Click Okay. And that's done. And lastly, we want to take this out for social media. So I'm going to go along to my sizes, the cropping tool. I'm going to put in the size that I want, which is 1920 by 1080, which is there already. And I can then just click and drag to get the size. Now, when I said 1910 1920 by 1080. I've actually got it the wrong way round. So if you click on that little button in the middle over there, there we go. That's the correct way round. I'm just going to do this to crop that down to an interesting looking image. I'll just take up the top of the plane in there, to get some of their feet in, like so. And once again, I will choose done or click the tick at the top to crop it down, and then we can go and exported file export, and we'll say export as and choose JPEG in there. Have a bit of a go with that and bring in the layers on your layers. Don't forget. Check out the different overlays. In there. Don't always follow the one that I've done. Try the one that works best for you and you like the look of. And try this again. Once you've finished it, have a go with another photograph. Take one of your own photographs, family photograph or, you know, you as a child or something like that, bring it in. Change the background, tint the background up, lighten it, darken it, reduce the contrast, and then put on some textures on top of that. If you don't like the textures that I've got over there, go into Adobe stock. And go to free right at the top there, and then search for textures. And there's all sorts of weird, wonderful textures over here. Try paper textures, try edge textures, and just bring some of them through and then mix them. You can see that's the one that I actually used is as part of your project. Try it out and don't forget to post your results. I love seeing the stuff that you've done. 26. Neural Filters & AI Image Generation Intro: In this section, we're going to be looking at Photoshop's AI features, and we're going to be going through something called the neural filters. Now, it sounds a bit weird, but bear with me because it's really absolutely brilliant. We'll be able to take pictures and change the face on images. We'll change the color of somebody so that we can match their background. We can retouch pictures. We can color up old pictures. There's so many things that Photoshop can do, and it does them automatically. Now, it's not perfect. This is not where you go. Oh, I can use all these filters, you stop learning Photoshop, but it gives you a good starting point to make some incredible images. Let's get going. 27. Restore an Old Photo: Let's have a look at these neural filters. I'm going to go and open up an image, and I will just find something in the section that we're working on the neural filter section. And I'm going to go along and find an old black and white image. It's called old image, and I'm going to open that up. Now, as you can see with this image, the pictures out of focus. Actually, they're not as sharp as they should be. If I zoom right in over there, and there's also some fold marks on there. As it happens, those are my grandparents, so this is one of my own personal photographs. So what I'm going to do is I'm going to go along to the filter menu. I'm going to go to neural filters, and I'm going to see if I can fix it very quickly with the neural filters. Now, when you go into neural filters, what you actually have to do is to download the filters themselves. So when I go down here, for example, with the creative ones, I have made sure that I've left these ones undonloaded so you can see. All you do is you go along and click on the Download button to download them. I am, however, going to actually go all the way down to the bottom to one that I've already downloaded, and it's called Photo Restore. Now, if I go down there and click on it, it doesn't actually do anything. You can see it's all grayed out in there. So I'm going to move across to the little on button. By the way, there's a beta option in a lot of these, so Adobe might change them over time. Anyway, I'm going to switch it on over there, and then you just wait, and you can see it's actually processing on the device. Yours might take less time, yours might take more time, depending on the image, and also your machine, as well. Now, look at that. I haven't done anything to these settings, but you can see the difference that it's made on that image. It's really sharpened them up, and it's gotten rid of a lot of the little folds and creases in that image. Now, over here, I've got some options, so I can go to the photo enhancement, and I can say, we'll really enhance it quite a lot. I don't like that. It looks a little bit too artificial. So let's take that back to just a little bit of enhancement. Over there. They still look sharp enough. And once again, I could say, let's just enhance the face without affecting everything else or not so much on that. There are so many adjustments in here, and I'm not going to go through absolutely everything. I'm going to leave them for you to play with. But in the adjustments down here, if you click on that little arrow, you can get in. You can reduce noise. So grain, things like that. You can reduce any JPEG artifacts, um, which are weird little things that appear from JPEG compression when we looked at the JPEGs earlier on in the course. When Photoshop compresses the image, it breaks up into little squares, and that's what you can remove in here. Anyway, I'm going to click Okay, but just before I press the button, look over here. What am I outputting it to? I'm actually going to output it to a new layer in there. So I'm not deleting the other one. I'm just going to click Okay, and there it is. It's on a new layer. So if I switch it off, you can see the before and the after really has made a major difference to this. I'll just zoom in a little bit, switch it off, switch it on over there. Do have a bit of a go with this particular image. I've included it. So try it out, try out those settings, see what you can get from it. It's a lovely fast way to just restore an old image. 28. Color an Old Photo: Let's open up another image. I'm going to go to file and open, and I'm going to open up this picture of these two children. Now, let's see what we can do with that filter. I'm going to go to filter, neural filters. Let's go all the way down to the photo restoration, switch it on, and give it a moment to process. It's definitely improved it. I don't want to enhance the face too much. I kind of like that old feel on it, but I do want to see if I can get rid of some of the scratches in there and just using the scratch reduction. Let's go extreme on that. We'll help get rid of some of those lines in there. It might not get rid of everything, and some of them might have to be done manually, but it'll give us a good starting point to work from. Oh, yeah, most of them have gone. You can see there's still something on his face and up there, which is a bit of a problem, but we'd have to do that manually. We won't be doing that yet. We'll look at that a little bit later in the course. I'm happy with that, and I'm going to go across to colorize because I want to colorize it up. So colorize is this one here, and I'm going to click on the colorized button. And as you can see, Photoshop will just look at that and try and figure out what colors should be used in there. Now, you can go down to the adjustments over here. If it's too saturated, well we could either increase the saturation or decrease the saturation over there to get a very subtle amount of color coming through. It doesn't always get things right. So sometimes you'll find weird colors happen or certain areas don't get colored up. But once again, it's a good start, and that's really not very, very bad at all. I think that's pretty good that one there. So I'm going to click okay. And once again, we will now have a new layer with all those changes and you can kind of see the before and the after on that image. I want to show you another image here where it didn't work quite so well. And once again, this is a personal image because that is actually me there on that little toy horse. So I'm going to go to Filter. Neuro filters. And I'm going along to the colorize. Let's switch it on, and I'll okay that. So I want you to have a look here. When it's colorized, it face is brilliant. The arms are great. I'm really good down here, but look at the hand over there. There's no color on that or on the legs. So Photoshop doesn't always understand everything that's going on. I still it's a good starting point in there. Close that one down. So do have a bit of a go with that. Try out the black and whites that I've got in here. This one here, have a go with that one there. And then also if you go and open up the one that I started off with, which is this one Oops, which I seem to have lost over here and see if you can make those to look any better. Once you've tried those to have a look at this old group photo over there, see what you can do with that. But remember, it's not just about going in and using neural filters. If you looked at that and thought, You know what, Tim, there's a better way. Maybe you could go to image adjustments and levels. And if I pull the levels up here to get some more detail in, you can see how it actually brings back some of the contrast to the image. So at the moment, there's nothing which is dark in there. By pulling that up, we can just get some of that contrast back. And once you've done that, then maybe you can go in and try the neural filters and see what you can do with that. Anyway, have a go with hose. It's great fun with old pictures. 29. Skin Smoothing: Let's look at a different filter. I'm going to go and open up another image here. So, this image over here, the woman's got a few little spots on her face, and well, we can get rid of them fairly easily. If you go to filter, neural filters and the one I'm going to choose is skin smoothing up the top here. So you just switch it on and wait for a moment, and magically, they just disappear. Now, you can change the amount of blur if you need to smooth out the skin or you can have less blur on there. And likewise, we've got more smoothing in there or less smoothing. Just change these settings until you get what you want from that particular image. And don't forget you can always click Okay. It's done. It's on a new layer, and we can have a look before and after. 30. Smart Portrait: I've opened up an image from the images that I've given you, and let's go up to filter neural filters. And this time we're going to look at something a bit strange. It's called Smart portrait. Now, what Smart portrait does is it gives you the ability to change particularly expressions. So over here, we've got the featured expression. If you can't see these, by the way, just click on the little arrow that's going to the right. And I can just change his expression really easily. So, if you've ever tried out liquefier in the past or seen liquefy, this is much, much quicker and faster. I'm going to just pull that over to the right, let go. You can see it's processing in the Cloud. Now, depending on your web, Internet speed, it might be faster or slower and have a look at his expression, how that's changed now. If I just pull that back again to zero, let's have a look. And if I went the other way, so from B happy, let's go to B slightly unhappy, it changes. Let's change his age. I'm going to just age him a bit, so I'm going to push the facial age over, and it's whitened his hair, and let's go back and make him slightly younger. You can see how fast this is. Hair thickness, eye direction. We can get people to look left, look right. I find that this is not quite as good as it could be, but it's getting there, and it depends on the picture. We've got expressions in here, surprise, anger. Well, let's give him surprise. Then we've got global settings over here, so the head direction. Now, these ones are well, the head direction is not quite as perfect as the last ones. You see, if I pull this over to the right hand side, it will adjust his head direction a little bit. If you go too far, you get some kind of weird looking heads. His head looks like it's sticking out a little bit there. It's not quite as natural as it was before. Once again, you can go the other way, too. If you find that you go too far, sometimes you will get some weird things happening like that little bit of the neck. In there. So do watch that one. The we've got a mask placement. So we'll be talking about masking, how masking works later on. But in the settings down here, we've got a mask feathering. So the feathering is the softening of the mask around the head, and then the mask placement is exactly where that particular mask is. So if I move the head direction over to the left and then we change the mask placement, you can see how I can move his head slightly further across, but we still get a funny little line over there. Now, the one that I do like is this light direction. And this one is really useful because sometimes you might have a cutout of a person and you put them into a scene, and you find that the scene's lighting is going one way and the person's lighting is going the other way, and it just looks wrong. So I can adjust the lighting, so I'll push the light over to the right hand side, his left, or the other way over there so we can light this side of his face and get that darker. And I think that is really, very good if you're going to be doing it to putting somebody into a scene. Just be careful that you don't mix your lightings. So over here, if I push the lighting over to the left hand side over there, while it's affecting his face, it's not affecting his body. Whoops over there. So it really is. We're talking about portraits in here. Anyway, do you have a bit of a play with those little settings in there. And yeah, don't just try it on this image. Have a go with some other images as well. 31. Depth Blur: How about isolating people from the background using blow? What I'm going to do is I'm going to go and open up another image again, and I'm going to use this image over here. Now, I want to isolate her or try an islator using some blur. So I'm going to go along to filter neural filters once again, and we've got an option in here called depth blur. If I switch that on you can see what we can do with depth blur is we can increase the blur amount to get the main subject in focus and everything else slightly out. You'll see I've got a blur strength over there and watch as I'm doing this, he will go from slightly out of focus to seriously out of focus over there. Do be careful with this little filter because if you've got somebody with hair like her hair is there, which is well, sort of sticking out a little bit. It also tries to make that go out of focus or blurry, as well. You'll see if I push that really far across, we get a lot more blur in there. Once again, this is something that we can fix in later lessons. But for now, just be careful with that. And when you click Okay, once again, you'll get a new layer and you can switch it on and switch it off. I'm going to open up another image over here, and this is going to be this factory because this is not just about people. Let's say that you've got this factory and you want to concentrate the eye on this little robotic arm over here. So you'd like everything else naturally going out of focus. So we can go to filter, neural filters. Once again, I will use the depth blur. Let's click on it. Now, up the top here, I've got a focal distance. This is what's going to be in focus, because if you look at that, you think, Oh, my goodness, that's awful. But I can change what is in focus. So if I move this to the very end, you'll see that it will actually focus on the end, and this bit here becomes more and more out of focus. I can change how strong that is going to be as well. What I'm going to do though is to change the distance here and I'm going to pull it across maybe to the middle. So now you can see this is sort of in focus here, and that's out. Let's just move that across a bit more. There we go. I've got the robotic arm in focus, and everything else is getting more out of focus that way or more blurry this way, as well. I'll click Okay. Let's have a little look at that. Oh, there it is. So from there to there. Once again, I'm going to close that down. Do try that one out as well when I finish this little section. I'm going to go and open up another image over here. So let's have a look at this. It's called Blow Background. Now, I really want to isolate him from the background because he's the most important part of my subject, or he is my subject, most important part of the picture. So I'm going to go to filter neural filters. Down to depth blur, switch it on over there. I'm just going to let Photoshop find the out of focus bit, which it's kind of done there. Then I'm going to increase the blur strength over there. Just take a moment to do until he is really isolated on that background picture. But I'd like to also isolate him a bit more. So I'm going to go down here and I'm going to say, Let's put some haze on that. If I go extreme, you can see what it'll do. Processing still. It just makes it a bit hazy. That looks horrible. We just want maybe just a little bit of haze. In there. We can then also change things like the temperature, so make the image warmer or cooler over here. So I might make it a little bit warmer over there. We can saturate or desaturate that image to just help bring those two together. I don't think I want to change that at all. And I'm going to add some grain to help the whole thing look more cohesive. I'm going to click Okay on that and then we'll have a look at the before and after. So that's the before and that's the after. It's subtle, but it really is just bringing the subject more to the front. One, last one, and then I'll stop. I'm going to open up the picture of the children over here because I really want to isolate them from the background. The trees are very distracting. It's a lovely group here. So I'm going to go to filter, neuro filters. Once again, down to depth blur, click on there, and Photoshop is finding the images in there. All I've got to do is to go to the blur strength and go, how much do I want that background to be out of focus? You can see the foreground is also out of focus as well. It's found them in there. Now, I think I'll take it up a little bit. Yeah, I like that. I don't need to do anything else. I'll click Okay, and that's done. So you can see the before and the after and how it's beautifully isolated the kids in that image. Anyway, do try out all of those options in there. Have a bit of a go with the images that I've shown you and have some fun with it. 32. Harmonization and Changing the Image Background: For this example, I'm going to open up the image that we've just been looking at the portrait, and I'm also going to open up another one, which is going to be a background picture that I want to use in here. So I'm going to go across to this one there. Now, I want to put him into that scene, so he's sort of standing in front of the scene. And we're going to use a cutout for this. Now, the cutout that we're going to use is going to be very, very simple. At the moment, we're going to make more complex cutouts later on. But down the bottom, in this little area here, I'm going to click on Select Subject. By the way, if you can't see this, remember, you go to your window menu and you'll find the contextual task bar down there. I'm going to click on Select Subject, and that just selects him very, very quickly. It's a nice clean background to select him against, as well. I'm going to copy him, so I'm going to go to edit and copy. I'm then going to move across to this image here, and I'm going to go to edit and paste and paste him in, and he pastes in as a new layer over there. Now, I'm going to use my move tool, the little one right at the very top and just move him around to where I want him to be standing. The problem here is that the lighting is not too bad, but the coloring is so different. This background is very yellowish, and the lighting on him is very cold. So how do we get these two to work together? Well, if I click on him, and then I go up to filter, neural filters once again. And I'm going to use this I can never pronounce it. I always get tongue tied because it's such a long word. Harmonization in there. I'm going to switch that on. And what we have to do at the top here is to select a layer. So I'm going to say, select the background. And then what it does, I don't know whether you saw it very, very quickly changed his color here. I can change the strength of the colorizing that it's doing to him. So if I go back to zero, you can see his original color there. If we put on some strength in here, it will bring more color. So it's using the background color and very subtly colorizing the image which is in front. You can still go down to your colors in here and say, Well, actually, you know, let's make it a little bit warmer so we can add a little bit more red to him. It's only affecting his layer, maybe a little bit more yellow. Into that, as well. We can go to saturation and we can intensify the saturation. It's probably going to be a bit too much on him, or we can knock the saturation back. He look a little bit poorly there. And likewise, with the brightness and contrast, we can lighten things up or darken things down. I will just try darkening him down just a fraction. And I'm going to click Okay on that. Now, what I have is a new layer or a copy of him here. So if I switch off this top copy by poking it in the eye, that was the before. You can see how much he stands out. It's totally wrong. When you click on that, it's like, actually, you know, he really could have been there. So let's have a look at another image over here, and I'll show you how it can fail a little bit, as well. I'm going to go along and find another portrait over here. So let's use this one, and I'm going to put him into a different background. So let's say he's a gardener, so we put him in the garden. So I'm going to click on his picture, use the same thing again. I'm going to say select subject, and I'm going to go to edit and copy, and we're going to go across to that one and use Edit and paste in there. It doesn't look too bad actually there. Colors not quite right. So if I go to filter neuro filters and same thing again, the harmonii you know, that one there. Let's switch that on. And let's see what happens when I select that background layer. Oh, my goodness. That looks he looks so bad that he looks like, I don't know, like a vampire. He's lost all all the colour in his skin. So sometimes it works really well, sometimes not so much. You know, if I push that strength right up, it's just getting worse and worse. If we go the other way, here, we're going back to his normal sort of skin tone in there. Let's switch that off the strength off completely. If you go to these ones here and use them, at the moment, they're not going to be doing anything because the strength is set to zero. If I push that up, Oh, now we're getting some pink coming through. So it doesn't work all the time. It depends on the background that you've got. Something like this, I suspect, I'm just going to bend that layer. The easiest thing to do with that would be to go up to image adjustments and actually do it manually using the color balance in there to maybe give him a little bit more I don't know, more yellow in his skin tone in there, but not too much green. If you go too far on the green, he's going to look really weird in there, but maybe a little bit tiny tiny touch of green in there. So it doesn't work every time, but when it does work like this one here, it is amazing. So it's worth trying out. Have a bit of a go without using those pictures that I've given you. 33. Match Image Color to a Different Image: There are times when you have an image or two that have to go into a document, and they look so very different. They don't tie together. So let's say, for example, that I've got this factory for cutout image in here, and then I've also got this image over there. Now, these are very different looking images. The lighting is different. The coloring is different. What if we could take the coloring from this and apply it to that image over there? Now, what we can do on this image is to go to filter neural filters, and we go across to color transfer. You click on that. Now, up the top here, they've got all sorts of preset colors that you can use, and of course, you can go and click on those should you wish. And yes, well, maybe it's not absolutely ideal. So I'm going to go over to custom instead. And then it says, select an image. So the image that you're selecting are the ones that you've got open in your document. So if you've got a lot of images open in your document, they'll all be listed here. I'm going to choose the factory dot JPEG image, which is that colorful blue color one. There it is. And you can see how it's now moved the color from that onto there. We can still go down and tweak it slightly, so I'm going to go to the hue and see if I tweak this over to the left, how the color will change. Let's go a little bit more. Oh, that doesn't look so good. I'm going to go across here to pretty much where it had it. It did quite a good job with that. I'll click Okay on there. So there's the before, and there is the after on a new layer. And, of course, you can still use your adjustments to go and make any changes that you need. It's not something you're going to be using every day, but it can be really useful when it comes to tying images together. Okay, it's changed the image itself, and if this was an important image about that particular factory, you wouldn't want to do that. However, if this was just a generic image to show a factory and you had two images on the same page, they might tie in together a lot more like this. Once again, try it out. 34. Artefacts & Super Zoom: Let's look at two potentially useful neural filters. I've got this image, and this is the type of thing that you might take off of a website. So it's going to be kind of quite small, low quality. But the other problem is that with a lot of websites, people tend to use a lot of JPEG compression to get the sizes right down. And you can see on this one, if you look at all those little squares, in there, the big squares, not the little individual pixels, but the big squares. That is from a lot of JPEG compression. So there is a feature in here under neural filters, which allows us, and it's right at the bottom to remove those artifacts. Now just switch it on. Now, I'm going to suggest that you don't use the high quality one because it does tend to mess up the details on the picture a bit too much. I find that medium seems to work the best. I'll just click okay. And if we have a close look at that now, you can see, there is the before with all the artifacts in there. And let's go down to the water over here. It's particularly messy there. When I switch this so on, most of those artifacts have been reduced substantially. So it really does make a difference to an image. It's not perfect. There's still bits around the ears, where you can just about see some of those artifacts coming through, and you might want to try the high quality one and see what you get. But this is sort of a rescue thing. It's not to be used all the time. Now, let's look at another image. And here's how I'm just going to go in and find this last one of the skateboarder. And this one is called Super Zoom in. What it does is it allows you to zoom in very quickly to part of an image without having to worry about rescaling or using any of the adjustment, sorry, not adjustment features. The features in here where you can actually go in. I'll get there in the end. The image sizing features or the width and height cropping tool features. So I'm getting all tongue tied. Let me stop. Right. So let's have a look here. Filter, neural filters, and this one's called Super Zoom, and you just switch it on in there. And then over here, you go in and you choose the Zoom image times by. So I'm going to say zoom it in twice. And you can see it does take a little while to process. I zoomed in once to about I think it was eight or so, seven times or six times, and it took about 4 minutes or 5 minutes to just process on the device. And I'm on a fairly fast mac here. So bear in mind, if you are on a slower machine, it might take quite a while. I'm just going to go three times, four times. And it's move his face to the middle. So maybe that's what I want from the final result. You can see this says a minute. Now, obviously, I'm going to cut this so you don't have to sit and watch that little blue line move all the way along. No, that's done, but there are a few other options in here as well. Enhanced image detail and enhanced face detail. I am going to switch that on and it's going to reprocess this again. I'm also going to just intensify the sharpening a little bit. So once again, I'll cut this because this is 56 seconds. I'll see you in a second. And we're done. Now, this also remove JPIG artifacts, similar to the one that we saw earlier and reduce noise, noise being grain. I'm going to click, okay. And let's have a look at that image. So there's the original, and we've zoomed right into it there, and it hasn't done a bad job with his face at all. So it's just a quick way of zooming in and out of an image. Have a go with those two. 35. More Filters and the Future: Now, there are a few other filters in here that I haven't talked about, and we're not going to go through those, but you can try them if you like. For example, there's something called makeup transfer in here where you can take one image and get the makeup to go onto a second image in there. There's some creative ones in here where you can take styles or one landscape and make it into a different looking landscape over there. I have tried to do the ones that could be the most useful. But Adobe keep changing these. As you can see, some of them are in beta, and they're going to be adding more as we go along as well. So there's a wait list over here. These ones that are coming, I presume they're going to be coming. But, you know, click if you're interested in that. There's a portrait generator, which really doesn't interest me at all. Long exposure for water. That's interesting. But this one, I think would be really useful. It's the shadow generator, where you can actually change the way that the lighting is hitting a subject, and that could be very, very useful. Noise reduction to take grain and remove it. Um, yeah, you might want that. But anyway, keep an eye on these because they will be adding more and more into the filters. Anyway, do have fun with those. They're quick and easy, and you can get some really interesting results out of them. 36. Project: Environmental Portrait & Cutout Plus AI Cityscape Paper Cutout - Intro: I've got a cool project for you here. And although we're going to be using specific images, if you prefer to try it once you've had to go with the ones I've provided, try it with your own images. We're going to take somebody, and we're going to cut them out, and we're also going to do something to their hair so that we can get a slightly better hair cut out. And we're going to place them into a different background, and we're going to make sure that they match the background color wise. And then we'll do some other bits and pieces to make them look really like they were there in the first place. Let's 37. Project: Environmental Portrait : What I'm going to do is I'm going to go and open up two images over here. One is called change face, and we're going to take that one, and we're going to open up this one down here. So what we want to do is we want to take the studio shot and put him into an actual street scene in there and adjust things as much as we can. Now, there's a few things that I don't like about this. He's not actually looking towards me. He's looking over my shoulder to somebody at the side, and I want to change that. And I'll also have to adjust the lighting slightly on him, as well. So let's select him, and we're going to look at actually a new tool while we do this little project as well. I'll show you something really cool. What I'm going to do is I'm going to use my Select Subject. By the way, if you're on one of these other tools over here, you might find that the select subject doesn't always appear. For example, here, if I'm on the cropping tool, it just says generative expand. So make sure you're on the move tool and click on Select Subject now, because we've got some hair in here, I want to clean up the hair. So I'm going to go up to the top to the select menu, and I'm going to choose something. We haven't looked at this one yet, which allows me to actually change the edge of the selection, and it's called Select and Mask. I'll click on Select and Mask. Now that we're in the Select and mask area, you can see there's a big bit of orange on his hair there. Now, minus showing this against white, and you can choose to see your image on an onion skin, I E transparent background with the marching ants, with just a color overlay, which is sort of an orange orangy red overlay anyway, on black on white, pure black and white, or on the layer. Now, I'm going to just choose on white over here, and you can change the opacity. So if you're not seeing everything or you're seeing a light orange, just change the opacity in there. And for now, we're going to use this little tool here, which is the refine Edges brush tool, and we're going to be using a brush size with that. So I'm going to go with something like 100. And the idea is that you click just on the outside over there, hold down the mouse, and you can then start to drag this around to just get the hair selected without the background. So all we're doing is we're just looking at that little area over there trying to get rid of as much of that orange as we can. Now, it's not going to be perfect. We'll get into doing more perfect things later. I'm just going to click the Okay button. Still looks the same. And when I copy this now, so I'm going to use Command and C to copy or Control C on a PC. To copy that, I'm going to go into my street scene and I'm going to paste it. Mac is Command V, PC is control and V. You can see there's a little bit of orange in the hair, but it's so minimal, and you're not going to notice it too much on that background in there. If we go to a lighter area there, it's hardly there at all. So I'm kind of happy with what I've got, and I'm just looking as to where I should place him. I'm using the move tool to kind of move him around, and I think that works quite well. Then what I want you to do is once you've got the person in there, and if you don't want to use him, by all means, go into the Adobe Stock free stuff, and download your own image and background. We're then going to go to the neural filters, and we're going to make a few changes. So I'm going to go to Smart portrait first, and well, I can adjust his face if I want. He's kind of got too much of a grin in there. I'm just going to make him a little bit more serious. Now, this might take a little while. He's processing to the cloud depending on the speed of your connection. Right, I made him a little bit more serious in there. I'm also going to go to the eye direction and push this across because I want him to be looking more towards me. Doesn't have to be exactly at me, but at least a little bit more towards me, which he seems to be doing now. And then I'm going to go down to the global settings and the light. Because the background light is coming from the left hand side right up here, I want to go a little bit more extreme on him and get the light to really come from this side onto his face. That's a little bit better in there. Lastly, his coloring, whether it's his shirt and his face are totally different from the background. So I'm going to go to my favorite, which is this harmonium you know, the one I mean. I'll switch that on. Choose a background layer over there and get the background color to come onto him. Now, it's a little bit extreme. He started to look a little bit glowy orange. Over there. So I will maybe take the strength down a little bit, and I might go to the saturation and just reduce the saturation ever so slightly on him. But I think those two work together really well right now. I'm going to click Okay. Now, I want to save this out, so I'm going to go to File, Save As, and I'm saving this as a layered file. Click on Save and Okay, this little maximize compatibility button that pops up. And then if you want to export this out for social media, the first thing you need to do is to obviously get your size right for social media. I'm going to go in here and I'm going to use not a ratio, Width heighten resolution. I'm going to make mine 1920 px by 1080. Px over there. We don't need anything in the resolution in here, and I'm just going to click and drag. To get that rather nice looking sort of cinematic look to my image. Click on the tick, and let's export that out. So file export. And we're going to say exports and in here, I'm going to choose JPEG. The quality I'm going to keep quite high remember you don't want it too low or you get those artifacts in there. And I'm pretty much happy with that. I will just export that. I'll go and place it somewhere. Oh, I better replace that street scene, let's call it street scene finished. Click on Sap. And that's done. So that's your project to do. Take a portrait. If you want to use these ones that I've given you, B we do so if you want to try it with your own portrait or, you know, member of family or something like that, put the portrait into a street scene or a different scene and make those changes so it actually looks like it really was there. Now, once you've done the project, if you want to go one stage further and you think, you know, that looks great, it's still not quite right, go to the background and experiment with trying to change the blurriness of the background. We can go down here to depth blur, switch that on, and I'm just going to change the blur strength down a little bit over here and maybe just get a little bit of blurring going on on the background there. If you find that the blurring is looking a little bit strange, try adjusting your focal distance to change how that blur looks. There are plenty of ways of blurring things in Photoshop, but this is the one that we've looked at so far. So I'll just click Okay and then maybe save it out again. Let's look at before, very sharp. Afterwards, takes that edge off of it. Try it out. 38. Project: Paper Cutout AI Image Generation: Let's do a poster for a child's bedroom. Now, we're going to use AI for this. So I'm going to make a new file in here. I'm going to go across to print, and I'm going to choose the size. Now, I can't see the size that I want, so I'll go to view all presets, and I'm looking for something along the size over here, A three. Now I've gone to print because we're going to send this to the local print shop. They're going to print it for us, so I'll click on print in there. If you want a different size, that's absolutely fine. Then we go down to color mode. Now there are if it's commercial printing, they usually print using CMYK. And a lot of the big printer shops that have got the big printing machines use CMYK. However, they also a lot of them use extra colors in there, which are well, they're brighter than you get from CMYK. So I'm going to stick with RGB color for this because that way, when you send it to the print shop, even if there's extra colors that they can't print, they will convert it to the profile that they need for you. If the print shop asks for CMYK, you could chooe CMYK over there. The background is going to be white, and the color profile is going to be this SRGB or standard RGB in there. And the pixels are going to be square because we're not doing anything for broadcast. This is purely square pixels, and it's going to be for printing. Let's click on Create. Now I want to create a rocket scene. I want to be nice and child friendly. So the idea is that I'm doing something in that paper cut out style, which is so lovely and friendly, and it just looks so good. Now, to do that, we're going to go down in the toolbar real bottom corner over there. I'm going to just make this a double row so that you can see it easily and pull it out. This is the little tool that we want down here. It's called Generate Image. I'm going to click it, and then it comes up over here and says, Well, what do you want to generate? Now I'm going to type something in. And because my typing is really slow, I will cut this bit so you don't have to watch me type it all in. So I've put in a space scene in paper art style, rocket and planets, paper cut with clouds on a dark purple background. Now, the content type over here, I'm just going to go with art for the moment. There are different effects that you could try out, but we've actually told it the effect that we want. We want the paper art style in there. If you have a reference image with maybe colors or style, you could actually click in here and go and choose either one of theirs or you can actually click in here to choose an image. Now, style wise in here, there's lots of different bits and pieces, but I think there is a paper cutout style over there. Won't try that yet. I'm just going to leave it set without a style and click on Generate. Now, this might take a few moments depending on your machine. Wow. Look at that. Isn't that so cool? We haven't even given it a style. But more importantly, it gives us some variations on this. So if I go over here, you'll have, Look, there's an orange rocket over there. That looks kind of cool. That's pretty good. There is a small problem with this one here, and you have to check it carefully to make sure that there aren't problems. Have a look here at the satin rings. They kind of cut through the planet itself. Now, maybe that's a style that you want. I don't really want that, so I kind of like this. But now I'm thinking, What about if we tried it in purple? So I don't have to re type it, sorry, purple orange with an orange background. So I don't have to type it in. I can just go over here and change purple, the dark purple to orange, and I'll click on Generate. There we go. We've got it with an orange background. You can see it actually understands color theory as well, because we've got the orange background. Then we've got these planets here in teal so you get that lovely effect of the colors working together. Over here, we've got oranges with purples. There's a bit of blue in there as well. The colors all just work really well. Now, over here, we've got some more little options, so we can say reference a style. So if I click on that, it takes me back to this area over here, and I can go with my art, and I'm going to go to effects in here and let's have a look at the different effects. I'm going to reference a style from there. Oh, let's choose Neon. And once again, once you've done that, just generate it and see what happens. And you can well, you can spend days just playing with the effects that you get in here. Now, I must say that Adobe Whoa. That's interesting with those really bright neon colors in there. That's pretty good. For a child's bedroom, this is absolutely ideal. So Adobe is really good with things like this. It's unfortunately not quite so good with real life stuff. Now, the reason for that, I'll just explain very quickly, is that Adobe uses or trains its AI software on images from its Adobe stock library. So well, it's kind of ethical really, because the photographers who've created the original work also get a bit of a cut. Whereas if you go to one of the other AI image image generators, they just scrape the web for all sorts of images, and the original authors of those images don't get any cut from them. All we need to do now is to save this out. So once again, I'm going to go to file and save it as a Photoshop file. I'll just put onto my computer over here I'm popping mine onto the desktop. I'm going to call my Rocket. And I'm saving as a PSD file. Click on save, and it's done, and I can close that down. Now, if I then want to open it again, I can go to File and Open, find my rocket, and my options here are still there, so I can still go and change that to a different style of AI generated image. Of course, if you want to then send it off to the printers and you're going to be emailing it over to them, you can just go to file and we can just save this out as a JPEG. So what I'm going to do is go down to export export as, and I've got my sizes in there, the original sizes, and I'm going to go down to the bottom. And you can see it says an AI generated image was used in this document. So the credentials will be applied for generative AI transparency. And really, this just means that it will link it or put in the details that this was AI generated. If you uploaded it to a social media platform, a lot of the social media platforms have got an option, which will then show this as an AI generated image. So you couldn't get away with saying, Well, actually, I used paper and pen and scissors to cut it out. Anyway, we've got that on there. Once again, I'm going to click on Export and just save it somewhere. Here we go. And that is done. Now, if you want to try out something more realistic, I'll close this down because I have saved it. And I'm going to do a new document again, so new file. And I'll use the same A three size, but this time, I'm going to go landscape rather than portrait. I'm going to click on Create. And I'm going to go in and do the same thing again in here. But this time, I'm going to put in an aeroplane. So I want a realistic aeroplane. So I've put in an airliner flying over city with the wheels up, so it's not landing on the city. And I want this to be photographic style. I don't want any effect, but I'm going to go to the reference image, click on style and then I don't want to use any of these styles. I want to say, choose an image, and I'm going to go and find an image. You can try this with absolutely any image at all. So I'm just going to use this picture over here of a city, click on Open and generate. So let's see what we get. Now, honestly, I don't hold up that much hope for this because sometimes it just hasn't got a clue. Um, I'm not an aeroplane expert, but I think these little things over here should actually be in the back of the wings. It just seems very wrong. The, the jets look like they're pointing downwards. There's some out the front there. That seems totally wrong. Well, at first glance, this one doesn't seem too bad. But when you start looking at the wheels, there's a wheel there. There's a wheel there, and there's a wheel over here in the middle for some reason. This one here, we've got one wheel down, something at the front there. Do be very careful. I mean, it's made a nice city in there, and it's great for cities. But when it comes to things like this, you have to check the details really carefully. Anyway, have fun with that, regenerate it. You can put in more details in your prompts. The more that you put into your prompt, the more accurate it can be. But as I said, watch the details. It doesn't always understand everything. Have fun with that. It's a great tool, and don't forget to try out some of the other effects. Oh. 39. Using Selections Intro: Selections have been around, well, pretty much as long as photoshops has been around, and they are really very useful because in order to cut something out, you need to be able to select it properly. So I want to show you all the different selection tools that there are because sometimes one selection tool will work well for something, and another selection tool will work better for something else. So once you know all the tools, you can then decide which is best for any given situation. 40. What Do Selections Do?: Now, selections have got a number of different uses. I'm going to use this little rectangular marquee and just make little selection over here. One of the first uses for a selection is to just select an area because you only want to change that area. So inside these what Adobe called marching ants, this area is selected and that area isn't. This means that if I go to image adjustments and I'll just use black and white, it will only affect what is inside that selected area in there. Now, let's say that I wanted to select the opposite area that wasn't selected. We can go to the select menu. This is everything to do with selections, and I'm going to say inverse the selection. Do be careful. In image and adjustments, we've got something called invert. Invert actually makes a negative of the selected area. You can see it's gone to the opposite colors. And if you go to select and inverse, inverse gives you the opposite selection. So inverse there now, everything is selected except the middle bit. So if I went to image adjustments and well, let's use black and white again because it's so obvious, it affects everything except that selected area. Now, selections, I'm just to deselect that one over there. So let's just go to select and deselect to get rid of it. Selections can be used for selecting items like that, so you're only affecting the specific area you want. They can also be used as part of the creation of masking, and we will be getting onto that later. And as we've done so far, you can also select an object and then either move it around on your background, or you can copy that and paste it into a different image. Let's go back and have a look at this. I'm going to just revert this image, so I'm going to go to file and revert. This reverts it back to the original saved version. So if I've got a selection and I'm just using the rectangular marquee tool for the moment, we have now got some little buttons along the top here to control the selection. If I go to the second button along, it means that I can actually add to that selection. If I go to the third button along, I can subtract from that selection. I'm just going to move this down so it's not in the way too much. The last one over here gives me an intersection. So where I've gone over those two, it will only keep the areas where they overlap like that. Well, what's the first one for? The first one, if you're on that one, when you make a selected area, if you click and drag a second time, it just gets rid of the first one in there. However, it is useful because if you go into a selection, you can just click and drag and move that selected area around. So if I was trying to select the sun, for example, I might have tried to make a little ellipse over here. And it was in the wrong place, so I go to that first button over there, and I can then move that down and try and get it onto the sun. It's a little bit on the large side. So what else can we do with the selections? Well, I'm just going to zoom in to make it easier for you to see. We can also in the select menu, go down and we can transform a selection. Remember, this is all about selections. It's not about what is inside the selection. It's only the dotted line itself. So I transform a selection, and then I could move that down over there and try and make sure it's just on the sun. Oops. Got a bit too far there. Let's move that across a little bit down a little bit like that, and I'm happy with it, so I'll click Done or the tick at the top. And then I'm thinking, well, you know, we don't want that bottom bit, so I could take a different shape. I'm going to go to the rectangular marquee for the moment, go to subtract, and then I can subtract this area here that I don't want. I know that's a bit of a rough selection, but for the moment, it's going to work because I'll be showing you how you can actually be a lot more accurate very, very shortly. So we have got rectangular marquees. We've got elliptical markes. Either of these tools, if you hold down the Shift key while you're drawing, you will get a perfect circle, or square. So if I hold down the Shift key while I'm drawing that, I'm going to get a perfect square in there. Likewise, if I go to the elliptical tool, let's get rid of that one. Hold this down. I'll get a perfect circle. There are some other shortcuts for adding and subtracting. I'll get to those very shortly, but do try that out. Just using these two tools, have a bit of a play with them, adding, subtracting, and check out these buttons along the top. They are so, very, very important. 41. Selection Tool Shortcuts: Now, let's have a look at some shortcuts. So just once again, using this little tool here, I'm on the button on the left hand side, and I click and drag. If I hold down the Shift key, I will get a perfect square or circle if you're on the elliptical marquee tool. If I want to go to the second button, rather than going up to it like that, what I can do is I can just hold down the Shift key, and that will allow me to add if I want to subtract, I hold down. Now, on a Mac, it's the option key, on a PC, it's the old key, so I can hold down one of those. To subtract. And then, of course, if I hold down the Shift and the altar option key, I get the last one over there, which is intersect. You can see as I'm doing this, if I hold down the Shift key, it jumps to that button there. If I hold down the altar, the option key, it jumps to this third one. If I hold down the Shift and alter option key, it goes the last one over there. So very quickly, you can just go between these little tools in here. Try those shortcuts out. They really do speed up your workflow when you're making selections. And it doesn't just work with these little selection tools here. It works with any selection tool. 42. Lasso & Magnetic Lasso Tools: Let's go and open up another image. Now, in the images that I've given you, we've got this dog in sunnies and a hat. And let's say that I want to select another part of this image. So maybe just the glasses. Obviously, we can't select with just a rectangular or the Marquee tool. By the way, these two over here select just a single row of pixels. So if you click with them, that's just one little row of pixels in there. Either vertical or horizontal. I'm just going to go to the select menu and choose deselect. Deselect, by the way, the shortcut is Command D, if you're on a Mac or Control D, if you're on a PC. Now, this is one of those shortcuts that can get well, a little bit confusing because if you use Illustrator, Command or Control D is actually do it again or transform again. If you're on in design, then you said illustrator, if you're on in design, then Command or Control D is actually place. So do be careful if you're working with the other software. Control or Command D to deselect. So moving down a little bit, and I'm going to be jumping around some of these tools here. I'm going to go to the Lasso Tool. Now, the Lasso tool allows me to select areas free hand. So if I zoomed in over here to the glasses, what I could do is try and select this free hand Oh, you can see, Oh, I'm making such a mess there. But you don't have to be perfect. You can then go to add and you can then add more bits in like that. And I can just keep adding until I get the area that I want selected. Obviously, you can see that this is just a non starter on here. It's taking far too long to very carefully go around here. And, of course, if I go on the outside like I've done there, well, then you can go to the subtract option and subtract bits like that. This tool is great, but I wouldn't use it to do the whole selection. I'd use it to refine an existing selection. So let's just deselect this using my shortcut. So what else could we do in here? Well, there's another tool called the magnetic lasso tool, and the magnetic lasso tool is quite good because it finds edges for you. So the way this works is you go to the edge. You see the little arrow there, and you just click once. Just click down and release. Don't keep holding down the mouse button. Now, without holding down the mouse button, just move the cursor along. And you can see, even though I'm not being that accurate, look, my cursor is moving to the sides. It's just finding that edge for me so I can actually go round fairly quickly. Over there. And I'm going to make a mistake in a moment. So you can see how just two or three dots back, it wasn't quite right. You can go back along that line by pressing backspace or delete on your keyboard, and that'll get rid of the last little dot. So backspace there, backspace there, and I'll continue up over there. Let me do that mistake again, so I'll come in there. A made a mistake. Move back along the line, press delete or backspace to get rid of that little dot, move back along the line, delete or backspace to get rid of that one, and keep going. If you want to force it to go somewhere, so over here, I wanted to force it to go out there. I can actually move out and then click and click and click and click and click to get it to go somewhere that I wanted to go. But I don't, so I'm going to use backspace on those. I'm going to continue going all the way to the end. Missed a little bit there, so let's just use backspace and just go back on that. As I said, I'm not being that accurate. Go to the beginning. Can you see how my cursor changes from just a little It looks like an upside down coat hanger, to be honest to one with a little circle on it. That says, Art's found the end. If you can't find the end, instead of just clicking, you can double click, and that'll also find it for you. So I'll just go to the end and click, and there's my selection. Now, I want to do both of these at the same time, so I'm going to make sure I'm on my add option, and I'm going to go round on this one here. I'm going to make a bit of a deliberate error as I go round. Which I can then clean up with a normal Lasso tool in there. So let's go all the way around to there and go, whoops, whoops, round to there. So now I've got a bit of a mistake in there. I can clean that up using my normal assooTol so I'll go to my Lasso tool. I'll use the Add button, and I can then add this bit in really carefully along there and around a little bit more. Ah, there's another bit there. I'll add that in manually as well. And then I'll go to my subtract option, and I'm surrounding the area that I want to subtract along the line there and then surround that area to subtract it. Now that I've got the Sunnis selected, I can go and do anything that I want from this, and I'm just going to go to image adjustments, and I'm going to go to my color balance, and I'm just going to make the Sunnis more of a sort of an orange color like that. Once you've finished, use select and deselect. Try it out. 43. How To Deactivate Tools: Now, sometimes when you have a selection or you're making a selection, and you get halfway around, you think, Oh, my goodness, this has just gone too far. How do you get out of that? Because you can't just move the cursor away. If I try and go to the edges, to the tools, it just follows me around wherever I've gone. So there's two ways to get out of this. The first way is to just double click. If you double click, it will finish off that selection for you and well, you'll have a weird looking selection, which you'll have to deselect. The second way of doing that is by just pressing the escape key on the keyboard that'll take you out of it and won't leave a selection there. Now we've got another tool in here, which is the poly tool. This is the polygonal tool. And this works in a very similar way, but it's just point to point, so you just do straight lines like that and go to the end when you're finished. This is exactly the same. If you click and you want to get out of it, well, press the escape key to get out of it. I 44. How to Colorize an Image: I've opened up this architecture picture, and what we want to do is we want to make this into a banner. So I'm going to go along to my cropping tool. I'm going to use the 1920, not 1929, actually. I made a mistake that 1920 by 1080 pixel option. And I'm going to drag that over until I get the size that I want, so I want something like that. Now, just while I'm doing this, have a look at these little lines that come up on the cropping tool. They show a third of the way either vertical or horizontal. These are your most important points on a cropped shape. So a third, these are called sort of golden mean or the golden thirds. This point here, one, that one, and that one are the most powerful points in an image. You can also say a third that way or a third that way, third, that way, third, that way, are powerful. So if you've got a subject that you want to really get people to look at intensely, if you put it around the third position where the two horizontal verticals meet, it will give the most power to that image. So here, what I'm going to do is I'm going to move this down until the last little triangle over here. This triangle here is kind of on that third in there. You don't have to use thirds. You can use symmetry, which is another very powerful way of creating compositions. Now, I'm happy with that. I'm going to click on the tick, and we'll zoom into that image. Over there. What I want to do over here is I want to change the color of some of these little beams to a color that I particularly like, or maybe for my brand colors. Maybe this is a background for PowerPoint or a banner for the company website, and you want to use the brand colors on here. Well, what I'm going to do is I'm going to use the little polygonal lasso tool. And I'll start with this one over here. So I'm just going to click in there, move down to here, click again. Once down to there, over to there, and up to that point, that's selected, and then I can go and change the color. Now, I can do that in a few ways, but I'm going to do it by using the image adjustments, and I'm going to use the color balance on there to just color that up with whatever color I want. I'm going to go with this sort of yellowish orange color in there. Now, maybe that's fine, but that's not a brand color. If I decided that, okay, maybe I'll use a brand color instead, what I can do is I can go to the edit menu and I can choose to fill that area with a color. So it's edit and fill. And then in here where it says contents, we want to fill it with color. You see, we've got the color option in there? Now, if I choose the color and say, Okay, where's my brand color, I can put in the exact numbers in here. But for the moment, I'm just going to say it's that orange color there. When I click Okay, what it does, it just fills it with a flat color. You don't see any of those details. I'm going to use commands it or controls it undo. So when you get to fill and you've chosen your color, go to the blending. Remember blending from earlier. We had a little look at the different options down here. I'm going to go all the way down to color. That's the second one from the bottom. I know you can't see it. It's off my screen, so let's pull that up. Go to color there. Click Okay. And look at that. It keeps all the details and brings in the color. Now, I'll deselect that, and let's do another one. So once again, I'm going to go using this little tool to the ends. Click on that point, this point here, that point there. Now what do I do up here? Well, I can just actually go all the way out over there. Doesn't really matter, down to that point. And once again, I'm going to go to edit. I'm going to go down to fill, and I'm going to find the color that I want. So I just choose color again. Choose my brand color. So it's going to be that blue there. Click Okay. Fills it, and I can then deselect that. Now, over here, we've got a bit of a shadow on the floor. Maybe I want to bring that shadow across to the floor, but I don't want to be quite as bright as what I've got there. So I'm going to select it again. So using the same selection tool, I'm just going to click there there over here, up there, all the way across and back to there again. I'm going to go to edit and fill and with the color over there, instead of filling it at 100% opacity, I'm going to fill it at 20% opacity. Click Okay, and that'll just give it a subtle blue tone to it, we'll deselect that. Let's do the same with the orange one over there. I don't, unfortunately, have a nice shadow like I did with the other one there. So let's just do it roughly. Back to there and same again. Edit fill. I'm going to go to my color. Now, I can't remember the exact color, but I can move off onto here and just sample one of those colors from the existing document. You see, as you move from the color picker off, you can then sample colors from there. Color mode, 20%, click Okay, and put a very subtle orange on there. Do try it out with this particular image over here. There's some lovely bits to color in. If you want to try it on a different image, once again, was one of the selection tools, have a bit of a go. If I go back to the dog with Sonny's over here, use one of these selection tools over there like the magnetic lasso tool. Try selecting areas. I'm going to be very, very quick with this. I'm not doing a great job, just so that you can see the result. And then go to Edit, fill pick a color. Oh, let's go with, say, blue. Put in your opacity. In this case, it's back to 100%. Click Okay, and it will fill it with that color. We can deselect. I'll do the same with the other one really fast over here so you can just get on very quickly. Edit and fill. Lick, okay? Deselect. I did leave a bit out there. I've realized I missed a little bit in there. But do try that out, have a bit of fun with that and start colorizing. This is what it's called colorizing some areas on a document and do have a bit of a go with this one here. 45. Object Selection Tools: Now let's look at the auto selection tools. So we've had a look very quickly at the select subject button down the bottom. If you click it, it finds the subject and selects it for you usually pretty well, to be honest. I mean, here, there's a little bit that's missing. The back of the dog's head there is missing there. There's a little bit that's missing over there. But it's not bad. You can, of course, just go over to these tools here, Lasso Tool, let's say add, and you could add that bit in if you wanted to. I'm going to deselect that, though. But there's another auto selection tool here called the Object Selection Tool. Now, when you first go to this tool, it's like, What on Earth's going on here? Things go pink all over. And what it's doing is it's showing you the areas that you can select quickly. So, for example, here, as I move onto this area, it's picking up the sky. If I move on to the dog, it's picking up the dog. If I click with the dog, it's selected the dog. Even though the pink is still there, you can see how it's made that quick selection for us. Now, what I'm going to do for the moment is just cut out the dog and put it onto another document. So I'm just going to open up a different document in here and copy and paste the dog straight across to there. And you can see the kind of cutout that we've got from that, not bad in some ways, not great in other ways. So these autotols do do quite a good job, but they always require a little bit of tweaking. Now, what I'm going to do is I want to select just part of the dog, for example, the Sunnis. And I can use this tool because if you go up to the top, you see there's a lasso option or a rectangle option or the tool. If I choose the rectangle option and I click and drag a rectangle over the sunglasses, it will just select it very quickly. Now, it's done a really strange job because it selected some of the outside and some of the inside in there. I can go to the add option here and I could try and add in that one over there. Now, I could choose to add in all the sunglasses. And once again, it's done okay he job, but it still needs a bit of tweaking. So how else could we do this? Well, I'm going to deselect that. If I go to the Lasso tool instead. Now, remember I'm on the add option there. I'm going to say it right. Let's add in this bit of the sunglasses over there. And I actually want the yellow, as well. So let's make sure we get the yellow. I'm going to add in this bit of the sunglasses. Over there, or we're missing a bit. I'll just go round that bit as well. Try and get that. If it's not perfect, don't worry about it. You can always go and tweak it later on. Like I've made a bit of a mistake there. We might have to tweak that separately, or I could try going to the subtract tool and surrounding that and seeing if I could get rid of that. It's gone too far. I'm just going to undo that there. Let me go to the add option, and I'm going to add in this little bit of the glasses as well. Now, I also want to subtract this section inside here, so I'll go to the subtract option, and I'm going to kind of run roughly around that section there and say, subtract that hasn't done a bad job. This one over here, and subtract that. Oh, it's still missing a little bit there, Let's try and get that bit. There we go. Now, we've still got a few little issues over here. So I could then change to a different tool. I could say, Well, let's try the magnetic lasso tool. I'm going to go to the subtract. I'll zoom in. Now remember, I am subtracting, so I'll click over there, go around that bit, all the way around the outside whoops and subtract that section. Same over here. I'm going to click over there, go around this area. And subtract that area. Or I could use my asu tool, go to the add option, and then just add in this little section over here by surrounding it, as well. I'll just check the settings in here. That's not too bad. That needs to be added in over there. Let's have a look and see if this is all. Okay. Oh, there's a bit that's wrong in there. I'm going to use my magnetic assu tool, go to the subtract option, run down this side here. So remember, I'm subtracting it now, this is where it can really mess with your head because you think, Am I subtracting? Am I adding? If it goes wrong, you can just try it the other way around and see. So now I've got those sunnyglasses selected, and I'm going to go to my image down to adjustments, and I'm going to use black and white. And tint. Then I can just go and pick a color to tint them with, let's find a bit of a blue in there, or you can actually move onto your image and you can click on the image to sample a color directly from the image as well. I'll click Okay, and I can then deselect those. That's not too bad a job at all. So do have a bit of a go with the selection tools. Particularly the magnetic lasso tool and that one. But more importantly, try the object selection tool. And I know it goes really weird when you move it around and it suddenly goes pink and all the rest of it. Don't worry about that for now. Just use either the assu or the rectangle to select various bits. I will show you one quick example still. So I'm just going to go and open up another image in here, and I'm actually going to open up an image from before that we've already used. So let's go to my images over here. So this person here. So as I move over, you can see how it selects him and his head. But if I were to just go around here, I could very quickly Oops just select his T shirt with that tool, and then I'd go to the subtract option and subtract his arm down there. Very fast. Image adjustments, color balance, black and white. Either one will do. I'm just going to pick a different tint color here and tint his T shirt. Well, it's tinted sort of an orangy color, I think, to match the background. Click Okay, and don't forget to deselect. Try it out and see how you get on with that tool. It can be very, very useful, but use it in conjunction with the other tools as well. 46. Quick Selection & Magic Wand Tools: Now, what I'd like to do on this picture, once again, I've provided it is to select these big slabs here and just lighten them up because they look very dark and intimidating. Now, using the Object Selection tool, well, it's getting quite difficult to actually select those. I might be able to surround them. I'm not sure. But let's go down to something called the Quick Selection tool. The Quick Selection tool has gotten normal and add in a subtract option. And what I'm going to do is I'm going to go on the ad option, I'm just going to click and paint over the area I want to select. You can see if I click and paint like this, it's just selecting areas which are similarish in color that it thinks I want to select. Now, I'm going to deselect that because I can go over here and I can click and paint to select that bit. Now, I don't want to select those two bits, so I'm going to go to the subtract option, and I can just subtract those two bits by painting over them. Let's go to the add option and I can paint this section in over here. That's actually pretty good. It's quite a nice selection. I think that's everything that I want. I'm going to go to image adjustments, brightness and contrast, lighten them up a little bit, and maybe increase the contrast on them as well. But can you see how they've kind of changed color? They've become more vibrant and bright. Also, while I've got that selection, I'm going to go to my adjustments and to something called vibrance. Vibrance and saturation are very similar. Vibrance is a lot more subtle than saturation. So I can either intensify the vibrance. You can see if I do it with saturation, the colors will just go say bright in there, or I can go the other way and reduce the saturation. So just get rid of some of that color that's in there. Click Okay, and then we can deselect that, and it's selected. Now, what about the sky? I want to darken down the sky. So instead of using the object selection tool or the quick selection tool, I'm going to try the Magic Wand tool. The Magic Wand tool is a very old original tool from Adobe. And the way that it works is you use a tolerance. Now, the tolerance goes, well, it goes from one up to 155, so or zero, shall I say, up to 155. So we can put in zero in there, and, well, it's not going to select much at all. Let's just deselect that. If I put in 255 in there, well, pretty much selects the whole picture almost. So the default is 32, so that's what I'm going to leave it on, and I'm going to click on the sky. And you can see how it selects pixels which are similar and are touching. So all of these pixels are touching each other. There are some blue ones in between the tree that are not touching. So I could actually continue on here and click over there and say, Let's get those and these. It hasn't selected the individual little stars in there. I might just click on those, click on that. So I can just keep going until I select the area that I want. The other way of doing it is to switch contiguous off. Think of contiguous as touching. If I switch that off and select this now, you can see how it's selected all the bits that aren't touching inside the tree. And once again, I can just add those bits in, add these bits in, add that as well. And I get a really nice selection. So once again, I'm going to go to my adjustments, brightness and contrast, and I will just take the darkness down of the sky. Let's just intensify the contrast a little bit so we get a bit more contrast on that. Click Okay and deselect that like so. So I want to see how it actually looked in the first place. I'm going to do that by something I've shown you earlier on, and that's going to the History panel. So in the History panel, you can see all the things that I've done in this document. If I go right the way to the top and click on the open, that was how it was to start off with. I'm going to go down to the last one, and that's what I've done to it in there. So don't forget that History panel can be really quite useful. Try those two tools out. You've got the quick selection tool and don't forget you can add and subtract up there. You've got the magic wand tool and you've got a tolerance in there. The higher the tolerance, the more of those similar colors it will select. And contiguous means it will select colors which are similar and are touching. So if I click on that and I chose these ones here, it won't select any other colors if they're not touching. Whereas if I switch that off and clicked over here, you can see how it's selecting similar colors from around the document. And once again, you can add and subtract with this tool. Now, there's been quite a few selection tools in here. Which one is the best? Well, there is no best tool. There's just tools that work best for different jobs. And you'll find sometimes you want to use one, sometimes you want to use another. It's up to you which one you choose. A lot of them, well, you can use one or the other. It really doesn't make that much difference. It depends on how you feel and what you like to do. Anyway, do try that out. 47. Project: Business Banner Intro: For this project, we're going to be using lots of selection tools. We're also going to be using layers. I'm going to bring in some text, and we're going to make some reflections and some shadows. Now, reflections and shadows are really important because if you're going to put an image into another image, the only way to look like it really is there is to add some reflections and shadows. So let's just jump straight in. 48. Colorize a Layer Copy: Let's go and open up the first of the pictures for this project, and I'm going to open up this one called Project Building. And I'd like to actually color up just one of these little things like we did before. But we're going to do something slightly different this time because I might want to change it later on. So we're going to do something which is not quite so destructive. I'm going to go along, and I'm going to use my poly polygonal Blauto. But instead of working directly on this one, I'm actually going to make a copy of that layer. So I'll drag the layer down in the layers panel onto the new layers button. That's a little plus over there and drop it. So I've actually got two of them now, so I'm going to do this on the copy. And then I'm going to select the one that I want to adjust. So I'm looking at one of these. I'm going to zoom in a bit, so it's easier to see what I'm actually doing. And I'm just going to start over there down to oh, I think I've gone a bit too far, so I'll press escape. Let's try it this way. It's easier to see from the bottom, actually, there up to there, let's go along to that. I think that's the line there, down to here. And back again to there. I think I've got it. And now I'm going to do the color adjustment as I did before. So I'm going to go to my image Sorry, I'm going to go to Edit. I'm going to choose fill, and I'm going to fill this with the color that I want to use. So click on color, and then the color picker comes up. Now, if I've got a particular brand color, I would put that brand color in. For this particular example, I want to have this as a bit of a blue background, so more the turquoise type of color. Click Okay, click Okay again, and then deselect it. Now, that actually is looking pretty good. But if I thought, you know what? That's too bright or I don't want it, I've done it on a separate layer so I can either switch it off over there and that layer disappears, or I can reduce the opacity of that layer, so you can see how I can get some of the original coming through underneath. So I have full control now over the color on that one day. I'm thinking that's a bit too bright for the background, so I will reduce it a bit in there. But if I don't like that, I can change that later on. So anyway, that's the first part of this little project. Open up the background, color up one of those, but do it on a copy of the layer. To make a copy of a layer, take that layer and drag it and drop it onto the little plus, and that'll make a copy. If you want to get rid of it, get rid of it there. If for any reason, you can't find your layers, go to the window menu. They're about halfway down in there. Do be careful. If you're working with double screens, you might find that the layers are on a separate screen, and you look more around the main screen that you want, and it's actually a second one in there. So have a go get your background started. 49. Desaturate Suit and Change Folder Color: Let's go and find the other image. Once again, I will go and open up the image from the supplied files, and it's going to be this project group. What I want to do is I want to have the woman over here standing in that cathedral of shapes for want of a better word. And I would then like to have a big bit of text that she's looking at, which is going to be sort of floating in the middle. But there's a few issues before I get started. First of all, I don't like the color of her suit. So I want to change her suit to gray, and then I also want to change the folder that she's carrying to a different color as well, probably a blue to match the blue in the background. So let's zoom into her. We move across like that out just a little bit so we can see the suit. So I'm going to do that by using one of these selection tools. Let's start off with the object selection tool and see what we can do over there. If I go around like this, it hasn't done a bad job of selecting her suit, but it's also selected her hands and the folder and her clothing. So what I can do is I could then try one of the other ones like the Quick Selection tool, go to subtract and say, Let's try and subtract. These clothing. Oh, I've gone too far in that. I'm just going to undo that with Control or Command Z. Make my brush a little bit smaller. So I've clicked on that little drop down over there, and let's try that again. So over there, I can go over those bits, go over her hands. I don't want them selected. I don't want that selected. In the Sometimes when you're doing this, you're thinking, surely, there's got to be a faster way. And usually, if you're thinking like that, there probably is. So that would be one way to do it. Or I could actually just use this tool here with a plus on it and just try selecting the clothes. So we've almost got the edge of the clothing in there. It goes into the window. That's maybe a little bit too far. Go to the subtract option. You can see there's a lot of backwards and forwards over here. But I'll click on the plus. We'll try and select that, select this bit here. And once again, it's gone too far into her hair. So I can go to the subtract option, and let's see if we can subtract that bit and this bit here. Now, if you're struggling like this and it just won't select the bit you want, I would suggest zooming in. By the way, this doesn't have to be that perfect because she's going to be very small. And using one of your manual tools like the Lasso tool. And with asu tol, I'll say add, and I can just add this bit in up to her neck over there. I can add this bit in over here all the way around, add that bit in. Down to a hand in there. And if I don't like that bit, I can go to the subtract option and just go round that to get rid of it. Oh, there's a bit over here. I don't want selected, either, so I'm just going to surround that bit. There. Now, as I'm sure you'll see in a moment, I've probably been a little bit too accurate with this because all I'm going to do is remove the color from there. I'm not going to cut that suit out. Oh, we've got something down the bottom there as well. So let's go to subtract and just subtract that little section. Down the bottom like so. So, I want to remove the color, so I'm going to go to image adjustments, and I'm going to use vibrance. As I mentioned before, vibrance comes in two parts. It's this one here, which is the saturation, which just is pretty harsh. And there's the vibrance here, which is a lot more subtle. Now, I just want harsh. I want to remove the color, so I'm going to use the saturation, pull it over to the left, and you can see how we just removed all the color from her suit. So it's the first thing that I'd like you to try. I'm going to deselect it. And then I'd like you to try selecting the folder. Now, I'm not going to do the whole folder for you. Here, I'm just going to select a little bit to show you what I want. I'm doing it very rough. I'd like you to do it with a little bit more finas. And then we're going to change the color of that by going to image adjustments using black and white. Now, if we use black and white and tint something, it's always going to be very, very light, the tint. Doesn't matter how dark you choose the color in here, it will never be darker than the lightness that it is, if that makes sense. So When you've selected the whole folder, what I'd suggest you do is go to image adjustments, go to your brightness and contrast and darken it down, first of all, so use the brightness to darken it down. Then you can go to your image adjustments and use black and white, and switch on tint, and then you can choose any tint that you like for that. In there. As I said, I'm going to do mine while you're trying yours out. I'm going to do mine in a moment. And you can try yours as well, but that's the technique that we're going to go for over there. Darken it down first, then do the color adjustment to it. Have a bit of a go with those two, suit first, then folder. 50. Copy Woman to Architecture Image: How did that go? I ended up using the little magnetic lassou tool to go around the outside in there, and then I also used a little bit of the polygonal lasso tool to just add in a few bits and pieces. I hope yours looks good. I darkened mine down, and then I changed the color to a blue using black and white tinting. Now, we're going to cut her out, and we're going to be reasonably accurate. We don't have to be perfectly accurate because she's going to be quite small in the final result. But later on, you're going to find when we start to do cutouts, we'll be using masking, and you don't have to be quite so accurate because it's easy to change after the fact. Here, we're doing a destructive process, so you need to be reasonably accurate. I'm going to go and select her with something, and I'm going to try because it's always a good idea to have a go with the easiest tool first and see what happens. I'm going to try with the object selection tool. Now, as I'm moving over, you can see, ah, look at that. It's selected her. I'm going to click Okay, and it hasn't done a bad job, but it hasn't picked up the folder. Let's change tools over here. I'm going to go in, and I think I'll just use the magnetic Lasso tool. I'm going to zoom right in so I can see what it is that I'm doing. I'm going to go to the add option, and I'm going to click over here and just add in the folder over there. As you can see, we can use combinations of all the tools to get our final result. So I've added that in, hasn't quite done that edge. Maybe I need to try my straight edge lasso tool, this poly tool and just click out there out there, and there and back again to select that. You can see there's a bit of a problem with her hair. Now, we're going to go to Select and Mask. There is a Select and Mask button at the top. Now, if you can't see that, because if you're on a different tool, you won't be able to see that over there. But if you're on one of these selection tools, select and mask pops up. But if you can't to the select menu and choose Select and Mask. It's just over halfway down. Now, you can see some hairs missing, so I'm going to go to the little fire tool over here or the refined edges tool. I'm going to go over to make sure you're on plus over there, make my brush a little bit smaller in there, and you can kind of refine the edge to try and bring some of that hair back. Over there you can see certainly hits bring her ear back a little bit as well. Now, I'm not worrying about being too accurate with this. We'll get it roughly right. It's something that we'll look at more accuracy on hair later on in the course. But for now, just have a quick go with that. Click, okay. It doesn't look quite right there, but it should look better when we take it into the other image, and it's also going to be so small that you probably might not even notice. We're going to copy her, so I'm going to use Command C to copy or control C, and go across to the other image and command or Control V to paste. There she is. In my image, she's quite small. That's absolutely fine. You can see the lightings actually working quite well on her because it's kind of coming from that side over there. Maybe the color, she's maybe a little bit too harsh on the color. In here, we're going to move her over to the edge. So what I try to do is to go to image adjustments, vibrance and maybe knock down a little bit of the vibrancy in there so she's not so, so bright. If you wish, you could go in to image adjustments and try some of the other adjustments in there as well. Brightness and contrast or levels will do. I'll just use brightness and contrast for now and just darken her down just a little bit over there. Anyway, if you'd like to have a go with selecting her and bring her across, don't forget to have a look at those select and select and mask tools to just bring through a little bit more of the hair if it is a problem. Copy her in there maybe reduce the opacity just a fraction and possibly darken her down a little bit as well. I know she looks like she's stuck in there at the moment. We'll make her look like she really belongs very shortly. 51. How to Add a Shadow for Realism: Now, the woman looks like she's floating over here, and what we want to do is we want to put a bit of a shadow underneath her. Now, we're going to do this by making a copy of her layer. To copy the layer, I'm going to drag it down onto the new layer button at the bottom over there, and then let go. And what that does, it makes one copy above the other. I've got a second copy there, so using the move tool, I'm just going to click and drag to move that one across. By the way, with the MOV tool, if you click on an item, it doesn't automatically select it unless you've got Auto Select switched on. When you switch on Auto Select, when you click on a layer, it selects that layer. You see if I click on that one, it selects that layer as well. I'm going to be leaving Auto Select off so I can very easily just go to a lay and say, that's the one I want to work on or that's the one I want to work on there. And I'd suggest you doing exactly the same thing. Once you really get into this, you'll find that you can switch it on to continue working. However, personally, I find that sometimes I leave it switched on, sometimes I switch it off depending on what I'm doing. Anyway, I've got this second copy over here, and I'm going to squish it down into some sort of shadowy type shape. So I'm going to go to file. Sorry, I'm going to go to edit. Down to transform, and I'm going to choose Distort. Now, distort will allow me to take that top and just pull it around. You can see how I can sort of move it around wherever I want. And I'm going to sort of distort it out a little bit like this because those shadows are kind of coming at this angle over here. So we'll just have a little bit of a shadow like that. And I'll click Done, or click the tick right at the top. Now, that doesn't look like a shadow. It just looks like a squished person. So I'm also going to go and fill that with black. I always make my shadows black and then reduce the opacity. I never make them gray because they look funny if you make them gray. I'll show you what I mean. I'm going to go to Edit and fill. Remember our fill from before? And I'm going to fill this with black normal mode. So if you were on color mode before, go back up to Sorry. If you're on color mode before, go back up to normal mode, 100% opacity and preserve transparency switched on. If you switch preserved transparency off, what'll happen is you'll end up doing that on your whole layer. So I'm going to undo that. So make sure that when you're filling, you fill with preserved transparency switched on. What it does is all these transparent areas around that little shape, it just locks them down so you can't fill them. I'll click Okay, and you can see now how it's just made that into a little sort of sort of a shadow type of shape. Doesn't look quite there yet. Firstly, it's in the wrong position. Her foot is way up in the air there, so I'm going to go to edit, transform, and I'm going to use distort again. I'm just going to pull this up a little bit like that. Maybe that bit over there. So that's more of a sort of a shadow. But it's still not quite right. I'm going to go to filter down to blow, and I'm going to use a Gaussian blow to blow that shadow out. And you can see how we can just pull that out to get either a harder shadow or a softer shadow in there. Finally, it's still too harsh. These ones are sort of a lightish gray, so I'm going to go to opacity, reduce the opacity right down until the gray from her shadow sort of matches those ones over there. Now, it is kind of above her layer, so we do need to take that layer and drag it below the other one. So the shadow is now actually below her feet. And you can move that around wherever you want that to go. So I'm going to stop there so you can try that out and make a bit of a shadow underneath your person to ground them on the floor. Try it out. 52. How to Add a Reflection: Now, what about if one wanted a reflection? She probably doesn't need a reflection in here, but let's add one in anyway. I'm going to go to her layer and I'm going to drag it down onto the new layer button. That's her layer, not the shadow layer. And you'll see if I move it out, there it is there. What I'm going to do is flip it upside down. So I'm going to go to edit, transform, and distort. Now, if you have a look at this little contextual toolbar over here, one of the options there allows you to flip things very quickly. So I can just choose flip to flip it upside down. I'm going to move that across to there, and I'm going to pull this up a little bit. So you've got more of an interesting reflection, rather than this long one all the way down. Now, it's still not quite right. I'm going to go over here and just push it up a little bit like that in there, and I want to move that leg so it matches that one. So I'm going to go to edit, once again, down to transform and distort, grab a corner and just pull that one. Up to there. It doesn't matter that it's slightly distorted because well, nobody's going to look too closely, hopefully at your reflections. I'll move that below the other one, so it's sitting underneath there. Of course, that doesn't look like a reflection. It just looks like a person upside down. So we go to the opacity. We change the opacity and just pull the opacity down over there. I'm taking mine down to about ten, ten, 12%, somewhere around there. So you just about get the look of that upside down. It's a quick and easy way to do a reflection. And all of these little bits, the shadows, the reflections, they help to sell the idea that that person really was in the scene. Once again, try out the reflection. 53. How to Add a Text Layer: We're going to add in some text. We haven't done text yet, but some simple text will look really good. I'm going to go down in my tools to the T down the bottom here. This is the text tool. Click on it, and you'll see there are actually four different type tools. Here. These two are actually quite useful. These two, well, they should have retired them years and years ago because there's much better ways of doing mask text than using those little tools there. I'm going to go to the horizontal type tool. And now, especially if you're used to something like in design, where you click and drag, don't click and drag with this tool. Just do one click. One click like that, it puts in Ipsum text in there and you can change that to whatever you want. Future invest. So I've got my text in there. I'm going to select it by clicking a few times with the text tool in there. If by the way that you've changed tools, and you thought, oh, I can move that around now with this tool and you want to reselect it again, just go to the type on the layer. You can see it's a layer there. Double click on the T, and that will jump you back to the text tool and select your text. Over here, I can go to my font, and I can choose different fonts in there. I'm going to go with that one, I think. Choose any font you like for this or typeface. Go to this little double T and click and drag on that little double T to change the size of this. You can see as I'm doing it, it's just clicking and dragging out. Now, when I'm happy with that, once again, I can change and I can go back to my move tool and just put that in the right position. I'm trying to put it roughly in the middle of my document over there. So she's kind of there looking into it. We've got one more thing that we need to do with this, and because she's got a reflection down here, we need to create a reflection for the text. I'm going to take the text and I'm going to make a copy, just dragging it onto the new layer button. You can see I've got two of them now. I'm going to pull this one down to I suppose it's about there. I'm going to go to edit, transform, and I will just use scale and flip it with scale. And then finally, I will go to my opacity over here and reduce the opacity right down. So you can barely see it, but it's enough to give the impression of a reflection in the bottom. Now, it really should be scaled a little bit more, but once again, for now, let's just do it directly on there. Have a go with those too. Put in some reflections, put in some text. And if you need to change your text, don't forget you just go to your text layer. Double click your text layer, and you can make all of your changes in there. Try it out. 54. Add an Effect & Export for Web: I want to change a bit of my text over here, so I'm going to double click on the lower of the text layers, and I'm just going to select the word future in there, and I'm going to change the color. So the color is down here. I'll click on that and I can try it in white, or it might actually look better in something like an orange over there, which goes very nicely with that blue. Because it doesn't do it on my upside down reflection, so I'm going to have to double click on that, select the word future, and once again, select that orange. Now, I can't remember what the orange was, but because I can see it there, I can move my cursor off of the color picker and just sample that orange directly from the other text as well. Right. If I feel happy with that, I can then save that out for the web. I'm going to actually go into File and Save As. I'm going to save this as a layered file. So project Building and so dot PSD, a Photoshop document over there, which will save all the layers. And I'm going to click on save in there. Now, there's one more change that I'd like to make before we actually go in and do the final save for the web. I want to get a bit of a glow going behind this future invest. So moving down to the text layer, I'm going to pull my text layers out and open them up here so you can see a little bit clearer. This is the one that I want. I'm just going to switch it off with the eye. I'm going to add an effect to this layer. Now, down here is something which is FX, and these are the effects. If I click on that, I can go and I can choose any effect in here. Now, you can't see that very clearly because I know it's gone off the bottom of the screen. So let's pull this up a little bit like that. Click over there, and the one that I'm looking for is the glow. So I'm going to go down to Outer Glow down there. It opens up quite a complicated looking window. But honestly, once you get into this, you sort of see how they work. I'm on the outer glow there, and over here, I've got things like capacity, so I can change how much glow I get. I can go down to the spread and the size, so I can make the smaller or larger glow in there. So those are the two slides that I'm interested in the opacity and the size. I'm just going to take that down a little bit, so we just get a bit of a glow behind it. If you want your glow to be in a different color, you can actually click on this color here and you can change the color of your glow, so I could do that, or I could have maybe an orange glow behind the two of them, or a blue glow, as well. Obviously, that's going to go on both of those. I think I'll keep mine with a subtle white glow. In there. It's probably not visible enough to put a glow on the bottom. You'd barely see the glow down there. Anyway, now that I've made some changes, I need to go and do a save again so that will resave my Photoshop or my layered file. And then I'm going to go along, and I'm going to go to Flexport, export as, and I'm exporting this out for possible web use. And I've got a width and height in here. Now, this document at the moment, is huge. So what I could do is I could reduce it in here, and I could say, Well, what about if we made that 2000 high and it'll automatically change the width in there. Let's make the width 2000. And I'm happy with that. I'm just going to click on Export. That will only change the exported document. It's not going to change, let me just quickly save it over here. That's not going to change the one in Photoshop. This one, if we look at the size is still the original size, which is the 11,000 pixels by the nearly 6,000 pixels in there. So you don't have to worry that you've actually resized it and lost quality. If you want to check on your image, just go along wherever you've saved it. I'm going to press the space button on a Mac and I can see my final result. At any stage, when you're looking at this and you think, Oh, I need to change this or change that, just go back into your layered file and everything will be there ready to change. Have a go. I hope you enjoyed the project and get ready to learn some more in the next lessons. 55. Useful Brushes Intro: Do you actually need brushes if you're not an artist? Well, the answer is absolutely yes. Although brushes are great for artists in Photoshop, they can also be used for doing things like selections. So we'll be able to select items. We can then use a paint brush to paint extra bits in or paint extra bits out. You can use them for coloring up things. There's so many different ways that you can use a brush in Photoshop. Apart from that, we can then also use a brush to retouch areas, so we can use it for the healing when you'll see how we can actually take the healing brush to paint things out if we don't need them in the image. I'll show you as we go along. 56. Hard & Soft Brushes: I'm going to open up a picture once again from the provided files, and I'm going to find a picture with a fairly bland background. So not too much going on, that I can already show you what these brushes do. So I've got this picture of I'm going to move my layers back into that area over there, I've just dropped them straight in. And I'm going down to the brushes. You can see these tools kind of starting from here and going down, these are all brushes, and then these ones over here are also brushes. But I want to start off with the paint brush for you. Now, the reason I'm using the paintbrush is not because I'm expecting you to paint everything always, but it's because the paint brush is great for retouching images and working on masks. So I'm just resetting these to the default setting. Going up to the top over here, we have the paint brushes. They're all kind of listed down here. There's lots of paint brushes. You can download all sorts of extra paint brushes as well. For this course, we're going to concentrate on the round brushes, around hard and around soft. So I've got the round hard there. You can see my hardness is set to 100%. I can change it, and it becomes a soft brush. I don't need to change it or choose that one down there. I've always got a brush size, so I can sort of start quite small and go up to 5,000 pixels in size. If you move over your picture, it'll actually show you a preview of the brush size. If I do that, compared to that, compared to that one over there, but go right up to 5,000. It's huge, really huge in there. So, what are we painting with? Well, if you go down to the bottom, I'm going to make my toolbar a double row just so that comes up here and it's easier for you to see. Down the bottom, we've got our foreground color and our background color. I'm going to paint with the foreground color, and if I click on that, you can see it brings up my color picker and I can choose a color to paint with. Now, I'm just going to paint, and quite honestly, I just get something which looks like it was done by a 5-year-old. The first thing is the opacity. If I take the opacity up to 100% for the brush, I will get full coverage. If I go down. So, for example, 8%, I'm going to get a small coverage. In there. I'm going to just undo that. So I'm using my control or my Command Z to just undo those. Now, let me take this up to 100% over here. That was using a soft brush, so the hardness was set to zero. If I set this brush to 100%, now you'll see the edges are going to be quite hard like that, compared to, let me just do that again, a soft brush where we've got that sort of softish blended edge in there. I'm going to undo those too. Over there. So before we go any further, let me just stop at that point so you can try this out. I know it's like being in kindergarten and finger painting. You know, trying to paint on a track pad or a mouse is like trying to paint with a bar of soap. I know it is difficult, so bear with me on that. Have a quick go with that, and then we'll go and have a look at how we can actually use this to color up certain areas. 57. Essential Brush Shortcuts: Now, when it comes to changing the brush, size, hardness and softness, it's always a pain to go to the top there, click on that, change the size, change the hardness, especially if you're retouching something and you suddenly want to go from a bigger brush to a smaller brush. Exactly the same if you're an artist and you're using this for painting, you want a quick way to change your brush size. Now, by the way, if you are going to be doing art, um, or if you're doing it already, I would suggest using some sort of drawing tablet for Photoshop. Um, Wakem is the big brand out there, but there are a number of other brands as well. Most of them are pretty good quality. Now, if you are going to use one of these, and you've never used a drawing tablet before, I would suggest trying it out and having it go for a good few days because the first few hours that you'll use it, you'll probably want to throw it out the window. But after that, you won't be able to live without it. Some of them have got images in them where you're drawing directly onto the screen. Some of them, you actually look at your screen and draw on the desktop. Try out a few different ones if you can before you buy. Now, to change the size on here. So there's a few shortcuts that you can use, and you choose the one you like. We've got the square brackets on your keyboard. So if you press the left square bracket, it will make the brush get smaller. Press the right square bracket. I'll make it get bigger. That's the same on a Mac and same on a PC over there. So you can see, there's my brush there. Square bracket. There it is over there. Now, if I want to make the brush harder or softer, hold down shift, and the left square bracket will make the brush softer. Hold down shift, and the right square bracket will make the brush harder. Now, that's one way to do it. And if you like that way, absolutely fantastic, go with that. The other way, now, this is going to be different on a Mac and a PC. So let's start with the MAC one first. Hold down control and option at the same time. Click down, and you can then drag up and down to change the hardness and softness of the brush. If you drag left and right, you can change the size of the brush. So on a Mac, it is control and option, and then click down up and down for the hardness and softness, left and right for the size. So how does this work on a PC? Well, it's right click and the old key. And then once again, up and down for hardness and softness, left and right for the size of the brush there. Have a bit of a go with those. Come back for the next video. 58. How to Change specific Colors Using Colorize: Let's zoom into these two little shells. I'm going to use my Command plus or my Control plus to zoom in and then my space bar to move along to the shells, and I'm going to start with this little one here. Now, I'd like to change or add in some really wild colors into this shell, and I'm going to do that by painting. Getting my paint brush and taking my brush size right down and my hardness set to zero, I come up with a sort of a smalleish brush like that. I'm going to pick the color that I want, so I'm going to click on the foreground color and then go in and find the color that I want to start with in here. And as I said, this is going to be a little bit wild, so I'm going to start with this pink color. If I then painted directly onto the shell, well, you can see it's not really a starting point. It just looks really awful. But if I change my mode, blend modes, again, you're going to be seeing so many of these as we go through. I'm going to go to color and I'm going to paint now. And when I'm painting, you'll actually see it leaves the detail in there and just paints with color. I'm going to just undo that and zoom in a little bit further over there, maybe make my brush a bit smaller. So the trick here is to go from normal down to color. And then when you paint, I will make my brush just a little bit harder over there, as I'm painting, it's just changing the color and I'm colorizing. It's called on this area, and you can really paint in anything you like. And it really is down to how good your hand eye coordination is as to how well this paints. Now you can see I've gone over the edge a little bit in there, and I want to show you in a moment how we can fix problems like that. So painting that little section over there. Oh, I'm missing a bit over there. Let's go and get another color in here, so I'll click over there. I'm going to get more of a yellow color. Zoom in a bit more. The more you can zoom in, usually the better your quality will be. I'm going to just paint that bit in. Over here as well. Once again, I will be making some mistakes in here. These are genuine mistakes because I'm using a track pad for training you here rather than than a pen and tablet. And let's get one more color over here. Let's use a sort of a teal type of color for the top section. You can see how it keeps the lightness and the darkness using color mode. Now, I'm going to make a deliberate mistake here and go all the way out. So now that I've done that, what can I do with this to get it back? Well, I could just undo or instead of using the paint brush in here, I'm going to find another brush called the history brush. Now, the history brush looks like a paint brush, but it's got an arrow that goes backwards. And what this brush does, and I'm going to make the brush small. I'm just using my shortcut is it paints back to the original saved version of this file. So I can just go in there and tweak these little bits until they look acceptable. There's another bit over there. I'll just paint that bit back and this little bit back. Over there. Let's zoom out and see what that looks like. It's kind of quite a wild looking little shell over there now. So don't forget when you're painting with your brush, and I'm just going to go and find an exciting color for the other one over there. As you're painting, because you are in color mode, and remember, it is just color. It's not lighter color or dodge color or anything like that. It's just color. As you paint, it will look at the colors underneath and keep the lightness and darkness of those colors. And once you've painted, if you then want to go and just go back on yourself, use the little history brush. Once again, it works with a paint brush so you can change the size of the paint brush, and you can then just paint back any bits that you want. Over there. Now, you'll probably notice the word history. It's called a history brush, and it does work in conjunction with the history panel, but more of that later on. Anyway, do try that out. Maybe try painting some different colors on the shell. Just go wild and have some fun. And if there's any other images you want to try painting bits on, have a go with those, too. 59. Remove Areas with the Healing Brush & AI: Let's go up a tool. I've just gone back to a single row over here. Remember, it's that little double arrow at the top. So I've just gone back up again to something called the spot healing brush tool. Once again, it's a brush tool. If you go to the top, although this looks different, it's still got a size and it's got a hardness in there. So I can still use my shortcuts to make that brush bigger or smaller. What this brush does is it well, heals, as they say, it removes marks and things. If I was looking at this picture here and thought, You know what? I don't like this little stone. With that healing brush tool, I can just paint over it and remove it completely. Over here, there's a little white mark over there. I don't like that one, so I'm going to paint over that as well. And if you don't get it quite right, you can just do it a second time in there. Ah, let's remove that one there with a bit of light on it, too. Let me show you how this tool can actually take you further on. I'm going to go and open up another image. I've got one here called knitting. And let's say that I wanted these bits of wool here because I wanted a nice square in there for Instagram, and I want to get rid of the knitting needles and maybe even the tape measure. What I can do is I'm going to zoom in over here using my spot healing brush tool. I'm going to make my brush just a little bit bigger over there, and I'm going to paint. From there, I'm painting along the knitting needle. Around the end and let go. And you see how it just heals it up and gets rid of it. Let's take this one here, and so I'm going to go down. I'll stop halfway on this one, and you can see what happens. There we are. And I'm just going to keep going getting rid of that. Let's remove this one, as well, so we'll just paint over it. Now, of course, you might never want to get rid of knitting needles from a lot of wool. But what you might find in an image is that you've got a photograph and there are some power lines running through the background, which look awful or telephone wires or a line going down a wall somewhere. It could be a drain pipe, it could be anything like that, and they're so easy to get rid of with this tool. I'll make the brush smaller. I like to have the brush just a little bit bigger than the thing that I'm trying to get rid of. There. Now, here's a little trick. If you click on one side, so just one click, hold down the Shift key, and then just do one click on the other side, it'll automatically draw a line between those two. Sometimes you might find something darker happening in there. If that happens, you can just paint over it to try and hide it a little bit. Honestly, you probably won't even notice that with the final result. So let's get rid of these ones here. But what about this tape measure now? Let's zoom out a bit. Or you can see that a little bit there. Might have to do something. With that. The tape measure is the big problem because if I try and get rid of it with this tool and paint it out, I'm using a very large brush, I'll probably end up with something which doesn't look quite right. Okay, so it's just gone really weird with the wool in there. So this is not a brush, but it's a really nice technique. Use one of your selection tools and select the area that you want to adjust or remove. And I could have done it with that little section over there, which was a problem piece. Choose generator fill that comes up in the ittle display now. Click on that. And then it says, What would you like to generate? We don't want it to generate anything. We just want to remove that. So don't even bother to fill that in. Just click the word generate. And then you just wait and it does it. Now, because this is quite a large file, it might take a little while to do it. So just be patient. Sometimes you got to get it running and then go and make a cup of tea. There we go. Look at that. That's amazing, isn't it? But not only that, it's given me some variations. In the properties here, it says, Would you like that one, or how about that one? Does that look better? Or what about that one over there? It's just made another ball of wool to go in there or ball of yarn. Right. What's happened here is it's actually put this on a new layer. If we go to the window menu and find out layers, actually, I can see my layers there they are over there. Oops. Come on, get out of the way. You'll see this is actually on a new layer. If I hide it, the original is still over there. Now, if I was happy with that and thought, you know what? That's great. All I need to do if I want to is to go to the layer menu and just say flatten image, and it'll squash that special layer onto this one in one go. Right, I'm going to stop over there so you can try this out. Have a go on this wool one, particularly and see how it works. So use the spot healing brush tool, take your brush and make it just slightly bigger than the area that you're trying to get rid of. And once you've done that, if you want to try this AI system, use a selection tool, select the object that you want to remove where it says generate fill, click on that and then click on Generate Twiddle your thumbs for a few minutes. See what it does, and try the variations out in there. That is very impressive. 60. Make your Images Pop with Dodge Burn & Sponge Tools: I've got to admit the next tools I want to show you are some of my favorite in Photoshop, and it could be that I come from a traditional photographic background of film and printing. But I really like these tools, the dodge, the bone, and the sponge tool. What they do is they enable you to lighten and darken areas on the image with a brush. And to me, it just helps to bring the life back to the picture. I'll show you what I mean. I'm going to start off with the dodge tool. I'm going to make my brush a whole lot smaller. And you'll see when I actually start to paint, I'm not painting yet, but when I start to paint, it will lighten the area that I'm painting. So if I lighten this area here and I'm going to lighten this one. Let's lighten that a bit. We'll lighten these. Avian, I'm just clicking and painting very roughly on them. Let's lighten the leaves a little bit, as well. So just paint a bit on there, paint a bit on that and on that as well. Now, it doesn't look like I've actually done much yet, but do bear with me. I'm going to then go to the burn tool. The Dodge tool lightens, the burn tool darkens. Easy way to remember this is if you burn the toast, it will go dark. So let's darken this section over there to get a bit more interest on the cheesecake itself. Okay, so when you look at that, you think, Well, Tim, what have you done? It pretty much looks the same. Possibly, but let's have a look and see how the original looked. If I revert this, that's how it looked before, and that's what I did to it in there. When you use this tool, you don't realize until you actually turn it off that it actually has made such a difference. And I love this tool, as I said, just to be able to bring things out of images which are otherwise pretty good. I'm going to go and open up another image over here and let's go to this person. Now, first of all, it doesn't look like there's any blacks in here. So I'm going to go to image adjustments levels, and I'm going to pull that over to just get a bit more pure dark colors in there. And then, what's important here? Well, the important part is the flowers and the woman who is looking closely or smelling them. I'm not quite sure what she's doing. So I'm going to use the Dodge tool over here to just lighten up her face a bit to draw the eye into her face. So just one or two clicks in there, you can see how it's just lightening up her face a little over there, I'm using a big brush. It's a soft brush to just lighten those up. And then I'm thinking, You know what? What about some of these leaves? If I lighten them up a little bit, it'll give them a little bit more life. Over there, we'll lighten that. O behind her, I think. About the flowers? Well, the flowers, if I go along there, I want to intensify the color, and that's where the sponge comes in. So the sponge tool will either intensify the color by using saturate at the top, or desaturate to knock the color back. So I'm going to go to saturate and then just go over those flowers to just really push the color up a little bit. Now, if I find there was a color in here that was distracting, I might go to desaturate, and let's say this bottle over here. I'm just going to paint on that a little bit, and it's desaturating the color on that bottle. If I do it on that, you can see a little bit clearer over there. Now, on a professional aspect, I use this tool quite a lot on distracting details in the background. So I use desaturate to just, you know, take posters that are fluorescent in the background or distracting and just knock them back a bit so they're not quite so obvious. I think one more thing on here, let's go to the burn tool. I'll get a large brush. I'm just going to click once or twice down here to just darken down those areas, maybe just down here. Now, as you can see, I've darkened that down. It really is a bit too dark. So you can change the exposure in the top here. Let's try 50%, so it'll darken it, but not as much. Even that's too much. I'm going to go with 25%. There we go. Bit of darkening on there. And by darkening this, I'm actually helping to bring the eye onto the person. If I find a detailed image like this, I usually darken areas down to bring the eye to the lighter areas. Over here, maybe this area could be darkened just a little bit. You will find with these tools, we have got some options for shadows, midtones or highlights. If I go to the midtones, here, it'll probably darken the bottles there a lot better. And all of the tools here, well, sorry, shall I say the dodge tool and the burn tool, they have got shadows, midtones, or highlights, and you can choose which ones you want to lighten or darken. Okay, I feel like I've done some good to that image. Or maybe you look at the No, Tim, it was better in the first place. It's all subjective. Anyway, let me show you before and after. So if I go over here and revert it, that's the original picture there, and that is what I've done to it to just bring the eye into her face over there. As I said, you might like it, you might prefer it the other way. Let's have a look at one last picture. I'm going to go and open this picture of a cat. It's a lovely, lovely picture, but really the whole joy of this picture is the cat's eyes that it's staring straight at the camera. So let's go and see what we can do. To make them even more obvious. I'm going to go to my dodge tool, slightly smaller brush, and I'm just going to dodge this eye here to really lighten it up a little bit because it's quite dark over there. And I'm going to go to the burn tool, and whoa, that brush is big. And maybe just darken this eye down a little bit as well. Just to sort of balance them out a bit. And then I don't want to paint the colors. I mean, I could paint them if I wanted to do. If I wanted them blue, I could paint them blue. You know how to do that with color mode. But I'm going to go to the sponge tool. I'm going to click a few times on here because what I'm looking at doing Whoops. Let me try that again, is not saturating desaturating. I want to saturate. So I really want to bring the color that's there out. So by just clicking a few times, you can see the yellows are coming out, the blue just around the eyes coming out, same with this one over here. Let's do a little bit on the fur, so I'm just going to go to my Dodge tool. Bigger brush. I'm using soft brushes all the time here and maybe just lighten up the highlights on the fur just a little bit, so it prints better. I think that's pretty good. Let's do a before and after. So file, revert and you can see how the eyes now just jump out. I'll use Command or Control Z to just redo it again. So before and after, Do have a try with those images there. I put another one in for you to experiment with as well. It's this cupcake over there. Have a bit of a go lightening up this side of the image and see if it improves it for you. It might, it might not, and as I said, it's all personal preference. You could even go along to the knitting image if you haven't done anything to that and try things out on there, lighting certain bits in there, saturating them, darkening things down to lead the eye to where you want it to go. 61. Layers Intro: Layers are such an important part of Photoshop, and we use them for everything. There are so many different types of layers. So we've got normal layers. We've got adjustment layers. We've got smart objects which are layers. We've got text layers. We've got layer masks that we can use with our layers. It just keeps going and going. Anyway, I want to take you through from the absolute beginning of layers so that you understand them totally. And then we'll be adding in different types of layers as we go along. 62. Scale Non-Destructively with a Smart Object: Let's have a look at more layers. And in this layer example, we're going to look at things like using a selection from one day into another one. We're also going to be looking at linking layers together, and we're going to make a little logo to go on this photograph here. I'm going to go to File and Open, and once again, I'm going to open up the image from the folder, and I've got a little black and white logo in there. So it's called Wolf logo. I want to move the whole thing across into the stalking wolf image or the tracking wolf image. So how can I do that? Well, one way to do it is to select all then I can copy it and then I can paste it in there. But a much easier way to move objects between files, you don't have to have it selected. All you've got to do is to click and drag. So I've clicked on that image. I'm dragging it up along to the other one. Now, you can see that if you look on the right, I can't let my cursor go because, well, it'll just disappear. But on the right, you can see the layers are showing the wolf logo, but the picture showing the stalking wolf down over here. Now, I haven't let go of anything. I'm still holding down my mouse button. And it's only when I get to this picture that I finally release my mouse button, and there we go. The image comes straight across. Let me do that again for you. So on this image here, click down and drag you using the move tool onto that image. Don't release the mouse, don't release the mouse, and let go in the middle. Now, I've got my logo in there. What I want to do is I want to actually have this logo in a yellow or orangy yellow. Now, how can I do that and get rid of the background? Well, the easiest way to do it is going to be for me to actually make a selection of the wolf. I'm going to be using the magic wand. You can see with the magic wand, I can just click on the black and select it very quickly. And then I'm going to go down here and I'm going to make a new layer. Now, you'll see when we're working with this later, you'll be able to do this as an adjustment layer to automatically give you the right shape. But we're not there yet. So I'm going to make a new layer in there. On this new layer, I'll go to edit, fill and selections are layer independent. So because I'm on that layer and I've got a selection, it's absolutely fine. I'm going to go to my color, choose the yellow that I want. Orange, yellow, I think, something like that. Click Okay. This is going to be normal mode, opacity 100%. I'm not preserving any transparency because I want to fill the selected area. Click Okay, and it fills it. Now, as you can see from the layers, we've got the wolf on one layer and the black original on another layer. I can take that original and just drop it in the bin now. I can get rid of that selection. So I'll just deselect it. And there's my yellow logo on that layer. I want to scale this logo down. Now, I'm not sure about what size to scale it. And you see the thing is that if I go to edit, transform and scale, I grab a corner and I scale it right down. Let's make it really small. And then I change my mind and I go, Hang on a second, let me scale it up again. So I go to edit, transform. Scale, and I scale it up again over there. And when I click on the tick, you can see how out of focus it is. So when you scale something down and you scale it up again, what happens is it loses quality. When you scale it right down, Photoshop forgets all those pixels that make it up, make it nice and sharp. So I'm going to undo that because I can actually use my undo to undo that to go back to the sharp version. Of course, if I'd closed this document down and saved it and then went back in two weeks time, I wouldn't actually be able to get that small one back to the original size. So what can we do with this? Well, this is the new thing. We're going to go along to the layer menu, and we're going to make that layer into something called a smart object. Now, I'm going to say Convert to Smart Object, and all that happens is a little icon appears in here. But it means that if I go along and scale this, I'll go to transform and scale. I'm going to scale it down over there. I'll make it really tiny. Click on the tick, save the document, close it down, change my mind in three months time, come back again, edit. Sorry, let's try that one again. Edit, Transform and scale. Let's try that again, edit, transform, and scale. And I can then grab a corner, scale it up, and look at that. The whole thing is just as sharp as it was in the first place. So with certain items, if you want to scale them down, but you think you might want to scale them back up again, it's best to actually make them into a smart object like this. Go ahead with this little mini project that we're doing. Get the wolf, get the logo, make the logo by selecting the original black and white, going to a new layer, filling that layer with color, and then taking this layer and going along to edit and fill and filling that with whatever color you choose. If you can't remember all of these steps, just go back and scrub through this video really quickly so that you can see all those bits and pieces. Have a go. 63. Add Text with an Effect & Link Layers: Let's scale this logo down. So I'm going to go along to edit, transform and scale. I'm just going to scale it down over there to the sort of size that I'm after, something along that line there. I'll click on the Tech. Now, I want to bring in some text over here to say tracker gear. So I'm going to go along to my text tool. I'm going to click once. Remember, it's not click and drag. It's just one click in there. I'll put in my text And I'm going to select the text and make it the size bigger over here. I can change the font to something else, maybe, which is a bit more appropriate. Let's try something like this one over there. And I think that's it for the moment. I'm happy with that. I'm going to go to my move tool now and just move it into the right position down the bottom. Now, if I wanted to move these characters further apart or closer together, what I can do is I can double click on my text to select it. Down here, I'm going to go over to the right hand side. This little T with two sliders next to it and click on that. And this gives me some options. It gives me the ability over here to change the distances between lines of text. It's called the leading. Or over here, this one, which is tracking, and this allows me to change the distances between the individual or the selected characters. So I can get the tracking gear to go all the way out like that. My thinking behind this is that it's to do with tracking, outdoor, mountaineering, that sort of thing. So this is almost like a track with all of these different items on it. You can also, while you end here, force things like force italic. You can underline things. And you've got a bold which you can switch on and switch off in there. This is known as Fox bold. I'm going to keep mine switched on. Now, once again, I will just go back to my move till I'm going to move this into the middle of my document, and then I'm going to go to my wolf and move the wolf because the wolf is going to kind of sit over there, maybe by the G of gear. Now, I think I'm going to rescale it again, and this is why I made it into a smart object because I might just keep re scaling up down until I get it absolutely right. Now, you'll notice whenever I've got to go to scale, it's always going to edit, transform and scale. And there's a much faster way, and that's called free transform. You'll see if I go to edit, there's free transform there, and the shortcut for that is Command T on a Mac or Control T on a PC. When I do Command or Control it takes me into transform and I can very quickly transform the item that I want. Move it along. I think it's probably going to sit like that maybe, or I can experiment with it. Let's try larger one and see how that works. In there. That's actually working quite well with the Gi and the wolf. I think the colors could do with a little bit more because the G is starting to disappear next to the yellow, but we'll deal with that in time. I'm going to click the tick button over there. So as I said, I can now scale it up. I can scale it down, and all is well. Just to separate gear and the tracker slightly from the background, I'm going to go to my layer up here and I'm going to add an effect to it. It's going to be very subtle, but hopefully enough to separate those two out. Down in my effects, so I've made sure I've clicked on the tracker gear layer. Go down to FX there, and the one I'm looking for is the drop shadow. Now, you can't see it down here because it goes off the bottom of the screen, so I'll move my layers. I'll just pull them right up there. Move this up a little bit like that. Click on the effects. There we go. That's the one I'm after the drop shadow. And it's popped a drop shadow on there. You can see it switched on, the little tick is on. And I can then adjust the amount that I want over there. You can see how it's separating from the background. Now, that's far too much. I'm just going to do a very subtle little separation. You can change the distance. You can move it around as much as you like. You can change the size. You have a harder edge or a softer edge in there. And you can also angle it around at different angles, I'm going to put the angle over there so we have the top of the G coming through that side. It's up to you what you want to do with this. We're just looking to separate that slightly from the background. And I'm going to click Okay on that. So I've got my text and my logo. Now, lastly, for this little section, I want to be able to move these two around together. So if I select one and then hold down the Shift key and select the other, I've got them both selected, I can then link them together down here. And because those are linked, it doesn't matter which of them I click on. If I move one, the other will move. If I scale one, the other one will scale at the same time. So I'm just going to pop that back there and click the Tech. So have a bit of a go with those things. Get your text in, have a look at the options for the text. By clicking on that little T, you've got your tracking in there to move things further apart or closer together. Take your top layer, which is the text layer, and maybe add an effect to that with a little FX button down there. Link the two layers together by selecting both of them with a shift key and linking them like so. Finally, your effects will actually show up on the layer themselves. You can see it says effects and drop shadow over there. So if you want to see it without the effect, just click on the eye on that little effect and that will hide the effect and show it in there. If you need to go and make any changes to the effect, just double click on the word. In this case, drop shadow. I'll open it up and I can then make any changes that I like in there. We'll click Okay. So do have a bit of a go with those, and we're pretty much finished with this, but we're still going to be using that logo for something else. Try it out. 64. My Layers Are Missing: Now, sometimes you might go to your layers, knowing that you've got a layered file and think, Where have my layers gone? And what can happen very, very easily, and I've done it a number of times is that along the top, you might actually have clicked on one of the filters. So if we go to the top, it says kind in there, and this allows you to switch on and off different kinds of layers. So if I click on the T, it'll only show me text layers. If I clicked on this, it'll only show me pixel layers. I can go along and I can just click on Smart Object layers. If you've done that, you'll notice that there's a little on North button in there. If you switch that off and on, you can then filter by layers. Now, at the moment, that might seem a little bit of overkill to you when we've only got three, four layers. But it's not uncommon in a Photoshop file to have hundreds and hundreds of layers on a very complex piece of artwork. And this just enables you to see the appropriate ones that you're looking for. You can also search for layers by name so I can go into name in here. And if I typed in TRA, it will show me the tracker layer in there. As I said, you don't need it yet, but bear in mind that it's there, especially if you touch it by mistake and you think, why am I only seeing my text layer? Do keep an eye on it. But once you start to get further into Photoshop and your layers build up and they do build up very, very quickly, it will become very useful. 65. Why Layer Zero & Flip Layers: I'm going to make sure that I save this with all the layers intact. So I'm going to do save as, and this is going to be my stalking wolf or wolf stalk. And then I want to say this out for the web. So I'm going to go along to my cropping tool. We've done this so many times over to Width heightened resolution. Put in my width in here. Maybe this is an advert for YouTube. So this will be 1920 px by 1080 px in there. And I will just click and drag Oops. Over there. Now, I've done that and I have cropped off the bottom of my wolf in here, but I want you to see what happens when I do this. So let's just make that a little bit smaller in there. I'm going to click on the Tech over there, and let's look at this. Sorry. Let's look at this document now. So I'm going to go to my move tool and I'm going to move the text up. Now, let me just make sure I've selected the text. I'm going to move it up like that, and you can see that even though it was on the outside, all of the stuff that I cropped off is still there. The little logo is still there. Now, you're probably look at this and thinking, why the text gone all weird, Tim? What I'm going to do is I'm going to select it. And over here, we've got this faux bold. So, for some reason, when you switch it on and you then change it on certain items, it just goes a little bit too thick like that. So I'm actually going to just switch off the faux bold and leave the text like that. I really should actually at this stage, change that and try and find a different typeface for it. I'm happy with that. I will export that out ready for the web. But now, what about if I also then wanted something for Instagram? Well, I'm going to do a square, so I'm going to take my text, scale it down. Remember that's Command T or Control T to scale. To scale that right down to make it a bit smaller. Over there. And I'm thinking, you know what? I would like my wolf to be looking the other way. If I go to the background and I go to image image rotation and flip Canvas horizontal, what it does, unfortunately, is it flips both the canvas and the text. I only want to flip that layer. Let me undo that. So I'm on that layer there. If I go to edit and down to transform, you can see the transform is grayed out. I can't go in there to flip it either. And that's because this layer is a background, and a background is locked and you can't actually move it around so you can't flip it. But there's a quick way to make a background into standard layer which you can flip. You just double click on the layer. It's called layer zero. Click Okay. Now look what happens. When I go to edit, transform, and down here, right at the very bottom, it's slightly off screen, so you'll have to try it on yours. I'm afraid, but it's just below the rotate 90 degrees clockwise is a flip horizontal, and that will flip just the layer that I'm on. So I can then move it around should I want to. I'm going to go back to my logo, pull the logo over to here. And I want another piece of text up the side there saying outdoor. So I'll do the same thing again. I'm going to go to text. I'm going to click. Whoa, the text is now super big. I'm going to put on outdoor. Make sure all the text is selected and maybe make it a bit smaller, like so. I'm just going to make sure that there's no fo bold on that. I'm happy with that. I want to rotate it, so I go back to my move tool. Remember our control or command T. Well, this time, instead of just scaling it up and down, you can go off the edge until you see that double headed bent arrow, and you can just click and drag that around to any angle that you like. If you hold down the shift, it'll actually snap to varying degrees like so. And that's going to go on the edge of that. Let's go back to this tracker gear. I'll move that down a little bit, like so. So have a bit of a go with that. Try changing or cropping your document down. If it goes off the edge, you know that you can always get it back. Try making sure you save it before you actually scale it down, by the way, so you've always got a copy of the hires version. Then if you want to go to your background layer, double click your background layer, make it into layer zero, and that way you can flip your wolf or whatever it is you're working with around. And that's done in, I know you can't see it, but it's edit, transform, and it's right at the very bottom underneath rotate 90 degrees counterclockwise. Have a go. 66. Fill vs Opacity for Awesome Text: Now, this word outdoor is quite heavy over there. So what I'm going to do is I'm going to go along to outdoor here. I'm going to double click it, and that's exactly the same as going to the effects in there. You double click it and you see it takes you into those effects. Now, the effect that I'm looking for here is a stroke effect, so it's this one here. Now, if you click on stroke, you need to make sure that little tick is selected. It's gone a bit weird in there and that's because the size is so big. I'm going to take the size down, so I just have a very small stroke. Now, you can't see the stroke because it's white on white. If I change the color of the stroke, and the position I'm going to put is on the inside of the text. You can see how that stroke is now around the outside of my text. You can change that to any color. We're going to come back and make it white, but I wanted to make it red so that you could see what was happening. I'm going to click Okay. Now, I've got my stroke over there. Look what happens if I go to the opacity and the fill. I'm going to move the text over the wolf. You see, if you use the opacity and you change the opacity, it affects the transparency or the opacity of that entire layer, both the text itself and the stroke. If you use fill instead, I'll take it down, and you'll see what it does. It changes the opacity of just the text but not the stroke. So this is really useful because I can put it all the way down and then just have the outline. I'm going to actually double click on that stroke again. So just over there on the word stroke, double click on that and change that to white. And I might actually make it a bit more delicate. Like so. Click Okay. And I've got some really delicate text. And you can, eventhough it's quite dark, just about see through it in there. Certainly, if it was over something like that, it'd be a lot more obvious. So let's just take that over to there. Now, once again, I'm happy with that. I want to crop this down for Instagram, so I'm going to click on my cropping tool. I'm going to go into here and I'm going to put in 1080. So it's 1080 by 1080 all the way through to the bottom. And let's move that across to there. Right. That's done, and that's ready to be exported. What will be when I've got these in the right position. Let's just move the logo over a little bit like that. The wolf is kind of looking really nicely out this right hand side. We've got our text over there on the left. Do try that out and have a look at using fill rather than opacity. What it does is it removes the layer but not the effect. I'll show you another effect with this in the next video. A 67. Make Text Look Like Liquid: Now, I've exported mine. I've closed it down. I did save the Hires version with all the layers in so you can take mine apart and have a look at that. But now I'm going to go and open up another image over here, this water. And I want to do the same effect that we did with the stroke, but in a slightly different way. I'm going to get my text tool, I'm going to click over here, and I'm going to put my text in. Now, it's white on the white background. It's difficult to see I selected, and I'm just going to make it a whole lot bigger over there. I'd also like to choose a different typeface for it. So I'm looking for something which has got more of a watery feel, something which is rather large and chunky and round. And this is where you can spend ages and ages just going through every single typeface that one has. So I will stop very, very soon. I'm going to use that Cooper standard in there. Now, I will just change the color of the text so it's a little bit more obvious what I'm about to do. I'm now going to go along to the text layer. I'm going to double click, and the effect I'm going to choose is going to be Bevel and Emboss. Now, Bevel and Emboss, you can see rounds this off a little bit. In the style, by the way, if you can't see it, make sure the little tick is switched on, even though you're on Bevel and emboss, you must make sure that tick is on. In this style, we've got different styles in here. There's outer bevels, there's inner bevels, there's embosses. I'm going to be using the inner bevel. And the technique I'm going to be using rather than the hard chiseled effect is going to be smooth. And then I can change my depth. Over there, you can see we can get greater or smaller depths in there. I can change the size of it. I can change the softness of it, and I've taken my softness all the way over to the right hand side. Now, I'm going to click Okay. We're going to come back and fix this in a moment. I go over to my fill and I remove the fill color, and you can see there that it actually looks quite watery. And it's a really lovely effect. But I want to change that effect a little bit, so I'm going to double click on the Bevelnubss. And down here, we can change the colors. So for the highlight, I could change the color and I could make it pink if I wanted. I can go to the shadow color, the bottom color and make that green should I want something like that. As it happens, I would like that to be white. And the bottom, I want to be this blue down here, so I'm going to click on that color. I'm going to move over and choose a nice dark blue from in there. Make a little bit darker in there. And lastly, you can change where the lighting is coming from by dragging this little angle around in there so I could have the lighting coming from the side if I wanted to. That doesn't look quite like water. The lighting's coming from above, so I'm going to move that to the very top and just in a little bit. If you put it to the very top like that, you lose your shadows, so move it just in a bit. Like that to see the whole thing. Click Okay. Remember, you can always go back to your text, double click your text, change it to something else. Let's go with a different typeface now. And once again, you can also change the size or the text totally. Let's say, the C. I'll put a return on there. Do have a bit of a play with that. It's such a lovely effect, and it's very, very subtle. Oh, it can be very, very subtle. Mine isn't. I'm just going to undo that and go back to water. You can still change the opacity if you want to reduce that effect even more. Try it out. 68. Introducing the Non-Destructive Layer Masks: I'd like to introduce you to layer masks now. I'm going to go and open up an image, and I'm going to start to open up this tower. It's the Dubai Tower, and it's kind of quite cool looking, really. And then I'm going to go and open up another image, which is the skater. And I want to get the skater into the tower over there, so it looks like he's jumping in the foreground. So I'm going to go along to the skater and I'm going to use Select Subject to just select him very, very quickly. Now, I want to take him across. But instead of actually just cutting him out, because if I cut him out and take him like that or copy and paste him, it's a very destructive process. So I'm going to instead go down to the bottom in my layers. We're dealing with layers now. So go down to the bottom, and I'm going to click the little looks like a little flag over there. So the square with a circle in the middle. Click that once, and you can see it looks like he's actually automatically cut out. What's actually happened is it's made a mask based on that selection. Now, anything in your mask, which is black, means it hides the equivalent area on that layer. Anything that's white means that it shows the equivalent area in there. Now, you can either click on the mask or on the layer. That's really important. You'll see later when we get further into that, how it can affect it. I'm going to take the skater now, drag him and drop him into there. He's a little bit Oh, actually, no, he's pretty much doing all right there. So, what I want to do now is to go along and make it look like he's just coming off the side of the building. I'm going to zoom in. Over there, I want to cut the end of the skateboard off. So rather than doing something which is destructive, I'm going to go to the mask. So look what happens. I'm on the mask. I'm not on the layer. You can see I'm on the layer there, I'm on the mask there. Make sure you're on the mask. I'm going to get a paint brush. This is why we had to learn the paint brushes earlier. And I'm going to make it smaller. I'm using the left square bracket to make it smaller, and I do want it to be a hard brush, as well. So I'm going to go smaller still. Now, I choose to paint with either black or white. If you flick that little button there over, you can see we can go from black to white. It's just flicking the foreground and background color over. If I paint with black, it looks like I'm actually erasing those areas. I'm just going to go along there. Like that. Let's go a little bit further on. I'm going to make a bit of a mistake in a second. I'm going to go, whoops, I went too far. So if you paint with black, it's hiding what is on that layer. If I flick over, so I've got white as my paintbrush color. Now, with white, it's like painting it back. So black will hide. Just get rid of that last little end bit over there, and I can then zoom right in and paint out the bit that I don't want. And if I go too far like I did over there, I can just go over to white, maybe make my brush a whole lot smaller and just paint those bits back in there. Instantly, if you want a straight line, you click once, hold down the Shift key, and then click again to get a straight line out of that very quickly. There seems to be a funny little shape there. I'll go over to black and paint that out. That seems to be looking right. I think the border himself is a little bit on the light side, sorry, the dark side, so I'm going to select him, not the mask, but actually the layer. And I'm going to go to image adjustment, and I'm going to go over to brightness and contrast and just lighten him up a little bit, like that. After all, he is in quite a sunny climate in there. Click Okay, and it's done. So once again, I'm going to save this as a photoshop file, which will then save that mask, as well. So what's the difference between this and it being destructive? Well, the thing is that if I take this mask and drop it into the bin and say, delete, I've got that whole layer back again. I'm going to undo that over there. Let's go to file, save as, and we'll save this as tower skate final. So you've got the final version to look at, should you wish. Now, if you do decide that you want to get rid of that mask, you can throw it away if you choose apply. That's the orange one here, just like pick me, pick me. But that's the dangerous one. If you click on apply, it actually does a full cutout on that layer, and you've lost all that extra information. If you choose delete, the one that sounds bad, that keeps all the information in there. So I can go and do it again. I could use my select subject to select him and then add the mask once again and then use my erased tool, sorry, not the erased tool, use my paint brush and just erase out the bits that I don't want. Over there again. Can we move that around? Absolutely. Use your move tool and you can move them around and go, Oh, my goodness, I want the whole of that board back again while you can get your paint brush with black or white and just paint things back as you need. Now, I'm making a deliberate error at the moment because this is something you might do and you think, Why is nothing painting back? It's because I'm on the layer, not on the mask. Be very, very careful with that. I'm going to undo that over there. Make sure you're on the mask, and that way, when you're painting, you can hide and you can show on that layer. One last time, I'm going to get rid of the mask, delete it. Use my select subject over there. This time, I'm going to do things slightly differently. I'm going to just zoom in a bit over here. I'm going to very slightly change the opacity so I can see the wall over there, there's the wall there, that sort of angle that I want. And I'm going to use another selection like my polygon selection, polygonal selection. And I'm going to say, I want to subtract. So I'm going to click over there. Click at a good angle there. Subtract that selection, add the mask. We can then take the opacity up again so we can see both of them, and I've gotten rid of that bit really quickly. My angles not quite right, but we're close enough. Have a bit of a play with that and just get an idea what's going on with these masks. We'll be taking them a lot, lot further in the next part of the course. 69. Projects: Silhouette and Music Video Poster Intro: Now, we've got two projects here, a short one, and then a longer one, and then a variation that you can do by yourself. So the first project is going to be using layers, and we're going to take an image and put it into a silhouette. This is something which you do see occasionally around and it's so cool and it's so easy to do. The big one is creating a poster. And we're going to make a music poster, and we're going to take guitarists. We're going to take backgrounds of crowds. We're going to take so many things, put them all together into a poster using layers. Last one is the one that you're going to try by yourself a variation. And once again, you can take musicians. You can take anything you like and just bring them together in layer form to make your own custom poster. Let's get going. 70. Put a Photo into a Silhouette Project: I'm going to open up another picture. I've got a silhouette of a wolf howling. And what I want to do is I want to put a photo inside the silhouette. It's an effect that you see quite often. So I'm going to go to file and open, and I'm going to find the wolf that I want to put inside that silhouette. So here it is. And I'm going to drag the wolf. So as I did before, using the move tool, drag up, go across down and drop, and just drop it in that picture in there. I'm going to zoom out a little bit. This is a bit too large. I'm going to use command and T or control and T and just size the wolf down a little bit. In there. Let's use Control or command and plus to zoom in again. So, how do I get this to go into there? Well, you won't believe how easy this is. All we do is use some of the modes over here where it says normal. We've looked at color before. I'm going to click in there, and I'm going to go down to darken. Now, darken and multiply will show the darker pixels through. But opposite darken and multiply, you have lighten and screen. And look at that. It just brings it through beautifully. I don't have to mask it out, I don't have to cut it out, nothing. And I can still click on this layer, and I can move that wolf inside the other one to the position I wanted to be in. Over there. I think it needs to be a little bit bigger, so I should have made it into a smart object first because I'm going to scale it up again, which is not best practice to be fair and pop it in there somewhere maybe just a little bit bigger. Over there, and we've got that lovely silhouette and wolf all in one. I want to bring in my logo that I had from the other image. So I'm going to go to file and open, find the image. So hopefully you've saved it. Here's the logo. Now, remember, these two are linked. So I'm going to take one of them, the tracker, drag it up across, and drop it in there. And because they're linked, they'll both come through at the same time. I'm going to select those I'm using Command or Control and T, scale that down. And that's going to be a whole lot smaller. There we are. I need to go at the top in there. The text is still fully editable, so I can double click on that and go and change the color. I'm going to sample a color off of my picture like that. The wolf in the background is difficult to see, but that's the brand color, so I'm going to have to just leave it like that. Anyway, once again, try that out. When you finish that, go to File, Save as save it as a PSD, Photoshop file so you've got all of your layers in there. And then if you wish, you can export it with social media. Try that out. Oh, 71. Extend Background With AI: I'm going to start off with this image over here. Now, I know that we're going to do a poster, which is vertical, but we're going to use this as part of the base image. So I'm going to go and open it in Photoshop. And what I want to do is I want to create this poster to a certain size. Now, I'm going to use this as the bottom, and I'm going to get Photoshop to make up the rest of the information that I want. So I'm going across to the cropping tool and in the ratio over here with heightened resolution, I'm going to put in my size. Now, I want a certain physical size on this because this is going to be a printed poster, which is going to go up on lampposts and who knows where else. And I want this to be a particular size. So I'm going to make this 200 millimeters by 300 millimeters. There. And then I need to have a resolution. Now, we're talking about print here, and although we'll discuss resolution at a later part in this course, we're going to use 300 pixels per inch for printing. That'll give you the best possible quality for this poster. Now, I'm going to click and drag to get the crop in, but I actually want this to be bigger. So I'm going to take that and drag the crop out. So I'm really looking for something maybe like that. It's these heads down here that I'm particularly interested in in there. And then along the top, we're going to delete the crop pixels, as we've done before. We're going to go along, and we're going to say, fill that with content away. Now, I'm going to click Okay. I'm actually going to come back and do this again. You can see when I do it with content away, well, it's okay, but it's got this weirdness up here with a hand sticking out of a head in there. I really didn't want that, so I'm going to undo it and do it again. So once again, pull this out, make it the size that I want it to be. And then over here instead of content aware, I'm going to use Generative Expand. So this is the AI version, which will then make up the information to go in there. Now that I've chosen Generative Expand, I'm going to click on the Tick and it's basically making it up. Like before, we'll have in the properties variations that we can choose from, and it'll put it all on a new layer for us. That one actually looks kind of cool, really, with a little bit of green coming through, as well. I like that. Let's have a look at this. Mm. Yeah, I'm going to go with this one here with a little bit of green in there. Now, I'm happy with that. I'm actually going to go to my layers, and I'm just going to flatten the image down over there. You don't have to do that. You could leave it separate so that you can change it at any time later on. But for now, I'm going to flatten it down to make life a little bit simpler. So there is my background, and we'll then start to bring in some of the other pieces. So get that far and don't forget if you don't like this type of music, this is rock that I'm doing for this poster, and you want to do folk or you want to do country or you want to do classical, absolutely fine. Just find the images. All these images have come from Adobe stock. So you can just go look for your own images. You want a background image and a few people to cut out and some logos as well. Try it out, get that far. And 72. Cut Out 2 Images & Mask: We're going to go and bring in the other images, so I'm going to go to file and open and find those images. I'm going to start off with this standing guitarist over here. I'm going to go along to select H, and I'm going to use Select Subject down the bottom. If you want to use any of the other selection tools, that's absolutely fine. But I'll say Select Subject does quite a good job. And then I'm going to add the mask. Remember the little flag thing down there. If I click on that, it just masks him out. And I can now drag this and drop him into there. Now, he does need to be resized down a little bit, but I'm going to do that once I've got the other guitarist in here, as well. Let me go and find the other guitarist. So I'm going to go to File and Open. I've got my jumping guitarist. Same again, I'll say select subject. Got a good selection on there. Although look at this. This little bit of the guitar here has actually not been selected. So I'm going to use my Lasso tool. I'm going to go to add. I'm just going to surround those areas that I want to make sure are added in. So those bits there. And those bits there. Honestly, I don't know why I didn't add that in, but that's one of those things. You could also go in here and have a look at some of these details like the fingers haven't been added in properly. So, I'm going to go to subtract, and I'm just going to subtract these bits over here. Now, I'm just doing this free hand, if you want to use any of the other tools like the magnetic Lasso tool. By all means, have a go with those as well. They don't have to be perfect, by the way, this is going to be a background image. You're hardly going to see any of this detail. But want to do this to show you that select subject is not always perfect. So let's just add that little bit in over there. And of course, I could zoom right in if I want to be accurate about this adding bits in, subtracting bits until I got it right. I will just subtract that little bit again there. And this is where you head hurts after trying to figure out, should I be subtracting or should I be adding into it? Try it out and see, and if it does the wrong thing, well, you know to try the other way. I'm just going to do that last little one over there. As I said, this doesn't have to be perfect. We're just getting it roughly correct. Over here because chances are you probably won't see that anyway. I'm going to add in the mask over there, and don't forget you could also, if it wasn't right, now that you've got a mask, you could click on the mask and you could actually paint in or out the little bits that were incorrect. I'm going to move that guitarist across into here. And I'm going to now take both of these. I'm going to select one, hold down the Shift key, and select the other. I'm then going to go to edit, transform and scale, and I can scale them both at the same time. So just scale them down a little bit. Like that. I'd also like the jumping guitarist to be behind the other guitarist. I'm going to move it, move him over there. Right, so if you'd like to have a bit of a go with that, your two guitarists, bring them in. Use a mask to cut them out just in case when you come in here, you think, Oh, my goodness, I made a mistake and you can correct it really easily with the mask. Get that far. 73. Add a Second Background Image & a Color Overlay: I'd also like to take some of his leather jacket and put it in the background because I'm going to be calling this the badness, this band. So I want to give them that sort of bad boy type of leather jacket look. So what I'm going to do is go back to my jumping guitarist, drag him in again over there, and scale him up. I'm going to use the shortcut, which is Command T or Control zoom out a bit with Command minus or control minus and just scale him right up like that. So the quality of this will diminish, but it's not so important because it's just a background piece in there. And I'm now happy with that. I'm going to move him below that other layer in there, and that gives us this really cool leather look in the background. You can do whatever you want with that background. If you don't like it, leave it blank, like that. Now that we've got that far, I'd also like to then get all the colors, so it all sort of becomes unified. And with this poster, I'm going to have the full colour version that's going to go at the venue, and then we're going to have other versions put around the place, and I want them to be different color. So I want to be able to change the color of this poster very quickly. So although we'll have a full colour version, I'm going to go up to the top here and I'm going to add, now we haven't looked at this yet, the little circle, the black and white circle over there, and this is going to be called an adjustment layer. I'm going to use the solid color up the top and click on that. And what this does is it puts a solid layer over the top of my image. I'm going to find a color for that. So let's just go with a bit of blue for the moment. Click Okay. Now, this particular layer can be adjusted using the blend modes. Remember the blend modes from before. Once again, I'm going to have to move this right up so that you can see what we get. So I'm going to click on where it says normal, and then you'll see as I go down, we got things like darken, multiply, lighten, screen. The one I'm interested in is color near the bottom, and that will just colorize that image. It's the same to some degree as going to the black and white and adding the tint on the black and white. The great thing about this is I can switch it on and off at any time. I can also reduce the opacity so we could actually get some color coming through. And most important of all, if I then go, Okay, well, let's print out one with a blue, and we want a red one as well. I can double click on that and change the color to something else. Click Okay and then print that out at the same time. So this is very, very flexible. I'll turn that off for the moment. I'm going to stop there so you can get to that stage there. Don't forget your color over the top, the background leather jacket in there. Put in one of these adjustment layers. You go down to this little black and white circle. Click on that. You use solid color. It comes up as white. Move the little cursor. Or the sampler, shall I say, into the middle or into the color. Choose the color from the slider over here. Click Okay. Let's just hide that one for the moment. And then from normal, go down to color second from the bottom in there, and then play with the opacities that you can sort of see how some of the original can come through as well. Try it out. 74. Add The Grunge Layer And Blend: This image looks too clean, Let's add a bit of grunge to it. So once again, I'm going to go and open up an image over here. I'm going to find this grunge file, open that, and I can then just drag the whole thing across straight into there. Let me zoom out a bit. I'm going to rotate it round, so I'm going to go along to edit, transform, rotate, or I can go down the bottom here and just say rotate 90 degrees clockwise. So that's moved it that way. I'm also going to go to Edit, Transform the scale, and then just scale it into the right position. So I think that one there. That bit here. I think I'm looking for something a little bit like that. Press the enter key to OKed. Now, once again, we want to mix this with the layers below. So I'm going to go up to my blend modes, and we go down. We find things like darken, multiply. By the way, I'm just going to switch off that the color overlay. So when we do this, you'll see the original color as well. So darken that's interesting. Multiply is getting quite dark. Lighten screen I'm actually interested in these ones over here, the overlay or the soft light. I think they look quite harsh on there, which is the look that I'm kind of going for. But you can just work your way down through these until you find something that works. That's kind of quite a cool look actually that I've got there. I've got some color ones down there. I think I'll actually go with this overlay here. Now that I've put that overlay on there, some of these are looking a little bit too bright. So I'm going to go along to my guitarist, and I'm going to go to image adjustments, and I will just use brightness and contrast for now to see if I can sort of darken him down a bit so he matches the rest of the image. I kind of like that. And let's do the same with this one. Once again, image adjustments, brightness and contrast, really simply just darken him down a little bit in there. Looking at my front guitarist, I'm thinking, you know, his hand is actually really quite important on the guitar. So if I click on that layer, I'm going to go along to my dodge tool. Remember the dodge tool, which lightens. And I'm just going to click a few times on his fingers to try and lighten those up a little bit to draw the eye in there. I could also use the burn tool over here and just say, Well, let's darken down that side of his face a little bit. In there. His shirt doesn't need to be quite so bright. And the headstock of the guitar, we'll just darken that a little bit as well. I can do exactly the same with the other one. Maybe darken his forehead a little bit in there, go in, lighten up some bits. So we've got the dodge tool, maybe lighten his face just a little bit, maybe some of the leather and his fingers. It's up to you as to what you want to do with those. But do try them out. So first of all, get in your overlay. Check out the different overlays in here, find one that you like the look of. And I'm just going to go with that straight overlay there. You could even go to the opacity and you could reduce the opacity on the overlay so you've seen some of the original image and some of the overlay together. I'm going to keep mine set to 100%, but it's entirely up to you. If we switch on the color, I could then once again just change this. I'm going to try a blue not too saturated on that. Have a go with that, get your overlay going, and don't forget dodge and burn on these to lighten and darken them till they feel correct to you. 75. Make a Text Logo: It's time for some text. I'm going to go to the Type tool, and I'm just going to click up the top and I'm going to put in the word bad in there. Now I want this to be very, very heavy duty type of text, and you can choose absolutely anything you like. So I'm just looking for something which is very solid like that. I'm going to click and drag it up to make it a bit bigger. And then I'm going to go across to this little T here with the two sliders next to it, and I'm going to move those characters closer together to almost get it into a single character. But I like the idea of the A being bigger, so I can click in there, click and drag to select just the A and then maybe just make the A that much larger over there. Let's have a look and see how that's looking. That's pretty much what I was after for that. The B and the A are almost touching there. That's not right. It doesn't look too good. So once again, I'm just going to select the text, the fastest way to double click on this T over here, select the text, and it's those two that I'm really interested in. So I'm going to go in and I'm just going to move them ever so slightly closer together in there. And you can see the D is moving at the same time, as well. Right, I think that's quite a nice, interesting logo. Now that I've got that, I don't want it to be just in white like that. I want it to be an outline. So I'm going to double click on this layer, or I can go down to ec, whichever one you prefer. Double click in there. I'm going to go across to stroke and add a stroke in. Now, we can't see the stroke at the moment. I'll just make it pretty thick for now. Click Okay. Remember, we use the fill to remove the filled area inside. And that's looking pretty good. But I'm going to double click on the stroke again and maybe make it a little bit thinner. Over there. So that kind of gives me my bad almost a logo in text. Go to move it down just a bit. Now I want two more words. I wanted to say the bad Ns in there. So those are going to be more text, so I'll use my text tool again. I'm just going to click down here to put in the text. If you click there to try and add more text, it'll just select that bit of text. I'll click down there. Put in the word The selected, change to a different, more delicate typeface. Make it smaller. Now, you can see the is too close together. I'm going to go across to that little setting and just set those characters back to where I'd like them to be. Gonna make that smaller again. And I'll move that up to the top. So we've got the bad, and I want the word ness the same as the. So here's a new trick that I haven't shown you yet. If you hold down theOlt on the PC or the option on the mac, you can just drag a layer to make a copy. It's exactly the same as going in there and dragging the layer onto the new layer button. So over there, I can just place that in there. I'm going to double click it in here, and this will be Ness. So let's just move that along. There. Right, I've got all my text in at the top. We're going to put some text in the bottom over here, and this time, we're actually going to click and drag a text box and just put in a little bit of text. We'll make it a lot smaller, saying, you know, to be seen at the palladium or wherever it's going to be showing. So let's have London Apollo. That is a real place. And we'll have this in May. 20th to the 24th. The booking Online only. Now, all of that text, I'm going to select that, and I'm just going to force it to go over to the left in there. I think that will just about be visible in there. If it's not, then we might either want to use a different font size or font thickness, shall I say, or we could actually put a little shape behind it, or we could actually go into him over there and just use the bone tool to burn in that bit behind the text which is on his guitar. Anyway, do get your text in over there. There's a few bits to do with text. The only new thing here is for this text, you use click and drag and then put your text in over there. The other text, we're just using the one click version. Let's get rid of that little one. Over there. Have a go, try it out. 76. PS Add a White Logo Using Blend Modes: I want to bring in a logo over here for the management team, so I'm going to go to File and Open once again. I'm going to be using this logo over here. So I'm going to take the logo, drag it, and drop it into there. You can see it's pretty large, actually. And what I want to do with the logo is I want the logo to be white against that background. Now, I can go to image adjustments, and I can then go down to Invert. Invert will give you a negative, so the blacks will turn to white, the whites will turn to black in there. By the way, you can just about see the texture of that top grunge layer coming through there. That's what those little marks are on there. So now, how do we get rid of the black? Well, it's as easy as going to your blend modes. So we go to blend modes, and you'll see we've got things like darken, multiply. But I'm interested in lighten and screen because they keep the lightness and get rid of the dark areas. Whereas darken and multiply, get rid of the light areas and keep the darker areas. So these are sort of opposites of each other. So I'm going to go over there to screen, and that's it. It really is as simple as that. All I've got to do now is scale it down. I'll use Command T or Control scale it down to the right size. Over there and it's done. Have a bit of a go with that and bring in your logo. 77. Add a Gradient Adjustment Layer: Now, just before we save this out, I think the view will have real problems trying to read that bit of text, and then I want to make it easy for them because, you know, we want them to book the show. So what I'm going to do is I'm going to add a gradient in there. Now, we haven't looked at gradients yet, but they're pretty much the same thing as color fills. I'm going to go down, so I've clicked on the color fill, by the way, because I want it to come in around here. I don't want to come in above the text. So I'm going to go down here to that little black and white circle. Instead of solid color, I'm going to say gradient. Now you can see it's automatically put in a black gradient. Why is it put in a black gradient? Because if you try, you might find it comes in with another color. Let me cancel that. What it does is it uses whatever is your foreground color as the default. So for example, if that was red, and I went over here and I put in a gradient, over there. You can see it just picks up the red from there. If you find that your gradient is not one of these ones which goes from a color through to transparent, you can click in the Basis in there. You click on that little drop down menu, you go to the Basis, and in this case, it's black to white in there, or you've got the color to transparent and you've got the black and white one in there. So this one over here uses the colors that are in your foreground and your background. So I'm going to cancel that. So let me do that again. I'm just going to make sure the foreground color is black. I'm going to go along to this little drop down. It's the little black and white circle. Over to gradient. That gives me a black to transparent gradient. If you want to go at the top, you can just say reverse and it'll go from the top down. You can even change the angle in here so I can get it to go from one side to the other or that way in there. I'm going to get it to go down like that. Click Okay. Now, that's showing up really well, but I think we're losing some of the guitar. So I'm also going to go to my opacity and just reduce the opacity on that gradient so I can at least see the guitars, and I can also read the details on the poster really well. Once you've added in your gradient, we want to save this out. So add in your gradient and then come back and we'll do various saves on this. 78. Export as a jpg File: Sometimes when you do this, you might find that instead of actually going and darkening the background, leaving the text there, it darkens down all of these areas. So it's because the gradient is above them. If I pull that gradient down, I'm just going to drag it somewhere on this blank area. I can take it below my what is that grunge layer. I can take it below the logo, and you can see how the logo becomes brighter. And then I can take it below all of this text. Over there. So I want to save this out now, and I'm going to go along and save this for the printers. Now, at the moment, I'm just going to use export. Later in the course, we'll be looking exporting in different ways as well. But for the moment, I'm just going to say export as, and we've got some options along the top. So I am going to be using the JPEG, but I'm going to make sure that the quality is as high as possible. I'm happy with that. I'm happy with all the sizes and resolutions that we've got because we set that up at the beginning. And down here, I'm just going to choose export, and we'll save this one out as this will be the bad and I'll do a quick save over there. Now, if they then want various copies with different color on them, I can go along to my color adjustment layer, switch it on, and once again, do another save over there. So, so let's try export. I should have said export, not save. Export Export has, and once again, I will just do another export on there, and this will be the bad Blue. Now, do make sure that you've saved your document. So I'm going to go along to file, and I'm going to go along to save as. Now, I've kind of been a little bit bad with this because we should have been saving as we've gone along just in case the worst happens and your machine crashes and you lose everything. So, it's one of those things do as I say, not as I do. Try and save as you are going along. I'm going to call this the bad. And this is my layered file, so it's a PSD file, and I'm going to save that out. Click Okay. And that's done. So I can now open this at any time, and all of those layers will be there. I put the final result into your files that you can open up so you can see all of my layers in here as well and have a bit of a play with this. 79. Classical Variation: Now, I've created another variation for you to show you. And if you want to do this one as well, that's absolutely fine. It's the same principle as the badness poster. But we start off, it's more classical. We start off with the organ in the whatever building that might be. We're going to be bringing in the text, sorry, the sheet music in there. We're also going to be using this with the violin. We're going to cut her out. We're going to be adding a logo and finally, the soft texture as well. Now, I'm not going to do this and hold your hand. I've done the whole thing, so you can see what it looks like, and you can end up with something like that with a little bit of text at the top. I've left the finished file in with the rest of your images so you can have a look and see exactly what I've done with these layers. So just go through and see, for example, on her, I've put in a little outer glow. If I just switch it on and off, you can see how the outer glow, the dark glow, hide some of the background and makes her come forward a little bit. We've got this texture layer over here, which is set to multiply, and I've changed the opacity on that so you can make it harsher or less harsh, depending on what you like. The music is set to multiply as well. And then we've got the text, and the text has got a stroke around it. And I had black text. So when I went to fill, rather than taking it all the way to zero, I just took it halfway. The logo is done exactly the same as the one we did before using screen mode and inverting it. Anyway, if you'd like to try that out or you want to do your own, as I mentioned before, have a bit of a go with that. But whatever you do, have lots of fun and don't forget to save as you go and show us your work. We love seeing what you're doing. 80. Well Done & Thank You: Congratulations. You've reached the end of this first part of the course. I'm sure you're creating amazing stuff in Photoshop. Do look out for the next section. It's coming very, very soon. And don't forget to have a look at our other courses in Adobe and affinity and Canva, as well.