Photoshop In-Depth: Master all of Photoshop's Tools | Chad Neuman, Ph.D. | Skillshare

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Photoshop In-Depth: Master all of Photoshop's Tools

teacher avatar Chad Neuman, Ph.D., Professor, Graphic Designer, Digital Media Expert

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction to Photoshop In-Depth: Tools Course


    • 2.

      Keyboard Shortcuts and Some Quick Shortcut Practice


    • 3.

      Creative Cloud and Mac vs. PC


    • 4.

      The Move Tool


    • 5.

      The Lasso Tool and Polygonal Lasso Tool


    • 6.

      The Magnetic Lasso Tool


    • 7.

      The Marquee Selection Tools


    • 8.

      The Quick Selection Tool


    • 9.

      The Magic Wand Tool


    • 10.

      Color Range Selection


    • 11.

      Pen Tool Selections


    • 12.

      Quick Mask Selections


    • 13.

      Grow and Similar Commands


    • 14.

      Modify Selections


    • 15.

      Select and Mask Technique - Part 1


    • 16.

      Select and Mask Technique - Part 2


    • 17.

      Refine Edge


    • 18.

      The Object Selection Tool


    • 19.

      The Crop Tool


    • 20.

      The Perspective Crop Tool


    • 21.

      The Slice Tool


    • 22.

      The Eyedropper Tool and Color Sampler


    • 23.

      The Ruler, Note, and Count Tools


    • 24.

      The Healing Brush Tool and Spot Healing Brush Tool


    • 25.

      The Patch Tool


    • 26.

      The Content-Aware Move Tool


    • 27.

      The Red Eye Tool


    • 28.

      The Brush Tool


    • 29.

      The Pencil Tool


    • 30.

      The Color Replacement Tool


    • 31.

      The Mixer Brush Tool


    • 32.

      The Clone Stamp Tool


    • 33.

      The Pattern Stamp Tool


    • 34.

      The History Brush Tools and Panel


    • 35.

      The Eraser, Magic Eraser, and Background Eraser Tools


    • 36.

      The Gradient Tool Part 1


    • 37.

      The Gradient Tool Part 2


    • 38.

      The Paint Bucket Tool


    • 39.

      The Blur, Sharpen, and Smudge Tools


    • 40.

      The Burn Tool and Dodge Tool


    • 41.

      The Sponge Tool


    • 42.

      The Pen Tools


    • 43.

      The Type Tools


    • 44.

      The Shape Tools


    • 45.

      The Hand Tools and Zoom Tools


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About This Class

In this Photoshop course, I introduce and explain the various tools in Adobe Photoshop. Every single tool is covered, with the exception of 3D tools. Advanced modes and options are also covered. By the time you've finished this course, you will be an expert at Photoshop's tools. However, some students may option not to complete the entire course and instead use this as a reference to learn about specific tools. If that's the case, jump around to which tool you have questions about, even though you might be missing some helpful content by not completing all the lectures. The lectures are ordered in the order they are located in the Tools panel.

Students can follow along in Photoshop and practice adjusting the various tools’ options and use them in conjunction with each other, whether it’s the Type Tools, the Pen Tools, or the Shape Tools, or digital darkroom tools like the Clone Stamp Tool, the Sponge Tool, and so on.

There are 11 lectures on the various selection tools. This could normally be a course by itself, but it is included as one section in this course. If you complete this course, you will be an expert at making selections in Photoshop!

I have years of experience using Photoshop, including doing web and advertising design at a newspaper, an advertising design firm, a library system, and freelance work for about two decades. I’ve also been managing editor at two international graphic design magazines, and I’m currently a full-time university professor of graphic design and digital media. I’ve taken classes on digital production and design during my undergraduate and graduate work.

So enroll today and let’s learn about Photoshop’s tools and their neat uses and effects.

Meet Your Teacher

Teacher Profile Image

Chad Neuman, Ph.D.

Professor, Graphic Designer, Digital Media Expert


I love seeing students succeed in their designs, writings, productions, and careers!

I'm currently a full-time university professor of graphic design and digital journalism. I've taught classes on design, photography, and writing for the past eight years. My university students have become full-time, award-winning photographers, web designers, creative specialists, reporters, and layout designers. 

And now, you can learn from me as well!

Get started by enrolling in my courses and learning new skills. I've worked as internet development director at an award-winning advertising design firm, as managing editor at two graphic design magazines, as webmaster at a regional newspaper, and have been a freelance graphic designer and writer for the past 20 years. I have a... See full profile

Level: Beginner

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1. Introduction to Photoshop In-Depth: Tools Course: Welcome to the photo shop tools course, an in depth exploration about all of photo shops tools. So how will this course of benefit you as a student? First of all, you can learn retouching tools to edit and improve your own photos to share on social media , for example, Or maybe you just want to edit photos of your friends or even edit photos for clients. Another example of how this course will benefit you is that you'll be able to make effective selections. Would go over all the selection techniques, so you'll be able to use those techniques as a foundation to create composite images, digital art and other graphic designs. You also be able to explore your creativity using brushing tools and techniques. And finally, you'll also learn practical applications of photo shop like quickly and easily re sizing, brightening, sharpening images. Before we get started, you might be wondering, why am I qualified to teach this course on Photoshopped? Well of use Photoshopped as Internet development director at an award winning advertising design firm as Web masters at newspapers in the library system. I was also managing editor of too graphic design magazines and abuse Photoshopped as a freelancer. That's actually me. At Photo Shop World running the Illustrator brief years ago, I've also top photo shop at three universities in classes such as photography, digital layout and design Web pages on an advanced digital imaging. So now let's go over how to use and customize the tools panel. And then we'll go over a few quick previews of helpful techniques throughout these lectures . If he ever cannot find the Tools panel, you can just go to a window and then tools, and it will bring it up. Also, make sure you have options checked, because that's going to give you different options. Depending on which tool you have selected in the tools panel, it'll change up here. You can also customize the tools panel. If you click, this will air here, it will make it just a single column. If you click it again, it will make it a double column. It has the same tools or just personal preference. So throughout these lectures were going to be going through some really amazing things you can dio with the Tools panel. The various tools will be going over all the selection tools, for example, how do you crop something for a different composition? How to use something like the eyedropper tool toe. Pull Hughes out of a photo for a design had to use different things like the clone stamp tool. For example, if you want to hold down all or option on the Mac all on the PC, click somewhere and create another flower here pretty quickly. You can do that. So there's really amazing things you can do in Photoshopped, whether you're retouching a photo or creating some kind of graphic design, using a lot of these different tools. If you want to sharpen a photo if you think it's just slightly blurred, not quite tax sharp many different ways you can do that. But as far as the tools Palin goes, you can use the sharpened tool, click and drag and just sharpen up a portrait. For example, if one is a little bit too sharpened or you got a little bit of grain like this photo does . If you're I S O R. Film speed was too high in your camera. You can use something like the Blur tool. You don't want a blur too much, but you can blur this a little bit. Get rid of that grain. Makes it much better. Photo, I think so. There's so much you can do with these tools will be going over all of them. If you see a little arrow in the lower right hand corner of the tool on the tools panel, click and hold on to it and you'll see a bunch more options. That just means there's more tools hiding under that subset. Whenever we're doing something like the brush tooled, there's the foreground color in the background color down here on the bottom of the tools panel will be going over that you can set it to the default right here, and you can also flip them by clicking their and one more tip. If you click and hold on the bottom of the tools panel and their standard screen mode full screen mode with the menu bar and then full screen mode, notice that there's a shortcut the F and a lot of these. If you click and hold that will show the shortcut on the keyboard, it'll speed up your workflow if you learn a lot of those keyboard shortcuts. What that does is if I click it. It just changes. You can't see really all of it here on the screen, but it just changes it to full screen mode with the menu bar full screen mode. And it comes up with this. Unless you click, don't show again. Hey, you're just gonna be in full screen mode. You can't escape or f to exit out of it. But that's basically if you're doing digital painting or you just wanted to Onley see your photo on the screen and you don't see, for example, your menu up here or your tools panel a shortcut. You just press F on a keyboard until cycle. Do those you can also press tab and that will get rid of the panels. For example, bring it back to the default. So let's get started. In the next lesson, I'm gonna be going over a couple keyboard shortcuts. Then there's a printable handout available downloadable. Hand out about all the shortcuts. Then you'll download the support files and will start learning and designing and retouching and creating in Photoshopped. Using that various tools 2. Keyboard Shortcuts and Some Quick Shortcut Practice: before we start exploring all the different tools and Photoshopped to go over this handout that I have, I hope it's helpful because it will really speed up your workflow. So we went over the F in the tab in the last one. But there's a lot of other ones as well. For example, creating a new file opening a file I hardly ever actually click unless my mouse happens to be up there already. Just gonna file new after just gonna control in or command end on the Mac, which is the second page Ah, Control. Oh, commando on the Mac and control O on the pc Save so much time. All right, so some of these are the more common shortcuts. I'm not saying I use every single one, but they can be pretty useful, especially copy and paste. You know, if you have photo shop open and you do, if you want to follow along, you can open up any photo and just use like the rectangular mark, you tool, click and drag. And then, instead of going to edit copy, see how the shortcut is listed right there and the other ones are as well you can just go to you control, see or command See on the Mac. So I'm gonna do that and then control the or command be and then you've got copied and pasted content really quick. Another one that you'll see on that handout is control or command plus or minus on the keyboard. I hardly ever use the zoom tool. It could be useful if you have a specific area you want to zoom into, so go ahead and do that, or control minus and control plus on the keyboard. Another benefit to using the shortcut, not just because it's quicker is you can be in the middle of doing some kind of selection like the political s a tool clicking like clicking Lego and you want to zoom in right? Well, if I choose, try to choose the tool over here and click. It's just going to keep making a selection right so I can press control, plus or command plus on the Mac and control or command minus, and it will zoom in. Zoom out and you don't have to restart your selection. A couple other ones that relate to the layers panel cause photo shops all about layers control e merging layers and also controlled Jay. If you want to duplicate content on a layer, let's just say we have a photo here and you want to duplicate it. Just copy it well. The slower version would be just selecting and it copy at it paste. Right now we have a duplicated layer, but instead of that with nothing selected on the Mac command J on the PC Control J There you go. If you select a specific area, let's do a different selection this time. Let's just say a quick selection, and I just select this area over here. Control J on the PC command you on the Mac, and then you've got just what was selected, duplicated onto a new layer so you can duplicate layers. You can duplicate part of a layer if you have a selection like so there's a couple other ones, like if you hold all and click on the I over here, it will make all the other layers invisible. It'll toggle the visibility. If you all click it again, it will bring the visibility of those other layers out instead of the opposite, where you're just toggling the visibility of the layer that you're clicking. So practice those shortcuts. Just look at the handout. Just practice a couple of them with this. Any photo that you have open just for some quick wins and getting used to using those Photoshopped shortcuts. 3. Creative Cloud and Mac vs. PC: In this course I use Adobe Photoshopped Creative Cloud Adobe does update the software occasionally, which can lead to slightly different options for some tools or techniques, although many of the most commonly used panels and tools are the same as or similar to earlier versions of Creative Cloud. If you notice something that is slightly different, feel free to message me so I can take a look and possibly update that part of the lesson if needed. However, some students might think it's a different version when it's simply a matter of a different color scheme, for example, in the workspace, so you don't need to follow along just yet. I just want to show how to change the color scheme of the interface really quickly. If I go to edit and then preferences and then interface, I can adjust the color of the interface here. Some people prefer a darker interface, while others prefer a lighter interface. Different levels of brightness can help the content stand out better, but it's also just personal preference, and that doesn't indicate a different version of photo shop On the Mac. You would click the name Adobe Photo Shop in the top left corner and then preferences, then interface. The location for access to the Preferences menu is one of the few differences between the PC and A Mac. The other primary difference involves the keyboard shortcuts, which I explained throughout the course. For example, when we press control on the PC, we press command on the Mac, and when we press all on the PC, it's option on the back. For example, if I want to zoom in on this photo I took during one of my study broad trips to Italy, where I teach photography, we would press control on the PC but command on the Mac, plus the plus key on the keyboard. So control or command plus well, let's zoom in. And of course, it picks late because this is a raster image. It's made up of pixels. And if we press control on the PC or command on the Mac and minus key, which is right next to the plus key that will let us zoom out, I use both a Mac and a PC both at my full time job and as a freelancer, and it helps to consider this difference until it becomes second nature But the interface and workspace should look pretty much the same regardless of whether we use a PC or a Mac unless you have customized the workspace already. If that is the case, you can click here in the top right corner and select essentials. I bring this over a little bit so you can see it better right here. Essentials. And if it needs to be a reset, I can click at and go to reset essentials to the default, and we can click these double arrows if we want Teoh not have all those panels expanded out again. Message me if you might have noticed something slightly different in a menu or tool or post in the Q and A. Any questions? Sometimes Adobe changes really small things, like what the menu looks like and what presets are included when we go to file new, for example. Currently, we have some presets for photos like specific photo sizes as faras landscapes. We can click, view all presets and see all these presets here. These are commonly used sizes, and we also have print, so in the U. S. Letter and legal are pretty standard. As far as using inches as well. We don't have art and illustration, for example, for a poster or a postcard. And we have presets for the Web mobile, two different mobile devices and preset dimensions as far as with and height using pixels for that area and film or video so high definition presets and so on. We can adjust something like the units of measurement up on the preferences panel again, and we can go to you units and rulers, and from there we can switch it from Inches. Or Pike is which are more for print context generally, and we can select pixels. For example, if we want the rulers up here to show pixels, we can also set type two pixels, especially if we're designing for the screen and these presets. Here's 1st 300 pixels per inch PP I That is pretty standard for print, but there are some commercial printers that will accept, for example, 150 pixels per inch. We just have more pixels and therefore more detail within each inch. If we have a higher numbers, such as 372 is pretty standard for screen design, like on mobile or on websites. So for the most part, at least, your workspace and tools should look the same unless you have an older version of photo shop, in which case it still shouldn't look that different. If there is a recent update that it has changed a menu, of course I can go on in update the course if needed. Thanks, and I'll look forward to seeing your designs and retouching projects in photo shop. 4. The Move Tool: today, we're gonna be going over one of the most important tools and Photoshopped. That is the move tool. So go ahead and open up a file. I just have this photo here, both upon tabs. I'm gonna click and drag one off the top tab there. I just have a blank document. Harriman a click and drag that into the other document compressed control. Or come in minus two. Zoom out and I'm going to resize. This just takes up part of the campus here, make sure show transform controls is selected. And if you hold shift to maintain the correct proportion, click and drag and this is the shape that will be using just a photo for this tutorial. Then you can, uh, press enter a return and that will apply that resize. So we have this photo here. Now, by default, your settings might have show transform controls not selected. So you can't really resize that you can if you press control or command t and then it will bring up the bounding box there, and you can ski you and resize it and all that. But if you don't press control t you can't really resize it with the move toe until you select show transform controls. All right, so from here, you can resize it. Ah, you can move it around as long as you are on the correct layer. We're on layer one, and there's only one of the later so far is the background layer. Uh, you can resize it. Of course, you can click and drag the corner, and if you don't want it, Teoh skew. You can maintain the creek proportion from the original by just holding shift, and now you'll see that it will constrain it to the specific proportion of the original, then hit enter. Besides re sizing and moving, you can also hover over the corner here until you go slightly after corner turns in that double sided air, and you can just click and drag it and rotated. You know, old shift if you wanna have a specific steps there. But if you want slightly rotated, you can just click and drag without the shift. Aren't you can press escape, and that will not applying the change, and another thing to consider is besides holding shift, you can also press control in click and drag, and that will just skew it. 06 kind of three D instead of re sizing it. So that's another thing to consider is well with the move tool. And you have this show transform controls selected. Nothing you want might wanna check out is duplicating so but by default you compress control or command J, and that would duplicate that layer to create another one. But a short cut is actually holding down all or option. So all on the PC and option on the Mac and just click and drag, all right, And so you can see here we have duplicated it, but it's not gonna be completely level. So if you hold shift, it will keep it at that 90 degrees. So when you're moving these, let's say Just move this one here. If I move it up and down and hold shift, it will only move up and down, see how moving the mouse rounds. It's just maintaining that 90 degree angle. Same thing with left and right. If I move it, hold down shift. I can't bringing up and down, just left and right. Once have held shift or you can do night. It'll in the do not 45 degree angle like that. So if you wanted some, you know alignment is a design principle. So let's say you wanted a great of four to buy to voters here in a website or an advertising man or poster, um, or some kind of new media design. What you can do is just all click and drag again and hold shift and then click and drag again. Hold Shift maintains that 90 Rangel, and now we have four images here. If you look over at the layers palette, we have four layers above the background layer. Now when I want to select this, If you were using saying, object oriented program like illustrator and design, you could just click on that object to start moving around. But if you notice if I'm trying to click on that, it's still moving that one down there. That's because we're on this layer. In order to move that one, I would have to you click them until I saw the bounding box around this one that I can move that one all right. You'd have to click that layer in the layers palette, but there's another way to do that. So instead of having to guess and you select all these different ones up on the top, where says Auto Select, Go ahead and check that. You know what that does is if I click here on top of this layer. It selects that layer. Likewise, Over here, this is the only layer here. It's the one on top of the background. There is the only one behind all that. So now as I click this one, you'll see here, move this over a little bit by click. Here it selects layer one click here, layer one copy. Click here later. One copy three. Click here later. One copy to so that's Onley if Auto Select is selected, related to that is Auto Select Group. So if I, for example, created a new group and if I hold down control and click both of these and dragged them into that group. Now when I click on this one and this one, it's still selects these letters because they're not a group. But if I select this one, it selects the entire group, as you can see right here. If I don't have group of five layer and I select that one. Then it will select that layer within the group. All right, so that's why you would select group instead of layer. All right? And if you want those out of the group, you can just click and drag him out like that. Another thing to consider with the move tool Is these aligning? Um, and distribute. So if you have to selected so you could hold down, shift and click to these like that a song you have other slug selected, or you can hold down shift. If you're ever in the layers palette, click one area and then clicked which, uh, other one you want to select and everything in between will be selected or you compress control or command, and you can click and select specific ones. So let's just say we had these two here and let's just move them just slightly unaligned, like so. All right. So I'm gonna hold shift, and I select these two here. And if you look up and hover over these align options appear says, align top edges. It will align those layers by the top aligned by the center of them. What should be the same cause they're both within the same width and height these examples are and then a line at the bottom edges. And there's a line the left aligned horizontal centers and align right edges. All right, so I'm gonna resize one of these. I'm gonna hold shift to maintain the proportion, and you'll see what I mean here. If I align by the top, then outlines both at the top, you can see there aligned by the horizontal middle. So it's basically perfectly in the middle. All right, a line at the bottom and in line. The left. They get moved both over. And we only see that one, cause it's on the top. So if I move this one above the other one, you'll see there, all right. And then a line in the middle, they just horizontally aligned and the line to the right there. Just one line to the right. You can do that with a bunch of them. Ah, the distribute. We do need to select more than t have just select at least three. So if I slept it off for if you hover over these, it will tell you what they do. Distribute the top edges, distribute vertical centers. Bottom edges. What that does is it makes a equal distance in between the top, the middle center and the bottom and the same thing here horizontally. It will distribute them evenly by the left edge of each layer, the center horizontally and the right edge. So if I clicked, let's say distribute top edges. Now it's all by their top edges. They're distributed evenly. So the distance between here and here is the same as the distance between here and here is the same as the distance between here and here. So if I click that next one distributes, uh, vertical centers or bottom, they're gonna be slightly different, cause only one of them's the difference size. So if I made some of these other in slightly different, slightly different size, I'm just clicking and dragging the corner. You can also resize by the top or the side as well, like so if you do hold shift on that, it's going to start it. If you hold down, um, on the top of the if you hold down Ault or option on the Mac, it will actually resize it. Ah, little bit differently. See how it goes in from the center and you hold shift at the same time. So shift and all your option on the Mac, uh, will resize it instead of just re sizing it from the left or the right. Like so hold down all it will resize it from the center. All right, just another tip. So you enter. So if I selected all these four and let's say distribute from the right edge is what's that done? As this distance between there and their their their their in there, they're all the same. So if you're designing something and you want consistency, which is another design principle between some photos and a web design, say they're all the same width and height. You won't distribute them evenly. You can use that, Uh, and you can also align them as well, which is another design principle, too. All right, there's some three D mode here, but I'm gonna go over that in a separate tutorial on ah three d. So that's the basics of the move tool. Again, you can move things around. You can rotate him, you can duplicate just owner option, click and drag it. You can also select specific layers but turning on auto select. And you can align and distribute layers as well when the move tool is selected and again, if you want to maintain proportion and constrain proportions to the original with to height ratio, gotta hold on shift. And if you hold down all the option, it will resize it from the center instead of the side. All right, thanks. 5. The Lasso Tool and Polygonal Lasso Tool: Hey, everybody, this is Chad and today I'm going to do the first in a series of photo shop selections. We're going to start with the lasso tool and also the pulling a lasso tool. And, uh, these can be used in conjunction with other tools, but we'll cover those in another tutorial. I just want to go over the base of this. Under what context would you use the lasso tool as well as the political essential? So let's go ahead and get started. Selection Rules of photo shop enable designers and photographers toe select certain pixels . Modify and delete him duplicate. Otherwise, edit him. And these commonly used selection tools can be effective when you want to take pixels from one layer Adam to another image or modify just a specific area. So go ahead and go to file open and open up a photo and it'll be Photoshopped and on the toolbar, and you should see this overhand left. If you don't just go to a window and then tools, you'll notice the 3rd 1 from the top. It should be the lasso tool, and if you click and hold on to it, you'll see the Paul Wignall s a tool, and there's a lasso tool there. So go ahead and select the lasso tool, and this is a free form tool. It's not like the marquee selection tools will cover in another tutorial, where it has a preset shaped like a square rectangle or oval or circle. So go ahead and just click and drag. You want to click and hold on. And this has kind of a curved edge, and you'll notice it's not a perfect selection. But this is just a very basic tool compared to some of the other selection tools. And it's really meant to grab selections pretty quickly. Kind of touch up selections you've already done with other tools, but it can be useful when making this kind of selection if you'll notice Well, it went off a little bit there. Ah, if you'll notice is that this is not a perfect selection. All right, um, but But you can add to it and subtract to it after the fact, and I'll show you. I'm just going really quickly around the edge here. If you let go, it will automatically connect with the beginning point and you'll see here what we have are called marching ants. All right, going around the selection there. And if you just zoom in by pressing command plus or control plus on the PC Command Plus Mac , and you can zoom in two specific areas Or you can use the main fine a glass, of course. Um, and you'll notice right here. So it's not perfect selection. One cool thing a lot of people don't know is you can actually hold on to all on the PC or option on the Mac, and that will subtract from a selection. So I'm clicking, dragging with the lasso tool and this subtracting for Mrs de selecting any area like that. The opposite is if you hold shift, it will add to a selection, so there's there's you want to add to the selection, like right here you can old shift and selected. All right, so that's good on. You want to make quick selections on certain things and or you've already made a selection , for example, of the quick selection tool or the marquee selection. You just want to add to it. That's the lesson tools pretty helpful in those contexts. The political lasso tool, though it's a little bit, uh, different tool and that you can use it for straight lines. So, like this shape here, if I wanted to select just this building that clicking, let go What's clicking like go then, Ah, clicking Let go, Come, let go Looking like go. So I'm not clicking and dragging, just clicking it at specific points all right? And it continues so you don't have to have a steady hand. When you're doing this, you can just click, Unlike go Now that said, you can't use this on curves. You just have to click more often. So if you got to curved area, you could just go click looking like clicking like clicking like look up to go. So if you clicked often, you could create a curve like so. All right, So let's say if you have this selected here and, uh, the reason you might want to make a selection like this is let's say you wanted to cut it, so if you're near the beginning, can actually just double click now. If you wanted to remove some of these areas right here again, ault or option and you can subtract areas from the current selection All right, all right. So let's say you had one of these selections here, and you wanted to bring this into another image. It's pretty easy. All you have to do, you could use the move to one click and drag it. Or you can just go to edit copy and then go to the other image. And we're just gonna de select here and go to edit paste and then that pay set in on its own layer. As you can see, another reason might want to select a certain areas. For example, if you wanted to just apply a in effect just to their selected areas. So right here I can actually get a filter blur motion blur. And then you notice it's on Lee affecting that area that selected so you could do some image adjustments like image adjustments, hue saturation or any of those kind of things. After you've made the selection. All right, uh, the lasso tool can be helpful. It's easy to stray from the path, though, when you're, uh, making selections. So it's really helpful for those context where you just want to add Teoh or subtract from a selection you've already made Ah, the political last, which was helpful when creating straight lines became create curves. You just have to click more often. Finally, you can use these together with other tools, such as the magnetic lasso tool or the marquee selection tools, where we're gonna cover those in the next set of tutorials in the Siris on photo shop selections. 6. The Magnetic Lasso Tool: everybody, this is Chad is part two of photo shop selections. And in this detour, I'm just going to show you how to use the magnetic lasso tool and a couple of tips along the way and some keyboard shortcuts that will allow you to use the magnetic lasso tool to create more accurate selections. So go ahead and open up. Photoshopped file open. Open up some kind of image that you want to make a selection on and then click and hold on to the lasso tool on the toolbar and they go down to the third option down. It should be called the magnetic lasso tool. The way this works is as you go along and just click once and then you don't have to hold on to the mouse. You just drag it along, and photo shop will detect the edge there when you have a high contrast, edges like this example, and it will just add some anchor points as you just go along the edge here. Now you'll notice those I get, uh down here where there's not to find edge. It starts to mess up. It starts to go in a little bit and we don't want that. So the first tip I'll say is that you can actually go back and just press, delete or backspace from a Mac the lead on the PC, and you can try again by manually clicking. So if I just click, it can kind of detect the edge there. Another option is to hold all on the PC or option on the Mac, and you can click and dragon. It temporally turns into the lasso tool that you can just click and drag manually. All right, then you can let go of older option and go back into the mode like so. And on this edge, I'm actually gonna hold all again and just click and drag and then let go of all. And I'm gonna just occasionally click here to kind of remind it This is the edge. It's gonna manually add these points for me. All right, you can. Also, another tip is to press the caps lock and what that does. It shows this brush size that photo shop is using, And if it's selecting too much, you can actually press the left bracket on the keyboard or the right bracket. Ah, it will select less and Mawr. If you have a really defined edge here, you can try making the brush a little bit smaller. Uh, right here. That's actually in pretty well considering, um, and then just going to click on that corner there to tell it that that is the edge and see how it kind of select a little bit too much There just hit, delete, delete, delete. Go back to this one. Kind of like your un threating, all right? And that's not gonna work without me holding down all and just clicking, dragging manually, turning into the lasso to alert. And now let go the all and I'm back to the man magnetic lasso tool. And on this last part of Mexican, hold out again, click and drag it all right. It will eventually complete the circle, and now we have a selection using the magnetic lasso tool. And of course, you can go back. And if you use the lasso tool and hold shift and add to the selection, or you can also use the poll Lena, let's a tool and, uh, instead of shift at two, you can also use all or option to subtract from So if I want to subtract from an area like so or shift and we'll add to the selections, you can really get very specific on this selection on the edge there, so you have a really get edge. So that's the basics of the magnetic lasso tool in the next one in the Syria's, we're going to go over the rectangular and elliptical the different Marquis tools on. Then we'll eventually also cover the quick selection tool, the magic wand and also modifying these selections, modifying the edge and, uh, adjusting selections once we've made them, Thanks. 7. The Marquee Selection Tools: everybody is Chat is part three of Photoshopped selections, and on this one I just want to go over the marquee selection tools. And, ah, lot of people might use these, but they're not really aware of everything that they can do. So let's go ahead and get started. Go ahead and go to file, open, open some kind of image and select the first ones rectangular marquee tool. So what? That is if you just click and drag you can such an area that's like a rectangle. And if you hold shift will do a perfect square, and then you could, of course, ah, delete the content or whatever you wanted to dio uh, with that selected area at Special Fixture. Whatever the elliptical marquee tool. If you click and hold on to the rectangle mark, you don't go to the elliptical marquee tool that's the same thing, except you can create ovals or lips is, and you can hold shift with that. You create a perfect circle as well. So with both of these, if you do the rectangle mark, you chew on click and drag and then hold shift after you click and let go and drag out the 1st 1 You can actually add to that so you can create this, You know, you need kind of shape. And ah, you could do the same thing with the elliptical, marquee tool seeing Click and drag that out as Ugo and create this custom shape you could even use in some of the other. Ah, you know, last tools and things like that. Uh, so I could press control or command J and that put that on its own later. All right, whatever we had selected there. All right, so, uh, that's one tip is that you can hold shift. All right. After you've created one and hold shifting. Created a bunch more. You can also hold on to all on the PC or option on the Mac, and then I'll actually subtract from that original shape. All right, so we can hold shift to add to. And although our option to subtract from another thing to be familiar with Is this menu up here? This 1st 1 Just default. Unless you hit any keys. It's just gonna critics election there is going to start over with a new selection unless you hold shift over alter option all right, so that's the default If you select this next one, if you have a road over it, see how it says Add to selection. What that does is it's It's as if we are holding down shift. But you don't have to when that selected, and it just adds to that selection. If you hover over the 3rd 1 you'll see that it's a little bit different. Subtract from selection. So what, that is is, if there's already a selection there and you click and drag, it's going to subtract from it. But you don't have to hold down older option, all right, and the last one is. Actually, whenever you click, drag over occurred selection. It's going to where it's gonna remove the selection except where those to intersect. So show you what I mean if I go to select in dislike. So if I just click and drag out a box here and then I click and drag here, it's going to get rid of this election, except for those shapes would intersect. All right, so those are a couple more things to a familiar with up at the top. If you click and hold on to the rectangle. Marquis told gonna single row marquee and single column. That's just if you want to select a one pixel wide area or if you wanted it, select the same thing but horizontally. All right, so most of time you're gonna be using rectangle Marquis elliptical marquee tool because you want to select a ah area that's just one pixel wide, pretty quickly. All right, so that's the basics of the Marquis tools. You can, of course, use those in conjunction with some of the other tools. If you hold shift, for example, you could add to the shape that we've already created in the ideas your just selecting an area that you can then, uh, you know, move around or and effects to or copping pace in another photo for your different Photoshopped designs. 8. The Quick Selection Tool: Hello, everyone. This is part four of photo shop selections in this tutorial. Gonna be going over the quick selection tool. And that tool does Exactly what it name implies is that it allows you make quick selection . So go ahead and go to file open and open some kind of image. It has a definite border, high contrast edge somewhere in it. And if you choose the quick selection tool and go ahead and click and drag around an area, you're seeing this example. It has a pretty good job. I'm just clicking, dragging over the grass here. It does a pretty good job of sleep in the grass, but not the sky. All right, then I can move it around or whatever. All right, Uh, if you go to another example, that doesn't have as much contrast like, right here, you'll see if I click and drag around. I believe this is a stingray or might be a man array. I'm not sure I'm not a marine biologist. Um, does it get close here? It's going to kind of mess up. Um, if I go too farther there, select everything. So what? You'll need to do an example like this? Probably a little bit closer. Oh, see, it just selected everything. So what you need to do is select. Ah, a large part of this. This is one way to get around that. And ah, I'm just clicking. Dragging around here. Oops. A little bit too quickly. There. All right, let me try again. Eso a click and drag and it got a little bit too much here, as you can see. But it's just doing most of selection form with the border just detecting the edges here. And what you can do is you can use some of the other tools in conjunction with this. So, for example, the public, unless a tool, if you held down shift and just clicking, let go clean, like go. Because this is a relatively straight edge here you just click more often for this curved areas. And then you could continue that manually if the hue and the lighting is not delineated enough to really keep using the quick selection tool. All right, that's just example of using them in conjunction with each other. Some was clicking like a clicking that go and then just double click when you get to that end of it now have everything but the animals selected. All right. So I could if I double click the background layer making a normal layer and hit backspace, it could delete Ah, the back here. Or you could actually go to select and then in verse. And you just have that's selecting. Gonna edit copy and go in and go at it. Paste and pay set in. All right. Ah, a couple things to consider when you're using. This is if you are using the quick selection tool, you'll notice by default, you're gonna create new selection that will be selected up there on the left hand side. But as soon as you drawn one out and he let go of the mouse, it goes to the add to the selection by default. So if you click and drag somewhere new, it's going to just add to it. If you want to subtract from it, you can select that one right there. And that was subtract from the selection. All right, But if you wanna go back to adding to it, you can select that you can also, if you hold down all on the PC or option on the Mac. That's a short cut so that you can subtract from the selection, all right. And if you have that selected and then you press the shift that will. If you have ah, it subtract from selection by default press shift, it will toggle it to the add to selection. All right, so this will subtract from the selection and then hold shift and you'll add to the selection, all right. And you can also, of course, adjust the brush size, the softness and hardness of the edge and a couple of their settings. But that's the basics of the quick selection tool. It's usually helpful when you have a photo that has a definite edge high contrast border to something and just want to make a quick selection. And the quick selection tool is the best tool for that 9. The Magic Wand Tool: it is a part five of Photoshopped selections. Listen, I'm going to go over the Magic one tool, so if you go ahead and open up a photo and photo shop and if you click and hold on to the quick selection tool you convinced, like the Magic Wand tool and this one works not by clicking and dragging like the quick selection tool. But you can just click on, like, go somewhere. And as you can see, it will select an area of pixels that it thinks are close to each other. So the best way to get the best result in this is to adjust up the top. Ah, couple options. You can adjust the tolerant, so the chances Basically, if you've said his zero and click on an area, this is literally the same exact you. Same exact color. All right, um, if you said it, you know, if I click over here, is just gonna select one pixel literally. It sucks a lot here just because that's all literally, all just over exposed area that's completely white. If I click over here just a couple of pixels or maybe even one pixel or handful with tolerance such a zero because that's what that is saying is that it will Onley select the same exact you. If you said it to 10 it's going to select a little bit more, as you can see. And then, if you said it to, say 30 it's going to select even more. It's still sampling just one pixel, though it's just looking at all the ones that are related or close to that pixel in color. Uh, if you have contiguous checked here, that just means adjacent. So basically, if I uncheck that and select the white area Pierre, it's also going to select the white area on the bottom of the animal there. All right, uh, so if you make sure continuous is selected, then it has to be adjacent to that original clicking point, all right, so it won't select white anywhere else in the photo. If you have continuous unchecked. If you select blue somewhere in the photo, it'll select blue everywhere in the photo, even if it doesn't touch that by even if it's not connected to the original clicking point , All right. Another thing to take in consideration is the sample size, so if you have point sample. That's literally just sampling the one pixel that you're clicking. If you get a three by three average, it's gonna average the color in an area of three by three. And if you go to fight by five, when are one by one is the largest. And so what that is is if I have 101 by her one. If I just click right here, that's selected all of that. And if you go and do the same thing, but just to Point Sample, um, it's not going to select as much really depends on the area that you're selecting. Ah, for example, if you have a point sampling, you click on just an area that's not like anything next to it. Ah, say a person running along the beach and you click on them. It's just going to select Ah, the pixels that are close to that clicked area specifically, So if you have an area that you need to select a little bit more pixels in that area and average it out, you can increase that as well. By default, it's gonna have a new selection if you go to add to selection it's gonna add to it. So if you just click here and then click here again, notice that add to selection is selected. All right, Uh, so, by default is just going to create a new selection every time you click, you can also press shift on the keyboard, and that will do the same thing. Likewise, if you like, the 3rd 1 is going to subtract from that selection and then the 4th 1 It's just going Teoh a little bit smaller. You can kind of see there. It's overlapping. Ah, it has original Ah, selection. There were just fine, But again, by default, you're going to be creating new selections every single time. So just be sure to remember the press shift. If you want to add to that selection or select that second option up at the top, eso the Magic one tool. It's kind of similar to the quick selection tool and that it's good for making quick selections that you could go back and edit later. So this did a pretty good job here, but then you could really go back with the last a tour of the political as a tool or some of the other options and just fine Tune this by holding shift, add to the selection or subtract Teoh. Uh, I'm sorry. Or hold all or option. Ah, and click and drag to subtract that selection The area from the selection. All right, So the magic one tool if you have, um, uh, area that, you know, if you had, like, a sign right here some that has a really good delineation between the shape in the background or high contrast, it's gonna do, ah, lot better. This has a lot more texture to it. So we really need to bring tolerance upstate, like 50. It's going to select a lot more. It still doesn't select everything's we'd have toe, press shift and add to it. Then you start to get such a little bit more along that edge there. All right, since the basics of the magic one tool, it's really ah, effective when you have a clear borders and edges between objects and a photo, whether it be the foreground and background in a in a landscape or nature photo, and you have an animal that you can you're trying to select and add some filters to all right, that's much want to win the next one on selections. We're going to you talk about a couple other ways to select pixels. 10. Color Range Selection: and this is part six in my Siris on making selections in photo shop. Today we're gonna be going over a color range selection. So in order, get started, Go ahead and open up a photo. And this could be a powerful tool in certain contexts. Certain photos when you want to select a certain range of colors. So once you haven't opened photo, go ahead and go to select and then color range. And in us, this dialog box comes up and you can actually hover over the photo and it will sample, for example. In this it will sample pixel, and it's saying that will basically select that area that's in white in the preview. So if I select the grass, it's mostly gonna slick part of the grass and reflect in the sky. And if you bring fuzziness to the left, it will select less. And if you bring fuzziness to that right, it will select more of the sky compared to where you clicked originally. So if I go ahead and click OK, then you'll see it makes a selection here, and then you could do some kind of adjustments. Say if you want to go to image adjustments, hue, saturation and click colorize. If you want to change color of the selected area or whatever other edit you'd want to dio, go ahead and go back to selecting color range and you'll notice these buttons over here. So by default, it just has the eyedropper tool. If you click. Add to sample, though. So with the regular I dropped off. I just click here and then I go to add to sample, and I click against where it's going to actually add to that selection so you can select Mawr. And as you can see, the white area gets larger. If you select the subtract from selection that does the opposite, all right, it'll it'll subtract from what's going to be selected. You can. Also, if you have the default, I drop ritual selected on there. If you press shift on the keyboard, it will toggle under the ad, do selection and hold down all on the PC or option on the Mac, and it will subtract from the selection. One more, ah tip to consider if you're you have a photo with someone's face in it, you might, when you go to select color range you might want to try Appear where it says select sample colors. You can try selecting specific colors in a design. Let's say you had website mock up and had blues, and you want to change them to science or or whatever. You could select on the blues and then do ah ah Hugh adjustment. Now this is pretty cool. You can actually the skin tones, and it will attempt to select all the skin like so. Then you hit okay, and it will take a little bit longer than normal if you were just manually selecting with the tool, and then it makes election. As you can see here, though, did select part of the hairs wells. You'd want to dislike that with another tools, such as the pulling a lasso tool, you could just hold down all and click and around all that to de select it. And you could, you wanna add, do the selection down here. But that's just the tip to maybe ah, tryout and experiment with color range tools. Another tool and photo shop that allows is to select specific pixels to add effects and filters to them. 11. Pen Tool Selections: it is a part seven in my Siris on making selections in photo shop. One way to make selections of photo shop is about using the pen tool. You may be used to the pen tool and say Adobe Illustrator, but photo shop also has a pen tool, and you can. Actually, it's a good way of creating selections when you need kind of a curved edge to something or even straight lines. So let's get started. Go ahead and goto file open, open up some kind of photo, and then we can choose depend, too. On I have a separate tutorial. It's more in depth on the pen tool. Where is gonna be using in a basic way to critics selection. So go ahead and select the pen tool. And on this example, let's just say I wanted a slight curve here. What you do is just clicking. Let go and then click and drag, click and drag again. Then just click it. Just want straight line click. Then you can actually click around the edges here. Would you want to complete this shape? And now we have a path here, and it's pretty simple. You got to do is right. Click over somewhere on the path and they just go to make selection. And it s if we want a feather radius. Just feathers. Basically, uh, we'll cover later in adjusting selections, but it, uh, makes the edges not as delineated. Uh, but I was gonna keep it zero for now. Just so it's just a basic selection that doesn't have any feather and click. OK, and now I can see the marching ants. We have a selection from that pen path that we created. So then you can select, say, the marquee selection tool, hover over it and click and drag an You move that selection. Or, of course, if used the move tool, you can move the actual pixels air selected or add some kind of filter or effect. So, like on this one, you could do the same thing with the pen tool. You just click. That is more of a curve here, so you have to click and drag. All right. Ah, this example. There's more straight lines so that be easier. You could just click and then click and let go clicking. Let go. I'm going a little fashion. I would if I was creating a website se for a client or something. Uh, just for the sake of distrito room clicking pretty quickly. But get the idea looking like a click and let go. And you can actually click and drag to do that to show that you can create curves as well. If you do hit delete, it will delete the most recent point anchor point, uh, click deleting and it'll delete the entire path. All right, if you just want to delete a cup of the most recent past, you can actually click and hold on the pen tool good of the delete anchor point and just click on that. All right, so I go back to the pen tool, and, um, if I create another one and then hover over right here, it's going to connect those. All right? So you can kind of see how that works as well. Uh, if I right, click over this now and do Teoh make selection, you notice I didn't close out that path If I hit, OK, what it does is the beginning point and then the ending anchor point. It is a straight line from it. So if you don't close out that path, it will close it out for you with a straight line, all right, And then, of course, you could move that or whatever. But that's just one of the many ways to select pixels. And photo shop on this one is with the pen tool, especially when you have some kind of shape or foreground middle ground background that has some straight lines or curves, and you can drop half make a selection from that. 12. Quick Mask Selections: and this is part eight in my Siris on Photoshopped selections. Go ahead and open up a photo and photo shop, and today I want to be going over the quick mask mode. That's what that is. This if you see a little icon below the foreground and background color on the tools panel , never over that should say edit in quick mask mood. Go ahead and click that. And now, if you make sure your foreground color sent to blacks or click that, make sure it's black. And if you paint in with the some black in there, it'll turn into this kind of like pinkish hue, all right. And if you paint too much, let's say you went over the edge here a little bit. You can set the foreground color, toe white or just hit that double sided arrow. If your backgrounds already way, it'll flip it. Then you can paint some weight to get rid of that. You can also, if you, for example, want to paint some gray, and you could do that well, partially select something. And the purpose of this is that wherever you paint in black, it will select everything but that all right. Of course, you compress the right racket while you're painting, and that will make the brush larger. You can also force to go up to the top and changes size as well. If you do a soft edged brush, I'll show you what this does a little bit different. Uh, it's more of a gradual selection as opposed to you. Just a hard and brush will have a more definite edge to it. All right, So if you're painting this and go ahead and click it again at the bottom of the Tools panel , where says Quick mask close to the bottom and you'll see now everywhere except where we painted is now selected. If you want to select everything we had painted, you could just go to select and then in verse if you wanted to. But if I painted in a color right now, for example, right here does this is selected so it will apply. But if I go up here, see how there's a slight edge to it, that's because I use the soft edged brush is there and you can see it apply a little bit of that color. I'm not painting on the mass now just painting on the actual photo. But there's a gradual edge kind of a feather to there. But that's because I use a soft edged brush if I go over here that it's more of a hard edge to it. So, depending on what kind of selection you want, you could use the hard edge rush or the soft edged brush, so I will go ahead and undo that rush tool. Step back a little bit here, a couple steps, uh, another thing to consider. When you do this, you could actually apply a mask as a Grady in. So if we go back into quick mask mode and I choose the great and tool and have it set to black to white and just click and drag and hold shift if you want that nine degree angle and you'll notice now, um, it'll be a Grady int all right of selection. So if I get out of the quick mask mood and then I paint in some kind of color, he knows that graduate gets lighter at the top because that's less selected, all right, and this is heavily selected at the bottom, all right, where the black waas and where the white was It gets, um, slightly more transparent, as you can see for that kind of effect. All right, that's just I'm paying that into illustrate what that Grady int does. It, uh, has a little bit different kind of a selection when we do that. All right, so that's another way to make selections. Is, uh you can use customized Russia's well, like if you looked at some of the customized brushes and here again, whatever you paint in in black will not be selected. And whenever you paint in and why it will be selected. So if I had some kind of special effect, brush like this made a size larger And if I clicking here like so and if I drew and White, it's not gonna do anything all right. Almost had Drew ever. Wherever I've already drawn Ah, black area, All right. And then you exit the quick mask mood. Now you can see everything. But what we had painted black is now selected. All right, that's one more way to select pixels in Adobe Photo shop on this one being the quick mask mood. It's good for when you want, um, more subtle edge. Two things you can use a soft edged brush or when you're brushing in an area and you just want to make a selection. Even with the hard edge brush, it's more definite edge to it. But if you're used to using the brush and are more effective, that that's one way toe. Select those pixels so you can add the effects. 13. Grow and Similar Commands: And this is part nine in my Siris on making selections with Photoshopped. Today we're gonna go over the grow and similar commands. So go ahead and open up a photo and the growing similar commands. Ah, work by selecting more related pixels to the original selection. And, ah, when you go to similar, it searches for other similar areas on the photo that are similar to the original selection as well. I'll show you what I mean. So go ahead and select the lasso tool and you just click and drag an area here. Now, if I was trying to select all these, you could try a magic wand and holding shift tried coupled. Everything's But this is another way. Have made a quick selection with the lasso tool. Then you want to go to select, and if you get a grow, you'll notice it selects actually, a lot more in this example, it selects right along the entire sky. Sometimes when there's more of a variation, you're gonna have to goto, select and then grow a little bit more a couple more times. As you can see, it didn't select anything. Ah, that was the same Q range and similar colors in different parts of the photo, just anything that was adjacent to it. So you can go to select and then similar what that will do. It will search the entire image for related areas, so we have selected these areas now. But it also selected these so you could hold down all our option. And, for example, use the rectangular marquee tool and click and drag to de select those areas that we don't want selected. And, of course, you can adjust thes selections with the other tools, like the polygonal lasso tool would be a good one here for some straight lines holding shift, adding to the selection as well. So they're pretty basic commands that you might want to try in different contexts again, it's just select and then grow or similar Grow will expand the selection contiguous with it adjacent to the original selection and then similar will search the entire photo for some similar pixels to select 14. Modify Selections: this part 10 of making selections in Photoshop today, we're gonna go over the modifying edges of a selection, So go ahead and open up any kind of photo that has some kind of edge to it. Here in this landscape shot, I'm just going to do a quick selection tool in Just click and drag at the top there, and it will take a second. It will make a base election that I'm gonna work from, says you can see it's done a pretty good job of selecting this top area. I was going to use that to illustrate how this works. So next you want to go to select and then modify, and then this is a little bit different. There's also the refining, which I go over in the next tutorial. But this one, there's, Ah, there's five options here, and I'll explain quickly with HD in what context you would use these under. So if you go to select, modify border and then you can see it brings up this little ah dialog box here. So if I just keep it on 40 hit, okay. What that does is it adds another selection next to the original. So I'm gonna press control or command J and that will duplicate whatever was selected. It will show what it had. Ah, selected. Just added onto its own layers. You can see that there. All right, um so if there is a context where you would I want to make a selection of something and then at a slight second selection around it kind of a border, you could do that. Another one is I'm just re re applying that selection. If you go to select, modify, smooth What that does. You can see there are some harsh turns here in the marching ants selection. Imagine if this is a race car on the track and it's making immediate turn media turn left, right. Ah, what smoothing does, Especially if the higher numbers it's going to smooth that out. So it's not as drastic. I'll show you what I mean. So if you see that there a couple of wrinkles in their hit, okay, it Smoothes it out. Now there's not as many harsh turns. Problem is, it's not, uh, the nicest selection anymore. Because really, we did need a couple quick turns. Um, inside that selection. All right? But there are some instances where you would want Teoh smooth at a selection, say around a curved area, and that might, that might work out another one. If you get a select and then modify and expand that does what Just what you think it does. It expands the selection to a little bit. Ah, a few more pixels. So if you did 20 pixels here, click OK, it expands it out. So if you have a selection where a person is almost selected, they just expand. Or you want to add a kind of ah selected area around a person or something in the foreground. Middle ground background. Then you can do that all right, and then also go to select modify contract. That's the opposite that will contract it. So if you selected too much of an area, usually bring it in a little bit. Then, as you can see here, right above all these, it brought it in just a little bit. There's a little bit more room. That's if you wanted to select an area, but not right along the edge. May you want expanded or contracted a little bit for a different effect. You could add some pills and handsome filters for different kind of effects. Finally, if you go to selecting the modify feather, what that does, it just feathers the edge. So it's not as harsh, all right, so I'll go ahead and without adding a feather, yet I'm gonna press control J and click this icon on the bottom one. Notice the edge what that data is. Whatever was selected was then duplicated onto its own layer, the edges pretty distinct. All right, so I will go back and re select this, all right. And now, before we do that, let's go toe select, modify feather and just exaggerate a little bit of the 10 pixels. All right, now we'll press control J and notice the edges a little bit softer. It gradually goes in to the selected area versus the non selected area instead of just the sudden, ah clean border kind of between the selected and the UN selected areas. A feather just feathers. The edge makes it a little bit more subtle, especially when you're, ah, make a selection of a person or some kind of object that you are cutting out of a photo. Sometimes that is an effective tool. Feathering the edge, Uh, so that the edges just not as distinct. All right, so that is of the select modify edge of selection tools. And the next one, we're just gonna go over the refine edge. Ah, and that will be the conclusion of this Siris on basic selections in photo shop. 15. Select and Mask Technique - Part 1: In this video, I'll be showing you how to use the selected mass technique to effectively select hair in Adobe Photoshopped. You can follow along with the support files that have attached to this lecture, or you can use your own photos and for taking your own photos. I suggest taking photos of a subject like a friend or colleague who will let you take photos of them. Make sure you have a simple background, just a wall that's just one color instead of having a complicated back home, because it makes it a lot easier to delineate the subject from the background on that layer . If you follow along with the support piles, we do have a background in the photo of the model, but there's enough differentiation between the background on the subject so we can make an effective selection. But that's just something to consider. And some of the video lessons in this course we need to refine the edge of a selection, especially when we want to select hair, for example. Now, if you have an older version of photo shop, you would use what's called Refine Edge and I'll show you in this video how to access those older features. But photo shop updated their software so that we have something called Select and Mask and that really replaced refine edge, although some of the options are the same and I'll show you what I mean. So in this video I'll be showing you how to use the photo shop. Select and Mask feature. Now again, Selected Mask replaced the older refined edge technique, which is from an earlier version of photo shop. So if you have an older version, you will continue to use refine edge. But if you have the newest creative cloud update, it should say select unmask Instead, I have kept the older refined edge technique in this course and part of the next video. For example, if you have the most recent version of Creative Cloud, we can still access the older refine edge technique to do that. First, let's make a selection. I'll use the quick selection tool here and just click and drag over this model here. Then we press shift on the keyboard and go to select and then select and mask, and that brings us to the Refine Edge panel, and this is from the earlier version of photo shop. It has smooth feather contrast shipped edge, which are also in the new selected mask technique. But the newer select a mass taking has other options as well. I'm going to click, cancel and then also de select. We can select the marquee selection tool and just click anywhere or go to select D Select or Control or Command D. Now, that technique to bring up the older refined edge panel on Lee works. If we have an active selection first using one of these tools before we go to select and then selected mask and again, we need to hold shift when we do that now, in the selected mass technique, we can first make a selection, for example, with the quick selection tool here. And if you don't see this, make sure again. We have window tools checked and also options up at the top there, so I can just click and drag over the model here. Then we can click selected Mask, and it will bring up these options. I'm going to click cancel, though instead of making selection first, we can click select subject. If I click it now, it will have a warning. This will discard our current selection. That's fine. What that does is Adobe. Photoshopped suffered tries to figure out where the edge of the selection should be, so I'll just de select first and then select, for example, the quick selection tool. Then just press select subject without making a selection first, and it does a pretty good job. So now we can click selected mask after photo shops off where selected the subject for us and up here by default. It's probably on onion skin, so it shows just a transparent background here, and it looks pretty good so far. We can address the edge here, though, to make it uneven. Better selection. Now we can change us, appear from onion skin to marching ants that just shows where the edges selection will be. We can also select overlay that allows us to specify a specific color as our background, and we can also just say on black on white, black and white, which shows the edge a little bit better here in this context and then on layers. Now I'm going to layer this first, so I'm going to go ahead and click, cancel and select the landscape file, which is in the support files area as well. And I'm just going to use the move tool here and click and drag it over, or we could copy and paste it or we could get a final place. But either way, I'm going to make sure the layers panel is up here. I'm going to double click the back on layer to make it a normal layer. And then I want this landscape layer to be below the portrait here. But I want to make sure that it's right along the edge here. So I do need to de select so again, control or command D Will de Select and was going to match this up to the edge here. And so we have the background here and we have the portrait on top. And so let's just go back and go to select subject and then selected mask, and this will look a little bit different this time. So if I goto onion skin instead of showing that transparent checkerboard background pattern telling us that there are no pixels there, we actually can see through this to this landscape photo in the back, and if we adjust this transparency, we can see this original layer and then the effect of the subject having a new background if you go to 100% for transparency so we could make it more opaque, a more transparent. So if I leave it about in the middle of 50% that's fine for this example. Now, over on the left hand side, we have the tools. So up here is quick selection tool, and that works pretty similar to just the regular quick selection tool back in the normal toolbar here in a photo shop. So I'm going to set this toe overlay, and then if I just click and drag the edge here, you can see it tries to figure out the edge. As I click and drag, I'm going to press control or command Z to undo that, though, so that uses an algorithm to try to find the edge, just like earlier with the quick selection tool. However, if I use the refined edge brush tool that refines the edge a little bit better, but we're going to use that on the hair later, so I'm going to skip that for now. The brush tool does not use any algorithm to try to find an edge just like these top two tools. Dio. What it does is just has a function of masking out are bringing it back in just wherever we click and drag, just like a brush tool. So I'm going to press control or command Z to undo that. Now, up here on the options panel. If I click the minus sign here this symbol. And if I click and drag, it's going to remove pixels, right? And if I press, this plus sign is going to bring those back in right now. Shortcut, though, is while this plus sign this default is selected. If I hold all on the PCR option on the Mac, it does remove from the selection. And if I don't hold all our option than it adds to it like so are impressing Controller Command Z to undo that, though. And of course, we can adjust the brush up here if we want a soft edged brush or hard edge brush and also the size and we compress the left or right bracket on the keyboard, and that will resize our brush tools as well. And also on the left hand side. Here. We also have the political as a tool and the lasso tool. So, just like in the normal toolbar, input a Shopify click and drag. I can create an area that adds to you or removes from the mask or the selection. And so that's just click and drag. And then if I go, the political s a tool. That's if I click and let go. Click and let go. Click and let go clicking like Go Double Click. And it creates an area that were either adding to or removing from that selection or mask. And we should know what these artists, the hand tool and the zoom tool. If I select the zoom tool here and click and drag left and right, we can zoom in and zoom out. But of course, as usual, we can also use control on the PC command on the Mac and the minus and plus keyboard shortcuts. And then, if we're zoomed in and we press the space bar, we can click and drag after toggle ing, too. The hand tool there by pressing the space bar so we don't have to use those, but we can if we need Teoh. Now all of these can be helpful in certain contexts. So, for example, something like this here and I'm not going to go through every single area here and waste time. I don't want to bore you in the sectorial. I just want to show you the methods. And then we can use those methods Teoh either this example or other portrait sor landscapes . In this course, the political lasso tool is helpful when we have an area that has straight edges like this that we need to either add to you or removed from a selection or a mask. So up here on the top, we can see that it says add to selection, subtract from or intersect. So instead of holding all or option, just like with these brush tools up here, we select one of these ahead of time. So I know we're going to need to use this 2nd 1 subtract from selection before we start our selection here. So once we've clicked that now I can click, click right along this edge until we get back to the beginning and there we go. So that's the context where we would use the polling. Alas, it to one. It's still not perfect, but we can make a couple adjustments. We can go back in again. Either use a brush tool or use one of the last two tools. For example, the lasso tool. If I click up here the second option there and then click and drag around, you get the idea. All right. There are a couple areas where that automated selection did not work as well, so we can go into each of those and use specific tools. So the quick selection tool I don't want to use right here because it'll probably select too much stuff. I click and drag said it to minus. It doesn't work as well. If I go to the finance brush tool that works a little bit better on hair click and drag. See how that does a pretty good job there actually get a little bit of fringing on the edges, but I'll show you how to fix that. And if we get a brush, that's when we have a definite edge. So, like in here, we could use the polling a lasso tool again, or we can just click after setting it to minus or hold, alter, option and just click and drag. And we can adjust this after the fact as well. So I'm going to go up here and just look around the edges here and right here. I think we could use the quick selection tool. Make sure plus is selected there. You know, we're just bringing some of that back in here, but we don't want that in there. So again, Aiken, make the brush smaller, hold all our option to subtract from. So hopefully you get the idea depending on what we want to remove from or add to the selection. We would use any of these options up here. So when we have brush tool, we have a definite edge. Something we want to either bring in or remove from selection or mask, and then refine edge. Brush is better for hair, for example, like this just clicking and dragging on the edge here. And what I find useful is to bring this opacity down to zero and back up to 100 see if there's any hair there that is being mast out that we need to bring back in. So I'm using the refining brush tool, but I'm bringing this back down to 0% than 100 with you. Keep it at 50% or so, just toe see the midway point. But again, I can press space bar to move around the canvas like that. Alright, space bar a click and drag over here and so on so we would go along the edges and use the refined edge rush tool and see if there's any areas that we need to really adjust, so some of that hair shows through still. 16. Select and Mask Technique - Part 2: now, once we go through and take a lot of time and do that, we can come over here and check out these options so smooth, just smooth things, the edge of it. So if you can't really see it that way, I'm going to zoom in. And if we said it to, for example, black and white and we can see this selection here, if I get a smooth makes a lot smoother right and we can really ever do that. So we want that to be somewhat settle for this example. I don't think we need to use it. Feathering just makes the edge a little bit softer, so typically we want something very subtle, and we can have a softer edge. So just not as drastic looking from a mast area to a non masked area, and contrast will make the dark areas darker and the lighter areas lighter. So there's more of a definite edge and not as many areas of kind of mid tones or grayscale in between. The areas that are massed out or selected in areas that are not all right and then shift edge will do just that. It'll either shift edge inward or outward right, and by default, that's at zero. So we're not shifting it at all. We can clear the selection if we don't like it, or we can also click, invert and then we'll obviously invert it to the opposite. But for this example, let's go back to you onion skin and just preview what it's going toe look like. Going to press control or command minus two is the amount, and if we go to transparency, set that to 100% will notice. This right here needs a little bit more work, of course, and I'm doing this pretty quickly for the video lesson. But again, we would just go back to 100% good on black, for example, for this technique, and right here we really need to use more of the refined edge brush tool. We could also make this two layers. You could duplicate the layer and do the hair on one layer and then do the rest. That has more of a definite edge on a different layer, and it all depends on if these tools are working correctly for these specific areas. If we want a feather, the area that has the hair, but we don't want to feather the rest. That has more of it. If an edge, then we could just duplicate it. You go back after applying this, um, press controller command J on the layers panel that will duplicate it. And you could adjust them asking so that it shows through from one layer to the next. So I'm going Teoh, zoom back out a little bit here and just the capacity just so I could see. See how there are a lot of stray hairs over here that we're not including. And if we wanted to include those we would want to use there are financed brush tool in really paint those back in here a little bit more like so all right over here as well. And some of this will cause a little bit of fringing on the edges with the color. And if it looks OK as faras blending into the background, that's fine. But if not, we can color it later with the brush tool, and I'll show you how to do that. So I just had this at kind of a mid tone area painting a little bit more on being this pretty quickly for this example, but hopefully get the point so we can also check out what the edge is looking like as far as the width of it. So if I go Teoh radius and go to show edge so you can see the edge there, we can see some of the painting in. I've done with the refined edge brush tool. But if I click Smart Radius, what that does is certain areas, like down here, even before I brushed it in is going to be wider because it's trying include all that hair , then a definite edge, just like over here, where there isn't hair coming out with some stray hairs. That's going to be wider than this because we've got Smart Radius checked and so we can see that when we have show extract. Previ in with that edge is looking like a Sfar is the edge of our selection so we can increase the radius. If we want Teoh. We can really over do that, so it's got to be careful with the edge detection, so I'll go back to opacity and you can see the before and after we got a couple areas in here that we really would want to zoom in and fix. And again we can probably is the refine and brush tool. With here we could use the brush tool, other selection tools like the last, the tools or the political as a tool because there's a definite edge. But we want to use this for finance, brush, tool wherever there's hair, and this is a little bit tricky because it's right next to her hand. But again, we take a lot more time typically doing this. Just show me the technique, all right, so down here is well. I can use the polygonal lasso tool and click once Dario. Alright, so, depending on the edge, if it's a definite edge, we can use certain selections, certain selection tools and when it's something like hair, we really want to use refining brush tool. It's like that or just goes off the edge a little bit now. Once we're ready, we can click decontaminate colors, and you can see the before and after. It colors in a little bit of this hair here, so it matches more closely to the other hair where we haven't painted in with our fine edge brush tool because it looks a little bit too light. It might not be noticeable in the final result with that different background, but you can try that now. If that doesn't look is realistic. There's another technique that weaken Dio. We can actually paint in with a clipping mask, which I'll show you how to do that. But if it looks better depending on what the background is, go ahead and use that. But I'm going to show you what it looks like without decontaminating colors and where it says output Teoh. Let's go and set that toe layer mask and then click. OK, and what that does is it goes ahead and adds a layer mask right here. So if I all or option click that layer mask, it will show it right here. We can still edit this. This is why we mask instead of a race so I could use the brush tool and make sure the mask is selected appear and paint black or white end to either mask out or bring pixels back in to this layer. I'm going to press all tor option and click the mask and again I can also press shift and that will deactivate the mask. And if I hold shift and click it again and we'll bring it back in. The cool thing about this technique is while this mascot selected. If I click selected mask, it will bring that back up. And now I can click decontaminate colors. If I thought, you know, I actually want to try that and click OK, then it will have that effect. And that looks pretty good. No. Or if I go back in the history panel or just press control or command Z and go back to before and we don't want to decontaminate colors, there's another way. So if I just press OK and this is new layer with a layer mask, if we press decontaminate colors, we can't just do a layer mask. It has to put it on a new layer with a layer mask. But for this example, I'll just show you another way to color some this hair back here. If we find that there's a little bit of fringing, so a press OK, and then up here, let's go ahead and click. Create a new layer icon on the Layers panel and Then we can hold all on the PC or option on the Mac and hover between these two layers and click. Or we compress control all on the PCR command option on the Mac and then g with this layer selected here, and that will make this a clipping mask. What that means is, if I paint on here on this layer, it will only affect the visible layers on this layer below it. So I can select, for example, or the brush tool. I can select a foreground color here, or I compress all on the PCR option on the Mac and just select some kind of color here by clicking, holding older option. And then I can paint in, for example, right here, and I can all or option click again to sample often paint in right there. And if we overdo it like that, we can keep painting, or you can add a layer mask to that one as well. So if I add a layer much of that and again, if we paint like in, it will remove the pixels. And if we press X, it'll flip those so that whites in the foreground and bring those pixels back in. So the cool thing about this technique is that it's a mask, and we can still edit it after the fact. So we have this mask right here so we can adjust the edge of this so add to or removed from the mast area by painting white or black in. So that is the select and mass technique. I do suggest using that instead of their fine edge technique if you have the newest version of Adobe Photoshopped Creative Cloud. But again, if you do want to access that older, simpler method, we just want to make a selection first and then hold, shift and go to select selected mask. And they both have some of the same options, like making the edge of the mask or the selection smooth or feathering, or adding contrast or shifting the edge. But the newest selected mask technique has more options now. Of course, we would want to adjust the lighting in these layers as well, and so we could adjust the saturation, the lighting with options up here that are also in adjustment layers like levels and curves and so on, and we just want to make sure we're on that layer and not just the mask. When we apply, there's changes. Because, of course, we want our layers. Two matches Fars, where the lights coming from and the color and the white balance between the layers. So that is the select and mask technique. Thanks. 17. Refine Edge: and today I'm going to go over Part 11 of selections and it'll be Photoshopped. And today we're gonna be refining the edge of a selection. A lot of times you'll use a lot of these tools over here at the top of the toolbar, and it just takes too long to make a really refined selection. So there were fine edge Command is actually really cool, more advanced technique that can help us do what its name says that is, Refine edges. So, um, here's one example just persons. Ah, hair edge is often a really difficulty to select a lot of time. Specially that curly hair. The hair is being blown in the wind. Um, and then here's another example is, Well, this is just a composite photo. Here's the original. And then there's the original landscape photo. And then after we used to refine edge command and tweak it a little bit, and that's the result. All right, let's go ahead and get started. Uh, go ahead and open up a photo of someone with hair that's, Hey, it's being blown in the wind or it's curly. It's just a, uh, gonna be a little bit more difficulty using just more traditional techniques. So go ahead and open up a photo and then open up a landscape photos. Well, copy and paste the landscape photo into the other photo orders used the move tool and click and drag it over until you have a landscape photo at the bottom and then the model photo on top. Now, next thing we want to do is make a quick selection. You could use the color range selection for going to select and then color range. You could use the marquee selection tool lasso tool just depending on whatever you want. To select this example, I'm gonna use the quick selection tool again. We compress the left and right brackets on the keyboard to resize, or it can resize the brush up here. We'll go ahead and click and drag and I'm get ah, pretty close election here. That's pretty good. We could add a little bit more to the selection if use the Lassen tool here and hold shift , and I'm just going to click and drag me grab a couple more of these hairs And again, this is not gonna be perfect, cause I'm gonna show you how using the refine edge can really refine the edge of that selection. All right, so maybe just grabbing a company's really quick like so should help out. If you want a subtraction area from the areas, well, hold down all or option on the Mac and on the PC, and then we will subtract these areas from that selection. So shift add to all or option to subtract from. And that's a pretty good selection. If there's a couple areas where they're still, uh, don't need to be selected like so, but I'll show you have her find Age can really help refine the edge of this so that we don't have to go through and zoom in and spend hours doing that. All right, So once you have a pretty good selection, go ahead and click the refine edge button at the top. Or go to select and then refine edge you're gonna seen here. There's a couple things like border around. Sorry, they're smooth. Um, feather, you're going to see in there. So go ahead and go toe refine edge. Some of the things that you can also see and modify selection. Alright, Right here. Smooth feather contrast feathers gonna blur the edge a little bit. Sorts of more gradual selection smooth will smooth the selection edge. You can bump up the contrast if you want. Ah, shifted. We wouldn't want to do in this example because then it would contract or expand the selection from the original. But the really cool things about this refined edge are right up here. So before we start, if you click on the view the down arrow, you'll see. If you do marching and Cesaire a couple different ways to preview your selection, it'll just show the marching. It's just like we have a selection. And if you do overlay ads kind of this mask looking background. If you press blackout, be a good one for this example, cause then we can actually see there is that need to be selected. His white area standout. Um, if you press on white on this example with the white background or a lighter background, I can't really tell what selecting what's not. So it's not the best one for this example. If you select black and white, then it's going to show you the mask and you go on layers. That's gonna That's going to show you if we mask out, our selection was gonna look like the final result. Uh, so that the top layer shows through except the mast area. The bat in the back home will show through the magic around and finally you get to reveal later that will just show the layer that we're on. Right? So this is an example I'm gonna show I'm a selector. Have a black background for now, and you'll see that this edge really needs to be refined a little more So with this radius , let's bump up the radius, and it's going to try to figure out what to keep selected and want to get rid of. It's doing a pretty good job as I bump it up a little bit. If you press smart radius depending on your photo, that might actually help is, Well, uh, it's going to try to use different algorithms and try to figure out what should be selected . What should not be selected really depends on your photo on this example. Um, it's doing a pretty good job. I wanted to still select this hand, but not select the area in between the strands of hair. Ah, one thing to help out with this is if you click and hold onto here, go to refine radius tool or just click. Click it once, and if you just click and drag over the edge here, it will really refine the edge a little bit. Mawr if you have any areas that, um, he just showed through and be add into that, uh, selection Alright in areas in the background not to be added. If you click and hold on to the erase refinements, What that will do, it will erase any kind of refinement, so there's a definite edge again. Ah, a short cut to that is, if you have refined radius selected and just hold down all on the PC or option on the Mac and click and drag, then you have a definite That's definitely part of the selection with the with the stronger edge to it. It's not kind of a gradual edge or find edge I have. You can also try to decontaminate colors for this example. It's not gonna work. It's not gonna help that much, but a lot of times some of your colors air in here in the original layer, and they really need to be massed out just like this area over here. So you could try decontaminate layers and experiment with the amount, just like we experiment with the radius up there. All right. You can also zoom in with the zoom tool. You compress control or command plus or minus on the keyboard, resuming as well. And you can use a hand total. Move around while you're refining the edge. Finally, once you're done, if it looks pretty good, you can go ahead and go to output. You can happen under new layer and the layer with a layer mask, a new document or new document a layer mask. I'm gonna do new layer with a layer mask in a press before I press. Okay, I want to say one more thing. If you click up here with the show original, it will show our original selection and then our selection after we add all these settings . So it's a lot better now. It's not perfect. We can actually had a, uh, refined even more in a second. If you press show radius, that will show Ah, this radius here. Basically, when we paint that radius in. If I just expanded it out there, then it will affect everything else. All right, So what you want to do is hold down all and we don't need this to be included. And even right here, we want that to have a definite edge to it. All right, so that we could hold down all or option and really have a definite edge where that selection should be stronger. All right. The edge of it should be all right. Where it needs to be painted in is just this edge here. All right, so uncheck show radius. If you show original, that's kind of like turning preview off. It automatically previews by default. This tool does so this looks pretty good so far. So now let's go ahead and press, OK, that's pretty good. The problem, though, is if we zoom in, but right here, you'll see that's not, uh, that's still on this top layer. So what you can do is with, say, the lasso tool, click and drag around that area and hold down shift. And we can add a couple areas to this and weren't included in the selection. And what we're gonna do is add that to the mask so we don't want to delete. We want a mask out. So if you hold down all or option and click the mask over here, it will show you the mask and see the edge. I would be really difficult to do with, though Polina less a tool of the lasso tool or all those other different tools. This is really refined edge here. Um, really good. 20 years when you're selecting hair, but it missed this areas down here. So all direction, click that mask again and we'll see this. Now. What we need to do is make sure your foreground color is set to black impress all backspace or option delete on the Mac and what that does, I'll click it again. It added these black areas here to mask out, so the background trips through. We could also paint some black in here. This the hand we don't want, uh, mast out. So then we would actually want to paint white in. We could use the paintbrush or again, I could just make a selection here with the hand. Make sure the foregoing color set toe white and press all or option backspace delete. All right, then we can go back, and now we can see the selection this hair selected a lot better on, and that's a really good application of the refined edge tool. Once you've made a basic selection, instead of spending hours trying Teoh, use the pen tool or any of the other selection tools or financials made for trying to help you figure out and make their selections a lot more quickly. 18. The Object Selection Tool: in this lesson will be going over the object selection tool, which is really useful when we want to make an accurate selection. This was released as part of Photoshopped 2020. So depending on when you watch this in this course, this will be either released very recently or a while ago. But I do like to keep these courses updated, and so that's why I'm adding this lesson to this course. So I have an image here, a portrait and typically weaken, go too quick selection tool. We can click and hold on here and go to the Magic Wand Tool. But the new Objects selection tool has been placed above those, actually, Normally we can just click select subject up there on the options panel, regardless of whether we have quick selection, tool selected magic wand or object selection tool. And that can do a pretty good job If I just click that and it makes a selection now we can get a select D select controller Command D, or just choose the rectangular marquee tool and click anywhere to de select. Either way, what this tool does, though, is it helps us make selections like that but we can guide voter shop a little bit more, so I'll show you what I mean. What we can do is go ahead and select the object selection tool, either. Press w on the keyboard are selected up here and let's just click and drag around the subject, and that does a pretty good job. There's a small area down here that we would need to subtract from the selection. What we can do is press all or option on the keyboard, all on the PC option on the Mac and click and drag. Sometimes it doesn't do that. Get a job, though. We can use this in conjunction with other selection tools, of course, like that lasso tool, the political lasso tool and so on. Or we can keep using the object selection tool. And when we press all we subtract from the selection when we press the shift key, it will add to it just like some of the other selection tools or up here on the options panel. We can select this right here, subtract from selection and we can also click that. To add to selection is just like holding shift, just like holding elder option. So either way and this intersex with the selection. But the default is it's going to add a new selection. So if we don't press any keyboard shortcut and we have this one selected by default, it's going to make a new selection each time. So if I select that area, or if I just select the beating, for example, right around the Beanie, it does a pretty good job, so we can use this by itself or in conjunction with other selection techniques to adjust the edge. But it helps us guide photo shop when we're trying to select something pretty quickly. And it's another option here in our quick selection tools, including the Magic Wand Tool, the quick selection tool that we actually click and drag an area or the object selection tool. Now, instead of the default rectangle, appear the rectangular marquis Look here. We can also get a lasso tool so I will press control or command plus and then press space bar to click and drag, and we'll see. We need to adjust this a little bit so I could use another tool. Or I could just keep using this same object selection tool So I'm going to press shift on the keyboard and click and drag, and I'm just going to tell photo shop actually want all this to be included in there? It does a pretty good job. And if you're having trouble with it like this, what we can do is just switch over to the regular lasso tool, all right, because the other ones using an algorithm and trying to figure out. So if we want to really manage it a little bit more manually when we're telling finish up where to select, we do need to switch to one of those other ones. But that does a pretty good job. And from here, of course, we can press control of command J to duplicate on a new layer. But then we wouldn't have ah mask. I do suggest using a mask instead, so just click right here at layer mask and the mask everything out. And then we can still adjust the edge right? So we can paint white in on that mask and it will bring it in. And, of course, press controller Come in, Z done. Do we can paint black in and it will adjust the edge. I'm just over doing to show the concept, all right, So if I want to get rid of that mask, can I can shift click in that will deactivate it. I can also click it or option click it to, ah, show the mask and black and white. Or we can click and drag it to the trash can and hit, delete and get rid of that mask. Now this could be used in conjunction with Selected Mask as well, so I can press selected mash right away. Or I could make a selection first. Let's remember to go back up to rectangle and click and drag around the subject and from here once I made these adjustments down there, so that has a little bit better selection. We would press selected mask and then it opens up this menu. Now we don't have to do that first. What we can do is just click, select, mess up here or and notice have a selection tool. That's why that options there, or we can go to select and then select a mask or all control are on the PC or option Command are on the Mac and in here We also have the object selection tool right here in our selected mask menu. So and I just click and drag around the subject, I'll tell Photo Shop to select that area, and again we can zoom in and adjust as needed. So down here, for example, we could use some of the other selection tools to really refine the edge there, make a selection and adjust the edge of our selection and someone. So all these options up at the top, we have auto enhance that just automatically enhances the selection edge. Depending on your computer, the processing power of your computer. It might slow it down, but you could try that. Ah, and samples all layers that just samples all the colors of all the layers, as if it's, ah, you know, flattened image like a composite image by default. It shouldn't be checked because we're just dealing with one layer here, and we just wanna make the selection relevant to that specific layer. But by default, the objects of track should be so checked there, And what does that mean? Well, I'll show you this example. Let's just say we wanted Teoh select these carrots here so I make the selection with the object selection tool does a pretty good job not quite on the edge there, though, So we could adjust it, Of course, if needed. And I can press shift and select more areas will say I wanted to on Lee select This sushi here does a pretty good job. So it's figuring out the edge of all that sushi and the character. Ah, again, if we wanted to subtract from what we would press Ault and click and drag around around it and it doesn't quite get rid of all of it There you can see there. Ah, so again we can use the regular market jewel in conjunction with this. All right, so now we have the sushi. You know, we could Adam asked if we wanted, but objects subtract. What that means is, if I select these carrots here and I then press all or option and I click and drag in the middle, let me unchecked. At first. Let's just say it's turned off. If I all in click and drag, all it does is subtract from that selection in the middle by defaulted is checked, and what that does is it figures out this negative space here, so I'll show you what I mean with it unchecked. All it did was add a square or rectangle in the middle, right, if I don't click and drag. But if that's selected and I click and drag, remember the press all or option and I just go around this area here. It figures out that oh, you want to actually subtract this area here from the selection. All right, so that's the difference. Alright, it finds and automatically subtracts an object inside a defined region. So Adobe used this coffee cup hand or this mug handle here as the example. Ah, but this is well, hopefully illustrates the concept of what objects subtract. Option is so again if I said it to rectangle appear and click and drag around these carrots and I have to be pretty accurate. If I have objects, subtract un selected and our unchecked. So from there, if I use a the lasso tool and I click and drag holding Ault, then I can take that area there and pop it out of there Now if I didn't have that, select it there as far as the last so and it is rectangle again. It's not going to be very helpful because it just pops out a rectangle or square. So it's very important to have objects of track selected, then weaken just quickly. All her option click and drag and photo shop used that algorithm to figure out that were wanting to remove that negative space there from this selection. All right, so that is the object selection tool on the tools panel there, and hopefully this was informative, Thanks. 19. The Crop Tool: today I want to go over the crop tool. Dobie has really improved the crop tool over the years, and there's a lot more options available with the newest version of photo shop. So go ahead and open up an image and the crop tool is on toolbar. Of course, if you just press see, it will highlight it right there. And as soon as I select the crop tool, you'll see these, uh, kind of bounding corners Aziz Wells on the top, bottom in left and right. You can actually click and drag that, and that will begin to crop out. Um, the image All right. Uh, and it keeps everything center, whatever. You're cropping eso that's one way to crop is just clicking, dragging from the edge like so another way is to you just click and drag anywhere. Uh, and it will center your crop as soon as you let go. So click and drag let go, and that will crop it out. All right, So once we've made a crop pleasure say we were cropping this photo here. There's three ways to apply the crop so you can double click anywhere inside this area. You can press, enter or return on the keyboard, or you can click that check mark up on options palette. So if I go ahead and press enter, it will crop out and now has deleted those pixels around the edges so five press can't control commands. The that won't do that. One way to do a nondestructive crop is to de select the delete cropped pixels up at the top , because normally when you crop, it's gonna delete the pixels around the edges or anything that is not inside the crop. So if you d select delete cropped pixels. Now, if I click and drag like normal double click inside all right, it has not deleted that area around there. For example, if I hold control or command on the Mac and click the layer, it does the marching ants. But it's actually around the actual pixels, not just the canvas. The canvas is smaller, but the image is still there. So if I move that around with the move tool, you'll see the pixel is still there. If I say this is Jay Peg, of course, this is just going to stay. That's gonna be the image. What we see But the point is, it is Ah that the pixels are still there. If you save it is a pst a default Photoshopped file. It does not delete this pixels around the edges. All right, says nondestructive. Cropping some other things to consider is, uh, when you are doing a crop normally unconstrained soap of the top eso. If I click and drag the ratio from the which of height is whatever we said it too. All right. If I hold shift, it will be a perfect, uh, square. So if you're doing some Web design project and you need a navigation bar to be all squares or you're doing some kind of print design, I need a bunch of squares. Just hold, shift, click and drag, and then you have the right proportion. Now let's say you're doing a project and you need ah bunch of images to be the same exact size. Let's say you're doing a grid, say some thumbnails in a photo gallery. He needed them all to be 100 pixels by 100 pixels. Well, you could just hold shift, make sure it's square double click inside and then just resize under image. Image size and then 100 pixels each. The problem with that, I mean, that's a little bit tedious. But also what if you did a rectangle? Let's say three by four or ah, you know, 16 by nine ratio for a monitor, Um, or a video. You know, you might want a different kind of proportion. That's why we do a preset ratio up here. So up at the top, if you go up there and let's just do 100 p x and then 100 p x and then you can actually start cropping out area double click inside and now need a zoom in because I'm at 50% not 100% so it's a little smaller. But if I go to image in which size that will show us now it is 100 pixels by 100 pixels. Alright, when control z undo that. So that's a preset. Now, if you don't put the PX in there, I've had students at the University of Teach at, uh, they didn't put p X, and it just went two inches by default. Ended up having a huge file. All right, uh, so be sure that it is pixels and not inches. If you're doing high number like that, all right, we can clear that out. Um, just delete that out there. Besides unconstrained, you can also have a couple of presets in here 8.5 by 11 which is like a sheet of paper or a glossy photo, some photos or that size four by 6 16 by nine. There's some presets in there, and you can also save a custom preset as what? Now, you can also go to size and resolution in there and put specific with height and resolution and then save it as a crop preset. So it will be handy for later. If you have a specific preset, you one in there as well. If you go to rotate crop box, that just will. If I click and drag, it will rotate the box instead of just re sizing so I can actually rotate the image and we'll see the final result in here. All right, so if I double click inside there, it will actually crop it, all right? So besides all those options and there you can also the preview like, say, it just cropped this here, you'll notice by default. It's got the rule of thirds, which is a big time photography principal compositional principle. If you get a grid, it will just do grid there. Diagonal triangle, golden ratio, golden spiral. Uh, and you can tell it to not show overlay which it won't have any overlay, or it will auto show it. Meaning as you resize it will show it. Then it won't show it once you let go. Or you can say Always show every label. Always show it until we didn't do the crop. All right. You can also cycle through the overlay right here. So for press O on the keyboard, I mean, do you part of a crop here? All right. Oh, and it will cycle through it. Okay, that's just a short cut. Ah, And then you can also reset the settings here, and then if you want to cancel it, you compress escape. Or you can click that, uh, little symbol up at the top as well. That's the basics of cropping. One more thing to check out when you want to straighten that image, I have another tutorial where we did the measure tool. You are the ruler tool and then you can go to image image rotation arbitrary, and it would have the automatic, uh, angle that we need for it. Teoh level horizon, for example. But here's another way to do that with the crop tool while we're on the crop tool. One more thing. If you go to straighten up at the top and select that now, if I click in, drag a line out along an area, want to the straits of this horizon here, then I let go. It automatically straightens it all right now, I can just double click inside it. Crump's out, the edge is there, and we have a level horizon. That's one more useful tool for the crop tool. 20. The Perspective Crop Tool: and today I'm gonna show you their perspective. Crop tool, love. You may be familiar with the crop tool in the toolbar here, but if you click and hold on to and go toe perspective crop tool, you can actually change the perspective of the photo while cropping it. So go ahead and download one of the support files. And what you want to do is click on all four corners of what we would want. Teoh be our crop. So go ahead and click and let go in the top left clicking like going the bottom left bottom right click and then top right click, and now we have. This will be our cropped area, and before we apply it, you can click and drag the top or the side to change the width or height. Or you can hover over and change of perspective over the corners as well. Just click and drag the sides of the time. But once we have it, how adjusted where we have the continent or that we want. Go ahead and press, enter or double click inside there just like a normal crop, and what it does is it changes our perspective So we're looking straight at that area that we had in the crop. All right, so if it's a little bit compressed, especially horizontally or vertically, or if it's stretched out, what you can do is double click on the background layer and just click OK, or you can just click and drag the lock to the trash to make it a normal layer. Right now, with the move to a selected you can click show transform controls, Oregon Breast Control or Command T if you just click and drag the left or the right. If you hold all or option on the Mac, it will adjust both sides at the same time so you can adjust that you can also address the corner. If you old shift, it will maintain the same with the height, proportion, any compress, enter and with your normal crop tool. After that, you could actually bring in the edges gonna crop out the background area. All right, that's the basics. You can also use this not just on signs, but even let's say you took a panoramic shot and you wanted to change the angle. Uh, that it looks like we're looking at it so just again perspective, crop tool. And just make one area a little bit smaller left or the right hand side, Double click and then changes a little bit. Now you notice it. Just stretch it out a little bit if you don't have really high resolution file, uh, or if you just, uh, change it a little bit too much, stretch it out. But that that's one a good example. If you don't, if you have just a slight adjustment. So clicking air, click there and have almost the same width and height. But just so we'll be looking at it over as if we're standing over to the right, that changes the angle. All right, So you condone These are just three examples of files that I put links to under creative Commons. Uh, like so again, double click. And it just changes the perspective of the photo while we're cropping instead of just simply cropping 21. The Slice Tool: today. I want to go over the basics of the slice tool in the slice. Select tool. Uh, you can actually create a website with photo shop. Often times will use Dreamweaver in conjunction with Photoshopped, though. Ah, a lot of times, people like to just create the images and Photoshopped Brigham over into Dreamweaver. But this way, we're using the slice tool. You can actually do some of the programming already in photo shop, so go ahead and open up an image of a website that you want to, uh, create into a bunch of links. Image links. I just took a screenshot of the quicksilver corporate Web Web page. And so what you want to do is click and hold on to the crop tool that will bring out this little menu. Then you want to select this slice tool. So anywhere there would be an image that we I want to cut into its own image. That's an image link. We want to click and drag around. All right, I'll show you what I mean. So if I obviously this men's ah, clothing area, that's gonna be a link. Someone to click and drag around that promise vertical all the way across. Now, if I'd select another A, like so slick military like slow knows how these air not aligned. Really? The bottom part is on the line in a press controlled Z or command option. Is he on the Mac? I was gonna go back a bit. Won Best practice. I, uh, suggests doing is just click and drag around all that area. That's gonna be clickable now, has one Kerry like, So then you want Oh, draw another one right here. Knows how it turns into that era. That just means you can still, uh, adjust the size of it. But if you hold shift and click and drag, it will make a perfect square at first. But then you can just like, ghost shift that allow you to create another Kerry there. And then I'm just gonna click and drag this here. Click and drag this here. All right, so you know, we have 12345678 and so on. They have Photoshopped has numbered all these and each one of these would be a sliced image be its own image If we went to file safer web right now should have one, too. All the way up to nine are actually 10. All right, so this would be a image, but not a clickable image link image image. And these would all be in just here that are clickable. All right. Of course, that area we cut Oppa's well, but, uh, so once you have the slice tool, uh, and you have all this, your state. All of this was selected where delineated so that you had all these different slices that are gonna be clickable areas. You can click and hold on to the tool and just go the slice. Select tool. All right. Ah, and you can double click on one of these, and you can then put ah specific name in best practices or you don't want to. Space is in there. So you could do underscore but a name for it, and then a euro that's gonna 0.2. And so if you were pointing to an external web page, just say you're pointing to the quicksilver page. It would be http Colin four slash four slash during a dot quick silver dot com like so, if you want to do that in its own window there in a new window. You could do underscore blank. If you're familiar. Dreamweaver. You know that. And then all tag is what it would read out if it were a browser that was reading out everything, Uh, all the images. So you could just put home laying or whatever you want to put. Then you just hit. Okay? All right. So you you could do that for every single area. That would be a clickable image eventually. All right. So when you have sliced like tool, you can double click on the area. Or you can just click this icon appear that I bring up the same slice options. All right. A couple things to consider. Uh, if I have this area selected here, notice how that mustard looking borders around the entire thing. He knows a little. I can't appear. Bring the front if I click that, that brings that up to the front. And now they're just going to select this as it's going to slice a set as one image rights . We don't want that. We can actually send backward one level, and that brings it down a little bit. Another level, and you notice. I bring all the way down to the bottom. Then we have all those, and that's what we want it to look like. All right, so these slices can be kind of stacked up in town, depending on how they're cut. But that's something you really don't need to worry about as long as you. If it looks right where they each have their number, then that's not a big deal. One other thing is, if you have an area and you click divide, you could tell it to divide it into sea. Um, evenly spaced rows or columns like So, like I just put two for each of these, and then it selects that and sizes it up into specific columns and rows. Usually it's not gonna be divided evenly like that, though, unless you doing some kind of grid. When you custom, uh, cut it up with a slice tool. Instead, notice that all these air blue and these ones that we've drawn out, But if you select sliced, like to have this one here, one, this is automatically created cause the way that we've drawn out these slices it on a photo shop automatically knows okay, Well, this is gonna be a slice, even though we didn't click and drag around it. So if you click promote, what that does is it promotes it from an automatic slice. Two as if you actually clicked and dragged around it to create, uh, the slice. All right. Ah, so if you have a rather it tells you promote an auto or layer slice to user slice. All right, so if you click permanent now, they're all blue, and you could arrange those up and down layer. Um, um, if we need to too. But we don't in this example. So that was an external link. But let's say we want to make one an internal link. All right, So if I click this sale right here, double click it, then you could actually, instead of http, which would be an external link. I could just make it go to Yemen and name it sail, and then we get a sales dot html and the target. I'm gonna leave that blank so it points stays in the same window. Ah, and then I'm gonna put weekly sales. Is the old tag right? Then you click. OK, and you would do the same thing for all these different ones. All right, So if I chose selections or or if it should surf right here, name that surf served at each team ill and target atomic it in a new window just for example. And surf close. OK, so once you're ready, all you'd have to do is gonna file and then save for web wafers to come up, all right? And then you can choose whichever format looks best. So if you have PNG, uh, some common ones, there's w BNP. Really? J peg gave just depending on most photos, you're gonna do JPEG, PNG, PNG, and gift can have transparency as well. Um, but once you hit save and you can click on any of these and decide what you want each one to be, you know, maybe some make a J peg some a GF whatever. Just hit save. And then what you want to do is make sure on format, it needs to be HTML and images. We don't want to save just the images or just the HTML. We're gonna save HTML and images. All right, then, go ahead and hit. I'll just put well the default would be index dot html right, like the home page. Then I'll just hit save, and then you can actually double click on the HTML file. You can see it right here is your son my desktop in a folder called Website. And then I didn't make any of these links. But if I hover over it over surf, you can see that it is a link and I click on it, says Page. Not found, because we have not created that Web page it so there's no surf dot html. All right, so I click on sale. Same thing, all right, So you would want to create a page for every single link the internal page that you linked to. All right, Eso. A lot of people will pull that up in the Dreamweaver and add a lot more coating to it. But that's the basics of how to create a Berkshire style Web page. Ah, and website in photo shop use in this life stool 22. The Eyedropper Tool and Color Sampler: do they want to go over the eyedropper tool as well as the color sampler tool? So the eyedropper tool is effective when you're creating and designed like a brochure or website or some kind of advertisement or new media, even like an app design, and you're creating an image for it, and you want to pull a hue a color out of a photo and maybe use it for some text for some shapes in conjunction with the photo. So what you want to do is go ahead and open up a photo and click on the eyedropper tool. Re compressed I on the keyboard. As you can see that the shortcut. And if you have the foreground color selected here on top, and if you just left click anywhere, it will change the foreground color to that color, right? So if I select the background color and click that and then I can just hover anywhere, say, get the blue out of there and click OK, then that changes the backer and color to whatever I was clicking on now. Shortcut, though to know, is that by default, of course, if I click anywhere, it will change the foreground color. But if you hold all on the PC or option on the Mac, then it will actually change the background color. So if you just click somewhere, that's the foreground color all or option. Click somewhere that will change the background color pretty quickly, and you can see both of them changed right there. Now, when you're sampling by default, if you look up at the top, you'll see point sample. What that means is where you're clicking that specific one pixel is what you're sampling. All right, if you want. If you have an area that you just want company average oven area, you can choose some of those other ones. Three about 35 5 11 11 all the way up to 101 by 101 average. What that will do is it will average out all the hues in that area, all the colors and just get on average over there and set the foreground of the back of color to that, uh, color. All right. And of course, you can click in any of these, and you can add it to a swatch. If you want to use it later or you can write down the RGB levels. The red, green, blue or there seemed like a to use them in some kind of color scheme. All right now, you can also another option to be familiar, whether the sample by default usually have it just set to current layer. But you can also sample from the current layer. And below were all layers, all heirs with no adjustments added or the current one, and blow with no adjustments to the any of the below layers. I just have one layer right here by default is just a JPEG photo. Um, it s not as relevant, but it's something to be familiar with. And another thing to be familiar with is what's the show sampling ring. Ah, effect. Click and drag around here. You'll noticed that top area is the new color. The foreground color will be set to, and then the bottom curve kind of the U shape is the current sample. All right, so that would be slightly different. And that be very differently, depending on where, uh, we end up clicking. All right, now, when you're sampling with the eyedropper tool, if you hold on to shift, it turns it into this other tool, which is the or you can just selected here. The color sampler tool. All right, so what that does the color sample tool? It's a little bit different if you just click, click, click and click. You could do up to four samples. What that does it pulls out the info tab here, and we have number one. Number two, number three, number four wherever the area that the pixel right below it. That's the RGB levels for those areas, all right. And we can move. Uh, this is a normal layer. I can move it around and it actually changes. You can see there the levels, because now it's on top of a different pixel are in order to move those around. If you hover right over, it turns into that new symbol. There you can move him around, all right. And if you hold down all and just hover right over attention, that scissor symbol, then that would delete them. Ah, and then you can click and drag new ones out because it will only allow for color samples at the same time. If you have the eyedropper tool selected, then you can't uh, really. You know, select them until you hold down control command, Then you can move him around. So that's the color sample er tool as well as the eyedropper tool. It could be pretty effective when you want Teoh. Just use a color that's in a photo in some kind of design. 23. The Ruler, Note, and Count Tools: I didn't want to go over the basics of three tools. In photo shop is the ruler tool, the note tool and the count tool. So go ahead and open up a photo in voter shop and we'll need the rulers up at the top here , and you can use the ruler tool without this. But it will help to explain a couple things, So go ahead and go to view and then rulers and make sure it's checked where you compress control are on the PC or command are on the Mac, and you'll see that it's measuring from the top left hand corner by default. Zoom in a little bit, so it's using the unit increment that you have under your preferences and photo shop, and it starts right here. You can move that if you want. If you click and drag that down now, it starts right here vertically, horizontally, and you can double click over here and we'll reset it to the default, which is the top left hand corner. All right, so did let's get started with these three tools. Go ahead and click and hold on to the eyedropper. Tool should pull out this little menu and then just click on the ruler tool. All right, so you see upon the Options Bar, there's all these numbers, but they're all zero right now. We haven't drawn anything yet. We haven't made a measurement yet, so just click and drag somewhere in your photo and you'll notice now this is all filled out with numbers, most of it. So what are these numbers? Will X is the horizontal distance from the starting point of the ruler. So right now it's by default right here. So that's 100 54 over. All right, why is the vertical distance between the starting point of our measurement that we did? And the beginning of our ruler W is a horizontal distance of our measurement. And then h is the vertical distance. So that's different in the London length, which is l wanna showing. I mean so if I click and drag up and hold shift now, you'll see that it's exactly the same. The whip, the W in the H. All right where that's because we're keeping in a perfect 45 degree angle. If I click and drag up, it's 90 degrees her 35 1 80 Negative 1 35 Negative. 90 negative 45 then zero. That's if I hold shift. If I don't hold shift, it won't be those perfect intervals of 45 degrees. But it's the same because it's the same exact distance from our starting point to the endpoint as faras, vertically and horizontally, right? So if I start really close to the edge here and tough of a corner, does thes air really small numerals? That's cause I'm really close to the edge again. This is the distance from our starting point to the beginning of the ruler is what X and y is all right. So if I hold shift and I just click and drag to the right knows the H zero, that's because it has no height. It's not vertical. There's no vertical distance between the starting point. The ending point. Same thing if I clicked and dragged up now w zero because there's no distance horizontally between our starting point. Our ending point a is the angle and l one is the actual the length of our lines. So no length of Line one is 1000 attorney. 1.37 for this one knows that l two, there's nothing showing up. That's because we haven't dropped for a second line. You keep clicking and dragging, and it just keeps in the same measurement turnover. That's because we need to hold down Ault to create a 2nd 1 So if you were doing some architectural application and you wanted to figure out an angle of something or even engineering, if you hold down all and hover over the endpoint of our first line, it changes the cursor there and then click and drag it. And now we have an angle. We don't have a W N H, but we do have an L two second line. So this is the length of the first line. This is the length of second line, the measurement scale. You can customize your scale. So if you're a lot of scientists and engineers might use this in photo shop, too. Let's say they have a photo of something in geology, astronomy er or something where they know the distance and they want to make a scale word they could say, Okay, Ah, 100 pixels equals four yards or whatever it would be, and then they could set that, um, you could go to image analysis, set measurement scale and got a custom. I'm not gonna go over. That's a little bit more advanced, but just to be, you know that that's a use that a lot of photographers grabbed his energy. I'm not going to use that very often. That's more of a scientific application. But one thing I do want to cover, though you can click clear, and it will just clear the line or two that you've drawn not really aligned, but measurement you can. Also, if you have a landscape photo like this, you can click and drag along the horizon. If it has a crooked horizon like this, one does, and then you can actually click straightened layer instead of having to go to image image rotation arbitrary and being in their clockwise 2.15 It's already in there. Basically what that is is it's going to rotate this photo so that this measurement we've drawn out is level at 90 degrees. So instead of having to go to that, we can actually just click straightened layer. It strains it now we can crop. Of course, we can also straighten an image with the crop tool. That's a different tutorial on you can crop that out. Or you can just make a selection of the corner where those empty pixels are and go toe edit Phil. Then content Aware and Photoshopped will try to figure out what should be in there that the basics of the ruler tool. If you click and hold on to that same group of tools and go to the note tool. This is if a couple people were working on an image in architecture, maybe in photography, different applications where they would need to send notes to each other or you want to send us for yourself, you can just click somewhere and then type in some stuff like this is where will put the water slide or whatever you know, you can click that click there, click later. Click There. You can add content for all these notes, and it opens up the notes panel by default over here, and you can see five out of five. You can scroll through them with these arrows so you can click the era to collapse that in . You can also click it over here. It will bring it back out. So they're clicking here. Are clicking there will bring up the notes panel you. Can it clear all of you on Delete the notes. You can also customize the color. And if it's more than one person using the image file, you can also indicate author. And that way people would know who wrote each note. You can also use the move tool and click these notes, move him around and then add content, of course, and some having to cycle. Do them with the arrows. Just make sure you're clicking on the note and not actual image. And finally, the Count tool is if you were working on a photo and he needed to number, say, diagram or some kind of illustration and instead of him to use the type tool. This is a lot fasters, and I had to add a bunch of text layers. You can just select the count tool and just clicking. Let go and you can number things and let me make this larger. You can see the numbers so you can also add a key where you'd say what? 123456789 10. Whatever that is, they are, uh, over here. You can see that you can change the color of the counters. You can also change the market size if you can type something in, or you can just click and drag right there, and it will adjust that the markers just a little dots right next to the numbers. And you can also change the label size, which is the actual character size you can it clear to delete. And, uh, you can also create groups if you click Count Group four and you can cycle through these groups and talk of the visibility of them with the eye icon. All right, so that's the basics of the ruler Tool, The note Tool on account tool. 24. The Healing Brush Tool and Spot Healing Brush Tool: today, I'm going to go over to tools that can be helpful in portrait photography. You could use them in landscape photography, other situations like that. But really, it's the most relevant application of these two tools. Deals with portrait photography that is the spot healing brush tool and the healing brush tool. So go ahead and open up a portrait. And, ah, probably preferably one that has. Maybe person has some blemishes or a mole or a freckle that you just want to remove. Maybe they want you to remove it from the portrait. And, uh, one option to do that is the spot healing brush tool. So if you press J on the keyboard, or if you click and hold on to this group, you can see the flat menu. But the very top one should be spot healing brush tool. There's a couple options up at the top, of course, the size, the hardness and softness and things like that, but also normal. Replace multiply screen. These are different. Normally, there's our layer blending modes. Most of them you can experiment with different ones, but normal is going to be the best one. If you're just trying to cover something up and use the area around it to cover that up. Now a couple different options here proximity match is gonna look and everything in the proximity. That's when we don't remember it all the pixels and try to figure out what Pixar should be inside. All right, So if I just clicking, let go because it just called the spot healing brush tool. That's really what's meant for just a spot. Areas touch him up. That works pretty well. If you try to create texture, it will add a sort of a texture and truly meant for areas that already have a texture. But if I just click and let go here, if you look very closely, there is a slight texture there. Sweet. In this context, we probably would not use that one. Ah, content aware work works a little bit, um, in a similar fashion proximity match. But it works just like the content aware fill, for example, but only in this selected area. So if I just click and let go, it's going to use content aware and look at the area and filling those pixels so it blends in. And that's a pretty good result. I think if you do sample all layers that just if you have more than one layers, that will sample all of them rather than only the current one. So that is the spot healing brush tool. Now the healing brush tool. Me undo those edits that we did now. The healing brush tool. If you click and hold on the spot healing brush tool and go to the healing ritual, it works a little bit differently. I'm gonna press the right bracket to make the rush little bit larger, and instead of just clicking, let go. You have to sample a source area first. Kind of like the clone stamp tool, but it's a little bit different from the constant tool because of the clone stamp tool. If I all or option, click somewhere and then I click somewhere else, it's going to sample from that at that same angle and actually take those pixels with a soft edge. If we have a soft edged brush and place him over here with the human brush tool, it's a little bit different because it doesn't just take those pixels and bring him over with a soft border It also takes into consideration the area around it and tries to make it blend in a little bit more. All right, so if I just click and drag right there, that's a pretty good result. It pulled from over here, you said little cross icon, and it placed him in that circle and then blended it in a little bit. We could do the same thing here if I don't click, maybe right here and then click and drag a little bit there. That works pretty well. A couple options up of the top sampled is gonna be your default If you do pattern. That's just if you you don't need to do a source area, um, you can just paint in and it will use that pattern. And Phil Ah, the area and then blended in with the color. Ah, and then aligned is just going to be Is it going to be aligned with your first time that we draw it out? Or is it going to reset every time we start a new uh, clicking and dragging all right, and again, the current layer you can also sample, uh, the current layer below or all layers is another option in the healing brush tool 25. The Patch Tool: today, I'm gonna go over the patch tool. It could be a pretty effective tool when you want to take a large group of pixels and move them to somewhere else to pull from so that you're taking a large area of pixels and copying them over to another area instead of using, for example, the clone stamp tool to take a little bit longer than the patch tool. When you're dealing with portrait photography touch ups, you could try the spot healing brush tool healing brush tool, even the clothes stained perpetual to an extent. But the pastoral really effective when you're selecting a large area pixels to modify. So go ahead and open up a photo. And then if you press J on the keyboard or just click and hold under the spot healing brush tool should pull out this fly out menu here. And then if you select the patch tool what this does by default up at the top, it should say normal and then source and then transparent should be unchecked. That's what this does is if I just click and drag around this area here. This umbrella. If I just want to have sand there and you can use any of the selection tools you can use the polygonal lasso tool. You can use some of the shape selection tools you can use the quick sexual any of those. And once you've made a selection, just select the patch tool again. But if use the past to reflect, just gonna act just like the last tool. So once you have a selection here, I'm gonna click and drag this on to an area. I want Teoh, uh, pull from all right. And you notice I've made a to larger selection on the one side because it's going off the edge. What? You can do it. Cancel their Is these tools up here Upper left hand corner. There's add to selection subject from the selection in her second with selection there, there are keyboard shortcuts. If I hold down all that subtracting from the selection so I can just click and drag make this little skin your selection so it will fit there if I hold down shift and it would add to the selection. All right, so now that I get that ah, you can click and drag it over like so it's gonna pull from here onto here. All right, So it pulled the pixels from our destination area back onto the source area, and it tries Teoh kind of feather or, uh, blur the edges a little bit. It's more subtle, and you can do this multiple times, so you have an area right here. You wanna pull area from over here, it's gonna pull from this new ERI into the old area. All right, set worked it in this context. The opposite of that is, let's say you want to duplicate something. So if you have the patch tool selected and if you click and drag is a photo, a ticket work one day, Um, instead of source, click on destination. If you click and drag that over instead of pulling pixels from this new area back onto the original area, it's going to the opposite. It's going to take these pictures that we initially had selected and move them on to. The new area was kind of duplicating. It has a nice soft edge, so it blends in a little bit better. I have now. When you do that, Uh, the next option is transparent. What transparent is is it makes it blend in a little bit more with the original background . So if I have transparent selection and drag it over, say right here and let go, it's not gonna be completely pulled from here. It's gonna pull from here. But that's gonna blend in a little bit more of the background as well. All right, sets the transparent check mark. Use pattern. You could try, uh, when you do a selection. If you click used pattern, it's going toe. Use a pattern with the patch tool, but I haven't found it to be too useful. Maybe when you're doing digital art or some kind of special effect, it might be helpful, but I'm found too much use for, uh, the used pattern effect in this context. All right, so that's, um, the patch tool. Now that's under normal mode. If you go ahead and select content aware mode, this is a little bit different. When we're doing this, you know, you could do a normal content aware. Let's say I took the last tool and I just click around this little bush plant thing and then I go to edit Phil and then content aware for use the problem is it's so close to those trees there. It's gonna pull some of this treason and think it needs to be part of the new, uh, area. So what we can do with the patch tool content aware is we can take it and tell photo shop. Look, use this area to sample from instead of just the immediate area around this selection so you can pull it way over here, for example, even something like that, and it will pull it over and on. Adaption medium is kind of ah, middle ground. And again, I could do the skin here, drag that over there. Uh, if you do strict, very strict, it's going. Teoh, use a lot of the area that you're pulling, uh, with not much leeway. If you do very loose, it's going to you blend in a lot more, depending on your photo, some might be better for, uh, some photos might work better with very strict, very loose, depending on the area around that you're selecting. All right, so that's the patch tool can be pretty effective again. When you're want toe, select a big area and pull from another area to, uh, replace it, for example, this area right here, click and drag it over. It's gonna pull it over instead of just a straight copy with the blurred edge content. Aware Mode makes it blend in a lot more nicely. So now we don't have that streak a cloud there you just have a blue sky. So that's the patch tool we'll see next time. 26. The Content-Aware Move Tool: today I want to go over Ah specific tool called the content Aware Move tool. There's a little bit different from the move tool. When you use the move tool, you can just click and drag a layer around. It just moves the pixels, and that's pretty much it. You could make a selection than move it around at the move tool and just moves the pixels Pretty simple. Uh, the content aware move tool, however, is a little bit different. When you make a selection with that and move something over, it's gonna use an algorithm. Ah, same. The content aware algorithm. And it's gonna figure out, ah, using the area around the affected areas to try to make them blend in a little bit more. I'll show you what I mean. So if you have the content aware move tool selected, you have the usual selection options up here, like add to selection. Subject from you could do shift as a shortcut is your clicking, dragging or alter option. Um, and then there's overlap Now on mode. If you do move or extend, they do two different things. I'm gonna show you both Ah, effects on this photo we're gonna move the surfer over a little bit, and then we're gonna use the extend to make this the white water there a little bit larger . All right, adaption we can experiment with. But it's just gonna affect Ah, how strong the effect is, if that makes any sense of very strict up to very loose. I like to keep it on medium. Um, and you can see the difference. Like sometimes there's gonna be two definite oven edge. So you might need to change it over here, so there's a little bit more blending going on. All right, So for this example, go ahead and select the spot healing brush tools, click and hold onto it and then choose that 4th 1 down, content or removed tool. And I'm gonna click and drag around her. And I wanna leave a little bit of leeway around the subject so you don't want to go right along the edge. So what you want to use, just click and drag her over. And then there you go. Um, so it figured out for the shot. Figured out that this should be this kind of whitewater here, and this will smooth water there in blue water, and then she's blended in toe into the new area. Now that's the move. Are in the move mode. If we go to extend up at the top. Ah, what you can do with that is you could extend state buildings you could extend. Ah, you know, if you have a pet dog and you want to make the dog larger or any kind of effect where you want make make something larger or longer. With this example, you can, uh, we can make the wave a little larger than the white water. So if I just click and drag around it like so and then bring it up a little bit and then let go, it's going to try to blend it in there on the edge. They did a pretty good job. Let's may bring this down a little bit, make it more dramatic. And finally, let's take this up here like so All right, so I think that did a pretty good job. You could use this in conjunction with the couple other, uh, selection tools and tools like the clone stamp tool or the pastoral and things like that. If you touch up areas. But this content aware move tool can be effective when you just want to move something. But keep the original air in the new area more blended in. Or, if you just want, make something a little bit larger, like the white water on a wave. 27. The Red Eye Tool: today, we're gonna go over the red eye tool. So go ahead and download the support file. Or just open up a photo that has some red eye. Some cameras do better job at a boarding red eye than others, but it still might be a problem depending on the lighting conditions. So go ahead and open up that And if you click and hold on the spot healing brush tool should be a flat menu. Ah, and we can select the bottom one. The red eye tool. What this does is gonna zoom in here is gonna picks late a little bit because of smaller photo. But, um, if you look up at the top, there's 100% and then all the way down, the 1% that just controls the size of the people. Once we click in Ah, and then the dark and amount adjust how dark the people is. I'll show you what I mean. So you can click and drag around an area like that I found that's not as effective as just clicking and letting go. All right, I'm gonna actually work on a duplicated copy here. Do created layer. So press control or command J. First. If you want to work on it, duplicated layer that you can toggle the visibility afterwards and see the effect. So if you just clicking, let go and then click and let go. Uh, you'll notice that it gets rid of the red eye, and the pupils are a little bit larger than what we need. So what you can do is set that back down about 50% maybe the dark in amount back to about 50% as well. And then clicking. Let go, click on like go and click and like go in each of those areas And there we go. This is the before and then After that, I think that did a pretty good job. If you if I just press control all Z or be command Option Z on the Mac, you can see what this does. If any people's pupil size 100%. Well, just slightly larger pupil Utkan tell there also, if you darken amount, say 100%. It's a lot darker. Alright, it's very subtle. The difference is not that strong, but it is noticeable. So, uh, I would say start out at 50% and then see if you need to adjust it for the best effect. That's the red eye tool. It's pretty effective we'll see next time. 28. The Brush Tool: today, I'm gonna go over Photoshopped Brush Tool. This is a pretty extensive tool in a lot of different things, and it's also applicable to other tools. What I mean by that is when you're using masking or erasing or some of the other tools uses some of the presets and some of the brushes that are available that are also available under the brush tool. But there's some things to consider when using the brush tool, and I want to give you some examples on and explain some of the options we have one or brushing. So go ahead and open about photo or just go to file new, and you can choose some kind of preset, like Web 12 80 by 800 just so that we have some area to work with. And if you notice once you select the brush tool or press to be on the keyboard up in the options bar, there are, ah, a couple things. If you click this downer here next to this tiny brush icon at the number below it, the first numbers obviously just the size, and you can click that left and right, and you can move it by just clicking. Dragging over the word size come like a scrubby adjustment. Same thing with hardness. You go all the way to the right. It's gonna be hard edged. Brush all of it left. It's gonna be soft edged brush. There are some set rushes down here that you can check out. It might be by default. If you click this little options, I come here. Looks like a little gear. Uh, you might have it on small thumbnail. You can click that and go toe large thumbnail hover over them and see what they are. And these air different brushes that have different effects. The way uh, it affects the canvas. When you're brushing on there, they have some irritable tip ones. If you select one, those like pencils, well, there actually a road just like a normal pencil and have some different brushes that offer just a lot of different options. And, of course, some special effects brushes there. If you click the side here again, that little gear icon, you can also click and explore what all these are. Special effects brushes, wet media brushes, calligraphic brushes, drop shadow brush is a lot of different ones on there that you can go ahead and select, and it will open him up here and you can check him out. Eso if you don't like this previewed off you like. Okay, Well, that's nice. I I'm able to kind of see what the brush is, but what does it look like when you're drawing it without having driver here? What you can do instead of large thumbnail, you can just do stroke thumbnail. And now it shows you what exactly it looks like when you will draw with that. All right, so I'm gonna go back to a large thumb now, just so we can see which ones were using pledges. She's choose a default soft edged brush here, and you'll notice right here. You can see the edge of it if you don't see that, make sure you don't have caps. Lock on. If he had caps lock, it will turn into that pinpoint make sure capsule goes off, and then you can actually see the edges of the brush. We're talking about re sizing up here. You can also go left and right bracket on the keyboard and you can resize without him to click up there, So go ahead, just click and drag and will notice. We're just drawing some pain in, and it has a soft edge, and we're on the layer of the background layer so basic that replaced those pixels. If I wanted that on its own layer, what I would need to do is create a new layer first on the bottom of the layers panel, then click and drag paint something out, then use a move to, and then you can move it around and it's on its own layer. It's not on the same exact layer. Just replacing those pixels. It's on top of it. And then you could adjust the layer, blending mood and experiment with different settings. Now one tip when you are rushing like this, if you press the right, uh, mouse button and I believe it's, ah, control clicking with on the on the Mac. But on the PC. If you right click anyone the background, it brings up this menu to you just so you don't have to click up there. And, of course, you can just start painting and it won't show up anymore. If you hold on control. That toggles into the move tool. If you hold down space, of course, old it'll talking to the handle. If you hold down all, it will toggle Teoh the eyedropper tool. So let's say you wanted to pull some kind of color out of a photo. You can just hold down all instead of having to select it. Appear, click left, click and then you can let go of all and then just click and drag an. You'll be painting in the same Hugh that's there, and so you can paint all this whole area and it would blend in. Another thing to consider when you're with the old button, uh, would be the option on them on the Mac, but on the PC, it's all. And then, instead of just clicking, if you right, click and hold it and dragged to the left or the right, it will actually change the size. So you look up at the top there, and it is changing it in upper left hand corner. Just is if we clicked up there and drag the slider or we press left to right bracket, this is another quick way to change the diameter or the size of the brush it's all and then click and drag left or right, you can also Ault, hold on all and click and drag up and down. And that will change the hardness of the edge and some time to go up here. All right, so now has a hard edge. You can see right there. So that's the basics of this panel right here. Uh, and some basic brushing techniques. If you choose some of those other ones, go ahead. Experiment. You know, if you try this one and you can see the preview right here and especially if you had a tablet with pressure sensitive pen and you can click and drag and hold at different angles able previewed angle that you're painting it at. There's some on here, for example, this one and I'm gonna click right here. Or if you get a window than brush, Same thing. And if you have this selected right here, Taga live tipped brush preview. That's what this is up here. And you could make it a little bit larger. All right? And if I click and drag, it's not changing the angle right now because I don't have ah, a tablet that I'm currently using right now with the pen. If you had one, it would actually affect that when you were rushing left and right, and it would Ah, you know, you paint a different angles. All right, so I'm gonna turn that off and you can also close that out, covered in a second. You can also change the blending mood. Just like layer blending mood. You know, you can change if you difference. Click and drag. It was a different effect, just like if you drew that on a new layer and then change layer bunning mud there above the background layer. So the default, that's normal opacity. It just addressed the transparency. So if you have it down, it won't be as, oh, pay could be more transparent. And then pressure for rapacity. That's just using a pressure sensitive pen. And, uh, you can toggle that whether you want the brush presets to control or the pressure sensor. Pen flow is a little bit different from a pass. Idiots, not it. Ah, me show you. Here, do a new layer. He's gonna fill it with the blue. All right, so let's say she's a different brush here, So we get a hard edge brush and we have flow. Let's do it all the way down to 1%. If I click and drag, you can't always see hardly anything right? Eventually, you start to see it, all right. Just not flowing out of the tip of the pen where the brush, if you have it up to 60%. If you click and drag, you see a little bit of almost like a grading there. If you do 100 it's very difficult to get that effect. It's it's pretty much infill wherever we click and drag. All right, so that is flow. There's also a airbrushed style, but a perfect They're just gonna build a little bit differently if you have that selected. And just like we have always used pressure for rapacity over here. This is related to this. If you have a pen on tablet, this is related to the size. So if you're gonna use the pressure for size, you want toe klik that on. So instead of using some of the presets, so that's the basics of the brush tool. If you click this little icon right here, there's a lot more options and there's a couple things you can do, like size. Jeter. You can make the size just change, basically. Ah, just the minimum diameters of minimum size that those brushes would be. You can rotate them a little bit, so it'll it'll change rotation with the angle and then the roundness that can adjust that you can also scatter him a little bit and what's cool. It actually proves it down here. How much they're going to scatter. How many? Ah, you can adjust texture just so good. Just go and explore all those. I'm not gonna cover them all in this tutorial, but just to give an example. If you did, say huge Inter, that's going to change the actual color as you click and drag. So if you just click and drag here, so I clicking like clicking Lego, clicking the go notice. That only changes when I click. So if you make sure apply part IPASS selected and click and drag, then it will actually change, you know, without having to just click again. So let me bring the huge inter down a little bit so it's not as a wide variety of Hughes click and drag to get some analogies. Colors apply per tip. Nash is one Hugh. Click and drag, click and drag, Click and drag, click and drag. It says. If you want to create some abstract backgrounds, that's what that apply. Per tip is there for, Ah, brush tip shape. Well, this is some of the same stuff over there. You can quickly change the size here. You can change the angle, just like you can change it up here right there and the hardness and spacing and all those other options. So that's the basics of the brush to will. Be sure to check out the other tutorials on like pencil Tool the color replacement tool when you want to. Just replace certain hues of certain areas with specific Hugh and mixer brush tools. Pretty cool because you can actually take uh, Hughes on here and colors, and you treat your brush like an actual brush like you can adjust how much it mixes with other colors already on the palate, you can adjust. You know whether or not that brushes cleaned and just mixing the colors that are already there and how much paint is on the brush to begin with. And How does how far is it mixed with the other brushes? So it's pretty cool effect, so be sure to check out that as well. 29. The Pencil Tool: So you wanna go over the pencil tool in photo shop, So go ahead and open up a photo. Orders go to file new. Choose some kind of preset, so you have a large area to work with, Then click and hold onto the brush tool that'll pull out this left side menu and just select the pencil tool. If you notice up on the options bar view, click and you can see some of the same presets that we would have with the brush tool. But a couple are not here. Ah, that's because hardness You can set that down to 0% but it's still gonna have a definite just not gonna have that soft edge like we would have with the brush tool. So there's a couple different things to consider when you're creating content with the pencil tool. So go ahead and choose one of these, and you can select the size of of course up here, or you compress the left right bracket. Once we're out on the canvas and you'll notice up at the top, just like with the brush tool. If you click here will bring up the brush some of the same type of options are there. You can also get a win there than brush. That'll be the same thing. It's more advanced brush or pencil options. And as far as the mode, those are all just gonna look different depending on what you have. It said, as so, you can experiment with those. A pass ity is just gonna be how opaque it is or how transparent. So if I brought that down to say 45% and I click and drag, you can still see through it to the layer, all right, as opposed to 100% click and drag it 100% opaque. All right, next thing right here, using pressure for rapacity as well as pressure for size. Those air optional if you have a tablet with a pen. Ah, and you want to use pressure on that instead of the Meinel settings that we have auto erase . I'll show you the difference here, so that then I'll show you some different ways to use the pencil tool so we have the pencil total selected. I don't have other race selected. I'm gonna set a foreground color because whatever foreground color is that is what it's going to paint as so if I click and drag all right, pretty simple, and then click and drag over it. Obviously same color. There's my background color. I'm gonna change the background color or something bit different. So it stands apart now if I select auto erase. What that does is if I click and drag here. It's still gonna paint this light blue. But if I click and drag over again as long as that middle crosshairs over or foreground color that would just painted, it's going to actually painted the background color instead. And again, if I paint over again, it's gonna paint over the foreground color. So will be the foreground color. If I click anywhere except the foreground again, then I will paint the background color. All right, so I have auto race by default off. So if you go to the top here and see some of our available pencils that we can use, go ahead and select one of these that look like an actual pencil swarming over the rideable tip. Uh, option that we have. If you get a window and then brush and have irritable point irritable, flat, credible Triangle Road will square around. What that means is, as you draw, it will erode like an actual pencil. You can also come back here and hit sharpened tip, and that would sharpen the end of the pencil. So if you click and drag, it's going actually wear out and just have different angles and a different effect if we didn't have, as opposed to not having irritable tip. All right, so in click and drag over that, we can adjust the spacing hit, sharpened tip that'll sharpen it back up. But that's just one thing to consider. Of course, I can press the left and right bracket to resize. You know, it's a space saying I want to bring back a little bit and it has a specific look to it. A lot of these pencils do. If you look upon a Passage E there, if I bring that down to say 39% or so, and if I click and drag it is a little bit transparent, you can see through. But if I click and drag over again, it is gonna make it more opaque, click and drag over again, so we gradually become more opaque come on things to consider when you're using the pencil tool, you can, of course, resize up here. You can resize when you press left your right bracket on the keyboard, you press caps lock. If you don't see the edges of the pencil, make sure that's tumbled off. You can also hold down all on the PC or you'd hold down option on the Mac. But on the PC, hold down all and then right click, click and drag left and right, you can resize. And one more thing to consider if you just bring us a passing up 200 and I'm gonna set a different color here if I click here and hold and hold down shift. If I start toe move left and right, it will create a straight line. All right, I won't be able to go up and down again if I click and then begin hold down shift and then up and down. It will only go up and down, so it's a pretty quick wayto create straight lines. You can also click and then let go instead of clicking, dragging now, hold shift and then click hold shift, click, click, click So that fills in between the two places where you click. That's another way to bring in more pencil strokes onto canvas. It's not having a click and drag. You can just click one point, hold shift, click another and it will connect the two. All right, so that's the basics of the pencil totem Photoshopped. 30. The Color Replacement Tool: today. I want to go over the color replacement tool. This is when you wanted to replace color somewhere on the canvas in a specific a range of hues, so it could be a pretty useful tool s. So go ahead and open up a photo and click and hold on to the brush tool and go down to color replacement tool. You'll see up at the top. We have some size hardness, spacing angle settings. We do not have some of those custom brushes that we would if we had just selected the brush tool, for example. Ah, there's a couple settings up here. I'm gonna go through those as we click, right. So hue saturation co luminosity that's going to affect the campus in different ways. Ah, but this first wanna have selected sampling continuous. What that means is wherever I click and drag, it's going toe sample continuously as we click and drag, not just once, which is the second option. So go ahead and set your foreground color to some kind of you. If you click on on the bottom of the toolbar and I just have it just kind of a green color and if I just click and drag. You'll notice it's changing the hue of this entire area because it's sampling continuously , but it keeps some of that texture, so it's not just covering it up. It's keeping the underlying texture and content. It's just changing the almost like we just did a hue adjustment. Now, if I select that 2nd 1 where it says sampling once now I'm gonna make sure Teoh, whenever I click this middle, cross hair areas over the blue, so I click in drag. Now it is only using that original sampling area, which is the blue area. That's why now we have this nice delineation. So I let go of the mouse and we now have the skies, a different hue, but not the cliffs here in the foreground. So that's because it on Lee sampled once so similarly. If I just click here now, it's only gonna pliant to these cliffs or rocks, but not the background. I noticed I had tolerance at 41%. Let's just bump that up to 100% click and drag. Now it's coloring everything again because the tolerances way high, so let's bring it down to, say, 11% click and drag. Now it's doing most of this guy, but not all of the sky. So this is a little bit lighter than my original clicking area. There's a little bit darker, so that's tolerance. It it affects how many different areas are affected. It's gonna be It's going to depend on how close the hues are compared to our original clicking point. Uh, so this 3rd 1 here, sampling backgrounds Watch what that is is if you notice that my background color set to blue. If I click it and then just hover over some of the background Aiken sample one of these blue hues in sky and half a click and drag. It's on Lee going to effect within a range, depending on our tolerance. That blue area that kind of has the same effect as if we just did the single sampling. That said, if I change my background color to color in this range of the cliffs, make sure tolerance is kind of a mid range and NAFTA click and drag. Now it's only affecting the cliffs, not the background, because my background color is set to a cliff. One of the cliff colors so they have a pretty similar color range. It's not affecting over here, though. It's too dark. So if you had some kind of image and he wanted to replace that color, you could just have the background color to it. And then the foreground color would change with the foreground color. Obviously that you have set and just select that 3rd 1 I would say by default a lot times we're just going to do sample once. If you just have a specific range of colors you wanna want to replace, and then you just click in that area and it will replace it. Now if you see over here discontinuous, continuous find edges, remember these air from some of the other tools as well. Had discontinuous tress means it's not adjacent, meaning If you had an area over here that was blue. In addition to this area, if you had contiguous selected, that means it would Onley affect this area because it's all connected from our original clicking point, right? So if I clicked over that and then without letting go if I went down here, there was a blueberry wanted affected with contiguous. Now, if I had discontinuous selected. It would affect it because it doesn't matter if it's separated by this cliff. If there was a blue area down here, discontinuous just means it's It doesn't have to be adjacent or touching the original point . If that makes sense, find edges just affects those edges a little bit better. So if I If I click and drag that you know it's the edge there, let me try contiguous here without find edges. You can see the difference. Alright, this has just a slightly different edge than this over here. So I will step backward. Uh, where anyone over tolerance and an anti alias is just going to have more of a least. Look, if you don't select that if you have anti alias, just like with your text, it kind of has a ah softer edge to it. Ah, well, if you have that selected, I would say that's the default if you want kind of a softer it. Ah, right here where it says always use pressure for size. That's if you have a tablet with the pen. It's going over rise any kind of brush, preset settings. It's going to use the pressure instead All right, so that is the color replacement tool. It can be pretty useful when you have. Ah, Hugh, you want toe adjust in ah, photo. And you don't want to maybe have to select it. And then do image adjustments hue saturation and affected their Maybe just wanna paint on ah, color replacement that that tool is great for that effect. 31. The Mixer Brush Tool: today. I want to go over the mixer brush tool in Adobe Photo Shop a little bit different brush tool. It acts more like a real brush where you can mix colors together a lot easier and you can add more pain control how much paint is on the brush and how much it mixes with other colors. So go ahead and open up an image where you can just get a file new and you can choose some kind of presets, say from Web Ah 1024 by some 68 or 12 day by 100 whichever she was one of those presets and hit OK, it's just you have some very to work with. I just have an image here that resembles kind of an artist's palette, and I'm on a new layer. So what I would do is create new layer at the bottom of layers panel, so you have new layer toe. Add some color to and go ahead and select the mixer brush tool. If you click and hold on the brush tool and go down the mixer. Brush tool Leadsom color. So up at the top, you can see some of our default brushes. Just like as if we had the brush tool selected. I'm gonna choose this rush here, the round point stiff and over. On the size of that, about 100 point again, you compress left and right bracket to resize it, or you can resize it over here for color. I'm just going to select from swatches. You get a window that's watches and pull that out, have a blue selected and notice. There's some options here. You, if you hover over it, will tell you this will load the brush after each stroke, which means after you click and drag to paint, it will. It's almost like you're dipping the brush back into the paint toe. Load it again with more pain. And this is just cleaning the brush after a truck, meaning it's just unclean and any pain that you picked up from other colors on the canvas, we're gonna actually clean off the brush after we let go of the mouse, uh, over on dry, wet, moist, very wet these air presets. So if you go toe wet, you'll see here, since what to 50% load, which means how much paint is loaded on the Russia said to 50% and mix, meaning how much it will mix with other colors is set to 50%. Flows just like the flow setting in the brush tool. It's just how much pain is coming out. At what rate. Ah, and then there's airbrush buildup effects. You can toggle that and then sampling or layers means whenever you're painting is again a sample to mix with colors from other layers. Or is it going to sample only layer that were on? So have that unchecked? Because I wanted to just interact with the colors on the layer that we're on. And then if you have a table with a pen, you can toggle that on or off if you're going to use pressure for the size rather than the settings in the brush panel, so you can also, of course, click the brush panel here. If you get a window, then brush and it will bring out a bunch of different options we have. But I'm gonna just not really messed with that right now. I just have default settings. If you have some huge inter and things like that, I would go ahead and turn that off, and the brush panel should just be kind of the default. And let's just click and drag and just add some pain out here, all right, so that acts pretty much like the brush tool. To an extent, it is wet, though it's actually a bit differently once we get a say red and click and drag that over here. So we got two different Hughes now with the red still selected. If I click and drag over here, it's gonna mix with that. So you have to mixing with its interacting with the original blue and making more of our purple color. So I have these two UN selected, so is not loading the brush after each stroke and is not cleaning the brush after each stroke. So if I click and drag over here is still purple, it's almost like we have a real life brush that's been mixed up in these two Hughes, and now it's holding on to that purple. So if I press clean brush all right, it's gonna clean after each stroke. Or you can just talk that often, go down here and just go to clean brush. Either way, it's not I got clean brush, and if I click and drag over here, nothing happens, Right? I got actually click on top of somewhere, and now it's picking up some or Hugh from the canvas. That's the difference between this and, say, the brush tool. I can't just pick up colors off the canvas like I can with the mixer brush tool. So if you go and get a load brush, what that means is you're dipping the brush back into the color. All right, so let's just say let's change it to that color. Click it or agnostics this basic color. Uh, we had clean the brush after a trick. Let me click that now it's selected. If I said it to some kind of color, though, let's say and then goto low brush. Never click and drag. Once I click and drag in here. Now, there's nothing right. It's cleaning it all right. After I click him, Let go. Ah, the 1st 1 where it says Reload the brush, All right, so that'll act a little bit differently. I'll show you. So if I click and drag here, it's pretty bright. If I click and drag over here, it is interacting with it. And then if I click and drag over here, it still has. It is not cleaning it after each one, but it is loading it, so it's pulling it back toward that original. It's almost like I'm dipping it back into that this color, right? But it's still got some of that old pain on it from here, right? So that's what happens when we have load brush after it struck. What we don't have. Clean the brush after each drug so I could go to clean brush. Uncheck this. We're not loading it up, some just having a wet brush here that has no color on it. So if I click and drag here, nothing happens. But if I click and drag here, you can spread it around a little bit. And now I've got that on the brush that I could mix it with this so you can come up with new hues, and it really resembles I just a traditional brush, just like your painting in real life. So have fun. Be creative with that. That is the mixer brush tool 32. The Clone Stamp Tool: and today I'm gonna go over the clone stamp tool. It can be pretty useful when you want to bring pixels from one. Area the canvas to another, and it uses the brush so you can have a hard edged, brash and soft edged brush. So it's going to get started. Click on the clone stamp tool on the toolbar, and if you click the down era up on the Options barn, you can choose a soft edged brush, usually one of nice soft edge to it. So it's not as noticeable. If you have some kind of textured area here and you want to claim stand something, there's some brush settings, some modes that air basically the layer blending modes that will affect how it applies the pixels into the destination area. The opacity is just how transparent the effect is, and then there's some pressure settings Ah, and then also flow 100% down. Zero. That's the same thing with the brush tool now, and there's airbrush well, it'll have built up effects of your that checked. One important thing to look at is sampling currently that by default I would keep that on sample on the current layer. Unless there's some reason you want to sample all the various layers below the top, layer the layer that you're on. Otherwise, keep it on currently. Or what that means is when you sample or set the source area. You're only sampling from the current layer that you're on that you have highlighted in the layers panel. Right now it's your J peg, so we just have one layer anyway, a background layer. But that one is good to be familiar with and then also aligned by default. I would keep that checked because what that is, I'm gonna show you the difference here. So to start your source area, hold all on the PC or option on the Mac and you notice that changes the cursor here a little bit smaller circle, you just clicking, let go. And now when you have over here, it's telling me what it's going to bring it. It's gonna basically bring in these pixels right where we all clicked or option clicked. And if I bring him here, it's always gonna be level this amount of pixels away from it. If I bring it up here, it will be at that angle. Sure, What I mean by click and drag now I'm bringing in thes pixels looks pretty seamless because as a similar background, a little bit darker here, though, you notice as I clicked and dragged rate over here, use a little kind of across icon, and if I go back over here, you can see it over there. It's tell me where it's picking pixels up. So I clicked on Let Go putting ago. It is all aligned with the original, so if I all click right here, they don't click or just click over here. It's always going to be at that specific angle from where we first clicked. So if you all click or option, click here and click up here. Say it's 400 pixels up and 400 pixels over to the right. It's always going to be at that angle Now. If I uncheck aligned, I'm gonna hold or option click here. Alright, so I'll just start right here. Then I'll let go and then I'll click again. And now it's messed up a little bit. He noticed that and click over here it's resetting pulling from the same exact area. Why would you want to do that. Well, if you had a photo where you wanted to clone a bunch of stuff for duplicating a bunch of stuff from one area onto a couple of different areas on the canvas, then you would uncheck aligned by default. I have it aligned. I'm just gonna move back a little bit here because usually were wanting Teoh. Keep it a line from the original notice. Right here. It's a little bit darker around the pole. That's because the sand over here is a little bit darker than over here. So if I don't click over here, click and drag. I'll click here so the key is to sample often. Otherwise, you'll get repeating patterns so we can add different elements. Move different elements with the clone stamp tool. It's a pretty fun tool. Experiment with one shortcut to consider. If you hold control on the peace, your command on the Mac, it just turn to the move tool. It won't move this because we haven't locked background layer, but that could be helpful if you don't want to just click to move to up there. It's a short cut, but again, all click to set the source and then just click and drag to set the destination. So that's the close name tool. Thanks 33. The Pattern Stamp Tool: today, I want to go over the pattern stamp tool. If you click and hold onto the clone stamp tool, it will be the 2nd 1 on there in the flat menu. It's a little bit different from the clone stamp tool. It does have its uses when you want to create a pattern, for example, and you can buy this with specific brushes for unique effects. So go ahead to get started. Go ahead and go to file new and, uh, just create a space big enough for toe work in. So mine is gonna just be 16 80 by 1050 pixels. Click OK, and I'll just show you what it does. It does use brushes, so if I just use the default soft edged brush here, and I select a pattern, say these bubbles here and I just click and drag. It just repeats that pattern wherever I brush in, since have Ah, a soft edged brush has a soft edge to it Now. If you do normal, that's the default, and there's a bunch of different blending modes. They're exactly like the ones on the layers panel. Alright, different layer, blending moods. Ah, the opacity of course is just how transparent it is, how pick it is. Uh, and then this option relates to pressure with capacity in the next one, enabling airbrush style buildup effects. You can also addressed that in the brushes palette on, and then you can choose your actual pattern Here. Now Lined is pretty important if you hit a line. If you uncheck it whenever you click and drag a new pattern area, it's not going to be aligned with the original. So if I have a line selected, if I click and drag and then I let go and I click a dragon, it's going to be aligned with the original. The first time that we click and drag Impressionists just has kind of this Impressionist look to it, um, kind of blurry and hazy. Uh, look. So maybe for going a specific look kind of a more subtle background, but he can also just the pressure using pressure sizes as well. They're by default. That's gonna be off. So is that going to be office? Well, um, so that seems, you know, when would I use that? Well, maybe when you're doing a repeating background, but what's pretty cool just like you can create custom brushes. You can also create custom patterns. So I have a photo here. Go ahead and open up a photo and make it a little bit smaller. Some mine made about 400 pixels by 600 pixels. Ah, so go ahead and resize one selected all with the marquee selection tool. Just click and drag around it. Or do you, Controller? Ah, command a has selected home. And then what you want to do is go to edit and then define pattern and then name it. All right, so then when you go back to your other image here, I'm gonna fill this with white. So just start with a new kind of a blank canvas. Eso Now, when you choose the pattern stamp tool again, if you go to the top and select it, we have our new defined pattern there. And then if you click and drag in here, it will repeat that pattern. Whatever photo, it could be a drawing and illustration. Or like this. Just a photo. All right. What you can do and it gets pretty creative is instead of using the default, all right, the heads, its uses if you just want a simple repeating background, but you could use some other kind of more artistic brushes. And he conveyed the left on the right bracket. Teoh resize it. Of course, you could also resize it up here. And then if I click and drag in, it has a different gonna look to it, right, more of a jagged edge. And of course, it will repeat because this is a pattern, all right, so we can be pretty creative with not only creating custom patterns to use later, whether it be an illustration or a photo. You can also use custom brushes or preset rushes for specific look as well. So that's the pattern stamp tool. 34. The History Brush Tools and Panel: today I want to go over history panel and also our history brush tool and also that you have filling from history. So the history panel is pretty effective and useful to save time rather than just going to edit, undo all the time or edit step backward multiple times. Eso When you're working on a file on voter shop and you mess up, you know a lot of us just go toe ed, undo or control or command Z, and that's pretty quick. But if you need to go back a couple steps, it's actually better to use the history panel. So go ahead and open up a photo in photo shop and I'll show you basically how this works. So I have a history panel open if you don't have it, just got a window and then history, and we just have the background layer by default in layers panel. I'm gonna click to create a new transparently er, and I'm going to use the brush tool and just paint some color in here M and a creed New layer again and paints amore color in. I'm gonna move that layer and you'll see right here we have all our steps. We just did for most recent to the oldest. All right, so if I click back, you actually goes back in time and it takes our steps backward, all right. And you can also delete steps you can click and drag him to the trash can. You can also create a new document from a certain state. So say you had a state like this and you just clicked right there. That would create a new document that you could then continue to work on the original one. You can also create a snapshot. So what that is is I'll just click it here and you'll notice up at the top. We have a default snapshot of just the original image, and then we have another one, which is our current state. So if I did, a couple more things will say creating another layer. I'm just trying to keep this simple for the example creating two new layers brushing a little bit more on. Um Now, go back to that other snapshot and it goes back to where we were for that snapshot one. Or I could click the original image. Then it goes all the way back to the original. If I create a new layer now, it's gonna start over. As you can see in the history panel, that's the basics of the history panel. It's pretty useful when you want to undo certain tasks or commands and photo shop or save various states of a document. Another way. Teoh edit a document using history commands is filling with history. So if I click this snapshot up here, you'll see that's the original image. If I click back here, this is where we're at now. Now, if I just click the side of the original image, it just sets the source for the history brush. But now, if I select an area, all right, and then I go to edit Phil and then history right there instead of foreground color just said its history. Click OK, now you'll notice. This area that was selected is filled with the state in the history that we had selected, which is right here the original image arse. That's one way to bring back pixels, right? Another way is to use the history, brush some, use another example here, I'm gonna go ahead and create a new layer on the layers panel and then I'm going to you. We'll have a foreground color, sometimes compress all backspace on the PC or option delete on the Mac. And now you'll notice we have that brush right there to the left of the original image, which is fine. Now you click in on the history brushed war, you compress. Why on the keyboard and I'm going soft edged brush here, all right. And if you don't see the size your brush, just make sure you don't have caps lock on, so have it often than you can see the edge. Your brush. If I just click and drag, then it brings through wherever I have selected in the history panel. So for this example, it's pretty simple. It's just the original image. So that's the history brush toe, um, selectively painting back to a current state that ah, or a previous state of the image that I have selected. She could have 100 steps in here, and you could select one of the areas and paint back from a previous state. Also, by the way, you can goto edit and then preferences and then performance on the PC or just click on voter shop up in the top left hand corner and they go to preferences on the Mac and right here by default. It has 50 history, states. You can bring that up, click and drag right here. Or type it in or click the slider. You could bring it up 2000 but I don't really see a use for that many. Ah, usually, I mean, 50 is good is depends on how many steps you're taking in your photo editing. So that's the basics of the history brush tool. Now, the art history brush tools a little bit different, so I'm gonna actually click and drag the steps to the trash can. So we go back two original image here. I'm gonna create a new layer. I'm gonna press all backspace again. Now, of course, I could've just went back and selected a previous state and started from there, right, So I can click back and create new learn. It replaces that step. But I just wanted to go through the steps again. Instead of bringing back pixels with history brush, tool, click and hold on to that tool in the toolbar and go to the art history brush tool. So what this does if you notice on the history brush tool? There are a couple settings like modes, same kind of thing. We get in the layer, blending modes. And, of course, you have the brush settings that you have with any tool that uses the brush and some pressure settings. If you're using a tablet and a pen and then flow and opacity, of course, how transparent it is. You have the same settings in the art history brush tool, except we have a couple more things over here we have style, which is these different painting styles, and then an area, which is the area that's gonna be affected, uh, with bringing some painting effects in. And then tolerance is basically, if you have it all the way down to 0% it's gonna paint everywhere where we click and drag. If you bring it up 200%. It's only going to paint areas that are a lot different from the source painting from if we have the art history brush tool selected here, and I'm gonna bring the size up about 100 pixels or so for this example and if I just click and drag sideways, had it on 200 pixels. Now I'm just gonna make it five pixels. You can go up to 500 which is the max, so it's a little bit larger, see, So if I click and drag around here, it's bringing. In this effect. It has kind of a paint hand painted look. If that's what you're going for, that's fine. But it doesn't look that great right now. One technique I like to do is experiment with this area here, bring it a little bit smaller and then also bring your brush smaller as well. So if I, the left bracket makes the brush smaller left bracket again, you'll notice that goes down to 70 over there and then left bracket again. It's down to 50 40. You get more detail because you have more things being painted in and you can. You can experiment the different types of brushstrokes there will left all the way until you get to but 10 pixels just to keep that painterly look. And then it's just gradually more abstract on the outside. So one example would be this one notice. I have all these layers in all these states. I'm gonna go back in history, just go to this new layer. So I went back to the new layer step and impress all backspace. I'm gonna do the same thing with this one. So I'm going to use the art history breast Roman have it at 0%. So I'm painting everywhere that I am clicking, and I'm going to start with a larger brush and just click and drag out here for kind of ah , abstract. Look, it's just sampling from the source material painting that in. And now I'm gonna go left bracket as I come into the middle a little bit where I want the focal point to be left bracket again. I'm done about 100 size brush left bracket again and I'm done about 45. I'm not about 15 all right, for a lot more detail and about seven, All right, so it does kind of look cool. If you're looking for that painterly effect, you could do that everywhere. What I've done is a gradual, large, hazy paint look to a more refined and more differentiated paint. Look here, but you could really paint that all over the place. Me? If you wanted to spread it around, you could do that as well. I don't think most of time we're gonna be using art history. Brush tool. Unless you want to go for that painterly look. Otherwise, it is useful. When you have a previous state that you want to paint from then the history brush tool is pretty effective. If you want to go to a previous state of a document, you can do that pretty easily with the history panel. 35. The Eraser, Magic Eraser, and Background Eraser Tools: today. I want to go over the eraser tools in Photoshop. Go ahead and open up an image, and if you press a key on the keyboard, it will select the eraser tool, or you can just click on it. You can also click and hold on to it on the toolbar, and we'll pull out this Sleiman you here. And there's a couple of the ones that called background Eraser Tool as well as magical research rules. Let's quickly go over these eraser Tool just does just that. It'll erase pixels, but if you have, for example, J Peg image, it's open and has just a background layer that's locked. It's not going. Teoh, erase the pixels is going to replace him with whatever the background color is until you drag that Locke to the trash or double click it to name it a normal layer. So sure you would it mean if I click and hold just changing it to whatever my backer and color selected at the bottom of the toolbar? All right, so what you have to do is double click that back on layer. Click OK, then you can erase. It will actually erases pixels eso they're transparent. All right, So when you're racing, you know, a lot of people prefer masking instead of racing because this nondestructive erasing you can bring back the pixels as opposed to racing where you can always undo. But, um, there are some instances where you might just want to quickly erase something. There are a couple options up at the top. And if you don't see these, just make sure you got tools and options selected under window. Um, these Air Racer Chul's use the brushes on the you know, he had the same options that you any tool that uses the brush. You have the hardness here, the size you compress left and right bracket as well on the keyboard, and it will resize. It's you don't resize it up here. You can also change the settings of the brushes. If you wanted Teoh problem. Not going to use that when we're just racing. Ah, where it says brush. If you select pencil, you can still change some of the settings, but ex more like the pencil tools instead of the brush. When you do block, you can't use these settings here like ah, you know, hard edge soft edges basically ah, block shape that you're erasing in. All right, so the default is brush. The opacity is if you said it lower, it's gonna only erase part of it so and bring it way low here. So see how there's a little bit still there when I'm a racing, this is only partially, almost like it's partially transparent. All right, so by default, that's 100%. Unless we didn't want to erase something. Ah, in the pixels. You can also, um, just the flow and you can see Let me bring it way down. If I click and drag, see how there's a little bit of, um, it's not flowing out. It's fast stuff. You click and drag with it. You can see there. It's a lot stronger effect, all right, so I will but back a couple steps and you can also Ah, I'll go over their race to history in the in the separate tutorial on the history panel. But, uh, that's a racing. I mean, it's pretty straightforward, and you can ah, of course, holds shift and just do 90 degree angle like so it's level. I should just say, a level you know, or if you go up and down, there's 90 degrees. But, um, wherever you start going left or right or up and down when you first click and drag holding shift, it will only stay at that angle. All right, So if you click and hold on to the A razor tool, there's also background eraser tool. We'll go over that in a second. I want to go for the Magic Eraser tool. First, it's going to select that a couple options up of the top tolerance. If you set that to zero, it's on Lee going to race the exact Hugh that you click on if you said 200 just going to be very tolerant towards other Hughes, so it will include more in there in the eraser. Anti alias is just going to soften edge a little bit, and contiguous is it's basically adjacent, so if you click somewhere, it has to be touching that pixel somewhere. The original one. Ah to be erased. It has toe show what it means. So if I uncheck continuous talents of 32 by default for here, if I just click and let go, it just deleted or erased all these pixels here. All right, By under. If I check and take us and click it then on Lee erased these pixels here. It didn't erase these because they're not connected anywhere. Toe over here. This area. All right, So when you have continuous selected it on Lee deletes Ah, those connected pixels with Ian. Check it anywhere in the entire file. It will erase those. So if I click here erases all that green that's close to it. Let me set tolerance to, say 15 a little bit lower seeing it deleted a little bit less. I said it to about 50. Deletes a lot more. All right. And the capacity is just gonna be a stronger or not a strong effect if you just that sampling all layers is if you are on multiple layers, are on your on a layer and and and file that has multiple layers. If you sample all layers, it's gonna sample every layer in the stack as opposed to just the layer that you're on, Which is the default being unchecked. Finally, back on eraser tool. Uh, this has a couple options. It has the brush options, just like the other ones. Ah, but up here, if you hover over on their sampling continuous, which means it will sample continuously as opposed to just once, which is the 2nd 1 Alright. And just stick with that original sampling and then for the background swatch option. It's going to you just rest areas that are set or match your background color. All right, So, uh, for example, if I do this 1st 1 all right, Continuous. If I just click, I'm gonna press the right bracket, make a little larger, just click and drag. You'll see. It's constantly sampling so kind of messed up. All right, all right. So it's not as effective as opposed to. If I just sample once, stand a little bit better job. It's still messing up there. The tolerance problem needs to be addressed It here. All right, so bring that down a little bit now, tried again, and that's a lot better. All right, Now, under continue contiguous with discontinuous, it's going to erase this pixels. Ah, wherever they occur underneath the brush. Continuous, though, is gonna have to be connected. Ah, to the sampling area. And then finding edges is it's gonna erase those connected areas, but it's gonna do a little bit better. Job Ah, with the edges of certain areas. All right, So if you do continuous here, click and drag pretty much looks like the same effect, right? If you do discontinuous, it's erasing a lot more quickly because it's just erasing anywhere under the brush that matches that range of hue and find edges is good to use kind right along the edge. Here. All right, does a little bit better. Job. All right. Intolerance. We went over what that is already. But basically, if you have zero, her 1%. It's going Teoh. Be pretty close to the original seat barely erases anything. If you do 100 it's going to do a lot in a wide range of Hughes, uh, related to that are closer that original one and finally protect foreground color. What that does is if you set your foreground color, let's say we said it to you. This area here and it should protect that foreground color, depending on the tolerance. So it's probably set too high, of course. Here you bring it down a little bit. All right, so there's the three eraser tools again. Masking is preferred compared toa erasing. But if you just need to do some kind of quicker race effect and you're not worried about destructive erasing, as opposed to masking where it's a lot more nuanced, um, you can check those out and practice of them. 36. The Gradient Tool Part 1: do you want to go over the radiant tool and Adobe Photoshopped? And there's, Ah, a couple of the things we can do with this tool a lot of people might not know about. So let's go ahead and get started going. Open up a photo. Ah, in photo shop. And if you click on toolbar, you should see Grady int tool if you just press GM keyboard and should highlight it. If not, if you have the paint bucket tool selected, just clicking onto that should bring up the little Fly menu and then just click on Ingredient Tool As soon as we select that, you can look up in the options panel up here. A couple different options, Um, and you can click that down air here, and I'll give you some presets on If you hover over them. It will tell you what those defaults are like. Foreground. A background based on what that will do is whatever you have said is your foreground color . You click it and said it. That will be one end of it, and then your background color will be the other end. Then there's another one. The foreground color to transparency and so on. There's a couple more options appear we should go over, though, uh, the first ones kind of the default. Just a linear Grady int. So if you just click and drag had an angle, it will apply that Grady in. All right. So if I have, for example, let me just choose this 1st 1 foreground, a background blue to this white click and drag, then it just does that simple ingredient. And if I hold shift, click and drag, it will go at 45 degree angles. So can go completely left and right, or 90 degrees to the head up and down, or a 45 degree angle as well. All right, the second kind of a radio radiant. And so it just creates ingredient coming out from the center wherever you start clicking and dragging the other one angle grading. If you click and drag that out, it just kind of goes clockwise from where we click and drag and the other one is reflected Grady. And so if I click and drag with that, it's going to go in either direction from where we click and drag. So it's kind of like the linear Grady in, but instead of from blue to white, it's blue and then toe white on either side. And then, finally, the last one's a diamond grading click and drag that just creates a diamond under mode. If you click and experience with some of those, basically that what that is is if you noticed, as I've been applying these Grady in its replacing, what's here if I just haven't on normal. So if I click and drag, it covers up what's there. You could create a new layer on the layers panel and then click and drag and then change the layer blending mode to something over there for a different effect. Or you could adjust the opacity. But another way to do something similar is just change it up here. To begin with, you want to create a new layer. You just say, for example, uh, screen, and then click and drag. That just creates a different effect. Eso, usually going to create a new layer, create the grading on a new layer and then adjusted here instead of just doing it there with mode but different preferences. Ah, for rapacity. This is kind of like if we're changing the capacity of a top layer eso It's gonna be stronger if we have 100% and then 1% will not be a strong Obviously reverse just reverses the direction of the radiant. So if you have a linear ingredient instead of blue, the white, the white to blue, then dither is it does a smoother Grady int. So there's less banding and then finally, transparency. If you don't have that checked, let's say we had this one here from forgetting colored or transparent, and I untracked it. It would not, uh, do normal here. It would not do the transparent part, which is just a solid color in that case. All right, So if I click and drag and do keep transparency checked, then does maintain the transparency so that's the basics of the Grady int tool. And using some of the defaults here, you can go through and see some of those. All right, But you can also create a custom, Grady. Um, So how do you do that? Well, instead of clicking this down arrow, if you just click over it somewhere up in the top, um, then it pulls up the presets that we just saw. But it also has this area down here where we can create a custom one. All right, so you can start on one if you want user as kind of, ah, preset and you can adjust it. Ah, this area Pierre little arrows here. If you double click and nothing's gonna happen maybe saying, Well, how do I change the color? That's not the color that's actually the opacity. Alright, changing color. You have to click on these bottom ones here. So if you double click on this bottom stop here this color stop, you can choose a custom color, and then I can double click on the other one. You're kind of a compliment or color in a way. Um, and then we have a new radiant, All right. And if you click the top area, you can adjust it. Say you wanted this left side here, the blue side to be partly transparent. You could do that as well. Uh, this middle area, this little diamond on either side Delete that one. Uh, when you click just one of these stops say the color stop. This diamond shows up. That's at 50%. Just halfway if you move it toe left and I'll just have more of this hand side when you apply the Grady in. And if you bring to their right, you'll have more blue, all right, by default, it's in the middle. Then you have half and half you saw earlier when I clicked here. You can actually add another stop. So if I click here, you can add another stuff, you know, actually change it down here as well, or you could just double click on it and let's choose some kind of blue or some kind of green. And then you have even more complicated one not delete on stop. You can just click it and hit delete, all right? Or you can click and drag it off that grainy it. Just click and drag it down so we could created a couple in there as many as we needed, and also the midway point in each as well. All right, so that's creating a custom one. Once you had it, you could name it, So I just call it New Grady int and notice We have solid here, all right, and another to tour. I'm gonna show you how to do a noise. Grady Int. But in this one will just do solid smoothness. That's just have some of the great it's gonna be. So if we haven't hard percent by default, that's fine. Then you just click new, and then it adds it right here. So click OK, now we can actually use it. So if I click and drag, it obviously replaces the pixels there. Or you can do let's try, overlay, click and drag, then as kind of a hue, almost like a Hugh adjustment to its a little bit unique effect. All right or again, we could create a new layer said to normal, click and drag and then adjust the blending mood over here for a specific kind of look. Some of the presets, though you might want to check out if you go back, appear on the down arrow, these air, some default presets. But if you click this little gear here and then you've got color harmonies, metals, neutral density, photographic toning, special effects if you go to neutral density and this just means that you wanted to replace or pan if I had a pendant was at the bottom neutral density, the ingredient filter and photography is if you have a, uh, you know, landscape shot and it's over exposed in ah sky because you were metering for the foreground or the middle ground. That's not as bright, and that's properly exposed. But then the skies over expose. You could use a neutral density ingredient filter. Teoh darken the sky a little bit, so even out Wannabe is overexposed, so there's a couple defaults in there, So if you hover over, there's a neutral density nusra DNC 10 20 You know all the way up to 90 that he had back to back to transparent, neutral density light. So if you click on, the idea would be if you click here and then click down. If you old shift, it'll be perfectly level there, and then it would just cover and darken up the top a little bit. It be bred in practice to actually add a new layer and then click and drag it down, depending on a photo. But this makes it more customizable. You could adjust the blending mode here, or if he kept his normally thought it was too strong. You can just bring the capacity down a little bit of that layer that we just created, creating a new layer. I would say it's better practice than just using the address mint mode up here on the original layer. All right, but go ahead, experiment with all those different Grady INTs. It's pretty fun. Ah, effects you can do. And and then another one. I will show you how to create another kind of customizable Grady in which is a noise, Grady in. 37. The Gradient Tool Part 2: This is the second part. Part two of the Grady in Tool Photoshopped tutorial eso. Last time we went over the basics and then also how to create a custom Grady in, ah, let's created different kind of custom radiant. So go ahead and open up a photo when it maybe add Ingredient to is a layer on top of it in Photoshop and choose the grating tool. So again it's G on the keyboard, gorgeous clicking on the toolbar and just go up to the option panel. Just click right on top of it. Not the down era, but actually on top of the grading brings up the radiant editor. And instead of solid here, let's go and change it to noise. And what that does is it creates a different kind of radiant, more kind of a, uh, one of the lot more Hughes. Alright. Ah, and if you change roughness to 0% that's gonna be like your traditional Grady in that we've been creating. If you bump it upto 100% got a bunch of different hues in there by default. It's at 50%. I'm gonna keep it at that, all right? And there's some options on the side. If you do restrict colors, what that does is it tries to avoid the over saturation in certain areas. So if you check that will make sure that the user oversaturated. If you had transparency, it will randomly add transparency to parts of it as well. So I will get rid of the transparency. But I'm gonna keep restricted colors on. There's three color models that we can possible use, So the first is RGB red, green, blue, those of the channels of light on the screen, uh, one that isn't here seem like a that's not available, you know, science, magenta, yellow, black for traditional printing. But RGB is the other one that you often hear about probably red, green, blue. So that is, is if it's just take the red. Just bring it over here. The black hair over it brightens it up the red area for bringing over the green. Bring over the blue. It will just affect all of it. What range of color they all have. If you hit randomize, so just set this back to the default. You can click randomize until you see one that you like, do a bunch of different ones. And then if you don't like the red there, you can actually bring the bring the overall get darker where he can brighten it up so you can adjust the Hughes in all these different areas, brighten it up or make it darker just depending on which arrow you're sliding over. All right. The other one is h S B. So that is hue, saturation and brightness. So the hue is just that. I mean, you can click randomized here, Uh, you can tell it which he ranged to use. You can also make it more saturated. If you brought this all the way, the left, it would be like gray scale. All right. Bringing over the right. It's more saturated. And their brightness is just that you could make it a lot brighter or a lot darker. All right. And then lab Ellis for Lou Minutes. So how much light? So if we do it high, luminous over here, be pretty bright. And then the and beer just chromatic eso there. You know this kind of greenish to this pinkish red over here on, you can address the different ranges there as well, and then we have blue and yellow to experiment to connect randomize in any of these. All right, so if we do RGB and it randomize say we find one that we kind of like and we can still adjust it after the fact at a little bit more human it Once you have one that you like, you could just put it here. I'll just put abstract, radiant click New, and then it's ready for us to use their. So if I click, OK, create a new layer and just click and drag heads it on top and then you can change. You know, whatever blending mode you want for specific fix. All right, so you can use this and landscape. You can use this and portrait's, um, if I click it again. Ah, let's adjust this one. Let me try a different example made with not as many hues. So we'll try kind of orange ish one here. I think it pretty saturated. Bring this in a little bit more, and the ref nous I'm gonna bring it back over to the left, so there's not as many, uh, different delineations there, and I'll call this another noise. Grady int custom click New look, OK, same thing here creating a layer that in and then we can just do overlay or soft light. You can experiment with all the different layer blending modes if you want. And if it's too strong, you can bring the opacity down as well. One more thing to consider is when you have these Grady INTs here, if you click the down arrow and you click over the side. Last time we went over these, uh, default radiance, right. You can also go to load Grady INTs. You can download Grady INTs. You can save sets of Grady INTs. All right. And you can also, if you get reset Radiance. What that does is just click. OK, then, if you don't want to save changes that no, it just reads us it to the default up there. All right, so that's how to create Ah, little bit different kind of Grady and a noise. Grady in a custom one in photo shop for unique effect 38. The Paint Bucket Tool: today. I want to go over the paint bucket tool. Now, if you want to fill Jerson a layer like, say, I just have a layer on photo shop and it is just empty, and I would just want fill the entire area. Don't use the paint bucket told. Just select a foreground color and select a color and just press all backspace if you're on a PC or option, delete on a Mac, and that's a much better way to fill on entire area. Or, you know, on on a layer that's no content is on it, or if you even if there is content on it, you just want to fill that layer with Ah, Hugh, you can fill that layer with that foreign color if you have. If you want, fill the layer with whatever the background color is. He could just press control, backspace or command delete on the Mac, and that will do the same thing. But fill that layer that you're on with the background color instead of the foreigner color . That said, there might be some instances where you want to fill an area with a certain Hugh certain color with the paint bucket tool, and there's a couple settings that you can use up here. It makes a little bit different effect. So if you wanted to fill in area licious, say a circle appear that you should just do all backspace all right, that would just fill it a lot easier than the pain but a tool. Uh, however, if you just want to fill a certain area if you want to just fill a certain area in a photo and just adjust the tolerance so that it only fill certain areas related to that Hugh than you would want to use the paint bucket tool. So go ahead and open up a photo and photo shop. And once you select the paint mug a tool, just press G, and it will select the grading it tool and click and hold on to that, and then just select the paint bucket tool you'll see over here. You can fill with the foreground color upon the options bar, or you can feel the pattern. So what that does is if I just clicked here somewhere. Then it filled that area with a color. Now if I said it to pattern and you can set whichever pattern you want here, then you could fill it with the pattern by default should be on foreground color. There's a couple modes here that affect how it would how interacts with the pixels underneath it. Now you can also just do that over in the Blair blending mode. If you wanted Teoh, apply it to the entire area, Of course, opacity, of course, is just all the way to the left. It would be very transparent and then all the way to the right. Be completely opaque, it wouldn't be transplanted. All. And then tolerance is, if you have it set to zero, it's on Lee going to fill that pixel that you click on along with any other pixel, if it's touching it. If contiguous is selected, or if it's not selected any pixel in this area that's the same exact Hugh. If you click and drag it over a little bit, it's a little bit more tolerant, meaning it will include other colors. Other pixels that are related to that, you that you're clicking. If you press caps lock, you can be a lot more precise, or you can just have the default either way will total that. So if I click and let go, you'll notice it fills this area with the blue hue. I'm gonna undo that. I just said it. That's the tolerance of 39. I'll bump it over to about 118 or so. Click, and then it feels a lot more. Bring it over to about 15. Doesn't fill in as much now, so anti alias is it softens the edge, or it just makes edge a little bit less distinct or rough. If you have anti alias selected if you don't have it selected, the edges are a little bit rougher between the area that's filled in the area that's not filled, so I live it on my default. Continuous is just adjacent, so if I click here on Lee, this area was filled. Now, if I don't have continuous selected and click there again now, this area was filled, even though there's no pixels touching pixels that would be connected to the original clicking area. And then you see the last option here all layers. What that is if you hover over it, says Phil. Composite image need to bump up the taunts a lot in this example. But so if I click and I have two photos here, if I click here, I noticed that it also interacts with this layer below it. This photo that's in a separate layer now it doesn't fill that layer below it. It's samples from all the layers in the whole stack. When it's deciding what to film, what not to fill according to its current tolerance and continuous settings. That's the basics of the paint bucket tool. I think most the time you're gonna do all backspace. If you just want to fill a layer, it's just when you want to fill a certain area. There's the context that when we would use the paint bucket tool. 39. The Blur, Sharpen, and Smudge Tools: they want to go over the blur tool, the sharpened tool and the smudge tool. Thes air three tools over in the toolbar. If you don't see that, just got a window and then tools. So let's get ahead and get started. Go ahead and open up photo shop and open up an image that you like to show, sharpen or blur which everyone to dio uh, and these work a little bit differently. Then the other blur and sharpen. Ah, effects. You can more quickly apply an affected area and don't have to use the mask necessarily, which I'll cover in a in a separate tutorial. So go ahead and click the blur tool here and I'll zoom in a little bit. Press control or command, plus a zooms in. Let's get this detail here, and there's a couple options up on the options panel. Eso If you click this down, there's no presets. I have right now set, but ah, the brush. This is one of tools. It uses the brush. All right, so same brush options as a ziff, you're using the brush tool of the your eraser tool or masking, or any of that kind of stuff, Um, as well is there if you go to mode, there's a couple different modes. It's gonna apply the effect a little bit differently, and you can experiment with all those. But there's normal is the default, but dark and lighten, darken some of areas or lighten Ah, hue, saturation color, luminosity. They don't all have slightly different effects. Whether you you're using the Blur, the sharpen or the smudge tool, they have all of those in there. All right now, strength is just that. It's gonna be a stronger effect if you get 100%. It's not gonna be a strong effect if you got 1% and then sample all layers is it's gonna sample from all the layers. If you have, like 10 2030 40. Whatever many layers we have over here, it's going to sample all of those that area. When you first click, as opposed to my default leases, it's unchecked. It's only gonna sample the layer that I'm on in this. I just have one layer anyway, so it doesn't really matter. So if you do blur and I'm gonna press control J and that duplicates the layer so I can show the before and after, and I just click and drag here. It does take a second, and interest blurs a little bit. That area. All right, all right. So blurred a little bit. You can see there, and I pressed the icon. There's the before, and there's after. So why would you want to blur a photo? Well, if you want to do a simulated at the field effect, which I'd do in another tutorial where you want to blur the background a little bit, Ah, Or if you just want Teoh, make the back home or abstract. I'm not as noticeable as opposed to the middle ground of the foreground. Different context where you'd want to do that. Someone delete that top layer. I'm in a duplicate again, control or command J, and I'll show you the sharpened tool. I think this example on that hit the right bracket to make it larger. That had to go up there. Um, this example actually is a good candidate for sharpening. So if I click and drag over like so it's gonna sharpen it slightly. And if I hit the icon, there's the before and there's the after, so it is slightly sharpened, sharpened all right up here that options are the same, except when I select the sharpened tool we have protect detail. What that does is it just does that. It protects the detail that Trezza avoid pixelated in it And, um, really just those J peg artifacts that you sometimes get when you sharpen too much. If you want a stronger effect, just uncheck that, and it's going to really sharpen it. But it might overdo it a little bit if you click and drag. And I just didn't click and drag right here, added a little bit, almost like noise or grain. Here, you can see so there's before there's after. So there's a little bit of grain or noise I had protected toe un select un selected. That might happen either way, just depending on what your photos pixels are made up of. But this is, you know, up here. If I click and drag here, this would really good candidate, for I'm just lightly sharpening an area. If a photos really out of focus, I mean, it's not gonna help much. It's just right when it's just just not quite tech sharp on the sharpened tool can be pretty useful. So for the smudge tool, it's a little bit different from sharpen. And Blur, of course, has some of the same options compared to the other ones, but it has finger painting right here added. So if I don't have that selected and I just click and drag, it just smudges the pixels like so all right, so you can see it. I just clicked and dragged across the middle area. It's smudging it. It's kind of a larger file has taken a bit longer. Uh, if you don't have finger painting selected, it's going to sample the color where you first click for that smudging. If you do have finger painting selected, it's going to use the foreground color that you have selected on the bottom of the toolbar . Soc added a little bit of blue there for that finger painting effect. All right, so this is just to create a more artistic look, kind of a sweeping motion you want at almost like a motion blur, but not quite the same thing as the motion blur. Technique just kind of has a painterly effect, so that is the blur tool, the Sharper Tool and the smudge tool in a W photo shop 40. The Burn Tool and Dodge Tool: Tim ago over the burn and Dodge tools, thes air tools taken for the traditional dark room and, indeed, the digital dark room of photo shop. So go ahead and open up a photo where you want to emphasize maybe some of the highlighted areas or add some shadows to landscape somewhere that you want to add some burning dodge effects. The Dodge Will makes things lighter. Burn will make things slightly darker. I'll show you what I mean. So click and hold onto the Dodge Tool or press O on the keyboard, and we want to get to the burn tool on that fly out menu there. So Vince like that now, up at the top, we have some options. You have shadows, mid tones and highlights. So if you choose, mid tones will just be, ah, just that the mid tones will be affected and then shadows. The darker areas will be affected, and then the highlights will be affected. If we select that exposure controls how powerful the effect is, so if you have that low will be more subtle, and if you have it higher, it will be stronger, and then the next option enable era brush style building effects. You can also turn that on in the brushes palette, but that you want to toggle if you want it to be more like an airbrush and finally always used pressure for size. That option is ah, by default should be off. So the brush preset controls the pressure. All right, and then protect tones is, um something that I was just having on. Unless there's some affect that you want to do, that's really, uh, stronger shadows or stronger highlights. Um, and I'll show you the difference. All right, This does use default tools, and you can add custom. I'm sorry, Default brushes, and you can use ah, custom brushes in there, but for mine was going to use a soft edged brush. And I'm gonna press control J. Or if you're on a mat, command J will work on a duplicated layer, and I'll show you what I mean. I'm gonna name this layer. I'm gonna adds handsome burn, but I'm gonna have protect tones on All right. So if I click and drag over here, you know it's the ads only where the darker areas are a little bit more of a shadow This is if you want a little more contrast in your photo, this landscape shot have a little bit more darker shadow. Uh, for more powerful photo there, I'm gonna go back to the background layer. I'm gonna press control J again Dragon on top and I'm gonna name this one. I'm adding a burn, but no protect tones. Protectant has turned off on this. You'll see the difference are so now if I click and drag, see how it goes off the edge. And it's a lot more powerful effect as well. The protect tones is meant to avoid clipping in the highlights in the shadows, and it's also treasured. Avoid changing the hue of the area that you're painting on, so it's a little bit more pinpointed effect than if you have it off. So there's without protect tones, and then there's with the protect tones. And then there's the original. All right, so that's burning. Uh, you can use it when you want to make something a little bit darker, not just shadows. You could also let's say, let's do highlights gonna press the right bracket to make this larger. And if I click and drag up here knows I can make the sky a little darker as well. It does not change. You know the texture much, and I just painting a hue on. It's just darkening areas, all right, so I will, at another late here to work on. That's Highlights Utkan experiment with the mid tones as well and shadows. Let's go ahead and click and hold on to the burn tool and go to Dodge Tool and let's Go toe highlights and exposure. I'm gonna bundle up a little bit more to maybe 75% and I'm a click and drag noticed. This just makes it a lighter sky, all right, Protect owns is turned on. If I didn't have it on notice, the difference. It's a lot more powerful. Effect is less subtle, and it doesn't protect against clipping as much edge there. So that is the dodge and burn tool. They're pretty effective in landscape, but also even portrait. You might want to try it out when you just want to take some areas of photo, become brighter or make him have more of a contrast for a better result. 41. The Sponge Tool: and today I want to go over the sponge tool. It can be useful for increasing or decreasing saturation in a photo, so go ahead and open up a photo and photo shop and click and hold onto the Dodge Tool. Or just press O on the keyboard should select it. Just click and hold, then and go down to the sponge tool. All right, and you'll look up at the top. And, of course, you have all the different brush settings and options that you do with any tool that uses the brush. But you have something specific to the sponge tool. Just either saturate or de saturate. So if you choose saturate, that's just going to make those colors more vivid, more saturated. And if you do de saturate, it will make them less saturated flows just how powerful the effect is. And if you want, you can enable airbrush just the buildup effects. And then vibrance is basically going to try to reduce that clipping where it keeps it from going into color. Range is specific to that color that are out of the range of printing, so I just keep that checked by default and then Of course, if you have a pen and tablet, you can apply pressure. And, uh, that will override some of the settings and the brushes panel. So let's go ahead and get started. I like to work on a duplicated layer, so go ahead and press control J on the PC or commander on the Mac. And if you just have this such a saturate, if you just click and drag, you'll notice that just saturates the colors around the model. They're a little bit more so they pop out so you can talk with the icon and share the before and after. Uh, you can do this where it just gets too saturated. Uh, and let's say you had an area where you didn't want to be saturated. Of course, you go back to the history panel, you could do it. Undo. You could also add a mask to this top layer and just paint some black in on that mask with a brush where you want it to. You showed the room. I just have a soft edged brush here, show through the original layer. If you did it too much, you could also, of course, it just the A pass iti if it was too strong an effect. All right, So another example Here, uh, I'm gonna go again into this landscape photo and use the sponge tool, but sure de saturate so de saturating it just makes it a little bit less saturated, almost like it's gonna eventually become gray scale. But it doesn't quite. If you just clicking like, oh, clicking, let go You know, clicking and dragging word I went over certain Hughes or de saturated more quickly, just depending on their initial saturation settings on. And you can also, of course, to saturate. Just make these colors pop out a little bit more. So that's the sponge tool. It's pretty basic, of course. You can also do a saturation effect if you go to image adjustments and hue saturation and bump up the saturation overall. And then you could just apply a mask and just mask out to the original air. If you duplicated it initially, that's just another way to do it. But vicious is a quicker technique if you just want to quickly saturate certain areas or decide trait certain areas in a photo 42. The Pen Tools: So go ahead and open up a photo. Just creating a new file. Gonna file new choose some kind of preset Aziz. Long is it's large enough that we have a space to work in. And then, ah, go ahead and press P on the keyboard. Or you can just click the pen tool on the toolbar. And once you selected, you'll see a but the top. We have a couple of options on the options bar. Uh, I have path selected instead of shape, Uh, and once we create something some of these will be able to actually click on. But we'll go through each one and the pen tool a lot of people get frustrated with. But once you learn how it works, it becomes less frustrating. So if you just clicking, let go clicking, Let go clicking Let go click and let go. He knows it just creates straight lines. Trey paths between these points, so this is actually a lot like how Dobie Illustrator works. The pencil works slightly different, but it's pretty similar. And if I just hover over the beginning point, he knows that adds a little bit of a circle to the cursor and that's completed that path now. No notice up of the top. Now we can actually click selection if we like, and it could. Critics election weaken, feather the edge. So it's a little softer edge with the radius Mike and a liest, uh, creating new selection. If we wanted Teoh, I'll undo that. You can also click mask and that one mass out everything but that area that we just drew with the pen tool. You can also press shape, and it will fill that area with whatever the foreground color is. I'm just undoing. And as far as combining shapes, I'm gonna go over some of these options in another tutorial when we go over the shape tool , but it works pretty much the same. Also aligning you can align different shapes. You can bring them to front or back if you have multiple shapes. Not gonna worry about that. I'll cover that more detail in the shapes tutorial. However, right here where it says rubber band, we do need to go over this. So if I select that I'm gonna create a new path, I'm just gonna click, click and click and drag and you'll notice now I haven't clicked yet, but this is showing me where this path is going to be. It's almost like if a car was driving here with some momentum and it's gonna keep going, and then it's come back and it will come back here wherever I click next. All right, so I'm just click and let go. Click and drag clicking Lego All right, so you'll notice in that time if I just click and click and drag. It actually creates a curve, and you get these little handles on either side of the anchor point. So when I'm drawing these pads, they're all connected by anchor points. So the anchor points are connected by the paths, and the idea is that if you want a curve, you have to click and drag. All right, now what if you wanted to reset this angle? I just had escapes on created new one. Let's say I was trying to draw a wave, So if I click here, click and drag up, click and drag here. So this is kind of the crest of the wave here, and I wanted to come back immediately like this will notice how I can't do that it's going along that path, it's got momentum, and then it tries to come back over. That's that's problematic. I just wanted to have a a definite turn there to come back that way. What you can do it in a press control commands you to undo the most recent one. What you have to do is hold down all or optional Mac and hover your mouse over the most recent anchor point and just click. Now you'll notice with the rubber band. Meaning, Ah, it's previewing where the past gonna be. I can make it immediately come back this way. So I make it come immediately back that way. And now I've created a wave. All right, so that's a tip. If you want to reset the angle of that anchor point, you do have to hover over it. Hold down, alter option and then click. And then it resets that for us. So auto add delete up at the top as you're drawing one click and drag and click and drag, and I hover over this. I can add an anchor point without having to hold any short cut key down, and just click it minutes added it now back to my life. Ah, drawing here and I don't have to worry about it. Aiken. Add another one and at another one, like so So I can delete ones as well, if I want. If I just click on it like that, like that, all right, so I'm deleting those ones without holding any short cut down. It's just deleting him while I still have an active pen tool, uh, shape. I'm drawing All right. So if you uncheck that if I'm drawing, however ever, it's not gonna add or delete anchor points. So, speaking of which, if you click and hold on to the pen tool and go to the at Anchor point tool that does want just what it says if you click it, it adds anchor point. So if I click click here, click here. Click here adds anchor points. If I click and older, go to delete anchor point, then it would delete anchor points. The lead anchor point too late anchor points to see how that works, and if I click and hold and go to convert point tool. What that does is if you have an area licious draw, I will draw a straight lines. No curves. I'm not clicking and drag Andrews clicking now I got convert anchor point to him. Now, if I hover over this corner here at night, click and drag Now I've made it. Have these, ah, handles here. All right, so now I can actually make it a curved little path on either side of it of that anchor point where previously it wasn't. It was just a straight path to the anchor point, then over there Now if I click it again, then it makes it a straight path on either side. Again, I can click it again. It won't do anything. I have to click and drag, and that pulls out those handles on either side of the anchor point and that will add a curve to it. And then, finally, the freeform pen tool You can use that. I mean, if you click and drag, it's kind of like the pencil tool. It's going to add anchor points for you. It's just gonna add them. Try to guess when that where they should be. The problem is that can add to many you don't really have control of when the anchor points are being added like you do with the normal Penta working. Just click, click and drag, click and so on. So if you just click and drag here a lot, you'll notice now, as a lot of anchor points don't really need that many. So we could go back and, uh, delete anchor points. And, ah, related to all of these tools. Here are the PATH selection tool in the direct selection path tool to go over there is pretty quickly. If you click and Oregon press a on the keyboard, there's the past selection tool. If I just click and drag, I'm just moving the shape around or this path around and click and drag this path around. Click and drag that all right, just moving it around. If I click and hold on to ignore the direct selection tool with that, I can actually click and drag a anchor point. I can also click and drag a ah path, and I can also click in drag those anchors on either side of an anchor point. So that's the difference between the Path selection tool and the direct selection tool. Nothing to consider is the constrained path dragging appear Ah, you'll notice if I click and drag with the white direct selection tool, click and drag notice how it affects the path that I'm moving. But it also affects this one over here like that. If I press can train path dragging now it's on Lee going defect the path that have clicked on. And it won't affect those past on the other side of those anchor points. Now, you were been drawing all these pads and you might notice you don't really see him on the layers panel. You actually have to click path over here, and then we have a bunch of work paths on the same path. You can create a new little path here, and then Dr been drawing a bunch because I shown examples. But ideally, you'd have one on each path area. So then you could say, Okay, I'd like to you so like this path, and from there you can right click over it and you can do so Let make selection, or you can fill the path. You can add a stroke. You know, many different options for those pads and they become part of the file. You don't really see them per se unless they're selected. So you have to click work path here. You have to click, uh, path here you see all the time because we've added a stroke and they were kind of like layers where you can click and drag them to the trash and you don't see them anymore. You notice the stroke is still there because I applied that strokes. It did affect actual pixels there. So if I wanted to make a selection around this bird here, of course I could just click and let go clicking Let go. That's a straight line. Then I need a click and drag and then I want this to kind of reset. So again I have to hold down Alter option Click there, and now I can just make it a straight line. They're slightly curved line there, slightly curved and pull it back a little bit. And right around here, I need to make it a curve again. So I click and drag. Then I need to reset that cause I don't need that whipped back up and come around there. So I hold down all click, the most recent one that resets the angle for me. I need to do it again. And now we have the path, all right, so I can actually. Well, there's two ways I can click selection here or and go toe paths. Panel right click over it, Go to make selection. And so now that have a selection. Heiken. With this background layers selected, I compress control or command J that hit the icon of the original one. Then I've created a new layer with just our selection created from the path. So that's the basics of the pen tool as well as the selection tools, the past selection tools in Photoshopped. 43. The Type Tools: today. I want to go over the type tool in Photoshop. Go ahead and open up an image. Or you can just go to file new in photo shop and just create an image that is large enough to work with. You could do US paper. You could do a Web preset. Any of those will work is only heaven area to work with to add some text. Next, you want to select the type tool you compress T on the keyboard, or you can just click it on the toolbar. If you don't see this, just goto window and tools. Now, if you click and hold on to the T the type tool, you'll see a couple more options. The default is horizontal type told. I'm gonna go over that one first. So if you go ahead and just click somewhere, you don't have to click and drag. Just click and let go and type in some text right here and you'll notice it goes from the left or the right, of course, but it would go all the way off the canvas. There's no text box here cause I didn't click and drag initially. The cool thing, though is, you can select the move tool on the top of the toolbar and make sure show transform. Controls is selected, and you can click and drag the corner and resize this text without him to change the font size up top. Of course, you can distort it horizontally or vertically, so you do need to hold shift on the keyboard. If you want to maintain the correct proportion with height, you do need a hit, enter or return to apply. There's changes. Otherwise, if you say cheese another tool, it'll say, Hey, do you want to apply that transformation so you just hit, apply or you can just press. Enter her return and you can move that around and it creates a new type player on the layers panel seat over here, if you don't have that just goto window than layers. So that's how to add some text pretty quickly that you don't have a set area need to put it , and you want to resize it quickly with the move tool. Another way to insert some text is to create a text box, so go ahead and select the type tool again and just click and drag an area out, and now you notice, as I type it in. It keeps it constrained in that area of the text box that we have. And now if I click and read the corner with the type tool, all it does is it changes the text box where it is. So it affects what Texas on what line doesn't resize it. If you choose the move tool and click and drag the edge now it will resize it. All right, so depends on if you have a set area. You want to take the Texas stay in, then you'd want to click and drag out an area first. Now, if you notice when you have someone text appear highlighted or just when you have the type tool selected, I have some options up here so you can change it from orientation from horizontal and the vertical type tool. Same thing here, even after the fact you can change it. I'll go over that in a second, but don't use that too often. You can change the font here. You can just click that down. Of course, we could select a different fun, but as I hover over it, it does preview over here and actually changes it because I'm selecting it all right. You can also just select one say, I'll just select one of these, sort of highlighting it up here and press the up and down there on the keyboard, and it will cycle through those. That's another way to change it. And you can watch the changes as you go through knows. Here There's some formatting like bold italic, regular light, italic light, bold italic and then, of course, the size, which we changed earlier. Just the move tool you can mainly changes. Size here is well, of course, toe many different presets. You can also type a preset in there, so if you see him, there's 12 points and 14.18. What if you want 16 point, then you can just type that in 16 and then enter return and it will change it. You can also, if you click on this air where it says none sharp crypts, trunks me. That's just the anti alias ing. So if you didn't done, it's gonna have a definite border to it. That's not really soft. And if you try sharp Chris strong, smooth, it just softens the edge. A little bit of the text. There's some basic alignment options. Here. You can left a line you can center line. You can write a line. You can change the color if you click the box there color of the text. You can also do some word art. So if you click that there and then just do, say, arc, you don't have to have it selected. I mean, just had Ah, it will affect not just the selected text, but it looks like the entire it will affect the entire text box. But you can play around with that. And they have different options, depending on what kind of look you're going for a lot of presets. And then you can adjust the bend, the horizontal distortion and in the vertical distortion. And if you click this here, it will bring out the character, or you can go toe windows and character is two different ways to get to it. But this is our some of the same option that she appears. So you see 16 point font size 16 point font size. Ah, it has leading here is well, they're letting, uh, that's just the horizontal spacing. So if you bring that up auto just going to do it, whatever corresponds to the font size that we have selected, so did you say 30 may select all of that. So if you do 30 it'll make it a little bit higher, and 56 point actually runs into each other. All right, so the default is auto, and then you can also adjust. The Kernan here turning is will say you had a title and the first letter was a little bit close to the second letter. Just click once, so your cursor is blinking in between the two letters, and then you can change it right here. So if I did negative 75 or plus 75 you'll notice it adds or removes some of the space in between. And by default, it's at zero. Tracking is the same thing, but if you just click and drag an entire paragraph or word or sentence, you can then affect the spacing between all the letters in that selected text coveted negative 100. Then it changes the space in there, plus 100. You can see how it affects it there again. Default zero. There's a couple other options here, and you can practice with this with the vertical and horizontal kind of distorts it a little bit. Ah, and then you can. There's a couple of for many things in here that you do have up there like if you hover over it and just like your mouth, stay there. It's like vote bold, follow italic, all caps. Some of these, like the Bold right here, is also right up here, but then it doesn't. The options bar doesn't have all these more advanced settings like strike through and things like that. So you can also go to the paragraph panel while you're there, and these are the three that are available upon the options Bar left a line centred right line, but you can also have full justification than the last line is left justified. That's like you've seen a lot of magazines or newspapers or online publications, stretches or compressed of the tech. So it fits across the text box or the column, and then you have in dense from the left or right, and then you have ah, in den from the first line. So you have a couple of their options there and whether or not it hyphenates. So it's not as advanced in text flowing and say in design is, but it actually has a lot more than a lot of people think as faras text flow and text formatting. Once you have those changes made, you can resize this and you can, uh, apply all that. And if you've made a change you want apply, you can hit that check mark there and then it dese elects its not you have to select it again with the type tool. Another hint is if you have this crusher at the end. If I just hit, enter or return, it goes to the next line right now. If you just want to apply this, you can't you don't hit. Enter. You just press control on the PC or command on the Mac and then enter, and that applies it, just like as if we were pressing that check mark. There. You can make this larger. It won't picks late like, say, a restaurant layer would. But if you right click over the text layer and go to Rast arise type, see, now it's actual pixels. So if I made it larger now it's not like a vector. See, now it'll start to picks late. You'll see. All right, so hit escape. But the advantage of that is, if you just wanted to treat them like pixels instead of edible text. Like right now, I can't select it with the type to anymore because I've pasteurized it. Um, so if you use let's say the eraser tool and just click and drag, then you can erase part of it. And it is just pixels, right? You couldn't do that if I just had a regular type player, right? And then I used that racer. See, it's got that cross outside so we can't do that until we rast arise it. All right, so it's a little more edible, depending on the context, what you're trying to do. You might try that now if you choose the type to again, but click and hold on to it and go to the vertical type tool. If I click and drag here, this is, um, text. It just goes vertically and also from right to left, so it kind of goes backward. If you choose that accident, you can always click up here and it will change it to the other one, all right, and I misspelled it. So those were those two tools, the basics of them. You can also click and hold and go to the horizontal tight mask tool, so I'll show you what that does. Uh, if I just click somewhere text. And as soon as I choose another tool or press controller command and her return, then it just makes a selection of where text was so you could fill it. You could press all backspace or option delete on the Mac, and it would fill the text. It is restaurant, so it's filled with color. And it is not a vector, you know, type player. It is restaurants already, and you'll notice it didn't create a new type player when we collected and actually put it on our background layer. So that is on the same layer. So if I double click did to make it a normal layer, it's moving it around with that layer. It's not on its own later by default, and the vertical type mask tools the same thing. But if you click, it's just going to do. Bringing in vertically alright makes a selection and then I just use the move tool and actually moved those pixels. That's the basis of the type tool. 44. The Shape Tools: today. I want to go over the shape, tools and Photoshopped, so go ahead and open up in image. Or if you just get a file new and use some kind of preset like you can use Web, you can use Web 12 81 800 just that you have some area toe work with, and the shape tools work in three different modes. We can create shapes that are just consistent of pixels. Ah, ones that air consisting of paths and shapes consisting of shape, which is the default? The top option. So you'll notice when you select the shape tool. If you just press you on the keyboard or just click the default, one should be rectangle if you click and hold on the rectangle tool to bring out this side menu. So go ahead and select the rectangle tool and you'll see up on the options bar. Ah, couple more options so shape. Obviously, it's going to create a new layer as long as we have this option here. Knee layer. Uh, if you do path fields create paths that whenever a little bit of that in, uh, pen tool tutorial. But we can talk about it a little bit here, and then pixels are It's just gonna create pixels on the layer that you're on. Currently, it's not gonna necessarily create a new layer. In fact, it won't create Miller. You have to create nuclear first if you want on a new layer. So with the shape selected, if you go over to the right limit, you'll see Phil here. You can create Phil customers, so if you just go ahead and click and drag out and influence, it creates a new shape layer on the layers. Panel has some options over here. Some of these air repeated up on the options bars. Well, we have properties, and then you can change it over here as well. So if you click the blue here and change it to another color, it does apply it not just to the next shape that we draw, but the current shape that we just drew out and is still live and selected there. You can, of course, do some Grady INTs. All right, different angles of Grady INTs. You can do patterns filled with different patterns, and you can click here and maybe load in patterns that you download eso There's many different options there for the Phil. If you go to the stroke, same kind of thing you can add a stroke. That's a Grady int solid color. You can create how I think it is. You can also make it a pattern. Of course. Uh, make this limit picture. You can see it changes it over here. You can change this style appear so if you have dotted, dashed, and you can customize down here, you know the caps whether they have a rounded cap, Uh, just the caps just end right along its aligned with the edge of the line. Or if it goes out a little bit or for its rounded same thing with the corners. Ah, and you can online is basically are kind of not really a path because we have it on a shaped but, ah, wherever we drew out here, you see these lines that are just showing that we have the shape selected. It's going to be in the middle if we have that select. If we do this one, it's gonna put the border or the stroke on the inside. If we do the bottom one, it puts a stroke on the outside, right? So that's what that online is. You can click more options. There's a couple more things here you can do. If you do dash line, you can customize the dash and the gap in between. Lucky did Dash six Gap four. It'll have a regular pattern there with the dash, right? I'm just hit. Cancel eso once you draw it out, you'll see these numbers over here, and they are linked. The proportions are constrained here, so if I change this, let's changes to say 400 and hit. Enter. Uh, it didn't change the height there. And if I click it now, they are linked. So now if I change it, let's just say 200. It changed the width. What I was made only changing, and it also changed the corresponding height, the same ratio from the original. All right, that that we had selected before we click that. So if you have that unchecked like that, then you can resize each one manually without the other one being affected. Like so. So now it's 400 by phone, 200 so the width equals the height. So if I click it and now go to you 500. It will make the other one go 500 because the width equals the height. So if I uncheck that and do you say to 50 now the height is half of the width. Now, if I check it again and do you say I'll double the with 2000? Oops. Let me select it here. Okay, 1000. I gotta make this checked. OK, 1000. And then it doubles both of them. So it's still 1 to 2 ratio there. 1000 and 500. All right. Uh, there's a couple options over here. If you click this, you'll see there's combined shapes. There's subtract front shape, intersect shape, areas, excluded, overlapping shapes. So if you're familiar with Adobe Illustrator's Pathfinder panel, this is. These are not all those options from that, but these air some of the ones that you would find in there. So if I have combined shape selected and I click and drag another rectangle, oops, it combines it. All right. You'll see. Now it's just combining. It's adding to that same shape and you'll see over here it's not creating a new shape layer every time. It's just creating another area. You still see where those original shapes are, and you can use the path selection tool. If you click it here and drag, you can move those around the specific shapes. It's not really combining him and locking him in like that. They're still edit herbal and movable. You can also do the direct selection tool, and you could say Click on just one corner and move it and it will say, You know, you need to turn this live ship in a regular path. Continue Yes, Miss More like a path. All right, So that's how the shape tool works with the path selection tool in the direct selection tool. If you go up there, there's subtract from shape. What that does is if you just click and drag, it's going to subtract from wherever they overlap. All right, all those shapes and the same layer. If you do intersect shapes and it's only gonna show up wherever there, uh, shapes intersect. So if I click and drag here, it'll get smaller and smaller because we're all those shapes on the same shape Layer intersect. That's the only one that's gonna show. I'll show it at me and I'll just do a new layer. Click and drag, and I'll sit this to okay, intersex shapes, click and drag. Now you'll notice on Lee this area showing up. That's because that's the only area where those two are overlapping. So if I use the path selection tool and move it around, it will effect the area where they're overlapping. Ah, the 4th 1 on their exclude overlapping shapes. Now, this is still selected. So if I do exclude that excludes wherever there are overlapping and the rest shows through . All right, uh, over here, where you have some of these air. Great out. You need a couple one selected in the same layer to use this. So if I held shift and clicked on this one now I have to selected. And now you can actually align these to the left edge of both of them horizontal centers. So they're both centered, right edge, top edge, you know, and so on down here where it says aligned selection, what that means is, if you have both selected, they're going to just a line over to the most left hand side of both the shapes. If I do a line to canvass. Now when I go to say top edges now is gonna go all the way to the top of the campus. All right? That's what that does. And if you click over here, um, see, here, I'm gonna de select. Just click off somewhere and click one of these. If you click here now, you'll see. Bring the front, bring them back. You probably used to these in more like an in designing illustrator, but these are two different shapes on the same layer. And you can use this, you know, to bring one to the front. Bring one of the back. This is if you had something like subtract the front shape. So if you wanted one shape on the front that would be subtracting from the others, then you would want to select it and bring shape to the front, not just one level, but all the way to the front. Now, it doesn't matter if you do all the way to the back all the way. The front. If you're Shea players on the layer above everything else, it's only gonna effective shapes in that layer. It's gonna be still be above that content and all the other layers around the layers panel hand. So that's the basics of the shape tool as far as the rectangle does. Of course, if you want to do a let's say, new layer and you want to do a square instead of it a rectangle you can hold shift on the keyboard and click and drag, and it will constrain it. Also, if you hold shift, it's gonna toggle it to do combine shapes. You can also press the plus on the keyboard, and that will actually toggle it. You don't have to hold on to it. You compress the minus on the keyboard that will toggle it to the same thing is if we clicked. Subtract front shape. So there's our little shortcuts. You can hold shift or you can hold down. I mean, just do them So the defaults new layer. If you hold down all on the PCR option on the Mac, that will toggle it to subtract from If you let go, it will go back to the default of new layer, so there's some shortcuts to be familiar with. If you also go towpath those air just creating paths and you won't see him on the layers panel. You'll have to go over to the paths panel and then it will show up there. And from there you can, you know, make a selection, make a shape out of it. And you have some of the other options kind of like if you're drawing a shape with the pen tool, all right, in the last one pixels is, let's say, when the layers panel lets him on the background layer anima draw a rounded rectangle out click and drag. Now it makes a pixel all right. And I have a different mode here. If you do normal, then it's just gonna be like a normal if you do. You know, all these layer blending modes over here will affect the end result, but actually removes it doesn't remove. It replaces those pixels on our background layer that were on. So you do need to be careful to create a new layer, then draw. Then you can move it around on its own layer. It will not create a new shape layer, like if you have shape selected up there. All right, see if you have pixels let up their selected make sure create new layer First, if you want more Ah, customize ability, moving that around by itself. If you have shapely, you don't have to worry about that. If you have it set here in a new layer, then you can just click and drag. It will create a new layer on its own. Now, while we're on the rounded rectangle tool, you'll notice up of the top. It has radius so I can change it to say 20. Click and drag, all right, and it makes the edges a little bit more rounded. All right, so if I make it say on 50 cents a lot, Maurin, click and drag, you'll see this rounded rectangle here. I'm gonna move it over here, you'll see this rounded corner. It's wider from the to anchor points compared to this one over here, so you can select that with the pep selection tool and you have some options up here. Ah, to just those. You can also go to direct selection tool, and if you just click and drag, you can move these again. It's going to tell you to turn into a regular path. It's like a shape with the path edges and that's just another option to You can also let me go, Teoh. A lips tool. If you click and drag an hold shift that will create a perfect circle It works just like all the other ones have been going over like the rectangle A rounded rectangle Ah, and you can click down here with all these And do you know if you want to fix sized toe work with or proportional you know, 1 to 2 or 2 to 5 or whatever You can also go from center or when you're dragging, clicking it If you click and drag, it always goes from the side. You see, if you hold down Oh, then it will come from the middle All right. It will draw from the middle wherever you're clicking and dragging. If you don't, it will just come from this side. So if you can find the center of ah, some kind of shaping underst draw from the middle, all you gotta do is hold all on the PC or option on the back. You can also go to Polygon tool on there. You've got sides five. So you can do, say, three. I still have those cause I drew those on the actual back earlier. Uh, she's a different color. Here. It's going. All right, so click and drag. If you hold shift, it will be at their specific angles. All right, uh, so if you want something, for example, do a rectangle tool. If you click your whole shift, that just creates a perfect square. But if I rotate it, say I've got the move to and I got show transform controls up at the top, selected and rotating at a hold shift, it will go a specific intervals. So if you want a perfectly level than hold that shift if you're rotating interest barely off and the line tools pretty straightforward if you just click and drag and you can hold shift if you want A you know nine degree angle, 45 degree in our intervals and you can adjust the weight you can adjust Ah size. Ever hear of the stroke and some of the other things? Same kind of idea. You can create a new layer with shape you can subtract from, and so on the final one on the Shapes panel, there's a custom shape tool. This is pretty cool If you click up here, you should have a couple that show. If you click this side little gear icon and go toe all just hit. Okay, then you can really use some of these custom shapes. Have have a large number of them. If you click in there, you can also load shapes if you download some but eso, there's some custom pre made shapes in there, and if you click and drag it, this is creating new shape layer just like some of the other more basic shapes. So you can go back in here with the direct selection tool, and you can adjust it and so on. You can also copy this and paste it into illustrator and use as vector uh, path as well. So that's pretty cool. And one more thing I want to go over there. Rounded rectangle tool. More option If you click and drag it and you look over in the Properties panel, I was talking about how a lot of the options air appear. There are also the properties panel, but actually around a rectangle tool you can customize not just all four corners at once like we came when we're just drawing it out, you know, just like all the the shape tools. If you just clicking, let go. You can create, you know, a new shape. It's a specific width and height without having a click and drag. From there, you can adjust the raid I or the multiple radius, which is right, I guess, causes. Let Nate, uh, right there or over here on the properties panel. You can click and drag, let's say, and make this 100 and uncheck this chain so they're not that are a little constrained together. And I was going to do these three different kinds. All right, And then there we go, we got ah, one that's 200 you'll see it's a lot larger rounded side, so this would be helpful if you're creating logo's. Usually you're creating Logo's in illustrator, but if you're craving something quickly, that's just gonna be rast. Arise to put on a website pretty quick and you just want to create in photo shop. Then this would be helpful with a rounded rectangle, or when you're creating a menu or brochure or some kind of graphic on a Web ad that can be helpful as well. So that's the basics of the shape tool in photo shop 45. The Hand Tools and Zoom Tools: today. I want to go over the hand tool and the zoom tool in Photoshopped, so go ahead and go to file open and photo shop oven oven image and select the hand tool. If you press H on your keyboard, it should select it. Organist click on on the toolbar, and what this is used for is if you're on a canvas here and you just want to get to different parts of the campus, you just click and drag with the mouse, and you can move around the campus. He also have some zoom options up at the top. When you have the hand tool selected, you can go to 100% that I just go to actual pixel size. Basically, you can go to fit screen, and that will fit it. So there's nothing cut off, and we don't see any area that's cut off that we have to scroll to you notice up at the top right next to the file name. It has a number so 33.5%. What that means is we're looking at it at 30 threat 33.5% view. So if they had 100% again. Now we're zoomed in 100%. If I zoom in even Mawr, uh, then it would start to pick Slate. Obviously, if you go past 100% so I'll go to fit screen for that. If you go to fill screen, uh, it there is a little bit cut off here on the top of the bottom. Have to scroll up and down. But there's none on the left and the right. It's fitting it to the left and the right hand side. It is covered up a little bit by this layers. Panel here says the difference trained fit, screen and fill screen fill screen will have a little bit. You have to scroll to get to other thing you see and hear the scroll all windows. What that means is what Sam zoomed in. I'll just fill screen and I just click and drag up to the top left hand corner, and I have another J peg open here. If I click on that, it will scroll pretty much along with the other one. So see if I click and drag this one down, then it's gonna move that one down so it will scroll all of them together wherever you, regardless of which one you're you're on. So by default, I just have the unchecked because they usually just want toe, scroll a window or affect the one of them on currently. So that's the hand tool. You don't necessarily have to have the handful selected to use it, though you can have. Let's say we have the move to have selected were working or we have a selection tool. If you press space bar, it actually toggles to select a hand tool. So it's a shortcut. Let's say we were zoomed in and we had a selection going, and we just want to move over here, just hold down space bar, click and drag, and then you still have your active selection and the current tool selected the marquee selection tool You can. Also, if you double click on the hand tool, it is the same thing as if you're doing fit screen. So if I'm zoomed in and a double click hand tool, it automatically goes to fit screen. That's just ah, shortcut, says the basics of the hand tool. He also might want to try Rotate tool. So if you click and drag to rotate tool. It just rotates the campus. It's not really rotating the image per se like is if you went to image image rotation and rotated issues, rotating our view of it. So this is helpful if you were working with photo and your painting on it with a brush tool , if you just want to see different angles. Neat thing is, you can also do reset view that I'll put it back to 0%. You can type in a specific angle there. You can also click and drag the angle appear on the options bar, and if you have rotate on windows, that will rotate them all at the same time. So that's the basics of the hand tool in the rotate view tool. If you go ahead and select Zoom Tool, it's the very bottom right above where we set our foreground and background colors. Zoom tool. You can also presses Ian the keyboard if you want. Once we select that, you'll see up at the top. We have a plus and a minus. So what that is is if I had the plus selection of click and drag around the area, it will zoom into that area. If I have the minus selected, it will zoom out to an area that I specify resize windows to fit. What that means is, Well, let me just pull this window off here. Kind of given idea. So recess, When does fit? Let me click and drag here and notice. Now it resize the window and now has the area that I specifically clicked and dragged around. So let's just say this tree hear clicking right around it. Now it resized it to fit. If I have that unchecked zoom out here, you can also press control on the PC or command on the Mac plus and minus on the keyboard. So hold down Controller Command and then plus remind us, and it will zoom in and zoom out. That's just a short cut. So if I don't have resize windows to fit selected, if I just click and drag here, those it doesn't necessarily resize it to fit. If I select it, click and drag. It maximizes that window, and it resize it to fit the area that I just zoomed into Zuma windows that sure, so if I click and drag, it's going to zoom in on both at the same time. I usually keep that unchecked because I usually want Teoh. Uh, I mean, I always wanted just to have it, uh, affecting the winner that I'm in, but it is an option available. All right. You can also see scrubby zoom there. What that is is if I click and drag left and right, it's going to zoom in and zoom out to that point where I first clicked. If I have unchecked, that means I gotta click and drag around the area, and then it will zoom into that area, and again, we have 100%. It'll go to actual pixels, fit, screen and fill screen, just like we have when we selected the hand tool. You can also go to view and then zoom in. Zoom out. You see some of the shortcuts here is talking about control, plus control minus also fit on screen of control. Zero control one is 100% but also you can do 200%. You can do print size, which is basically if you go to image and image size and see what your resolution is and your heightened with according to your current settings, that's the print size that it would print out on a piece of paper. So that's the basics of the zoom tool. Couple shortcuts, though, that you might want to consider if you have another, uh, tool selected in the toolbar. Let's say the marquee selection tool or the move, tool or whatever. If you hold on control on the PC or command on the Mac and then press space bar at the same time and hold him, that turns into the zoom in tool. Now, if you add all on the PCR option on the Mac, then it turns into zoom out tool. That's a shortcut pretty quick if you're working on something and you want to zoom in quickly without him to select it. And you just want to keep the current tool, selected its controller Command space bar, and you can click and drag or control or command and then alter Option Plus space bar, and then you can zoom out. I personally like to use control minus and control plus on the keyboard. Most of the time, unless there's a specific area want to zoom into ah with with the zoom tool. Let's say you have the zoom tool selected. Have the plus on it here, up at the top. If you select a minus, of course we're gonna zoom out. It's gonna zoom in with the plus. But if you don't want to have to keep clicking up there, you can actually hold down all on the PCR option on the back, and it will switch to the minus the zoom out without having selected up there, you can also down at the bottom, where it says your view on the status bar. So let's just say I'll type in 100% and then it's now on at actual pixel, so you can also zoom into specific view by using the status bar at the bottom left hand corner of the window. And finally, if you double click on you know, we talked about double click on the hand tool. It's the same thing is hitting fit screen? If you double click on the Zoom tool, it's the same thing as going to actual pixels or 100%. So if you get 100% same thing, so that's two more shortcuts. Double click on Zoom Tool and goes to the actual 100% view. The pixels double click on the hand tool and fits the screen. That's the basics of the handle and the symptoms.