The Ultimate Adobe Photoshop CC Advanced Course - 2024 + AI (With over 30 class Exercises)

1. 01 Welcome to the Course: Welcome to the next level of Photoshop mastery with the ultimate photoshop advanced course. Ready to elevate your skills and unleash the full potential of Ad photoshop. Your journey to advanced greatness begins here. Hi, I'm, and I'll be your guide in this incredible journey for Photoshop salty. This advanced photoshop course is designed to amplify your creative pes helping your craft visuals that are not short of extraordinary. Have you ever wondered how the Ps do it? Well, wonder no more, because I'll be guiding you through the advanced features and tools that will set your work apart. From intricate retouching, mind bending compositions, get ready to wield photo shop like a true artist. We begin this course by learning several workflow tips and techniques, which when applied will instantly quicken and simplify your tasks. We'll then have a quick dive into the to be creative cloud libres. After that, we'll then learn some pro work flows with images, selection, layers, and blending, after which we learn some advanced methods of image retouching, to be photoshop. After this, we learn some pro color correction work flows, and we'll even learn how to use the camera ploug in its photoshop. We learn some typographic pot tips. We learned how to create and manipulate perspectives in photoshop. Up next, we learn how to create amazing treaties, how to edit videos, and create motion graphics all in ADV photoshop. Up next, we learn how to work with the incredible EI feature in AB Photoshop and how to create realistic mockups in our DB photoshop. Finally, we work on our final projects for this advanced course. In this final module, we together create projects that are nothing short of org working while revising everything we've learned in the past modules in the process. Rise yourself for rating challenges that will put your new found skills to the test. It's not just about learning. It's about applying your knowledge in real world scenarios. Get ready to tackle projects that will make your portfo shine. Whether you're a graphic designer, photographer, or digital artist. This advanced footagop course is your ticket to unlocking career opportunities. Take your experience to new heights and impress clients with your new found capabilities. Unleash your creative genes, and turn your visions into masterpieces. The tools are in your hands. Let's create magic together. Join me and let's paint the digital Canvas with billions. 2. 2 Module Introduction: In this module, you'll learn some workflow tips and techniques in not do photoshop. You'll learn how to speed up photoshop if it's likeing, how to optimize photoshop for better usage, using preferences. You'll also learn some important photoshop shortcuts, how to complete tasks using actions, and lots more. Kindly download the attached project files for this module before you continue, and please treat out to me via message or in the Q and E section, if you have any questions. I would love to make dis course of five star experience for you. See you in the next. 3. 3 How to speed up your software: Hello everyone and welcome to the course. Welcome to the advanced course on a D B photo shop. Really glad you're here. So in this very video, we're going to learn how to speed up photo shop. Photoshop sometimes tends to get slow when you're working on a big file. Especially if your computer doesn't have a lot of grease. What I mean by a lot of greases, especially if your computer doesn't have, let's see a lot of Rm or much Rm basically if your hardware isn't that good enough. Sometimes when working on photoshop or when working in photoshop. For the shop staff to get slow you get. So that's what we're going to learn how to fix in this video. So this project have opened is from our fundamental course. So it's part of our final project. It's one of the things we handled in our final project, so it's a very simple project really. And if you're coming from that course, you definitely lo this project. So I have basically opened this project to mon Street. Some of the processes we're going to follow in order to speed up photoshop. So it's not as if you really need this project if you are only doing the advanced course without having gone through the fundamental course. Okay? This is just for demonstration purposes. Now, in order to speed up photoshop, there are a couple of things we can do, and your problem might come from a couple of reasons. We're going to talk about all of this or most of these in this video. So the first thing I would do, is to come to edit and then go to porch. So if you go to porch, you're going to see these options, so you can just click all. Now, what porch doses? Porch deletes, your histories, deletes all the kind of cache that your project and reads on your computer while working. Okay? So if you have big projects, it then means that these cache files, these unwanted history files and undo would be large and they can eventually slow down your computer as you walk. So first of all, just go to fight, go to edit rather, go to porch, and then all. Now, if you do this, if you click Ok, all your histories will be deleted to it means you can't really undo again. You can't really undo again. Let's do this, for example. Let's for example, create an addition to this design so that I can demonstrate the porche the porche option very well. So we have this guy here. I created the rectangle, and let me just change the color. Sorry, Let me just change the color to red, right? So it's now red. And let's now go to edit, go to porch, and then all. Now if I click OK and I kind of try to undo what I did that changing the color to red, so Control Z. We then see that control Z doesn't work. Control Z doesn't work. It means our history has been deleted. So you can go to edit, and then we can see that do has been greed out, and also has been greed out. Let's see I move this now and then come to edit. We can see that our undo is no longer carried out. It means we can undo, move, and we can see that it has und our move. If we come to edit, come to porch, we can now see that our undo has been cleared out. This is basically what our porch option does. It leads the history, the cache files, and all unwanted files that our project has generated and makes photo shop faster. So that's the first thing we need to do. Now, the second thing is we can actually come to file, ad to edit, and then go to preferences, and in preferences, we have now a number of things we can do to speed up our computer. We can go to performance, On the performance, you'll see some options here. Now we'll go through all of these options with you and kind of show you what they do. Now, we have this one which says memory usage, right? Now, this shows the available Ram. It's saying 11.8 gig, basically 12 gig here. I actually have 16 gig on this computer, and it's showing us 12 gig because my computer has taken out C four gig for different purposes, right? So only 12 gig is available for photo shop. It not tells us that the ideal range of RAM memory is 6.5 gig to 8.5 gig, and we can see that my available ram is way beyond the DL range. And you can let photoshop use a certain percentage of your memory. So for now, -70%, which is about eight gig, so you can either reduce this or increase this. You get But just make sure you don't go lower than your ideal age. Yeah. So that's how to basically make sure potuto is running fast and getting the ram it needs, right? So I'm just going to keep this as 70%. 70% is perfect. So that's it for the memory usage. Now we have the graphic processor settings. Now, this has to do with your graphics card. Okay? If your computer doesn't have a graphics card, I'm sorry, but there isn't much you can do here. But if it does have a graphics card, you just have to make sure this use graphics processor is on. So it has to be checked, then you can come to settings and make sure the D and are checked. So that's how to make sure photoshops using your graphic card and Depending on how good your graphics card is, we can see that mine is an NVDA quadro t 1,000, and it's actually a good graphics card for photoshopping. It's just perfect for photoshopping. So I don't have any lag in whenever I'm working. So that's that for your graphics processor. And then we have the history and cache options. Now we have the history states. It's set at 50 right now. Now this is how far you can undo or redo. And we can see that right now we have it set at 50. So we have 50 reds and do. So we can take it higher if we want. We can even make it 1,000. We have to know that the higher the history states, the more memory consumption. You get the more memory consumption. So if you want better performance, you have to make it lower, maybe 20. So that's one thing you have to know for the history states. For mine, I can just leave it at 50. If it is perfect. Okay, now we have the cash levels. And for higher cash levels, we are going to have higher memory consumption. Okay? Higher cash levels, high memory consumption. And for small projects, you don't need a big cash level. So for big projects, you might want to leave it at four, and for small project, maybe two, get and basically, you don't want to go above this so much. We get. And then we have also the cash tile size. Now, the same rule applies for the cash level. And we have this sort of pre set here. Now we can see that as I choose those first one, that's the web slash UI design. We now have 50 history states. We now have our cash levels reduced to two, right? And then we have the cash tile size at 1:28 k. Now as we select each template, we see that we have different settings. You get so huge pixel dimensions. We see that the cash levels increase to six, and the cash tile sizes 1024. Now, huge pixel dimensions. You want to select this when you're working on huge projects, projects that use huge pixels. You get so huge images, huge huge, huge resources. So you only use two kind of projects with huge sizes. Okay? And then for this template, you only choose this template if you're working on normal projects. So nothing special just normal D to D projects. That's when you're choosing this one. And if you're, of course, editing photos, get an end for this one, is when you're dealing with light stuff. Okay. So maybe you're working with mostly ships and texts. That's when you choose web slash UI design template. So all of this can help you speed up your workflow if your computer doesn't have so much grease to get. But if you really have a beast of a computer, you would not need to be adjusting some of the settings because you won't even notice the speed reduction or the lagging get. So in order to always come here and keep making changes, you can just stick to this one at the default slash photos. It kind of creates a balance between high tasking and low tasking projects. Okay, so you can just stick to this one and then click Okay. Yeah, and there are basically a few other more things you can do. In case you still experience lag after doing all of this. Okay. So it's possible that your temporary files have totally consumed all the speeds on your computer. So you will have to delete your temporary files or your cache files on your system. Okay? So I don't know how to do that on Mac, but if you're working on a windows PC, all you need to do is to just come to your search bar here and type. Just click and run. Now it's going to open here, and all you then need to do is to type your percentage, and then temp, and then percentage. Just type this and then. You're going to have this folder oplled, that's the temp files folder. All of these files are not useful to your system. Okay? So they're more of like a wrist product. For your system. They are more of like wis products for your system. So it's where your system just dumps all these unneeded files. So you can do yourself a favor by just selecting all that's control A and delete. Sometimes when you have them accumulate, they can be very large in size. So we can see that I'm deleting over two gig of space and sometimes it doesn't allow you to delete some files, maybe because they are related to the project we're working on currently. So if you do that, it can also help. And if after doing that, you still have problems with speed, then I suggest you might need to do some hardware upgrades to your computer. You might want to upgrade your Ram. It's possible to upgrade your Ram. You could upgrade your ram to eight gig at least or 16 gig. Just gigabyte of space. So these upgrades can really go a long way to helping you with speed. Apart from your rom, you can also upgrade your room, that's your storage. You can use what we call an SSD. So A SSD is kind of newer technology for rooms, and it's incredibly faster. That's what I use on this PC. It's very fast. And even though it's more expensive as compared to your traditional spinning type of room, You are definitely going to get better performance if you use that kind of storage. If you use the SSD storage. Basically, these are the few things you can do to help with your speed. You can't really do much with the graphics card. You can't really change much of the graphics card. You can grade the graphics card. And that's according to the best of my knowledge. I'm not a computer guy, but for my own little experience, I know you can't do much upgrading your graphics card. So that's it for this one, guys. See you in the next one. Bye bye. 4. 4 Preferences: Preferences are the settings we have to play with in to be photoshop, and these are things that basically run in the background. One good to me in photoshop is. Photoshop has lots and lots of settings. We can customize to the very little details in photoshop. I'm go to just create a new file here. A new C print file. Just choose the e four and then create, right? Perfect. Now, in order to access your preferences in photoshop, you can come to edit that if you are on a Windows PC, you can come to edit and come to preferences. So that's for windows PC for a mac. You can just do command key on your mac, and then you have your preferences. So I'm doing control key also on the windows pieces, Control key. And that's the short cut for your preferences. So you can either do command key on your mac or control key on your preferences, and we're going to look at lots and lots of shortcuts in this course, and we're going to use a lot of shortcuts also. So you have to start getting familiar with shortcuts. Now we are on our preferences, and the first place we are on now is called general. We have some settings under the general. We'll go then look at at least most of these settings, or the most important ones I recommend because there are lots of settings. And to be honest, most of them don't really require tweaking for photoshop to work well, okay? In fact, a photohop just works perfectly just as it is, but I just want us to study this so that we kind of have knowledge on preferences. Okay. So we are on general, and we can see that the first thing we have is the color picker. You should not change this. It's either windows or A B, or if you're on the mark, it should be Apple or AB. So you should always leave it at a B as the color picker. Then we have the heads up display Colora which has been shortened to HUD, copia. We have it at strip right, small. Now this is our color picker. You get this our color picker and just close this and kind of make this picker. Now this is our color picker, and we can see that this is our color strip, right? This is our color strip. So we can select colors. And of course, you should know how to use the color picker by now already. Basically, we are kind of editing our color picker using this option. Okay. The default works perfectly, the default workts perfectly. And then we have image interpolation. This is basically how Photoshop understands images. We have it that's by cubic automatic. It used to be just by Cubic automatic for several years until Photoshop introduced all these other ones, which I really don't pay attention to. So just by Cubic automatic glue. And then we have these other settings. Okay, so we have auto update open file based on documents. So this will automatically update your file based on your document in your computer. So that's what this one does. And you can just uncheck it. It's not that important. So we have the auto show the home screen, so it'll automatically show the home screen, then use legacy new document interface. Wherever you see legacy or Legacy, it means old fashion. So Photoshop over the years, has had old fashion ways of doing stuff, which it maintained until recently where they decided that you want to just remove these fixed old fashioned ways of doing stuff. Okay? So you can actually enable those old fashioned ways of being stuff in photoshop by enaling the legacy options. Yeah, so anywhere you see legacy means it used to work that way. As default. But because of newer updates of photoshop, I do be decided to remove that as a fixed stop. So if you keep this option checked, you're going to skip being able to transform an image when placing it. Okay. So usually, if you're placing an image, potshop gives you the ability to transform that image. So in order to remove that ability, you can just check this, but I don't recommend that. And then basically, we have all these other ones Export clipboard. So for this option, Photoshop enables you to actually copy items on your clipboard and then go to other softwares and piece them. Your clipboard is basically a part of the memory where Photoshop can store things. So you can see, for example, copy an image from photoshop and then move to illustrate or and then piste it this option on. So recise image den place. It's quite self explanatory. We have always create smart objects when placing. So it's always going to create a smart object when you please an image or when you please an item to get. So this should always be on also because we always want to be a smart object, right? The smart objects are good, and they help us to retain the originality. Of our layers. So create new layers when brushing, all of these. Some of these options aren't really that important. When you're done, click next, or you can just go to the next one by clicking here. You get. So we also have these settings for interface. We have the color theme. We can make it bright. We can make it less bright. We can make our interface less bright even darker. So if the bright colors won't work for you, and the used to be like this in the past, but because these colors can really affect our eyes, footage of us don't favor by pitting other variations or other options for the color of our interface. You can even go this dark and sysically, bases on how comfortable you are. Then we have the highlight color. We can either make it blue. Ja make it blue, we see that tons blue here, here's a tons blue. Here's a tons blue, we can keep it as T fold. T fold. So that's for the appearance. That's for the color theme. And then we have these other guys here. And this is standard screen mode. You can keep all of this as default. Full screen block, you can just leave everything here. And for borders. So using drop shadows, ps like this can tax your system to a certain degree, because it's way easier and less tasking on your system if you just used lines to display your borders. So let's use lines and use lines also here. And basically seem this one. So we can always use lines to display our orders. It's going to be less tasking on our computer. You have some of these other settings, presentation, UI language, English, UI phone size. We can see that min set that small. Right now, we can make it very tiny, and then the size of our UI of our phones on our user interface will be tiny. So we can use large if we want, and so on and so forth. Is going to leave it that small, and we can actually scale UI to font. Some of these settings, to be honest, I never changed them. Okay. So we also have the works piece. We have these options here. You have auto collapse iconic panels. You want to keep this guy off because foliage will automatically collapse your panels. You don't want that, and you have auto shoe hidden panels. So why will you shoe hidden panels if they are hidden? So you also want to uncheck this and then we have open documental steps. Going to open our documents a taps and it's on. You can leave this checked, and then we have enable floating documents windows docking. You can do that. Basically, that's it for piece settings. We go to the next one to the tools. So for the first option here, we have two tool tips. Now two tips are the tips we get when we select our tool or hover on our tool, right? So let's come here and just display these other tools by clicking and holding and just hover on this tool. We usually get tips. Sometimes they appear, sometimes they don't appear. Okay. So we usually get tips on how to use our tools. Not appearing this time, maybe it's because I'm not connected to the Internet. Let me see. Key. Maybe I don't have it checked. Okay. I actually have it checked, but for some reason, some reason I'm not having the tips, right? So that's what the show to tips. Option does. We have show reach tool tips. And all of these are options that give us tips on how to use certain options or how to use our tools in a photo shop, okay. And we have over school, we have enable flicking panels. So of these are very unnecessary. Really. We have Zoom with school wheel, so it's going to use your mouse wheel to zoom, if you have this checked. I don't have this checked. We have Zoom resides windows. You want to leave this unchecked, and also this other one. So let me check. Let me see. What are the settings are important here. So for this one, it's going to allow the arrow keys kind of determine the rotation of your tips. Or you can use the arrow keys in your keyboard to address the rotation of your brush tip. Okay. So basically leaving all of this on is good. Basically, that's all for that. We want to kick this guy off. The spring loaded two shortcuts. I just does some weird stuff where you can experiment with it if you want. But for me, I just recommend keeping off. And basically that's what we need to do on the tools. And then what next, you have history and content credentials. It basically has to do with how Pootoshop handles your history. Okay. That's that for this one, you don't need to change anything here. We have file handling, and this is basically how Pootoshop handles your file, right? So it includes options like saving, how to sve your file, where to sve your file, and so on and so forth. So we have image previews. We want to always have this as always Seve. Okay. So This option will kind of allow you to choose where to sve your file. So I recommend alas seving on your computer so that you have the most control over your file. But if you're having space issues, you can see in your creative cloud. And we have able legacy seve. So like I said before, whenever you see legacy, it means there has been an old way of doing stuff. There used to be a way to sve your files in photoshop where when you come to file and then hit SS, you get lots of file types, which you can save your emages, So we actually removed this feature, these multiple files with recent updates to the software. So you can enable these files by just clicking on enable Legacy Save us. So you want to always keep this on also. And basically, these are the settings I recommend for the file handling. So you can go to next and go to export. So we have the quick export, and you can actually choose the format which you want to use for quick export. So it means if you come here and see, for example, go to export, Let's see, I hit okay and then come to file and export and then quick export. We see that I can do quick export as PN get what, if I choose to change the format to maybe GPE I will now be able to do quick export as GPE, not PN. So that's the quick export option here. And then we have other options, but can go ahead and look for yourself, and I won't worry about the others. And we have performance and on the performance, we looked at these settings actually from the previous video. So that's where we learned how to speed up our photo shop. That is for the performance, and then we have image processing. You didn't really need to change anything on the image processing. It's photoshop doing its thing. We have the scratch disks. Now these are the disks you have on your computer. So you can give photoshop the ability to run on these disks, right? So you can run and then sve files on these disks by simply checking them. Yet, so if you have multiple disks. You can just check all of them. It's going to help for the shop run better. You have the csors. And now, these are the cisors, you use when painting. Here when using your paint tool or using your hydroper two, you use cursors. So you can basically edit the way your cursors appear, using these options. So for example, you can use the standard. Which will give you this that on the painting courses, right? You can use the standard, which will give you this broach icon to paint w. So let's see if we choose the standard and heat k, and just heat B for brush. You can see that this is what we get, right? This is what we get. So Let's just right click and increase the size. And we can see that no matter how big your sroch size is, you just get this broach icon. So the size of the brush icon does not increase. So that's one downside to this standard broach icon. Let's go up to Css, and when you use precise, you're going to have this cross hair icon. This also has a downside. But if you use the normal brush tip, you're going to have just this, and it's going to adjust according to the size of your brush. We can see the big size brush, we have the big size crosso smaller size brush, we have a smaller size crosso. So that's the best one to choose. We also have some other options here, which include show cross hair and brush tip. They can actually show the cross hair within the brush tip. But you don't need that. You can show cross hair only while painting. You're going to show the cross hair while you're painting, and we have this one, which they call the leash, the brush leash. If we have this one checked, just see what it does. As you paint, let me criticize. And as you paint, you see this margent colored straight line. Pulling our strokes, our brush strokes. So that's basically the ich. You have it unchecked. And also for the other cursors, we have the standard, we have the precise. So you just choose the one you feel most comfortable with. We have the transparency and gamut. This enables us edit the way we want to see transparency in photo shop. So for example, we have the grid color. So we have the light and we have the medium. Now you can see the preview here. We have the dark we can choose on and it's just going to give us a white color. And that's not really good. Because sometimes we paint white colors. We paint white colors, and we can have white backgrounds also or white sheets. So that doesn't really illustrate transparency well, in my opinion. So we can always keep it as small or medium size, and then lights or medium or dark, which everyone works best for you. And units and rulers. These are of course the units that Fosub uses to display measurements for us. So on the rulers, we can have it as inches. But if you're most comfortable with pixels, fine. You have it as pixels. And then for the type, we have points, pixels, millimeters, and so on and so forth. So for column size, we have this and for gutter size. We have this. We also have some other options here. Like print resolution, so you can actually increase the print resolution, and we have screen resolution. So for print resolution, you always want your print resolution to be higher. So in case you are watching and you intend to print that work, you should have higher resolution. Okay? But for screen resolution, you don't really need a very high resolution for your screen. So 72 work just perfect as the default. A, basically, these are the settings on the units and rulers which should look at. We have guides, grit and slices. So for guides, we have the canvase and we can choose the color of our guides. Okay on our canvas. So we can choose the color. We can even choose the line type. We can make it a solid line or a dashed line. Us for guides. So guides basically help us guide us in placement of things or elements when doing design. So we can use guides to basically align things properly and place them properly. Guys are actually important. For grids, we also have the colors for grids if we want to work with grids. So we have the custom and you can choose any of the color if you want. You can see that this is the custom color, right? All right, The custom color is whatever color you choose. Basically. So that's it for grids. And for slices, this works with websites, but they're not going to be working with website. So we don't really care about slices. For parts, this is the outline we get on our parts. I you on our ships and on our parts, physically is the outline we get. This is how thick the outline gets. This is the color, of course, and also for controls. So control color. Basically, that's it for the guides and reads and slices. This video is getting too long, so I'm just going to rush the remaining things. Remaining options. And basically, we then have the plins. So for plin, you want to always have this show all filter gallery groups and names. So you want to always have this enabled because if you don't have this enabled, Some of your filters are going to be missing. I a foot is going to just remove some filters, but things are not really important yet. So you always have to keep this on and this has to do with your type. And I don't recommend changing anything here, so with this and with this. For this product improvement, it basically allows you to choose if you want to participate in the product improvement exercise of a DB. So basically, that's it for preferences. We might be coming to preferences later on to do on or two changes. It's possible. Okay. So sorry the video really took this long. I just feel it's really important to handle some of these really foundational stuff so that going forward, we can handle the really interesting things. Okay, so that's it for this video and preferences. Thank you so much for sting. See you in the next video. Bye bye. 5. 5 Important Shortcuts In Adobe Photoshop Cc 1: Hi, and welcome back. In this video, we're going to learn about shot coots in Ad B photo shop. Now there are lots and lots of shot cot in photoshop. Of course, we won't cover all of them, but we're going to cover some really important ones. Now I have gone ahead and opened a new file or created a new project. This is just a normal e four file. You can go ahead and create your so that we start looking at the shortcuts. The first set of shortcuts I would like us to look at are tools based shortcuts. They are ted two or tools. We're going to start from simple to complex. We're going to start by learning how to select some of our important tools like the move tool. For the move to, Also, the artboard tool, we have the short cut V. If you see on the crop to and you hit V, you're going to jump into the move two. Then for the brush tool, we have B. To select the brush tool, let's say you are in this two, and you want to select the brush tool, you can hit B on your keyboard, and you're going to go ahead and select the brush tool. Click and Hold, you're going to see that all these other tools also have B as the shortcut. You that the pencil tool, the color replaced two, the mixer brush to all of them have B as the shortcut. We're going to learn also how to select all of these other ones, even as the all have or B as a shortcut. So there's a way to actually select each one. So we're going to look at that also. So the next one is the crop tool, which is C. So if I hit C on my keyboard, select the crop two, and of course, you know what the crop tool is used for no because I presume you have some knowledge on foot shop, and of course, this case is a continuation of the fundamental cuts. So it means if you're coming from D, you definitely know how to use the crop tool. Now, the shortcut is C, and we can see that all the other tools under this crop to have C as their short cut. So that's the perspective crop, the slice two, slice select two. All of them have C as their short cut. And then we now are going to look at the next shot cut, which is the E result to. In the E result to. Now that is E on the keyboards. If you hit on your keyboard, you're going to select the E result. And we can see that all of the tools under it have E as the shortcuts. So that's the background east two and the magic est two. Okay? So sorry, I'm speaking Bigs too fast. That's because we have a lot of shortcuts to cover. So E on your keyboard for the eraser. Next shot coord is P on the keyboard, which will help you select the pen two. If you click and whole, you see that all of the two half P has the shot cord, that's the free form pin two, then the covet pin two. And we actually learned how to use this in the fundamental course. So you just hit P on the keyboard and you come to the pen two. Then the next one is the text two, and all you need to do is hit T on your keyboard. All of the tools under this two have t as the shortcuts, as you can see here. The next is the ydroper two, which is I. So if you hit I on your keyboard, you're going to select the dropper two, and you all know what you use the dropper two for, ok? And if you don't know how to use the y dropper two, kindly go and enroll the fundamental case. So that's for the ydroper two. That I on your keyboard. Now we're going to learn how to switch between tools. For the move tool, we have the move tool here and also the art board to. So how do we switch between these tools. There is actually something or a setting that's related to the key. I'm just going to go to my preferences. So control key or command key on your mac and get you your preferences. And we actually looked at this option in the last video, but I didn't explain it. So this is on the tools. So if you go on the tools, you're going to see this option. Use shift key for tool switch. Okay? So if you have this option on, you are then going to be able to use this method to switch between the tools you get. So if I select my move to, that's V, all I need to do is pull down shift and hit V to select the one under that the article two, shift V, Shift V, Shift V. It's going to keep going over the tools. Here. So that's how to select multiple tools. And this works with all other tools also. So if you come to the brush two, and you want to select all these other ones, the Pencil two. All you need to do is to hit Shift B. I'm going to select the Pencil two, then shift B. Then you're going to select the next one, which is the color replacement two, and also shift B to select the next one, which is the mixer brush two. All you need to do is to shift B, and then you select the next two after it. Shift B to go back to my brush two. So same also with the ship tools. So we have the rectangle two, which has the short cut. If you hit you, you go to the rectangle two. If you hit shift, we're going to go to the ellipse to, shift to the triangle two or to the polygon to, shift to the polygon to, actually. This is the triangle two. The triangle to polygon to the line two, and then the custom shift to all by hitting shift. Shift shift. Shift, shift. Shift. That's basically shift is all we do. Perfect. So now we've covered all of these tools. Now we're going to cover the next shot cut, which will help us go over our blending. Okay. So for this, I'm going to go ahead and open my folder. So come to the folder for the third mode, that's the folder title, zero T, Walk flow and shortcuts. That's this folder right here. Just come in and open all these files. To select all these files, three images, and one shop file. So I'll just go ahead and open these files. Perfect. These are the files we'll be using to learn about our shortcuts. Now the next shortcut is related to our blending modes, and definitely should know about blending modes by now. So let's just come to this file here. Come here and just click here and go to the gradient to create ingredient fiel. That ingredient solid field. Just come and choose any ingredient, ingredient. Just choose any ingredient, ingredient work. It's okay. Now we want to create a quick bland between our gradient filler and our background layer. Now all you need to do to select your gradient filler, and then sat shift and then hit your plus or minus g and a keyboard shift plus or minus. So as you can see, I'm kind of going down the list. When I hit plus, I'm going to start going of the list. So shift plus or shift minus the keyboard basically go over the blend moods. So that's how to go around your bland moods. Using your keyboards. I'm just going to delete this guy has delete. Now the next shortcut we're going to look at is related to our Clo Stamp tool. So go ahead and select your Clum stamp two, which is this guy here, this guy here. This is the Clue stamp two, and we all know what this tool does. It clues our subject or our target. First off, you have to create a target. Let me just addressing the approach size. Making it bigger. So first of all, you have to select the target. So that's pding down t and clicking on your target. Click on this target. And we can see that I've copied our target. That's the girl. In our approach, which is basically in our approach, and we can paint wherever we want. We get or we can paint a copy of our subject of our target, wherever we want. I'm looking. Now, this is fairly basic. The next thing I want you to do is just hold down shift and then old, and then your arkey right and left, hold down shift and old, and then the arrow key right and left. We use the shortcut to kind of offset our sample source. So we use the shortcut to offset our sample source. As I hit, the right or the left key. We can see that our sample sauce is going to the left side. So we're offsetting our sample sauce to the left side, and see also when I hit my right key, we're offsetting our sample source to the right hand side. So that's how to offset the sample sauce. Now we can also down old and shift. That of course, option and shift on your mark. Alter and shift is for your PC. Sorry, I'm using the PC, so I tend to forget what we have people who use the mark also. So alt and shift on your PC or option and shift on your mark. Then you can use the tad or less done by key on your keyboard. Teat your sample sauce. So use that to rotate your sample sauce and at the less done. We can see how my sample sauce is basically rotated key. If you're okay with the rotation, you can just come and click, and then paint your sample sauce. Again. Let's go ahead and sample another one, sample, then come here. This time, let's just rotet it the other side this. Wood on old Wood shift, and then greater than key on your keyboard. And then just click to please your subject, okay? Now we can hole down again and then click. Now I'm going to look at the next shortcut, which is used to scale our sample source. So all you need to do is hole down lt and shift, then your square bracket. So your right square bracket or your close square bracket, basically increase your sample source. You get just like this. You can see that our subject is scaling up. So that's how to chal your sample sauce, and then you do the opposite. You do the opposite that hitting the open square bracket, while holding down your old and your shift or your option and your shift on your mark to scale down your subject here. Perfect. In order to reset our settings, we can just go ahead and come to windows and go to Clone sauce, click on Clonsuce, and you see this reset button here. You just click on it and our settings will be reset. So that's how to pled our Clone Tm tool. Now the next short code we're going to be looking at is related to the opacity of our layers. Now let's just create a new layer here. Create a new layer. Then come and take your brush to and do some little scribbles on it. I'm just going to select a very solid column here, then maybe make the bo size bigger and do just little scribble and see that possibly my bh preset is not the one I should be using. Let me just tick this guy here. Make the hardness this much. And then brush. So I don't know why it's giving me this look. I don't know why it's giving me this look. It's probably the brush preset. So I'm just going to go to a different file. Let me come here and see. Give me the same thing. Give me the same thing. So I don't really know why it's painting like this. But we're not going to waste time trying to find out. I'm just going to go back and use other liar types. I'm just going to create the sheet instead. Now, what I want to show you is the shortcut related to the opacity. Okay? So let's see, we want to reduce the opacity of our ship. Layer. All we need to do is to hit V and then select a number from 120. So one will give you a 10% opacity, two will give you 20% opacity. Four will give you 40%, seven will give me 70%. Album heating single numbers, you can actually hit double digit to let's say 44, I give us 44% opacity. So all you need to do is select your layer, select your layer, and then hit V, and then just give it an opacity. So we see that we now have an quacity of 55 to heat V, and then give it 77 99. So that's how to physically adjust the opacity. Okay. So the next shortcut is related to selecting the bright pixels or the dark pixels of our color. So let us go to this image. Yeah. This one has a lot of bright pixels. So in order to select just the bright pixels of our image, all we need to do is control all two. We're going to select the bright pixels of our image. Okay? Can see that footage are selected only the bright pixels of our image, leaving out the dark pixels. So it means we can see, for example, do control for our levels and then just come on edits or add some contrast to our bright pixels. So we can see that our adjustment is basically just affecting our bright pixels. So we can also do same for the dark pixels of our image. All we need to do is heat control, and then shift. And then I or command shift I on your mark. So if you do that, it's going to basically invert our selection. So now we're selecting the dark pixels of our image. And you can use the control L, levels, and then just adjust the dark pixels. Now we see that only the dark pixels of our image are being affected by our adjustments, o? So that's basically how to select your bright pixels and your dark pixels. I how to be f to shop using shortcuts. Perfect. Now, the next shortcut is related to this image. Hit this file. So this footage of file. Now this shortcut allows us to fill our layer with our foreground color or our background color. Okay? So if we want to fill the background image with our foreground color, which is red, all we need to do is wo down lt and then box piece on our keyboard or who down option, and then delete on our mark. Okay. So Al boxpiece in a keyboard and option delete on your mark. That's to fill in your layer with your four gram color. Then to fill in your layer with your background color, all you need to do is instead of ult, you need to do is just hold down control, and then b pace or command on your mark and then delete. So that filling your layer with your bagraund color. Now, apart from filling the entire layer, you can actually feel the non transparent pixels only. No that's where this image comes in handy. So because this image has transparent pixels, and also non transparent pixels, okay? So there is a way to fill only the opaque pixels in this case. So if you want to fill the opaque pixels only with your foreground column, all you need to do is to go down and then shift and then pax piece on your PC, and then option shift and delete on your mark. Once again, shift pax piece on your PC, and then option shift, delete on your mark. Get that for filling only the opaque pixels with your foreground color. Also for filling the opaque pixels only with your background color, or introduced control, then shift, then delete on your PC or command delete or rather command shift delete on your mark. Control shift back piece on your PC, or command shift delete on your mark. That it for this particular shortct. Now in the next shot coat has to do with locking our transparent pixels. This short cat comes in really handy also to people who really use the brush a lot. So I'm just going to demonstrate that. So we have this image, this scar image with transparency. So let's see we are working on this layer. And we only want to affect the pixels that are not transparent. So we can see that we've selected the layer and then we've selected our brush to and we are now painting on our layer. But we see that we are painting all over our layer. So that's not what we want. What we actually want is we want to only affect our opaque pixels. So I'm just going to of the background, so we see what we're doing very well, and what do me to kind of get a closer look. So all we need to do is to pull down the fourth slash button, or just hit the four slash button, so it it and it's going to lock our transparent pixels. Now when we paint, we can see that they're on painting over our opaque pixels. So we're on painting over our opaque pixels, not our transparent pixels. M in control Z to undo. Okay. So just hit the fourth slash button on the keyboard, out on your PC and on your mark. Now, this is also the button here. For locking your transparent pixels, okay? This is also the bottom here. So I'm just going to hit control Z, Z, Z to undo this. Now, how does this come handy for people who use the brush, right? So let's assume we are in this file. And then we want to create some painting with our brush. I'm just created a new layer here, and then set my brush to come here. Just choose a preset. Let's choose this preset. Make this brush a bit bigger. Okay. So I'm just going to paint now. Now you see I'm painting on my new layer, right? I'm painting using my four gram color on my new layer, and all I now do just hit the fd slash button to lock my transparent pixels. Now, what I want to do is, I want to add some highlights and shadows to my paint strokes. Just the strokes I just created. So all I now do is just select my darker red, then just come paint here. Now you can see that I'm adding shadows. And that's because I've been able to lock my transparent pixels. So you can see how handy this feature is Creek and select bright colors, and then add some highlights. So this really comes very handy in digital painting. Painting characters because in order to give your character depth, you really need to add shadows and highlights. So this is basically how to do it. You just have to lock your transparent pixels, then add your shadows and your highlight. And when you're done, just hit your fourth slash button to unlock your transparent pixels. So that's how to lock your transparent pixels in foot shop. Now the next shot code is to reduce or increase our broach size. Just reduce the size of this layer here. Now I'm just going to pre the new layer and then tick my brush to B. Now in order to reduce my brush size, all I need to do is to pull on control old and right click, then grab to the right hand side, key and then grab to the left hand side to reduce the size of my keyboard. Sorry of my brush. Pull down old and control, then right click and grab to the right or grab to the left. That option and command on your mac, and then right click and grab to the right or to the left. That's to increase the size of your brush. Do this, then you can see that you're basically adjusting our push size. We can also do that for the hardness. I'm just going to sled the different ph. Let's tick this brush. Let's see. Okay, that's a clone stamp brush. Let's tick really normal bh. Let's just tick this bh. Perfect. Now, I want to basically increase the size of my brooch, like I said before, H Control, right click and drug drug. So in order to increase or to reduce your hardness, your brush hardness, you have to use hood Control and right click. And instead of dragging right to left or you introduce drug, up or drag down. You get to drag up to increase the softness, drag down to increase the hardness. Drag up to increase the softness, drag down to increase the hardness. That's a command an option on your mark, and then, and then up to increase the hardness and down to increase the softness, right to increase the size and left to decrease the size. K. Now we also have some other shortcuts that are related to approach two, which we can use to also increase or reduce our size. Now that's the left and right square bracket key. So the left square bracket key for reducing the size of our broach, then the right one for increasing the size of our approach. We also have a one for the hardness, so we can down shift. And then left of bracket key to kind of reduce the hardness, and then shift and right bracket key to increase the hardness. Okay. Let's shift nest bracket key to reduce the hardness, shift right bracket key, to increase the hardness. So basically, these are the few brush shortcuts that are important, in my opinion, I'm not going to delete this layer, but it's too noisy, and maybe we create a new layer. Perfect. Now for the next shot cut, I think we're going to use a different image for this. Let's see, Let's see let's see. Okay, let's use this image. Okay. Let's use this image, let's unlock. Our car layer. Now, what we want to do is create a mask. Okay. So just select your layer here and come here and click to create a mask. So we have a mask on our car layer. So it means we can select our mask and then come to a brush tool. Then just make sure we have black as our background color, and start painting to ase parts of our car. You see that our brush is too hard, going to reduce the size or the hardness, and then just hit X to switch between our forground color and our background color, and just paint back. Parts I reached. Okay. Now, this shortcut has to do with switching between our layer and our mask. Now we can see that our mask has been selected because this white outline is on our mask. So if we click on the thumbnail of our layer, we can see that the outline has moved to our layer. So there is the way to actually move from our layer to our mask and to our mask to our layer without needing to click. Now, the shortcut for this is control on your keyboard and backward slash. And then we can hold on control. And then instead of backward slash, we can just hit two. Go back to our layer. Okay that's command on your mak and then backward slash to go to your mask, then command and two to go back to your layer. Command and backward slash, command and two, control and backward slash on your PC, control and two. That's to switch between our layer and our mask. Now the ne short code usually comes handy when we are doing a selection. Let's assume we have selection in this image. So let's assume we kind of trying to select this image and see, let's see, we actually selected the subject that the girl. So I'm just using my selection to. That's this particular selection to to select my subject automatically. And yeah, our character has been selected. Our subject has been selected. So this is the object selection to here we learned about it in the fundamental course. So let's assume we took some time to make our selection, and And then for some reason, we were trying to do something, and then mistakenly we selected our selection. And this selection really cost us a lot of time. You get so we know that this is a really painful thing, because you have to go back and select everything right from the scratch. Okay, but as a short cut to kind of help us with this. And that shortcut is control shift D on your keyboard or command shift D on your mac. That short cut will just help you reselect your last active selection. So let's assume we did the selection once again here and see we are trying to Do something or maybe add some more details, k. So let's say we had our selection here, and for some reason, we had to add some more shapes and then do some more things to our file, and maybe in the process, we now kind of selected our selection, right? So all you need to do is to Control Shift D or command Shift D on your mark to select back your last active selection. So that's star for this shortcut. And the next shortcut is going to help us take our image or our file back to where it was at the beginning. Let's assume we opened our file and did some changes and added some effects, and we just didn't like everything after all. So we had to read to kind of revert back to the initial tet of our image. All you need to do is just heat of 12 on your keyboard, and it's going to revert back to the initial key. And that we also work for received file. So if you have a file that you had sived, and let's see after you sived, you now say adding some most off to the file and and you didn't like all the new things you added, right? And you want to just tick it back to the steed it was after you sived. So all you need to do is hit F 12 on your keyboard or function 12 on your keyboard, and's going to tick it back to the last sved steed. That's it for this keyboard, and the next one is relating to our text. Let's assume just select our text to, and then just write something. Let's use this default text. Let's just kill it up. L et's assume we want to increase the nine or reduce the nine. Now, what's the nine? The nine is basically the spacing between our characters. That's the nine. Let's assume we want to increase our nine or reduce our nine. All we need to do is to hole down lt and arrow key on our keyboard. On your PC lt and ro key on your mac, the option key and then the ro K. Alt and ROK to increase your nine, and then command an arrow key on your mac to increase your nine or reduce your nine. That's basically for this little shortcut. Now, the next shortcut is related to our layer. So this is how to duplicate our layer. This is a very simple shortcut, very popular one. All you need to do is to hit control G on the keyboard. Control G on the keyboard, that's on your PC or command G on your mac to duplicate your layer. Control or command G to duplicate your er. So the next shortcut, we need to our h two, let's go back to our brush two. Let's go back to this file. Now, I have this ph selected. This bush selected. And then now these are all default bshes. So. So I just want to pint on this layer. I just want to pint on this layer. This emptyer we created before. So now I'm painting on me, painting on mea. Let's say I want to ase the strokes of meat, but I don't want to use the normal. I just want to use the same brush I used the same brush preset I used to erase or to draw the strokes. Now, all I need to do is to hold on the tiled key on my keyboard while my brush is selected. So if I hold on the tiler key, then just paint, we see that my brush now totally turns into an eraser. So with the same brush preset. I'm having an eraser, key. So I can now erase my strokes with the same brush preset. So the tiler key is the key on the top left corner on your keyboard, Blue, your escape key. So that what we call the tilder key. You can pint and then hit the tiler key and then just delete your strokes using your same brush. And if you do not have the tiler key on your keyboard, you can also do that by coming to the moot. So after you've gone your brush stroke, you can just come to the moot and then select the clay blend option here. Then you cannot erase your strokes with the same brush preset. That's that this shortcut. Now, the next shortcut is related to our ruler tool. So you at control r If you hit Control R, you're going to activate your Ruler. Control R, we also tick it back. So you can activate your ruler and the activity of Ruler. So your uler will come with your selected unit, the unit you selected in default. Okay, so that's what your Ruler will come or the unit you selected while creating your new file. That's what you're going to get when you hit Control R. Control R for your ruler. And then if you come to your rule and does click and drag, you're going to be able to drag what we call guides. You click and drag. So you can click and drag to create a vertical one and click and drag to create a horizontal one. Okay. Now there is a way we can do to actually turn the horizontal to vertical and vertical to Hizonta. All you need to do is pull down volt on your keyboard and click, and you're turning the vertical one to the azonta. That's option on your keyboard. Click. Or do the same thing to the vertical one to make it horizontal. This is vertical. If we do lt, you click, we're making it horizontal. This is horizontal. We do lt and click, we're turning it into a vertical. So that's how we use our rulers in short cots now to be for the shop. Now the next shortcut has to do with our selection. So let's assume we want make a selection. So I just picked to the tangler, Mike select two. So I just click and drag my selection. Let's assume I want to move my selection while while my selection is still active. So while I'm still trying to select and move this. All I need to do is to hold down the box piece key on my keyboard and then move my selection. Where I want it to be. So maybe I want it here, I just release, and then continue selecting. And then let's cont maybe to duplicate my selection, or to cut out my selection. So that's how to move your selection while selecting. Around the next short code is also related to selections, and that's using our Lao two. Our Lasso tool is used for freely selecting, right? We all know about this from the fundamental code. So we kind of can freely select with our Las 02. And our polygonal lasso two can be used to kind of select while defining street lines, right? Perfect. So that's the difference between our last two and our polygonal lasso two. Well there are instances where we select using our lasso two, and then we kind of want to switch to our polygonal lasso two. So how do we do that? All we need to do is go down on our keyboard and then release our mouse and now it has torn into a pul our las two. Now again. While in on, select street lines. Yeah, that's the same thing as your option key on your mark. And then if you want to switch back to our Las two, all we need to do is to just click, then release our alt key and your back to our Las two. So that's basically how to do that and how do B for the shop. Now we are coming to the very last shot cords because we've covered a lot covered a lot. Now the next shot cord has to do with closing all open files, except the one we are in. So we want to close all of the files. All of these ones are open. We want to close them and just have only this one open. So how do we do that? We can do that by hitting control, and then t and then P. We can see that it's actions to see, and we don't want to see anyone. To control lt and P on your PC, that command option and P on your mark. To control lt and P on your PC, then command or other command option and P on your mark. So I keep confusing the Marc keyboard keys. Just pardon me for that. Yeah. So that's how to close all of the files except one that is active. Now, our last shortcuts will relate to our layers. Let's assume we have multiple layers. Let' assume we have a ship layer, maroon color, and we even have another text layer. We see a different color and this. These are our layer. So we can see that we have quite a number of layers. Now, our shortcuts will teach us how to move our layer up or down our layer stack. Right now I've selected my subject that's in layer one, and I want to move my layer up the layer star key. So how do I move my layer up or down the layer stauck? All I need to do is mo on control or command on my mark and then just hit my bracket keys. So my closed square bracket key will kind of move it up, and then my open square bracket key will it down. So you have to move on control on your PC. Command mark and then your close bracket key or rather your right bracket key and your left bracket key to move down. So your left square bracket key to move down and your right square bracket key to move down while holding down control on a PC or command on your mark. And there's a way to actually select yer or selected layer or layers above or selected layer. So that's just by holding down old and your PC or option on your mark and then your square left bracket key to select the layer below. Then your right square bracket key, select your Myer app. Use that basically how to select layers blue or approve your near statok. Then finally, we want to learn how to kind of move layers to the topmost parts of our near stark. Let assume we have this last layer selected layer zero. Selected, and then we want to move our layer to the topmost part of our layer stock. Okay? So all we need to do is to hit control and shift, and then our right square bracket key. Hit our square bracket key, and we have it on top. And if you want to tick it back, all we need to do is to hit the left square bracket key, and we have it at the absolute bottom. So that control, shift, and then square bracket key, square bracket key. That's command shift, square bracket key, square bracket key on your marker. Okay? So this has brought us to the end of our shortcuts. We can see that this really long video. It's a long video, but, in my opinion, it's a very useful video because we're going to be using a lot of these shortcuts as we proceed with the calls. And I have also attached a file these shortcuts, a PDA file with these shortcuts in your projects folder, so you can have it printed so that they can stick to your memory because these are really important shortcuts. That's it for this one, guys. See you in the next one. Fine. 6. 6 The new Contextual task bar in Adobe Photoshop CC: Hey, there, in this video, we're going to look at what we call the contextual tax bar in photoshop. So it's a pretty new feature in photoshop, I was introduced in 2023. I fundamental course, we kind of avoided talking about it, even though I went through it a bit, but then we kind of avoided using it most of the time because I was hoping to kind of talk more about it in this advanced course. So, this is the contextual tax bar. It's this little bar here that appears whenever you open a new project, or whenever you strty a new project. So if you can't see the contextual tax bar, let's go to windows, then come here. And then activate it here. So if I deactivate it, we see that the contextual tax bar disappears. So we can activate and deactivate the contextual tax bar from our windows menu. And then this is a normal e four project in the landscape mode. So you can go ahead and create a new project with the required setting. So this is the contextual tax bar, and then what it does is gives us options. Based on the context of what we are currently doing here or what we currently have selected. So right now, we see that this is a new project and it's an empty project. And basically, what the contractor does by telling us is to import an image. So the only option it's giving us here is to import an image. And we can actually move this bar around with this. So we can click here and then just move it to any position we want. And then we can also come here and then show more properties. And it's going to highlight the properties panel. And it's just going to show us more details about our canvas, which is empty at this moment. And we can hide the bar. Okay? So if we want to activate it again, we just have to come to windows, then contextual tax bar, and we can reset its position. Let's say we move it see to this point or to this position. We can just reset its position. Sorry. We can just reset its position. Perfect. And now let's important image. So you can just click and the important image and p in our folder on Walk flow and shortcuts. I'm just going to select this image this particular image, and please. It's going to please our image in our project. After pleasing our image, we can see that the contextual tax bar gives us new options. Okay so it has recognized our image and it's asking us to select subject or to remove background or to transform our image. If we hit transform, we can see that it's giving us options to flip horizontal flip vertical. And then if you are okay with what you have, you can just hit done or cancel. So I just hit cont Z to undo our transform. So we can see that the the options are contextual tax bar gives us, and we can even add an adjustment layer with this. So basically, these are the options. It gives us when we open our new mage just select our subject, select subject, and we then see that our conceptual tax bar selects our subject brilliantly. We can see that it now gives us new options. We can generate feel, we can kind of modify our selection. We can invert our selection. We can create mask from our selection. We can kind of fill our selection, but we see that this option is cleared out. And that's because our layer is a smart object. Okay. So if we kind of rasterize this layer right now, we see that we'll be able to fill in our selection. And we can create adjustments and do a whole lot of things. Now, for this generate feel, it's an EI feature, and we have a whole module dedicated to the new EI features available in photo shop. So we're not going to talk about generate field right now. Can just click he to kind of transform our selection or to select and mask. Okay. So if we select a mask, you're going to bring up this window for us so we can do our refinement. Like we learned in the fundamental cost, right? So we can increase the radios, we can activate smart radios, we can feather, we can smooth, we can shift edge, and if we are okay with what we have just kit ok, right. So it also gives us different options based on the particular type of layer, select let's assume we create a new sheat layer. We can see that it really doesn't give us any options when we are working with our ship layer, right? Except if we activate or transform, it's axing us to flip horizontal vertical. So basically, these are the few features it gives us when we're working with a ship layer. L et's try creating a new layer, an empty layer, we can see that an emplay, it also gives us same options, it gives us this guy. So depending on the particular layer, if it's a smart object, it gives us different options. If it's a normal layer, it gives us different options. If it's an image, it gives different options, right? And of course, if it's an empty project, like what we have now, it gives us different options. So that's why it's called the contextual tax bar because it gives us options and the ability to perform tasks. Based on the context. So from now on, we kind of use the contextual tax bar one more in our work to speed up our workflow. So that's it for this video, see you in the next one. Bye bye. 7. 7 Quickly complete tasks with Actions in Adobe Photoshop CC: Hey, there, welcome back. In this one, we're going to learn about actions in photoshop. So actions are a way we can use to complete our repetitive tasks very quickly by automation. What photoshop does with actions is? It basically records steps which we take to complete our tasks, and then we can now play those steps on different images or different files to complete the same tasks which were recorded. Okay. So go ahead and create a new document. It's basically an e four document in landscape mode. So e four document landscape mode now come to file and please embedded. And in our folder, we're going to use this image. Okay this Jonathan boba image, please. Perfect. Now we have our image. Now go to windows, and then actions. You can see the shortcut here. It's old F nine or option F nine on your mac. So windows and actions. And now these are our actions. Okay or this is the actions panel. So you can see that we have default actions here. We call this a set. So we can actually create a new set, let us create a new set right away. So let's see my sets. Perfect. So set is kind of a folder where our actions are kept. So we're just going to close our new set. And we have some buttons here, and we can use this button here to delete an action or reset. We can use this button here to start or create an action. Okay, we can use this one, of course, for reset. We can use this to clear our action. We use this to begin recording our action. We can use this guy to stop recording our action. We can see that all of them are cleared out here because we don't have action selected, right? So let's just look at some default actions to open here. And then let's just see We want to save our file as a PDF file. So all you need to do is select your action, and then come on pled. So it's going to open the folder where we can now type the name of our file and then see with us a PDF file, as you can see, it's PDFA. So that's how the basically work. So there are actions that don't require you to interfere. So let's see we select this action and then select this guy here. I set the layer and then select this Saphia to in action to select and then pled So see that the action just gives us the sappia tune on our image, and it doesn't require us to interfere. Okay. So now look at this, please. We can see this please, right? Now, any action that has this little box activated, like what we have here will give us the ability to make edits before performing the task. So but ones that don't have the little box activated here will not give us any ability to edit the task, like how we saw this one do. Okay. Let's delete er. Yes, and basically delete. So let's create a very simple action now. Now just close this default action, then select the new set and click here. Now click here to create a new action. And let's see we want to give this the name noise. Okay. Let's see, we want to add noise to our image. So we can just type in the name noise, and then you can select a set. So we can see that we have two sets, we have the default set, we have the M set, so set M set, and then we can actually give it a function. Okay a shut, but we're just going to give it as non now and then we can give it a color. So let's select a yellow color and then record. Perfect. You can see that our record is activated now. Now, footage now behaves like a recorder. And then anything you do now is basically recorded. So in order to make our actions really clean, and easy. We should always plan out our steps before we hit the record. If we plan out our steps, we will be able to create clean actions. So right now, all I just want to do is add a filter, just come to filter, then come to noise, then add noise. So I just want to add noise to my image. Then you boot it up a bit. Perfect. So I'm okay with this and ok. And then just come here and stop my recording. Perfect. Now, we have our action here completed. Zooming, we can see that we have noise on our image, right? So I'm just going to clear all filters to bring us back to where we were at the beginning. So all we need to do is to select our image without our action or without our effect, and then just come to the action, click on the action, and then play the action. And immediately, we see that noise has been added. Now, I'm just going to, um, Clay my smart filters. And what I would do is I'll just activate this litle box here. If I activate this little box, we can see that Foti be telling me that this will toggle the state of all dialogue in this action. Okay? It is not doable. It's not able. Okay. So right now, if I just select my La moth and then apply my action, you can see that you don't gives me the option to adjust the amount of noise. I want to add to my image, right? Now this comes in handy when you're dealing with different file types and then different file sizes. So different images have different file sizes. And then the noise you will need to apply to shirting image will be different to the amount. You will need to apply to, let's say a larger image or a smaller image. So you might need to apply more noise to a larger image or less noise to smaller image. So that's it for this. Now we can clear our layers, or our smart filters, and then let's do something more interesting. Okay. Let's just create a new action. Let's see cool effect, cool effects. Perfect. Let's just let me give it a red color and it record. Right now, what I want to do is, I just want to add a few effects and do a few things. You get so that we have more complex action. Just come to a filter, then come to filter gallery. Then the first thing I want to do is add a filter. I want to add a cut out filter. Make a number of levels more. So we consider our image is quite large. So it's taken some time to process. Edge simplicity. You take it to five, and that's perfect. Okay. Now this is what I want. And then we want to just add some more effects. Come to your adjustment and then not adjustment. Let's just create a new ingredient layer, and then let's choose ingredients. Let's choose a pop ingredient, let's choose this. So we want something really grammatic and then change the blend mode to u So you really cool. So, let's give it the lighten len. And yeah, this is good. That's good. And maybe we should just add we should add a noise filter. Let's put a filter and then noise, and then add noise. So this one will be the So 20.78 and k. Stop recording, stop. Now we have our new action. So that's cool effect. So we can go ahead and now delete all our vis, remove all our effects, and then our action on our image, select the action and then p and it's going to take some time because our image is large. And we have our action now applied. So we can see how easy our action med or to meeting our steps. So that's basically it for actions. There are a few effects that might not work with actions, just for you to know, but most effects or most things you will do and for the show we work with actions. So in the next video, we're going to learn how to apply this particular action we've created to multiple images. This can work for even thousands of images. So that's it for this video. See you in the next one. Bye bye. 8. 8 How to edit multiple images at once in Adobe Photoshop CC: So in the last video, we learned about actions in food shop. We even preyed our coo effects actions, right? And we also how everything played out just perfectly, okay? We also said in this video, we're going to use our action on multiple images. Now, we forgot to add one more step to our action, now, which is the step to save our image, okay. So all we need to do now is just open our image once more and then click record and then add that step. Okay. But I want to actually redo this because we intend to apply our actions on other images outside this document. The outside this document, it's required that we kind of open the image and then create our action in the image. Yet, remember this one, we actually created the file first before importing or posing our image. Now that's because we're just using the action in this file. So if we're going to use our action in multiple files, We actually need to open our image and then plate our action there. And we also have to add our step for saving. Okay for saving our image. So go ahead and open, click open and bring in the file one more time. I'm just going to rush ahead and create our action from scratch. So I'll just delete this coil effect action. Delete. And then just create a new action. So let's name in cool effects. On more cool effects. And then we're going to add all the effects we added in the previous one, okay? So record. And I'm just going to first of all, duplicate my image. So duplicate my image, and then maybe convert it to a smart object or not. So I don't need to do that process, but I can. So duplicate my image, then maybe rename my layer. Maybe give it. New name. So let's say new layer. You can give it whatever name you want. New layer. I I want, I can convert my image to a smart object, what I want. The next thing I'll do is I'll just go ahead to filters and then go to filter gallery and then add my cut out filter. I'll just hit k because we worked with this same setting the last time. So it ok. Then the next thing I'll do is add my noise. Come to noise and then add noise and I'm just going to heat again. And then finally, come and create a gradient layer. Let's not walk with blues. Let's walk with something girlish. Let's walk with pink. Let's choose this particular sheet of pink. But of course, you can choose any one you feel ok and then just mito planing would soft light. Let's try lighting also. Lighting won't work well. Let's just use soft light. Soft light, and basically, this is what we want. The next thing I will do now is just save my file. Come to file, then s, and let's see this as, Let's add to our file lim and then just select GPE, then save. Here, we can see that our file size is really large, so we just want to use the medium file size here. That's five, quality of five, and then at G. Perfect. Now, we can come here and just stop our recording. If I just open my step here, you can see details about our steps, right? If you just go back to our to our layer or to our folder, we can see that our file has been sald. Perfect. Now in our layer, I've gone ahead and created this new folder. It's called batch image editing. I've gone ahead and added multiple images into this folder, so we have 14 images. So this is just to demonstrate our batch image processing. So I'm just going to right click and create a new layer, and then we're going to rename this layer as done. So this layer will contain the new images. The ones that have been processed. Okay, so we process from here, and then to here. Using this action, we just created. Okay. So just go back to photo shop. Now in order to do your batch processing, come to file, and then go to auto met, and then go to batch. Hit batch. And now you have this window or this dialog box. Now you can select your preset set or your action set. So we can see that we have default actions a we have my set. So I'm going to select my set. Then we now choose a particular action, which is a on effect action. Then now we have to choose the source folder. Click and then come and select this folder. That's the batch image editing folder, select the folder and select folder. And you have to come and check the destination folder also. You click select, and then you have to select this folder that says De. Okay? Select the folder. And basically, that's all you need to do. You need to check this button here. Because if you don't check the button, Photoshop might give you the option to choose the format to see if it as. Okay? And we just want to see if as P so it okay. As soon as you hit okay, we'll see Photoshop processing our images one by one. So it's going to take some time to process our images and we'll be back when it's done. So Photoshop is done processing our files, and if we go back to our folder, our D folder, you'll see that all our files here have been have been processed. So we have our cut out effect and also our noise effect added to each of them. Okay, so that's basically how we can apply one action to thousands of images in photoshop. This have come to the end of this video, see you in the next one. Bye. 9. 9 Workflow tips in Adobe Photoshop CC: This lecture is about walk flow tips in the photoshop. And in this lecture, we're going to go over some really cool workflow tips. Okay? So these are just tips which you can apply to your walk flow to speed up your walk flow. Okay, so the first tip, we're going to be learning today to relate to our dropper two. So I'm just going to create a new project. Use this EFO landscape and then create Perfect. So most of us know the drop two. This is the dro per two, and we use this tool to select colors, right? So we can say, maybe create a new shape and then just go into the color and just come and sample this color outside here, and we can just hit key and we've now sampled our color, right? So what if we actually want to sample a color outside photo shop? How do we do it? So that's very possible. That's very possible. All we need to do is to just um say move our photoshop interface and expose the place we want to copy the color from. And in this case, I've gone ahead and open this website, which is db.com. So all you need to do is just go ahead and go into your color picker. Now, just click outside and then drag outside photo shop. Into where you want to copy the color from. Now we can see that we just be sampling our colors outside. Sampling this color, and you can see how our color is changing from our color picker to, right? So we can just sample whatever color we want and release our mouse and it's going to sample that color for us. You can see that we've vertically sample the color, this dark green color. And do that with many other colors. Let me just pit this and click and hole and then release. Perfect. You can see that to sample colors outside our footsop software using our eye drop or two. Now the next one is related to our brush, and basically anything we use with a cos our brush, and also tools like our y dropper tools also get affected with this, ok? So let me just select my brush. Now we can see that I can now pint. I can see my brush tip, right? And I can recs my brush tip, reduce the hardness, increase the hardness, do all I want to do, and I'm going to see the preview right in front of me. Okay what if I activate my caps lock? Let me just on my caps lock. I on my caps lock, we're going to see that the vertically turns into a cross head So right now it's a cross here, and we can't see our brush tip. So if you don't really know this, you might get into trouble sometimes. So you might just be looking for your brush, wondering what happened, why the brush tip is not showing, not knowing that your cap log is on. So all you need to do is just de see your cap log and the brush tip will be back. So that's just a very simple and short tip. And the next one has to do with editing our tool bar. Okay? So sometimes there are instances where we want to do a particular task, and then we really don't need all of these tools on our tool bar. So Photoshop gives us the ability to edit our tool bar, basically save the tools we want to use. Because photoshop has a lot of tools. So all you need to do is to just come to these three dots here. Just click and hold, and then click or release your mouse. And then now you have the ability to customize your two bar. On the left hand side, we see all our tools available tools. Then on our right hand side, we see where it says extra tools, right? So it means if you come here, you can just come here. Let's see were using the selection tools, so we can click and drag to the right hand side, and we see that it's removed from our two bar. And we can basically do that for the whole group by clicking here and dragging. Okay Click here, rag. Let's just reduce some of these tools. Let's keep some of these tools. Let's see we are now okay with the tools we have on the left hand side and we want to sf them as a p set. Okay. You can just hit safe here and type in the name of the tools or rather the name of the p set. We have new tools. The save and say done. So we can see that the tools we've selected are now out. And if we want to come back and kind of select our tools, all you need to do is just click and hole and you need to see all of them hiding here. So you can actually go back and select them. They're just hidden, and you can then go to your edit two bar window and restore defaults, if you want or maybe load preset and then you select your preset brook and basically do all of this. So I'm just going to restore default and hit done. Bring back all our tools. All our tools now are back. Perfect. Now the next step is kind of relating to using our brush. I'm just going to go ahead and open a file. So I'll open this file. Now let's see we are using our brush. Let's create a new file. And this t is also applicable when we're working with a mask. Anything that really requires you using brush or drawing, k? Let's just tick our brush and just reduce our brush size. Let's say we want to kind of follow our subject like this and kind of follow our subject and just paint around our subject. Let me just do this and choose a darker colors. Choose dark red. Now we see it's easier for me to paint like this. It's easier for me to paint like this, but when I start coming towards this side, it's going to be harder because my hand is not positioned well to pint along this axis. Okay. So I'll just do now, we can reteat our convase, and then position our character in such a way that it's going to be easier for us to paint along that axis. So how we do this just by holding R we can hold R and then click in reteat our convase. Then at to continue painting. Let me see. So it's now easier. It's now easier to paint around, paint around and then kind of follow it really well, even in the axis where I am not compatible. So I can paint beneath our character very efficiently. Very well. So just hit R and it, and then hit the back, continue painting. Okay. So I'm using the spice bar and the left mouse click to kind of pan around my sheet like this. Is When you are satisfied with what you've done, you can just hit a skip and keyboard or you can still hit R, and then just reset view. So you can see that we are now able to paint around our character more comfortably. Perfect. Now for the next sip, we're going to use this image. I'm just going to point to or let's just the entirely. Let's see I'm working on our image, and I kind of need to zoom in to kind of see what's going on. Okay. I'm working on our image and I'm using the brush to paint in I'm kind of zooming in. And now I want to zoom out and zoom into a different place. But I still want to maintain my zoom, so I can still kind of be working like this, and then just hod down itch on my keyboard. So when I hod down ach on my keyboard, it's going to zoom out, and it's going to give me this little hand icon with a box around it, and I can move it and just place it on the place I want to zoom So all I need to do is put down and please continue painting. Then can put down Hh, click and release continue painting. Pull down ah, click in the release. All you need to do is pull down each on your keyboard and then click, then it's going to zoom out and you can now focus your Zoom on the area you want to concentrate on. That's just it for this tooltip. On the next tip is relating to calculations in Photoshop. Many of us use photoshop without knowing that photoshop is a calculator. Let me explain what I mean. Let's see Let's see I just create a text. Default text, and I want to scale this text to two times the size. On my contextual bar, we can see that we have the font style and we have a font size. Now I'm going to come to the font size, click he and then font slash two. So that's divide by two, and dent. Now we can see that photo shop has divided our ship by or the size of our text by two. Yet, I can do multiply by T. Again, enter. We can see that foi shop has multiply the size of our text by three. We can do this with virtually everything that has a value here. Okay, we can do this virtually everything that has a value. Let's see, we want to reduce our opacity. We can it to 100% divide by two. So we can see that it has reduced this to 50%. Basically everything that has a value. We can use this operations to speed up our workf Perfect. So that's it for this one. The next tip relates to what we call the history A panel. Let's just go to windows and then click history. Now this is what we call the history panel. And many of us doing use this. You might not be aware of this panel, but these panels stores the history of our work. So as we work, it kind of stores our history. So now since the inception of this document, or since when I open this document, we can see all of the things I kept doing. So when I just click here, for example, we can see that it has taken us back in time to this point, where we created this new layer, okay So let's click this. We can see that we added the brush shrok, and now as we keep clicking or activating more history. We keep seeing all the things we did that photoshops told. Now when we deleted the layer, we also recorded it. Okay. Perfect. This is a way to go back to see what you've done, or what you'd like to redo. We also have some other interesting functions on the history panel, or on the history tap. Let's just do something. Let's create some big boxes here. A number of them. Let's create four big boxes and give them different colors. Perfect. So we have all of these different colors, okay? Now, we have what we call snapshot. This is what we call snapshot. So it enables you create snapshots of your viewport. We get so I can just click and create a new snapshot. Now if I go up, you'll see that we have a snapshot here. And let's see I want to go back in time, so I can maybe go back in time where we had just this guy and create a new snapshot. And we go back in time, where we had just this guy with this color and then create a new snapshot, and then we here and then create a new snapshot, and we can see that all our snapshots are here. Now, if we select our first snapshot, we can just go ahead and see go ahead and see our file. Let's receive this Snapshot one. Snap shot. S S one, Save. Perfect. Now, let's go ahead and see Snapshot two S. Snapshot two, S two. Let's see Snapshot four. So Control S s copiers. That's y. So S S three, S three. Perfect. So if we go back to our Dyer, is our good to our folder. So we can see that. We've been able to see different shots as separate images from the same pot shop file. So that's one of the things we can do with snapshots. We also have this potent. For this one, we can use it to delete. An action or a history. So basically, that's what we can use our history panel to do and it really speeds up our workflow if we make really good use of it, okay. So the next one is related to, something really cool. Let me just go ahead and please new or rather open a new image. Let's select this image this time. It's what we call the Fed command or the FD function. Let's assume you just come here and then add black and white filter or adjustment and hit okay. Now, we have a command which enables us to go back and affect the previous effect we added. All we need to do right now is immediately after adding the effect or the adjustments, or the change to our image. You just go to edit, and then come here. Now, you see feed black and white, or click. And then now you get a slider, like an opacity slider, which enables you to kind of feed the opacity of your last effect. Okay? So you can see how cool this is, right? Now, this works with everything, really, almost everything. So let's see we want to reduce or remove this dipole of arts. I really beautiful dip. So we will use a tool like the patch to. Actually let us the patch to to click or make the selection, and then click and drag. Perfect. Now we've removed hard impo. Let's see we feel that this effect is too harsh and we want to feed it. So now we can feed it. I think I did something that kind of cleaned the effect. Let's try it again. Let's select and then click and drag. Then just go to edit and then feed patch selection. Perfect. Let see we can feed. The effect really wants the dimple to just reveal a little bit. So we can fit like this to the amount we want. To just select our selection. Perfect, so that is it for the feed function. Now, the next tip relates to us working on the same image, kind of zooming in to see details while still avail a full view of our complete image. Let me just demonstrate this instead of srog to explain. While on your images come to windows, and then come to our range, and then hits new window for ego photography. That's the title of our image. So it now opens a new window. For our image. And I'm just going to close all of these ones. We didn't need them. Now, it's basically the same image. It's basically the same file. Anything you do here will be affected here. So all you need to do now is just come to windows, come to range. Then let's just arrange them side by side. Now for this one, sorry, for this one, have it zoomed out, then for this one now. Okay. Sorry. We just need to click to activate our window. Now for this one, we can zoom in and kind of make changes. So we can zoom in and let's see, we want to use the plume statup tool and just some weird effects like this. Okay. Perfect. So we rese we see that the image on the right hand side is physically updated. Anything we do here will be affected here. So let's see we want to remove our to once more. Click, you move, and it's going to opt it here. That's a way to work with the same file in two windows. Okay so that's also a good tip to speeding up our work flow. Perfect. Now the next tip relates to speeding up little actions with our shift key. Let's just create a new. This is a new ship. Now, let's use our keyboard keys, Zoom in a bit and then use our keyboard keys to move to the right hand side. Now, I'm moving to the right hand side, but we can see that it's really slow. It's really slow. It's really slow. Now, if I hold down shift and move, see that we are now moving faster. He's covering more space now. And that's basically leads, and this works with almost everything. So let's assume we want to reduce our opacity. So I'm using my mouse wheel to reduce to scroll down, reduce our opacity and we can see how slow leads reducing right so 82, 81, eight. But when I hole down shift from et, we can reduce to 60, reduce to 50 to 40 faster. So basically, this is one of the things we can use the shift key to do in order to speed up our work flow to delete. Yes. Now, for the next s, I'm just going to close this guy because of this dit distortion I did here. So close it, and then open. Let's open C image and also this one. So open. Perfect. Now we have these two images. I go to this one, let's see I'm using the crop too, and I kind of like my photo dimensions. So I want to copy this photo dimensions to our image here. All I need to be come here, select my Crop too, and then come here to this place, and then just select front image. So if I do front image, Go back to my image here. We can see that it has basically created the same dimensions as the former image. I can just go ahead and hit enter and enter, I can now either move my subject, maybe the right hand side or the left hand side or to do basically to reveal what I want to reveal and just hit done. Perfect. Now we can see that we have copied our dimensions here to this image. Now we can also see that our dimensions here and here are same as the ones we have here. It means they are the same. So the next photoshop tip relates to kind of focusing our Zoom on particular elements of a design. Okay, so go ahead and Open your folder and select this file here. So this footage of file, this new posted design to select the file and open. Now, if you're coming from the fundamental course, you're going to recognize this design, right? So we did this in the fundamental case. And this design has a lot of layers, a lot of elements. Okay. So let's see we're working and just want to kind of zoom in to see certain elements. So we have them on a layers panel here. All we need to do is to How Alt and click. Basically zoom into selected element. Right now we're selecting this rectum good one, and I can see that we've zoomed into it. So let's keep going. So we've zoomed into this guy. Let's select our text here and we've zoomed into the text. So it's basically how Alt on a PC option on your mark of course. Then click click and basically that's it. We can keep zooming in to all of these elements. Perfect. So the next tip has to do with processing a lot of images. Okay. Let's assume we have lots of images which we want to convert into a certain file format. Or we have lots of photo shop files, which we want to convert into certain formats, like GPEg or Tip. So we can actually do this. We just come to file, come to scripts. Then come to image processor. So this image processor window now opens, and you can select your image. So you can use open images. So it's going to use just the ones that are open. Let's assume you want to kind of save all your open images to footagep files. So you can use this to see all of them. But we do not want to use the open images. We just want to use a folder. So click on this and then select folder. Now let's come to your folder and then now we had worked on some images when we looked at actions, right? So we created an action and then applied it to multiple images. So we are now going to use this function to convert all our images into other formats. So select the folder here, which contains the images. It's called Don then OK. And then now you have to come here to select the location. So you can save in the same location if you want. But I don't want that. I want to create a new folder to select folder. And now I am inside my Dt folder. I also want to just create a new folder here, give it the same name. Done. Okay, it's done inside Done. I'm just going to go in and then select Fonda. Perfect. And now we can just see file as maybe GPD if we want, but they are already GPE. So why should we see them a GPC, right? So we are not going to see them on GPE, we see them as PF. Sorry, PSD, as fo shop, and we can see them as T also. Yeah, I'll see them as PSD and TF just to show you and we can resize and resize also. You can also run actions on all of these images. We can select the set actions. We have the default and we have the M set. On the M set, we can see our cool effect action, right? So we can also select it, but we don't want to run action. So check this and basically run. And Photoshop is going to open each and every one of these images and see each and every one of them as foot shop files and ties. So when it's done, we're going to come back and look at our sved files. Perfect. Now photo shop is done of seven our files. So just go to your folder, and now enter Don and go to De De within done. And then now we can see that it's created a folder titled PSD and this other one titled Tf, right? So we can see that our file folders are really large. Now we can see all of them as PSDs and all of them as thieves, right? But this PSD, them just open on them in this one, and we can see that it's actually our image. Perfect. That's just for you to do. Now, I don't really need all this. So I just delete ever see that da is really large, right? 1.5 gigabyte. T right click and delete. Perfect. Go back to put shop, and now we're going to look at our last workflow tip. Now, this tip involves ting custom shortcuts. Custom port keys to help us perform the actions which we do regularly. So let's just control G. Now come to edit. And now come to keyboard shortcuts. So click keyboard shortcuts. And now with this window here, we can edit our keyboards. We our keyboard short cod, or we can create new keyboard shortcuts. So let's see we want to create a keyboard shortcut for turning our image into a smart object or turning er into a smart object. We can do that here. Okay. So all these lists are structured based on our menu here. So file for file menu. Edit for edit menu, and so on and so forth to basically, we can do everything or rather we can create shortcuts for everything that we can do with our menu here. That's basically everything in photo shop, right? So for turning our image or our layer into a smart object, we can just come to Layer. Then I'll school down to look for smart object. Smart object, smart object, Smart objects. Okay. So this smart object. Smart object. Now, Convert to Smart object. Now we can see that we don't have any short cut right now. But we can add a shortcut. So let's see control control all D. Perfect. So let's accept and k. Now, Layer can do control D to convert our layer to smart object. This works for every single t for the shot. Even filters. Filters. You can create shortcuts for filters. Let's see blow. Let's see if we want to create shortcut for blow filter. So to edit, and then filter, sorry, keyboard shortcut and then just come to filter and Zoom or scroll down, and let's look for blow here. Looks for blow blow. Let's see we want to give it a gusan blow. We can see control shift Z. We can see that it has shortcut already. Let's see control B. Let's say control shift B. Wow. Okay. This is getting really interesting. Let's control shift X. Let's see it for the Lipi. So if we accept, it's going to kind of remove the short cut from the Lif and give it to our gusan blow. Let me just try something else. Control shift k. So color settings. We don't really use color settings, that much. I'm going to accept. We've now given our ca control shift k and then. If I do control shift K, you can see that we now have the option to adjust our blow and I get. I've added the C blow fill to our layer. That is it for workflow tips in our D B f shop. See you in the next one. Bye bye. O 10. 10 Features you did’nt know existed in Adobe Photoshop CC: There, welcome back. In this lecture, we're going to learn about features in how to be photoshop, which you didn't know exists. Do you know that with photoshop, you can actually automatically create a detailed tutorial that's written tutorial of all your steps? Does that sound interesting? I'm sure it does. Yeah. So what I mean is, Photo shop has the ability to kind of record your steps and then create a detailed tutoria written Tutoria, which you can kind of export to a file and then maybe share with someone or maybe keep for record purposes. So that's what we're going to learn first in this video. And for that, I'm just going to create a new of a new file, right? A new document, create a new document, and now we have our new document. Now in order to do this, you have to come to edit and go to preferences or you can just do control key or command key on your keyboard. Now, come to history and content credentials. This is something we didn't look at really well. We just kept it when we were talking about preferences. Okay? Be I wanted us to come and really focus on it in this video. Now, all you need to do is to Check the history log. Now, when you check the history log, but the shop is now able to record data that record your steps and then export them. Okay. So you have to check the history log and then come and select the text file. Okay so text file, and then now you can choose the location. So let's choose the location here. So that our work flow and shot cords folder and then it save. And now we can come here and then kind of choose how we want our file. Do we want it detailed? Do we want it concise? We want it to record sessions only. So we want to select detailed here and just hit okay. Now put shop tsk to record. So everything we do from here, pusho records it and then saves it in our file now. B go here and then please an image. So please embed it. Then come to my folder and select this guy this image. Then please And then the next thing I would like to do to just hit C on my keyboard and then hit enter. So I've just cbbed my file to this size, right? So I just click here to finish my crop. Now I want to just add some adjustments to our image. So just come to the adjustment layer, and then let's add cuffs. So I'm just going to expand my panel, and then Just add some quick curves. So nothing really special here. We just want to be able to have some history so that we can see how f shop saves our history, right? So we are. So these are curves, and then let's add let's add another one. Let's add black and white. Let's add black and white. Let's just use blending mood here. Let's use this blending wood. Lighten. Let's reduce the opacity of our blending mood. Perfect or rather of our leer. The next, we're going to add another adjustment. That's the color lookup. And just come and select one of these really cool looks here. Select this look and then let's change the blending mode. Let's select the lighten blending mode can lighten up. Let's select Tarken so that we can just reduce the opacity. And next is the levels. I want to select my levels. So I want to I want to boost my levels. We are my levels. These are my levels. So make my levels. Look this. We can see that the explosure is becoming too much, so I'll just add an exposure adjustments. Exposure and just reduce my exposure. Okay. I think I should reduce my highlights instead. But you know what, we're just going to work with what we have, since it's for experimental purposes. So now I'll just hit Control S to see if my file. So let's see if this as flower girl. And save perfect. Now we saved our file now. I'm just going to go to my folder, and now we can see that in my folder. In our folder. Photoshop has created this foota shop edit log. This is a text document. I'm just going to double click to open it. Now we can see that fotoshop has now recorded all our steps. So we started by placing an image. We started by placing an image. So Pootosho has recorded Communication, has recorded details, details about the image. In fact, the names of the layer. It has recorded the crop action, crop it and even the sizes of our images, the dimensions and everything. So you can see how detail. This is, you can even edit it further to add more detail and organize the whole document better. Yes, so this is a really crazy feature in foo that many people don't really know about. Now the next feature is just a really simple feature. It's just this bar here. If you just come here, You can click. You can click and hold. Just click here and hold. Now, you're going to see details about our file. So the width, height, the channels. There are three channels, we have the RGB channels, then the resolution. 75 pixels per inch. So these are the details of our image. Let's just come here and see if we are right. So we can see that yeah, it's 75. Then these are our widths and heights. So now if you come here and click here, you're going to see different things we can select. Prerently, it's on document sizes. That's why we can see the document size. So we see that the document size is 55.3 B and 61.3 B. So now 55.3 M is the actual size of the photoshop document, and then 61.3 MB is the size it consumes on our computer while working ok. Okay, so we can also look at the document profile. So we click on document profile, we're going to see the document profile here. So you can see the document profile. If you click on document dimensions, you're going to see this is 4246 pixels by 4553 pixels, and then 72 PPR. Okay. Then GPU mode, this is the GPO mode, and then measurement scale. You see that this is basically the scale of measurement, right? It's one pixel to one pi. Is one to one measure. So it turns out that we even have skill for shop. And then the next one is scratch sizes. Now, this has to be with memory, I guess, so we can see 18 gig by 10.1 gig. Then we have many other ones. We have even the efficiency. So this is basically telling you how efficient prob shop is running. I can see that it's on 100%. So maybe if we begin to do a lot of stuff that would slow down our computer, we might see this number reduce. This potent reduce and then we have ting, probably the time takes to perform actions, maybe to see or to perform certain actions on our file. We can see that 2.5 or 2.6 seconds. So the time usually gets increased as our project gets more and more complex. We have the current tool, which is the move to. So we select the two now in the shows that you selected the rectangular, Make select two. This will be the object selection to the smart two. So we can see that the names of each two we select, just keep showing here. We have this, we have svn progress. We have smart objects. It tells us the number of smart objects we have, and we don't have any smart object. But if we create a near, to create a nul, and then let's see t or convert to smart object. So we can see that. We're going to have The smart objects. I can really see change though. But layer counts, we see that we have eight layers. Let me just turn my layer into a smart object. Okay. It's actually a smart object. This should show at least one. But then why it's not showing, but that's by the way. So we can see that this little important here exposes us to more and more details about our project. Okay. Now the next feature is going to help us create a PDF presentation from our files, from our images. So just come and open. And I'm just going to import some of these images on the batch image editing. So we just select some of them. Some select this one, selecting this one, this one, this one. This one, this and select them. Okay. I just duplicated them on two. Let me do my selection again. This, this this this this this this and this. And then open. Perfect. Now, I just go ahead and close this file. You don't need to sf it. So go ahead and close. Perfect, and don't see if. So just come to file, come to scripts, or rather come to automat and then come to PDF presentation. So click. And now we see that We can now add open images. So it's going to add all these images, or we can actually browse images from our computer, right? So we can add images and then now see us. So we can see as multi page document or we can see as presentation. I want to see as presentation. We can select the color of the background. I be black, font size. You can include file name, title, all of these other details, general necessary for now. Then we can edit the the timing of our presentation. After every 5 seconds, we want it to change. We want the image to change and move to the next one. That's it for here, so you can make this four if you want. T into his four, and then we can actually choose a transition. So we have a random transition now. It means it's going to just choose randomly. Now just work with a random transition so that we get to see how different other transitions work. We can then hit sf. Then just go to your folder. And heat seve. And we are not really using any file because we just want to use this for testing purposes. So we are brought to this window, and all we need to do is just heat Seve. And Foot shop is going to take its time and export our file. Now we have our file exported. I Got your Folder. And now this is our presentation. Double click. Sorry, do click. Let's just right click and open with AcO bats. Open. CT. Now we can see our presentation. After 4 seconds, it's need to move to the next image. Let's don't shoot this message again and. So we can see our presentation continues after every 4 seconds. Yeah. So that's how to create the presentation in foot Shop. So I just hit a skip and close this and I just delete the file because I don't need it. So go back to fo Shop and, now we've learned how to create presents, PDF presentations in foo. Now the next feature is a really funny fur, re we feature. Now this is just come here. Click. And hold and then release to bring up the customized to bar window. All I need you to do right now, you just come here and hold down shift and at done. We can out see that. We have a banana as our icon here. This is just a really cool feature we shop, it really doesn't do anything, just a fun stop. So you can also come back here and and ho down lt and then click down to reset it to the default image. So just come here, hold Then at shifts, pull down shift, and kick don, and in to have a banana. And we have one or one that's on the preferences, preferences, control key or command key. But this one, you just go to interface, and this is it. So what you need to do here is come and pull down shift on your keyboard and lt or shift and command. Then click. So when you click, you're just going to see that our color theme buttons turn into loaves of bread, with different brightness. This also doesn't do anything really. I just a fun stuff also. So you can hot down all and shift and just click to tick it back to what we had before, ok? And for this, let me just tick it back. W on Alt and click Done to reset. Perfect. And with this, we've come to the end of our video on features you didn't exist. I'm sure you learned something new. I'm sure you got some value to see you in the next one. Bye bye. 11. 11 Module Introduction: In this module, you'll learn how to work with the LB CC les and H to B funtion. Kindly download the attached files for this module before you continue. Please reach out to me via message or QME section. If you have any questions. I'd love to make this cores five star experience. See you in the next ide. 12. 12 Introduction to Adobe Libraries: Hey, everyone, welcome back. So in this video and in the next one, we are going to learn how to use the Adobe Creative Cloud libraries in Photoshop and other Adobe softwares, okay? So in your photoshop, just make sure you have the library spanel. Activated. Okay? So this is the libraries. If you are not seeing your libraries, just come here, come to windows, and then make sure you have libraries checked. Okay. So this is your library panel, and then these are your libraries. So yours will probably be empty because you have to create libraries to have libraries, right? And as you can see, I have a number of libraries. So what are libraries? Libraries are basically place in your creative clouds, where you can store assets. Okay where you can store files, where you can store presets, colors, and so on and so forth. Which you can then use in other projects across all ADB softwares. So if you create libraries in Photo shop, you can use them in Itrido. You can use them in after effects in premier in in design, and many other ADB software. So we're going to learn how to use how to create libraries and how to use them. Okay, so let me just go through some of the libraries I have here. So I've been using libraries for a while. And if I just open, you're going to see that I have I have contents in my library, right? So we have this other one PSD assets. We have the libraries with all of these. We have custom EI brushes. We have this Branding. And right now, to create your library, you can just click here to create a new library. Now we're going to create a library called Tia. Okay. So Tutorial. Okay? So this library is basically for these videos, these lectures. So when you create your library, you get to go into the library, and you can now add things in your library. Okay? So right now, I'm going to put a file open. My folder and then I'll just come to a folder on our BCC library, and then just select all of these images and click open. Perfect. Now, I've opened my images, and I can add my images into libraries. I can add text, I can add text tiles, I can add colors. So let's start by adding this image. Okay. All you need to do is click and drag and drop. And now you have your image in your library. Now you can ame this, you can do quick, please, and then rename it if you want, but I'm just going to leave it as per crown. And then let's just add this other one. Click and drag and drag and drop. If you click and drag and drag and drop. Yeah. And now we have our image. Let's just name this lobby. So that we differentiate them. Okay. So we can see how we've added images. So let's see we want to use these images in as softwares. So let's just put Illustrator right now. Here I am in Illustrato and I've opened a new file and you don't need to have Illustrator. I just want you to see how I can use my libraries here in Illustto, right. So these are my libraries, and then This is our new library, which we reed to just click and enter. Now you can see our images here. So I can just click drag and drop. Now you can see that we've been able to bring our image into Illustrator. And this works with all other spas. Now, this is called a linked file, and you can see this x on. It's called a linked file because it's linked to our libraries. So if I just go up to fot show, for example, and just try to bring this file in. Now, if you look at the terminal here, you see this Cloud icon, right? So this Cloud Logo shows you that this image is linked. It's linked, and it means anything we do to change our image here, our main file here, which is in our libraries, it's going to affect our image here. So let's just try that. So let's come here, right click and then edit. Tonight's going to open an interface of our image where we can edit. So I just want to add a text to our image, so just click. And this works more like mocks, how you just add details to your mocks, and then just see, and then it updates automatically. So this is how it works. So all you need to do now is just change the text color. I need to change the text color, something that visible. Let's see new. Let's see white. So White, I'm just going to hit S. Sorry, Control S, see. So when I hit Control S and go back to my libre, we see that it as updated. Okay. And now let's go back to the image and we can see that our image as updated. And also in Illustrator it as updated. Okay. So sorry. Let's go back to pot shop. Perfect. So what if we don't want to have our file linked, right? What if we just want the mean file without it being linked. So let's just delete this guy. And just fit another one and add another one. Now, in order to have our file without it being linked, we can just click and pull on old Rg. And now we don't see our cloud icon here again. It means this is no longer linked. It means whatever you do to this file it's not going to affect the one we have here. Same also in Illustrato Let's put Illustrator. So I Illustrato now, if I come here Wood on Old and rag, We can see that we no longer have that outline across our image. It means it's not linked. But if you just click without holding down dragon and drag, we can see that we have this X. Okay, so it means this guy is linked, this guy is not linked. So basically, these are the two types of files or rather two types of importation of our assets, which we can do. We can have them linked to our library files, and we can have them on linked, or embedded. So now we've looked at images. Now we can also add colors. So let's see if we want to add colors, and we just come here, create a new color. Then we just give this this color or this color. Let's see you want to add this color to our lebage. All you need to do select your ship, come here, click here, and then add field color. So you can add the field color, you can add the strep color if you want, and you even add the foreground color. Let's add field color and you see that our colors being added here. It means go back to Illustrator, and see if we want to create some or get our color back, just click and add you see that our colors of detail. And we can actually even take our eye dropper to and sample our color. We can sample this color. We can sample this color and then just click and add for ground color. You can sample this color, click, add for ground color, sample this color. F t for grand color. And this works really well in branding also. This can come really handy in branding and creating let's see brand identity. Be with this, you'll able to see even the brown colors and even share your libraries. And we're going to learn how to share libraries in the next video. So we can see now that we can actually see our colors. So let's try saving some of the stuff. Let's create a text and let just create a dom text. So what I want to do now is, I want to just give my text different color, let's see white. They just do some adjustments to my styling. So I'm going to give it a font style. So I'm going to give it this font style. Then let's see make our kerning 50 or -50. And basically, let's say we just want these styles on our text, and we want to s this as a heading. Maybe we're designing a magazine and we want to see this as our heading. Let's also create another text. This one, this will be this will not be a point text, it would be an a text. We want to even have a paragraph this kind of paragraph and maybe change the phone style, to this. And then reduce the font size to 60. Perfect. And then we have this as a part of, right. So we have two types of texts. This is a point text, this is an a text. So click and come to your libraries, and then click here and you see add character style. Click on Character Style and then you have this. Then click also on this one, and then add character style. It means you can go back to Illustrator. And copy our caracter style. You can select and just add this and see that copy or caracter style. So with this. So we can see that we've been able to kind of replicate what we had in the foot shop. Perfect. The last thing I would like to add before we end the video is adjustment layers. So you can also see your adjustment layers in libraries. Let's see you are editing your image and let's delete this one. Let's just add some adjustments. Let's see we really like the lookup effect, and let's just get one. Let's see we like this one and maybe let's add another adjustment. Let's see we even want also the curves, we want this cup along with the cuffs, right? So we can actually add them to our library. Let put of them click and. It seems we didn't do let's select one by one. Try it this time. Okay, so now we've added our levels and also our color into our libraries. So let's assume we no longer have them here, and we want to just copy our adjustments, right? So all we need to do is just click, down O and rug. You click and Hol down out and rug, and you can see that we are basically applying our effects back again. Okay. So basically, that's how we add stuff and from our library. So it means we can select and delete if you want, you can delete. Okay? Yeah, so that's a basic introduction into libraries. In the next view, we're going to learn how to do even most of with libraries to see you in the next one. Bye bye. 13. 13 Do more with Libraries: Hey, there, welcome back. So in the last video, we learned how to use libraries. So we had the basic introduction into libraries, and we saw how to use our libraries across different D B softwares. Okay. So in this video, we're going to learn v p stuff. Now, the first thing we're going to learn is how to find similar images to our image. Let's see you're working with an image and you're going to like the image, but let's see you could not use it because maybe the resolution is not good enough or because of some reason, and you want to find a similar image. So how you do that is just bring your image to your library and then Oh, right click on it and then find similar. Now, Photoshop will search the ADB stock library and get some images for you. So similar images. Now we can see this one is similar, and this one is also similar. So you can actually use these images. W for free. You have to have an ADBtok subscription to use these images, but you can use them with the water marks on. So you can just bring it in, scale it up, Kok, and it's going to be added. So this is just the new resolution image with the watermark. So let's say you're satisfied with what you have and you want to purchase the image, you can just go ahead and click he and purchase the image. Okay, that's how to find a similar image to the one you have. So now the next thing I want to show you is how to further manipulate our image, or further edit our image in libraries. So select your image, come here. Then extract from image, so click on extract from image. And let's use this image. Let's use a more grammatic image. Let's use this one. Okay. Let's add our image first f. Or let's just extract from image directly. So extract from image. Now, this window opens up, and then our image is loaded here and you can see that we can create patterns with our image, so we can even adjust the scale. We can see everything happening here you can see the beautiful pattern we are able to create with our image. You can adjust the rotation address the ke. You can even address the pattern. You can even change the pattern. There are different patterns we can create. You can see the really cool stuff we're using our image to create. This can serve as a background. It can serve for many purposes. You can create different patterns, the image. So the color mode is colors. We can even have it as grey scale or in green scale. Let's just go back to colors. Now we can also create shifts now by ships. This is basically foot show factorizing our image. Let's just factorize our image and see it. A, let's just see to libraries. So it's now sv in to libraries. So apart from that, we can also get the color theme of our image. So we can see that photoshop is basically taking colors from our image, so we can see it as sample different colors from our image, and we can choose the colorful mood, we can choose the bright mood, and we can see how intelligently photoshop does this. This is the miuted mood. This is the deep mod. This is the dark mode. Let's just keep adding to our levers, so we can add of these colors to our libraries, the deep mood, add to bars. Let's add the bright mood at laris. Let's add the colorful mood add to brie. So we can see all of these in our libraries. And we can also add gradients. So we can see that footage of create ingredients with our image. We can add this to our labris. We can even add the number of colors so that the gradient is richer. You can see that we have all of these. Add to our libraries. And if we have text on our image, we can also extract the text from our image and add to our libraries. So these are some of the things we can do. Libris. Let's also add a pattern. Let think we've added the pattern. Let's just create a pattern and add to our libraries. I like this pattern known as add to libraries. Perfect. Now, we have been able to create a rich library. We can close this, and this is everything in our library. Okay. And I forgot to show you something really cool. This is related to adding colors to our libraries. So just go to this website, call.ab.com. C.ab.com and then just come and see the website. Now, this is a website dedicated to colors. So you can have color inspirations, you can create color themes. So I'm not really going to show you how to use everything yet, but let's come to trends, and foot shop or B gives us color trends yet. So it gives us color pallets based on trends. So we can see all of this. So this is graphic design trends, fashion trends, illustration trends, UI UX trends, architecture trends. Okay. So we can just steal colors. From this place. You can just save to library. You can just come on anyone you like and then add to libraries. But I was going to come here first and change my library. It's saving to grey bar. I just want to save it to Tutoria. Perfect, to go back to trends and then just add a few of them. I'm going to add I'm going to add randomly, make it for something here. Add this one, and maybe go down a bit. Add this one to library. Perfect. Now go back to footy Shop, and we can now see that our colors have been added to our library. So these are our colors. Okay? That means that go to Illustrito, we can now use our libraries. So let's click this guy. Down Old click and Brag. So now, we can see our vectorized image. Now in Illustrito. Okay, so we can see everything perfectly. U We also have our pattern, Let's create this shape and just give you the pattern. Perfect. Now we see our pattern has now been brought in to Illustrio Thanks to libraries. And we can see all our all our color palettes. Okay, so we can select. It's just going to keep up this. We can also add two switches. Okay? So basically, these are the things I want to show you. And apart from this, there are some last things we can do. We can actually export our libraries, so we can export our libraries. So click Export to Tura. So we can choose of funda. Let's select our folder here. O CC libraries folder we sell this full line then export to export, and our footie shops exported our libraries. This is our library file. You can see this ts 2 megabytes, and apart from exporting our library. We can also share our library. So come here and you can see that you can share your library. You can invite people. It's just going to open your critic cloud up and then you can write in their e mails and then invite them. So they can also work with your libraries. They can make changes to your library. Okay? So this is also one way to work, and you can get a link and just share the link. To it's create my link. And with this link, I can share this link to my clients, I can share this link to my co workers, and they can actually access my library. So it's going to open my library. And you can also do this, go back to the Shop, and we can also do this. You can also come here and then view on website. View on website, just click view on website. It's going to open the website for us. Food shop website or the AB website, and you are going to see your library. Now, this is the link we pieted. You can see that if we give our clients or co workers this link, this is what see, is what you see and it means they can now add it to their libriris. You can now work with all of these files which are in our library. And basically, that's it for libraries. They can really make things flow incredibly well, with your work flow across different bay ups, and that's incredibly amazing. So this we've come to the end of this video, see you in the next one. Bye. 14. 14 Module Introduction: In this module, you'll learn prow flows for working with images, selections, ys and blending, now do B foos. You'll learn importantly at tips. You'll learn how to do more with blending options, how to work with apply image, calculations, auto blend. You'll also learn pro selection workflows, how to fix bload modes, and a lot more. Kindly down with the attach files for this module before you continue, please reach out to me via message or in the QME section, if you have any question. I'll look to me this course of five style experience vi. See you in the next vid. 15. 15 Pro layer tricks in Adobe Photoshop CC: Hey, everyone, welcome back. So in this vide, we're going to learn some near tips. And I've gone ahead and open this project from our fundamental course, and you can just go ahead and open it in your folder. Your folder on images, layers and blending modes pro of use. Go ahead and open this this file. That's the new poster design. For now, it's the only file in the folder, but when you get access to the folder, you will definitely see other files. This is the name of the file, new poster design, go ahead and open the file, and now this is the file. We can see we have quite lots of layers here. First of all, I want to just show you how to isolate your layer. You might know this. You might don't do this. It's quite simple but advanced at the same time. A into this come here, right click. And then show slash hide lier. So it's going to show the lier you've selected, so I've selected this white layer and train in well. Let me select it different li. Let me select this layer. Yeah, this with color. So right click and shoe slash hide all other layers. So it's going to show you the layer you've selected while hiding other layers. Okay? So that's all right click and hide slash shoe layers. And you can also hit pull down old and click on the icon to hide layers and shoot the layer. So just pull down old on your PC or Option on your mac. And then just click. So you can do this and isolate your layer. That's the first thing and of course, if you click on it, you can also see other options. So it means you can turn this to red, you turn your layer to red. So this is a way of organizing your layers, if you will. You are different colors, you can give you a layer, and you can finally hide the layer. These are the few options you get here. Now when you click on your thumbnail, you also get different options. Now you can change the color of the layer also to here, just like this, select your layer color. And I just hit be color. So apart from this, you can also do other things. You can clip toumb nail to document bones. Now, this will make your Tumb nail just the size of the document. You just the shape of the document. So we can see that our document is squared right now, also with our tobnail. So all the empty specs can be seen. From our thumbnail. So you can also choose a different option. You can clip thumbnail to layer bonds and going to give you this. And this will crop your um meal to a ship or the bonds of your layer. Okay. Basically that that, is going to take it back. And we have other options. You can choose small thumb meals or rather new term meals. You can oe small um meals. You can choose medium term meals, you can choose big tom meals. Yeah, these are other options, take it back with small um meals. And basically, these are the most important f. These are just paying options, let you know. And this other one to select your pixels. Per section. So basically, that it for these options. Of course, if you click here, you're going to get these layer options, and if you don't click here, you're going to get your layer styles. Okay. So the next thing I want you to learn is how we can filter our er. There are these options here that we almost never use. We didn't look at any of these from the fundamental course, right? These are actually useful. We can use them to speed up our work flow in foot shape. So let me just go ahead and go through them. So if you just come here and click here. You see Kind. No this kind allows you to see all layers you have, right? But let's see you filter your layers. Let's see you select some layers and just isolate them. Okay, so I've selected these layers who didn't shift, right? So all the needs is to come to kind and then select it. And we need to just isolate all these layers. And you can actually switch this feature on of this little ball here. So you just off the bottom to see all your lier and on to see just your selected layers. Okay. So you can also have other features or other options. Like, let's just go back to kind first. Then let's see we want to see let's see we want to search the name of er, just click name, then get Sch, right? Let's see want such a type named best men's shoes. Okay. So you can see that. We've now sched the layer. So this can come really handy when you're working with lots of layers. Okay. I really helps you clean up your work and speed up your work flow. So we also have this guy that helps us select layers with a layer style on it. So just click on effect and then choose layer style. So for this, sinous drop shadows, so it's kind of sinus layers with a drop shadow. This one has a drop shadow, this one has a drop shadow. Let's select, which is a different one. Let me see Bevel and pass. And we can see that this layer has a pel M pose. Okay. So this is basically how to select how to filter your layers, based on the effects we have on our layers. And we can also do that based on the blending mode. The blending mode, and we see normal, right now, so let's see, we want to select layers with lighten and see that this guy has lighting. So that's how to do it. Perfect. So next, we're going to select let's see attributes now. We can see that it's going to help us select layers or isolate layers, based on different attributes. Based on layers that are locked. Based on layers are visible. We can see that now all the layers are visible, right? It mainly shows all the visible layers. So it means if you have layers that are not visible, you won't be able to see anyone. As we can see now we don't have any layers that are hidden. So it means we won't see any option when we choose the not visible option. So we have lots of attributes. We have vector masks, layer masks. You can see that all our layers with layer masks are selected here. Or are isolated here. We have clips. We don't have any clipped mask layer. We also have empty layers. We don't have any empty layers. We have lots. We only have the background layers locked. This is how to select pis and attributes. So let's just go back here and we can selects and color. Color. Now, based on the colors we've given our layers. Let's see we've given our layer orange color. Let's see this one is orange. This one is orange. This also is ange. And then let's see this one is green. Green also is green. Now we have it at non, as non right. Let's just come to green. Now we see our layers that are green, let's come to orange, we see our layers that have the orange color assigned to them. And so we have smart objects selected. Now for selected, it's going to mean that when we select layers, Yeah, and we've looked at selected actually. We've looked at selected. So when you select layers, and we selected, it's going to just isolate them. And basically, the remain in our self explanation. This is how to isolate our layers, and we also have these other options here. We isolate pixels, we isolate adjustment layers. It's going to just show us is adjustment layers, we isolate z text. And of course, we can do multiple, we can do this. So we have bison text. We have smart object, I think, smarts ships. Then these are smart objects. Yeah, so this is how we use these options right here. To see you in the next one, bye. 16. 16 Do more with blending options – knock out: Hello, everyone, and welcome back. In this lecture, we're going to learn about knockouts in our DP photo shop, and we're going to see practical usage for knockouts here in Photoshop. So knockouts are more like layer masks, but with more features. And we can basically use knockout to puncture holes through our layers, through our layers and down to our background layer. So in order to explain how knockouts are similar to layer masks, let me just create a new document. To go ahead and create a new document and let's choose the E four template to create. So I'm going to take my text tool and then click on my works piece and then just type S. So Lita S, and I'm using the clash display font. So this is the clash display font, and in case you don't have this phone, you can go ahead and download it from the Internet, it's basically free to use for noncommercial purposes. I'm not mistaken. So this is the spelling clash display amusing, the bold variation. It's the ackest. So right now, let's say we want to puncture a hole through our text. Okay. Now, the best way or easiest way to do this would be to select our text and then create layer mask and just take maybe our brush tool. Take our brush, and then make our hardness to 100 and maybe the brush size to this and and just come on our text while selecting our layer mask and just click and hold. Click and drag rather. Click and drag to create a puncture on our text. Or to puncture our text right through down to our background layer. I'm just going to do this to do it better. So I'm going to pull down shift and click and drag so I have no created a straight line across my text. Now, if I just hide my background layer, I'm going to see that this is actually transparent, right? So with knockouts, we can also do this and even do more because knockouts have a lot of other options or other applications. So just select your text to once more, and let's hit S. Sorry. Let's create S rather. Create S. Now let's try to duplicate what we've just created with knockouts this time so that we see how knockouts work. Now, just come here to your rectangle to and create a new rectangle across like this. Now, our rectangle has to be on our litter S, on the rectangle and then go to blending options. Now on the blending options, you see where it says knockout. So this is knockout, and as you can see, it's presently said to none. So that's why we don't have any counts, but let's just take this to shallow or deep, and I'm going to explain what shallow and deep means. We just take this to either one of them, and then come here where it says fil opacity and then reduce your filopacity. Okay? We can reduce your filopacity through here, or just hit go here and then come to feel here, and then reduce it. K to zero. Now we can see that we physically created exactly what we had here. Only that this one has a stroke, so we can just dele our stroke, and we basically have exactly what we created here. So we can see how we've achieved exactly the same t with knockouts, just as we did with layer masks, right? So basically that's what knockouts do. And we have two types of knockout. Like we've just seen, we have the deep knockout, which puncture holes through our layer down to our background layer. Henny basically doesn't care how many layers there are. Just punctures holes through all the layers down to the background layer. While the shallow knockout puncture holes through the layers within a group. So the layers have to be within a group. Now, we need to see how all of this works. So go ahead and please an image. Let's please an image. Go to our near our full Dada, and then let's select this architectural image. So please Perfect. Now let's just kill our image this big, and then tick our text to and just type design. But instead of choosing the horizontal let's choose the vertical, because we want to type a vertical text, right? So let's type design. And we can see that we are using a really thick font. We should be using a really thick font because we want this to really punch well. So just create your design text to be this big. And now, just go ahead and create or select your rectangle to and then just create a rectangle like this of this size and shape. Perfect. Now, drag your rectangle below your design layer, and let's just change this color to white. And just zoom in to see if we have balanced composition. I'm just going to make this bigger. And I think this do. Now we have our rectangul design text, and also the background or the architecture there. So I'm just going to make this a bit smaller in size. So I'm pulling down on my keyboard. To re size it. Now, the next thing I'll do is I'll just select my design layer and then go click to go into the blending options and then select shadow knockout and k. Then just come and reduce my opacity or my fil opacity. Now whenever I select the shallow knockout, or whenever I do I make changes to my blending options, we get to see this little icon here, showing us or telling us that some changes are made to our blending options. Right now, we see that it's white because our background layer is white. So what would do we just unlock our background layer, and we can now see the transparency, right? And then just delete our pagound layer. And I'm just make this guy our new background there. Go to layers, new and background from there. Perfect. Now you can see through our rectangle. And our rectangle just has a stroke. I was going to hit you on my keyboard for my rectangle to.'s go to stroke, and remove my stroke. Perfect. At zero or control zero command zero to fit the screen. Now we can see that we've basically punctured the hole through our rectangulle down to our background layer. Now, if we were to do this using masks, we can see that it's going to take us a while, or it's going to be more complicated than doing it this way, right? Perfect. We can see how easier it is to use knockouts for certain things in photoshop. Now we're going to go further and see how the deep knockout might work. So go ahead and please another image. Butify and please embed it. Then here, you just need to come and select this half ton PNG. Now, this is a half ton pattern to open this so I see open, and we can see that this is a half ton pattern. Physically a texture and it's a PNG. Okay. Click and please. And now we just want to make this this big. Okay. Perfect. Now take your guy here and take him below your rectangle. Now if I take this below my rectangle, we can see that we're not even seeing our halfton pattern inside our ship, right? I have not seen it inside our text, even as it is below our rectangle. And why is it Because this design is puncturing a whole through all of our layers, all of our layers down to our ground layer. And even though this is set as shallow, it's actually set as shallow, but still because they are all in the same group, right? They're all in the same group. And there is no special group between the design text and the rectangle. So it punctures the whole down through all of our layers down to our background layer. So what if we want to actually see our half ton PNG pattern inside our text? Now, in order to do that, all we need to do is to select the design guy and select the rectan guy, and just come and give them mula. So as soon as I give them manula, you can on see it's appearing inside our text. Yet, so that's because the shallow guy affect just the two layers within the group. A yet. So if we take this guy back to deep, we will still see it going through all of our layers because deep just goes through all of our layers. But we want it that shallow and ok. Perfect. So this is how to use the shallow and the deep knockouts. Now, I'm just going to maybe add a few more things. So I'm just going to create a new background, and then just going to sorry, not control box piece. I'm going to old boxpiece, to fill it with our foreground color, and you can do option delete on your ma to fill it with the foreground color. So what I need to do now is just create a layer mask. Select my lier one, pret a layer mask, and take my brush to and then tick. Met my hardness very little, then increase my brush size to C C one eats. But this is still too small, what I want to achieve. So I'm just going to use my right bracket keys to increase the size of my brush, and then click. Let's click to expose parts of our image. So that we create this linet effect. Now we can just click on our layer and take it down below this guy. Now we're kind of making our background a little bit darker so as to expose this effect even better. Okay. And yeah, if you want, we can just maybe reuse the opacity e 95, and then 89. And then I'll maybe go a step further with the knockout so I'm just going to select my half tone PNG, and then control G to duplicate it, and then bring it on top of layer here. Dv or ad group, and then give it a knockout. Now, I'm just going to give it a deep knockout, so it knocks everything down to our background. Deep knockout. Then reduce our shield to zero. Now we can see this effect it gives. Okay. So these dark parts are of showing the real color intensity of our background. And we can also see the knockouts puncturing our rectangle, and also our text yet. So basically, this is what I want to create, and maybe just crop our entire zig bit, so he see our keyboard, drag. CV. Yeah. This is what we want. Perfect. So basically, guys, this is it about knockout. This is it about knockouts, and really, you can achieve incredible things with knockouts. You can take this to a whole new level. You can make complex compositions with the help of knockouts. On the second, I think I should just add a drop shadow to our group. So I me to add a drop shadow, let's see the effect of. Let's make our size, betand. Yeah, so this looks perfect to me. You need to save my image, so control S, and then save my image to knockouts, os and. Perfect. So that'll be it for this video and see you in the next one. Bye bye. 17. 17 Do more with blending options – color channels: Hey, everyone, and welcome back. In this lecture, we're going to learn how to do more with blending options using color channels. Okay, so let's go ahead and please open your image. So we're going to start with this guy. Click on this image Man sitting in landscape, and also click on this image. That's pull down your control, or your command on your PC and then click also on this image. That's this weird name here and just open. Perfect. So we're going to learn how to do more with our blending options using color channels with these images. So Right now, what are color channels? Color channels are basically the channels of color that come together to make up an image. So it means in each image, there are several channels of colors. So we have the RGB channels, and we have the CMYK channels and so many other channels. Photoshop mostly works with the RGB. That's just what you need to know about. Colour channels or color es. So, it's very possible to separate our color channels in footao. We're going to learn how to do that. So just come to your image and just unlock the background. Let keep this a couple of times. Control G, control G, G. I'm just going to keep this as a backup so hide it. Now just come to the first image. To click, then in your blending options, you see these channels, and we have the R G B. So that's red, green, and blue, that make up this image. Now, I'm just going to un check all of these, that's the G and the B and just leave the R check. Now we can see a preview of this and sreen the red color, right. So okay. Then do sm with this guy. For this guy. We're just going to uncheck the r check the B and leave the green. And then for this one, we're going to check, the check, the G and move the plate. So we have this guy as a red channel, this guy as a green channel, and this guy as a blue channel. We can see that they're all maintaining the color of our image of the original color of our image. But as soon as I move, one of these layers. As soon as I move or offset the position, you can see that it now exposes the ors, and we can now see that the ones that left are basically now a blend of green and blue. I'm just going to undo this. And to help you understand this better, I'm just going to off these two. Okay. And now we can see that this is just the red channel, right? And we can off this guy on this one. We can see that this is just a green channel off this guy on this one. And we can see that this is just a blue channel, right? And if we on this one, we'll see that there's a plan between blue and green. If we on this one, we'll see that this is a plan between red and blue off this one, that there is a land between red and green. So basically, that's how images are created in photoshop. So designers use this principle to create some really story color effects. And we can do that by just offsetting our image like we saw before. So just offset your image or your ear and maybe for this guy offset it to the right hand side, or even further to the left hand side, right? So this create this kind of bleach effect on our image. Basically this is how to use channels. I'm just going to close this guy, and let's work on this image. So we're just going to do the same thing. Topate this a couple of times, let's hide this one, and now let's separate our channels. We'll go to blending options. Let's off this guy key, for this one. Let's off the sky in this guy. For this one. Let's off the sky. Perfect. Right now, we just want to offset our image, our layer bit. It's the one up for this one, let's also offset it to the left hand side and see or to the right hand side. So I'm using my arrow keys to do the offsetting and perfect. So we can see the effect we have been able to achieve. Now, I'm going to duplicate this layer, the red layer, then skill it. Sk it, bring it here, and let's try some blending woods. Let's see p. Let's try the light and color and just reduce the opacity to this much. Perfect. And let's lock our layer. And now I want to do more with this. I'm want to satisfied with this even though this is really cool. I just want to do more with this. Now, select this layer and then come to your rectangular Mache selecto, just make a selection across our image. It mustn't be this big, big, so just this. Now we can now V for our move to. Let's see what we get by moving our red channel. Select. Now we can see that we've moved our red channel and we are now creating this kind of bleach effect, and it's looking more complex or more advanced. That's all we need to do is just create a make selection and just move parts of the image. Let's select this other guy and move it also. Select. Perfect. I'm just going to do this for this part. Ha V. For this one, I'm going to choose this other channel here. Move it and then select another one, H V, move it select this I also move it. Select the red and move it to the left hand side. Perfect. So this is basically what I want to create. And yeah, so we can see how we use our color channels to create story visual art visual compositions. So basically, that's it for blending with color channels, and that is for this video. And of course, we can go further with making this whole artwork look even more story. But I'll just allow you to do that on. There are lots of things you can add. Let's see You come to the folder. You could add say this texture. You add this one also. You could just please, then maybe ski it up, then do a bit of blending. See what kind of effects you're getting. And maybe mask some parts and basically you created something cool. Okay, but I'll just leave you to do that and kindly share what you come up with. I'd really love to see the outcome. Dt it for this video, see you in the next one. 18. 18 Do more with blending options – Blend if: Hey, everyone, welcome back. In this video, we're going to learn the magic of blend. So BlendF is a layer option under our blending options, that allows us to do some really cool kind of blending. Okay, it basically allows us to blend based on color intensities. Okay? So we can blend between two layers based on color or light intensities, and we can even apply blendF to the same layer. Okay? And we're going to see how all of this works. So just go ahead and open your folder. Click Fire and open, and then bring in this image this high contrast image. Open. And right away, I'm going to do something. I'm going to tick my rectangle two, click on my rectangle two and then create a rectangle this big. You're going to feel it up like this, and it will make it this big. Me it bigger to fill the entire frame. Now, hit you for my rectangle to once more and just remove a stroke and then give it a gradient feel. So this is the gradient feel, and I'm going to make dangle zero degrees, so that we go from here to here, that's from black to white. Okay. So right now, just go to your rectangle and click on this empty spiece to bring up your blending options. Now on the blending options, if you come down, you'll see what we have here. So this is plenty, and this is basically what we are going to be working with. Now all I need to do is come to this slide as here, click here and drag this to the left hand side. As you can see, it's basically erasing the bright parts of our rectangle. It's erasing from the bright parts to the dark parts, just like how we see here on the blending slider yet. So here, also, if you click and erase the right hand side, it's going to erase from the right from the that parts to the right part. And we can see that our erasion is really precise. Okay? It's a very straight line, very precise line. And sometimes we might not want it to walk like this. In fact, most of the times we won't want the transition to be like this, right? So all we need to do right now is just come here, Then who know alt on our keyboard, that option on the mac and then click. And this separates this transition here, and we can now start creating the soft blending instead of the hard one we previously had. Okay? And we can do this also to the right slider, so click and then rupt right hand side and raptly the left hand side. We can now see that we have created this softer kind of blend, right? So now let's cancel, and also go back. Go back to Blend. We can also apply blend to affect the layer below our layer or our current layer. Right now, we selected our ton g one layer, and we have the background layer below our layer. Now if we come here, we'll see that it has on the lining layer. If we click here, click here and come here, that's from the duck to the right hand side. What we see is that Blandy is erasing the darker parts of the lining layer on our current layer. So now I choose this image for a reason. Let's just hide this guy. And if you look at this image, there's a lot of contrast in this image, and it means there are lots of really dark areas and really bright areas, right? So we can see that this snow right here is really bright. Is are really bright, and this pieces are dark, really dark, and also the sky here. This is also really dark. I just wanted to observe the transition. I just want to observe the transition. Now, I'm starting this time from my right hand side, that's from my bright part to the dark part. So as I do this, you see that the places that get erased first are the bright parts. So these bright parts that pass like the snow and this hundreel and parts of the sky here get erased on my re tangle because I'm dragging the bright slider. And if I come and grab the dark slider, we see that the dark parts of the image get erased first. So we see that these dark parts get erased first. Okay. So that's basically how blending works. And we can also hold down, click here, and then create this kind of softer blending. See with this guy, click O or hold down and click. Create this kind of softer blending. Okay. Perfect. So basically, that's how we do this, and let's handle more practical scenarios. So just go ahead and open your folder. And right now we want to select this image. So this image. Now we see we're going to see some really practical applications of Plaintiff. So clear the image. And now, if we were to remove this sky, it's going to be a top of wall right because we can see that there are lots of branches, lots of things to remove. Or to select. Now this is possible with Blanef, and now we're going to see how we do this. So I'm just going to unlock leer, click, then go to Blanef. And right now, we see that we've been working on our green channel. So click here and we then see other color channels, and we can see that the sky is blue, so we have to choose the blue channel. So when we choose the blue channel, our color turns to blue. So it means we've now start lending from the bright parts of blue to the dark parts of blue, or from the dark parts of blue to the bright parts of blue. So as I do that, we see that it starts erasing from the dark parts. Okay. Now I'm going down to the right part. So we're leaving out the sky in the scenario, but we want to actually erase the sky. Click erase the sky. We see how easily it is to erase our sky. Now we don't want to do that too much because it's going to start affecting our trees and our leaves. So we want to maybe then put down or option on the mark and then click to separate or to create a more softer transition, right? So we drag this guy to this point, and then grab this guy to this point. So we can just keep seeing. See and if we achieve what you want, then we hit k. So this should do. And of course, if we think we need more of the sky literal, we can also go back and do that. All we need to do right now just come to file and come to please embedded and then select our sky. Please the sky or the current sky with our new sky. So click and drag. Now we can see that we have created this sky replacement, this incredible sky replacement very easily with our bland If. And D meaning, this looks just perfect, we don't need to do any more adjustments to our bland. This looks just perfect. Okay? So, um if we want, we can hit control for our levels and even maybe brighten things up a bit. Or we can even just come and add a levels adjustment or other a cross adjustment. Perfect. So we see that Beni has helped us remove our sky very easily. And then the last example of Blendf we're going to see is how we use Blendif to realistically blend a logo on a wall. So go to file and open. And now we want to open this wall texture wall, and also this logo, hold down Control or hold down command and select also this PNG wing image. That's the Arsenal logo. So please. Perfect. Now, just come here, click and drag and bring it into your image. The first thing I want to do. So the first thing I want to do is to turn my image into a smart object, to convert a smart object and skill it up. Perfect. Right now, we want to blend our arsenal logo to our background, and we want this to be as realistic as possible. And we can only do this with blend. Okay, select your layer and duplicate so two times so that we have three layers. So just hide the first one. Keep it as a pack up. And the first thing we need to do is we want to understand that. We are dealing with two levels of color brightness, right? We're dealing with the dark colors, and we're dealing with the bright colors. So we need to re create this on our image or on our group. Okay, now select the first image and then just create a blending. So let's just hide this one first, so let's create a blending. Now we need a bright blending. A bright blending. So something like the lightness. The lightness should do. Let's or the screen rather. Let's use screen for this. Let's have screen for that and let's just make this bright. We name this to bright. Perfect. Then for this other one, let's hit this one, for this other one, we want to give it multiply. Perfect. So for this, we name it dark. Dark. Perfect. Now what I want to do now is blend my dark to my background, double click here and go to plan. So what I want to do right now is just blend like this from the dark part to the bi parts. So we can see that Plan D is really helping us create this realistic feeding, it's really blending, blending the d part of our image perfectly. I'll just hold down at and create this transition so that our blending becomes more realistic. To leisure and then go to our bright y, click, go to blend. This time we want to do the same thing to the bright part, do this and down and click. Let's drag this. We tend to get some really good blending right here. Now the next thing I want to do is I want to make sure my dark layer is on top of my bright layer. We can now see what we get by bringing our dark layer on top of our bright layer. So we can see that we're making our image even more realistic. Now with this, we can just go back and I think we can do to make this better. It's not looking the best. I'll just see how I a blending even. Just go at these slides as much as you can. Go to the bright. I trust them to the point where you think that yeah, you're getting something really realistic, something really amazing. So it's already looking really cool here, but there's even more to do, okay. And the next thing I want to do is just select the boot of them, control G to group them, and we want to give our group here a liar mask. Just select your group and then create a mask. Now open your folder. In our folder now, we want to open this image, so that lack granged background. So click and open. So right now, we want to just tear our M key select two and select the entire thing and hit control C. And I'm going to show you how to do something really cool here. We didn't cover this in the fundamental cost. So what I want to do is only use this image. I've copied here as my liar mask. Okay, I want to use this image as my liar mask. So all I need to do is to come here and then put down on my keyboard or option on my mark and then click inside my group er mask, and then just come ahead and control V to piece what I have copied. And then I'll just scale it up to the size of my ear mask or to the size of my Lugo. Physically and hit done. You can just pull down and click back here to go back outside our layer mask. Then he select. Perfect. Click also on your ar max and then hit control or command on your keyboard in order to inverse the selection because we can see that the selection or the layer mask was making our Lugo almost invincible right. And that's because, of course, it's using the plag to create a layer mask. So we want to invert it so that we see of our Lugo. Perfect. So we also can adjust our layer mask. So select you move to and click on your layer mask and we can see the outline here, right. But if we move our layer mask right now, it's going to move along with our group, let's try Now we see it's moving along with our group or with our image or with our layer because the layer option here is selected under the move tool. So what we need to do right now is to unlink our group with our layer mask. So click here to unlink it, and it means now that if you click here, you can just move only your layer mask. Now we can see that our layer mask loon is moving. We can see the effect, right? Perfect. We can see that the blending is even even more cool or even cooler. We can rotate our ar mask if you want, we can move. We can scale it. And this will just do. This will do. We hit. And what I want to do right now is just select my ar mask and control M or my curves, and I can add more realism to my ar mask or rather to my Lugo. Perfect. This is basically perfect. Yeah. This is a perfect bland, and one more thing we can do is, since we have light coming from this direction, we could also create one extra curves adjustment layer. So just come and create the curves adjustment layer here. And now this is in order to depict the light effect or to add some light effects to our logo. Make this brighter. Let's do this. Do this. Perfect. Now, I'll just select my layer mask and then just control I to invert my selection and then it B or my verse two, and just need to reduce the size. This much too small. Let's see this much and then just kind of hit X and just kind of apply the brightness just a bit on this part of my logo. Perfect. So basically, guys, that's it for this video, and you can see how we've realistically added the Arsenal logo to our cron g wall using Blend If. And with this, we've come to the end of this video. Blandf See you in the next one. Bye bye. 19. 19 Pro image blending workflow with Apply Image: We'll come back. In this lecture, we're going to learn about apply image in Photoshop. We can use apply image to really achieve stoning vision effect. That's in color correction, image blending, and so on and so forth. Okay. So we're going to see how to do that in this video. So go ahead and open up da and then select this image Esmeralda. Select the image and Now, I'm just going to unlock my layer and contro g to duplicate my layer. And now we have two layers, right? So I'm just going to name this Let's see girl, one. Okay, perfect. Now, when we're doing our normal blending, we basically blend between one image and the other image or one layer and the other layer. So we select the first layer on top and then basically choose our blend modes, right? So we don't get to choose what color channels. We want to blend with or what color channels we want to omit while blending. And that's quite a limitation according to apply image because apply image allows us to do that. So Apply image allows us to combine the red, green, and blue channels of our images with various blending modes. So that's what we're going to be doing with apply image. So go ahead and select your first image, and we just want to duplicate our image so that we have a backup. Okay. I'll select your first image and then go to image and then apply image. Perfect. Now, this window pops up or this dial up box pops up, and then you have the source. Now the source is the source image from which you want to apply the effect. So that's the source. And just click here to select a source. You can have multiple sources if you have multiple documents open. So select the source. And then of layers. So this will show you all the layers that are on your document. So you just select the first layer, the girl one. Now, this is the layer that the effect will be applied on. This is now the color channel, so you cannot choose color channels. You can choose the RGB color channel, and then you can choose the red color channel. You can choose the green color channel, and you can choose the blue color channel, and we have this other one called transparency. Right now, we don't have any transparent channels, so we have nothing on the transparency. Let's just go to the red channel and now from here on, you can then go to blending modes and select your blending now we see it. It's now normal. Let's just start going down on the list, and we can now see the different effects we are achieving. Okay, the different effects we're achieving. So for each color channel, we're green to have different effect. So like we see this is green, and there's a different effect, this is blue, different effect. Let's see if we get anything transparent. So we can see how feeded the t looks. So let's just go back. And continue checking other blend modes. Other blending modes. So go down the list. And basically, we can see how this is helping us color corrector image or giving us this different presets for color grading. So this can be also useful for cool grading. And let's see we're okay with this and we want to kind of reduce the opacity. We can just click here and direct to the left to reduce the opacity. Let's just tick it back to 100 and let's see the before and after by toppling the preview switch. So click the C before, and click to see the effect add it. So we can see that. This effect gives us some cool highlights on our hair. And yeah, that's the effect we get this presa. We can keep changing, we can keep checking different channels to get different effects. We can see this one. It's the green channel, we can see the blue. All of them just gives us their own touch. A really cool touch. And we also have this option here. Is called mask. So if you click on mask, we have new options. Now, this mask option allows us to mark out a certain channel, and also a certain image. Let's see we have add layers here with a different image. We can select Dier and use the color channels of Dier to mark out from our current image. Okay. So right now, you're going select the normal ier, that the girl layer, and now we can mark out other color channels. We have the gray, the green the red and so on and so forth. So we can max these color channels out of our image. And for the show we just do its thing and apply our mask in a very creative way. Let's select the red channel here and we can basically see the effect it gives us, it's basically removing parts of the red color channel from certain parts of the image. Now we have the green. We have we can just see the effect we get with all of this. So we can choose effect we like best and get. Right away, we can see that our image effect has been applied. Let's just zum in a bit and I see the before and after. We see this the before, and this is the after. We can go further to add other things. We can maybe add levels or use our curves to add more beauty or more brightness or contrast. To our image. Look, make it's a bit brighter. Perfect. Now we can also use apply image with multiple images. So let's go ahead and open our folder, and this time let's bring in this image this image. L this flower image, click open. Perfect. Now let's try applying or doing a blending between our two images. So we can go to apply image So select your image and then go to a image and apply image. And right now, we need to select our source. But unfortunately, we can see our image. So we're supposed to see this guy on under our source. And the reason why it's not shown there is because in apply image, you have to have the same image size between the two images. You want to blend. We have to make these two images the same size. So just come down here and see the size of this image. It's 3276 pixels by 14 96 pixels, and this one is 2448 right. So you see that they have different dimensions. What we can do now just hit C for the crop tool and then just come here, come to front image, come to front image, and then go here, the next image, and just cliche and ch. Now, this will basically make our two images the same size. So if you come back here, you see that it's three, two, 76 by 454096, right? So that's the original. Well, if you come here, you're going to see that it's now the same as this image. So right now we can just select our image, then go to image, then apply image. Right now, if you come on the source, you're going to see our flower image. Select it. Now we can see that we are starting to get a bland between the two images. Perfect. So we can choose our channels. Choose the RGB channel, so we can see that with the RGB channel, we are getting all the colors of our flowers, right? You choose the red channel. We can choose the green channel, we can choose the blue channel. Okay. Let us do some blending. See. So let's go back and select the RGB and C. We the RGB and the blending we get. Let's just go through more blending moots. No. So Multiply is not bad. Darken is also not bad. Let's darken, let's mask. Let's mask, and let's also reduce the opacity of this effect so that it's not too much. Let's see 89 perfect. Now we have this and let's now change the channel. Let's see green. Let's see red. Let's see green. Let's see blue, or let's see transparency. So I like the masking for the blue channel. Let's see if we get something different. Let's select a different image here. Right now we are using the same image as the mask. Cool effect. Yeah, maybe I'll make this little bits more more transparent. So maybe reduce opacity to even 83. E three should do, and I'm just going to hit. Perfect. So we can see how we've used the apply image to create our perfect blend between these two documents. And we can go further and even do apply image corrections to our image. So I just duplicated it to see what I further. Go back and apply image. Let's see what we can do this. So we're taking this back to the Esmeralda, and then let's play with some other color channels. Let's see green, green. Let's see other bland moods. O blending moods. Let's just keep going down list. We can see even more creative blending. Yeah. So we can observe that with some blending moods, we actually have the scale. Let's make this tenancy. We actually have the scale. S 2-1. We actually have the scale and we have this other offset option. Let's just go back to one of these really cool ones. Let's see. Yeah. This one is not bad. It's so light. Perfect. Let's try the mask one more time. Okay, so this is just good, guys. This is just good. So this is before and this is after. No much defense, but I like this better. So that's basically it for Apply image. And with apply image, we can do a whole lot of things. And I'm really thinking that by the end of this module, we should have an exercise that will help us explore more on apply image. So that is for this video. See you in the next one. Bye bye. 20. 20 Pro image blending workflow with Calculations: There, we'll come back. In this lecture, we're going to learn about calculations in not to be footing shop. So calculations are quite similar to apply image. They are usually overlooked by most people and they do quite similar things. Now they do quite similar things in the area of allowing us blend images with different blending modes and different color channels. So they allow us also play with color channels and blending modes. But for calculations, they give us a black and white result. Okay. So go ahead and open your folder. And I bring in this image, this elderly Asian man. So open And now we use calculations to turn this image into a black and white image, and that's not just it. We can also use calculations to give us certain outputs. We can output the image as document. We can output the image as a color channel. We're then going to have a new color channel with our output, and we can do a lot of other things. Now, let's say we output our image as a color channel. Can now go further to process our image even further. And we can achieve things like background change, image selection, and so on and so forth, using the color channel we create with our calculations. Okay, but we're not going to go into that in this video. In this video, we're just going to learn how it works and also how to turn our image into black and white. We're going to also blend more than one images. So Just go to image. And now on the apply image, you see calculations. So just click on calculations. And right away, we have our image turned to black and white. Now we have the sauce, which is the same image. And for the layer, we have the background, because we only have one layer, right? So we now have color channels. So we have the red, the green, the green and blue. Okay. So we can see the effect we get as we go through all of the color channels. So we have the blue here, and we have the second source. And in this case, it's still the same image because it's the same guy, and we don't have any other the image opened, right? We now have the layers also, which is the background lia, consist of only Coloria, or rather the only a. Then we have the channels. Have all these other the channels also. And we can also invert our selection or our image and also invert our image. So we also have the opacity where we can reduce how much our effect is applied, just like how we have it on the apply image. And we also have the blending. Now for the blending, we can blend with different color modes, or blending modes. We have the darken. We can choose the multiply, can choose color bone, and so on and so forth. And you just get to see all the different options we get with these blending modes. Basically that's it for turning our image into black and white, and If we want, we can use a mask keyboard. We don't want and it basically works just like the mask in apply image. Okay? Now you have to select the image, have to select the background, select the channel, can invert. Basically that's it. But we don't want to apply masks this one. We now have the result. Either outputs it as a new channel. So if we choose a new channel, it's going to give us a new color channel with this image. Okay? And then we can go on to further process it and do other stuff, like image selection, background removal, and so on and so forth. And I think in one of the future lessons, you should cover image selection and background removal using channels. Okay? So that you see how you can go from here to further processing your image and then using it to remove your background in a very perfect way. Okay okay. So right now, I just want to maintain the settings and heats. So, okay, not heat took yet. We want to choose the new document. I want to create a new document with this. I was going to heat, and now we have a new document. This is a really dramatic black and white. We see that it's really contrasty. We can furthermore edit our image even more. We could add levels, for example, we add the at levels to make this stand out even more. You already know these shortcuts. Control or command for your curves, and then control or command L on your mark for your levels, right? We see. Perfect. Now we can even go further. So we kind of distinct the eyes even more and other features by using a dodge tool, and we looked at this tool in our fundamental curves, so we're not going to have an introduction this two in this one. So just come here, maybe writing this part of, so that we see this kind of shine. So this one. Okay. Perfect. So our eyes act more like a mirror, more like a mirror. And maybe some of these beards, we could make them brighter. Perfect. And let's make our brush bigger. Maybe reduce the opacity, nine, just couch these areas. These really bright areas, to make them sound out even more. Perfect. From here on, we can just con on our layer. We can actually work on we can actually duplicate this layer because it was an output from the calculations effect, right? So what we can now do just select and then maybe go to filters, and then sharpen and then on sharpen mask so that we can kind of get some details, a lot of details on our hair. So our hair stand out. So this is kind of the look I'm looking for. And yeah, see how we've turned this image into this net dramatic. Black and white image using our calculations. Now we can go even further. So let's go ahead and open a file. Let's open this flowers file once again. So click on right now, we want to use this image to affect our calculations here. Okay? So we want to blend the boot images. Just like in apply image, remember we had to make the dimensions for boot images the same. So also with this one. So also with calculations. You have to make the dimensions for boot images the same. When you come to this image, you see that the dimension is three, two, four or 42 by 4719 pixels. And it's not the same as here, right? So all you need to do is to just hit C on your keyboard to select the crop two, then just come here and go to front image. Okay? And you don't have to do any other thing. Just go to your next image. That's your flowers image, and then now you will see the dimensions of the previous image. So you just click in site once. Okay? And then click here. So right now, we have the good images as the same size, right as the same dimensions. So backs my move to select my image, go to image, and then calcleions. Perfect. So for the sauce, I want to make this this sound select my flower file. Then now we can start playing with the color channels to get different effects and also with the blending. So we can try normal. Darken. Basically, you can see what we get with all of these. Le we want this, but we also want to this opacity. We can do that. Okay. Perfect. I think I'm just going to stick to this. Or maybe let's just check others. It's no'm in checking. Let's just keep going down the list. Maybe we're going to get the data len. All of these effects are cool. But I think I will just to multiply. So you not multiply darken, go to darken, and it k. Perfect. Aga, with a new document, and everything looks just perfect. So that's it for this one, guys. See you in the next one. 21. 21 Auto blend in Adobe Photoshop: Hey, guys, we'll come back in this lecture. We're gonna learn about auto blend, and now do be photoshop. So go ahead and open your folder. Project folder, file open. And now in this folder, just come and choose these images. I will select this image, this one, that says sound on, then select this one. That says globar to P T. Okay. Pull down control or command on your mac and select it, then select the Tiger image and then select the lion image. Select these four images. Now we're going to learn how to do auto blend in photoshop with these images. Now, what does Autoblend do? Auto blend basically helps us combine or blend two different images to one automatically. So with auto blend, we don't need to manually select blending modes to blend these layers and then use maybe layer masks to mask out some part and just do one im pletion. You get foto shop does this automatically for us. And the closer the images are to each other, the easier it is to achieve this effect. So right now, my first im is to blend this image with this image. So we're going to use this auto blend in a very special way. We're going to use it to reples faces and join faces. So I'm actually going to pick this girl's face and blend it to this girl's face. So I picked these images specially because we can see that they are from different races. We can see that this girl is black and this girl is white. Right now, I want to cut out the face from this girl and place it here. So go to this image. Then just going to tick your Lasso tool to tick your Lasso tool and then start to select round the face like this. I'm using my drawing tablet because of selecting this with the mouse might be hard might be hard. So we can see that the pin is really helping do the selection better. But if you don't have a pin, just use your mouse and I don't like my selection, so I'm just going to start all over again. I'm going to try my best to select as much of the fees as I can. This should do and physically calm down here, select the chain, and physical finish my selections like this. Let's go to this addition mode. Let's add to our selections. Let's add pieces to our selection, so we can add here. Okay. Add this to our selection and see that it's not doing a really good job, L do Perfect. So let's add this is too much do. So you don't need to get a perfect selection. Just do your best and the shop will handle the rest. Yeah, basically, I think these selections, maybe we should do this. Okay. So I think I'll just Okay, I'll just go with this. I'll just go with this. Now, I'll just heat control G and Ma to duplicate the pas, heat V to go back to my move to select my fas drag it into my girl image. I'm just going to scale this it first of all. I think I'll max parts of this phase, maybe the dark parts in dark areas because they don't really look good. They are really dark. So you might not give us a good effect. So I'll just position my face. Properly. Enter, and then just take my eraser to it E for asa then we didn't need this brush, come pick a simple brush. And then erase part of the parts of this face like this. So you didn't need to do it too much just parts of the face like this. Okay. And we can also use our. Let me just undo. And we can just use our lasso tool instead. Delete. Again. Okay. I'm sacking too much. I pick this one. Alright, right, bye. So I think this we do. I think this part we should have s Ds. Select. Perfect. Now, the next thing we want to do is pull down control and click on this thumb deal of our layer. So just click and so we can select our entire phase, right? So I'll just then hit this button here to unlock my layer, and then I'll just come to select on my menu and then go to modify and then go to contract. So I'll contract my selection by 15 pixels. Okay. Let's see by let's see by 16 pixels instead, 16 pixels, and it. We can see that we've contracted our selection by 16 pixels. So right now we want to delete the selection on the layer on this layer on our prog layer, so delete. Perfect. So now we've deleted our selection. If we hide this guy, we'll see that the face is gone, right? Perfect. Now, we then want to select the good layers like this, go to edit, then auto blend layers. Then now let's take this to stack images and Okay. Okay. And basically you guys, this is our image. The photoshop has been able to do a blend between these two phases. So Photoshop did a pretty good job, but we can still go inside and finish up the work, so we can see that he eyebrows are kind of showing here, right? So we just need to tie our sh too and then just around here. Move this. So this is better. And we can go ahead and maybe just it all layer here, then hide this one. There for this one, we just hit control L to just add some contrast to our fi Contrast fi And then maybe come to image, come to adjustments, and let's just give it is a human situation, so we can reduce the saturation or maybe reduce the vibrant of them, that it's not to vibrant, so maybe reduce the saturation by 11. Right now, just cool down and creates a layer mask, an inverse layer mask. It's also option on the mac to create an inverse layer max and at B to get the brush to and reduce the hardness to zero. Pint here to expose parts of this image. Yeah. That's part of this particular one. We high controls. So we bring back some of the details of our face. Perfect. If we were to spend some more time on this, we will really come out with something very realistic. But this is just for you to see what we can achieve with auto blend by blending two phases. Okay, so I'm just going to leave this. I'm not going to go any further. On the next work we're going to do is blend our lion with our tiger. What we want to do is click here and grab the tiger image into the lion image and scale the tiger image. Okay. Scale it basically to the size of the lion image, position it and now we want to kind of make them aligned. So all we need to do right now, we just select our tiger image and reduce opacity so that we can basically see through and use that information to scale our image and position it properly. So we want to align the ice. That's the ice of the lion, the ice of the tiger and as much as possible to align other parts as well. So click, maybe scale it. J, that's pulling down, scale it evenly. So we can see that I'm trying to align the eyes. Maybe I should tit this guy bit. Tier image bits. K. Clam scale it one more time. Just take your time to re align this thing very well because the better we do the alignment, the better for rose. The better for our blending. We can see that the nose so also align, and the mouth show also align. Mustn't be so perfect. Mustn't be so perfect. Just a good a decent work. Perfect. Right now, what we want to do is we want to cut parts of our image, our tighter image. The parts we want to hide, we have to cut it, and part we want to expose. We have to dive it right. So what we do right now is. I'm just trying to see one more if you have good alignment and to pass one more time, and see this thing. I'm feeling maybe the tighter image be a bit smaller. Okay. So I think this would work. Now, select our image and bust of our opacity. And right now, you just want to delete the tiger image from here to take your Make select two. You cangular, Marche select two, click drug and drug Hala on the face of the tiger. Click and select the tiger image and he deletes. Perfect. So we see that we have now aligned them quite well, right? Perfect. On the next thing we do is select our tiger image, we on control. Click here, select this part of the image. And then the next thing we do is come to select. Modify, contract. So we contract our pixels by C 16 pixels, and then select this guy and de needs from this guy. Perfect. So now we have them like this. So they are kind of aligning or rather overlapping bits. They are kind of overlapping the bits, right? You see. Perfect. On the next thing, is just hit C for your Crop tool, and I just want to crop these images bits. So this cropping we should do, and our michel delete crop pixels is on so that I delete the unwanted pixels, and now it's time for our blending. So select the boot images. Select bod images, edit, auto blend stock images. And how it and boom, we have a blended image. So we have a lion on this side and a tiger on the side. It is perfect. This is incredible. To do the power of photoshop and yeah, that is it about blending. So I'll just sve this guy. See let's see Pis blend. Key perfect and save. And this one, we'll see with that Tiger or Lion Tiger. All of these files will be made available for you. Here all of these project files will made available for you. We can go in and see what I personally did, and in case you are having problems of difficulty, we then can replicate what I have done. Perfect. Ds did for Auto blend in Photoshop. See you in the next one. Bye bye. Oh. 22. 22 Pro selection workflows – channels & quick masks: Guys, welcome back. In this lecture, we're going to learn how to make selections now to be photo shop, using some more advanced methods which we haven't covered yet in the fundamental cs. And now these methods are using channels. Okay, so we're going to learn how to make selections using channels, using color channels. And also, we're going to learn how to make selections using the quick masks. Okay? So we kind of looked at the quick mask bits in the fundamental curs, but I'm just going to brush over it again so that your memory gets refreshed, ok? So go to file and open. Now, in your folder, come and select this image, this gray hair image. Select the image, and then we have to select this other image. Is pball image and open. Now, just go to the P ball image, and for this image, we're going to learn how to the Quid Mask thing. Okay, we're going to learn how to use the Quick Mask to select in foot shop. So unlock your layer, and while selecting your layer, just hit Q on your keyboard. So when you hit Q, you're going to see that your layer turns red, we can see that our lier turned to red here. If you haven't observed that just hit Q again, and you're going to see that your layer is back to its original color. Now while selecting your er, just hit Q, so that you see the er has turned red. Now with your er turning red, it tells you that we are now in the quick select mode. Now with this mode, we are able to or mix selections by using our psh tool. Okay? So we don't have to use the selection tools any longer. All we have to do is go and take our push tool and We can now make selections using our person. So when we paint on our image, we can now see that we're painting red. Okay. Now look at our four gram color and fogram color. We see that we don't have red here, but we are painting red because we're in the quip mask. So that's basically now anything we paint and hit Q back, we'll see that we make the selection that particular tm. So just hit Q. All right, I just come and select and hit Q, and just pint over once more. Sorry. Just tick your approach to after hitting Q and then just print over once more to see. Now, just pint around, pint around. And then it Q back. Now you see that we've made the selections. So basically, that's it about quick mask selections. So let's just mask out this basket ball. D select and t Q. Let's just mask out this basket. Ball, now you can pin, start printing. Hit B. I always keep hitting B. So you can also start painting on your basketball and just kind of start painting around to get the size or the shape of your basketball. So this kind of selection comes in handy in complex scenarios, even though this is not a complex scenario. Okay. So in complex areas where you have to start winning and selecting a really little part, okay? And your selection tools do not just work well in those kind of scenarios, okay? So in those kind of scenarios, you tend to use the quick select mode or the quick mask mode. It's really very good for scenarios like that. So just paint. So I'm just going to meet my brush piger. Meet my brush piker this peak, and then I'll just paint. Click a couple of times and just keep clicking. Okay, so I'm kind of trying to select the edges. You observe well. So when I get the edges, I'll just click. And basically, that's how we're going to do our selection. Okay. Perfect. So when you're done, you just hit Q. And now just take your selection to any of them and right click and in voice selection. And now you can just create mask. So we see that we have now marked out our board. Okay? Yeah. And basically, that's how we use the quick mask mode. Now back to this image. And in this image, with this image, we're going to learn how to mix selections using our color channels. Okay. So we can see that this image is really complex in the sense that it has a lot of strands, that's he strand, a lot of hes strands. And using the conventional way of selection, my daughters work for. This image. So it's best to use the more advanced method. Okay. So right now, we will just go to channels, so go to channels, and now you can see your color channel. So we see RGB channel, red channel, the green channel, the blue channel. Okay? So what you want to do now is you want to select a channel that has a lot of contrast between the subject and the background. So you have to make sure you observe between the subject and the background. And see if you have contrast. Okay? So this will really help us in creating our selection. So we can see that the blue channel doesn't have contrast or much contrast between our between our background and our subject. And so also with the green, and now the red is better. So the red channel is way better. We can see that there's a lot of contrast between our foreground and background color. Now this is where the magic starts to happen. Now what we want to do is we want to gradually fill our subject with a bright color that's with white and our background with black. So the first thing we have to do, however, is duplicate our channel. So select your red channel and drag it down here and release. Now it's going to create a copy of our red channel. So select your copy. Now, we're just going to take our Dog too. We all know the Doug to, and the Dodge to just helps us to add brightness to highlights, shadows and meat toes. So we want to select the Dodge two and then come on select the highlight here, and the exposure should just be around 31 and 30. And now we can start adding some dodge. So just keep clicking. Mostly around the edges, so as to define the edge very well. We have to click mostly around the edge to define the demarcation between the black and white. Now we also have to do this for our has for hair strands, so as to distinguish them properly. This is basically what you need to do. We have to do this for the whites and also do this for the black guys or the shadows. So our edges are coming to life. Perfect. Now we're going to take our bone to and do the same thing to our shadows. So that will make our shadows even darker. So just click here to kind of darken our shadows more and more. So we are making our demarcation really precise by duckling the shadows. And now we can start filling these other pieces that's outside our subject. So we can even take our brush to and pins. But we don't need to take our brush too for the blacks because the bono is just doing a good job. Now, take your brush tool, a brush tool, and we're going to feel our subject with white. Let's fill our subject with white. Maybe it shouldn't be this hard. We reduce the size this just paint inside of subject. Just like this. Perfect. So mean and make sure make a very perfect selection of perfect painting. So the next thing I'll do is I'll tick back my touch tool and continue brightening up these pieces. So since I can't use my push, here, I'm just going to really make them bright my to. Induce 28. Perfect. Oh, Okay. So perfect. Now we have our Alpha channel. Okay. So what we all need to do now is just who on control or command on your mac and click here on the tom nel here. This tome just click, and we have now made a selection of our mask. And now just go back to your RGB channel and then go back to your ers. And all you need to do right now is just create a liar mask. So just click here to create the liar mask. Right away we can see that We have done the impossible. We have physically marked out our hair srand. And even though we did a pretty good job, we still have some more refining to do, because, like you can see, our blue color from our background is also being copied here. You can see traces of blue, right. Now, I have two steps to fix this. The first step is just while selecting a mask, just come here and select a mask. Click. And it's going to open the refining window for you. So just come down to output settings, Output settings, and we just need to click on decontaminate colors. So let's just zoom in to see what this option does. So decontaminate colors, click here. And right away, we see that it does some help, right? It does help. Let's click it and see the before and after. So this is before. Sorry. This is before and this is after. Okay. Perfect. And we can also reduce the strength because it affects some of our strands, right? So I think this value should just do fine. So click. Right down the next thing we want to do is. Let me just compare before and after. This is before. And this is after perfect. Now the next thing we want to do is just create a new layer, throw this layer, click, then create clipping mask. So we want to clip this layer to this layer. Okay so that whatever we do on this layer only shows up in this layer. Now, just hold on. I know you're confused, but just hold on. I going to see the magic now. Now while selecting your layer, just come so the brush to. Right now we want to sample the color of our hair. Hit I I two and then just sample the color of our hair. So the colors might change based on the different areas of the image. So like this please, the colors are a bit more to the warm side. While for these areas, they are more to the cool side. They are more bluish. So you can practically see that they are not even color all over. So just come sample. So let's start here. Sample here and then it B, brush over. L brush over your image. L make it so too and it's actually doing the job. Now, we want to set this layer to color again, just set it to color and get better results with the color mode. So we can continue doing it for other parts of our image. Sample, brush. We can see that we are removing the part color, that the blue color from background, you're basically removing it. This trick. Hit I sample brush. Perfect. So you've basically contamited our colors. So you hit I once more. Sample this guy here would be and maybe make our push, its smaller. I think we should do with this part also. Perfect. We see that we've basically decontaminated this part. This little trick. Now, heat I, sample, heat B, brush. Hat I sample. Let's sample here, heat B, and brush. And our brush size or our bush should be actually zero. That will give us a better result. Perfect. So Hat I once more. Soap color heat. Bush. So heat a So Hat. Bush. Perfect. Let's also do this here. Remove the colors on the area. Perfect. So we see you guys that with this little trick, we've been able to perfectly remove our head strands. Now, I'm just going to give this new background to see if what we did give us a quod result. Now we can see that this is incredible. This is incredible, basically. We can even change the color to black, and we can still see that we have achieved something really incredible. Our head trans have been maintained Okay. Perfect. Perfect. Let's stew the red color. I see? Perfect. So this works perfectly under every background, every program. Even under the blue background books basically perfectly under every program. So basically, guys, this is how we use channels to make perfect selections of really complex images like this. And with this we've come to the end of this video on P selection workflows, see you in the next one. Bye bye. 23. 23 Exercise 1 - Apply Image: Hey, there and we come back. So you've made it to the part of the mode, this long module, where we start handling project. Where we start handling exercises. So we're going to use most of the things we've learned in this module to tackle some design problems and basically create some incredibly outstanding work here in photoshop. So the first thing we're going to be handling is color grading. So we're going to turn this image. Into this image. That's using Apply image. So the technique we used, we learned with apply image, we're going to put that into use. And we're not only going to use apply image, we're also going to use some of the blended techniques we used to build our hair shine and basically make this image look better. We see that this is the original image, and this is the final image. So go ahead and open your der file open. Now, select this image. The sound on image. This is the image, so click and open. The next thing I'll do is just hit C on my keyboard to crop this image to this size. Perfect. After that, all we need to do is duplicate our layer, so come to g to duplicate our layer, and then come to image and apply image. Perfect. Now we see that apply image has immediately added some rather weird effect to our image. We're going to correct that. All I need to do, of course, is either select merge or my layer here, and for the channels, I'm going to let's use Blue channel. We use blue channel. I this particular one. Let's use blue channel. Let's basically recreate this. Blue channel, and now let's play with the bland moods. We have darken. I know particularly the settings I did that give me this effect. But I'm just going to go through all these ben moods so you see what you get. So we see what darken does. It basically gives us this black and white feel or effect and also leaves the color on the background. So you can re the positive if you want or increase it if we want. We see what you get with dark. Really cool. So if you want, you can leave it at den, but we want to go through the others, color bone, linear bone, darker color. We have lights, we have screen, and so on and so forth. Okay. So I won't just waste the time going through all of this. We've gone rough all of this before. So let's just select the multiply, and then come and check mask. So we want to check mask, and now we see that we're beginning to get something really amazing, really incredible. So I just like the skin tone. I just like everything that we're getting here. So now we just need to change our mask channel to gray. A to red, not grey, so we just hit red. Let's compare gray. So this is gray, and this is red. And I absolutely like red. I prefer red. So okay. Perfect. And now we're done with the first step. Now we can go ahead and start adding other the stuff. So we can start by adding the shine. All you need to do for the shine is create a new layer on top of our layer, then take a brush and let's just choose soft brush, and let's make the size this big. Perfect. So we can of course, keep adjusting the site, the size as we keep painting. The next thing I want to do is just hit to sample or to take my y dropper tool, and I just want to sample the bright colors. In areas like this, in areas where I want to add the shine. So areas like this, areas like this, as like this, areas like this. So I want to avoid the dark areas. Basically, that's what I will do so. Sample the bright colors and ten B, and there's pint. Now, we see that we are not really getting the shine, right? So after sampling the bright colors, you can go ahead and also brighten the color using your color par to, right? So then make your brush bigger, basically, there's dab on it like this. Perfect. So you can make the brush smaller, and there's dab Okay. Perfect. So we can do that for here also. I just on that, maybe a copper smaller carbon. There also. So I don't want it to go beyond our hair. So here also. Okay, so I like what we have so far. Perfect. Now, the next thing I'll do is change the blending mood of a two screen. You only screen here. And yeah, this is coo. After here is to just come to our blending options and now start adjusting our lend eve sliders. Okay, so let me start gen like this. So I'll just mount a bit and position my canvas properly to see what's going on in the bigger picture. Now, what we want to do with blend e is we actually want to affect the current layer and on the lining layer. Okay. So I'll just hold down and click here and drag this to the right hand side. And then do seem this one. So click and grab this to the left hand side. So we already see the effect we get. So we are kind of tuning down the effect, the effect of our shine. So the next thing is also to do seem with a slide that says hold on all or option on the mark and then click. And now we see that we are starting to get some realism here. We're starting to get some realism. We're starting to affect individual strands instead of just having it look like this. Perfect. So hold on t and click. I'm just going to pret once more. Something like this should do. And for this part, this the left hand side. So you can see how we get in the effect here. Perfect. That's also separates. M key. So you want to keep it looking like this. Monk. Let's just reduce this opacity opacity of our shine to see 29%. We can see how sole the effect is, what works. This is before, this is after. If we want, we can continue adding to our shine. Be bruh to select your layer and continue adding if you want. Mit this. You want to just do this very sotly. You don't want it to be too shouty. If not, it's going to look really thick. Okay, so you see what we get. So this is before, and this is after.'s take this back to T five and cont kid. Let's see if we can do. Yeah. So just try to make your sliders look like mine, k. Maybe we want to max out this effect in areas like this. That's the second layer. Maybe in areas like this, and also reduce the opacity. Oh. So this is before I'll shine. This is after I'll shine. So I like the changes. So we can go ahead and do even more adjustments, right? So, for example, we can make our eyes stand out more. So just take your sorry, your Doch two, take your Dodge to, and let's affect the highlights. And these settings are just perfect. So come and now make the highlight of the eyes, these very bright pieces. Just come and click to make them brighter, even. Just this. Out and rush. Si also with this one. We want to get this exaggerated view or the exaggerated effect of the eye of the eyeballs. So our eyeballs look like they are gluing, or rather look like they are nicely really reflective. That's what they look very reflective, really reflective. That's quite exaggerated, but it gives us the feel I'm looking for. We also come to the points in these places and just make them shine. Shine. Perfect. Next now do is just select the layer here. Take las two just select the yes like this, this area of the yes. What we do is contro g, and then to duplicate the selection, and put a file and so sorry filter, and then sharpen and on sharpen mask on sharpen mask. Pp. So we see that we are basically adding sharp k to our eyes, right? So that's just what I want to it ok and now hod on t or option on the mark and click to create a mask it B or brush. And let's just pint over here. Let's hit X to swap the background and foreground colors. And now I can start pinting on my mask. To reveal parts of my sharpening too. These are just the areas I want to sharpen. I really make the eyes sharp. G? Perfect. So let's compare this to the one we had before. This is what we had. This is what we have here. Now we are getting somewhere. We get somewhere. The next thing I'll do just select my image here, tick tick my Dodge to, and I want to affect some parts of my image. That's this part here, but I want to do that really calmly, and I don't want that to be very shut. So we see what we get. I just want to do this effect more. Make this between two. Make this bigger, that. Click once. Gig ones. Now, I want to make her teeth a bit brighter. So just once. I don't want it to be really obvious, just once. Yeah. Perfect. And I also want to affect these areas, these, these areas of the mouth. So I want my exposure to be really low this time, maybe ten. So it's a really effect I four. Perfect. D. Perfect. Remember, we added we added some color to her lips. We add some color to our lips. So how do we do that? All we need to do is to create a layer, and then tick bruh, in select our color. Let's select red and sc our brush to this, basically start painting. We can just paint over her lips like this. Doesn't have to be perfect. We can always go back and clean things up. Can clean the parts we don't want. Perfect. Now you can always take your time to get a better painting. So take your time and get a better painting. Now, I'm just going to use my ears or two and use the htness and all of reduce parts of my color on the lips. Perfect. Now, the next thing I'll do is select this guy, go here to my blending mood and then I'll choose color. Color would do the job. So we can see what Color gives us right. Now still select LG to your blending options. Now let's adjust our lend. Do this. Option. Denta and just reduce the opacity. Perfect. Maybe we should reduce it even more. It looks quite thick. So this is being. And, that's basically. We can even maybe add some adjustments, maybe add some adjustment to some curves. Give it an es cuff, sat to scuff. Perfect. Yeah, guys, this is what we've been able to achieve. We've used our blended trick. We've used also our apply image trick and other things which we have learned over time here in photoshop to achieve this amazing look. So that's it for this exercise, and you can just go ahead and see our file control S. Let's see color grid. Color grid. Perfect and he s. And that's it for this video. See you in the next video. 24. 24 Exercise 2 - Photoshop logo Peel effect: Hey, guys, welcome back. So in this exercise, we're going to be handling something really cool. I'm really excited about this. And this is what we are going to achieve in this exercise. So this is photoshops Logo on a pealing Wall, right? We can see how realistic this looks. We can see the blending and how everything looks just perfect. Okay. So this is basically what we're going to replicate here in foto shop. Go ahead and open fold. Now when you folder, you see this span wooden wall image to select this image down, control, and let's choose this foot shop FG. Foot shop S FG. And finally, we have to choose this pen paint pen. Perfect. And now, we're going to be working here. So we're going to be working here. And now the next thing I'll do is just drag my images. So click and drag and drop. We scale this. Perfect. So I'll just make my image smart objects. Perfect. Go ahead and bud my piling wall texture. We see this really big. And re scale this this size. Perfect. On the next thing I'll do is just click and then create clipping mask. So we basically clip mask our killing wall texture to the foi shop. I want to change this blending mood to hard light. So this is what we now get. We see that we are really getting some qual realism and just click and go to your blending options, and now we want to clear around with our blend. O blend, we want to just play around with our blend. So we want to Hold on and click grog. Okay. So we see what we are getting, right? Hold on. So a pres guys also, and So we want to also see our PS goal. So we want to basically strike a balance between our realism and also seeing our, right? So I think this level would also do. So this will perfectly do. And if we now hit enter. Perfect. Now the next thing we do is basically do same with our foto bog layer. So we have to also play around with our bland. But for this one, we are not going to affect the current layer. So if we affect the current layer, this is basically what we get. We basically deplete everything. And it's not really that co. So we are going to do most of the thing on the underlying layer, so it should affect the underlying layer. So the blending should be with underlining layer. Separate these guys also. Try to achieve some realism. We see what we get. This is getting very realistic, but we are also feeding out our very much. This should do. Now, to add mo realism, we want to create scenarios whereby our edges are not this p, right? Because we co that if our wall would be peeling like this, our ish blue in the street line. So what we can do is we can just add a mask. We can add a mask, and then just pint out some parts. X, pint out some parts of the bu pint out some parts of the pies. That's all I need to do. We make my push this hard. Pint out some parts of p. You can also choose a brush that is flat, that's not just round rather. You can also choose that kind of brush, but I've just been to work with this one I've selected. Okay? A Perfect. So this is what we've been able to achieve. We can see how Put Shop makes it really easy for us to achieve this amazing look. So that's it for this one, guys, and we can go ahead and see our file controllers. And let's just see it Ping. Let's see it as Pogo. Ping PS Logo. P Putop Logo PS Loog. Perfect. Save. So all these files will be made available to you. So you can open them and see for yourself. Basically, that's it for this exercise. See you in the next one. 25. 25 Exercise 3 - Create a glitch artwork: Hey, there, and welcome back. So in this exercise, we're really going to be having a lot of fun. I really love the look we're going to be achieving in this exercise. So this is what we will be creating in this exercise. So this is what I call advanced stretched pixel glitch artwork. We can see all the details. You can see the glitch. And yeah, so this is what we are going to work on. So go back for the shop, and let's go ahead and create a new document. So let's have 3,000 by 3,000 pixels, 3,000 3,000 pixels. And for our resolution, Sev two will be just perfect to it create. And now, go ahead and please our file. So please embedded. Come to our folder and we see this image. This Carl son. Click on the image and please. Perfect. The next thing I'll do is just right click on my image and you can not yet. Let's all right click. Let's just delete this background a. Unlock it and delete it. Yeah, delete. Now the next thing I'll do is just bring my image down like this. And just scale my image from scaling my image to fit into my frame. Perfect. So perfect. And now I'll just right click on my image and then rasterize my image. Now I want to skill or rather grow my image and get of the field or the content aware feel effect applied to my emage. So what I would do is just select my crop to, select my NA, then come here, and then come to Content Aware. Content Aware field, and I'll just click and then just scale this so that I allow pot shop to fill in the blanks piece for me. So I will just release this here and maybe just move my image up a bit. Perfect. So this will do. And all I need to do is to click. Okay, and so we'll just fill in the blanks piece for me. Perfect. So Foto shops fill in the plank s piece for us. And the next thing we'll do is just select our layer our image and then come to image and then come to our image rotation. Let's just do a clockwise rotation of 90 degrees because this effect will only work for us in the desired manner when we rotate our image. So go to filters, and then we go to stylize, and then w. So click on wind. Now yours should be on win or on blast. I think wind. So you want to bring it to Star to bring it to stata, and let's just want to see what we get. So this is what we get with stager, and we can move from right to or rather from the right and also from the left, or we want to move from the right. Like this. Again, the shift. Okay. You see, I forgot to duplicate my layer. So I'll just on two, two, and let's just duplicate our layer because we need a duplicate of our layer. So conclude to duplicate my layer. And I'll just this guy a smart object, so as to be really safe. We don't take any chances select your copy, and now rote your image. Image rotation and clockwise. 90 dese. Perfect. Now, just go ahead and put or add your effect that stylize, and then wind. And of course, it should be stagger, and then from the right. So it. Now we have our effect. Now we need to just add this effect over and over again. And just come to fders and you're going to see that we can add our effects from here. I remembers our last effect. So click wind and we have our effect added again. So we just need to keep clicking wind, and we have this shortcut old Control F, which is option command F on the mac. Option command F or ld control F. Just do it a couple of times. Just keep doing it. Keep doing it till you totally distort your image. Okay? So you're going to see the level at which I'll stop. So just make sure you reach that level before you stop. So I'll just keep doing it and I'll just pass for the video and get to the last point. Perfect. So, guys, this is what we have, and we so try to make sure yours looks like this. Okay so go ahead and put the image. Mage rotation, counter clockwise 90 degree. So we bring back our image rotation. And now this is basically what we have. Okay? So select the background layer, that's the sorry hot background layer. The backup layer and just control J to duplicate it. Let's hide this one. So bring this guy on top, and we want to crop out our subject from the background. Now, we're just going to use our object selection to. So you just need to click. So do it in and just select our subject. So our selection wasn't be perfect wasn't B. Crystal perfect. Just do a decent selection. So CG. We can see that the object seection to does a really good job selecting the image. Now bring this guy be. Now we just need to give you the mask, so create a mask, B, a brush, and we need to start painting. So we need to ease our subject. I'll just on a couple of times so that I can use a smooth brush, our hardness should be very low. Increase the size and just a pint in to feed out your subject. F. You can always adjust your brush size depending on the area. So you can see that pieces like this. I'm using a smaller brush because I want my top to be my character's head, and then the bottom so be this wind effect, right? Perfect. That's basically what I want to achieve. We do this. So I just x to invert the color so that I can a detail for the fa here. Give as like this. Perfect. So I like what we have. Now the next thing I'll do is create our glitch effect. So select my characterer here or my subject, and control G to duplicate the layer, and then go into your blending options. So your blending options, you want to uncheck the green channel and the blue channel, and just leave the red channel. Hat. And now you know what we do need to move your red channel on the right hand side a bit. To offset the position can see that we're not getting our glitch effect or color glitch effect. Perfect. We want to also do this to this layer, so con, G in to your lending options, and check green and blue k and just offset the position using the keyboard keys. Perfect. Basically what we have. And we can maybe control on this and just scale it up, seal it up. I'm pulling on or auction the mark to scale this guy up. Maybe just add add or just use a blending mode. Let's just go around the blending nodes and see. Color dodge. So I'll use color dodge and reduce the opacity to 33. That's our artwork. If you want to add a text, f32, we'll just add a text. I'll see glitch. Selecting my text, I'll just come down and select my ground, select this guy in. I'll just align my text to my background. These words we have. We can see that my text front is era pro and it's bold, right? It's 280 pixels or points large. I just want to ski this bit of whites selecting it. Moving it instead. You just ski it. Let me just s k it to this leg and select my background once again and align background. It's my text. Basically, this is what we have and can go forward to add other things. We can add color loop, we can add ingredients, adjustments, and just play around and see the different variations of this artwork if we can generate. That's basically it for this exercise. Go ahead and see your file and just see this as advanced. Now, this advanced stretched pixel glitch at work. I'll just dig it the GPE and it safe. Perfect. So basically, that's it for this exercise. That's it for this model. In the next video, we're going to tick in our homework for this model. To see you in the next video. Bye bye. 26. 26 Homework: Hell there and we'll come back. So in this module, we worked on so much. We learned so much. And finally, we've come to the end of the module. So this is a homework, and this homework, we are going to recreate all what we worked on in our exercise projects. So select this one, select the apply image. Again, not apply image, but color grading and also peeling photoshopping group with these projects. So I want you to go ahead and use different logos. We can use a different logo, use a different image but this use a different wall entirely. Basically, just use the knowledge that you've learned so far to recreate this effect with different images. And so also with this one. We can use a different image to recreate the effects we applied. Like the apply image, of course, and do collaborating, do retouching and just make the image better using these processes which we learned in this video. And so also with this one. I is a glitch artwork. Also create a glitch artwork using this knowledge. Now you can of course, create your glitch artwork with different other effects. You can add grid and Os, work with more effects than I've worked with basically make yours better and share your project files with me. I'll look to see what you come up with. So basically, that's it for this homework, right? You have to recreate these three effects with different images. So you can go online and get images. You can use some of the images we have in our project funders. And just share a project with me. I would love to see what you're able to achieve. And that's it for this one. See you in the next one. Bye bye. 27. 27 Module Introduction: In this module, you learn advanced limit retouching work flows in a two P so. You'll learn advanced work flows for removing skin blemishes, advanced facial retouching using the pi two and lots of other little tips and tricks. Kindly download the attached project files for this module before you continue, and please reach out to me via message or in the Q&A section if you have any questions. I'd love to make this case five style experience vi. See you in the next. 28. 28 Advanced workflow for removing skin blemishes in Adobe Photoshop CC: Video, we're going to be learning how to remove skin blemishes using frequencies sepion. So we can use this method of skin retouching to really eliminate skin blemishes and achieve a very clean lek on of skin while still maintaining textures. In the fundamental course, we learned about skin retouching also, but we learned how to remove blemishes using our tools here that this retouching tools. The spas removing tools, this remove tool, the helium brush to the patch tool, and so on and so forth. So in this video, we're going to go a step further. We're going to learn this trick called frequency separation. So we just go ahead and open your folder. Let's come to the next folder, which is folder six, advanced image retouching in Photoshop. And I want you to just bring in this image, this after workout image. So click and open. Now, what is frequency separation? Frequency separation is basically a trick. For skin retouching in photoshop, whereby we separate our image into two frequencies. We have the high frequency and we have the low frequency. Now, the high frequency contains our skin textures, our skin textures like all the details you can see on your screen or rather on your image. Those are what we contain the high frequency, and then the low frequency contains basically our colors without our texture. Okay so there is a good way to achieve this. But first of all, I wanted to just go ahead and clean up our image, create a new layer, And now let's take our spot brush. You should make sure sample all layers is on so that you can work on this layer destructively, select the layer and make sure sample all layers is on, and then basically come on try to clean up some of these spots on fs. So just clean up the spots. For bigger spots like this, you could use the remove tool. You just brush around. So you can either use the removed tool or you can also use the Patch to, which would do a better job. Perfect. Now let's just go back to the spot healing brush, and let's work on some of these other two ones here. Click click. We just want do this and do it again. Click once. Perfect. Click here. Perfect. Oh. So this last one Perfect. So this is our image after removing our spots. So I can just hide this layer to see our before and our after. Perfect. Let me just hide the background layer so we see what photoshop helped us a, right? So these are the spots we removed. These are the layers, Photoshop place on our image to remove our blemishes. Perfect. So the next thing we do is just select all layers. And then just hit this shortcut. Control shift E, that's command shift option E on the mark. Now, this will basically merge our layers and create a copy. So we have a copy of our layers here. So we can just hide these ones and keep them as a backup. Now, select our layer here, and we need to create two copies of our layer. So Control, Control G. And this one will also serve as a bu. And now we just name this guy the high frequency. High frequency. So high fre this one, the low frequency. And Okay. Perfect. Now the next thing we'll do is very important. Now, we have to select our low frequency image and try to remove the textures. And the only way we can do this is by adding a blow to our image. So select your low frequency, then go to filters and blow. And now let's just add the galcan blow. Select the galcan blow, and now we can see that our blow is quite much. What we need to do is, we need to bring down our blow and just add our blow at the point where we see our skin texture start to disappear. So it doesn't have to be too much. This will be too much. So you just have to bring down our low to the point where we see our skin textures start to disappear. So 5.6 be perfect. Let's see six. Let at six and hit enter. That's for this particular image. So now we've been able to remove our textures from this image. So there are new textures on this image. Now for our high frequency image, we have to basically extract the textures from this low frequency image. Onto our high frequency. Okay? So that's what we have to do. This high frequency image will don't contain any colors, but you to contain only our textures. Okay, so how do we do this? We can use apply image for this also. I apply image is our good Suga. To select your layer, your high frequency layer, and good image, and then apply image. Perfect. Now, here you want to take note of some things. Now, the source is, of course, our image, and then the layer will then have to be the low frequency image because this is the layer we are extracting our textures from. Okay? So we have to select the low frequency image as our layer. Then the channel has to be the RGB. We can see that the settings are already in place for me because I did this previously. Okay. So these are just the settings we need. The blending mode should subtract. Now, this also depends on your image. Your image is either an eight beat image or a 16 bit image. Now, if you just come here, or here, where my mouse is, come here. You can basically see that this is eight, this shows us that we are presently working with an eight beat image. So I don't want to go into the explanation of what it means by eight B or 16 b, but just know that your image is eight bet or 16 b. Now, of course, we're using this image right. This is an eight bet image. But when you come later on and maybe you want to apply this on the 16 b image, the settings have to be different. Now, if it's a 16 b image, you're going to see 16 here instead of eight. So for a 16 bit image, you have to kind of do some changes here. So you have to select your low frequency layer, like normal like this. And the channel also has to be the RGB channel. But then for blending mood, ina of subtract, you have to use the add blending mode. So you have to use the add blended mode, and then you have to invert. Okay so you have to use the add blended mood and then you have to invert. And for your scale, you have to use a scale of two. That's for a 16 B image. You use a scale of two, and then for offset, you have to leave your offset as zero. So basically, this is what you use for a 16 beat image. But this is an eight beat image, and for an eight B image, we have to take our blending mode to subtract. O blending mode has to be subtract, and then our scale has to be two, and then our offset has to be 128, one to eight. And we don't invite for an eight beat image. So basically, you have to have your setting just like this and then at k. Now, when you hit okay, you then need to change your blending mode for your high frequency image. Now the blending mode for this is the linear light blending. You have to use a linear light blending mode, and this basically brings our image back to where we started. So as you can see, now we basically have our image back to where we started. If I just hit t, heat old here and, let me not use this. Let me use this pack instead. So heat old. And now we can see that our image is basically where we started. So we also group these layers together, like the high frequency layer and the low frequency layer. So set but of them and group control G. Okay? Now from here on, we have to use the mixer brush to blend our skin. We have to have the low frequency image selected and then come and use the mixer brush. Select the mixer brush, is the mixer brush under our brushes panel, select the mixer brush. And for the mixer brush, the mixer brush basically works like an artist's bruh. I basically mixes paints on our normal brush. Let me just explain this. I'll just hide all these layers and create a new layer here. So we can see that our normal brush basically takes a color and pints, right? Pints pints. Okay? That's what our no brush does. And if we change the color, we're just going to paint on it like this. But our mixer brush doesn't work like this. So let's select our mixer brush. Let's have blue here, right? So let's see we pint in our mixer brush. And then we change the colors. Let's change the color here. Let's just observe we. So now we can see that our mix a broach is basically mixing our new color to our old colors. So we're having a mix between blue and Margenta, or popular. Either of them. They look alike. So we having a mix between blue and this color here. So this is basically how an artist's brush would work. So that's what the mixer brush does. So we want to use this this mixer brush to blade our skin tone, right? So we do that on our low frequency image. Perfect. Select the low frequency image, then heat B for your mixer brush to And you need to have your setting like this. You have to use a soft brush for this place, you have to select clean brush. You have to use a clean brush. Not loud brush. So clean brush. And then you have to have this option selected, that's clean the brush after every stroke. So after every stroke, photoshop cleans the grocers. So have this option selected. Then we want to reason custom here, and we want to leave our wetness at 9%, our loud at 75%. Just like what I have here and our mix at 90%. Mix 90%, loot 75% wet 90%, and our flu at 100%. So these are just the settings we need. O mixer brush, After we get this sentence, we just have to come and start painting, and now we start mixing in the direction of our skin texture or in the direction of our pas control. O please like this will mix like this, we mix like this. We mix like this for this, please. So basically, that's what we do. So I'm just going to start mixing. Okay. So I'll just click and start mixing my skin tones. Okay. So we can already see the effects even though the effects might be so, but when we just go back to see out before, we'll definitely see the changes we have made. Proof. We can already see these parts come to life. Keep painting, just keep mixing, your skin tones. We're going to reduce my broad size and pint on these areas. In the direction of my cons. Here also is been pins to eliminate our eye bugs or most of our eye bugs. Perfect. So guys, let me just out a bit and show you the outcome. So in order to see the progress you've made, you just have to see the original right, so we have to compare the original the outcome. Who all on your keyboard or action on the ma and then click here. Sorry. Not the click here that's on this particular images layer to. Right now, we can see what we had initially. And I'm going to click back holding down to see the effect. So this is after the frequency septation. Before and after before and after. We can see how we physically blended our skin tones and achieved a really smooth skin while still maintaining our textures. You guys, so basically, that's it, and we want to just keep doing our painting on the body on the next side. We want to do that on the next side also. The next side, use my brush size on the next side. This works even for clues. Perfect. Also, the size of the image matters a lot, that's the resolution of the image. We can see that this image is a really blue resolution image. So if we had a higher resolution image, we'll see that this effect will even look better. This image will really look better and the textures will come out a lot, and we can see that this image is really just a normal, not a special i. There wasn't a special lighting, and we can see that it's just normal im. If we had a better image, that lets see or an image taken in the studio or with better cameras and better lighting. We definitely have better results, but this result is also incredible. This is before and this is after. And if we think we still want more or if we're not satisfied, take the Lasso two and even add to how smooth our skin is. So your Lasso two, and for fader, you want to leave your Feder at around 20 or 22. And you can have it here or here, but I'm just going to have it here so that I can select multiple areas. While selecting a low frequency image, just go ahead and make selections. I'm just going to make selections. Selections on our fa. Let's do this notify the selection on. Let's do this and create better selection. Then you have to select places like this, places you are not satisfied with. I'm just going to use these few places where you can select more you want. Then you can just go ahead and add a gaussian blow and add the gauian blow. You can make the blow ten or 12, and the more you add it just keep seeing that our smoothening keeps increasing. We can see that add 75, our smoothening just got too much. We want to just leave this at 18, so 18 and. Select. Let's see before and after. So, I'm just going to do cont. And the contro or shift contro to bring it back or to the effect. Basically, this is what we've enable to with our frequency separation. So we did a pretty good job. We had a better image, we definitely have better results. That's it for these video guys, and you can go ahead and see your file. I'm just 7a5s. Let's see we see it a frequency frequency section. So perfect. That's it for the video guys. See you in the next one. 29. 29 Advanced Facial retouching with the Liquefy tool: Hello, guys, and welcome back. So in this lecture, we're going to be having a lot of fun. We're going to furthermore retouch our image, especially the pas. Okay, it's a powerful tool or a powerful feature that Foodi shop gives us. So we looked at this feature also in our fundamental course, but we didn't go as far as modifying our face. Now that's the liquefy filter. So let's go ahead and save our image. So Control Shift S, that's command Shift S on the mac to save our image. And we want to sve it as GPE as a GPAC image. So select G PEG and just it save. Perfect. So receive our image. Now we want to bring in our image as a new document. So frequent separation, pen. Perfect. Now we can close this one. Perfect. So now, this is our image, right? This is our image, and this is our background. So what we need to do now is just contro, get our image, just hide our background. And what we want to do is tone our layer into a smart object. So we can do this in two weeks. We can indirect click and convert a smart object or go a filter and convert for smart filters, right? So it's the same thing. Go to filters and click on Liquefy. Perfect. Liquefy, detect our image and understands that our image has a phase, right? And this tool is automatically selected. For us, now, this is the Pis tool, and we have the pis options here. So we have options on the right hand side, and we can basically use this options to control everything we do our tools, right? So for this Pi tool, we have to click on the phase are we liquefy. Now, these are the options we can modify, or we can go ahead and zoom into our image and modify them with our mouth, right? So you can click here and drag up, you can see that we are making the eyes p making the yes pap. Check the eye. We chip the eye. We can basically totally modify our image. We can basically totally transform our image into something else. But of course, if your image to achieve something that looks real, you wouldn't want to go too far with this, right? So let explore some of the things we can do. Now, these are the options, we have the ye, of the middles, we have the mouth, we have the face shape, right? So these options are classified according to the features of our face. So for the ice, we can increase the eye size for the left eye and the right eye. You see the left eye is the right eye. You can make the ye smaller we want. Okay. So we can see what we get. So this is pre, this before, this after. We can increase the heights of the ye, we can make the yes taller or reduce the height like this. And then we can increase the width or reduce the width. I want to have a really small or really small ice for now. So we can see what we get in and we can even retreat our ice, we can tet our ice. This is good. This is we are going for. So this is before, and this is after. Wow. We've really transformed that just by the eyes. And we have the nos. We can make this no higher or longer in the nose height or less longer or shorter. We also with the wap increase the nose with or reduce the nose with. We also have the smile. Under the mouth, we can make her smile better so you can see that we're controlling her smile. We can make her brown. You can make he smile or you can make he frown, Bier was. We then have separate controls over upper lip. Upper lip or lower lip. Upper lip and lower lip. Then we have the mouth with the mouth. Then the mouth height. We then have the forehead. It modifies our forehead, modifies our chin heights. So it could make our chin higher or less high, very high and very very low, right? We also have the jaw line. We can see we're making a jaw really big. We can make her jaw really small. Basically, these are the settings, and finally, we have the fist we make her face wider or mess wide. Let's just out to see what we turned our character to. We see that we did the bad job here, we really messed her up. We really messed her up We really messy up. So let's just try to do something more descent right now. So I'm just going to cancel, and let's start on a new slip. So go filters and defy. So I just want to achieve a slimmer look right now. As a slimmer look is what I'm going for. So I just want to make h. You see, I've used my mouse to physically modify this, Fish slim. Wider forehead. Higher forehead also add to our slimmer look. For this part, let's see. Let's do this. Perfect. For the eyes of the nose, let's see. Maybe this nose will do, and let's just make the nose need to be les wide. The mouth. Let's make a smile a bit and this. Perfect. We see now that this looks realistic. It looks realistic and basically turned our subjects from having a phase to having a realistic phase. This is before and after. We can do a whole lot of variations, other variations. Ma or, and we could do a whole lot of things with this feature. So go ahead and have fun and explore all you can with this too. That will be it for this video and see you in the next room. Bye bye. Oh. 30. 30 Exercise 4 – Image Retouching: Hello there. Welcome back. In this exercise, we're going to be doing frequency sepreion, we're going to be cleaning blemishes. Basically going to be making our image look incredible. Look good. And for the most part, we're going to be using an image that looks impossible. A image that looks very impossible to retouch. Now, go to file and open. And bring in this image. This girl with acne. So bring in the image, and now took a look at this image. This image looks really impossible to retouch right? But Tangled for retouching, tangled for frequency separation, we are going to be performing some magic with this image. So first, first, let's try to eliminate some of our mages, our pimpos, and our sports. So create a new layer. Let's just unlock this layer and create a new layer. Go to your sports. Removing or spot healing brush, rather spot healing brush, select a new layer and sample all layers, and now we're going to start removing on sports. You basically know already how to do this. Either use the spot healing brush or the remove tool or the helium brush tool or the patch tool. You basically know how to do all of these already. I'm just going to speed up the video so as to save you time while doing the comeback when I'm done. M. Oh Yeah, so we've gone ahead and remove our blemishes. We're go ahead and remove our spots and our acnes. Now, let me just show you what I did here. This is before. This is after. This is before. This is after. Okay. So I also removed the spots on the hands also. You're on the shod els, rather. This is before this after. So basically, go ahead and make sure you achieve something that looks at least close to this or even better. So just take your time and achieve what looks like this or even better. Okay. So when you're done, all you need to do is click and hold down Control, Shift E or command Shift Option E on the mac. Perfect. So we have an LA and basically, we can do two copies of this layer control g and just of this one. This will be our high frequency, high frequency, and this will be our low frequency. Let me did in the other video. Low frequency. Perfect. Next thing we'll do is just hide our high frequency layer, and select our low frequency layer, and then go ahead and give it a gausan blow. Gausan blow, remember we want to add the gusan blow at the point where we start to observe our skin textures go away, right? O skin textures have to start going away. We don't want it to be too much, and it will not be too low. Our skin textures should start to go before we heat. Now let's just out and see. I think I think we should add a bit more. Let's just make it 5.8. 5.8 would do and heat. Perfect. This is our low frequency layer with low textures. And our high frequency layer, hide it and select the high frequency layer and go to image and apply image. And of course, we have to check the beats of our image. We can see this image is also an e beat image, just like the previous one. So the settings have to be like this. So the layer is the source is, of course, our image, and the merged layer will be our low frequency, we can already starting the details here. We have to make this subtract layer manc so we can see our skin textures. Right? Perfect. For your eight beats image, this has to be the set city 100 scale two offset 128, blending mode subtrat, and we do not invert and channel RGB and just at k. Perfect. Next, we have to go ahead and select the linear light blending mode. So our image goes back to what we had initially. Okay. Perfect. Then right now, we just select the both of them, contra g to group them, and then open our group, select our low frequency, select our mix approach to this is our mixed brush to make sure our settings as follows. Our brush type is a very soft brush. Hardness has to be zero, and then we have to make sure it is unclean brush, and this has to be checked. This has to be custom line as our wet value is perfect. 75 as our loot value is perfect. Then mi 90% and flow 100%. This is all we need and we can start painting. Start painting. On our low frequency layer, and we start seeing our details coming out. We have to paint, of course, the direction of our textures or of our skin contos Let me just zoom in and see what's going on here. Now, I didn't like how intense the defect. I'm just going to try doing my painting again. I'll just reduce my broad size and make sure I fw. Oh If you observe this part of the face is darker. This part of the face is darker. I want to blend this first and then start going like this. You basically are going to be doing this like you were an artist and using an artist's pint, to create a realistic painting of a? Just try to your skin tones, like how you mix your colors if you an artist. M With this, too, we can even refigure our face. Refigure our fast of fa shadows. Just by the direction of our painting and basically how we do our painting, we have the ability to modify the contours of our face. We have to really do that with caution. Oh. So right away, you can see that we've achieved a very high level of blemish removal, but even though I really feel the effect is really extreme right down. But I guess we'll just work with it this way. You basically know already how this works. Now, what you have to take note of in order to avoid instances where the effect is too is you have to make sure you get your skin textures properly. So it means your blow must be just accurate. So the blow you apply to your blue frequency layer initially. That must be a good value. You don't want to do this too much. So I'm guessing the blow is quite a bit too much, maybe the way I used my mixer brush too. So I can see that I lost some details on the face. Some of the fis controls, I lost some details. Okay. But we can also fix that by just doing some further color correction, maybe by doing some levels across. But basically, you understand how the whole technique works. So I'll just finish this up and go to the next thing. Make my approach bigger and add to this please. Perfect. Now we can see that our image looks better than before. Definitely we better than before, but we just lost some cont contro. So let me just do before and after. So this is before. This is after and this before. So we can see what we had before and this is what we have. Right now. We did a good job. We did a pretty good job. Nothing too bad, not to worry about. We can go ahead and fix the imaging further by adding maybe some dog and bone and some other retouching techniques that will just add more details or more controls to our face. And basically, that'll be Like I said before, if we're not satisfied, we can go further and select our low frequency bruh and then do the selection, so we can do selection and just go ahead and add our Cusion blow. Let's add Cion blow and just see how we can achieve it. I'll just add an adjustment lia here. I'll just add I'll just add the cuffs Adjustment. G. So I reduce opacity. See 34. And this definitely looks better. Maybe this should be here instead. Perfect. And the change is very subtle, but it definitely looks better than what we had before. Basically, guys, that's it for this exercise. We've basically turned our image from this to this, this to this. And initially, it looked really impossible because the blemishes are just overwhelming. But thanks to frequency separation and thanks to our blemish removal tools, we were able to achieve this hearing for the shop. So that's it for this exercise and see you in the next one. Bye bye. 31. 31 Exercise 5 – Facial Retouching: So in this exercise, we're going to take this image, which we worked on in the last video and further retort our fit using the fist modification features of our liquify filter. We just go ahead and merge all layers. Control shift E or command shift option E, on the mac. It creates a new layer with all our layers merged. Perfect. So we want to now go ahead. And, first of all, just make our layer a smart object, convert to a smart object, and then let's go to filters and liquefy. Perfect. Now we want to basically modify the look of our image using our face modification tool. Okay? So first of all, I feel this eye is smaller than this eye. So I want this eye to be bigger. Let's Let's increase the width, let's see. Yeah, so we can see that our now is bigger. So this feature can come in really handy for photographers. So sometimes you take pictures and you see little blemishes like this. Maybe this eye is bigger, or this smaller, or the nose is kind of aligned in a certain way, and you can change all of this using this tool. Right now, I think I'll go for, let's see. Let's go to the fist. All right, Yeah, I think the mouth rather the mouth. Let's try modifying our smile. So should she smile more or should she frown? So I feel our character. So I think we should do two looks here. Now, our character is smiling quite much, so I want her to frown, or I want to reduce her smiling. So I'm just going to make the smile less. And then for this lip, I'm going to bring it down, and for this one, we need to bring it up. K. And then let's see. What else can we do here? Maybe make he face a little slimmer. And then ford. The forehead, little shorter also. And even though I think it's really, really hard to make a frown because she's really smiling in the original picture. But I think we can do a good job or a decent job in reducing the smile. Okay this is our before. She's really smiling here, and this is our after. So she's not smiling that much. She's just cool, right? Perfect. I think this eye is too big. Let's just reduce it again. It. Perfect. Let's look at the eye distance. I feel they are quite far apart. Let's try to fix that. So eye distance. You see that they are quite far apart. Let's bring them closer to each other. So really, we haven't been able to eliminate the smile. She's still smiling, but I think it's less than before. So this is before. And this is after before she's smiling less now. Basically, I think this is all we should do. We can just hit okay and compare before and after, now, this is what we've been able to achieve, and this is what we had before. Sometimes we can even use this tool to totally change the look of our image, totally change the look of our image, just like how we did here. We actually totally changed the look of our image. Remember, this is before, this before. So she looks like a different person here, S like a different person here. That's the power of the Lif tool in shop. Before and after. And that's it for this exercise. Catro S to save and girl with acne retouching. And save Perfect. So, guys, that's it for this exercise, and that's it for the module on retouching. So see you in the next one. Bye. 32. 32 Homework: Hey, guys, so in this homework, you're going to be doing retouching and frequency separation for this image. So uti Fuller and bring in this image. The Asian girl with spots. So click open, and this is the image you're going to be working on, so you can see share some blemishes on our face. So you're just going to try to reduce the blemishes and use frequency separation to kind of give a more perfect look. And then after that, you then come and work with the Lukefi tool to modify the facial features of our subject. And kindly share your results with me. I would love to see what you achieve. So that's it for this one guy, see you in the next one. 33. 33 Module Introduction: In this module, you'll learn about color and color grading in a D B photoshop. You'll learn advanced workflows for color correction using labels and curves. You'll also learn how to use the camera or pg photoshop, how to steal color grading from one image to another, how to add color, black and white images, how to access hidden color grading looks in photoshop, and more. Kindly download the attached project files for this module before you continue. Please reach out to me via message or in the Q and D section if you have any questions. I'd love to make this course a five star experience for you. See you in the next video. 34. 34 Color correction Levels Pro tips: Hello, guys, and welcome back. So in this video, we're going to learn some advanced tricks and tips for using levels in photo shop. So we're going to use levels for color correction. Of course, we all know what levels are and how to use them in photoshop. Okay? And in the fundamental course, we can covered levels, even though we only covered kind of the beginning stuff. So in this video, we're going to learn more advanced stuff. So go ahead look in your folder. I'm just using my keyboard to do control that command on your mac right in my folder, my seven color and camera a in AB photoshop. Go ahead and open these images. Levels and curves one, levels and cuves two, levels and curves three, and levels and curves four. So go ahead and open all of these images, and they are the ones we're going to use for our levels and our curves. Now we are in this image and go to your advanced panel. All right, your adjustment panels. And then add the levels. And yeah, this is our levels. Now, of course, we all know what levels are. We have the left hand side, which represent the dark parts of our image, the right hand side, which represents the bright parts of our image, the middle parts, which represent, of course, the mid tones, and we have this slider that kind of controls the output levels, right? Perfect. Now, we didn't cover two levels when we covered levels in the fundamental c. So if you click on auto, This just going to automatically apply levels adjustments. So we can see that it messed with our slide that here, and we have better levels. So I'll just hit here to reset. So I'll just reset my levels. Right now, I just want you to hold down on your keyboard, that on your PC or option on your mac and click on auto. So if you click on if you hold down t, you're going to see auctions. Now, Coop now shows you algorithms, it uses to auto enhance your levels, right? So now we see that we actually have different algorithms. So because this is the automatic one, it basically uses this particular one here. Every time we click on auto. So now we can choose other algorithms, so we can choose this one. And basically, you can see how much difference we get. We can also choose this one, and we can also choose this one. Now we see all the differences we get. Okay. Now, um, In case we maybe want this one to be the default. We can all we can just come and click, save us default and next time we to apply levels, it's going to just apply this one. And there's one more thing I want you to learn here. Now, when you select this preset, for example, you get to see the target colors, and clip in. So we have the shadows, we have the midtones, and we have the highlight. And if you just click here, the color picker to open up and you can actually select your shadows, your tones, and your highlight. So let's see, we don't want our shadows to be black, we want them to be kind of close to red, So you can basically see how we are now add this red into our shadows. And we can just adjust our color slider and maybe even add this sheet of paper. So you can see that we are basically color breathing our shadows. So you can it key and do the same with your highlight. Let's see we want red highlights. You see what we get beautiful effect. And we can adjust our colors of colors. And also our meters. Now, our Mutants won't change much. Won't change much, so we can just leave our Mutants as they are. And for the clipping, you can adjust the ledges adjust this and see what we get. We don't see much difference. Okay. But 0.1, we just do. Now when I make it there, we see, of course, the effect. We're basically not seeing our shadows, our new shadows. So 0.1, perfect, and we can just hit okay. And now it's going to ask you if you want to make this the default and if you want to make it a default. So it ok. Perfect. Now you can see how we've basically taken our image from this to this using levels, using a two levels. And of course, you can go ahead and change channels. Right now we are on the RGB channel. We can go ahead and select the red channel and we adjusted in the red channel. Okay. Make your adjustment in the red channel. Select the green channel, major adjustments, and the blue channels, also. Perfect. And now let us go to this order image. Let's go to this order image. Now, in this image, come back to my levels, my adjustments, and I'm just going to add the levels. Okay? And we also have presets, actually, we have presets. We have the darker presets, we have the increased contrast, and this preset that basically based on according to different levels. Okay, different looks you might get levels. And we have this one that brightens up meat tones, right? This one mix the putin lighter and so on and so forth. So I think we looked at this in the fundamental cust, but we get these are preset, a? So default. And now there's one more thing we didn't look at in the fdamental cust. We didn't look at these guys here. Now these are white, gray and black color balances. Okay? It means we can select this guy here. Come on just check in our image, a place where here is supposed to be white, and you can just click and we can see that put the shop automatically turns it to white or rather makes adjustments based on our selection. So it means Foty shop goes in uses our white selection to kind of adjust other parts of our image, right? So we can see that we just had to select the white balance tool and sample white place on our image. Now, I'm wlling down Alt Now, after I select this tool, when I hold down lt, you get to see the points that are clipping. You get to see the points that are clipping under the whites. I click on this tool and hold down old also, you get to see the points that are clipping. Now what I mean by clipping is basically losing details. So these are the points that are so black that we begin to lose details. And so these are the points that are so white that we begin to lose details. So we don't want our clipping to be too much. An ideal scenario, we can just click and let's say, we are trying to adjust the sliders here and pulling down. We can basically while moving our sliders, see how our clipping is affecting our image okay or how our adjustment is kind of clipping our image. So we can now of course the level at which to stop. So now we see the level of our clipping and we basically know that at this level, or at this point, we might not want to go further with a clipping, or with adjusting our white level. So so also with the black guys. If you click here and drag and Wood t or option on the mark, you're going to see your clipping. So you don't want to make this clip too much, so s not to lose too much details. Okay so that's basically for levels. Soso with this image, let us come to this image and try to improve the levels a bit. So go ahead and add your levels, and now we can click on lt and just click here and start to select presets for our auto levels. So we can select the monocomatic contrast, the enhanced p channel contrast, then fine dark and light colors. And of course, this guy here, the enhanced power channel contrast, it basically enhances all our channels. It means it goes into our red channels, our green channels, our blue channels, and of course, also our RGB channels and Auto enhances them. It means when we hit to, we're going to have all these channels enhanced. So we can choose a different color for our shadows. Maybe we can make this kind of have a cool vibe. Okay? It okay. And our highlights this. Basically, that's that for levels in footer. In the next vide, we're going to learn advanced work flows. We can use to make adjustments on our images using cubs to see you in the next video. Bye bye. 35. 35 Color correction Curves Pro tips: Hello, guys, and welcome back. So in this video, we're going to learn about curves. Okay, in the last video, we learned how to use levels in a kind of advanced way. We saw some advanced tips and tricks. And, yeah. So in this one, we're going to learn advanced tips and tricks with curves. Now, back to this image, I'm just going to hide my levels, adjustment Lia and go ahead. And create the cuffs adjustment layer. So curves. Perfect. Now, the first thing we're going to look at is our auto. And of course, you also known that for cuffs on the left hand side, we have the darker parts of our image again, so we can adjust the darker parts of our image, the left hand side and so also the brighter parts of our image on the right hand side, right? I mean, if we adjust the slider, the sliders on the ground here, we are going to be adjusting our dark parts. Here, we can hold down s once more to see the clipping. Okay? So we can basically see how we are losing details from our dark areas. Okay? Andalso with this. And also with this. So we can basically here, we're losing details from our bright areas as we hold down and grab these parts so it means. When we adjust here, we are adjusting the bright parts of our image and when we adjust here, we're adjusting the dark parts of our image. Basically, that's basic curves, right? And of course, we have presets also. We have the negative. We have the cross process. We also have the darker and so on and so forth. So you can just go and check these presets for yourself. I'm not going to go through all of them. Okay. But we see that we're getting kind of good results here. I like this look, this before and this afternoon. These are just preset. So gob default. And now I'm just going to put down and click. On my auto, right away, we have some auto enhancement. Okay, we have some auto enhancement. Of course, again, you can see the algorithms. We can see that this is the default, of the auto brightness and contrast. We have this one which finds the dark and light colors. We also have this one which enhances p channel contrast. And we also have this one which enhances migmatic contrast. And just like we saw in cloves, we can maybe choose this guy and go ahead and work on the shadows. I think we can add different color to the shadow, given that that look we're looking for. So in the previous video, we added this particular color, this particular look to our shadows and our highlights. So basically, we see that curves and levels are very similar. They are very similar, really, people tend to compare them sometimes levels versus curves. But really guys, you can do basically the same thing levels and curves. Again, basically the same thing. There are a bit of differences, but basically the same thing. It all depends on which one you feel most comfortable with and which one does work better for you. So basically, just find the one that works best for you. Hit and no, I don't want this to be default. Right now, we see that it has adjusted all our channels. Okay, we have the red channel. And we see that we've done some adjustments on our red channel automatically. I also with the green channel and blue channel. Go back to my auto. And of course, we can also come in and do adjustments, on our curves. Just like this. So typically for cuffs, it will either be something that looks like an S cuff or Z coup most of the time. Most of the time, it will either look like an S cough or Z C. We see that this is looking more like what I call this a Z cough, more like a Z C here. I looking more like a Z cup. Okay, that this particular GP channel. Now, that's it for this particular image. Now let's go to let's go to this particular image, okay? Now, let's go ahead and add our levels, or our cuffs. So add my cuffs and I'll just disable my levels or hide my levels. And now we have this particular guy. Now, just hover on it, and you're going to see some explanation. That's click and drag in image to modify the cuff. Now, if you click on this on this button and then come into the image, this button enables us to kind of target specific colors or specific looks on our image and edit the curve based on those looks. Now, if we come here and select this particular pise, now we see that this is green, right. So it's going to address our curves, based on our selection. Okay, or based on the particular plies where we have sampled. We can do some with pis like this, click and grab, you can see that particularly targeting this color. So make it darker. We see that the color in particular getting much darker. You can basically use this target certain looks, certain colors in our image. We can target the skin tones, and you can see how we are basically making adjustment to our skin tones using this dtrick. Now, of course, we can see how the adjustment is all happening in the curves in the curves while we are basically just manually moving our mouse up or down. Okay? So you just have to click and move your mouse up or down, and it's going to edit the particular color which you've selected. So we have our white here, right? So I I just click here, adjust this higher down, we see that we are reducing the intensity of the white. Okay. You make this brighter or less bright. We also have our white gray and black balances. It means you can again. Let me just hide my levels. It means we can again select our white balance, click, and it's going to ique adjustments to our whites. It's also with a black balance. We can select black quicker, it's going to Mike adjustments to our black automatically. Yeah. That's basically it for our curves and our levels. Now, I'll just unhide my levels to see the look I get by combining my curves and my levels here. We see the look I get, and you can go ahead and maybe reuse the capacity for this. And this is what we had before pulling down. This is what we had before, and this is what we had after our adjustment. Perfect. And finally, I'll just go into this image, this last image, and we've not make any adjustments on this image, right? So I'm just going to right now go ahead and add my levels and also my cuffs. And I'll just use some of the tips and tricks which we've learned from the last video and also in this video to make adjustments to my cuffs and my levels, okay? So first of all, I'll start with the levels. So I'll just go ahead and click all. Sorry, while selecting my levels, click Alt and auto, and I'll just now make some default adjustments, right? I'll just select this guy and go ahead and change my look a bit. Now, I'll just go clear around to see some other looks I get. Okay, are different from the default. So let me just select this guy so that we get this kind of warm look, right? I think this is perfect. This is perfect, so ok. And then for my highlights, I didn't think there is much change to do for the highlights. This is just okay, right? So, he okay. And no. This is before, this is after. So we can see that we've totally changed the feel of our image. So it's more of cool here. It has more of a cool tone, kind of a cool look. And after adding our levels, we kind of give it this warm look, right? Perfect. No, of course, we can go ahead and even further add some some details to our shadows. And highlight. For highlight, I don't want the pretense to be too much. I'll just keep it at a minimum. So maybe this will just be perfect. Okay? And I want to go into my separate channels. I'll just leave my levels like this, so I'm okay with what I got here. And now I'll just go ahead and walk on my curves. So I'll enable my curves and go ahead and click all Okay. Well on at and click Auto. That's to see my auto correction front. Let's see we have what we want to adjust here. I really don't have much to do on auto here. Okay. Now, what I'm going to explore more, is this my bottom here. Now just click, and then go into my image and make subtle adjustments targeting specific color. Let's see to click and do this. Let me just do out and see. Not bad, but we can see that our images really getting dark. I don't want our image to be too dark. I'll just make the skin tone brighter again. Perfect. For my sky, we can see that we've lost a lot of details here. We totally lost details here. We can regain any details in the sky. There isn't much we can do in the sky. We can't regain details in the sky. Just leave the sky like that. Let's see gene. Can we get some more details on our gene. So It's also So the changes are basically sort to. Let's see the before and after, so this is before. This is after. There is one more thing. We can add let's just go back to our adjustments and add hue and saturation. So we see on our hue and saturation panel, we also see this button here. So it means we can click this button and go in and affect selected colors. So we can affect the selected colors with our hue and saturation. Let's see, we want to affect the red colors. We can click here, either make this more saturated or less saturated. We're going to make this a little bit more saturated and It also this color here. I want to make it a bit more saturated. So this is what we had before. Now, these changes are really subtle, right? But basically, we've drastically improved the look of our image with these little adjustments. So this is before, and this is after. Perfect. Now, I'm just going to go ahead and see if some of these looks. I'll see if some of the ones I think are good, so I'll see. This one, definitely. I like this, I see this. And for this one, I didn't think I'll see this one. This was just experimental. We didn't achieve anything. Incredible here. Okay. I'll just close this. No, and also close this. We didn't achieve something so incredible in my opinion. So I'll also close this and I'm just going to see these two. This one and this one. So it control S. Levels and cuffs one, S and levels and cuffs two. Perfect. So this we've come to the end of our video and cuffs and see you in the next one. 36. 36 Working With Camera Raw In Adobe Photoshop Cc 1: So right from the start of this course, we've been working with images, lots and lots of images. GPAC format images to be precise. And to be honest, GPAC images are quite easy to use, quite easy to handle, but they lack lots and lots of details. They are basically little formats that have been compressed. I've been beaten down into something that can be used everywhere or anywhere. And this brings us to what we call raw images. Now, what's a raw image? What's a raw image? Raw image is basically an image that you take directly from your camera. So that's an image that has been shot using the camera and directly from the camera, it comes out as a raw image. Now there are a lot of things we can do with a raw image. And right now in your folder, that in your project folder I have gone ahead and added three raw images. So you'll see them with the title, M G, and then on the score and then numbers. Now I have three of them here, and we're going to just use these images to explore camera raw in photoshop and also compare them with other formats, like the GPE formats, okay? So we can see this is a raw image, and I just selected this image. And right here, I can see the size. Now the side of this image is 27.3 MB. And also with these other ones, they are all large images, right? And why are they large? Is because they contain a lot of details, a lot of quality. So if I just click on one of the images and open, and zooming, we can see that we are zooming in to see the very pexels, the very skin paws of this subject here. And we are not losing details, even at this point, where it seems to be clipping. When we bring it into futi we're going to see that we are able to recover all of these details. Now, when I open this other image, the image with the white. Now, even zooming into these places, where we have white, we can see that we are having details. We are having details, we're not losing details. We're not clipping. And even in these areas where we think we might be losing details because of course, we can see how bright it is here. Really bright, right? When we bring the image into photoshop, we'll see that we are able to recover all of these details because it is a camera image. Now I'll just close this and give you an example. Now, I'll select this image and just drag it into Photoshop. Now, you can bring in camera images just like any other image. Okay, we can click File and then go to open and then import the image or we can drag the image into Photoshop. Now, no matter what you do, how the image opens, is it opens in this module, which is called camera Row. Now, this is the camera plug in which we'll be learning in this video. On the camera raw plug in is this mode, which can be used to edit raw images. And this also serves as a filter. It can be applied as a filter, and it means it can be applied even to other formats of images, like the GPA image or the PNG image. Okay? You can actually apply this filter this plug in as a filter to these images. Okay, but it's foundationally meant for editing raw images. Now, let me just go to light here. And I just want to show you something. Now, I'll just reduce my, my highlight, let me just reduce my highlight. And also my exposure. So when I reduce my exposure, we can see that all these details that seemed lost before have been recovered. Okay, we can see that we have basically recovered all of these details, and this is quite different from GPA image. So if it were a GPA image, if it were a GP image, we wouldn't have recovered these details. Now let me prove that to you. I'll just cancel on this. And then go back to my folder and drag GPE image with a white color that seems to be clipping. Now, this image, which we used in the previous video has a white color that's the sky here and it seems, of course to be clipping. Now, I'll just drag this image into photoshop and hit seling my image go to filter and then camera a filter. Now, I just want to zoom in a bit and do the same thing I did with the last image. Now, I am reducing the exposure and even the highlights. But you can see that we're not reging any details in the highlights in this white place, k. Now these details are gone and gone forever. There's nothing we can do about the sky here. It's white, and there's nothing we can do about it. We can basically see how our camera image retained details, even the details that seemed to be lost because of clipping while our GPEg image just lost everything. So that is the proof to you that our camera images carry higher details as compared to our GPE images. Now there are even more things about the camera images. Now, if you open Color, Oh, now, look at the white balance. Now, this white balance, as you can see here is as short. Now this is basically telling you that the white balance of this image is directly gotten from your camera. Okay? And there are many other ones which we can look at, you can look at auto, and these are basically the settings of your camera. So it means your camera settings are perfectly preserved in this format. Okay. So that's to see that, details and settings from your camera are directly preserved or perfectly preserved in this format. Yeah. So enough for the camera row format now, let's look at the camera row as pg, right? Now, the camera has this interface scene. So there are lots and lots of things we can do in the camera row, but basically, the most important thing we do here is color correction. But there are lots of other panels, lots of other features which we're going to look at. Now when you open your image as a camera row image, the first thing you should do as a photographer is to go to your settings and then go to work flow. And now you should choose a cools piece for your image. Now there are lots and lots of cool sieces in for the shop, and we won't go into the intricacies of cools pieces in this video. But what I will suggest or what I'll recommend is for you to choose the DB RGB 1998, just select this cools piece. This COs piece is perfect and for 99% of what you might be doing in cook. So you just choose this particular colos piece. And then for the depth, this basically allows you to choose whether your image is processed as an eight bet image or 16 bit image. So 16 bit image is better because it gives your image a lot of depths and possibilities. So just do. Now, these are the two most important things you have to do first. When using raw images. So just hit okay, and now you can start to work on your raw image. Now, like I said before there are lots and lots of things we can do in the camera row plug in, and we're just going to take our time to kind of go through the interface of Camera row. Okay? So right now, this is your viewport, and it means you can see a preview of your image and the changes that have been made. Okay? Now, these are the tools in Camera row right now. If you come down here, you're going to see the tools now. You see that we have the Zoom tool, and that's the tool that is automatically selected. So it means if you click here on the image and drag your mouth to the right hand side, you can zoom in and if you drag your mouth to the left hand side, you can zoom out. Means you can zoom into your image or zoom out of your image. And you can also do Zoom using a control plus or command plus on your mark. You can do control plus or command plus on your mark or control minus or command minus on the mac. Okay. And now apart from that, you can also pan. It means if I zoom in, I can hold on my space bar button, and then click and drag. So I can pan around my image to get closer look at the details. Okay to see what and what I'm working on. I'll just zoom in zoom out, pan around, using my space bar and my left click. Perfect. Now on the right hand side of our camera plug in, we see where the mean magic happens. Okay. Now, these are the sliders which we adjust. So we can see that we have this slider for exposure. We can reduce the exposure, increase the exposure. We can reduce the contrast, increase the contrast. We can increase the highlights, reduce the highlight and we can all see the preview happening here. And also for the shadows, we can brighten up the shadows. We can make the shadows even darker and sort of the white and black. Now, this is basically what we'll be doing for most of the sliders. We are basically going to be adjusting sliders to get the loop we want. Now, as you can see, we have done some adjustments to our image, and what if we want to set these values back to the default? Now, all we need to do is just come on the slider and double click. And we're going to go back to the default, double click. Do click. Click. So let's see you were doing some editing, and you basically messed the whole thing up. All you need to do is to just doub click. If you've gone so far with your edits that just double clicking would not work, that you need to kind of reset everything at once. All you need to do is just come here. Here, and then click on reset to default. If you click here, it's going to take our image back to default. So it's going to kind of undo all the things you've done. Now, if you come up here, you're going to see where it says shadow clipping warning. These things here, if I just click on it, it's going to on, if I click on this, it's also going to lo. These are indicators that show us the clipping. This one is for highlight and this one is for shadows. Let's let's see if it's going to work here. Let's say I reduce my exposure. We can basically see the shadows one here, right. And this doesn't work so much. Let's see I use my contrasts instead. The contrast will also not work. Let's see I I use my blacks instead, good, perfect. So when I increase the intensity of my blocks, we can basically see that we have the black clipping here. And for the white clipping warning, shows here because of course, we have very bright whites around here, right? So if we increase the exposure, we're going to see more of the white clipping warning. And if we reduce this, we're going to see less of it. So we also have shortcuts for this. Now, this is for the highlight clipping warning and you for the shadows clipping. I'll just off them here in order to not see them. Okay. So let's go back here and we said to default. Perfect. Now we have under edit. We have the auto. Now, if we click on auto, our camera, we just go ahead and make some auto adjustments to our image. But we, of course, don't want to work with auto. We want to make the adjustments ourselves. So we don't want auto. We can click outside it. And then we have black and white, which turns our image into black and white, and we can go ahead and make adjustments to our contras, our highlights, and even our colors after selecting Black and white. And we also have the HDRI modo. Now, this HDRI space will, of course allow us make adjustments in HDRI. And the HDRI space is not available when you're using KMRO as a filter on GPEC images. And also so also with some of these panels like the crop panel, and also the snapshot panel. So I'm just going to collapse on fas reset all of this, set to default, and just collapse all of these panels because we're going to start looking at all of these panels. So we can see that our marrow is divided into the edit panel, which has a shortcut of E, the crop panel, which has a shortct of C, and then we have the healing panel. Now the healing panel has a shortcut of B, and then we also have the masking panel. Now with this panel, we can create a mask. And then we have the red eye revile panel, we can remove red eye with this feature. And then we have the snapshot panel, and with this panel, we can create snapshots, right? And then we have the preset, and then we then have more settings, more image settings. These are the different sections we have on the camera. Now, the edit section is where the mean adjustments happen. Under the section, we have lots and lots of things. We've looked at this guy. We've not looked at a profile. Now there are lots of profiles. We have the Ad color, AB landscape, I portrait, Ad Standard, A VV. Now these are just adb ways of making your color accurate for the purpose of your image. So if it's a portrait, you then select portrait, if it's a landscape, you're going to select landscape, but honestly, I didn't think this profile is really important because I don't use it so much. So we have the light. Now, on the lights, we can edit the lights, we can reduce the exposure, or increase the exposure. Okay, we can increase our contrast, or use our contrast. We can work on the highlights, the shadows, the whites, and the blacks, and we can use these sliders to make incredible adjustments. Okay. That's for the light. And we also have the color, which enables us to make color adjustments. Mean we can work on the temperature of our image. We can even choose the color balance based on the settings we have on our camera now. This is a shot, like I said before. We have other ones, we have the Out, we have the delights and so on and so forth, right? And we have this little white balance tool which we can select and then come and click on our image on a place where it's supposed to be pure white, right? So just click a footage shop or camera row we basically make the adjustments for roads in the most accurate way, right? So, of course, we have our temperature. We have our tints. We have our vibrant. Okay. Now this helps our colors pop, and we have our saturation. We all know how saturation works, how vibrant works, how teams work, how temperature work. Okay? So these are things that are not mood ourselves with. Now we have the effects, and on the effects, let me just go ahead and reduce the vibrant. So we have effects on the effects. We have what we call texture. Okay. So sorry. Now, this happened because I didn't select out of my tool. Now, any tool you select in your camera row. You have to select out of it. If not, if you go ahead and work on other places, it's going to remember the two you select two. Remember we select this two to sample our white color. After sampling a white color, all we need to do is to select the two and then continue what we're doing now. With this, we can zoom into our image. And work on the texture. We're just going to see how this texture affects our image. So we can see that we're adding more details to our image using texture, and we can of course reduce it also and smoothen our image. And of course, we don't want to have this look, smooth. We just want to maybe have decent textures on our image. And also with clarity, see what clarity does. It also improves the texture and the visual effects basically of our image. And then we have the dehaze which also does this. Some of these things work better on landscape. Images and other types of images. Okay? This might not be the best image to see all the effects we get here. But, of course, this is just for us to see how they work, right? So we have D, we have the vignettes, Now, this is the Vnet. If you take it towards 100, we're going to have a white Vnet around the edge. If you take it towards -100, you're going to have a black Vnet around your image. So this Vnet effect will kind of ens isolate our subject by making our background not as bright as our subject. Right. Now if you click here, you're going to see more options on the Vnet. Okay, I'm just going to zoom in bits. Now we have what we call the midpoints. You can address the midpoint, you can address the roundness, so we can see it's less round now and more un. And we have the feather. Of course, you know what feather is. So we can use the feather and walk on the roundness. You see how the whole thing works right. So if you're ok with a round edge you can iprease your feather to feather things out to blend things out, and then we have the highlights. Okay? So we also have the green, we can add green to our net effect. Perfect. We can close the nett and bring this back to zero. Now we have we have the green also, so we can open here and walk on our green. Right? We can increase the size of our green, we can increase the roughness of our green. And that's for effects. Now we have others, we have cuffs. And of course,yllow cuffs, right? We can adjust the brightness and darkness of our image using cuffs, so we can walk on our cuffs like this. Let me just go ahead and set all the s. So we set to default. Perfect. And now let's try to use our cuffs to work on our image. So We can see what we get by adjusting our cubs here, right? We basically affecting the brightness and darkness of our image. Now, we have this, which, of course, is the parametric curve, and we can actually isolate color channels like this one, which is the red color channel, the green color channel, and the blue color channel. Okay? So you see that we are now adjusting the blues or adding the blues. The bright parts of the image, and we're now adding yellow to the darker parts of our image by just having this kind of S cf, right? We have also the green. Can add the greens to our highlights and add pots to our shadows. We're having this. And so also regret, this is a point cuff. Okay. It's a point curve while this is a parametric curve. But all of these affect the image as in, that's the two of them. This will be more like working with the RGP channel. Let me just go ahead and reset to default. Now, we have this boton here. If you click on this button and come to the image, you'll actually be able to adjust the curves on the image. So if you click here and right, you are making the image more bright, you click here and go left making the image less bright. So we're affecting the white. Also with other colors. I'm using the t option on the mark and also the mouse. So that's another way of mining. We can affect these colors. We see we're making our colors pop, we are no darkling our colors. That's another way to work with curves. We have where we can affect the highlights here. Of course, we can see how the cove is being affected right in the preview here. Of course, remember to select this tool here after you're done with your adjustment. Now, we have the shadows, we can affect the shadows, we can affect the darks. We can affect the lights. We can affect the highlights. Perfect. So that is for cuffs, and we have the color mixer, which affects specific colors. So we can affect the reds. We can basically adjust our reds. We don't have much red. We got a. But we can affect our reds, I can affect our oranges, affect our yellows, affect our greens, with the color mixer. Now this is, and we can go to saturation and affect also their saturation. So how much saturated they are. As we adjust oranges, we see that the fas has been affected, because there's a lot of orange on the face. So we have also luminants. And we also have this same too with the color mixer too. It means we can come and click on this tool and go in and manually adjust these colors by targeting them like this. I means we can open white the sttion value of the sample point is too low. H we stand. Basically, that's what we can do. Now you can see how we've totally saturated the face. We can the saturation. All by using our targeting tool here and now we can just de select it clues. Basically color grading, we affect our midtones or highlight our shadows with certain colors. We can add colors certain colors to our midtones to our shadows. We see how we get this this really cool look. Basically we can get whatever look we want using the camera row. We can also adjust using here. Now, we have the blending and the balance. And I like this. I like this look. I'll just go ahead and pie the contrast bits. So view my contrast and just keep this look for now. Close. And now we can close the color grading. That's one thing I just want you to see here. Now, if you come here and click here, you're able to compare the before and after. Okay, so this is before and this is after, and we have many other options. We can view them like this. We can view them like this. You can see it just created a straight line, and basically have before on the top and after on the bottom, right? And you can take it back to what we had before. That's just the adjustment, right? And we have many other sections on the edit, and honestly, we can't look at all of these in this video because the video will be too long, but you can just go ahead and explore them on your own. We have details which sharpens our details or makes our details less sharp. We have the optics, which gives us some optical effects. And basically that's this for edit. Now, we have the crop panel, which enables crop our image? Now with this panel, we can even straighten our image. So let's assume we want to straighten our image. We can use this tool as the streting tool, and let's assume we want to straighten this line, right? We just click here. And click here. Now it's going to just treating online, and we have a street image. We can crop our image. We have preset. We can choose this preset, we can choose that preset and so on and so forth. We can even choose the full preset, and we can basically edit our cropping like this. And we can see that we can lock our aspect ratio. So if we click on this button here to lock our aspect ratio, it means we want or sorry it's unlocked right now. So we can just click here to lock it and it being locked. We can only crop our image based on this aspect ratio. Based on this aspect. It means if we want to one, we can't adjust it like this. It's just going to adjust based on our aspect ratio. We can unlock this to adjust it freely. To cb it freely. We can crave our image, we take out that part, crop our image like this, and we can fib our image, we can rotate our image. Go ahead and explore all of this in your own. We can adjust the rotation of the and grader and group. You want to take this back to default. Just make acrobin like this. We have this section, which is called snapshot, and I've skipped all of these just to show you the snapshots, first of all. Now, what are snapshots? Snapshots are basically as name ply snapshots. It means we can create snapshots. Here, we can create snapshots by clicking here and ming our snapshots. Obviously the default name. So basically what it does is it remembers the look we have. And we can create multiple snapshots. It means we can have multiple looks. We can do multiple adjustments. Let's see we come back to color gding, and we now want to have this kind of color gridim, right? Don't have this kind of coll in this time, it means we can come back to snapshots and create another snapshot. It means we have the snapshot and we have the snapshot. We have multiple snapshots. So we can go to edit and maybe select black and white, and go back to snapshot and also have a new snapshot. So now you can see that we have three snapshots. And all of these snapshots are seed in this camera image. So it means if I click on Don, click on Don and go back to my folder and open my image. All my snapshots will be sd. If I come to snapshot, I consider all my snapshots will be sved or are sved. So that's basically snapshots for you. So you can have different looks and just sve them and you can just export them or do further adjustments later on, based on how you deem fit. So that's what snapshot to do for you. Now we've looked at the edits, we've looked at the crop, we've looked at snapshots. Now we're going to look at what we call the helium. Now for the helium, this enables us to do healing on our image. Now I'm going to o in to see some of the premises we have here. So it basically works like a healing tool in Photoshop. And let's just go back to snapshot and. Let's select. In fact, let's just go ahead and reset to default. Okay. So I can see my blemishes very well. Perfect. Now, our snapshots are still see, right? So we can go to healing. And now we can use this to basically heal blemishes on our skin, so we can use the size, the ph size, and we can click, and we can see that we've taken out that blemish. And so also this one. So it's basically a helium two. Just use it for really little blemishes. It doesn't work really well for large blemishes or for big blemishes. Okay. Sorry, I just hit and now I'm back to my healing tool. Now after you've used your healing tool on your image in camaro, you can actually go ahead and see where you've used this healing on. So if you just hit V on your keyboard, if you just hit V, you can basically see where you have done your healing on. You can also view this by checking this box here. So it's basically the same thing as hitting V on your keyboard. I' going to show you where you've made adjustments on your image. Perfect. So we also have the heel. Okay, now, this is the content we removed. To. We also have the heel, two, and all of them are basically for removing lemises. And then we have the clone tool. Now, this is basically a clone tool just as we do in photo shop. Okay? And you can adjust the size like we saw before. You can adjust the feathering to blend things even better. And of course, you can never adjust the opacity. Let's say you make adjustments and you don't like what you get. You can just click refresh, and it's going to generate a different overlay for our blemish. Okay, so that's the Kaling tool for you. You can reset everything using this button here, and you can hide the effect using this icon here. So next is the mask section. Now, this mask section is of course similar to masking in photoshop. We all know about masking. What masking does is. It basically allows us apply our effect to certain parts of an image. Okay? So with these two, there are multiple ways we can create a mask. Click on here and go to create the mark for our subject here by masking our entire subject. Okay. And we can see that we have Mk one, and our subject. O entire subject has been masked. A, we can add selection or superfm selection, and to undo. To go back to the initial. Non there are other ways. I'm not going to look at these was. We have the sky, we have the background, I can mask out the background, we can mask out the sky. But we have these other ones. We can mask out an object. We can use the brush to to select an area, which you want to mask. We can use the ingredient to create a mask. We can use the ingredient to or the dial dent to create the mask. We can create a mask these on ringe that color ringe and we can use EI to create the mask. So we're just going to look at the few of these, for let's see ingredients. Let's use the gradient map. So we can go ahead and create a gradient on our image, we can see that we've created a d gradient on our image. Now, whatever we do, only affect this part. So if you just increase our exposure, we can see that we're only affecting that part, you can go ahead and you add to our selection fitments. We can go ahead and also add a gradient map. So we have 2 billion maps. Okay? And you can see that our adjustments are only affecting 2 million maps. Now, this will come in handy when we have selected spaces or places which we want to affect with our adjustment. And in the next video, we are going to see how to use all of these to work on an image from start to finish. I just on did all of that, so we can look at other types of masking. Now, of course, these are all self explanatory. You just work like every other one the f so far that's like the subject like the dial ideent. So you just have to click and then select the area you want to mask. Now we have this other one which is titled P. I'm just going to click on it. Okay, and this uses EI to basically generate the mask for us. So if you want to generate the masks for the entire person, or the entire character, we can select this, or we can select the particular parts which we want to generate the mask for. So it means we can generate the mask for the facial fis and make adjustments only to the facial skin. We also have for the body skin, the eyebrow, the eyes clara, the is and pupil, the lips, the teeth, the hair, the plutons, one and 24. So you can select all of these particularly and make separate adjustments to them. So let's assume we want to adjust only the lips. We can just select the lips and then k create. Now it's going to select only our lips, and we can click and then make adjustment. So let's say we want to increase our situation, we want to increase, maybe a temperature. We get so basically, you can see that we are only affecting our lips. Okay. And this mask was generated automatically for us. Now we can show preview for the overlay so that we can see where the mask covers, and we can hide preview. And you can may create a new mask if you want. And select people, for example. Now we can maybe add new marks, maybe we want to work on the facial scheme to create, and now we have a new mask to work on. So we can maybe select our p and select the facial scheme. Now we can only affect the facial skin now you can see that we're only affecting the facial scheme with our new mask. If we want to affect the lips, we set the lips and make adjustment to our lips only. Do do. And do. So basically, that's how we use the masking feature of Kamero in a D B foodie shop. I'm going to go back to my snapshots and select the snapshot. So let's assume we want the snapshot. We want to see the snapshot. All we need to do is to come here where it says open, click here and now we see that it gives us options to open our image like a normal image, or we can open as an object. Now, if we click Open as object, it's going to open our image as a smart object. So it means all our camera raw effects will be applied non destructively. So it means you can always go back to make adjustments, if you open this as an object. But if you open as normal image, it's going to just open it as a flat image. Okay. So it means you can't go back to make adjustments. So I'll just open this as an object. Fogo is going to process everything and open our image for us to work with. This is our image. We can just double click here to go back to Kar Row and make further adjustments if we want to. Basically, we've looked at everything there is to look at on the camera. We've looked at csete, right? I think we've looked at criset. We've looked at snapshot. And then for the red eye, we actually haven't looked at red eye. But of course, this is self explanatory. I just as simple as removing a red eye from your image in pot shop. So let's assume you have an image with a red eye, a red eye defect, from the camera. All you need to do is just select the red eye section and then click on the red eye just like this and begin to disappear. And we don't have a reader here, so we can see the effect in work. So we can see the effect in action. But basically, this is what it does. And we can increase the couple size, we can darken it. And basically, these settings are self explanatory. And I'll just click on edit and hit okay to finish my adjustment. And this will come to the end of this really long video on camera row. And I'm sorry the video took this long. I'm however happy you've learned how to use the camera row clog in and how to be phot shop. So that'll be it for this one. See you on the next one. 37. 37 Exercise 6 – Fixing Our Raw Image: Hey, there, welcome back. In this exercise, we're going to work with one of our raw images here in Photoshop using our camera row clothing. Go ahead and open your photo and now go ahead and select this image. This particular image to select the image and click open. Perfect. Now we have our image open the camera role, and the first thing I'll do is go ahead and set my colors piece, and also my depth. So we can click here there or we can just click here. And we now have a work flow open, right? On the preferences. So click on space and then select AB RGB 1998, and make sure it's on 16 bits and ok. Perfect. Now, the first thing I'll do is I'll try to adjust my temperature. We can see that right now. O white balance is set to as shot. Now, I just want to look for a spot on my image that is supposed to be white, and I'll sample it using my white balance tool, okay. So I can see this point, this place here, it looks like it should be white. Okay. I'm just going to use that for my mage to select this, and then just click here. We have our white balance set automatically. So this is looking way better than what we had before. The previous one was looking very reddish. So we just come and select our two, and I'll just go ahead and start working on my light. Okay? Perfect. Now, this is want a bit. And now start working on my exposure. I don't want this to be too exposed. I don't want this to be over exposed. Okay I'll just leave this like this and maybe my contrast. Reduce my contrast a bit and my highlights. Okay, I don't want this to have too much highlight. Because we're going to come and do some more touches to the highlight later on. So for the shadows, I want to ridings of my shadows, so as to expose some of these details here my shadows should be around here. Perfect. And then for my whites. I'm just going to do this to my whites, and then for the blocks, I'm going to just do this little adjustments to my blacks. Perfect. Now, we can increase our vibrant bits and our sttion, but I'm not going to work on sttion for now. I'm just going to leave the vibrant like this. And then now I'll go ahead and work on my cuffs to go to cuffs, and now on my cuffs, I just want to I just want to create some adjustments on my cuffs. Now, I don't like this. I feel we so the other way around like this. E Okay. So I'll just click here to show my before. So this before and this after, and I feel we've made some great improvements. Clean back and continue my adjustments. So let's check the reds. I think we have quite a lot of red. So let's see what if we reduce the rates this. Okay. Instead of doing this, I will just select this tool and come and start adjusting our rates. Okay Okay. So this is what got. Now, I think we have it. I just go to key our red hair. Perfect. So I feel this is way better than what we had before. Let's see. This is before and this is after perfect. I'll just select this two and close my caves. Next, I'm going to check effects to see if there's anything we can add. Now, I want to add more texture. I want to add more clarity. I want to add more clarity. I want to bring out the details on the beds, right? Beds to bring out the details with clarity and CD. So we don't want to do this too. So I think we are doing a great job here, and for the vignettes. I think we should just let go of the vignette for now, or maybe add just a little bit of vignette. Perfect. Perfect. So this much will do. So that's it for vignette, and we can close the effects. And for the color mixer, I don't think I need to do any adjustments for the color mixer. I'll just close this. And we're going to do further adjustment literally because I really want to work on this image. I want to even do some dodging boning and also some frequency separation so that we do a complete revamp of the image or a complete edit of the image. Okay? Now for my shadows, I want to just give my shadows beats of color here. Now, if I hole down s of option on on my mac, really see that. Re see that. Now the t of change of these colors is now slower as compared to when I have no ls held. So if we just hole down to see that we don't go too far. So that's one little strick you take it off. So I think I like this look like this. I like how the blues coming to the highlights like this. Okay? Perfect. So I like this. And for the for the highlights, coming to the shadows like this, or the highlights. For the highlights, I think I'll just leave the highlights the D. And for the blending, I just gives 50% balance, maybe, let's see. We can see what we get on the extremes. Okay. So Let's just make a balance minus six. I'm trying to achieve a kind cool views on the beds or on the shadows and so on and so forth. I'm just trying to achieve that cool cool vibe. Yeah, that. Basically, I think for color grading, we're done with color grading for optics. Let's see. Maybe we should add a bit of distortion. This then later on we just crop everything out. Perfect. L et me just adjust this bit. I don't want it to be too much. Basically, I think I'm done here. I'm basically done here. So let's just collapse all of this and let's just took love to see what we had before and what we have done. So this is before, and this is after. Instead of doing that, let me just bring up my second view here and I see this before and this with this, we've really made incredibly improvements on our color. Perfect. On next phase, I'll go to is my crop. I just want to cb my image. Bits. So I'm pulling down all options on the mark, and I'm doing this scrubbing freely, and good. I want it just like this. I also want to use the stten to to straighten my shoulders. Let's just do this. This is supposed to be a straight line that's from here to here. I'm just drawing out my ruler or rather my street to. So draw and release. Now we've seen that our image is now a bit straighten, I'll just rotate it back a bit. Perfect. Is perfect. And this is perfect. And I'll just do my cro, mycrob. It to this side a bit. And yeah, so I'm with my crop. And then next, we'll go to healing. Now for the healing. I think I want to do my healing. In photo shop, looking camera soldiers, keep healing and go to my mask. Okay. Now I want just to repeat. Now, I want to use my mask to target particular areas. First of all, I want to use my gradient mask. Click on gradient, and now I can create my gradient like this. Perfect. Now, I just want to position my gradient around here. So I brighten that part of a bit. Okay. So just reduce this, move this this bigger. Basically, that's it. I can hide my, and now I can just start resting up the brightness of my blocks. So it doesn't work well. I I just switch to another slider. But we don't want to do this too much. Actually we don't want to do this too much. I just want to do this to be aspiring. So maybe 52. And let's see shadows. Shadows is less reactive. Let's just boost up our shadows bits for this mask. Perfect, now let's see before. Let's see before and after now the change is very subtle, but we are brightening up these parts of our fas. Okay the dark part. We are adding brightness, more details to this part. This is before, before this after. Ft. Now, I want to also do this this part of my body. That's the neck. Come and add a new mask. For this, I just want to use the brush to select my brush, and now we can see how the brush mask works, right? So we can adjust the size of our brush, we can adjust the feather, we can adjust the flu and density. And I don't need to explain all of this. Now, I can just pins on the area. Just like this. Perfect. Now, I can hide my over and start to adjust my shadows. I can a push to the brightness of my shadows, you can see, the change we're having. We're adding more details to select back. I'll Zoom to. Now we're adding more details or more brightness to this part before as before. Is before, is after before, after. Perfect. So these are subtle changes, but the mine, the inal image of pop. Perfect. Now, let's compare this with what we had before. Let's go back here. Let's compare this with what we had before, is what we had before, is what we have now. Now this is way better. Little adjustments would mean a lot. We've regained some details around the beds, we've added some more details here. We've regained a lot of details and a lot of sharpness on parts of our image. So we can just come here, click here and open as object. Openness object. Perfect. Now, I'm just going to quickly do little adjustments to my blemishes. I just want to target my blemishes quickly. I can just make this newer and we'll just rasterize this layer. Now I don't want to go through the stress of having to create new er and doing everything on the new layer. So I'll just do this on this particular layer. So we have this as our backup, and I'm just going to go to my helium tools and maybe select the move to and just start to paint around my blemishes. I just want to remove this guy here. Perfect. Remove this blemish here. Perfect. And we can see that the fis doesn't have so much blemishes. So we have less work to do. We move here. Now this doesn't look too good. I'll just want to do. And You know what? Let's leave this particular one. It looks like like a bird mark, so I'll just leave it Basically, I think we are done here with our blemishes. And the next thing I'll do is duplicate this layer, and we're going to do our dodging bon, our contro g once more, hide this guy once more. Then we're going to do our dodging and bony. I'll select the layer blue, hide this layer, and sorry not dodging on boning. We're going to do frequency separation. We keep not dodging bone. I keep mistaking some of the terms. What we are going to do right now is frequency separation, and of course, you know how it goes. Go to your filter, going to add a gouging blow, Zoom in to your fees, and let's just add the blow at the point where we start to lose the fichal details. So I think 77.0 I think 7.0 or 7.2 and then hit. Select the next image here, and then open it or hide it rather. Now go to your image and then apply image. Now we see that, of course, this is a 16 B image. So our setting for this image will be different from the one we had before. Now we have to select the layer. Now the layer we're going to select is our copy two layer. Select this layer. Perfect. And we don't want mask. So we just want to select our RGB channel. And then for the blending mode, we want to select d. We want to select d, we want to scale of two, and we want this inverted. We want to invert this. And if you zoom in, you're going to see the details. Okay, you're going to see do. Okay, I just undid the invert, you this inverted. Now if you assuming you're going to see the oficial detail, right? So that's what we are targeting. Ok. Perfect. Now select good layers. Con to group them. Open your group, select this guy. Now goo your mixer brush to and first of all, you have to change the blending mood to linear lights. Perfect. Now you can start first of select. Now you can select the image and make sure your mixed brush settings are just like mine. Okay? So the brush hardness should be zero, and the size should be maybe around 300, we want to have this set to clean brush. We want to have this checked, and we want to have this set to custom. And for the wetness, 9% is perfect. For loot, 75% is perfect for Mx, 90% is perfect, for flu 100% is perfect. And you should make sure sample les is unchecked. Okay? So make sure you unchecked sample les. And after you do all that, you come to your image and start painting. So we can see the effect. You're going to undo this indeed properly now. So you give zoom in to your image and start to paint. And just reduce the bh side and zoom out a pit. And it's also good that when you paint using your mixer brush tool, you don't zoom in completely. So you don't zoom in completely. That gives you a better effect from experience. Make our brush bigger here and start to paint. Start to paint. I just doing this the direction of the contents of the fees and also the textures of the scheme. So we can see how much details we're getting here. Everything just coming out. We can reduce size and continual painting. I just want to walk on the eye bugs. Our eyes are still quite red. We don't walk on the eyes in the camera row. It means we need to work on the eyes. We need to walk on our eyes. We need to make our eyes look neutral. Perfect. To zoom out the bit and basically see what you have achieved. So I like this. I like what I achieved here. So I'll just do more here. And, to fix the contos of my face. This is before this is after before after before and after. Perfect. Now, I just want to select these layers. I'll just control shift all E to create a copy of the merged layers. On tops, we have this layer as the copy of all our layers merged together. So I just want to walk directly on this layer. The first thing I'll do is I'll create a new adjustment layer. So I'll create a hue and saturation. Adjust mainly, I'll just take my saturation to -88, and now select my mask and hit and then come and get my brush and just select the hard brush k and reduce my hadness. To zero and just come in here and start to paint in my eyes. I just remove that redness, a bit of directness. I don't want to do it too much definitely. So, this gives us a bit of naturalness in our eyes. Perfect. So basically, we've been able to fix our eyes, our eyes look better. Now we can go ahead and select our layer and then start doing some dodging and bone. Now select our dodging bone two. Let's start with the bone two. Now all the settings are just perfect. We want to target the shadows, exposure 26%. We want protect toons on. Now we want to first of all duplicate our layer, contribute. So as to have a copy of this particular layer, which we've merged. Okay. And now we want to work on this layer. So just doing some bon. Add some darkness here so as to get of more contos on offs. So I'm just going to do inspiring me. I just brushed once. I did on off and art some in here. So most of the time, just one stroke or one dab of the brush will do. Maybe I will just reduce the exposure bits. I think I like this better. I like this mod exposure better. Perfect. We can see how we are reshaping the contos of our fees. So this was too much. I'll just undo two times. Perfect. We see how we are basically reshaping the contos of our fees with our bone two. We want to t going in here. So here t some here. Okay. Maybe add some here. Perfect. This is before, this is after. We can see how much details we've added to our image. We can add some here. Now we can go ahead and add some dodge. Click on Dodge and highlights. Exposure should be 10% perfect. Now I want to just add these dodges on parts of our image. We so have a bit of highlights, please like this, please this, like this. Okay. Perfect. I want to also have this in places like this. I also p like this. Okay. Perfect. And we are basically achieving a better fase. And maybe I want to just add it here also, and here also. Zoom out. And, I like what we have so far. This is before, and this is after before and after. And this is perfect. Now just reduce my opacity, bit basically what we have. Now we can go ahead and just give this color loop. Color So I can just use my my keyboard keys, my arrow keys on my keyboard, to just cool down and just go through the options we have. So we have lots and lots of loop options, really cool looks. Okay? Um In fact, you can get confused going through all these actions. Let's just use this one that has this fate feel. Now, let's try changing no blending mood. Now we have darken. Let's see before and after. There isn't so much change, let's try another blending mood. So we have this other blending, we have the color blending, we have unos t blended wood. Now, this is the hue blended mood. Let's see what we had before and what we have now. Um So I'll just reduce the opacity and u opacity. You know what? I'm just going to chat my mask and control eye to invert it and just add this on specific parts. Make my brush bigger and I'll just add this on specific areas. Add it just mo on our character or on our subject. Perfect them just before and after. I can see how really sort to effect this. This before, is after. Let's bust it up a bit. This before, after. Okay. Yeah, so that's what we. So I really like what we've been able to achieve too far so. Now just sees. And let's see the right folder, the right folder. Perfect. Now let's save this as image on the score nine, whatever, whatever. So I delete this and save. Okay. All of these project files will be made available for you. Perfect. I'm also going to save GPE format. So we can basically compare the before and after. Okay. So we can see that it's taking so much time to save because this is a very large image. So Fa seed our file and you can just go ahead and see GPD. And this is our image. So it S. Perfect. And this will come to the end of our exercise, see you in the next one. Bye bye. 38. 38 Homework: Hey, there, so in the last exercise, we worked on this image, right? We worked on this image, we got our camera image, and we made some incredible adjustments to our image. Okay. So starting from the camera, login. We went from Daron to bring in our image in the photo shop, making incredible adjustments, doing frequency separation, dodging and burning and so many things. That made our image standard. And we even have the before and after. So let me just go to the fuller, and now let's look at the before and after. Now, this is what we achieved, and this is what we had before. We can see the incredible different. This is what we had before, and this is what we achieved. Per before, after before, after. That's the incredible power of photo shop. Now in this homework, I want you to do very similar to what I have done. Go ahead and open your folder. And in your folder, you're going to see the second image. Now, this is the image. Image 9072, select the image and bring it into Photoshop. It's also a camera o image. Now you are going to make adjustments to this image just like we did in the previous video. Okay. So basically, that's it for the homework. And I would love to see what you come up with. Kindly share your results with me. I'll be excited to see what you achieve. Okay, so that's it for this one, guys. See you in the next one. Bye bye. 39. 39 How to steal color grading from one image to another: Hey, hello, everyone, and welcome back. In this very quick exercise. We're going to learn how to steal color grading looks from one image into another image here in foldo. Okay. So just go ahead and open your folder. Okay, sorry, open your folder instead. So open your folder and bring in the image we walked on the last time. So that's this particular one. And there is something I just want to do on our image. I actually want to increase my brightness or the exposure. I'm just going to create an adjustment layer. An exposure adjustment layer, and I'll just boost up the exposure a bit. A bit. I feel our image is not bright enough here. So just a bit. So this is just perfect. So this is before, and this is after. Now, just go ahead and see our image as a GPEg image. And previously we had sved the same image after we worked on it. So I'm just going to see to reples the one we had perfect. Now, I'll just close this TS to see, and I'll just go ahead and bring in our image, our new image. That's the image we're going to use to steal the color grading. So we're going to be stealing our colobrating from this image here. So the image title steel color grading. It's in your folder, your 07 color and camera row in AB folder shop. So go ahead and open this image. Perfect. And right now, I'll just go ahead and bring in the image we just seed, that's our image which we worked on in camera. So this is our image, perfect. So what we want to do is, we want to steal the color brating from this image. To this image. We want to transfer the color gradient from this image to this image. Perfect. Now, the first thing you have to do is come on your image that you sample image, and pick your Mark select two, your rectangular marke select, and just sample the area which you want to copy. Okay? So I want to copy this, the look on this area that's on the skin. So I'll just control G to duplicate this it V from my move tool, click here and grab into my new image. Okay, ok. Perfect. Now, what we want to do is, we want to create a p color palate for our highlights, our met tones, and our shadows. Okay? So while having a color secte, just pick our brush to, and let's just do some settings here. Let's make sure our hardness is 100, and our brush size is just about this size. Okay? So perfect. And we have to also pick our roper two. And make sure our sample size is set to three by three average or five by five average. But make sure it's not point sample. Okay? It mustn't be point sample. It must be three by three average, an average sample, because we want to have sample an average, not a point. Okay? Now from our image, we can tell that this area is part of our highlights. Okay? So it means we want to sample the color on this area for our highlights. So it is the brightest point of our image. I'll just go ahead and sample on this point, and then hit B my bush two and come to this side while still selecting my layer. That's my image layer, and I'll just click here. Click here. Perfect. Now we have our first color sample. The next color sample will be heat I for my ydropo tool, and will be the met Tones, right? We want to use a place like this for our Mons, click here, Zoom Mut heat B and create a dub here. The next one will be for the shadows. Hat I drop tool, and let's go ahead and look for the shadow area. There are lots of shadow areas, but we want to make use of this area. This area right here. Perfect. Zoom out, it B and dub on your layer. So right now, we have the highlights, the tones, and the shadows of our image here. So we want to use this information to steal our colo brady from this image to our new image, ok? To select on your background image and go ahead to your adjustment layer and now let's other curves. So we're going to use a feature or a trick which we did learn while learning the advanced methods of using curves. Okay? So we actually touched on this, but we didn't look at this particular feature. And that's because we wanted to use it to steal color gradients, right? So we looked at the white color balance, the grey color balance, and the black color balance. Okay? And these tools are, of course, used to sample white areas, gray areas, and black areas, of course, you know, but we didn't teach that we can actually set a white color or black color or a grey color to whatever color we want. Okay. So while selecting my move tool, go ahead and select this icon for our curves, make sure it's not on gar mask. It should be on our curves icon. So now I'm going to click on my white balance tool to click on it and go ahead and sample this color, to click on this color, and it. You see that it has sample this color as our white. So it ok and save new target color as default. No. I'm going to go ahead and look for my highlight, on my image. So on this image now, I'm going to go ahead and look for my highlight. So this should be seen as a highlight. Okay? So here or here, just about here. Just click, and we can see that right we've changed the look of our image. It means our highlight are now using this as their values. Perfect. So go ahead and tell move to, and then click on the green balance. Just come on, sample this guy here. Sample him Hiroki now Zooming. To where you would see as a midtone, right? So maybe a place like this, click on here. Perfect. So we have done the M toon adjustment this before, after. Now we're just going to do the shadows adjustment. So I'm just going to move this image this side. And now select my curves back and click here, then sample here. H the. No. No do me in. And I just want to sample this area. Okay, I think I made a mistake. So I have my mask selected instead. So just go back to my cuffs. Double click. Sample. Ho no, zoom in and just have my shadow area selected. Perfect. Now we see what we now have. We've basically been able to copy our color for our skin. So we can go ahead and make a few more adjustments, so I'm just going to hide this guy here. You can go ahead and select our cuffs and maybe start to move these bits to increase the contrast, to move these bits and We actually need to mark out this color grading from our eyes because our eyes will always remain white regardless of our color grading, right? Let's just select our sample here or rather our mask here, at B, and let's make our approach hardness zero this time. Reduce the size. And then zoom in and just mark out the eyes. Perfect. Now this is what we now have. I'm just going to go ahead and add another curves. Maybe just make some final adjustments, maybe pings up bits. Pings down on the bits. So this is before, and this is after. Perfect. This is incredible. Now, this is what we had before and we've done quite a good job copying our color gradient. So this is before this is after. And this is before and after. What am I doing? Let me just able all of our layers. My name is Delia. Perfect. So this is before and after, before and after. And guys, that's how we copy colloquiden from one image to the other. Okay? So that's this for this video and see you in the next one. Bye bye. 40. 40 Advanced hidden color grading looks in Adobe Photoshop CC: Hey, Dre and welcome back. In this lecture, we're going to share a really cool trick. A really cool color grading trick. We're going to learn how to get thousands of color grading preset in photoshop, basically embedded here in photoshop, but are hidden. We're going to unlock them with a simple trick. Go ahead and open your poder. I want to bring in my image. That's the image we've been working on. Okay, we see that it didn't come in because we have the file open. Remember we walked in from the last video, right? So all I'll just do is, I'll save this file. I'll save it as color grading steel. Perfect. So I'm saving it in the fer, so you have access to this one we worked. So I'll just close this now. You go ahead and open my folder and bring in the image. Okay? Perfect. Now, this is the image we've been working on, and we are going to unlock presets, color grading presets, thousands of presets for this image. The first thing you have to do is just come here and click gradient map. So come here and click gradient map and create a gradient map. So it doesn't really matter the colors you have here. It works basically with any color. So the first thing you have to do is select your gradient map, and let's do O h, basic blending. Okay. Let's do a blending. Let's use soft light. So let's use soft light on our gradient map. And while selecting our gradient map, go ahead and click here to bring up the gradient Tito. Perfect. Now, what you need to do is just come to type click and select noise. So see that we have a lot of noise, right? So we have to reduce our noise. We have to reduce our roughness. So come here and click and drag your roughness. Let's see drag this to 77. Now, the next thing you do is just come here and click on restrict colors to remove the restriction on colors, and now you just start to click randomize. As you keep clicking randomize, you keep getting different presets, different color grading presets. Okay? Different looks. Basically different credible looks, thousands and thousands of looks. Okay? So you can just keep clicking and whenever you reach to the one, if you are okay with you can just click OK. And then go ahead and reduce the opacity. Okay. So you just click and reduce the opacity and basically you have a new colo grading look. Very simple, just as simple as this. So we went from this to this, and we can keep doing this and keep having lots and lots of cool grading options. One more thing you can do is just go into your blending options and go to blend on your gradient map layer. So go to blend and try to blend this with the image. So we are going to remove some of the colors from our highlight and also our shadow sms holding out and clicking to separate the sliders here. You steam for here so that we have a perfect blend. Okay. So this is what we have now. Ho. Now you can induce opacity further if you want or increase it further if you want. Basically depends on what you want to achieve. So this is what we had before, and this is what we have now. You know what? We can keep doing this for different images, and we can keep having even multiple color grading presets for this image. So I'm just going to create another one. Select my image. Go ahead and add a gradient map. So meet my blending mode to soft light, then click here noise opacity or the roughness should be seven or 8%. 7% and restrict colors should be off, and then just keep going. Just keep going. And in fact, I think what we should do is we should set our opacity right before we start so that we get to see the final look we get after removing our opacity or after reducing our opacity. Now let's go and keep clicking randomise to keep seeing presets, right? Perfect. So randomize, randomize randomize, and we can keep going, we can keep going. Let's try choosing something else. Let's choose this. So we have this black and white preset now. Now, of course, we can do same by clicking noise and reducing our roughness. So let's see 8% and keep clicking randomize. So you can see that we can actually select different gradient preset. That's why I said, we can generate thousands and thousands of color gradient presets automatically with this trick. Incredible trick. Perfect. So I'll just go for this look this time. Ok. So we had this the first time. Now we have this the second time. Okay? If we want, we can increase our city, and we can even do the blend them, right? So blend blend and click Alt and click. Perfect. And you know what? We can even blame the boot of them. That's how crazy we can go. We can blame the booth of them. We can have boot of them on top of each other and even further reduce the opacities to make the blending even more incredible. Perfect. So this is what we had, is what we now have. So I'm just going to go ahead and see our image, control S. Let's see color greding presets. Let's just add two to the name, automatic cool gradient presents. A two color gradient presents, heat save. Perfect. This is what we had once again, and this what we now have. Perfect, so that, eat for this little trick and see you in the next one. Bye bye. 41. 41 How to add color to a black and white image in Adobe Photoshop CC: Lecture. We're going to learn how to add colors to our black and white images. Let's see you have a black and white image and you just can't get back the colors. You just can get back the original image, and you really need that image colored. There's actually a trick you can follow to bring in back your colors in photo shop. Go ahead and open your folder. Of course, you know the folder, the folder on camera row and color in photoshop. So go ahead and bring in this image, this black and white to color, this B W to color, so bring in the image. And now there's one rule you have to follow when coloring black and white images. The rule is you have to get a sample image that's a reference image. Now, you have to get a reference image that has similar lighting or at least close to similar. So the lighting to be close to similar, and also the skin tones you want to replicate should be close to similar. Okay? So that's the first step you have to do, and we can go back to our Folder and Okon, and then come and select this image. This image is called reference image. Heat. Now, this image doesn't have the same lighting or perfect lighting, just like the one we had because the one we have has light coming from the right hand side, heating the face, and then we have shad while this one has a different thing altogether, but we can admit that there is still some light heating from the right hand side. But the most important thing is the skin tunes. So we have to get the reference image, whose skin tones we want to replicate. So go ahead and click and drag into our image. Perfect. And the first thing we want to do is get it, create color palettes. Just like we did in the last video, we have to create color palettes. So we have to select our highlights, tones, and shadows. The last time we learned how to do that by sampling using the eye dropper tool, right? Now, this time, I want to use a different trick. This time, I just want to use the average blow effect. So select our image and then tick your Marquee select two. That's this tool. Or let's just use this guy here, the Elliptical Marquee two. Perfect. So we have our two selected, and now you just need to come and select on your image to select the highlight. So let's see. So this is a perfect example of a highlight. So this is our highlight. So just while selecting on your image, go to filters, and then go to Blow. Okay and then average. Click on average, and now it has averaged out the colors for us, and we now have a single color representing our highlights. Okay? Now we can do same for our mid toons. And for our Mtons, we will just choose an area like this. So this area will just be perfect for our Mtons. Select our area, go to filters and average. And then for our shadows, now we want to select see this area. Okay, we can admit that our image doesn't have so much shadows, right? So this area we just do. I'm just going to M you select this area, and it's going to a reach our selection. So go to filter and average. Perfect. Now we have our highlights our midtone and our shadows so de select. And now we just want to create color palette this, okay? So I'll just do this. I'll just create a new layer, take my bush to, make my hardness 100%, and my size should just be this this much, and then I'll just hit from my roper two, and let's choose the point sample this time. Then come on sample on on our highlights. So sample on your highlights, Hat B for a brush to click here, just dub to have our highlight and then it I, sample the midtone, at B, get a Mton it I, sample the the shadow, the shadows and then hit B, and create the shadows perfect. All you need to do now is delete or maybe hide our reference image. Now we can use this color palette to colorize our image. The next thing we'll do is go ahead and create our gradent map. So click and create gradient map, and now we have to bring our gradient map below our color palette and then Select our color palette in our gradient map. So for the dark color, I want to choose my shadow. So select Dob click and come and sample my shadow. We conside that it's not sample, so let just click out and try this one more time. Let's try choosing a different sampling method. So double click and k. And we can see that it's paving like that because our gradient map mask was selected. Okay. So I thought it's the sampling method. Well, it's actually because the mask was selected. So make sure your map is selected. Click. And now let's go in and now sample our color. Let's do that one more time. Sample our column. Make sure it's sampled. Make sure it's sampled hero, not yet. Create your midpoint for our midtones and sample our midtones and then for our highlight and sample our highlights. Let's try that again. Perfect. So we now have our highlights, our Mtons and our shadows selected herok Take your blended mood to cool. A blending mood has to be color. Blending mood has to be color. Perfect. Now, select our mask and heat control or command y on the mark to hide our mask and begin to paint on our skin. Select your mask at B for brush tool and just reduce the size of your bush or the hardness. Now we can start painting on our skin. We can start revealing our skin toes. S like this. Perfect. We reduce the size of our bush whenever we get fit. Okay. And we can actually use a lower flu if we want. But we can also use a 100% flu and then later on, go ahead and reduce our opacity. It all depends on your image and what works best for you. I'll just work with my flu on 100 since I have studied like that. I'll just go ahead and pint on our skin. So we can see that right now, we are revealing our skin color. Pin here also. Reduce my girth size. M one. So we can see how we are now regaining our colors. Okay? I was going to avoid my lips because I want to come and add the red color to my lips. So I'll just avoid my lips for now and only apply the color on my face. So heat X. So as to hide or erase some of these parts, some of these parts. Okay. You can see that it's a bit too much on the lips. It's a bit appear on the lips, and we don't just erase it. Heat X, to go back to cold and keep painting on my mask. Oh. I'll just go ahead and pint the ears. And I also want to avoid the hair because we want to give the hair a different tone. So you can see that I'm not really taking my time to a really clean painting. You can take your time to achieve a better painting. I'm a heat eggs to clean some of these other areas that gots painted perfect. So now you've seen guys that we've been able to recover most of our skin. There's still some work to do. There's still some more work to do. Now we can go ahead and go into our blending options and go to blend. Let's blend in our underlying layer. Let's reduce the color on the dark parts like this. Create this perfect blend and do with the bright parts. Okay? Ok. And we can see that areas like this don't have so much color. Now we can go ahead and reduce our opacity. So maybe or 89 will do. And we can also go into our dent and furthermore, adjust the colors. We can see that we have two cools, and we shouldn't have that. Let's just delete some of these ones. Deletes. Lets. We should only have three colors for this image. Of course, you can have more colors depending on your kind of image. So let's just select that highlight. Perfect. Now, I just want to create not another one. Let's just create a hue and saturation adjustment layer. So this time, I just want to heat coz perfect. So right now, I just want to use this toe and parts of our cut. So select our layer mask and control I to invert and heat B for brush. Increase our brush size, and let's just start taping on our head to reveal parts of our colorized effect, of our human saturation effect. Perfect. So we just want to add this sparringly. Okay. Perfect. So we want to give it that that what would I call this white now. We just want to give it this look. Okay? This look. We don't want it to be totally brown, but we want to give it this highlight look of brown. Perfect. I hope that exp my point. So in a blend I'm just going to pret another blend. Land. Okay. Perfect. Let's see what a different bland will give us. Let's see color. So we can see that color also does a great job with the hair. So of course, we can reduce the opacity. Perfect. Let's select our layer. That's what do we call it our human strut, sl our mask, and let's just reveal some of that color on the cloth. Perfect. So we can see how we've also colorized hard dress. On the next and final ten will be to walk on the lips, okay? Let's just create a new Lear and at B for brush. Let's select red color. Perfect. Now, let's cool our skin or our lips with red. Use the size cos, right? So we can see that our flu is quite much. I delete this layer increates another layer and reduce my flu to let's see 25%. And now let's do this one more time. So I'll just pick this up to finish, and then come back when I'm done. Oh. Perfect, guys, so we're done coloring our skin or at our lips. And from here on you know what to do, right? You just go to your blending moot and select color. Perfect. Perfectly blended. We've perfectly blended our lips. We can see that all our colors look incredibly amazing no. Now, we can just go in and fix the blending a bit more. So just go to your blending Out click or Option click, O click or Option click to create that lane, right so that we have our highlights coming up here and our shadows really blending with our color very well, incredibly well. Okay. So this is what we now have. Perfect, okay. And yeah, we can furthermore reduce the opacity of of our lips. And if we think we still need some more painting, we can go ahead and add some more painting. Okay? Perfect. Perfect. Perfect. Incredible. So I'll just hide my palette, and this is our image. You see we've turned our image from this to this. Basically added colors to our image. That's it for this video, guys. I'll just go ahead and see my file. So black and white to color. He's safe. He ok, and perfect. So that's it for this video. Hope to see you in the next one. Bye bye. 42. 42 Exercise 7 – BW to Colored image: Exercise, we're going to return in our black and white image to a colored image. And I've gone ahead and chosen different image, an image that is quite different from the one we worked on last. Now I'm in my 07 fuller, my fuller on color grading and camerao. Now, select this image black and white to Color two and open. Now we can see that this image is an image of Black Eye. So it's quite different from the one we worked with the last time. And I'm just going to bring in my reference image, open the fuller and then bring in the reference image to, click open. And this is our reference image. Right now, we just want to click and drag our reference image into our black and white image and then create our color palette, k using our reference image, just like how we did in the other video. Now, I'll create anular, it I for my draper two and sample my colors. Now I can sample my colors or I can also use the method I used in the other one, that's the averaging method, right? That's the blow and then average metod. But this one, I'm just going to use my sampling metod. That's my draper method to heat I for your draper to, go ahead and sample your highlight. So where is the brightest point in our image? We can see points like this. We can also see this point. So let's use this point. Hat B for your bush to make the size smaller. Right click and make sure my hardness is 100 and then just click and I'll just undo and make sure my flu is also 100. So 100 and I'll just click to create my first color semble. Then heat I for my midtones, then select here for the Midtones at B. Click. Heat I for my shadows. No for my shadows, I'm just going to choose a really dark area. Let's choose this area. Let's chose this area. Let's choose this area. Perfect. Hit B. Perfect. Now, we can now hide our referent image. Then create our gradient map. Gradient map and click here. You can see that photo shop has automatically selected our mask, and that's not what we want. We want to make sure our greent map is selected. Select the ingredient map, Tom Neal and then click here and now start to sample your colors. So we're going to click and go into our color and then sample this one. Ok. Let's create a mid tone. Tone here, go into our color and sample. Perfect. And then let's sample our highlight, go into our color and sample our highlight. Hoke Hoke. Perfect. The next thing we'll do is bring our color blend mode to color. O leer blend mood to color, and you can now select our mask and control or command I to invert our color, and you can hide our palette. Now we can start painting on our skin to reveal our color. Just like how we did with the large image. Perfect. I'm just going to start clicking and painting on my image. Now you can see that this is too much. I'll just undo. You know, just bring down my hardness, and also my flu, I'll bring my flu down to 28%, perfect. And I'll start painting on my skin. Perfect. I'll just keep painting on my skin. And I think I'll just fold this video so that we save time, okay? So I'll just keep painting and when I'm done painting, I'll just come back and you see what I have painted. And hopefully, you what I've painted will be similar to what you also have painted to see you when I'm done painting. T Perfect guy. So we've been able to add color to our skin, and we can see that I left out the lips. So I'll just look at my reference image once again and see the lips here. So we can see that our lips here are bits different in color compared to our skin, right? So what I'll just do is I'll create a different color palette for my lips. Okay? Perfect. So I'll just once again, hit my eye from my yero pot and I'll just sample the highlight. So even though that's not the highlight, but let's just see basically the bright parts of my lips, so I'll just sample this, please. Heat B, then make sure my hardness is set to 100 and my flu is set to also 100. Dub on the skin. So I'll select this a instead and then click. Let's make this smaller actually. Let's me the smaller small. Then he heat I, sample this really red parts. Hit B, and click, and then sample see this place. K. Perfect. Has B. Perfect. So we want this color as our highlights, this color as our mid tone colors and this color on our shadows, o. So but you have to note that on the lower part of the lips, it's more red, right? So we can also replicate that on our image. So I won't take out my image this time. I'll just bring my palette to the left hand side, and I'll just bring my image like this. So I have to see what I have. That's my reference, and also what I'm trying to replicate, okay? Perfect. So next thing I'll do is create a new gradient map to gradient map. And then make sure my ingredient might be selected. I'll just hide the first gradient map. Make sure my ingredient might be selected here and click here, click here, click here, sample my shadow. Perfect. Creates for my mit tones. Perfect. And then sample also highlights. Perfect. Now you can it ok we can basically take this to color. Like we had before and just select my mask and control I. Perfect. Now, let's just start painting on our lips. Now we can reveal our image sorry our first gradient map, and let's start painting on our lips. So go in and just select your mask and at B for brush two, let's a painting on our lips. Make sure it's set to zero. That's for hardness, and let's painting on our lips. Perfect. So we see that parts like this should be read, right? Perfect. And basically, let's just pitch the entire piece. And we can still go ahead and walk on the gradient map. But first of all, let's have a procound. Let's have a Pcound. Perfect. Let's hide this guy. We. Perfect. Now, we have our lives more realistic, right? So it means we can grade them up and go back in. Let's see if we can get something better. Let's see if we can get something better in here. Okay. Perfect. So what I want to do right now is, I want to just use the blend mode or rather the bland effect and blend the blocks or blend the color away from the blocks and also the highlights. So we have we have it. We can this. Okay. Perfect. And also, I'll just use my bush to to mask out parts of this color on this upper part of the lips. We can see that it's a bit too red. X. So let's sly mark out this color. And it's kind of not working, but let's just duplicate layer. So duplicate layer. And now let's do it here. We'll just mask out this part on our new layer. And what I do now is to reduce the partially of our initial layer. We see that we actually achieved that effect. Perfect to select our second layer back our new layer, and or duplicate layer. Till mask out parts of our upper lips. Okay. So as to make the upper lips less red. Perfect. Now, this is incredible. The next thing is kind of try to make sure we make our fees even better. So put the blend, and let's do the bland perfect. This is what we can have for our blacks and also for our whites. Perfect. We can see the colors blending out on the really bright parts of the face. And also on the really dark parts of the face. Perfect. Now we can you will hide what do you call it our palettes. Basically, guys, you see what we've been able to achieve. This is incredible. This is what we had. This is a reference image, and this is what we've been able to achieve. We see the replication of the lip color. So the lower lip is redder, and then the upper lips is a bit darker, right? So that's basically it, and we can even go ahead and do more things. Okay? Now, we have some variations on our skin that we have variations in color, that means some parts are quite reddish, so we can also see that in we pass like this a bit reddish, have a bit of red And mostly we tend to see these things in areas like the ES. And since we don't have a view of the E. On this image, we might not observe that. Okay, but that's basically a natural effect get on your skin. Now, we're going to replicate that. So let's just go to adjustments and to human situation and we'll just colorize this. Okay? Perfect. Let's increase the situation. Perfect. Perfect. Perfect, perfect. Now, we can just I'll select the mask and control to invert. And let's just see if we can replicate this effect. Perfect. So we want to make sure white is on the foreground. Let's paint on as like this, and also on our parts of our AA Perfect. Just this sort of effect is what we re for. So as like this also. And that's a bit too much. Maybe here. Maybe here. Here, here also. Here also. Basically, you get the point. So we don't have this and we can reduce the opacity if we want. And I think also we should reduce the opacity of this guy. Okay? So 89 is just perfect. And for this one, I'll just reduce it even more. Take four is just perfect. So we can see what we have achieved now. We've gone from here to here from here to here. Perfect. So basically, guys, that's how we add colors to black and white images in foot shop. In the previous exercise, we looked at a different kind of image, the image of a white girl. And this exercise, we just learned how to add colors to the black and white image of a black guy. So that's it for this one, guys. See you in the next one. Oh. 43. 43 Exercise 8 – Color grading: Hey, guys, welcome back. In this exercise, we're going to do color breeding for our image. So go to find open. And this black and white to color. Remember, we worked on this image, so we turned this black and white image to a color image. Okay? So I'll just open this image for you to see. Open. And this is what we had. We'll just open the color image, and this is what we turned our image to. Okay? Perfect. So from this to this from this to this, so you can see how incredible of a job you did perfect. So function I'll do is, I'll just go ahead and save this as a GPE image. So Save this GPE GPE. Perfect. So black and white color, and I'll just add Don. After color done perfect to save, and we can now close this file and just go ahead and open our image. So again, I'll just open this. So we compare the boot of them. That's because by do we do. But it makes us value the work we did. This is what we had, and this is what we achieved. This is what we had, and this is what we achieved. Incredible, guys. This is incredible. Okay. So right now, we just want to do color grading to our image using the trick we learnt in a previous video. Okay? So we want to use our thousands of cool gradient presets in photoshop, which we unlocked. Okay. We want to use that to color grade our image. We want to give our image different looks different color gradient feels. Okay. So go ahead and add gradient map. Come here first of all, let's turn the blending mood to soft light. Perfect. Click here, and then you know what to do right type, and select the noise, and reduce your ness to say seven or 8%. Perfect. Now check restrict colors. O check. And now we can start experimenting, so we can start clicking. In fact, before I start clicking randomize, I'll just go ahead and reduce my opacity to see 29 or 32. Type two is perfect. So that I see like the final look. So already we can see that we are already getting something really incredible. So this is what we had before. It is what we have now. Okay. So we have our first look in fact. I'm just going to hit control shift old E to merge everything and create a copy of of our layer, that command shift option E on the mark. Perfect. So we have our first color look. Perfect. I'll just hide this and go back to our gradient and start clicking randomize to get even more looks. Okay. So this is also incredible. So he key and Control shifts Old E to create another copy. So we have the first one here. We have the second one here in credible. I'll just go ahead and create even more. Remember, we can create thousands of looks with this trick. So randomize the Mie randomize, so we can just keep hitting randomize. And this look is also credible. Now, I love this one even better. So heat. Control shift ld E. And now we have a third look. So first, second and third. Incredible. Go ahead and we can keep doing this all day. You can keep doing this all day. Keep doing this all this. Keep clicking, keep clicking. And we can and we can create unlimited looks limited looks really. The list is unlimited. Let's try using oranges. We see the looks we get when using orange ingredients. I like this look, Control shift d. Perfect. So let's see. This is our first image. Let's just on pile them, and start from here. So this is our first image, our second image. Third look is our fourth look. We can see the power of dtrit. You can see the power of district, and we can even do more. I feel like doing more. I feel like doing this all day. Okay. So I'll just select. Let see. Let's see. Let's select Greece. Let's select greece. Let's select this guy. Let's see. So, um, Where are our options, cause it's noise, and we want this to be 8% and right already, we can see that we just got something incredible, right? To control, shift all E, to have another copy. Perfect. Perfect. Perfect. So let's go ahead and create one more, one more. One last one. Okay? Let's now randomize. Randomize, Rundoize, Rundomize, and let's just keep going. Let's just keep going this time. Okay. We can keep going all this, so we have to stop at some way, right? Yeah, let's just go with this one. Let's create this one, and control shift all E. Perfect. Now, you can just control S to see my gs exercise. L et's let's write exercise in front exercise. C grid. Okay, what to calls. Yeah, Let's just hit sf. I wanted to do something there, but I just changed my mind. So we can see that we went from having this to then having this. They didn't have in this, they didn't have in this, and this and this and this all in the footshop. A in the footho with one little trick. That's the power of fotos guy, the power of photoshop. And this is just amazing. Perfect. So it control to see my file one more time. And with this come to the end of our exercise on color greeting. So see you guys in the next one. Bye bye. 44. 44 Homework: Hello, there, and welcome back. So we've had a long ride in this module. We've learned so much. Now in this homework, and in the next one, you're going to experiment on what we've learned. Okay. So go ahead and open your file or your folder. And right now, you're going to see this image, black and white to color three. Go ahead and open this image. And in this homework, you are required to colorize this image that add colors to this image, and you can use this image as your reference image, the one we used previously, so you can use this image as your reference image and just go ahead and colorize this image. So take note of the hair. Remember the hair has to have a different tune with the skin. And also this image has a background. So a notable background. So you also need to add some detail into the background, if possible. And also we can see the culture. So you should also add a different color to the cult and also different color to the shirt. So the shirts of a different color, the culture of a different color, if possible, two colors for this part of the couch, and also this part of the couch, and also have he sweat sheet. Should have a different color. And if possible, we should also have different colors added to the design on her shed. Basically, that's it. So you have to walk on the skin tones, walk on the shirts, walk on the background, walk on the couch. Okay? And that's basically it for this homework. So kindly share your files with me. I'd love to see what you produce. And that's it for this video. See you in the next one. Bye. 45. 45 Homework: There, welcome to the next homework. Now, in this homework, we are required to do color grading for this image after you've added colors to the image. So remember, we had to add colors to this image in the previous homework. Now, you have to take that image with colors and then do some color grading on that image using the trick we learned that's the trick with thousands of presets. So you also should produce plenty files, just like how I did. Let me just open the file. Now, I think color grading I think this is it. Okay, this is not it. But, of course, you understand what I'm trying to get at. So this is the file. So remember in this file. Oh, this is not the file. Sorry. Let me just look for this file. I have to look for this file. Now, Yeah, this should be the file. Perfect. Yeah, this is the file. Remember we had different looks. We created different looks using the street. This is the same thing I want you to come and do here. You have to create different looks with this image, with the colored version of this image which you've created. So that's basically it for this homework. Kindly share your fits with me. I would love to see what you put use. So that's it for this one. See you in the next one. Bye bye. 46. 46 Module Introduction: In this module, you'll learn some protips for working with typography. You'll learn about styles, brushes, and the Pope rap tool in to B Photoshop. You'll learn advanced typography wp flus, how to find phones from images, how to speed up your p flu with styles, how to create custom brush presets, how to get extra brushes from HTV for absolutely free, and how to create distortions using the Pope rap tool in H T B Photoshop. Kindly download the attached project files for this module before you continue, and please reach out to me via message or in the QN E section, if you have any questions. I would love to make this course a five star experience for you. See you in the next. L. 47. 47 Advanced Typography tips: Hey, there, welcome back. So in this video, we're going to learn about texts or type in photoshop. And I know that working with text is one of the very basic things you learn in photoshop when you start as a beginner, and of course, we've even covered that in the fundamental cause. But there are some more advanced features which you might not know or which you might not be using. And these are what we are going to go over in this video. So go ahead and create a new document. I have a new document here open. And now I'll just go ahead and select my type two. This is my type two. We all know that this is our type two. And we have the horizontal type, and we have the vertical type. And we also have two basic types of types in photoshop. We have the point type, and also we have the area type or the paragraph type. So the point type Oh, in order to create the point type, you just need to select the text tool and then just come and click, and now you've created the points type. Okay, now, this is a Domi text. And in order to create the area type, you can select your type two, then click and hold and drag. And now Fudsip, is going to create your area type. O and fill it with a Doi text, okay? So this is basically a paragraph or area type. And they have different features, which we are not going to look at because these are real basic stuff and we cover them in the fundamental course. So I'm just going to scale this up. And now, as we know, we have our type menu here. And under this menu, there are lots of things we can do to our type. We can activate our panels, that's our character panel, which we can use to edit our type. We can activate our paragraph panel, and also our lis panel. And they're going to come to cliffs later on. So I'll just close this. So these are some of the things we can do under the type menu. And we can change I'm sorry. We can change the orientation from rigonal to vertical and vis as ok. So these are really basic things I'm just clean over. Nothing special yet. And we have the ex trot to TD, which we won't be looking at in this video. We're going to learn about this when we're covering TD in photo shop. Now let's look at these options. Now, this option, the create work path is going to basically turn our type into a path. Okay? Or it's going to create a path from our type, okay? And this other guy here is going to turn our type into shape. So if I click on this, we're going to see that we now have uncle points. And if we just tick the direct selection too, we can now move our uncle points and basically modify our text. Basically turn our text into something else. T thanks to this option, do a couple of times. Perfect. Now, we also have the rap text option. And of course, we know what this does. It wraps our text. Like I said, most of these things are basic stuffs ette. We have the rap style. We have the arc, we have the lower arc, the upper arc, basically, you can adjust the bend, you can adjust the resonal distortion, the vertical distortion, and two on to foot. We have the flag which turns our type into a flag. Okay. So basically, these are things we can do to our type. And we have the font preview if we choose small, for example, and we just go back to our type tool and try to select a different phone. We can now see that our preview here are very small, and we might not see them properly. So we can as well just make them bigger by going to font preview size, and then Let's make this large. Now if you come here, you're going to see that we have bigger sizes. So these are really basic stuff, like I said. Now, the first thing we're going to look at that is a little bit more advanced is what we call ADB phones. So ADB has a platform, like I call it or a website, where the providers with phones, and we can basically install these phones in our computer. And work with them. So we can access this by coming here and just click in here. Okay. Just click here. You can see more from ADP phone. So you can just click here and it's going to open ADB phones for us. It's also called Typekit, but that is kind of the old name. And now I have a creative cloud subscription, active subscription. So because of that, I'm able to access this feature. So this feature is only for those who have a creative Cloud account. Now, we can see the platform. Now we can go ahead and install funds by basically going over them and clicking Add family. So it's going to add the entire family. Now a family of funds is a font with different variations. Okay? So the number of variations make up the family. For this one, we can see that there are ten funds in this family. So you can go ahead and click here, the Add family button to add these funds to our computer. And we know click here to go into the font and see more details about the pont. My Internet is not too strong today, and we might experience some delays in loading. Now this is the font. We can see the name, and we can see previews of the pont. Now, these are basically previews with sample texts, and we can add specific members of the family or we can add the entire family. And we can make the previews bigger. We can make this smaller, and we can even type our sample text if we want. Okay. And so we can see all of the members of the family. We can even see the designer of this particular fund. His name is Philip, and we can see the licensing information. So this fund is available for personal and commercial use. So A B gives us this fund to use for personal projects and commercial projects. Let's just go back. Now, we have other features. Like for example, you can go ahead and just type your text. Let's see, hello hold Let's say hello wold. Let me just make this caps. Now, it gives us a preview of our sample text aten in each and every font we can see here. Okay? So you can see each and every font with a preview of your sample text. So you get to preview the look before adding the font. You can increase the text size, you can reduce the text size. You can filter your fonts on the left hand side here. You can select the language we have all, so we can select English if we want, we can select all, and we can select specific language and writing systems. Okay. And then we can even select variable fonts. Now variable fonts give us more options to clear with. They give us abilities to adjust different parameters in the font, and you can do this right in our software. So we can click here to activate only variable fonts, and we can as well filter our phones, based on tax. So we have calligraphic funds. Don't filter our phones based on tax and only show us calligraphic funds. Now we can see our Calgraphic funds. So we can browse through them and add them to your computer. We have the clean funds, and it's going to just show us clean funds. Right? Now we have lots and lots of categories. We can even view more to see different types of categories. Let's look at this sheeted. J, so you can see what we get with the sheeted funds. And this is really, really cool. And we have the classifications based on the type of funds. We have the Sans funds, we have the cer phones, we have the slap funds, the script funds, the u funds, the hundreten funds. Let me just try this. The hundreen funds. Okay, so you can see that we are only getting handwritten funds. And we also have the properties. We can filter based on properties. Now, for example, the number of fonts in family. Like I said, the family contains multiple font variations, right? So if we want, we can specify the number of families or rather the number of fonts in a family. Okay? You can specify the number of fonts in the family. So we can see that we specify 23 to 25 plus fonts, so we can see that all the options it gives us have at least 23 fonts in the family. Okay. Perfect. Now we can also filter based on these other properties, Bs on the widths, based on the width, Bas on the heights, based on the contrast, based on the italics, Based on all these other parameters we can choose here. So this is a basic wthrog of how to use at the B phones. Let me just search for a particular phone. Let's see van. Let's search for Van. Perfect. We see we have results not for EVM do because we couldn't get EVM here. So you won't really get every fund you're looking for. You won't really get every funds you're looking for. But there are lots and lots of funds here, countless fonts which you might never exhaust. You might never exhaust. So it's given us a Some options for the name. Similar names. So we have Van, and we have these other ones. I'm just going to add one or some of them. So I'll just add add and add. We can see that we are now having aicion seeing these phones have been added to our computer. Let's just go back to photo shop, and let's try the phones we just added. Go here and let's type A Van. A V. We see that these are the phones we just added. Perfect very easily. So select this one, and yeah, it's cool. Now, there are other features, which we can still look at here. We have filters. We can filter our phones, we can filter our such. Let's see, we have lots and lots of phones, and we're trying to choose a phone, right? We can go through all of these. They are too much. So we can filter our phones based on different classes. So we have the crip, the slap Ceri phone, to, let's see ceriPon. We get to see only ci phones here. So these are all cerri phones. Okay. And we can choose the sun Serra funds, and we'll only see the sun cerri funds. We can choose the Monospace funds, and these are only monospace funds. Okay? So push of yourself a way of classifying all of these funds. And even if it's not to B funds, even if it's just funds, you downloaded from the Internet and the install, Like, most of my phones here are downloaded. Most of my phones here are not a to be fonts. You get but Foodi Shop still has a way of identifying these phones and classifying them based on the types or classes of funds. So that's one way we could filter our funds, based on classes. And we have other ways to filter our funds. We can filter them based on the fiver rites, so we can go ahead and add certain funds as fivers by clicking on the star here. Just click on Star, and they're going to be added to your favorite. So let's just add some more. Now, click on the Star to show only the fired fonts. And now you can see that all we can see right now our fived fonts. So we can also filter zed on Ad B fonts. Thank you. We can also f z on Ad phones by clicking here. Okay. So you can see that all we see right now are funds that are at the refund. Okay? And lastly, we can click here to show similar fund. So let's assume we are looking for a similar font to a specific fund. Okay, let's say we have this fund, and we just want similar funds to this, right? So we can select our fund and go ahead and click here. Now, it won't work for every phone because there might be similar funds to every font you're looking for. Keep. If it finds similar funds, it's going to just show them here. Let's try another phone. Let's try this guy. So we can see that for this guy, similar phones, we can see that it gave us this particular phone. So we can select that if we want that I not pronounce this really, but this is one of the similar phones. And it can also get similar phones from ADB pones. We can see that it'd, so we can see some of the similar phones from ADB phones, right? These are all of them, and we can add them to our software if we want perfect. Now the next thing, we'll be looking at these clips. Now we just go ahead and divide your clips, maybe your type and panels, and then glyphs. Perfect. So what are clips? Cleves are basically all the characters of our font, of our font family. And we can have different glyphs based on the specific font. Okay? And there are font families that don't have glyphs entirely. So just be aware of that. Let's see what we can do with clips. So let's go ahead and use clips on this text. Now, if I select M, we're going to see that gets highlighted in our clips panel, and we can see the name of the phones, the font style, the entire font, or whatever options we have some these things are just irrelevant. Now we can add the clips by physically double clicking. So if I just double click on this, we can see that it now replaces what we had. Now there are different variations for M and for L. And for every other or character or every other alphabet here, and there are even more because we have other characters. We have this character. We have this character. We have this character and some of these characters are even in other languages, depending on the specific font family you're looking at. So there are font families that have glyphs with characters in Latin, Greek, and so on and so forth. So this can really add a lot of dynamism to our type. We can see that we have different types of islet just L et's just use R for now and see what we can do. Okay. So we can see this. I like this r. And let's select M. We have different types of M, right? Let's select this. And you don't want to over do this. Of course, you just want to have maybe one or two characters, one or two alphabets with these kind of nice looking variations. Okay? Perfect. Now, this font family doesn't have a lot of interesting glyphs. Let's look at another font family bring up my type two and just type et's type lost. Let's make this bigger, and let's select the font family lost. So let's select lost. Now. This is lost. And Lost is an interesting font family. There's lots of leaves, just like the one we just looked at here. Now, let's select our, our letter U, and now we can see you highlighted, and we have lots of variations for you. So we have this guy, and now we've just created something cool. This can serve us a logle immediately. So that's the beauty of cliffs, really. That's the beauty of cliffs. You have lots and lots of variations. Le tried this. So this guy is crossing the t. And this is amazing. So that's the power and beauty of cliffs. Perfect. And with this, we've come to the end of our video, see you in the next one. Bye bye. 48. 48 Find fonts from images in Adobe Photoshop CC: Hey, there. Welcome back. Z folder, can gues your phones. Yeah, I know that sounds crazy, right. Now that's what we're going to learn in this video. We're going to learn how to find the name of phones from images here in photoshop. So there are actually two ways to do this. We can do this in photoshop, and we can also do this in A to B phones. Now we're going to learn pots. Now we just go ahead and open sorry. Go ahead and open your folder, project folder. And in your project folder, you're going to see typography one and Typography two. So the two images, typography one, and Typography two. So select the pot images and click Open. Now we have these images with texts on them. We're going to try to use photoshop to guess the names of the phones that have been used here. So all you need to do is go to type menu, go to the type menu, and then go to Much phone. So click on Much phones, and now this dialog box opens up. And right here, you can see that it's telling us that adjust the text selection box to include up to three lines of text. So we can include up to three lines of text. So let's just do two lines. So the first line and the second line, is basically the same text. We can even do one line if we want. So let's just do online to make things easier for photoshop. And now we have to wait for photoshop to guest the phones. So just wait wait to wait, and now we have different options. We have different similar phones. Now we can see all of these right here. And we can go ahead and take note of the particular phones and let's see. Let's see this guy. Um this guy. We can see that we have some of these phones installed in our system. Now if we select the phones, we are basically going to see them appear here. We're basically going to see them appear here. So we have different phones we could try. He let us select this guy and click Okay. Now, select our text tool and we can start writing. Now, let's just type brand, and so we can compare what we have here to what was suggested by Fo shop. So we can see there is striking resemblance between the two phones. Okay. Now, just open my character panel and try to go through some of the other variations in this family. So we have different variations, and I'm very sure if we go through all of these variations, we will definitely find one that fits perfectly. With our phone here. Okay. So that's basically how to march phones in Foti shop. And let's try this with this image, also. Now let's go to type and march phones. Now, let's just try to give this guy tough job this time. Let's select this guy. And maybe since it says up to three lines, we can even select up to this guy here. Let's wait and see what suggestions F shop gives us. Perfect. Now, we have quite a number of suggestions here. We see that our previous phone was suggested for the thick part of the text here. And we have other phones. We have this guy here that is more of a script font, and also we have these other guys. Now, this one looks irrelevant to me, really. So we might get some weird options also. Some of them might really not much, but we get footso really doing its best in figuring out our text. So go ahead and select this guy and see what we get in comparison with this guy here with this particular phone. Now, just click and go ahead and type what we have written here. So L. I can see right away that the L doesn't really match. Okay. Let's see. Let's just try LOE S G E. So we can see that for the shop did its best, but the match is not as good as what we had here. Okay. So the easier the fund or the more simply the fund, the better. The more simply the fund, the better. And this will work for a project like this. Let's assume you have a fund that has been rasterized, right? So let's see we have these funds. Let's just duplicate them. And hide the ones here. So let's just rasterize these phones. Let's just select them and rasterize type. And let's just merge all the DS. So we merge march LS. Perfect. Now, we have these phones, and let's assume we couldn't get the name of the phones, right? So right away, we can go ahead and go to type and match fonts. Now we can select the particular fonts, we are trying to match let's see what we get with lost. And yeah, we can see that we got the match. It perfectly guessed our text. We know that this is lost, and that's given us lost and even more options similar to lost. Okay, so we can see how accurate this is and finally, one last way we co we can match text is to come here, so we click here and go ahead and bring in your type. So let's select this guy only. He heat open, and now he's going to analyze our file, and we'll be to select the phones we're trying to match. So A we fonts has finished analyzing our file, and it's giving us the ability to select the lines of text or select a single line of text. So this time it's giving us the ability to select only a single line, right? So we can select our line of text and go to the next step. It's going to now search for the particular text. It next. And now we can see our phones, and we can directly add these phones to our library. So just add phone addons add phones. Okay. Now, this is the BBS new bold. Now go to Fuli shop, and let's go back to our file, and let's duplicate this, and let's choose that particular phone. So the P. And this is it, right? Perfect. So we can see the straclin resemblance between our phones. Perfect. So this method is probably more accurate. That's using the AB funds is probably more accurate than just matching funds. Even the ones we got with match funds are also very, very good. Okay, so basically, that's how we find funds using shop and AB funds. To see you in the next video. Bye. 49. 49 Styles in Adobe Photoshop CC: He guys and welcome back. Now in this very quick video, we're going to learn about styles in footy shop. Now styles are really not advanced tou in footy shop, but they help us speed up our walk flow, and we've not covered styles before. So I just felt it's nice to cover styles now. Okay, so I've gone ahead and created this lost text from the previous video and I've made this bigger, and it's just just the text. Okay? Now, what are styles? Let's just go ahead and activate our styles planing. So goo mendo and then activate styles. So come here and activate styles. Now styles are basically looks we can apply to our layer, okay? The basically looks, we can apply to our layer. So we can apply styles to our text, we can apply styles to our sheeps and to image layers as well. Okay, these are basically effects. Okay. These are basically layer styles effects. So I can just select my text and go ahead and add a style. And you can see that now you've added this gene style. Okay? We can see that under effects, we have the Pevl bows. We have the stroke, we have the inner shadow, we have the pattern, we have the drop shadow. So these are the effects that have been added to our lost text. Okay. So these are the effects told in this particular style. So let's just have a duplicate and go ahead and play our layer styles. Perfect. Now, we have a new layer now, let's try other styles. Let's try this guy here, so we can see what we have. This is basically the same thing with a different pattern. Okay? And we actually have them. We actually have them into categories, we have the fabric, we have the four. We have the natural, we have the basics, and we can even add custom styles. Okay? We can even add custom styles. Now we can also create our own styles and export them if we want. Let's try these other four styles. Let's try this guy. And we can basically see what we are coming up with with these tiles. Really nice looks that we can add right away. Now let's clear all of this. Clear layer styles, and let's see how we can create custom styles on our own. And go ahead and open the layer styles panel. And now you can go ahead and start adding effects. You can go ahead and start adding layer styles to your layer. I'm just going to add the bevul embers make the smoothness a bit more and add let's add the gradient map. Gradient. Gradient a. So let's go ahead and choose a different gradient. Okay, let's go with look. And now if you want to create a new style, all you need to do is come to a new style. Click here. Put in the name of our style. Let's see custom. Custom one. And now you can include eertyles, effects. You can include eertyle blending options if you want. And you can add to my current library. You can heat okay and heat ok. Now you can go ahead and see that it has added this tile to our library. If we close this, now we can see that it'll added this style to a custom library. We can select the bothtyles. Maybe we have custom ones which we've built. The select them, and go ahead and put them in a folder. Let's see custom. Custom ne. And now we have these tiles in a folder. So we can go ahead and now apply these tiles to our ships and our text and our layers. So select our layer and just add the style. This is a very good way to speed up our workflow. We can come here for more options. We can import styles, we can export selected styles, so we can export our custom styles out of photoshop and even sell them or give them for free. So basically, that's either styles. Styles are really simple, or they help to speed up our workflow a lot. So that's it for this video. See you in the next one. Bye bye. 50. 50 How to create custom brush presets: Welcome back. In this video, we're going to learn how to create custom brushes in Photoshop. So go ahead and create a new document. I'm just going to choose six by 6 ", 300 resolution and create. And now in order to create a brush, you have to understand the mechniques of how brushes work in photoshop. So brushes work with luminance values that's black and white. For black, it reveals and for white it conceals. So unlike the layer mask, where we have black and white, and then white reveals and black conceals. The brushes in the opposite way, in the opposite way. So they are kind of the opposite of layer masks. So how do we do that? Now, we have to define our brush preset in white and black colors, okay? So I'm just going to take my bush tool and try to create our first brush preset. Now, I'll just met my hardness 100 and I'll reduce my bush size. And right now, the kind of brush preset I want to create is a noise brush. Noise bh. I'll go ahead and create and select the black color. Define my brush with a black color. Just like I said, black reveals and white conceals. So we want to show our brush in black. Right now, I'm just going to start painting on my canvas, and I'll keep reducing the size and increasing it also. So that we have different sizes of our noise brush. In fact, I've changed my mind, I'm going to create multiple brushes, not just this one. After this, I'm going to also draw one other brush that we're going to create. Let's just try to get a. I don't want it to go out of this defined space too. I'll just undo this one and then have some more strokes and increase the bush, a little bit. Have one here, have one. I think this is just perfect. And we're going to do another one. Now, this one is going to be more dramatic, so this is what you want to have. So we want to just these lines. This funny looking line. In fact, I think I'm going to reduce the bush size of bit. Have these lines like this. Okay. We're going to treat brushes with all of this. The last one I will do is, do this. Okay. No, that's not looking good. I just did that, and maybe I'll just do this instead. It's easier to do this with my trot tablet and I don't have it connected, but I'll just manage with my mouse. Perfect. Manage with my mouse. Like this. Okay, we have three brush presets, which we're going to make right now. So the next thing we have to do is to go ahead and select our rectangular, Mike select two, and then come and select the A. Okay to select the Aa. Good to edit, and then define brush preset. So click define brush preset, and now you can name your brush preset. Now you can see also a preview of your brush and the number. Now the preview shows us exactly this, but inverted. Now we can see that the black is now showing as white here, and then the white is basically transparent. So that's how brushes work. And for this first one, we're just going to name it a new custom. Brush one. Okay. So you're going to create three new custom bushes. So click, and now you've basically created your new h now. We have our brush to selected, so it's basically selected our new custom version now if I pint, you're going to see that. Okay, we can see that it is selected. That's why I'm not seeing it's paint here. Now, I'm just going to select this. And now I'm going to select my brush bag, and when I paint, we going to see that we have our brush preset created. Now we're going to undo this and create the next one. For the next one, we need to select this guy here. Perfect, good to edit, good to define brush preset, and then we're going to type in a new Custom. You have basically forgotten the new reused for do, t just go ahead and look at the new reused for that one. So I can just make this two and this three. Okay? So it B for my push and go to my brushes tab or panel, and then receive new custom brush. New custom bush two and new custom Bush three. So go back and select and edit defined brush preset, new custom custom brush. Two, two, and then you can just select and go back to our Muti selection tool and a new guy new selection, go to edit, and then define roh present. New custom t. Perfect. Now, go back and select. Now we see that we have our custom broaches. So we have new custom broach one, new custom bh two, new custom push three. I'm just going to create a new layer I going to use control old pax piece to fill it with the background color. It can be command option delete on the mac to fill it with the background color, which is white. Okay? Now I'm just going to select my push two, and now I have the last one I created selected. Now just go ahead and pint. I see that we are basically painting our brush, right? I was going to do on doo. Let's see the other one. We see this is what we created. So it's basically a brush right now and select the first one I created. Se this. You can see that. This is basically what we created. Now, it's not making sense as we paint on our canvas. It's not making sense. Okay. Not making sense. But we can go back to our brush settings and make this make sense. So firstly, we can just go ahead and activate our ship dynamics and increase the size ita. Now, this will increase or decrease the size of our brush ks as we bruh. Every time we click and release, it's going to reduce the size to something else as you can see here. So that's what the brush ita does, and we have many of the parameters which we can open. We have the minimum diameter if we want. Can work on the angle eta, which is going to change the angle, that's the rotation every time we paint. So it's going to change the size and then change the rotation every time we paint. And we also have the roundness eta, which will change the roundness every time we paint. So we can see that it's now having a variable roundness as we paint. So that's how to make our broach more interesting. So we can do even more. L et's go ahead and make this minimum roundness, almost especially this roundness ita. Down. Let's bring it down. Now we can go ahead and work on our scuting, and we can increase the scutin. We can see from the preview what we get as we increase our scuting, I can meet this quicker action. So we can make it cut up more or less. Let's see what we get now, can see that we are now creating dynamism with this, right? Perfect. And we can increase the scarf accounts if we want, which will make you more dense, okay? And you can as well increase the counts Gita if we want. We're going to keep this counts to two. And we also have the texture. We have also the transfer. I'm not going to look at all of this. You can just go ahead and see the parameters you get with all of these other options. So for transfer, transfer will basically edit the opacity. That's the opacity of our brush strokes whenever we paint. So let's see. Let's this high, and we see that we are basically editing the opacity of shook as we paint. Okay? Do on do. Yeah, that's basically, I'm just going to reduce the opacity ita because I don't want to use this for what I want to do. Now, go ahead and create a new shape and ellipse. And we're going to paint on our ellipse using our new bruh p Now I'm just going to click here and select red color. And now we're just going to tick my broach it B from my brush, and we're going to paint inside our sheep. We're going to paint inside our sheep. The first thing I want to do is right click here and rasterize Ma. La. And with my La rasterize, I can now go ahead and lock transparent pixels, so I can paint inside my sheep. So lock transparent pixels and reduce my broad size a bit, and now I can start painting inside my sheep. So we see what we get. Just reduce my broad size a bit, and now we can see that we are painting inside our sheep. Okay. Just want to create shadows here and highlights here. So. Next thing we'll do is just make our color a bit brighter. I can maybe adjust our brush size and paint a bit more in these areas. Now, go ahead and reduce my scat. It's cattering too much, and I don't want that. So go ahead and reduce my scatter a bit and continue painting. Perfect. So I like what I'm getting to from going to paint darker color. Can you see that this is too big So we get even more shadows. Perfect. Increase my color, or rather make my color a bit brighter than paint here. Okay, so this is basically what I train to come up with. This is nothing too special, but you've seen how we've been able to create our custom brush and then even use the lock transparent pixels option and then paint inside our ship. So that's absolutely incredible. Now we can go ahead and sve our brushes or export our brushes. Let's select our broches, select select and holding down control, so you can hold down command on the mark while selecting the broaches. Now, right click and and then export selected brushes. Click on export sector broches, Lt come to our folder on typography and brushes, and now we can see this. So custom brushes. So you're going to have this these custom brushes added in your projects folder. Okay? Perfect. Now, that's basically it for creating custom brushes in Photoshop. You can go ahead and play with the other brushes, play around video settings and see how much dynamism, how much beauty you can create with them. So that's it for this video and see you in the next one. Bye bye. 51. 51 Create distortions with the puppet wrap tool in Adobe Photoshop CC: Hello, D. Welcome back. In this video, we're going to learn how to use the Pop heed Wb tool. Now the Poper wb tool can be used to create distortions on our image. So go ahead and open your folder, file, open. In your folder, you're going to see this image, the Ppate w21. Select the image and open. I'm going to use this image to work with appropriate W two. The first thing we need to do is cut our character or subject out of the background. I'm just going to take the move to the object selection two right quick, and then just come and click on him. Now it's going to select our object like usual, and we can just duplicate it after that. Now I'm just going to duplicate my subject with Control G or command G on the mac, and now we have him on N. Go back my move tool and I'm just going to create a background. I just set the rectangle too, and then for this reduce, I had it at 50 before. I'm just going to make it er, then create a rectangle. And I have this sheet of red. So you can go ahead and copy the coloque here if you want. We just have this as upper ground. And move my subject to the middle. Next, go ahead and add my poppet warp effect. Now, the first thing I'm going to do is right click and convert this to a smart object. Convert the smart object to that we apply our effect on the smart object. Non destructively. To edit and then go to poppet wap. This is poppet warp, so click. Now we see the appropriate w applied to our image. Now, what this does is. It creates a mesh on our image, and we can distort our image according to our mesh, basically according to the density and properties of our mesh. Right now, in order to see this effect at work, you have to come on subject, and then click. Now, if you come on your subject if you just click, you're going to see that you've applied or you've added a pin. So you can add this pin in certain areas on your subject. On areas where you want to have movements on your subject. So let's say you want to have realistic movements on the subject. You have to apply these pins on the joints, on the joints, where you want to have those movements happen. So those are the places where you want to add the pins. As you can see right now, I can select my pin and then move my subject so you can see, we are creating this torsions according to our mesh. Okay? We can select, our pin, and move it. We can see how we are creating distortions using our measure. Now, we have these options here. We have the mood option. Now in the mood, we have normal. We currently have it at normal, we have the distort, then we have the rigid down. I'm just going to create a distortion. I'm going to click on this pin and make this distortion. Now, this is the normal mood. If I take it to rigid, we're going to see that it's more rigid. It's more rigid, our distortion is more rigid. We can see how rigid it is. Let me take it back to normal so we see the difference. It is normal. And this is rigid. Okay? Now, I'm going to take it back or ticket to distort, so you see what we get. Now we distort, we get more exaggerated distortion. More exaggerated distortion. So that's what you get with moods. And you really don't want to bus in this case. Take it back to normal, and we can just right click on our pin and delete pin if we want. So it gets back to the original position we had and go back and add a new pin if you want. And there are many other options on the when we right click, we can delete the pin, we can set or to rotation. Now we're going to come to rotation real soon. We can send it forward, we can send it backward. Okay, we can send the pin forward, we can send it backward, so it appears either above or below other pins. So for example, let's add one pin here on the head, and I'm just going to bring this guy now and bring him above our character here. Okay above the head. So if I click now and send back, we can see that we have sent it below the head. I know that this isn't realistic, but this is just for you to understand how sending it below or above works. Now we're going to undo control z, and I'll just delete the spin. Right click. I'm not able to re click. I don't know why. I can re click now and then delete my pin. There are other ways to delete our pins, not just by re clicking. We can select our pin, and then simply hit the delete key on the keyboard or the box piece on the keyboard. You can do that and you also delete your pin. You can also hold down t and then just click on your pin or hold down Option and click on your pin, and you can see that we get this Ceso's icon appearing, and you can delete your pin with that icon with this icon. By simply clicking on the pin. Perfect. I'm just going to go back and add my pins. Add here, add here, add on here, add on here, add on here. Perfect. Now we have density. Now density simply enables us to choose how dense we want our mesh to be. The more the density, the more fluid our distortions will be, and the more the loads that will be added to our computer. And basically vice versa, the lesser the density, the the fluidity of our distortions, and the less load. If you click less points, we have less density, you can see that we now have less density on our mesh, if you click more points, we have more density, and more fluid movement. We have expansion, let me sum in and increase my expansion, let me just click and increase the expansion. Now, expansion does this, it expands our mesh and includes areas which might be a bit outside our mesh into the distortions. So that's basically what expansion does. So it adds areas, so we can expand or we can reduce. So if we make our expansion zero, or minus. We can see how it's cutting into our subject. Now let's make this zero, and it's just going to be okay. So that expansion for you, and we can hide and show mesh is in this. We can hide our mesh or show our mesh, and cheese our mesh is disturbins. Now, we can make This change. It's looking a bit more realistic. When using the distortion or the Pete W two, you want to make either of two options. You want to make either realistic, not too much exaggerated look or you want to make an extremely exaggerated look. So basically depends on what you want to achieve. Okay, basically depends on what you want to achieve. So we can see that we are getting more realistic by making little a little adjustments, little adjustments. Perfect. Now, we have rotation. Now we have it as fixed, and we have it as a two, and this two gives us the ability to teat our pins even more. Fixed doesn't give us so much ability to teat. That's basically the difference between the boot of them. If we select our pin and then who on t, we'll see that we have this circle on our pin, and we can use this to create rotations. We can use it to reteat. Pins like this. Perfect. That's another way to so we can click and hold do t and then route. Let's add a point here, let's add a point here to click, hold down t and we can route it. This would be an exaggerated non realistic look. A depends on what you want really. I'm not going for this for now, but I feel like creating something that looks extremely exaggerated. And just creating a post, maybe it. We're going to look into that liter. Basically, these are the options you can play with. These are the options you can play with. Maybe we make the head, bit more like this, there's a bit more inside. Maybe we add one more points on his shirt like this, we make his shirt calm down. Yeah Now, just click here, we'll commit the changes and physically we've made our distortions. Now, this is before and this is before, and this is after we can do click to go back and make more changes. That's it for the Puppet Wab too. I'm just going to duplicate this guy hide the one under and I'm just going to make more crazy adjustments with this one. We can select multiple points by simply holding down shift and moving. We can just hold down shift and move. I just want to create something that looks like a broken look. I want to extra treat. This, I'm just going to delete this pin here to ib caracter move like this and move like this. Let's make this auto. I know this doesn't make a little sense, but I'm just going to add the text real soon and you need to see what I'm driving at. This guy. Let's just have this look. Ti this one and this one. Taking too much time here. I didn't intend to take so much time. So I'm just going to go with this and maybe this and then heat Perfect. Now, what I want to add to this. I think it looks very, but what I want to add to this is the word broken Now, just like our guy is broken, right? So that's what I wanted creating. So what I would do also is select this control X to cut them and have them behind our guy. You just copy the phone size for this, and then pi. Perfect. You can bring key en behind him and maybe you would bring E and n on top or E on top of him. I'm just going to let me just en tick key back. And then E n on top. Perfect. So this is the look I am going for. So I'll just select everything and move them in, please. Okay. Perfect. Maybe move this guy a bit. Perfect. So this we've come to the end of our video on the ppt W two, see you in the next one. 52. 52 Exercise 9 – Custom brush preset: Hey, there, welcome back. In this exercise, we're going to explore creating brush presets, custom brush presets from images. We learned how to create custom brush presets in this module. But for that, we used brush shooks to create the custom brush presets. In this exercise, we're going to go a step further by creating our custom brushes from images. Go ahead and open your folder. In your folder, you're going to see these cloud images. We have Cloud one, Cloud two, Cloud three, Cloud four, so I'll just select Cloud three and open. I want to create a custom brush from this cloud. Now, the first thing I'll do is go and select my last two or my rectangular Marque select two. I'll just cut out the specific parts. I want to work on. You can control G to duplicate it. Now, the next thing I'll do you select maybe height the background. Then while selecting my image, I'll just go ahead and desaturate my image. Remember when creating our first custom brushes, we said brushes work with black and white values. They basically work with black and white values. And in this image, we see that we have color. So go ahead and desaturate the image to totally remove all the color. And then we will just be left with black and white. God to image, good to adjustment, and desaturate, Now we have our image desaturated. Because I'm trying to create a cloud brush preset, I need to invert my image so that the dark parts which will be revealed will be the mean cloud. That's this part. Sorry I just pick a normal brush. I just want to draw on the image so you can see where I'm referring to. This part. This parts I'm drawing over. This will be in black, and then these other parts will be in white. Because black reveals and white conceals. Select my image, and I'll just go ahead and hit Control I on my keyboard or command I on the mac. Control I to invert my image. So we have the darker parts being the clouds, and then these are the clearer parts is white. Okay. What I want to do next is, just try to make my whites even whiter. That we get the better result. I'll just control L to bring up the levels and then just click on this huntle, and then bring it down to the left hand side. We can see right away. We can see right away, that we are making our bright parts even brighter. We don't want to overdo this because if it's too much, it starts to create really sharp edges along the black parts. We just want to do this maybe to this point and then hit okay. We want to make it even brighter because it's not white yet. So what I can do is take my dodge and dodge my dodge and bond two. That's my dodge two, in particular. Then make sure I have highlights selected, and then now I'll just go ahead and pint on my highlights so that I make them entirely white. Okay? Perfect. So I just pint on my image to make my highlights even brighter. Perfect. Now we have white and dark. And I don't want to make this entirely black because we want our clouds to have these details we can see here. If we make it completely black, it's going to have these cloud details we're seeing here. Okay? So we just have to leave it like this and then select and go to edit the define brush preset. So we could this new cloud preset, new Cloud brush preset. Perfect. Now we can see the preview here. We can see how perfect, it looks to ok, and we can now hide this guy. And let me just create a new La and feel my a. Okay, sorry. And, let me just fill my layer it. I want to use the short code, but it's not working for some reason. So just fill it with color or with a foreground color because we want to fill it with white. Now we can start painting on our layer. We have to create a new layer, and let's just choose this red color and just dub on our empty layer. Now we can see that we've created. We've basically painted our sky in red. And we can see the details and all the intricate looks we get to have with a real sky again. That's based on the real image. Perfect. Now we can go ahead and use our brush. If you want. Now, this is our brushe. We can go ahead and make edits to our brush presets. Okay. Now, I'll just enable the ship dynamics, and also the sketching. So for ship dynamics, I'll just increase the size Jitter, okay so that we have multiple of variant sizes as we paint. Okay? Perfect. Now, for minimum diameter, I'll just leave it this and then angle Jitter. I'll increase it so that we have firn angles. Okay? Perfect. And for scattering, I think scattering, which just leave scattering the way it is. So I'll just go right to my folder. I'll just open my folder and then bring in this image. This image. Click and open. Perfect now. I want to use this brush to add Fg to my image. I'll just hit for my grab sample this color, close to white, then just create a near and start to paint. Start to paint. I'll just make this smaller And I think I should also enable the transfer. We keep the opacity ita so that we get varied opacities. Perfect. Because it's a fog it's fog we're creating. Of course, fog is not a solid white color. So we just want to add fog to this image like this. Perfect. Now we can hit V for move to and go ahead and reduce opacity for Fg. We can even go ahead and create a layer mask on our for layer and used to kind of reveal parts of our layer like this. Okay? So we can see that we've created a realistic fg using our brush. We can do even more, really, we can do even more. Let's hit so we can reveal some of the guy here. I'm just going to hit X back to enable me furthermore height some parts of my image of my guy here. Perfect. Maybe I increase the posit a bit more. This is realistic. This is good. Now I know this is not a big deal. This is not a super complex project, but the idea is, we were able to create a custom brush and even use it on a project. We can even go more. Let's see we want to do something else. Let's just set the boot of this ten contro g. Unlock my layer first. Control G to group or control G first to duplicate and then control G. So we have this guy this guy here, and then I'll just delete this one. And for this other one, I want to create something else, something different. What I want to do is, I want to go ahead and create a background first and and take the background below my layer here, and then I'll just create the layer mask heat control I. To invert my layer mask so I can hide my image. Now, I'm just going to use my bush preset here and start painting on my layer mask. Okay. So I'll just paint on my layer mask, I'm revealing parts of my image. So you can see the incredible effect we are getting. Okay? Perfect. Now we've been able to create a reveal effect using our custom cloud brush present. This is what we had before. Let's de this le mask, and is what we have now. Perfect. And this is our first project. S is our second project. I is our first project, where we added the fog and this is our second project, where we did the real. Perfect. That's this for this exercise. See you in the next video. Bye. 53. 53 Add Extra Free brushes from Adobe: Hey, there, welcome back. So in this video, we're going to learn how to get extra brushes from Ad B for absolutely free. Okay, so this is included in your creative cloud subscription. All you need to do is to have an active Creative Cloud subscription, and you have access to these extra brushes. So all we need to do in order to get access to these brushes is just come to our brushes panel and then click on this Hamburger icon and go to get More brochures. So if you click get more brushes, it's going to open the B website, and you'll be able to get these brochures. Now these brochures are really incredible brushes. They are industry standard brushes. And in the past, they used to be paid. Okay, you need to have to buy them because were created by a specific guy. His name is Kyle Webster. Kyle Webster is a designer, is an artist, and he specializes mostly in illustrations and basically drawings. So digital art and so on and so forth. Photo shop. So he over the years, has created tons and tons of brushes, and these brushes were so good or have been so good that B companies like Disney use his brushes in their project. Okay? So Adobe recently got him into Adobe. Okay. So his brushes now have been added to Adobe's libraries. So you don't need to buy his brushes any longer. You can get his brushes for free here. Now, these are all his brushes. These are all his brushes. Okay. There are tons and tons of them. Now we're going to just download some and try out. So first of all, I'll just go ahead and download the charcoal brushes. So just click and download and it's going to download the brushes for us. Now, go ahead and download other ones. Let's see. Let's see. Now there's this one I saw the other time. And it's really good. That the half tune half is good, so let's download the half tone. And also, let's download one more. One more. Okay. So let's download the Sparta, the Sparta brushes. So, let's just go down bit and see. So I can find them here. Let me start from up. So these are the Sparta brushes. So just click on download and it's going to download the Sparta brushes for you. Now, I'll just go back to photo shop. And all you need to do right now is just click here and then import brushes. Import brushes. Let's select the charcoal for now and loud. Perfect. Now we're going to just look at some of the things we can do with this chacol. I'm green to create a new document 11 by 8 " landscape mode, 300 resolution. Then create. I'll just go ahead and select or open my cool brushes and start seeing what I can do with them. Let me just push the size and when I pin, it's at right now. It's at white. These brushes are really good. These brushes are really good. Now let me just reduce the flu so you can see it a bit more lightly. So you can see I've reduced the flu, and these brushes are really good. I really don't know how he gets to create realistic brushes like this. You can go ahead and use these brushes for. You can use them for digital drawing. And the results are usually outstanding. Reduce the flu 29, so we can see it more lightly. Perfect. We can see what we get really realistic, perfectly realistic. And the larger the resolution of our project, of course, the more of this we get to see. I'll just go ahead and create a new document. I think I've exhausted this one. So um, per bit, and let's try creating something and shedding using our charcoal brushes. So Shade now just reduce my flu to 12 and that shed, now you can see that we are sheding in our sheep. Now, it's not perfect because we are going outside the box, but of course it is something we can fix. So I'll reduce my flue a bit more to create even even smooer blends. We can see what we are now achieving just with this bruh. So these brushes are incredibly perfect for digital painting. Okay for digital art, so you can use this to draw. Fine. Now, let's try adding. Sorry, let's try importing another one. So Import brush, and let's bring in the half ton brushes. Half ton brush. Load. And these brushes are just half tons. So they are just half tons, and we of course know what half tons are, right, because we've covered half tons in the fundamental cause. So now, these are what these brushes give us. So they give us these already met patterns. See incredible. I just looks. Yeah. So there are loads and loads. In fact, this brush is very large. It's about 78 B size. It's very large. That's loads and lots of things. Point to this side. Just keep drawing in. We see what we get with all this. Perfect. Incredible. So we can create incredible half tunes. Now this half tone bruh. The halon brushes are into two. We can see that we have the screen tunes, and we have the actual half tunes. So we've been using the screen tunes. All this. Now, these half tons are even larger in size or in quantity as compared to the previous I'll just create new file. Let's try some of these half tons. These are the half tons. These are the half tons. I do. Perfect. Now let's try the Sparta brushes. Let's try the Sparta brushes. And these brushes can slow down your computer. Okay? They can sclow down your computer. Especially the large ones like the half ton brushes. So if you're not using them you can just remove them from here, you could delete, and then add them later on if you wish to. So I will just go ahead and bring in the last brush. And that's the Sparta brushes. So click on Sparta. Brushes and loud. Perfect. Now, these are spatter brushes. And of course, we all know what spatter brushes are. We don't need to go over spatter brushes, again. They're just patters. They just give us spatters. Spatters. Okay? So you can spatter, ink, can spray, ink, can do things with these brushes. There are tons and tons of them here as well. We just try it out randomly, change the color. So I'm using my drain tablet. My drain tablet does has a lot of keys. Whenever I I mystically hit the tab key, you see that it goes to full screen mode. That's why it keeps going to full screen mode. We can see that our bland, O bland mod was was actually set to multiply. I don't know how it came back to normal. I wanted to take it back to nom, but we can see that it's no set to norma. We just keep painting. Keep painting, e ping. We can keep exploring our brochs. Okay. So we can't go over all these brushes. They are so much. We can't go over all these brushes, but just go ahead and explore more brushes for yourself, see what you might want to use. Again, these brushes are kind of meet specific really. So like the chocolate brushes are meant for drawing. So if you want to draw, you use chocolate brushes. If you want to do Half ton stuf use half to brushes, so they are neat specific. So just focus on what you want to focus on. There are lots and lots of other ones. Let's just do back. Let's see. There are lots and lots of other ones, depending on the style of art you want to create. There are lots of these brushes, basically. Yeah, so that's it for this video on extra brushes from A to B. See you in the next one. Bye bye. 54. 54 Homework: Hey, there, welcome back. Now in this homework, I needed to create a custom brush preset using a cloud image just like how we did in the previous video. Now, I've provided you with multiple cloud images. We have Cloud one, Cloud two, Cloud four. We use Cloud three for the previous exercise. So you can use either of these three clouds or you can use even all of them. Okay. So go ahead and use either of them and create a custom cloud brush preset. When you're done create in the Cloud bush preset, you then use the Cloud brush preset on an image to add either fog or smoke or do a reveal effect like this, and kindly share your projects with me. I'll love to see what you come up with. So that's it for this homework. See you in the next one. Bye bye. 55. 55 Homework: Hey, there, so this homework requires you to use the Puppet Warp tool, just like we did in this image. Okay? Go ahead and open your fuller and bring in this image right here. So that's the puppet work to two. So bring in this image, cut the image out of the background, and then use the puppet work to create something, something interesting and kindly share your outcomes with me. I'd love to see what you come up with. So you can go ahead and create something similar to this. Maybe an exaggerated distortion like this one with probably some text effects, or a less exaggerated, and more realistic distortion. Like the one we created here. This is less exaggerated and more realistic. So you can go ahead and work on Booth. Both looks and kind of share your projects with me. I'll love to see what you come up with. So that's it for this homework, and that's hopefully it for this module. See you in the next do. Bye bye. 56. 56 Module Introduction: In this module, you learn how to create an incredibly manip perspectives Now DB Photoshop. You'll learn how to use the perspective Op tool and also the vanishing point effect to create incredible perspective compositions Now D B Photoshop. Kindly download the attached project files for this module before you continue. Please reach out to me via message or in the Q and E section, if you have any questions. I would love to make this course a five star experience for you. See you in the next video. 57. 57 perspective wrap tool in Adobe Photoshop: Hello there and welcome back. In this lecture, we're going to learn how to use a very powerful tool in Photoshop, which is used to create incredible perspectives. Okay, and that's the perspective w tool here in Photoshop. So go ahead and open your folder. And in your folder on perspective in photoshop, just go ahead and open this file. That's paper box and Wood perspective. Select both of them and click open. Perfect. Now, these are our files. Now we can see that the paper box is just a PNG image of this paper box, and it's meant to be in perspective. It's meant to be organized or cool. You get. But we can see how distorted. W I see how ugly liking it's clicking? So we're going to fix this in Foot shop now. Just click and drag into your root perspective image, and I'll just make this a smart object. So Covert the smart object and then we scale so that we maintain our quality and all our changes are done. Destructively. Perfect. Now just kill it down to the size or to this size. Perfect. I'll just control zero or command zero. And now we can see how it's looking, right? It's not looking grit. It's not aligning with the perspective of our root here. Okay? Now this is all the compositing video. So we are not going to go in and try to make everything look perfectly realistic. But when we come to compositing, we're going to learn even more. So this is just an introduction to perspectives in footage shop, while selecting your LA, go to edit, and then perspective work. So click on Perspective Wb and we have the perspective work to activate it. You can see that we just have a few options here. We have the layout, we have the WAP. We have this guy that's used to reset all changes, and then we have this one for Canceling and this one to commit all the changes. Now, it's automatically set to layout, and we can actually tog between layout and WAP. So the shortcut for layout for going to layout from WAP is L, and the shortcut for going to W from layout is W. I'm just going to create our first perspective side. Okay. So we want to create a perspective for our box here. So the first thing we do is create click and drag to create a ship. Now, you have to align these points to the points of our box. Okay? So that's the trick in this. You have to align this this and this like this. Okay. So when we have our first box created. We can now toggle between perspective warp and layout. Now, if I hit W, you're going to see that I've toggle to wp. If I hit L, I've gone back to layout. So we are not warping yet. We just want to create all other sides of the perspective. So click on this item. Drag. Now, I'll just fit the points. And this be so perfect. You just have to do it in such a way that everything will be almost perfect, or almost good. Okay. So the next thing is, I'll just click here and drag now. As I drag it close to this side, we can see this side becoming blue, right? The blue line appearing. Now we can just leave it or release, and it's going to snap. Once you see that blue line, it's telling you that it can snap to the other side. Okay, so it's snapped now, and we have them as single side. Now we can move. The points and everything will move together. Now, the last part is the top here. Okay, so click and drag. And now I'm going to fit this side. We fit, first of all, I'll do this, fit the side here, fit this side here. Before while I am holding this, you can see that it's outlined the blue line again. I'll just release and it's fitted. Okay and I'll click on this one and fit it here. We can see that our perspective has been created. O boxes have been created. Now the next thing we'll do is go to WAP or hit W for wp. No click on Wp. You can now pt your perspective now. I I just click here and drag, we can see that. Our entire **** is moving. Our perspective is aligning, becoming way better. Now we basically with our perspective, look way better. Now, one thing we can do to make our line street if we want is just hold down shift and click. Now, if you hold down shift, you're going to see that this line is outlined yellow. So Hold on shift and click and you're going to make the line street line. So in case you want to make the line street line, you can just hold down shift and click. So I'll do that for here also, and here also. Okay. So right away, we can see that we've totally transformed our perspective, and I'll just adjust this other point. And we've now created a perfect box. But we can see that it's not aligning with the perspective of our image. So we can furthermore, you manipulate it. Now, our street lines are outlined yellow. If you want to release them, you can cool down chiefs and click back and it's going to release them. So you can now manipulate the points freely. So we're just going to try to match the perspective now. So we illustrate to match the perspective with the perspective of our image here. Still, I'll just try to make this line strat and see what I get to. How shift and click. Hod down shift and click. How shift and click, and we can see that our lines are straight. You can just commit the changes if you have something looking this good. Okay? And now we can see how perfectly our box our people box sits on our perspective. Yeah, now, if we wanted to composite this, we can go ahead and add some shadows and match the colors and do a whole lot of other things to composite this but we're not working on composition in this video. So we're just learning how to do perspective, how to use the perspective work. Let me just show you the before, this before. This is after this before, and this is after. This tool is incredibly powerful, incredibly powerful. Before and after. Now, I'll just go ahead and bring in our next image to file, open, and come to the folder in this glass house. Click on the image and open. Perfect. Now, this is our image, and what we want to do is we want to change the perspective of our image. Change the perspective. Now, I'll just go ahead and unlock my LA and then convert my Lia to a smart object. Perfect. Now the next thing I'll do is go to image or rather go to edit, and then perspective wp and start to create my perspective. So I want to create two perspectives, one on the side, one on the side, two boxes, one on the side, one on the side. So I'll just try to match my box to the perspective. Mm. Good. Now, we can see that our image has some street lines, and we can use this as a guide, really. We can just make sure this line aligns to this line, okay? Or this line is parallel to this line. So we can furthermore drag this line, this pointer to make sure the lines are parallel to each other. So we can see that this looks better now. So go ahead and create the other side and now just match the points. For this one, I'll just click and snap and try to make sure the lines are parallel to each other. Perfect. Now we can hit W or go to op. Click on op, and now we can manipulate our perspective. Now, I'll just hold down shift and click here to make it a straight line, and now I'll click on my point here and start manipulating my perspective. Now we can see that we're totally changing the perspective of this image. We're editing the perspective of this image, we can make this side longer and the side shutter, we can do the opposite, make the side shutter and make the side longer. Perfect. Now, I prefer this look, so I'll just commit my changes, and now this is before. This is after before and after. To incredibly powerful. Incredibly powerful. You can do a lot of photo manipulations with these two. I'll just duplicate this. Delete the effects. So I can have a clay image. And then for this one, I'll just go ahead and rasterize the image, or rather apply the change you get. And now I want to now fix my sky. We can see that the sky is not looking good. So we'll go ahead and fix our sky, and we can do this using just our loon to go ahead and pick the loon to W. Sample, hold on and sample, and now we can pint. We can see that. We have to undo once or twice. Let's just maybe reduce the size of the bruh, H on t and sample, and I'll just paint sample or pint sample and pint, and I'll just keep doing this. Of course, you know how to use the perspective sorry, the Kluntm tool. I'll just do this and I'll come back when I'm done. Perfect. As you can see, I have fixed the sky and our image looks just perfect. Even though the fixing isn't just too perfect because there are some imperfections here with the. But this is just a quick fit to show you how to use this tool in the quickest way possible. So you can go ahead and make sure. Now I'll just hide this to show you the before. And on high this to show you after before and after. Perfect. This is what we get with the perspective W to. So I just go ahead and save this so that you can have access to it in case you're having any difficulty to save and also save this and save. Perfect. Yeah, that's it for this video on the Perspective Wb too. See you in the next one. Bye bye. 58. 58 Exercise 10 – Perspective wrap: Hello, there and welcome back. In this lecture, we are going to use the knowledge we've acquired on the Perspective Wb tool to realistically place our logo on the ground. Go ahead and open your file. Now in the perspective in Photo shop folder, you are going to see this image. The tiger image, click on the Tiger image and click on the street Perspective one. Click on the Wood images and open. Perfect. Now we're going to place this tiger image in this perspective. Again a realistic way. And we've learned how to do similar stuff that's in terms of blending our image to look very realistic. So that's one of the things we're going to do also after fitting the image into our perspective. So select the image and drag it into your street perspective one. And the first thing I'll do is right click and convert to a smart object to maintain our quality and also to make sure that our changes are added non destructively. I'll just scale it up and hit. Perfect. Now, our images are too large in resolution, but we're going to use it anyways. Now, the first thing we want to do is to go ahead and bring in our perspective W two, so select our perspective W two, and we're going to create just a box that feels our tiger image. Our box will feel our tiger image, just perfectly. Perfect. Now, from here on, we can go ahead and wrap, and now we will now fit our image to the perspective. So we can just use the lines of our existing image, our existing image has these lines. We can just go ahead and fit our tiger image or tiger Lugo to our existing perspective. We can see these lines, these paving, these concrete pavings. We can see the lines. We can see the perspective using them so we can align our image to the perspective of the concretes. So, this looks okay. And this looks okay. So basically, we've done the placement. So we can commit our changes. Perfect. Now we've done the placement, and we can now blend our images. Okay? So the first thing I'll do is just create a duplicate of this, maybe hide it. And let me just see the before and after. So this is before. It is after before. After Perfect. Now I'll just rasterize this image, so Rasterize. And I'll just create a duplicate control G and name this stack. So the dark should be on top, and then let's name this light. And for the dark, we want to give you a blend mode of multiply or darkness. So let's use multiply for now. We can change to other bland moods later on. So that's for the dark and then for the bright of light. Let's use a bright blending mode. Let's use One, or let's use soft light for now. Perfect. Now, the first thing you have to go and re select your dark image and then go to blending options. And I'll just zoom in here repeat and pan. Now, in the blending options, we just have to go ahead and fix our blending. So for the dark image, I'm going to work on the highlights. So I'll pull down and click and then start removing some highlights. Okay? And I'll also tick this other slider to the left hand side. So I'll do this for the dark image and hit. And for the light image, I'll do the opposite. I'll go ahead and work on the dark parts. Okay, so click, separate them. Click all separate them. Why. Click all and separate them like this and just walk on the bright parts. Perfect. So he the key and let's go ahead and try a different blend for bright image. I think I'll just use screen. Screen will work just perfectly. So you can see how we've blended our logo to our background. Now, this looks very good, but there are some it looks too fake. It looks too fake. The edges are very straight, which is not realistic. So we can select the boot of them and first of all. Maybe we'd use the opacity a bit. Use opacity to see 91. Okay so that's the first thing we'll do. Next thing is we go ahead and bring in our grange image. So this is our cron image, and we used it in one of our old videos. Now, I'll just go ahead and unlock Mia control. Or command on the mac and then click a to select our image. Control C to copy it, and I'll go back to our perspective, and now I'll just select boot of them, control G to group them, and I'll just create layer mask for the group. Now I wo down holds and then click inside and control V. You have pied this, and I'll just key up bit to fit the area of my logo. Perfect. So I think this will do. This should do. So I'll just hit okay to commit the changes, and I'll just hold on and click back on my layer mask. And we can see that it has basically marked out our image. All we need to do right now is first of all, de select, and then select our layer mask and control I to invert the masking. So we can see that it looks way better now. If I hold down shift and click on here, we can see the before. And this is after so before. You can see how straight lines are without blemishes and after, we can see that it looks more realistic. And we can go even further. We can maybe take our brush too, and we co use the brush where we created from the clouds. I think that will do a better job. So we can use that particular brush. So we can see that it's the one selected here, I can just I'll just increase the size a bit and start painting. We can see that it has these variable sizes. No variable sizes, really. What do we call this. Size. You get so sized it is active. So the size of our strokes change every time we paint. So we get a lot of variations with this. It's making our work even better. It's making the blending even much more realistic. So I just want to some of this. And I think I'll just hit X to pint back some of my pixels. Yeah, I think this is okay, basically. I think this is okay. So I can just go ahead and hit V and marvel at our incredible creation. So we've been able to blend this so perfectly on the floor, using our perspective tool and using our blend and blending options. Okay, so that's it for this exercise and see you in the next one. Bye bye. 59. 59 Advanced perspectives with Vanishing point in Adobe Photoshop CC: Hello, Dre, and welcome back. So I'll just go ahead and close this image. First of all, save it, this project from the previous video. So see its street perspective. So save this and close these other images, so we can go ahead and start creating more advanced perspectives. So clus. And open our folder. So write in our folder in our perspective, in our Photo shop folder. First thing would do we select our complex perspective image one, complex perspective, one, select this image and then go ahead and select our next image, which is the Tiger image. Click on the Tiger image. Sorry. Click and click on the Tiger image and open. Perfect. Now, we are going to work on this complex perspective. Now we are not going to be using our perspective work tool, even though it's also possible to use this tool, even though it's going to be too complicated. So we are going to be using a more advanced tool. Now this is a filter, and it's called the vanishing point filter Vanishing point. Now, let's go to filters and vanishing point. Now this is the filter. So first of all, I'll just I'll just unlock my a, and then go to filter and vanishing point. Now, this new window will open, and we are now required to create our perspective, to map out our perspective. So we have our tools here. We have the perspective tool here, the perspective plan tool here. So create plan tool here, we have the move tool or select to here. But we have to create a plane before these are the tools will be activated. Okay? And we have the grid size and we have the angle. Now the grid size is the grid size of our perspective plane. So while selecting create plane tool, I'll just go ahead and click. And then click. And click and click. Perfect. So we've created our first plane. Now we can zoom in by using the Zoom tool, so we can hit Z. I use the Zoom to and then just zoom in to see how well we've created this perspective plane. Now, I'll just go back to my create plane tool and when we come here, we can or rather I'll go back to my edit plane to, not create plan tool. We can go ahead and move our perspective like this, our plane, like this. But we want to just align it to this line here. So we want to click here and try to march it. So we can see that we can actually try to match it more properly with this. Now we can use the mouse wheel to scroll up and down. We can move with this. Now, let's just try doing something. Now when I edit my perspective like this, you see that the line turns red. Now, before it was blue. But when I click and edit this like this, it downturns red. Now it turns red because it's telling us that this won't work, basically, telling us that this won't work. It has the ability to sense the kind of perspective that we give us the best result. The kind of police meant that we give us the best result. So you want to first of all get the blue color. Now, we can go ahead and create other the stuff. We can go ahead and create a more complex perspective. But right now, I'll just go ahead show you how these tools work since they are now activated. Now, we have, of course, the create perspective plane to which we used to create this plane. We have the edit plin tool which we use to manipulate or edit our plane. Now we also have the Marquee tool, which we can basically mark select on our plane, and we can add to our selection, that's add stuff in our into selection, or we can even pint on our selection. Now we have the Stem two, which is basically a clue Stem two. We have the brush tool which we can use to paint. Now we can see that we are painting in our selection. In our selection. Perfect. We also have the hydroper tool which we can use to sample stuff to sample colors, and we have the move tool which we can pan, and we have the Zoom tool which we can zoom with. And basically, that's it. So for the tools you selected, you get some options up here. So the next thing I just do is onto some of these things I did so that we can do even more serious stuff. Now, I'll just go ahead and select my create perspective plane and create more planes. So I want to create another plane that goes down. Okay? And I want to create another plane that goes up from here. And I just want to create as planes as possible. Now, while selecting, I'll make sure my existing plane is selected, and I'll just go ahead and pick the create plan two and come here. I'll just click and drag, I can drag up. I can drag up, I can drag down. We can see that it's automatically creating a plane for us. We don't have to draw again, but if we want, we can still draw. So now we've created this plane, and let me just go ahead and create another plane on the ground, so click and drag. We can see that it's following this existing perspective. Isn't that amazing? The next thing I'll do is create the remaining planes, and I want to create one p and one like this. Select my perspective tool and click and drag up. Click here and drag up. Now we've fitted everything perfectly. Okay. So sorry, I'll just out. And when you are okay and done and satisfied with everything that's everything relating to the plane, you can just go ahead and hit OK to hit OK, and now we have our perspective done. Okay, now, the next thing we'll do is go ahead and bring in or not just select our image, so hod on Control and click here to select our image. We want to select our image, so we'll control or command and click on the funil of our image to select our image and you can just Control C to copy our image. Go back. And create a new layer, create a new layer on top of our layer. So it is an empty layer, and I'm going to create our perspective blend on this layer on this new layer. So go back to your vanishing 0.2 or rather your vanishing point filter while selecting your Lyer one, click on vanishing point, and we can see that we still have our plein intact. Just um a bit, I'll just um hold on hot and zum out. Okay. O the next now do is control V. I can just control V. Now we have our image piece that. The next thing I'll do, then pick this two does transform to. Now, these two enables transform our image. Now we can transform our image, and we have to pick this two to activate the transformation. Because if we please our image on our perspective, we might not be able to transform it again without firstly activating our transformation too. So select your transformation too, first of all, and then transform, and now we can click on our image and bring it into our perspective. We can now see how it's aligned properly in our perspective. Our image is aligned properly in our perspective. Go ahead and select your to back and now we can move, and we can even reteat our image if we want. Reteat our image, perfect. We can scale it up, can scale it down, we can move it. It's just aligning perfectly on our plan, and we can even ll down and duplicate our image. Perfect. So incredible. This tool is incredibly powerful. Next thing I'll do is hold on Alt and still drag one more copy. We can see that it's not rotated properly. So I'll just repeated well. Perfect. I'll click and drag to give you another copy and maybe skill this guy down a bit and have him here. Hold on lt, have another copy here, and maybe have a final copy here. Make this bigger. Perfect. So basically, that's what we get. Let me just out. So we've been able to create or please our tiger image onto our perspective. Go ahead and hit k and green to commit all the changes. And now we can start to blade our images. First of all, we create a duplicate like we did before, create a duplicate and then for this guy, we just have duck. For this guy, we have writes. Perfect. Now, for this one, we can give it the multiply or darken, whichever one. Let's give it darken for now. And for this guy, we can give it we can give it the soft light. And in fact, I've changed my mind. For this one, I'll just give it multiply for now. No darken, so multiply. Perfect. Now, Zoom a bit, I'll go to my darken. And for this one, I'll walk on my bright pixels. Walk on my bright pixels. And I can come back to see make some changes. We'll just key for now and we can see the change we've made. We can see how realistic this looks. It looks realistic. So enable this and go to our blending options. And for this, right, we're going to work on the dark pixels. Let's zoom in a bit to see what's going on. And this is just incredible. This is just incredible. G. And next thing we'll do is go ahead and do our blending, go ahead and do our blend in side. Both of them control G to group them. And maybe first of all, reduce opacity. Let me just open them and reduce our opacity bit. So 87. Perfect. So we are going to create the a mask and bring in our grange image. Open and bring in our grange image. Perfect. So unlock our ground image select with control and click on the thumbnail, Control C to copy, and now we're going to go back to our image. Now for this, we can see that just pasting, our ground won't work because our image is ful perspective, right? So it means we have to still go back and creates a perspective with our with our gronge mask. Yeah, that's what we have to do. Now, I've created a new layer, select my new layer to filter and then funion point. And here, we can go ahead and paste our carang to control V to piste and select the transform to activate, and this, we can make it bigger or smaller and just bring it inside. Perfect. Now let's just scale this bits bigger while hooding down shift. Scale it, make it bigger. We can duplicate this and have another copy here just like this. Perfect and dupicate another copy. And perfect. Hit ok. And now we have this on a new layer. Just go ahead and down Control, click here to select Control C to copy. Now, just deselect and hide and select my layer mask, my tiger and who down and click to go inside. This time, I'm going to control shift V, not control V. Control shift V or command shift V on the mark. Now this will paste in please. So it's going to paste it just like how we copied it from the Vanishing point window. That's all we need to do. Now de select. We can select and then ho on old and click back on our earlier mask. You can see that as totally marked out most of our ship. Now, while selecting, I'll just control e to invert and bring back most of our tiger. And let's just hold down shift and click to see before and after, before and after, so we can see how incredible these changes are. And we can go in and use our brush to make the edges more imperfect and do a whole lot of more other stuff to make our blending even better. Okay, but I'm not going to do all that. I've shown you so much. So now it's your turn to show me what you can create. So in the next video, we're going to take a homework. So that's it for this one, guys. On advanced perspective using the vanishing point. See you in the next video. Bye bye. 60. 60 Homework: So in this homework, we're going to work with the perspective warp tool. So go ahead and open your folder. And in this folder, you're going to use this image, that's the lion image, and this image. So these two images, you're going to open these images and and now all you need to do is blend the lion image on the floor. So you have to use the perspective warp tool to realistically please this lion image or lie on head on the ground and just blend it. Okay, so that is for this homework. It's really simple. So kindly share your projects with me. I'd love to see what you come up with. See you in the next one. Bye bye. 61. 61 Homework: So in this homework, you're going to work with the varnishing point perspective filter. Go ahead and open your folder. And in your folder, you have these images. This watermelon pattern, this leaves pattern. You also have this Capts pattern. You have all of these files in your project folder. So what I needed to do is go ahead and open all of this and create and use the perspective the vanishing point perspective filter to work on this image, to work on this image, you can get a more complex image or a more challenging or more interesting image if you can. Okay, but the most important thing is for you to use the vanishing point filter or perspective tool which we covered to go ahead and create a perfect blend, a realistic blend of these patterns, these patterns on this image, or on a better image. Okay. Basically, that's it for this homework. See you in the next one. Bye bye. 62. 62 Module Introduction: In this module, you'll learn how to create stoning three D effects in A DB fd shop. You'll learn how to work with a three D interface, how to work with textures, cameras, how to create stoning three decompositions, and how to create a DDN three D effect all in a DB foo. Kindly download the attached project files for this module before you continue, and please reach out to me via message or in the q1e section. If you have any questions, I'd love to make this course a five star experience for you. See you in the next video. 63. 63 Getting Started With 3D In Adobe Photoshop Cc 1: Hey, guys, welcome back. So in this lecture, we're going to talk about TD in foota shop. So Tre D has been a very massive feature in footo shop. But unfortunately, that will be actually discontinued Tre D. So starting from, I think, 2022, you are removing three D features out of foota shop. Okay. So if you open your photoshop, you probably won't see Tre D. That if you are using a very recent version of photoshop, you probably won't see T D. So for me, I had to go back and back date my photoshop in order to recover the three D feature. Okay, so that's why you can see TD. If you observe from the previous videos I've been recording in this course, there is no three D option here. That's because that was a very recent version of Photoshop, but I just went back and back dated it so as to bring back my three D feature. Okay? So that's what I did. If you want to follow along, make sure you have an older version of photoshop. That's it. Again, you might have an older version that supports TD, but still not have TD here. Now, that would be a problem from your computer. Because the TD feature in photoshop is quite expensive. So you have to have a computer that has a graphic card that is supported in order to have a TD feature. I just felt that TD was a big feature in photoshop, and I wanted you to have a feel of what TD photoshop looks like before it's finally gone completely. And yeah, since there are older versions of Photoshop with TD, I just felt, why not cover it anyways? Since you would still have access to TD issue, back detail your photoshop. So that's why we're covering TD right now. So what is three D? T D is basically three dimension. It means three dimension. That's the most basic explanation for three D. What does that mean? If we see an object is in three D, it means that object has length bread and height. Okay? It means it has volume. Instead of just two D, which has length and bread alone without any height, and we are going to go ahead and look at the differences right away. So go ahead and create a new document file, new, and I'm going to use 16 " for width and 11 " for height. And for my resolution 150 pixels per inch and create Now, we can see that I am in my three D workpiece, and that's because I used the three DD feature previously. I'll just go back to my essential workpiece, and you should have your workpiece looking like this or similar to this, if you're coming from the previous mode. Okay? So in order to create my three D layer now, I'll just go ahead and take my text to, my original text too, and type three DD. Then scale. My text to this size. Perfect. Now, there are several ways of creating your three D layer. And for text layers, it's even more interesting because there are more ways of creating three D from your text layer. For your text layer, you can select your text and go to type menu and then extrude from three D. It's going to create your three D layer. So that's one way you can select your text layer and have your text tool selected, and then just click on this three D here, and it's going to automatically turn your layer into three D. And you can as well go to the three D menu and then creates a new three D extrusion from selected layer, and it's going to turn this into a three D layer as well. Okay, so I'm going to just use the type menu method to turn my text layer into a three deer. So TS. And now we can see that we have turned our text into a three D layer. So we are now in the three D environment, and we can Right we see that our text layer right now has depth. We now have depth, not just length and breadth. So we have depth added to our image. So right on top here, we have what we call the three DD modes. Now these are the transform tools. Okay? We can use these tools to transform our three D object and our environment. And we have the three D layers panel which shows us all the layers in our three D sin. Now I'm going to come here where it says three D, that's the three D text layer and then just close it by clicking here. So we now see that we have the environment layer, we have the scene layer, we have the current layer, sorry, the current view layer or the camera layer. We have the infinite light layer, which is the light source, and then we have the three D layer. Okay? That's the object, the layer for the particular object. So this is the three D layers panel. We're just going to look at all of these right now. Now, when I have my TD mesh selected, and I have this to selected. This is the move two, so we can use this to drag our TD object. So we can see that we are now moving our TD object. In our three DD walks please. That's using this, and we can use this to rule our three D object like this. We can rule it like this, like this and use this to routate our three D object. So we are routing our TD object, and we can use this to slide our TD object. So we can slide it closer to the camera or away from the camera. Click and slide your three D object. And you can use this to scale your TD object. So you can click and scale it and reduce the scale or increase the scale by just clicking and dragging your mouse. Okay so holing your mouse and drag it. We scale it up or scale it down. We can move this in our scene. And this work basically for every other thing we selected. So we can scale our environment, we can move our environment. We can scale our scene, we can move our scene. We can scale our camera view, we can move our camera view. We can rett our camera view by simply selecting our layer here and then working with these options. So we can see that we actually scaling, sorry, moving our camera view with this just like this. And same also with our light. We can move our light. We can retreat our light, we can scale our light. Okay and we're going to look at all of these in this lesson. Now we have some of the features here. Now, let's have our three D mesh selected, and we have this guy. Okay? So this p in this place, we are going to see every other layer. In our scene, right? And if we click here, we're going to be able to see just the TD mesh. A, if we click here, we're going to see the materials. Here, we can edit the materials. Actually, if we click here, we have options. We have options, which is same as if you just have this selected here. We have these options on our properties panel. We're going to look at all of these in this video. We can come here to work on our materials. So we have the material for the front. Okay? So we can see that if we hide the material for the front, we are basically hiding the material only for the front, so we can see other materials showing, right? So we have matures for these other parts of our trea D. Okay, so we can change individual materials, individual faces or the materials for individual faces. We have the properties panel where we can edit the material, and we need to look at all of these in this video. Now, we can come here for environment and our light. Okay. This will filter only for environment and our light. So we can edit our environment, we can edit our light. So we'll p back here. And if we click on our scene, right click on our scene, we're going to see that we have these options right here. Okay? We have these options, and if we also click on the TreaD object, we have different options. We have the options are related to the mesh of our treat. So we have the mesh options. We have the materials options, and so on and so forth. So for now, we're not going to look at all of this. Now the next thing we want to explore is how to create other types of treaties. So now, we've looked at how to create three D using our text layer, and we saw that this method also works with other types of layers, right? So what I'll do now is create a new layer or a new document create. And this time, I'm going to create a three D layer using a ship layer. But this time, not just a sheep layer. We are going to actually create a custom shep not just a normal ship layer. We're going to create a custom ship, so these are custom ship we are creating. Perfect or custom sheep, and I'm just going to use the size and go to my layers panel, and just change the color here to anything. Basically any color that's a bit lighter. Now with my layer selected, I'll just go to three D. And then or TD, we will just click on new three D ext from selected layer. And, we now have a three D a. Okay, we now have a t Der, and under the properties, we can increase the extrusion depth or reduce the extrusion depth and you see what we get. So we have what we call sheep presets. So we can click here and see different presets for extruding our sheep. There are lots of things we can do here. So we can see this preset, what it does to our extrusion, this one, what it does to our extrusion, this other one, which conflates our extrusion. We let us come down and select this guy here. This one. Now, I'll just go to my rotation tool and teat my tre D to see what I created even better. So we can see that we have been able to create something that looks like a fla vis. F vis, that's from our ship A. There are many other things we can do to this, but we're not going to dive into this for now. Let's go ahead and create a new document, so as to explore other types of or other ways of creating TD object. Go to file and open. Now in your folder, you're going to see all of this. That's in your TD in A B po shop folder. Now I want you to go ahead and open this cree texture. Select the cree texture and open. I'll just drag and bring it into my document and I'll scale this just like this. Perfect. Firstly, I want to just crow my sin to the size of my cret texture. Crop it to the size and heat. Perfect. Now, while having my layer selected, I'll just go to TD, new mesh from selected Layer, and let's explore the mesh preset. On the mesh preset, I'm just going to use the cube. So if I click cube, we will then see that. Turns texture into a cube. So I could have my cube selected and then route, and now you can see that we can route and see that we have a texture applied to our cube. Again, this just look like a cube. I don't know why it's not applying here. It should also apply to other parts of the cube. Okay? So I can just try this one more time. I'll just delete this and try to do it one more time. You click and drag please and just rescale this. Perfect. And I'll just try it one more time. So three D new mesh from Layer and then mesh preset and then three D cube p. So three D cube rap. Yeah. And now we can see that it has applied our three D or rather cret texture all around our three D cube. So from the last time, what I did was, I selected three D cube. So that was the mistake I did. I selected three D cube. Instead of three D cube rap. The TD cube only applied my texture to one side of the cube, while the TDR rap applies the texture to all the sides of the cube. So we can see that we have now created a TD cube from our image layer, from our image texture layer. Go ahead and create a new document so that we can explore other types of TD layer. Come to three D me from layer. We actually have to create layer. Let's just have this layer. Perfect, and we change the color. And now go to treat. And then new mesh from T D and let's try push carts. Push cards are basically just planes. This is a basic basic tre D plane. So it doe it doesn't have depth really. It doesn't have thickness. It doesn't have thickness. It's just a flat TD surface. That's what the push card is going to do and explore other ones. So we now have the mesh preset. We have the cone, so we co create a cone from our Lia. You can see, we now have a con from our Lia du. And we have many other ones. We have have the cube, which we looked at the cube wrap, which we also looked at. We have the do nodes, we have the hats. We can create all of these all by default in photos. If we wanted the texture to fill in everywhere. Let me just do. Let's see we want the texture to fill in everywhere. All we needed to do. All we need to do is just make show our sheep fills the entire place. Cycle our ship and then T D T Dima from Lear and then we want to select our hats, once again. And we can now see that our texture feels everywhere, right? Perfect. Now, this will work also for other textures other textures like like this one. Okay? So, let's explore more things. So create a new document and for this one. Let's try Let's try something. Sorry, make the color brighter. Let's try something else. So new Mesh from preset and let's try the donut. Okay, I think we looked at do nuts. Did we look at do nuts? Okay, we didn't look at donut. So this is a donut, right? So we're creating a t DD donut from our layer. And we have many other types of three D mesh prices, we can create, we can create soda cans, we can create rings, we can create pyramids, we can create wine bottles, we can create spheres, and all that. Okay, we can create all of these by default in photoshop. And one other thing we could do is we could export our treat. So let's say we created this three D hat and we want to export this so that we can open this and use this in other three D applications. All we need to do is to go to Treaty, and then export tre Delia. So we can now export our t Da to different three Da formats. So we have the Colada format, we have the STL format, the front, slash BG format, and so on and so forth. And all of these formats will open in native three D applications. So applications like TDS MAC, T D Ma, and so on and so forth. All of these formats will open in those applications. And likewise, we can import our three D layers. So Let's delete this guy. And try importing a three D layer. Three D, and then all you need to do is new three D layer from file, and in your TD folder, go ahead and select the T Mg file. This is an BG format. This is an BG file. We can see that it's a three DD object. Select and open. Click. Right away, we can see that we have our k in photoshop. This was created outside photoshop in a traditional TD software in a professional TD software, but we've been able to bring it into photoshop and even use it, and we can further more use it here in Photoshop. Just so the next thing nos, reduce the size. Sorry, select. Okay. We actually have to go to the three D panels first and then select my TMOk and reduce the size. So I'll just reduce the size like this. Perfect. And it selected. We can come here on the properties and then come to coordinates, and then click move to ground and it's going to move our TD object to the ground. Okay? We can rett our TD object if we want. Sorry, we can rule our treat object if we want. We can teat it if we want. And what I will do right now is just go to file and please embed it. I want to please this background plea image. Click in, please. And I'll just kill it up to full the entire space and then go back to my layer panel and bring it below my three D Mg panel, or rather my three D Mg layer. While having my three D mooc selected, I can now move my mog on my plane. I can just select it and go to coordinate and move to ground. I can see that this is the ground plane. So what I will do right now, since it's not sitting well, I'll just select my scene and then try to move my scene. I'm adjusting my scene right now, so that it sits better on my scene. Okay? Perfect. We've moved our scene and we have our k sitting properly on our scene. I just scale it this time. Scale it up and maybe change the rotation. We change the rotation beats. We can see changing in our rotation. Move to ground. And yeah, I like it this way. And now the next thing I will just do is come here to materials, and now I can edit my materials. I can edit my materials, I can edit the Bs color, I can edit the interior column. So on the Bs color, I'll just click here to edit the texture to change the texture. Okay, so click and edit texture. And now we can please a new texture right here. So for this, I'll just go to folder, and then click on this marble texture, click on it and drag it into photoshop and property, heat and control less to save. Now if I go back, we can see that my texture is now applied to my T D Mg. So we've basically changed the texture of our T D Mg, we can go ahead and edit other properties of our material. We can edit the metallic property, we can make it more metallic, so it's going to be closer to metal. If we boost this. We can increase the roughness. If we increase the roughness, it's going to be less shiny. If we reduce it, it's going to be more shiny. So the height topacity, if we want. So we can see that we are basically making our object look like glass, pact, and we have the refractions and the density and so on and so forth. We could even add normal maps if we have normal maps, and normal maps will add to the details of our model if we need to detail our model. But for this kind of model, we don't really need a normal map. So right now, we can click on our environment to edit our environment. So under the properties panel, we can see that we have properties for our environment. We have the IBL. Now this is image based light. Now this is the light which it uses to lighten up our object, to create the reflections and the refractions on our object. And we can change this light to the current scene we have here. So that it carries the reflections of our currency. So we can just click here and edit texture. And now we can see that this is the file it's using to create the reflections and refractions on our object. So I'm just going to bring in my background to drag it and drop it here. Kill it. Like this. This is perfect. And I'll just hit save control S and go back. So now we can see that it's now taking reflections from our image from our background. So we can go back to our material to select your thick mop mog and then go back to materials and with this material and we can maybe reduce some of the metallic properties and maybe increase the roughness a bit to reduce the reflections. Reduce the reflections. Du reflection, and we could even work on our shadows. So for our shadows, we have to go back to our TD panel. We have to select our infinite light, and now on the properties, we just need to go to coordinates and start adjusting our shadows, so we can see that our shadows have been adjusted. On really cool short code we could use for adjusting our shadows is select your move to, and then hold down shift and click on your shadow, and now you can release your shift. And while clicking on your mouse, you can move your shadow to whatever direction you want. You can see how I'm moving my shadow. I'll just move my shadow depending on my image normally. Now, if we render our image, you're going to have a more realistic look and the reflections and refractions will all relate to our background. Okay. So if we wanted to render, we can just click on this button here. And you'll actually find this button in every property. Okay? So let's see we have our mock selected, you find it here. You find it on the codinial. So you find it when we have our scene selected. Okay so we can just click here and render our image. And rendering would take some time depending on your computer, depending on your scene, depending on a lot of other things. Okay. So rendering will just allow Photoshop to do its calculation and give us a very realistic image. So that's basically what rendering does. Again, we can see that our shadow is a bit not nice. Our shadow is too sharp. So in order to dit that, I just hit escape to cancel my rendrim. Now this is the progress so far. So I've canceled the progress, I've canceled my rendri. And while selecting my light, I can go ahead and increase the softness of my shadow, so I can increase the softness of my shadow. And we can now see that our shadow looks more realistic. It's more soft right down. So if we render it this time, you're going to look even better. Okay so that's how to super impose our three DD object in the background. So we can do this for basically every other three D object right here. Okay, we can do this for every other three D object right there for this one, I'm going to go ahead and please an image a background. So we're going to please this image, the street image. So please. I'm going to scale this up. Perfect. We want to make it look as if our three D object was there right from the start, right from the original. All I need to do is to bring my street image down on the layer stack. Now I can go right into my TD and select my cube and scale my cube down. Keep my cube down, route, the cube and bring it down. And I'll just go to edit and reveal all sorry image and reveal all so as to see everything. So I think this will be better. This is not better actually. Maybe I could maybe crop the sky a bit because it's looking too long. So This looks better. Perfect. Now, I'll just go ahead and try to make my cube look like it's originally on our image. Perfect. First thing I'll do is select my cube and just go to coordinate and move to ground so as to see the condition of our ground plane. Now, let me just tick my scene, tick my scene and let's try to adjust our scene. Let's try to adjust our scene and see. Cs? Oh. Wow. Okay. Sorry about that. So let's select our scene once again. Good to coordinates. Let's just try to adjust our scene properly. Okay, sorry about that. I think we have taken our object. Let me just reset this. We said this. I can't even see my object. Let's said. Ah. Let me just kill my object back. Okay, we can see that. We've really messed things up, let's try to just undo and see if it's going to go back to yeah. So we're back. This is what I should have done since you get. So right now, I'll just go ahead and try to match my treaty object to my scene, right? I think I should work on my shadows to select my infinite light, cool on shifts and try to work on my shadows. So we could even have this. We could even move to view. If I click move to view, it's going to try to match my shadow accurately as compared to my scene. So we can see that it's doing a great job here. Job is doing a great job in matching our shadows. Okay. So furthermore, we could tea, we could resize, and so on and so forth. A depends on what we want. I think this is just okay, if we render this, we should have a good result. Okay? So that's how we could superimpose once more our treaty object in an existing image. Non existing image. So I just wanted to go ahead and try superimposing some of these images. All right some of these three D objects, for example, this a mog just bring in this image and try placing the mog on it and try rendering it. I'd love to see what you come up with. So I think we've covered at least of the important things here. Cover most of the important things. Let's just go over some of the things we might not have covered. Okay. Let's go back to my three D scene here. So now let's see some of the things we can do on the properties, right? So let's select our three D object. We have the mesh. On the mesh, we can enable the cut shadows. We can disable the ct shadows, we can enable the cut shadows. Cut shadows are shadows inside our object, and cast shadows are shadows outside our object. So shadows that our object casts on our three D interface. We can make this visible. We can make it invisible, we can choose a shape reset, and we've looked at these shape resets. We could make this look like it's inflated or inflated with some depth. With some extruion depth. We could increase our extruion depth. Let's try rotating. And let's come here. Now, we also have sheep resets again. So just same thing as we have here. We have the extrusion depth once more, we have the twist. So we could twist our extruion. We could teper our extruion. So you can see what we're getting with these options. We have these other ones. You can explore them for yourself, reset our transformations. Reset, we're just going to have this back to the default. Less reselect or inflate, and we have these other options here, which are I think the cp options, these are the cp options, and these options will create details on our tre D object. We could have this conto and then increase the strength, and we can just see the details it's adding to our ext. We have different presets, different profiles, and we could increase the bevel with, the bevel angle, and so on and so forth. So these are things we could do to add more details to our treats hip. We also have the coordinates, and of course, you know what the coordinates do because we've used them. We have this for the move. So we could move along the x axis y x, z x, we co reset. We could rotate along the x axis, y axis, xs, and also we could scale along the x x x y axis x, and we could move to the ground plan, we could reset our transformation. So these are the options we have when we have our three D mesh selected. K. Let's go back and just reset trans deformation. So when we have our lights selected, we have the light options. We have the preset, we could change to different presets of lighting. Depending on what we want to achieve, we're not going to look out of this in details in this video. But you can go ahead and see for yourself. We have the type of light, we have the infinite light, which acts more like a sun light, and we have the spot light and also the point light. Okay? Just go back to my infinite light. Perfect. And we have the shadows. We could increase the shadow, softness, and we could move to view. We will try to match the shadows based on the view, or based on our scene or our environment. And we have the coordinates, like we saw from the mese. So we can see that we've actually added another light when we selected one of these light press. So we can just click and delete the light. Or not. Let me just undo that because I prefer the view. So it's not coming back, I'll just leave it like this. Let just click, move to view. Yeah. Let's just walk with what we have like this. When we select our environment, we have new sets of options. We have the global ambient color, we have the BL, which we looked at, which is the image based lighting, and these lights up our scene based on an image. We've looked at the color of our lighting, color of our lights, and the intensity, the intensity of the color, K, the shadows, softness, just like we've always seen, the ground plane shadows, the reflections, and so on and so forth. And we're going to look at a lot of these settings in our exercise video. Now, we also have the coordinate for the environment. And so also for the scene, for the scene, we have even more settings. We have these settings, which can help us optimize our scene. For example, if we choose the bounding box, we are not seeing our TD objects in the bounding box, and this reduces the load on our computer. So let's see, we are working on complex TD project. We might want to switch some of these views to enable us to other processes faster. We have the default. We have the line illustration and this shows us our TD object in a line illustration format, right? We have the normals. We have all of these other ones. You can look at all of this for yourself. We have the TD printing panel, which enables us to send our TD object two or three D printer for three D printing right from Photoshop. But we're not going to look at all of these options because we are not learning about three D printing in this video. So we have the coordinates like we've always looked at. So basically, these are the things you get with all these options selected, with all these layers selected. And with this we've come to the end of our video on three D. Hopefully you learned a lot. Sorry, the video took too long to complete, but I had to cover most of the important things. And hopefully we're going to look at even more things in subsequent videos. See you in the next video, bye bye. 64. 64 Exercise 11 – 3D compositing text on background: Hello, Dre and welcome back. In this exercise, we are going to add three D text to our image. Go ahead and open your fda, your TDN photo shop folder and bring in the breach perspective to image. Select the image and open. And we're going to add three de text to this image. First things first is check the image size, image and image size. And from our image size, we can see that our image size is big. Now this is 58 ". I want to make this 20, that's the width, the width should be 20 ", and the height should be 13.3, the resolution should be 72 and ok. Perfect, Control zero common zero to fit our canvas in view. Now the next thing I'll do is create my treaty text or my text, select my al type two, and then type r2b. I want to type this in capital letters, and then scale my text. Scale my text. I'll just go ahead and effect the changes and go to three D and then new three D exclusion from selected Lia. Perfect and now we have our AB text in treaty. Our scale is up using the skill tool here, and we can see that we pretty much have a very accurate representation of how this sit on our background. Foo is doing a really good job fitting to the background, our treaty text to the background. So Furtherfo, I'll go to coordinates and then move to ground to furthermore position this well. And we can see that already we're having a very accurate positioning of our text. So I can click on scene and try to adjust this further more and maybe bring this forward or bring this backwards. So this will basically depend on the look you want to go for. Do you want it to be? Further or closer to the camera. Further we or closer to the camera. So Goff for this look. Okay? Go for this look, select my Ab text and move to ground. So we can see that it's already on the ground. Now, I'll just scale this up one more time. Just a bit. And maybe move this to the left hand side a bit. Perfect. Now, the next thing I'll do is go back here and maybe increase extruion depth a bit and then come and choose a profile. I want to choose this profile, which kind of inflates our extion. This is what we have. This is what we have. Yeah. And this is good. This is perfect. I'll select my infinite light, and I just want to make our shadows a bit soft, softer. So I'm just going to increase the softness of my shadow. My shadows. Perfect. So I like the softness. And next thing I'll do is, let's see, select my environment, and for my ground clean, I want to kind of increase the opacity of my shadows. Okay. T to increase opacity to see 75%. So our shadows are a bit firmer on the ground. So, that's what I want to do here. And then next thing I'll do is just select my AB text and then go to materials and try to see what we can do with our materials. Now, we can adjust all of these parameters like we saw in the previous video. The want to go with something really simple, so I want to select my first material here, and then who down shift and select the last one and just go ahead and add a preset. This is what I want to go for. I want to go for this preset. This is the marble preset, I think. Let me just hove on it. Yeah, this is stone marbled preset. This is all I want to go for. I don't want anything too complicated. This is all I want to go for and let let's try to adjust our lighting. Let's make our light brighter because when we render this, it's going to be dark because of the nature of our material. So we want to increase the intensity of our light a bit, a bit more. First of all, before I do that, I want to fix my BA to select my environment, and then here on the IBA. I'll just click here and edit texture. So we want to have our background as our texture, so that the reflections will be the reflections of our background. This will make our work even more realistic. So what I want to do is to unlock my background, H on control or command on the mac and click here to select my image. And then go to edit and copy. Now I can select my image. Select my image and go here to our IBL to our default IBL and then control V to paste. And I'll just put the image and then reveal all. So we can reveal all our image. It's going to be using all the information here instead of this tiny information here. The reflections will be more accurate and have higher quality control S to see k. Now, let's go back to my file and we can see that our adb TD text is now reflecting our background. It's now reflecting our IBL. Our image based light. So next thing I'll do is maybe increase the light and then render. So just to click here to go back to my TD view and for my lighting. I could, first of all, increase the intensity of our IBL. So I think we should increase the intensity of our BL first of all. So 122, two, and then non select our infinite light and also increase the intensity of our infinite light. So let's make this 134, and let's try to render and see. So just click on render here and photoshop, we render our file, and I'll be back when our rendering is done. If I just zoom in, we can see that we have a lot of noise, and there's still a lot of work to do rendering wise on this image, right? So it's not perfect. Now, there is one thing we can do to solve this problem, and that's basically rendering our image in a higher quality. Okay? And to do that, we just come to TreD, and then come to render document to file. So this window is going to open, and it's telling you render video. So we can use this to actually render animations also in photoshop. But for this purpose, we are only going to be rendering an image. So select folder. So you are going to select your folder, and then we have the image name, which is perspective, which is bridge perspective to. We're going to add bridge perspective to Don. So it's going to be preach perspective to Don. Now we have settings. We have settings. We have the format. So just come here in a format, let's maintain the GPE format, and we can select settings for the quality of our GPE image. And we want to make sure our quality is maximum here. So Ho. The next thing we'll do is choose our document size. And as we can see, we have our document size based on the size of our document. Like we can see here it's 1440 by 960 pixels, and that's basically what we have here. But we can select other sizes, right? But this is just what we want to maintain, and we don't have to worry about frame rates since this is not an animation, and for trade equality, yours should be set to interactive open GPL. Because that's the default. So you have to come and choose the retris final. Now, this will give you a higher quality render. It will give you a more realistic render. So make sure you choose the retris final. And then for quality size, you should just met this, I think, about five or six, just above four, basically, or four or five or six. But the higher the value, the longer it's going to take to render. So you have to choose the size according to the power of your computer. So once you done choosing the size, and once you're done chosen the quality and all other settings, all you need to do is just click render. So I'm just going to click render, and I'll be back when our rendering is done. So render. And our folder shop is going to take it time to render our image in the background and then save it in our selected folder. And we're going to have this image very realistic, very clean render saved in our folder. So when it's all done, I'm going to come back and show you my result. So our rendering is completed and just go to the folder, and this is my rendering. This is our rendering. Okay, so we can see that this is way better than what we had previously. Just bring it into photoshop. This is way better. We have less noise and it looks very real. It looks very real. I'll just contro to duplicate this and now I'm just going to do a few touches. I good scmR O, and I'll just increase the clarity. Increase the clarity and also the texture and also let's increase the vibrans. Okay. To vibrance and let's see shadows. Let's try boosting our shadows or making our shadows brighter, a bit brighter. I'll just so I want to just mark out my treaty text only. So I'll just hold on and click on my mask and just pint over over treaty text. K. So I just pint over my treaty text too my treaty text. Only. We just want to have those details on our tree text. So we can see how we are adding more details to our treat text, and my hardness should be zero. I'll just increase the p size and paint over here. Perfect. I like what we have, and we could go further to make our composition even more real. We could crop out our three D text from the background and do a more accurate blending between the color tone of our background and the color of our three D text. We could go on and on and on and on and just make sure we some way better than this, a more accurate composition. Okay, but what we have so far is just good for the purpose of it. So this will basically work for this exercise. Okay. So that's it for this exercise, guys. Hope you learned something new. So see you in the next video. Bye. 65. 65 Exercise 12 – 3D compositing wine bottle: Hey, there, welcome back. In this exercise, we're going to do some three D compositing in photoshop. Go ahead and open your folder. You can do Control O or command O to open your three D in photoshops folder. And we are going to bring in this image, this background plan image. Select the image and open. Perfect. So first things first, I want to reduce the image size of this image because this image is really large. We can see that it's 83.333 " in width and 62.5 " in height. And that's too large. So for the width, I want to just make this 23, and the height automatically change to 17.25 because they are linked to each other. Okay? So he ok. Perfect. Now we have our file size reduced. Now the next thing I will do is come to Layers, create a new layer, and then come to TD, new mesh from Leer, mesh preset and wine bottle. So create a wine bottle and Yeah, this is our wine bottle. Now we can double click here to go into the three D layers panel. And I'll just select my wine bottle treaty group. Now, this is the wine bottle treaty group. And inside the treaty group, we can see that there are different three D objects. We have the libel, so we can off this or hide it to see what the bottle is like without it. And we also have the material for this libel. We can see the effect we get when we hide the material. And we can do that for the bottle itself. For the bottle itself, and also for the cup of the bottle. Okay. So these are the different treat objects in our TD bottula. Now, select the wine bottle and select our treat slide two, and I'll just click and take the wine bottle deeper into our sin, and position it just like this. And I'll scale my bottle up a bit more and then push it deeper into our sin. This should just to. So this is perfect. And I'll click, move to ground to perfect every other thing. And yeah, this is what we have. And now we can start to work on the materials. So I'll just open my three D layers group. And the first thing I'll do is work on the Cp. So for the cp, I'll select the cp material. And for the Bs color, I will just give it a dark red color. Sims for the interior. And for my roughness, I'll bring my roughness to zero. For my metallic. I'll make it a bit to the right and side. Let's say 13%. And this is just all I want for my cup, for now. Now, just go ahead and select my bot too. So this is my boto. And the first thing I'll do is choose a preset. So I'll click here and choose a preset. I want to choose a glass preset. So we have this glass preset. This is the glass scratched preset, but we want a clear smooth glass. Okay? And this is it. This is a glass smooth preset. So click. And apply this preset. Now we can see how invincible our glass has now become because this is a glass preset, and we don't have opacity applied, right? So the first thing I want to do is change my pas color because I want to create an illusion of something in my bottle of wine in my bottle. So I want to choose a color close to purple or magenta, he. That's for the pas color, and for the interior color, I also want to choose same color but a darker shede. K. And then for my opacity, I want to increase my opacity to C 24%. Perfect. 4% should do for my opacity, and I just want to leave every other thing just the w it is for now. Next, I'll select my liberal material, select my libal material, and for my liberal mature, I want to click and then edit texture. And it then opens a new file where I can please my texture. For this, I'll just go to edit. Sorry, go to file, please embed it. In our folder, we will bring in this wine Libel two image. So go ahead and select the image. It's a PNG image, in Libel two, and then please. I skill is up bit, and I want to create a background for my libel. Create the background, go back to layers, bring this below, bring the background below and then double click here and just sample this color, this dark color in the middle of our liber hero here. I want to do one more thing for my liber design. I want to create a strip along the edge like this, and then double click. And then sample this sheet. This cool color hero. Tick my move to wool on t and drag a copy to the lower side. Perfect. Now, I'll just kill this up one more time a bit. So this size is just perfect, ok, and I'll control S two transfer our libal design into our TD object. Perfect. Now, this is it, and we can furthermore work on the material properties, so select the libal design. Sorry, the bal material. And for nes, I just want the suns to be zero. And for metallic, I want it to be see 16%. Okay. So we can have some reflections on our libel material. Perfect. Now, next do is work on my scene. Okay. So for my scene, I'll go ahead and select my environment, and I want to change the idea. The first no do is, go back to layers, select my bagund lier, unlock my bground lier, who don't control or command, and then click on the Tthumb nail of my Bagund lier. Go to edit, copy or Control C. Select my selection two and de select. Perfect. Now, I have my background layer copied. So go back to my IBL. Sorry, go back to my three D. Go back to my environment. Click here edit texture, Control V. Ok. And I just want to reveal all my image and control S to save. We've now updated our scene as soon as this is done. So we've now updated our scene, so you can see that we are now having reflections of our background. On our bottle. Perfect. Now, for my color, I just want to reduce the intensity of this to see 60% and select my before my infinite light. I just want to increase the shadow. The shadow softness. Increase the shadow softness. Perfect, and then select my infinite light, increase my shadow softness. To see 30% and for my intensity. I think 90 is just perfect. So let's now do a test render to see what we have been able to achieve. So just click here a test render and foto show would do it calculation in the background and we'll be back when the rendering is done. Yeah, so I couldn't wait for my rendering to be done. It was taken quite some time. So I just hit skip to see the progress so far. And I think we have achieved something quite good. Now the next thing I want to do is I want to just adjust my cup. Work on the material for my cup to select the cup material. And for this, I want to pot the metallic so as to create more reflections on our cup. So 23% should be perfect. And I want to make the cup even darker bit darker in color. So just a bit in heat. And I think we are done here. We have everything laid out perfectly. So I'll just go ahead and create a high quality render right now. So go to Treaty, and then render document to file. And instead of Pgroun plein, we just going to name this wine. Or Wine. And we're just going to maintain every other setting here for GPEg, make sure it's set to 12 or maximum. And then we are going to use the tris final, and then for the high quality threshold, we maintain five. So heat render and BPA, meant for the job is done, rendering our image. Hey, so our rendering is done, and if I just go to my folder right now, in my folder, we will see the wine image. Now, if I open this, you'll see that our rendering has completed successfully, and our image looks just perfect. I just bring this image into food shop. And I could do for the adjustments to my image. Let me just open the camera. And first thing I will do is just work on the clarity so that we get some more details. So I'll just increase the clarity and also the texture. Then maybe for shadows, I could just make the shadows a bit less concentrated so we can have more details, and maybe boost to contrast the bits, and then vibrant a bit. And basically with these changes, I think we are good to go. I feel this look is just perfect. I don't want to do too much. So I hid or return on the mark. This is our image, pecable. I'll just control S to save our image. And for this, I will also control S, so you have a copy of this. I'll just name this wine. Key and control as or hit sieve. Perfect. Yeah. So this will come to the end of this video, see you in the next one. Bye bye. 66. 66 Create Gradient 3d with the Mixer brush tool In Adobe Photoshop CC: Hello, Dre and welcome back. Now in this video, we're going to learn how to create a type of TD effect with the mixer brush tool here in Photoshop. Now this is not really a tre D effect like we've been looking at in previous videos of this module, but this method gives us something that looks quite similar to TD. So this effect is more or less a bonus to this module. So first thing we have to do now is create our background or document. So I'm just going to take the 16 by 11 " and 150 resolution and create Now, like I said before, we're going to be using the mixer brush too. And the first thing we want to do is take the ellipse to and create an ellipse. So this is my ellipse. And I'll just remove the stroke, give it a color. No, not a color. Give it a ingredient. So we can give it this gradient or this one. So let's start with this guy here. This is what we don't have. And what I want to do is I want to actually duplicate this because we're going to have lots and lots of them. So I'll duplicate this in do to duplicate. And for this order ion, I'm going to use a different gradient. Let's use this gradient this time. Perfect. And also, I duplicate this guy to have another one. And for this one, I want to do something completely different from what I have done in put places. So what I want to do is, I want to duplicate three more versions or the same ellipses. Perfect. So for this guy and this guy, I just want to change the gradient. Let's use this gradient, and in fact, let's try changing. This gradient also to hit you. Come here and let's choose this guy. Okay. And yeah, so let's work with this. So the next thing I want to do is just select my ship and just rasterize my ship. Because this will work only if we rasterize our ship. Then select all of these guys and rasterize them and then merge them into single Yeah. Perfect. Now, we don't need step one. The next step we do is take our mixer brush to, and we've looked at the mixer brush to in previous lectures. So we've used this over and over again. So this is just another use of our mixer brush tool. Now, what we want to do this. Uh, have some settings. Here. Now, make sure this is checked. So this will enable us to load our brush, okay? So this should be checked, they should be checked. And we have our should be 100%, of flow 100%, and our smoothing, you know what smoothness. Smoothing basically smoothens our brush strokes, right? So this could be lower. And of course, it means our brush strokes will be more reactive to our drawing, okay? And if we boost it, it's going to be smoother, but slower, right? So let's just track a pans. Let's see 24. Now we have these presets yet. Now with these mixer brush settings, we're going to get different effects. Okay, let's just choose this one for a start, so the dry heavy load, select the dry heavy load. And now let's hold down all on your keyboard and sample this guy. Hold on a and click to sample This guy. Let's see. Okay. We actually have to be on our layer, we can see that were not on no layer, so let's just hide these two layers. Or not let's not hide them. Let's just select our layer instead. And we want to sample just the layer. So sample our layer should be turned off, and I'll just hole on and click. Now, if you look here, you're going to see that it has copied our bred. Okay. So for right click and select my hard brush, maybe reduce my brush size. And now using my drawing tablet or my drain pen. I will just draw and you're going to see what we are now creating. So this is what we've now been able to create. Now, you can see that it has that TD effect. I'm just going to undo, and I'll just create a new layer, so all our drawings will be on this layer. Perfect. Let's see what right. Photoshop. So we can see what we are achieving. So we are achieving this three D effect, but with the mixer brush too. Okay. I'll just undo a couple of times and reduce my smoothness to say 5%. Let's try one more time. Photo. I think I would kind of need to make my document bigger. So as to accommodate my texts, Perfect. So I just go back and let's try right in this time. So sing the tablet is way better than using your mouse in this case. Okay. So we can see how we've been able to come up with this text. Let me just boost up my smoothening bit. 16% photoshop. And this smoothing just makes the whole ting way better. Okay. So I'll be photoshop using our mix brush too. This looks incredible. Create a newer, and let's try writing something else, something else. So let's see. I love. And I'll just make my bad size ppiga. And I do B. Inc. Incredible. Let's try the colors. So hole down old while selecting my layer, of course, H on old I'll also make sure my brush is bigger than my sample. H on old and sample. Perfect. We've sample it. Now we can create a new layer and start drawing. Start drawing our awesomeness. So I will be to shop. Incredible. Let's try the mix up brush presets. Like I said, we have presets, right? We have the dry preset, the dry light preset. Let's try the dry and see what we get with this one. We can see that it feeds out with the presets as you, it feeds out. So foo. So we can see it's feeding out Yeah, so that's what we get with this one. We'll just delete. Yeah. Let's try something else. Let's try a different one. Now, for this next one, let's try the wet brushes. So let's try the wet heavy mix. And see what we get now. This will kind of mix our colors at points like this. Okay? So it all depends on what you want to create. It all depends on what you want to create. Perfect. Photo shop. Yeah, yeah, yeah, yeah. So let's try something else. Let's see, let's try this guy. Almost similar to the previous one. So basically, guys, this is what you get with this. Now, let's try using this guy. This guy right here. Let's try using him. So increase the size of my brush and on old and sample. Let's see what we get with this one. So create a new layer and start to brush. So we see what we get now. This is, cool. We love Wow. I so much love this. I so much love it. I love this the previous one more than this other ones we cited. You can see that the possibilities of this technique is limitless. Very limitless. Now, let's try this one, the dry heavy load and see what we get now. This should mix. I don't think it's going to mix. So we see it's not mixing our colors. We're just having everything just like how we have it here. We're not having a mix like the previous one. So let's try writing. We love Photoshop. Incredible. So we see that the possibilities of these two are limitless. Okay? So this is what we had before. This is what we just created. Perfect. Now, I want to explore something else. I want to explore something even real cooler. Let's select this guy and then go to our properties. Sorry, our ar styles, and then let's give it a bevol invoice. Let's add some more awesomeness. To. Let's maybe soften the beads, and just try to create something quite dramatic here. Okay. Yeah, this should do. No. Yeah. Let's create this shine. Let's make this shine stand out. Okay. So let's use 89. Perfect. And next now I do is just maybe first of all, duplicate this so that we have a copy. And then let's rasterize layer style. Perfect. And then take my mixer brush too. M this and sample. So let's see what we get. Perfect. Now, create a new layer. And let's draw. This takes it to a whole new level, takes it to a whole new level. Try this other one. To see this one is mixing the colors, and it's even looking better. Okay? It's even looking better. It's even looking better. Basically. So as you can see, the mixer brush tool is just awesome. Awesome. We've been able to achieve this incredible three Df within minutes. Now, we can actually use parts to add this effect, and we're not going to look at that in this video. We're going to work using parts in our exercise section. So we're going to have a couple of exercises, maybe two or one, and we're going to explore even more awesome techniques using the mixed approach to. I think among all of these, I think I prefer this guy. I like this better. We better. Let me just high these layers to visualize this even better. Now, this is just incredible. This is just incredible. I love this to B photos just that I didn't complete the spelling. So maybe we are going to do better in the next do. I'll just see this so that we don't waste it. Mx brush T D. Okay. Perfect. Save. Okay. Yeah. And this come to the end of our video. See you in the next one. Bye bye. 67. 67 Exercise 13 – Mixer brush tool 3D effect with Paths: Everyone and welcome back in this exercise, we're going to explore even cooler ways of using our mixer brush to three D effect. So go ahead and create a new file, a new document. And let's basically use the same size as before. And from here on, I just want to bring in this guy. I just want to bring in this guy. So select. I think it's still an ellipse, right? Yet. It's not an ellipse. So I actually want to, in fact, I won't bring this in any longer. I'll just create a new one. I thought it was still an ellipse. So I want to have as much control as possible. So I want to be able to change the colors. So, let's select this guy for now, this guy for now. Perfect. And the next thing I'm going to do is go to my Fonda. My treat is Fonda and bring in an image. Now, this is yeah, this image. This But image. Now, this is a PND image, go ahead and bring this image in. Then drug here. And what we're going to do right now is we're going to choose out our text. Now this is what we're going to use to create our mixer bush to three D effects. So first thing is, first, I set Ma and just lock Ma. And now in drawing this out, we're not going to use the normal sheeps. Okay? So if you select your pent, for example, you should have it a set two sheeps. Now this when we draw out sheeps, right now, we're not going to use sheeps. We're going to use parts instead. So make sure you have parts selected and With these tools, you can basically draw out the path of our text right here. That's what we're going to do. I'm sure you know how to use all of this. We've covered this very much, that's going to be a problem. Next thing we're going to do is start creating our path. What I'll do is just go to windows and go to paths and able our paths panel. We're not going to start creating a pas. I'm going to use my pencil, of course. So click and I'll just try to create a smooth part. K. So Let's see I create a point and I'm not satisfied with its positioning. Oh, I want to edit the curve, can just come and select my direct selection to, select it and adjust the handles and make my path just like I wanted. I guess that just by the way, go back to my tool and I'll continue. So, I don't want to draw all of this while recording the video. I'll just fast forward the video, and since this is something simple, which, of course, you know how to do. I'll just fast forward the video and come back when I am all done. We actually don't have to have all our parts linked. It means we can create them separately. Let's see we want to create this B. This E separate from this B, we can just hit skip to select our path and then start creating a new path for E. That shod take note of. Just use your discretion in places like this. If you think it's better to join them together, you can join them together, but if you think it's better to just create them separately, fine. We can create them separately. With that said, I'll go ahead and fast forward my video once again to see you when I'm done. Oh. Hey, so I've gone ahead and traced all my text using my path and writes in the part you can see, this is my path, and it's been given a default name, which is walk path. I'll just do click this and give it a name. Let's see. And heat. Perfect now, our path is complete. The next thing we'll do is just first of all, make sure we work on our ellipse. Let's select our ellipse and let's double click here to bring in the gradient feel option and just click here to see the different gradients. I just go ahead and double click here and make this closer to blue. Okay. So this shoe do and for this one. I'll just make this I'll just make this close to pink. So ok. And let's just use this critical ingredient. Now the next thing I want to do is just come in and give it a boss. And for size size, this sh. Yeah. And basically, let's just make sure we achieve something that looks like this, So the next thing we'll do is, of course, go ahead and rasterize our LEA, right? Let's just contro to copy and let's rasterize this guy. Right click and rasterized layer. Right click and rasterized layer style. Perfect. Now, I'll just select it and select my mixer brush to make this bigger old lt and sample. Lt and sample. Perfect. On next thing I'll do is just hide my beauty layer right here and go ahead and select my beauty path and create a new layer. On which my effect will be. So I have to select my beauty path here, I have to select my near. Then come here, right click and stroke path. So click on stroke path, and we will be able to choose which tool we want to use to stroke our path. And we have to make sure it's the mixer brush to select it. Perfect. Select the mixer brush to and hit. And it's just going to stroke our path. Now we can see that this is two big, right? So I'm just going to undo. And let's try to reduce the size of our brush. Reduce it even more. We've increase it just once. Let's work with 50, and now let's try it one more time. S here, select here right click, stroke path, ok. Perfect. You see that this is. This is better. I will feel we could make this even big. So I'll just undo and Me my brush size even bigger. I'm just using my right bracket key to make it bigger so 60 70. So 70s. Select this guy here, select this guy here, click. Show path k. Perfect. So I like what we now have. Now we can delete our parts when we get satisfied. Okay so we just delete. Yeah. Perfect. So see what we have achieved. Incredible so of this guy and just centralize this better. Yeah, this looks incredible. Now we can just give it a background, a different background. Maybe maybe give it this color or even a black color altogether. So black color just perfectly. Or a darker color instead Not necessarily black. So just a darker color. And we can experiment with other colors as well. Let's just stick to what we had before. Perfect. Perfect. If we like, we can furthermore make adjustments to our liar. Like for example, we could just contro g to duplicate it and got to filters, got to stylize and then Perfect. Now this die. Now this di adds this piglet effect and that to the edge and the highlights of earlier. So we see it. It's very subtle, but it looks very nice. It looks incredible. Now we can also just control L to bring up the levels and maybe make this even more rich in color in contrast. Yeah. Perfect. To this what we've been able to create incredible. I can just close my path and marvel at my awesomeness. And I absolutely love what we've been able to create. And with this we've come to the end of this video, see you in the next one. Bye bye. 68. 68 Exercise 14 – Mixer brush tool 3D effect with Image: So as you can see, I have gone ahead and added a gradient background to our beat three D effect. O mix tree effect, so you could have it with a gradient background, you could have it without the gradient that with dark background, and you could even have it with white background. It all depends on what you want. Perfect. So in this exercise, we're going to cover one more application of this mixer brush three D effect. So this time, we're going to use an image, and we're going to use it to experiment this application. Okay, go to file open, and in our three D in photoshop folder, we have this image, this happy excited. Now we have the photoshop file to go ahead and bring in the photoop file. So select the photoshop file and open. You're going to see this image. Now, what I've done here is I've gone ahead and removed the background. You have moved her from the background. So she is away from the background. Perfect, so I'll just control J to duplicate her one more time. So the next thing I want to do is just go ahead and pick my mixer brush tool. And this time. I want to select this and make this bigger. Make the mixer brush bigger. And this time, I just want to go ahead and sample clots. This time, we're using clots to create the effect. We just want to make this see 350. Perfect, because we want to cover we want to capture the yellow color, the orange color, and this blue color. 350. Let's see 37370 is even better. All I will do right now is roll down old and sample my color. Now we can see that we've been able to pick our color or our sample instead. I'll just make this dry and heavy load. And from now on, I can just create a new layer and start painting on do. Let's see what we create. Now you see this is what we get. With this effect. So I'll just to do this and try to create something that makes sense. I'll reduce my push size a bit. And now I'll just do this. I'll just come and do this. Now I'll just bring this behind now girl. To create a nuclear, and let's continue painting. Now, I'll just paint like this I just don't do that and just pint like this. So what I want to do right now is I want my lady's hand to be behind this layer here. So what I'll just do is stick my lasso two and now out her hand. Okay. I'll just cut out our hands or control G for the hand and off this layer. And now let's bring this guy this way. Okay. And what I will now to do is even cut high even further. So I'll just cut like this to the lower parts of the lid control g and bring it above my layer here above this layer here so that we have her looking like this so that we have the whole composition looking like this. So it's coming this way behind her, it comes on top and then goes in between her hand and her body, just like this. That's the effect we want to create actually. Next thing I'll do is tat my brush and continue. Now, I'll just create new layer. Okay. And now, for this one. For this one, I'll just come from up here. Okay. Perfect. And for this, I'll just tick this below her or behind her ether. Perfect. So you see, this is basically what I wanted to create. This is basically what I want to create. And yeah, right now, the next thing we're going to do is we can start adding shadows, because if this sheep is going in between her hand and her body, the hand is going to some shadows on the sheep, and also the sheep is going to cast some shadows on her body, right? That's basic logic. Okay, so that's what we are going to do now. So we're going to add some shadows. So further offre, we have to create a nuclear on top of her and behind this guy. Okay. So B for brush. And I'll just make sure my macron is black set to block. And what I'll do is, I'll just come right here in between the put layers, and I'll just make sure that's hood down old on my keyboard or my PC or option on my mac and click, so as to clip mask this layer to this layer. So our painting will only show on this layer. So let's select this layer and start to pint. Let's start to pint. Let's choose this. Let's paint and see. Now we can see that it's only appearing on this layer right here. Okay. Perfect. So I'll just reduce this and just a little strokes, actually. We can actually painting on this layer, and I shouldn't be painting on this layer should be painting on this layer, so I'll just do. Select do on doo. You can see that we still have some of the strokes. So select this layer and pints. Yeah. Pints. And we can see this sharp line. So for this sharp line, I'll just rely a mask here and hit X to select my black as my four gram color and just kind of erase some of these sharp lines. Perfect. So we can see that we've added the shadow, and we can furthermore reduce pacity, and even change the planed if we want. So I'll just reduce lopacity and Yeah. That's perfect. So we have this so shadow going on here, and we can add the shadow behind the hand. Okay? Perfect. So for this, I'll just select my layer and then hit B from my brush and just add it. Softly. And we see that it's too much, so we're just going to add it. We're going to reduce the size of our brush and add it like this. Oh. Perfect. For this, we can reduce pacity perfect a cast shadow here cast shadows here. Finally, I want the head to cast shadows on this sheep. Okay on this one. Perfect. We're just going to create a new layer on top and take a brush tool and some shadows. And just reduce our city. Perfect. Control zero or command zero. Zoom out and yeah, so this is just incredible. This is another application of our three D mixer broach effect here in Photoshop. And with this we've come to the end of our video and see you in the next one. 69. 69 Homework: Hey, there. Welcome back. So in this homework, I want you to create this effect with a different image. Come to file, come to open, come to your folder, and you see this beautiful blonde woman image. Just bring in the image and we're going to replicate this effect on this image that's using this image. We can see colorful addresses. And this means you can come up with something really interesting. Okay. So go ahead and work on it, and share your files with me. I would love to see what you achieve. See you in the next one. Bye bye. 70. 70 Homework: Hey, there, welcome back. In this homework, I want you to create this effect. So go ahead and get some text, freeze it out using your path and create this effect. Give it the background, just like I did here, and maybe give it multiple backgrounds. Maybe the black one, like we did here and one with the gradient. So just be creative with the whole thing. Okay? I'm not going to box you here. Just use your creative discretion and come up with something incredible. Kindly share your files with me. I would love to see what you achieve. And that will round it up for this modo. See you guys in the next room. Bye bye. 71. 71 Module Introduction: In this module, you'll learn how to create edit videos now to be Foote shop. You'll learn how to edit videos, do simple amitions, t texts, transitions, and other effects to your videos all in Foote shop. Kindly download the attached project files for this module before you continue. And please reach out to me via message or in the Q and E section if you have any questions, I'd love to make this course a five star experience. See you in the next video. 72. 72 Getting started with video editing and animation in Adobe Photoshop CC: Hello, everyone, and welcome back. So in this module, we're learning about video editing in photoshop. So when you hear a photoshop, your mind never goes to video editing. But yeah, the reality is photoshop is so big of the software that you can actually edit videos in it. It has features for video editing and even animation. Okay, and that's what we're going to be looking at in this video. In this video, we're going to be editing a video in photoshop. So go ahead and come to file open, to your folder. And in your folder, you're going to see that in the folder 11, moving pictures in a photoshop. You're going to see this video, the children playing, and then happy girl. Okay? So you can select the boot of them and just open. You can open them or you can drag them into photoshop. Now it opens in the photo shop. And you get this new panel. I'm just with this smaller. So click and drag. So you get this new panel. We call it the timeline. Okay? So this is what enables us to edit our video in photoshop. Okay. So this is the first video. That's the happy girl video. I'm just going to drag it to this site and go to the next one, which is the children playing video. Now, I want to bring this other video in here. So I'll just click and drag into this please and drop it. I'm just going to go ahead and add the video after the girl video. Reposition it properly. Perfect. And with video editing, we get to use the same tools we have as for editing normal photos. So it means we can go ahead and take our crop tool, for example, crub out our video. Just make it this size like this toke. Perfect. So when you want to edit videos, when you're editing videos in Photo shop, you get under your layers panel, you get this video group. So it puts in our videos in a group. So this is our video group. We can close this group, we can off the group or hide it to see our videos. Again, we can enable it to see our videos. We can do a whole lot of other things. Okay, we can even add layer masks to our video layers. So that will just do this because that's not what we're going to look at. Now we get the timeline. Now on this timeline, we can actually zoom in and zoom out using this this slide here, so we can zoom in to our timeline and zoom out from our timeline. So just zoom in the bits. Perfect. And then we have this, which shows the frame rates. Okay. So it's 25 grams/second. Now, each frame is just an image, okay? So whenever we have a video play in, video actually makes up a certain number of pictures which are arranged and played at once. Okay? So it means let's see. Let me just explain this. We have our time here. Now we have this as an image. If I just move my time to the next frame, for example, or to the next position. T t just t this in pit. So I I move this, you are going to see another image. Another image, another image, another image, another image. So these are different images of this one gel and inter actually separate these frames. So we have them as separate images. So for a video to play out, these images have to be arranged or stacked upon each other along a timeline. So for 25 frames per second, it means in each second, we have 25 pictures, 25 images. So for a 1 minute video, it means we're going to have 25 videos times 60, because there are 60 seconds in 1 minute. So it means we're going to have do certain number of images for 1 minute. The higher the frame rate, the smoother the movement. But that's just by the way, that's just a crash calls on frames per second. Frame rates. Now, we have the frame rates, we have the duration. We have this button here. We're going to look at this later on. We have where we could play, we could go back. And so on and so forth. Now, in order to cut my video, now I just want to cut my video. Now for you to know, photo shop is not the ideal software for video editing. We have the software we call HB Premier Pro, which is so made for video editing, and even after effect, L after effect, which is made for more advanced effect, video effect, and also for animation. Okay? Now, we can just click here. And bring our timeline to where we want to cut. You bring our time to where we want to cut, and then just go ahead and click on the Casals icon, and we can cut our image into two. Now we can see that. We have a second layer with copy added to it. Now we can just delete this to make our video shorter and maybe even cut the first video bit to make it even shorter. Out or zoom in rather. Perfect. So make this this long. M almost 10 seconds. So just cut here. And delete this guy and then court here also around here. Okay. So make your video something like this. About 20 seconds long, so we can see 20 here. So 20 something seconds long. Okay, so 21 seconds. We can see it here. Perfect. We now let's play our video. So we can play our video and we see that our video is playing in footso Isn't that amazing? That's amazing. Okay. Now our video doesn't have any sound, so we can add a sound. We can add sound to our video, so you can just come here, click here, and then add sound out add udo in our layer, we're going to have this file. Okay. This MPG file. We call this free Background music. It's a free background music. I downloaded from YouTube, I think, or one of those sites where we get free music. So I'll just click here to out the remaining parts of the video, and we can actually delete this part, and now let's play our video. Okay. So I want to trim it furthermore. I want to cut it around here because we have some silence here which I don't want. So I'll just click and grab my video to extend the length. Keep my audio reader. So now I'll play. And I'm using my spacebar key on the keyboard to play. Reduce the volume. And W. Perfect. I love this. And furthermore, we can add some more effect. Now, if I click on my video and right click, we see these options. Now, we have this option for video and this option for audio. We can add some effect to the or rather we can edit the video. We can edit the duration and the speed of the video. We can make this slower. We can make it a slow motion by reducing the speed or we could make it faster by increasing the speed and also the duration. And we have the audio. It means if our video had a sound, we could reduce the volume of our audio. We could also feed it in or fed it out. Perfect. Now, that works for videos, and we also have some options for audios. It means we can feed in our audio and feed out our audio. So I'll just feed in my audio and feed out my audio just a bit. And maybe reduce the volume to like 80%. Okay? So let me plat it again. So now we can see that it's now feeding in. It's feeding in. So it's starting from very nettle volume and then to the normal volume. And when trying to play a video, at first, it won't play smoothly, normally, because it's trying to pf it's trying to render that change. Okay the change you just applied, so it's trying to render it. So when it renders it, you see that this blue line, this one here gets completed. And if you play the second time, you get to have a smoo see, it's smoother now. Perfect. We've been able to apply the feeding and feed out. Let me just try the feed out. So we see it's feeding out. Our sound is also feeding out. Perfect. Now, we can add moting so our video, we can come here and add transitions. So we have different transitions. We have the feet with black, feed with white. I'm just going to add the feed with white in the beginning. So I'll just drag it and drop it at the beginning of my video, so we see that it feeds from white to our video. So that I'm going to do same with with the transition between this video and this video. So come here, click and feed with white. Feed with white. I'll just make sure I'm placing it in between our videos. Perfect. I'm just zooming Now we can click on our transition on our feed transition. This is the effect. We can click and make it even longer, so we can increase the duration on our videos. You see we've increased the duration. That's one thing we can do. For the end here, I'll just add a feed out or maybe a feed with black, feed with black so that we have it feed into black. Perfect. So we see these are kind of the basic things, very basic things you want to do in video editing. You were editing your videos, okay? So photoshop editing, video editing has a bit of shortcomings as compared to, of course, the professional way of editing, which is using premier pro. So things like easing in and easing out are things we don't get to have here in photoshop. Okay, so we don't have ease in and ease and the effects kind of make our admission smooth. So we also have this button here. Which allows us to see the resolution. So we can increase the resolution of our play back. To 100, which will make it clear on 100% resolution, but of course, it's going to tax our systems very much. And we have other resolutions. We have 50%, we have 100%. So basically, these are very basic things you can do here in Photoshop. Okay. So you can add the video maybe a file by clicking here and then just adding. So you see that you can add an audio file, you add an MP four, MPT, whatever type of file, the photoshop file into our timeline. Perfect. So this is just a very basic stuff. Now, I'm going to add text. So I'll pick my text two, my horizontal text to and just click. And now we see that that added our text behind our video, right? So I'm just going to type in happiness. Happiness. So I'll just align my text to the center. And I'll just click on my layer now and drag it up. So it's now on top of my video. So we see that we've been able to create this guy on its own layer. So I'll just drag it here, and we can see that our happiness text is now on our video. Perfect. So while clicking on my text, I'll just make this 150. Okay 150. Well, let's see 200. Let's try one 81st. So 180, let's make this 200200200 perfect. Yeah. So 200 is good. Now, it means we can add er styles. We can do a whole lot of other things which we've learned from past videos, right? Me whatever changes we want. That to our text, keyboard. We want to keep things very simple because the more we add things, the more taxing, this will be on our computer because video is a whole different ball game. So if we click here, we get to see some options. Now, we see the transform option, we see the opacity, the style, the text. Now, I just want to explain what this kind of stopwatch icon does. Now, this stopwatch icon enables us to animate. I enables us to me our text. So we can set the key frame. So let's see from the beginning of this time or at this time, we want our transform properties to be this particular properties. That's this size, this rotation, or this angular rotation, this scale, this, whatever. Now, all we need to do is take this to the next place. We want to have a change to maybe here, and we now see at this point, we want our transform to have this properties. So we want to transform our scale to these properties while maintaining the same position, the same position here, so I'll just click with key. We can see that Pods has created a new key film for us here. So this is what we call a key film. So I'll just bring my key film to this point. Now, see what happens. If I play my video, we don't see that. We now have our happiness killing up to this size and then it ends where our key film ends. Let me just bring this key film here so that you see that it ends here. If the video keys, we see The size doesn't change any longer because our key fame ends here. That's what key fame does. Now software like after effects, and premia will take this whole key fame thing to the next level. In fact, this is the basis of key framing animation, key framing type of animation. Yeah. So that's basically how this thing works. So for our opacity, right now, I'm just going to create a keyframe on our opacity and here, I'm just going to pick our capacity seal percent. So I'll just go a little bit in time and ma opacity 100%, 100. Now, come to this, please, and we want to maintain our opacity before bringing it back to 0%. So what we need to do is we need to click on the add or remove keyframe at this point. So we need to add this keyframe. We're basically copying and pisting this particular key frame here, because we haven't changed the value for opacity along this path, along this time. So all we need to do is then come to where we want our opacity to finish and make this 0% to enter. Now, we see that we started from zero opacity, we now moved to 100 and and we maintained 100 till this point and then ended it here. Ended it here, basically. So you see that's how framing works. Now, can just close this. And now we have a video. Do you have happiness, key. So om out, and I want to write down duplicate my lier. To my happiness lier, I'll just click on it and bring it here. Release. Now, I have created a duplicate, and I want to just move my duplicate here to this point. This point here. Perfect. At this point, I just want to type is free. So Happiness is free. Perfect. So we have happiness is free. That's the message we're trying to pass here. Happiness is free. So try to be happy. Perfect. Now, the next thing we do is, we're going to add an adjustment, or we're going to do some adjustment, some color adjustments. First things first, we want to add the vibrant adjustment. I want this to affect only my video. I'll just drag it into the video funda, and I'll just increase my vibrance to meet my colors pop. Okay. So 64% vibrance is looking good. Let's see 74% or 73%. Looking perfect. Now, it's a bit too much here. So maybe let's maintain 64%. Perfect. So 64% is just good. And the next, I'll just add my color look up. So Oh, I'll just go ahead and add my color lookup color lookup, and I'll just bring it into my fooler here. Perfect. T for my color lookup, I'll just choose a certain look. Let's just scroll down to see different looks. Let's see this one. Let's due the opacity and let's change the blended mode. The difference is not our guy. Let's see soft light. Yeah, let's just maintain soft light. Is perfect. So we are not going to add more effects so that our video doesn't get too heavy. So I'll just go ahead and sve my fire so control S and see my fires. I'll just sve this as happiness. Happiness. Video. And see Perfect. We have our video all edited. We have our adjustment layers, we have our text layers. We can even add sheep layers, right? We can add sheep layers. We just work like these are the layers. Okay. We have our groups. So everything is just perfect. And if we want, we could add more and more things. Okay, we could do levels adjustments, we could do curves adjustments, we could do everything we've basically learned in photoshop so far. Okay, we could do everything here in video. What it means, everything will then be heavier. Because videos carry more, with or are more demanding on our computers. Now, when we're done with this, the next thing to do is to see or or rather to export our video, so we can export our video by just clicking on this icon. So click here, and we can just do a quick export. Now we have the file name. We can choose the location. We have our ocation here. We can do okay. And then basically, we want our format to be this h264. Now this name is just another name for MP four. Okay. So it's just going to give you an MP four format, which is the perfect quality to play on most devices and on the web. So we have the presets. You could chooe a high quality preset, low quality preset, Difer other the presets, okay? So I'll just make sure I chose the high quality preset. We have the document size. That's the frame size of our document. And we have the frame rate. We don't want to change this. We have basically, these are all you need to. These are all the settings you need to worry about. You need to change any other thing here. So just click Render. H Fozia will take it's time to render a video and I'll see you when our rendering is done. So our video is done, rendering, and we're going to just play our video right now to see what we created. Okay, so this is our video, happiness. And I'll just to it to plead. Yeah. So this is basically video editing in Photoshop. And that brings us the end of this video on video editing. Now you know how to edit vide, go ahead and do some video editing. Go ahead and experiment with brochures, with effects, different effects. Okay. I would love to see what you come up with. Okay. So see you guys in the next video, we'll be covering more on video and especially ad. To see you in the next one. Bye bye. H. 73. 73 Exercise 15 – Parallax Effect: Hey, guys, welcome back yet again on our video on videos and animation in Photoshop. So go ahead and open your folder. And in our folder, we can see that our file is now set to audio because of the previous video. Now, I just want to select all formats here, so we see all formats. I'll just make this big large. Now, in our folder, I want you to go ahead and select the parallax image, and also the sky image, and also the UFO image and click open. Perfect. Now we see this is a UFO image. This is a PNG image, basically, so we have now background, and this is a sky image, like we know. And this is our paralax image. Now, this parax is basically a mountain or a rock, which have cropped. Okay, so we have removed the background, and we just have this. And we're going to create a paralx effect using these elements now just bring in my sky. Okay. Bring in my sky and I'll make sure this is a smart object, smart object, and also my U F. Bring in my UFO and also make sure it's a smart object to convert the smart object, and I'll just kill this guy down and hide him for now from my sky. I'll bring my sky. Now I'll just make sure my auto select is on. I'll bring down my sky. I'll bring my sky below my ya. Okay. Below my rock, Lia. I'll just scale my sky. Perfect. Now, I can maybe make my sky a bit brighter and I'll just take the good to images rather and then adjustment. And let's see curves. Okay. Let's do some curves adjustment. I'll just click the hand handle here and then just come here and try to make this bit brighter. Okay. Let me just do this also. Perfect. Yeah, I think this is good. Okay. So, I want to create a parallax effect. And parallax effect is basically a video with multiple objects moving at different speeds. Okay? They're moving at different speeds. So we equal scaling, they could be moving. There's some movements, but at different speeds. First of all, I'll just put image size and kind of reduce my image because this image is really large. Okay? O image size is really big. So I'll just make this 1920. So 1920 by one in 20. We can see that it's a square image. So click. Perfect. Now, we'll just zoom in and make this smaller. Okay, so it's just a very simple animation. I just want the mountains and the sky to be moving, but all at different speeds, all at different speeds, basically. So go ahead and bring in my timeline. It's a good windows and then timeline. So that will bring up our timeline, and We have our timeline empty. Okay. Now we can just click here to create video timeline. We can click. Now we have all of layers here now turned into a video. Now we can go ahead and start creating our animation. First of all, I'll just hide this guy, and I'll start with my mountain. And I just want to make this mountain ski bigger. Okay? So I'll just come here, maybe move my mountain a bit lower, and I'll maybe ski it even lower. And then open my options here, click on transform and create a key frame, and then go in time and make my transformation. I'll just make this bigger. Okay. And I want this to be this big, and I also want to just move bits to the right hand side to make sure I'm having a more centered alignment. So I'll just hit the key and we can see that we have our new key frame. I'll just play to see what we created. Now, like I said before, when you play the first time, the movement is not going to be very smooth like we see here. Okay? So it takes some time to buffer or to render our animation. And then when you play the second time, it now gets better. This happens even in premier pro and after effect. Yeah. To be patient for our video to play out first, and then we can see the change properly. So I'll just leave it here. And now I'll just play it now to see what we created here. So this is what we created. It looks perfect to me. I'll just extend our key f down to the end of our timeline. We can see our timeline is just about 5 seconds. Really just about 5 seconds. 4 seconds, 29 milliseconds. And yeah. So the next thing we'll do is admit our sky. For the sky, I'll just select my sky. Select my sky. And first of all, I'll just I'll rasterize my sky first to apply the image and then turn it back to a smart object. So smart objects convert to smart object. Perfect. Now, I'll just go ahead and create my key frame to open the options and set the key frame, and get moved back in time. We don't want this to move as fast as our mota, because the sky usually doesn't move. So the sky movement is usually not that observable. So let's just make a little movement. Let's allow everything to play now and we see what we created later on. Okay, so let's see what we have. This is what we have, and I like what we have. I go to feel that our sky is even moving faster than. It should. So I'll just reduce the speed by a bit. So I think this is perfect. Okay. Yeah. So the next thing we'll do is admit our UFO. So we want our UFO to be coming from behind our mountain. So bring so first of all, I'll just do the admission in front of our mountain before moving the layer down. So I'll just go ahead and close this and close this and then open my layer tree, which is my UFO. Now, I'll just position this properly and scale it even lower. And now I just want it to start from here. I want to start from here, maybe scale it even lower. And since it's a small object, of course, we're not going to be losing any details. So select my FFO and create a key frame, create a key frame and transformission, from the start. And then I'll just come to maybe 1 second and bring it up. Bring it up, and I also want to ski it. And maybe rotate it a bit. Perfect. The next thing I would do is make it bigger. Let's bring this march in time, make it bigger, rotate it bits to this side and then you take it a bit higher and Perfect. Next, we we wanted to basically be hovering on the sky, right? So we just want to maintain two rotations and two skiing and little transformions, and so back and forth movements physically. So keel it down a bit, and I think we should even extend this key frame to this point. And then we want to have a very sharp A very sharp decline. So it means we want to make it go back and also want to teat it a bit while going back. And also scale it down while going back. So we just have it go down very quickly. So we want to have it go down very quickly, between here and here. Perfect. So I'll just click my layer and bring it below my mountain. Now we have it below our mountain. Now, let's p and see what we've got. Yeah, so our video just finished grand. I pled to see what we created. Perfect. So this is very simple animation, and this is just for you to understand what is achievable with footage shop. So just go ahead and sve this. Now I've sve it in the same PSD file, that the parax PSD file. Now I can close this and close this. And we just even export this export or render it as MP Footao, we just take it's time to render our video. Back after it's done. Yeah, so our video is done rendering, and let's just go and see what we created. This is our parlex video, 20 MV, as you can see. So this is what we created. Simple, classy animation. Yeah. So every other file, every file will be made available in the folder for you, so you can go in and see what I did personally. Now, that's it for this video. See you in the next one. Bye bye. 74. 74 Homework: Hello, there. Welcome back. So this homework is on videos and Admissions. In Foot shop, and I want you to go ahead and create an admission. And this homework is quite different from the previous ones we've had in the sense that I want you to just go out and be all creative. I don't want to limit you in this video. So I haven't provided you with any files for this homework. I haven't provided you with anything, any concept. I just want you to use the knowledge we've learned so far on video and emissions and create something stunning, something outstanding, okay? Just like the paralex effect we created, even though I'm not limiting you to the parallax effect, so you can create whatever you feel like creating. You can go online and search for ideas, ideas of simple admissions. You can create Pitf shop. Okay? So just go online and get ideas and come up with something really amazing. I just want to see the diverse things you all will create. Yeah, so go ahead and do this homework, and I would love to see what you come up with. So share your fats with me. I would love to see what you create. So that is for this one, guys. See you in the next one. Bye. 75. 75 Module Introduction: In this module, you'll learn how to use the EI features in our D B Photo shop. You'll learn how to work with the generative feel and generative expand feature to create impressive compositions. You'll learn how to work with neural filters to change expressions, transfer MCop from one image to another, to add color to black and white images, and more. Kindly download the attached projects files for this module before you continue, and please reach out to me via message or in the Q&E section, if you have any questions. I would love to make this course of five star experience for you. See you in the next video. 76. 76 Generative Fill & Generative Expand In Adobe Photoshop Cc 1: Hey, there and welcome to EI in Adobe Photoshop. Now, EI is a really big thing now in the world, and many companies have been integrating EI into their products, some in very obvious ways, and some in very subtle and not so obvious ways. And ADB has done seem. It has integrated EI into its products into Photoshop as well. And photoshop uses EI in a lot of features. Some are not so obvious. You might not even know. But others are really obvious. Okay. So for example, we have a new feature called the generative field and the generative expand. Some of these are the very obvious with photoshopers, or ABS intrepreted, EI in Photoshop. And we're going to look at these features right now. In this video, we're going to learn about the generative feel and the generative expand. Okay? So go ahead and open your folder. And in your folder on AI in photoshop, you're going to see this image, which is called crack select the image and click open. Perfect. Now, this is our image, and you're going to use this image to demonstrate or to show you what what is achievable with EI in photoshop. So this is my contextual, but I'm just going to bring it here, and I'll just go ahead and pin it to this location to pin bar position. Perfect. So that it doesn't keep full us. Okay. It's always here. Now, if I take my selection two, let's take my last two with my last two. If I just come on my image and draw selection. I'm going to see this generative feel on my contextual but if I click here. I can go ahead and type in the prompt and it's going to try its best to generate what I have typed. Or if I just want to say delete a feature, I could just maybe come sorry, Let's just come back to our L et's go back to our fda and bring in another image. So go to fda open. And then let's bring in this second image, this landscape, and let's try to see if there's something we could remove from this image. So let's say we want to remove this. These are little wood. All you need to do is just select it and he generate. Okay? He generate. And without typing in any prompt, you can just replace this with something else. Okay? Maybe it's going to just replace it with a similar surrounding. Okay. So that's one thing you can also do with AI. You can replace things. It can just work similar to the removed to. As you can see, we have totally removed that piece of wood. Now, it gives us three variations. So you can click here to see the variations. Now we see that the second variation also doesn't have the wood, and sos the tug variation. So it has created a new layer. And covered our wood, like you can see here. Okay? So I just hit the layer. I've brought it back and you can see that we have no wood here. Now the layer has this tom neil with the stars, and this shows us that this is an I generated image. Okay? Now we're going to come back to this image literal, but let's now create something. So let's just take our last or two and do a selection. So I'm just going to select this. And I now I want to create something that looks like an ss. Okay. So let me just redo my selection. So now I'm doing my selection this. I've selected parts of the image. Now I'm just going to type overseas. So Oss is basically a body of water, kind of in a desert, something like a desert. Let's just give it time to create an overseas for us. Okay, guys, we can see that it created an Oss, something that looks like an Oss for us, even though I don't like this version created. Let me just go through all variations and see I'll just click to see the other variations. So we see this is a better variation. This is a better variation, and this is also better than the first. So we can see how it's figured out the reflections, how it's managed to calculate the diction of lighting, and how everything looks really realistic. If I zoom in, you can see the details, right? Can you see the details. So this is showing you how incredible to the shops. Now, I'm just going to go ahead and generate another one. So I'll just hit generate. Now I can come to my properties panel. Now under my properties panel, you're going to see that while having our EI layer selected, you're going to see the prompts, and you're going to see the variations, right? So we can click and click and click. Now just go ahead and delete this guy and delete this guy also, and I'll just click Generate to give us more options. It created this variation. I don't really like this. We have this other one. This is also better than this one, and we have this one. So you see, guys, we to choose between this and this physically to this and this. So I'll just go with this one. I'll just delete the other ones. Maybe just leave this one. So we'll go with this one. So we've created the first thing, and now we can even add other things. Okay, we can add other things. Let's select here. Let's select on the sky. And let's just type in a prompt. Let's see crash in plain. Crashing plane. We want to create the image of a plane that's crashing. Okay that's crashing lets you from the sky into our environment. Let's give it some time and it's going to create our image. Okay, so we can see what's generated for us. I don't like this. Let's see our variations. There is another variation. There is another one. Let's just generate to create even more. I prefer this last one. Maybe I'll delete this one. Let's delete this one. Let's just keep the two, and let's generate to have even more options. Okay, so let's see the other ones. So this is one of them. I don't like this. This is one of them. This is Beta. This is uh Okay, so we can spend all the generating and generating and generating. Just keep generating. Okay. But we want to rele seeive time. We might not have the luxury of time to see all that is possible. Okay all the variations that are possible to generate. So I think we continue from here maybe generate one more time. Let's give it one more ice. We just generate one more time and see what's going to come up with. And right here, you can see that he keeps giving us different tips on how to use this feature even better. So like this ti, it says, you can write a prompt in more than 100 different languages. So you can write a prompt in more than 100 different languages. Now, this is another variation. Let's look at this. Let's look at this. Okay? Um, I think I'll just go with this one. This one, it's generated here. This one. Let's just go with this one. Let's forget the rest. And from here on, we can see, let's see let's axis to generate some smoke for us. Okay. So that it looks like there is smoke coming out of our clean, right? Let's see. Maybe let's. Let's draw from the engines, right? From the engines. So let's see smoke generate and then smoke. Heat generate. Okay, so we can see the smoke is created, tried, but we definitely can have better. Let's see the variations. We can see this is better. And this is even better. This is way better. Some black smoke coming out of the engine of our plane. Let's just do the other ones. Let's try creating one other one here and see if it's possible. Let's see. So smoke one more time. You just hit return or enter on your keyboard, then it's gonna still walk into the st and generate. Okay, so we have the variations, let's see. The other ones. So these are not as accurate as this one here. So, you know what? I don't want us to waste all our time trying to create smoke. So we'll just go ahead and use this one. At least we have this one that looks better, right? Perfect. So the next thing we are going to do is create something that looks like a far forest around here. So just make a selection like this. Let's see, far far away. Forests. Forests. Enter. Okay, so let's look at the variations. So we have the first one. You didn't create forest. You just created things that look like birds, I think. Okay? So basically give us the same thing. Okay, I didn't work this time. So we can see that it's not very perfect. Okay, it's not perfect. It's a work in progress. I think they will keep updating, and it's going to keep getting better as they update. Okay, so just keep that in mind, so you might not get exactly what you're looking for. But this feature has a lot of use cases, and we're going to look at a lot of them in this mode. Generate one more time. If it doesn't work, was going to discard the forest and just create other things. Okay. Okay, let's see the variations. This is the first, this is the second and this is the third. I think this is better. So let's just keep this one. I would be better, but let's just walk with this. Okay. We can't waste all our time on We can waste our time on forests. One on the far Way forest. So let's zoom out to see what you created. The next one will do is try to create a cloud. Let me just select around here. So select around here. Let's see cloud. Cloud. And enter. We has created a cloud for us. Let's see the second one. We see what is created. I don't even know what this is. But I guess that's what we get with the I. And we have the third one. This one looks way better. It looks better. Let me just hide this and see before a, this looks better. Let just keep this one and delete these ones. On the next thing we will do is create A vintage car O leer select around here. Let's make up selection. B wider, type in vintage car. I want to create a vintage car Kienta and ws for foot shop to do its magic. Okay, guys. Now we have our vintage car. I think I like this one. Let's see other variations. The second variation, the third variation. Yep, these are good. Let me zoom in. Bits. I think we'll go with the first one. So this is just what we go with and we can see how pretty accurate this can be how pretty amazing this EI can be, without importing any image without doing anything, just by typing a prompt, We have been able to add a crashing plane, forest, Fay forest, and Oss, and a vintage car to s. So let's look at before before and after before and after. Okay? Perfect. Now the next thing I want to do is just explore generative expand with you. So for generative expand, we only need to take the crop tool, to hit C, like the crop to here. And all you need to do is expand your canvas, how you would want it. So just expand it expanded, some poling down les or option on the mac and then expanding. Okay. I want to expand it like this. Now, you need to come here where it says feel, then click and you're going to see your should be set to p ground or default. Then you're going to see two other options, which is generatively expand and content are feel. Okay. Now, you want to choose generative expand. So select generative expand and its ok and committee changes. Now, Photoshop is going to do its marging in the background and generate different variations for your background. Okay? So sit back and wait for photoshop to do its marging. Perfect. Isn't this incredible? Now this is incredible. Now we can see how ach of totally generated the remaining part of our image. Key, it's marched the sky, march the ground. And we have two other variations. Okay. Let's look at the other ones we have. Now we see this one, and he created something that looks like like what would I call this now? Okay. Just cool. So, this is one we get. Let's look at the third variation, the third variation. And we can keep generating and generating and generating and generating. Again. We can keep generating and generating and generating. Okay. So I'll just keep this one. I will use this one and now we've basically explored the power of generative fiel generative pan. I'll go ahead and see this. Control S and see it as cracked. That's in the folder, so you can have access to it. The next image we'll explore it is the landscape image. Perfect. Now, this our Landscape mag, the first thing I want to do is use our generative expand to expand our image. So I'm not going to select my crop two. Pull down. Click and Drag. Okay. And I just want to make this please longer. Okay, this is too long. And maybe just reduce the expand here and maybe even expand up like this. Okay. Let's select generative expand and generate all commit the changes. Let's wait for photoshop to do its margin. Incredible guys. Incredible. Now we can see our footage of us automatically deerit the remaining parts of our image. This is absolutely bananas. Now, this is the first variation, is the second variation, and this is the third variation. In fact, I don't know who which one to choose from. These are all min. These are all mind Look at how perfectly. It blended everything. Incredible. Would you be just something else, really. Just something else. Really went out all out for this. So the next thing I'll do is, maybe kick my last or two. Now I just want to generate a sheep on the water. Okay, let's grow selection like this and this type sheep. Enter. Okay, guys. So we can see it has generated our sheep. Let's zoom in and look at our sheep. This is good. Let's look at other variations. This is also good. And this is also. This is also for, I don't know which one to choose from. So that means also go with the second one. Perfect. And we can even brighten up our layer, and I know it's going to be at bitter on. Let's just control to brighten it up levels. Okay. So we brighten up earlier, but we see the other places here are becoming too bright. So we can just use the mask it created. We can use this mask, select this mask, heat B. Hat X, sorry, heat D. Yeah, make sure black is set to the foreground, and now we can we can start to paint a to blend in the parts that shouldn't be so bright. Perfect. No, this is just perfect. This is just incredible. Now, I'll take my last suit once again, and I just want to make one last generation here. I want to generate the image of a dog. Okay. So the size of your selection should also relate to the image. If you want it this close, you should make a big selection. If you want it, you should make a smaller selection. So the size of your selection also matters. Okay. Yeah. And also the shape of your selection. So if you make This kind of selection. It's going to try to create this kind of sheap. Okay? So this sap of a selection should also matter. Like you see here, in order to create this, we had to make a selection that came like this and like this. And it kind of followed the sheap of our selection. So for this, I'll just make my selection like this, and I'll just type dog dog and enter. Anyways for food shop to do its magic. Perfect guy. So it is created an image of a dog clean in the grass. Let's look at other variations. Let's see this guy, this guy. Yeah, I think I like this one better. And the dog looks quite big. Like I said before, the size of our selection also matters. So we can see let's just isolate this and see. Yeah. So we can see that the size of our selection also matters. So the dog looks a bit too big. Okay? We can go ahead and maybe reduce the size of our dog and then blend in the edges using our mask, but we won't just do all that. Work with this one. This is just for demonstration purposes. We're not going to use this image for any real. So I'll just go ahead and save this in the folder, so you can have access to the source file. Perfect. Yeah, these are what we created with generative field, generative expand. And with this, we've come to the end of our introduction to EI Generative field, generative Expand in Photoshop. See you in the next video. Bye bye. 77. 77 Neural Filters in Adobe Photoshop CC: Hey, there, welcome back. So in this one, we're going to learn yet another AI feature in folder shop. Get on, these are what we call neural filters, neural filters. So go ahead and open the folder. And in your folder, you are going to see this image, Portrait one. Okay. Select Portrait one and bring it in. Perfect. Now, this is a little portrait of this guy just here, right? Now, select the image and then go to filters, then neural filters. Now this is neural filters. So click neural filters and neural filters will just loud and open. Now these are EI features. So the might require or do require Internet to walk at least at some point. Okay? They are now loaded. Now these are what you call the neural filters. You might have this kind of cloud icon on them. This means you have to download them. Okay? So you have to download them on your computer. And if yours requires download them, you are going to see the option to download them, right? So you can click download and download as many of them. Now. There are lots and lots of them. We have them on the categories, right? We have the portraits. We have the creative, we have the color, we have the photography. We have the restoration. Okay? All of these are neural filters, and we really want to look at all of them. To do different things. So on the portrait, we're going to try to skim through most of them and then look at a few of them in details, right? So of the portrait. And then we have the skin smoothen. If you just click here, you're going to enable it. And this basically smoothens the skin. Okay? As you can see e smoothing the skin. It just works like frequency separation, but I won't say this is more accurate because frequency separation does not just smoothing the skin. This one also maintains skin details, but basically smoothing the skin. So you can increase the smoothness, and you can see it processing now. I see it processing and the skin will be sw smoother. You can even add some blur or reduce the smoothening. And let's try reducing the smoothing and see. Hey, guys, so photoshop ran into an error while looking at the neural filters. So I had to cancel out and resume again. Let's go back to neural filters. Yeah, so we're looking at the face moving and we've basically looked at every other thing here. Okay, we've looked at every other thing on the face movement. We're trying to look at reducing the smoothness before foota shop run into an error, so you can reduce the smoothness. And what you usually get is when you make an adjustment, it first of all processes your adjustment in the cloud, and when it's done processing in the cloud, it then continues processing it on your computer afterwards. So just off the skin smoothening and let's look at the other ones. Now, this is smart portrait. Smart portrait is a really incredible or will I say crazy feature. So what this guide us is it detects our fest and gives us the ability to increase the happiness or reduce the happiness of our character, increase the facial age, the head thickness, the eye direction, and several other features. Even even expressions like surprise, like anger, like head direction, and so on and so forth, we're going to look at all of this in this video. Now, for the happiness, let's try to give it more happiness. So you can see that it's processing in the cloud right now. So let's give it some time to process in the cloud. Yeah, so the processing is over and as you can see. We now have our guy smiling. Okay or being more happy, or being happier. So let's reduce the happiness. You can see what we had before. Now you can see that it's processing on the device now because it's done processing on the cloud. So it'll be faster now you can see the chains. So this is what we had before, and this is what we now have with increased happiness. So let's try to boost up the happiness to the highest, right and see. So Let's try pushing up the happiness to 50, and let's see what we get. Yeah, you can see that he's totally smiling, no. His teeth are out. So this is what he get with the full happiness. Now, let's increase the facial age, les increases age. See what we get. Tri is 50, I see. Yeah, so he definitely looks older here. Let's make him look younger. Yeah. Taking he looks way younger here. Reduce the each one more time. Yeah, what I figured out is when we use the extremes, it takes quite longer to process. Okay. So we just want to keep the values lower than the extremes. So for hair thickness, of course, it's going to increase the thickness of the hair, and for eye direction, it's going to change the direction of our eyes of his eyes. Okay? Yeah, so we can see the thickness but increased, and let's change the direction of the eye and see. Oh. So the eye direction doesn't work so well on this image, but I've seen it work on better images. Images that have the eyes, look it more conspicuous. As for this one, it's not giving us a good eye direction change. So we're going to live this zero. And it's looking kind of weird. It's not looking as good as the original eyes, right? Yeah. It's not looking as good as the original Iy. So let's just live the eye direction. Let's look at before and after. So if you just come here to this button, you can check before and after before and after, you can see the incredible changes. We got So let's try changing some expressions. Let's increase the surprise expression. We can see what we get. Let's increase the anger. Maybe reduce the surprise. Yeah, so we can see he's more angry now. So we can see he's more angry. He's very angry right now. So I'll say this image is probably not the best image to have selected for this feature for this smart portrait feature because it's really not a good portrait to be honest. If it were a good portrait, this direction will have worked. A good portrait is probably one that has our features very clear, very conspicuous and then have maybe the size, not showing the chest like this. But I think we can manage and look at the other features. You can go ahead and use a better portrait next time and experiment these settings. The head direction will change our head direction. Let's look at what it does. It's changing our head direction. Wow. Yeah. Zooming, we can see some artifacts happening here. There's some distortions. Some of these things, we can go ahead and fit them later on using our photo manipulation techniques. Okay, so this is what we got for hair direction. We have fixed hair alignment, so we can fix the head alignment rather then the light direction. Okay. Ae of these things are possible with AI in focus. Okay. So we won't just spend time looking at all of these once, but this is what we get with them. So we have settings and we can retain unique details. If we push this to 100, it's going to try as much as possible to retain the unique details of the image. Okay? That's very obvious. Then we have the mask fettering and so on and so forth. We can also read the results so that will be able to improve their products. Perfect. So this is what we get with smart portrait, and we can go ahead and output our changes. We can output it on the current layer, we can output our changes on a near on a smart object, on a new documents, on a newear mask. So let's always choose a smart filters because it's going to create a smart object, and it means we can go back and make changes. Okay? So you see this is before, and this is after. It's processing. Yeah, and this is the after. So let's go and bring in another image. Let's bring in this image portrait for and open. Perfect. So I think this image will be perfect for the eyes. Okay for the eye direction. Since we have it has a better portrait, capturing the entire head. Let's open our image and try using the smart portraits on it. Yeah, let's look at the eye direction. Eye direction. Change the eye direction, and let's wait for our image to process in the cloud. Perfect guys. So we can see the eye direction has changed now, so this is what we had before. We had before. You can see the eyeballs moving. This is what we have after changing our eye direction. This is how perfect dist thing works. With a very good portrait. Okay? Perfect. That's just what I want to show you on the smart portrait. So just off this particular filter. Let's look at Mop transfer. Hit it on the filter. Now Mop transfer transfers a makeup from one image into another image. So just click it to open the image. You want to select Okay. So let's select this image. Girl with makeup one and use this image. Now he's going to transfer the Mu from this image to this image. I can see that he let the cut before this before. And as you can see she didn't have the lipstick. She didn't have this other thing here. That's the eye, whatever, whatever you guys, you girls, you need this sorry, robe on your eye. She didn't have that thing. I don't need them sorry. So what this is after. Now, it's given us the Nips It's given us this other thing on the eyes. And basically transfers the makeup from this image to this image. Incredible. Let's look at let's try other images. So when you open the full light, always selects the PNG for maybe. That works better, but you can always go back, come here and change it to GPE so we can see our GPE images. Now, let's select this one. Ke open. Yeah, you can now see that it has basically transferred our makeup from this image to this image. This is before, and this is after. This can be a very easy and quick way of saving time as photographers. Yeah. Let's look at one more makeup. Let's look at this Mop girl to. Okay? Perfect. We can see, it copied the lip tick, it copied the eye, I, whatever. And she looks just like this girl here. So that's what you get with Mp transfer. And you have many other ones. You have the creative. Let's just click and then see what it does. So what this one does is magically transformed a landscape by mixing by mixing with another image or changing attributes like time of day and season. Okay. So you can see what this one does. It basically works for our landscapes. So should we try it, maybe we should try it. Because we do have a landscape image here. No fa. So this image we use for the last video, click it and open. Yeah, so let's go ahead and apply our neural filters to neural filters, and let's zoom out to visualize our image better or fully. And good creative and landscape mita. And then let's on our effect. So let's go ahead and start selecting some press and see. So select this guy. And this feature is in beta. You can see here. So it means it might not really work well. So we can go ahead and select and then work on the features. Okay. So the slider here is for strength. So for our strength to be 100, it means you're going to apply the effect 100%. So this is what we now have which D. Let's increase the D Is processing on device now. So we can see that we've taken our image and made it brighter by increasing the D slider. So let's increase the night slider and see what we get. Yeah. We've turned our image to night. We've turned our image to night by increasing the night slider. We have sunset, we have spring, let's make it spring and see what we get. This is spring. We can see that everybody is blooming, looking green. Let's make it 100. Yeah, this is what we get with spring. Let's choose Autumn. Let's see autumn, what we get with autumn. O Yeah. So this is what we get with Autumn. Yeah, and you can go on and on and on and on. Okay. I'll just cancel on this and go back to our portrait for so we can look at other ones. We might really not make changes this time. We just try to just scheme through them and see what they do. Okay? So the style style transfer, it transfers the mixture, color and style from reference image or apply the style of a specific artist. Get this what it does. Can be helpful for artists. You can see the preview here. We have the harmonize, which harmonizes two images. Okay, we have the color transfer, which transfers, color from one image to another. We have the colorize, which turns our image into a black. Sorry, turns our black and white image into a colored image. Okay? And we're going to look at this probably have an exercise on this, okay? Remember, we learn how to change images, black and white images to colors in the same course. So this is a quicker way to do that. Might not be as accurate as our method, but it gives us incredible results also. And we have many other ones. We have the zoom super Zoom, which helps us zoom into our image and maintains quality. We have the depth blow and which adds depth to our image by adding blow. We have the restoration, we can remove PD artifacts. We can remove a imperfections on photos. You can see the preview here. I turned this old image into this clean looking image. Okay? That's what we get with neural filters. So neural filters, I'll see are an incredible example of what EI can bring to the table. So that is for this introduction on neural filters. So see you in the next one. Bye bye. 78. 78 Exercise 16 – Generative Fill and Generative Expand (costume change): Hey, there. Welcome back. In this exercise, we're going to be exploring one more thing we can achieve using AI in photoshop. Now this is costume change. Okay? So go ahead and open your folder and bring in the image. Now, in your folder on AI in Photoshop, bring in this image, the Bald Man one. Okay okay? Select the image and hit open. Perfect. Now, this is the image of a bald guy. Okay, He has some baldness. He has a bed, and then he has a shirt and a trouser, right? We are going to try to totally change his costume and see. So I'll just zoom in and then pick up my lasso two. And now And now, I'll first of all, try to give him a hair. Okay, so all we need to do right now is just select the area which we want the hair to cover. Then select part of his head. Key. And I think this is a decent selection. It's not too perfect. And basically type hair and denta or written. Yeah, guys. We see that Foo has generated some hair on our character. Let's go and see the variations. We have the first one, and then we have this as the second one. This looks funny actually. And then we have this as the third variation. This is the best out of all of them. You know what, I'm going to regenerate some more variations. So I'll go ahead and hide this. So I'll do a new selection. Okay, let's select like this and k. Let's type here one more time, here and see what it gives us this time. Yeah, so we now have our first generation, and I think this is even better than the last one. Okay? Let's see the other ones. We have It's not looking good actually. And we have the third guy. So we just go ahead and use the first one and these other ones. So under my properties, let delete these ones and just stick to the first guy. Okay? Perfect. So we can see that the layer, we had this guy, this guy and this guy. We just delete this one, and let's just stick to the second layer. That's this one. Perfect. So now our guy has some hair. The next thing we will do is change his bed. Let's give him a grey bed. So select the bed carefully. Okay, I think I'll redo my selection to select the bed. Just like this. A k. Yeah, this will work. And of course, since it's selection, we can add to our selection or take away from our selection. So all we need to do is to either use this guy, in order to add pieces to our selections, we can do this and add to our selection, right? Let's add this this part. Perfect. So now let's heat generates, and let's see grey bed and heat enter or return. Yeah, so we have our net variations of bed of great bed. Now we can see some really weird thing going on here on the other ears. Let me just hide this. Yeah. So let's just look at the other variations. We have this. This is good, good. And we have this other one. Is ing absolutely good. This is even the better one, right? So we can always hit generate and have different versions. But for the length of the video, I'm just going to manage this one. I'll just manage this one and then let's see if we can create some other stuff. Let's try changing his shirt. So select your so to start selecting around the shirt. Let's give him a suit. K. Remember, we can always add to our selection. So our selection. At first must not be perfect. So let's go ahead and select add two selection tool here. If I'm permitted to call it that. And let's just add some parts, so we can see that maybe we need to do a better selection here. Key. So we've added this part, let's add this part. Let's in a bit. Key then let's add Yeah, let's add here. I think I made a mistake. Let's just add Oh. I made a mistake again. I should have completed my drawing. Okay? Yeah. So let's add this part again and Yeah, so let's maintain this selection, maybe add here also to the selection and zoom out, and then he generate and then type suit. So we want to give him a suit. Hi enter. Yes, guys, so we have our guy wearing a suit. Okay? And this is pretty descent. Let's look at other variations. The next variation is also pretty descent. Yeah. I think this is is the best variation. And really, guys, this is a very icy complicated scenario because the shape of his body and his posture is really not that simple, okay? So I've decided to go with this not so simple image. So you can see that even in complex situations like this, it's possible for photoshop to do a good job or pretty good job. So we now have the hair, we have the gray beard, we have the suit, right? So one more thing we could do is let's try removing the glasses. So let's try giving him. A new glasses. Let's do this and see. I don't know if this will work well because this is a really tough one. Thank you. Select my two here. And for this one, all we need to do is just type remove glasses. And hopefully, it's going to do a pretty decent job. Perfect. So Photoshop has removed the glasses for us, and it did a pretty decent job. This one looks really weird, but I think I prefer this one. So Photoshop has removed our glasses. We had before. What we have now. So we can see that for it to actually go ahead and try to match the face and make it look like the original face. It's a pretty hard job to do, but it did it anyway. So that's the power of AI in photoshop. Okay. Perfect. So we can always go back and keep generating more and more variations. Let's see, we're not happy with the grey bed We can go back and generate and going to generate newer versions and add to our variations. Okay? So we can keep doing that and generate more and more, let's just we can see the other variations it gives us for the beds. Hopefully, they're going to be better. Hey, so it's generated some new variation for Bd. Now this is funny. Let's see the other one. This is for so funny, and I think we'll just go with this guy. I think this is a better one. But, of course, you can always keep generating more and more variations, and hopefully you get even better ones, right? Now, the next thing I want to do is do some generative expand. So I want to make the image like this. So of course, go ahead and select your generative expand and he generates. And hopefully it's going to do a good generation for us. Yes, guys, so we've been able to now expand our canvas. This is what we had before, and this is what we have now. You can see that it's a pretty good expansion. Okay pretty realistic. And basically, guys, that's it for this video. You can go ahead and keep trying other parts, maybe changes. And it's going to be a difficult one, but you can go ahead and try it. It's always possible with generative EI. I'll go ahead and see this. And it safe. And yeah, with that, we've come to the end of this exercise, I'll see you in the next one. Bye bye. 79. 79 Exercise 17 – Generative Fill (image to painting): Hello, Dre and welcome back. In this exercise, we're going to learn yet another application of EI in Photoshop. W is to go ahead and open your folder and bring in this image named Oil Paint one. So select the image in pin. Now we're going to use EI to turn our portrait here into an oil painting. Okay? So all we need to do is type in the prompt, right? Oil paint. Let's just try this time, select and see oil paint. And actually it's not going to work oil painting. It's not going to work or let's try anyways, so oil painting. Yeah, guys, so we can see that it actually generated an oil painting for us, but it's not the oil painting of our image. So that's what I meant by it's not going to work. So we can't generate oil painting of our image by just typing in oil painting. So we have to do some thing. Select this layer and just delete. Yeah, delete. Now, what we need to do is we need to create an Alpha channel of our image. Select your image and go to channels and right on the channels, you see all the channels, the red, sorry the RGB, the red, the green and the blue. So you just come here and create a new channel, which is an Alpha channel. Okay. Now we have to do one more trick. We have to change the brightness of our Alpha channel. How do we do that? All we need to do is to come here on our color picker, then set our four ground color. Now we can see HSP, right under B, which is the brightness, we can make this start. So if we make this start and heat ok, and then next thing would be just fill in our layer. That's our Alpha layer with the four ground color. And what shortcuts do we heat for this? We use old and backspace or option delete on the mac. So option delete, and it's going to fill our layer with our four ground color. Okay. So when you do this, just go ahead and pull down control or command on the mark and click here to select the Alpha channel. And it's going to tell you that no pixels are more than 50% selected. The selection edge will not be visible. So you're just telling me that the selection will not be visible because the opacity here is less than 50% to it okay, and then go back to your RGB, and then go back to your er. And while selecting your lier now, just a generate, and let's type oil painting. And it enter or generate. And now let's see the magic. Yes, so we can see that we now have an oil painting of our image. Now, that's incredible. You can see how real it looks very realistic. This is the power of AI and we have two other variations. We have this guy and this guy. Go ahead and choose the one you like. The thing with this method is that the closer our brightness for our alpha layer is to 100, the lesser it looks like our image. And the farther it is towards 100, the more it looks like our image. The thing is, if we had, for example, bigger value for brightness. Let's see 55, and let's see 55 and heat. The old delete or old boxpece. Sorry, old boxpce or option delete, and go ahead and select that control and click and back to our RGB and back to our layers, and let's hide this, and then go ahead and generate and then type in your prompt oil painting. So let's generate now. We're going to see that this version is going to look less like our image as compared to the previous version or to the first version. Perfect guy. So we can see that this version with the higher value of opacity on our Alpha channel, is looking less like our image as compared to the first version. Okay? So this is looking way less like our image. And one thing we can do is we can actually combine the boot. We can actually combine the book. We can just mask out parts of this layer to reveal parts of this layer. So that's one electric we can use to achieve a better result. So what we do is we create one more ion. So for this one, we even want our Alpha channel to be less than 30. So let's make it let's see lets see. Let's see. 20. Let's see 20 to 20, and old backspace or option delete. Control and click, ok, go back to our RGB, go back to our layers, and then generate and oil painting. Dent or generate. Yes, so we can see that this looks very close to our image. Okay. Let's look at the variations. So we see that it looks way close to our image, very close to our image, and it's not even looking like an oil painting, to be honest. So we just delete. Yeah. So we've deleted this guy, so we're just go to work with the two of them. So this version and this version. Let me try something. Let's duplicate this control G. And on this new one, let's try selecting a different variation. So let's select this variation. So we have this variation on this new layer. We have this variation on this old layer. Again, we have this variation on this other layer, okay? So we can now blend the three of them. So this will be on the background. And for this one, maybe let's just erase parts of this. So what would you select a mask? Go ahead and pick our brush. He'd be. And let's choose a brush preset. Now, I want to choose a special brush. If let's select this charcoal brush, a. Make the size bigger. Yeah. So this is okay. And for this, we will just start painting. First of all, let's make sure our background is O foreground is black, set to black, so we can erase parts of it. Okay? So you see that we could just maybe reduce it a bit and then just erase some parts. So that we could have the more abstract one showing as the background. Perfect. So you can use any other brush, I think, or do. Wasn't be this brush, but I just choose this one. So you get the point. So we've erased part of this one, we've only maintained the eyes and maybe some facial features because they look closer to our image, and we actually want the likeness to look very close to our image. That's why we even have this one in front because this one looks way closer to our image than any of them. So for this, I'll just select my mask and then control eye or command I to invert it, so I can just change my foreground color to white and start revealing it. Because I want it to be predominant. Around the fees only because it looks way closer to our image as compared to any of them. We want it to be predominant around here. Yeah. So I think this will do. This will do. This is perfect. So what we have, and this is what we had, is what we had. Yeah. So from this, we went to this, and then we went to this, and then we went to this. Isn't this amazing? This is incredible. We can go ahead and do more adjustments. We could do some color adjustments, maybe maybe add some levels and I don't know. Yeah, we could do more adjustments basically. You are maybe brighten some of these parts up and use our layer mass control eye to invert and be and just maybe expose some of the areas which we need exposing. So areas like this should be exposed so that we can have it brighter here so that we can see more of the color, right? Perfect. This looks perfect. I'll just go ahead and see this Control S and oil paint one. Save and all the project files will be made available to you. So you can see what I have created firsthand. Perfect. We have come to the end of our video of our exercise on oil painting. See you in the next one, bye bye. 80. 80 Colorize BW image: Hello, there. In this exercise, you're going to turn black and white image to colored using neural filters here in Photoshop. So go ahead and bring in your black and white images. So in our Fuller on EI in Photoshop, we have these black and white images. So we see B white black and white two color one, black and white color two, black and white color trees. We're going to work on these two. And then for the third one, you're going to do that for your homework. So open. Perfect. Now, it's very easy and very straightforward to do this. All you need to do is select your image, go to filters, and neural filters. Okay. So here are our neural filters. And here we have the colorized filter. With this, we can change our black and white photo to colored photo, all we need to do is to on our filter. I's possession our image and now we see that the stored our image to a black and white image. Now we have other adjustments, we can increase the saturation. We can increase the can, the magenta, the yellow or blue, and so on and so forth. So these are all things we can do. We can color artifact reduction. That it reduces the color of the artifacts, or basically imperfections. So that's basically ef. This one, maybe we should reduce the opacity. Sorry, the saturation a bit. So we just output it as a smart filter. Ho. Perfect. So this is what we had. This is what we have now. And we can go ahead and do more adjustments. Go ahead and do more adjustment maybe add some levels. Let's see what some levels would do for us. So I'll just go ahead and hit a two while holding down all. Okay so I see these other algorithms. Okay. So we can see what we get with this. We the default auto enhance. And we have this other one. So we go with this other one, and maybe in the shadows. I'll just I'll just make this. Ha. Ha. No, see if it as default. And this is what we had, and this is what we have now. Perfect. And you could also go ahead and try turning this into black and white using the method we learnt when covering colors in photoshop, in the same course. So you could also go on changes to code using that method and then try to compare the outcomes. Try to compare the outcomes, which is better. So that's something you could go ahead and do. Now, do this, I'll turn this to code. Let's see what we get. Yes, guys. So, now let's go and add the colorize and just a leaf it. Perfect. So this is what we get. We can see how incredible this EI feature is. It even figured out that this is our lips, so it colored it differently. This is the eye and it even added some makeup to the eyes and also colored the head differently. So we can see how really incredible this is. So go ahead and hit ok. And this is what we had before. Sorry, this is what we had before. What we have now. Go ahead and add more adjustments, maybe some curves. Select this. Let's see if we could t in parts like this or a bit. Yeah. And maybe add a levels adjustments into this. Perfect. So this is what we had before, and this is what we have now. This is the power of EI in Photoshop. Okay. So with this we've come to the end of our video on toning black and white images to colored images here in photoshop using the neural filters EI feature. So that's it for this video, and that's it for EI in Photoshop. S in the next one. Bye bye. 81. 81 Homework: Hey, Dre and welcome back. So in this homework, we are going to use some EI features. You are required to use some EI features. So you are required to bring in this image as the Bald Manto and then use this image. And do some generations, okay? You can add some hair to the guy, maybe change his outfit, his trousers, expand the image and basically use your generative EI and generative expand to modify this image, and I'd love to see what you come up with. You can also bring in maybe a landscape image and try adding some features to the image. I have not provided you with any extra landscape images here. Just this one. Oh, baby, you click on bring in this one which we used and try generating to te different things from the ones we generated. Okay? Start it for this homework. See you in the next one. Bye bye. 82. 82 Homework: Hello, there and welcome back. So in this homework, you are required to use the neural filters EI feature to bring in your image, bring in this guy image of this child. On this a black and white image, I need you to bring this image to life. So go ahead and add the neural filters, and then colorize the image turn it to black and white, and also explore other filters other neural filters. Remember we looked at the Smart portrait. You could use that to add some modifications to our image. You could also use the Mup transfer, maybe so you can just transfer Mu. Another image to this boy's phase, okay? That's after you do the coloring. That's after you add the color. You can go ahead and add some faulty makeup, maybe do some harmonizing. Maybe harmonize the image with another image. Just just explore all the mirror filters, basically. Okay? Just explore them and share your results with me. I'd love to see what you come up with. I'd love to see what you come up with. We have lots and lots of filters here. We have the skin smoothing, smart smart portrait, Mu transfer, and so on and so forth. So go ahead and play with these filters, go ahead and explore. And share your results with me. I would love to see what you achieve. So that's it for this one, guys. See you in the next one. Bye bye. 83. 83 Module Introduction: In this module, you learn all you need to know about MCops in ADB Photoshop. You'll learn how and where to download free high quality MCops, how to use MCops, to properly present our work, and how to create our own MCops in AB Photo shop. Kindly download the attached project files for this module before you continue, and please reach out to me via message or in the Q and E section, if you have any questions. I'd love to make this course a five star experience for you. See you in the next video. 84. 84 How to use mock ups in Adobe Photoshop CC and get high quality mock ups for free: Hey, everyone, welcome back. So in this video, we're going to learn about mokops in photoshop. What are mokops and how do we use them in photoshop. Okay? So Mkps are basically a way to present our work to clients, in a very polished way. And so our clients can visualize our design in use. How our design is going to look when it's used. That's for example, when it's printed, that's if it's something we are going to print or when it's used on a phone, or on a device, that, for example, if we are going to use that design on a device or if we're going to interrupt with that design on a device. Okay. So MoCops help us visualize our end product. So I'm just going to go to my brother. Now on my brother, I've gone ahead and typed onblst.com. Now on blast.com is a website where we can download MCops for free. Okay. It's more like a Google, Okay, a Google Search engine for Mokops. So you can go ahead and type blast on your browser, and it's going to bring you to the unblst home page. Now, you can see that not only Mokops. You can clear search for phones, icons, templates, graphics, Tre models, and colors, okay? Because we are going to focus on Mokops. And you can now see Mokops right in front of z. So these are all mokops. Okay, let me just go down. You can see the different Mokops, and, let me just bring up this one to open this. And now you see that this is a billboard Mokop, and we can visualize or interact with our design that's meant for a billboard using this Mokop. This is totally digital. Noting it's not real. So it wasn't snapped, but the Mokop helps us visualize it as if this was photographed. So that's what we can achieve with Mokop, so we can see different views of this particular mop. So this is a smart watch Mokop. We can see we are interacting with the UI design using this MCP, and we can see how it's going to look in real life when the design is now brought into and used on our smartwatch. Okay? So we have different types of mokops. We have MoCops for business cards. Okay, we have MCops for packaging. For packaging, so you can see this. It's more like a Pizzar box Mop. So you just need to please your design, and everything will look like it's really. Okay. So these are all mokops. All you need to do now is just search for the Mokop, you want to download. So I'm going to go ahead and search Logo Mokop. As you can see I've searched it before, so I'll just click. So I'm going to search for Logo Mop. So we want a mokop that we can use to visualize our Lugo. Okay? So these are all Lugo mockups. You can see them. Some of them are three D, some of them are linen mockups like this one. Some of them are Lugos on glasses. Like this one, we have this one, which is more like an engraved kind of style. Then we have this guy. We have lots and lots of them. We have lots and lots of them. So it all depends on what you want to achieve. It all depends on what you want to achieve. So for this example, I'm just going to go ahead and download this one. So you can use any example for this tutorial, right? So I'll just go ahead and hit download. And it's going to redirect me to the site where I can download it. And we see that the site is design boards, right? So all we need to do is just go down here and it download, so download. Sorry. So you just need to hit download three D MoCo and our download will begin very soon. Perfect. So our download has begun. And when it's done downloading, we're going to import it to photoshop and then use it. All you need to do right now is wait for it to finish downloading and then extract the document because it's going to come as a compressed folder or in a compressed folder. So you just need to extract the document and then open it in photoshop. It's going to be photoshop file, so you just need to open it in photoshop. Okay. So see you guys in photoshop when you finally download it. Hey, guys, here are we in foto shop, and we have our moko here in the Pooto shop. So I haven't added this mokop in the projects folder because usually a bit large in size. And since it's available on the Internet, and you can always go ahead and download it. So I felt it's not necessary to add it to the projects folder. So just go ahead and download it and open it. Now, this is our Mk. Now we see that this is a photoshop file, and these are layers. Okay. Now, we see this layer, which is colored red, and it says Insert design. And we can see from the thumb nail that this is a smart object. So all you need to do is double click here. You're going to open this new file, and then just come to your folder on Mokops, and you're going to see this HF crecen logo. That's your folder on Mokops in Photoshop, that's number 13. So in the folder, you're going to see this HF creen Moko, sorry Logo, select the Lugo and open. Or you can just please embed it instead of opening. So I'll just drag it now in here. You can see that it's too big. I'll just reduce the size or rescale it and position it properly. Perfect. Now, all I need to do is hide the existing layer and then hit control or command S for saving. So I'm just going to save this file. And it's going to update in our design. We can see that it has now updated in our design, and we now have our Mu appearing on the facade. So our clients can now visualize this mokup and see that this is how their logo will appear on the facade of their office. Okay? And he's basically visualizing the finished product before having it on the actual facade. So that's the importance of Logo, and that's the use case of Logos. So we have Logos for a whole of things, we have for packaging, for Logos, for Just name it. We have lots and lots of logos. And it's very easy to get Logos these days. Pas back in the days, you might need to buy some of these logo, right now, it's very, very easy. Just come to blast. Sorry, blast, and you get so many logos. Sorry, so many mockups for free. Okay. And very high quality of mockups, as you can see. Just going to save now this mockup. I'm going to save this in my P j folia. So HF creations facade Moko and GPE, soif. And then if I go back to my Thank you. Yeah. If I go back to my layer, sorry to my folder on MoCops. We then see that we have our image. So we have our logo on the facade. Perfect. So that's basically it for MoCops, guys. In the next video, we're going to start learning. We're going to learn how to create MCops from scratch. How to have all of these layers created and basically have everything customized right from the scratch. So that's it for this one, guys. See you in the next one. Bye bye. 85. 85 How to create realistic magazine mock up in Adobe Photoshop CC: Hello, there and welcome back. In this lecture, we're going to learn how to create custom Mokops in photoshop. We're going to take a base image and then add all the necessary layers and all the necessary effects, including the light effect to our layers in order to create a realistic mook. Okay? So the Moko we're going to be working on in this video is a magazine Mokop. We're going to learn how to create a Mcazine Mokop in this video. So go ahead and open your folder. On mokops in photo shop. And right here, you see different images. We see this coffee bug. So these are what we call Bs images. These are what I call Bs images. So not to create a Mokop, you actually need a Bs image. So that's the image on which the design will sit. Okay. So for this example, we have this one, which we call the Open Magazine. So click on it and hit open. So, this is our base image for this example. Now, this is an image of an opened magazine. So we're going to use this to create a mokp for a magazine. Here? The first thing I would do is go to file and go to new and then choose the E four preset and create. Now, what I want to do is take my rectangle to and then create a **** to feel to fill my e four paper. Okay. So I'll just go down shift to scale it along the y axis along this axis like this. So when I just come close to the edge, it's going to snap to the edge, so that we get to create accurately the size of our canvas. This is now my image. So I'll just click on it and drag it into our magazine. File. Okay. So the next nowadays, just come here, click. O, first of all, I think I want to change the color. Really, change the color is not necessary. You could leave it at black, you could leave it at whatever color you want. So I just change it to red. Okay, so I see what I'm doing clearly. Since our magazine image almost looks like white. Okay. The next nowaday, just go ahead and turn this into a smart object. Turn this into a smart object to convert smart object. And like you knew before, smart objects enable us to double click and go ahead and dit our design, right? Close this. Now the next thing I'll do is just go ahead and rename my layer. I would name it right page design. So we're going to use this to please design for the right page. Okay? Perfect. Now we can go ahead and maybe give it the color. We give it red color. Perfect. So that the layer stands out. The next thing we do is just scale down our angle and try to fit it on our page. Before I do that, I'll just go ahead and cancel this and use the direct on glen create a background for my magazine. I see the demarcations. This is a transparent background and it's almost white, so I might not see the demarcation between our magazine pitch and the background. That's why I created this and I'll just log this so we don't select it. Now I'll use this and just modify. Modify and fit it to our pitch. First of all, I'll just try to fit it roughly. Roughly like this, roughly like this. Perfect. Now from here on, first of all, I think I'll zoom in see clearly, it it should end here. Now the next thing I'll just do is right click and go to wap. So I can now or modify my ship event. So I has to fit my page better. I can use my handle here to just please my design better. Of course, you know how to use the wp, this should not be a problem for you. Right? Perfect. So just go ahead and please I'll design properly. Okay, guys, I think we have successfully, I have successfully at least most of it. So next thing I will do just click in my shape like this and try to adjust these lines so that it feels perfectly to the way my page is built. To the topology of my page. So something like this. We'll do so that we have a straight lines. That's something you do. We can also o in and to do this even better. Perfect. So I like what we have now, and I think we've done a great job. Okay, we're done with the left hand side. Let's just hide this for now. And then let's go back to our documents, I document and then grab and the copy for the left hand side. First of all, I'll just maybe change the color. This time I might use something close to white. Okay. So this color should do, and I'll just go ahead and rename this. Of turn it into a smart object. Covert to smart object and then rename it left page design. And we can see that I made a mistake. I wrote light design instead of right pitch design. Right pitch design. Perfect. The next thing I'll do is just change the color again to red and then try to fit my sized rectangular to my magazine p. Okay. Perfect. So hooding down shift to skay dog. Se also with the side. On the next now, do you, right click and whap. And now try to fit it perfectly. 1010. Okay. I think we need to add one more line to this part. So first of all, let me just make sure the side is perfect. So here is perfect, and here also is perfect. So for this one, I think we just need to bring it this side. Yeah, so we need to add one more line here. So all we need to do is just come to the edge and how control or command on the mac. Just come to the edge. W on control. So it's not working. I don't know why. Let's see. Yeah. Hold on control and click. Now you see that we have added a line here. I'll just undo that because that's not what I wanted. That's where I wanted it. So I wanted it here. So just hod on control and hover your mouse here on the line, and then just click to add a point. Perfect. Now we can go ahead and then try to fit it perfectly more accurately. Ing You can always undo. If you make a mistake, you can always undo and we do the change. And, I think here is almost perfect. Yeah, here is perfect. And for the upside, let's click and fit this parts. So we basically want to maintain this look. So you should try to have the same look I have here. So these lines should be straight, and this should go like this so that it looks like the page is folding. Perfect. So this is what we are going for. And all you need to do now is just commit our changes. Yeah, we have the right hand side and we have the left hand side. Sorry, we have the left hand side and the right hand side. What next do we do? Next thing we do is just do click here to go into our pitch and then go ahead and please our design. So please embedded. Please embedded. Yeah. There is it. Now in our folder, I've gone ahead and added some designs, so this is Marcazin Design one. So go ahead and please Makaz Design one, and just cate it up to the size and commits the change hide this layer in those control to see it. Now if you go back, you're going to see that our change has been updated. It's been updated. Then just hide this so you can see how it's aligned. So it's just perfect. It's following the topography of our page, just like the smart object we designed. So do this for the s do same for the left hand side, so go ahead and please. Please embedded. And for this side, we're going to use this magazine too. Please. Then scale it up. Committee change, Control S. Control command S. So just go back and we have a page updated. T is what we have now. This looks good, but it doesn't look perfect. Doesn't look realistic. Okay, I'll go ahead and change the color of my background. To something like this, ok. So right now, we want to make our pages look realistic. So we want to add some shadows, some highlights, and some met tunes to our pages. Okay? So how do we do that? I set our page. Maybe bring this one to the top, since we want to start working on it, create a new layer on top of our page and not brush. Had B for brush. And for our brush presets, we're going to use normal normal round brush. Okay, so let's use the soft brown brush. And then just right click and make this size bigger. And then and then for your for your opacity, let's make this 40, sorry, 53 for now. Then for the flu, let's make this, um 22. For smoothening, I don't think we need any smoothening. We don't need any smoothening, so we just reduce it, and let's start painting, so we can see the effect we get, right? So this is quite good. So all you need to do now is just click here, hold on, shift and click here. You're going to create a straight line on our page. So just do this for this part also. I can see that we need to increase our opacity. So do do it a couple of times, and this part will need more of that. Okay. Do we need more of that. Click, do shift and click. Click down shift and click. Okay. Now we'll just reduce the size, and let's do it for this for the middle, because this will be darker in a realistic sense. It will definitely be darker since it's getting less light. Let do it a couple of times, and maybe we did it. Let's just do a couple of times. And now, s kal it back up and just do maybe one more time here. Perfect. So the next thing we do is just tick our move tool and now we want to clip this layer to this page. So all we need to do is go down and bring our mouse between the two pages and just click. We can see that it's now clips to our page. So we've done this for the pitch on the left hand side on the right hand side, and you can see it's looking better now, even though there's still much to do. So the next thing I'll do is just create a new layer. For this layer, I want to do my highlights here. So I'll just tick my brush and then hit X to swap the colors. So white is my foreground this time. And I'll just click hold on shift and click. Maybe I need it too much. Then just to. Make this bigger, click Hold on shift and click. Okay. And then I'll just do one more. Lick my birch size smaller. Click, who down shift and click. I think this is my birch size should be a bit bigger. Click W down shift and click. Yeah this is Bta, I think, this is better. We can always reduce the opacity and then who down ol and then clip our La. Perfect. Now the next thing we do is just go ahead and change our blended moods. Now for this one, we want to use something like the darken of multiply. Because it's the dark er, right? It's the one that carries the shadows. And then for this one, we want to use something like lighten or maybe screen over lay. Let's try over layers or soft light. Let's try soft light and see. So let's try before and after. This is what we had. Bo and this is what we have after. So this is better. 11 pupacity. Yeah, I think opacity should even be 100. Looks very good. So I just duplicated the layer to and then clipped it to our right page. Now we can maybe reduce the opacity for this layer. Let's say 8%, and yeah, looks better. So this is what we had, and this is what we have now. Good. Now we can do same for the next page. That's the left pitch. So go ahead and create a new layer on top of our pitch and tik our brush, hit X to swap our foreground and bgrowd colors, and maybe scale this a bit and then start creating our shadows. Click and click. Click and then hold down shift and click. Click, H down shift and click. Okay. So let's do more around this side. Click Hold on Shift and click. We use the size of our burs, click Hold on shift and click. Click Hold on shift and click. And do this a couple more times. Perfect. Now we have the shadows done. And we can now go ahead and clip our shadows to our left hand pitch and do same for highlight. So select my brush. And I'll just kill this up a bit and then swap the colors here and click Shift and click. Maybe twice, click Hole on Shift and click. And this is just k. I'll go and clip my layer. Okay, now it's time to change the blended mood. So for this one, changes to darken. Or multiply. And then for this one, we're going to change this to soft light. Perfect. So we can go further by maybe reducing the opacity if we want or not. This is good. So I just reduce the opacity of right hand shadows. I think it's a bit too much. I think this layer is not even needed. I shouldn't have. So I'll just delete this layer and we'll just tick to one shadows layer. Maybe 90% opacity we just do. And this looks amazing. All I need to do now is just renew my layers, so this will be lights. And this will be shadows. Se also for this is to be lights and shadows. Perfect. We can go ahead and maybe group them into a single group, that's the right hand side and also the left hand side so that it's more organized, o? Next thing we can do is change the background color, or give it a better background. Let's just go ahead and give it a better background. So go to your folder, and you're going to see this wooden background, select it and please. Scale it up evenly and bring your background to the ground, below our magazine. Perfect. This is looking incredible. Go ahead and save this, Control S. Open magazine. Heat save. And. Perfect. With this, we're done with our video. We've created Marx ZD Mook. All we need to do now if we wanted, changing our page. Maybe we want to change the left page design to a different one. All we need to do is doub click and going to open and you can go ahead and please a new design. So we can see that this is Magazine two. I actually have another one, which is Magazine 22. Gates a bit different from this one. Just a bit different. So I didn't add this bruh effects on this one. So when we replace our design, all we need to do is to hit Control S or command S for CF, and then go back to our Mokop, and we can see that it's now updated. Perfect. So that's it for this video, and hope you learned a lot. In the next video, which is an exercise, we're going to be covering a different kind of Mop design. So see you in the next video. Bye bye. 86. 86 Exercise 18 – Create Realistic Package Mock Up: Hello, there and welcome back to the course. In this exercise, we're going to be creating a package mockup. Now, I've gone ahead and created a fake branding. Or rather a fake patchy design for the brand you're going to be using. So this is the design here in your folder, and you can see this is pizza chef secret. And we now have some text and some image of a pizza with pepper or with chili, rather. And yeah, just some elements, right? So this right here is supposed to be the logo, right? And we have this text and this element here showing the weight. Okay, so this is just a ick brand and a thick package design just created to serve as a package design for our exercise today. So we have the side. So this is the side. I went ahead and brought it in. Let me just go back to the foot and let's visualize this part. Now, this is the top and this is the side. And also, this is the bag. The package. So this is what we're going to be placing our designs on. So all we need to do is go ahead and bring in our food bag. So open. Perfect. I need this. We can just close this. Go ahead and expand our canvas using the crop tool. So we want our canvas to be this big. Perfect. So the next thing we'll do is give you the background. Let's go ahead and create the background and bring this pillow. And let's just sample the color for the background, that's the color on our package for the background. And there's one thing missing on our package, which is the shadow, right? So our package needs to have a shadow, and we can see that light is coming from this side. Let me take the brush and explain better. Light is coming from this side. Light is coming from this side. From the side. So that's why this place is bright and this place is dark. So we need to use this concept to create shadows for our ship. I'm going ahead and create a new Lear, taken my brush tool, for my flu. I'm just going to take this to C 100%. C so with my opacity, and I'll just go ahead and create some shadows. So I'll just make this bigger, then create some shadows like this, top to create my shadows. Okay. Next thing, I'll go ahead and take my polygonaso two. And try to delete some unwanted parts of my shadows, or try to direct my shadows properly. So my shadows should look like this. So go ahead and delete this part, the select. Yeah, this sorry. This should be what my shadows should look like. Now from here on I can just go ahead and hit E for my a to make sure the hardness is zero, and maybe increase the size. Yeah. So we just want to erase parts of so I'm just on doing some of this. So erase parts of our shadows can make the whole ting softer around here. Okay. And then select my shadow layer and give it the mask. So we now have a mask on my shadula, and I'll go ahead and pick my gradient to, and make sure I have this gradient selected. So you can go on under basics and make sure you have this gradient selected. Okay? So just go ahead and click A and drag. So you can hold down shift to channel your gradient properly. That's in the straight line along this axis. Okay? So just select it when you have it around this point. Now we can go ahead and adjust our gradient using this point, right? So we can also shift our gradient from here. Maybe even make it look like this. Okay. Perfect. Now, this is good. Now the next thing we're going to do is just go ahead and apply some gaugan blow to Gausan blow, and let's see what we get with the Gaugan blow. So as to soften the edges, right? We can see that from here, it's now looking like this. It's looking more realistic. Okay? Locking more realistic. So just ok and perfect. So we now have our shadows on our package. On the next one would we just lock our shadow layer. Also lock our background layer because we don't want to have it selected, and just have our ship layer selected. Right? Next one we would do is just go ahead and create a new layer, a new document size, just like we did in the previous video, and then create a rectangle, just in the size of our e four document. Perfect. Now, click and drag into our document and then just change the name here to front design. Perfect. And then just go ahead and convert this to a smart object and maybe change the color this time let's orange. Perfect. And now we just need to scale down our design and have it positioned on the front of our package. Okay? So we can hold down control or command on the mac and come to the edge here like this, and you're going to see that our co turns into this white co, right? So this is without holding down control or command. But when we hold down control or command, we get to see it like this. And with this, we can click and now adjust our ship like this. It gives us more control on our ship. We just want to position our ship on our design, and then go ahead and click and then wrap. Now we can zoom in and start positioning our points. For the top here, we want to have it look like this. Zoom in a bit and position this even better. Let's make sure it's covering our package. Okay. It might be hard to follow this outline with our smart object. But let's just make sure it's covering our package. That's the most important thing for this method. Perfect. So you want to have your ship looking like this. Okay, you want to have your ship looking like this, and just she okay. Perfect now, the next thing we'll do is, we're just going to duplicate our layer. That's our yer one and bring it on top, just hide this for now. And for this one, we're just going to cool down or command on the mark and then clip our front design layer to our layer one. In case you clip it like this. So when you clip it like this, we then see that all these other parts which we couldn't meet up to, because of the curve and the complexity of our ship, we've been able to clip and cover for those areas. You get the point now. So we have that covered now. Now, the next thing we'll go ahead and do is bring in our package design. All we need to do is double click here on our thumbnail to open a new file and please our package design. So please embed it. And then let's go ahead and please the Pizza package. You commit our changes, and then maybe hide this one if it's not necessary, and just hit control S to see. Perfect. Now if we go back, we're going to see that our design has been updated. Our design has been perfectly updated. The next thing we do is just enable our layer here. That's the one we copy, and now change the blending mode. Now we can go ahead and explore all blending modes, but The darken blading mode works well. We can see that right now, it has erased the unnecessary part and basically fitted our package design properly on the front. So let's try the multiplier. We can see that the multiplier is not that good, but the darken is quite good. Okay, let's try other ones, actually. So let's just keep going down the list. We can see that darker color is also good. So this is it without it, and this is it with it. A, the darker color is also good. And we have all the ones. Okay. But from what we can see here, we see darker color is good, and also darken is also good. So we either choose darker color or darken or just green darker color. And we can go ahead and now try to do all the stuff. Here, we can go ahead and try to do other things. It means we can go ahead and maybe work on the blending options. The bland If options. So we can see that by creating some bland If effects, we get to have even better blending. Okay. Now, with this, we can just zoom in here and then see that we are now having it look very realistic. Okay looking very real here. Perfect. So we can go ahead and work on the other designs. Okay, we can lock this layer. Let's lock this layer. Let's work on the other designs. So go back here. And for this, let's bring in our side design. Please embed it. And yeah, this design, let's bring it in. And amine is in so that I can know the extract shape to bring in. Okay. So this should be our exact ship. So just hide this and now bring this ship into our package design, Mt this site design. Rename this to site design rather site design. And then right click and convert to smart object, and go ahead and give it a yellow color. And now let's fit our design on the side. So the same thing we did for the front we're going to do for the side. So just pull down control. And fit your design properly. Control and fit your design properly. And I might just pick up the video, so we don't spend too much time since you already know how to do this. So we are going to come back after I have totally arranged it on the side. So I go ahead and add one more line here. Okay? So who control and click. And try to fit things better. Perfect, guys. We now have our site design pleased properly. Next thing I'll do is go ahead and bring in our site design. The click here and bring in our design. Please embedded and please commit changes and Perfect and Goo ba. And for some reason it didn't updates, let me try it one more time to control S and Goba. Perfect. So we have it saved. Now we can just select our design our site design. We just select our design and bring it below like this. And we can see that it's now plans in like the side design. It's part of the package originally. And we can now go ahead and just wool on option in the mac and click here. So as to clip our site design to our package. And you can see now that all these folds now look very realistic. But we're losing some details here. We can see that we're losing some details. So that's because our design has grey color, has grey color, right? So in order to fix this, the only thing we can do is go ahead and work on our design, on our site design. Let's just do click here to go back to our site design. And what I'm going to do now is just control G to duplicate this and do control L to bring out my levels. Let's try to increase the levels and see if we can get some sharpness on our blocks. Okay. Perfect. So I like this, and now I'm just going to create cool down old and create a new A new mask. H on out and have a mask. Let me just try painting. Let me just try painting on here to reveal my layer below. Here. So we can see now that I am having a sharper black color. Now, we no longer have that grey color. We're having a color looking sharper. So lastly, we can go ahead and create a general adjustment layer and just do some little levels adjustments to other parts of the design so that the stand out, right? Okay, so we can do this. And just hit C, control S, and go back to and it should look better now. Perfect. So you can see that it's standing out, right? It's standing out now. We are no longer losing details. So the next thing we'll do is walk on the top. And for the top, we'll just go back to this document and bring in our top, and this is the top of our Piza package. So our document, our ship needs to follow the ship of the top, ok? We size it to the shape of the top like I just did and drag it here. And Sam also, we just need to convert these to smart objects and then change the name top design. Perfect. Now maybe we change the color if we want, may be green, and now just rescale our ship to fit the top of our package. Okay hold on control and place it way better. Hold on control, place it way better. So we can have better placements. Okay, so I'll just right click down and hit you up, so I can modify my ship even better. So I do this and just try to modify my ship even better. And let's walk on this side. I'm just be who on control or come on to the mac and just click to add a point here. Okay, so I can just select my point and make my adjustments even better. Perfect. So I think you will just go on to use what we have created so far. Okay. I think I will just I'll just make some minor more adjustments. So I think this is just perfect. So commit our changes. And now we can go ahead and bring in our top design. So click here to open and go ahead and please our top design. So this is our top design, select and please. Perfect, and at Control S to see and go back to see our design. Perfect. Now, the next thing we do is go ahead and bring our design below this guy here and just hold down t or command on the mark or option on the mark. Sorry, and just click here to clip our design and get rid of those weird looks that happen on the edges. Perfect. So you see, guys, this is what we now have. We now have our complete package design. Everything perfectly done, everything perfectly done. If we want it, we co furthermore So we could furthermore walk on the placement of our top design, so maybe hit w one more time, and maybe just play around with a placement like this so that we have this side calm like this if you want, that's also one we could do it. I think I over did it. Yeah. I think just the initial would do. Perfect. It was like this before and we brought it to life by adding our designs. So if we wanted to change a design, we could just dock, go back and reples the design. Okay. And basically, that's it for this one guys, go ahead and s, control S and foot bag sf Perfect. So we now have our design. Let's try bringing in the wooden background and see if it works. I don't think it's going to work because we need to fix the perspective. Let's try it anyways. So bring in the wooden background. No. And for this, let's bring it below our background. Now, we see that we will need to fix the perspective, right? We need to fix the perspective, and it's not just aligning the way it is, right? Yeah. But this will take time. We can actually do it, but it's going to take time. So just use our plain background for this. It's easier, it's simpler. So if we want it, we could go ahead and add more shadows to the sides and more highlights if we wanted. And we can do that by simply creating a nuclear and just ticking a brush. And then reducing the flow to maybe seven and pasty to maybe 60, and then just go ahead and pinch. Okay. Perfect. Now we can just clip this and maybe reduce opacity. We just want it to be very light. We want it to be very subtle. Yeah, so you see the subtle effect it's adding. It's not very shouty, it's very subtle. It just adds to the shadows on the side. So that's it for this one, guys. See you in the next video. Bye. M 87. 87 Homework: Hello, Dre and welcome back. In this homework, you are required to create custom mockups using the product images we have added in our folder. Go ahead and open the folder. And in your folder, you're going to see this snack pack package. And this is how it looks. Also, you're going to see this coffee bag packaging. So go ahead and create MCops using these products. So you will be responsible for creating the design. The design for the package, and also creating the mockup for the package. So I haven't provided you any design for this. So you have to create a package design for your coffee bag and also a package design for your snack pack. So these are the two mocops you have to create, and do well to share your results with me. I would love to see what you come up with. This will round it up for this module. See you guys in the next one. Bye bye. 88. 88 Module Introduction: In this module, we'll work on our final projects for this course. We will work on six incredible projects that will help you solidify all that you've learned so far. Be sow you'll learn a few new tricks as well. Kindly download the attached project files for this module before you continue, and please reach out to me via message or in Q and E section if you have any questions. I would love to make this course a five star experience for you. See you in the next video. 89. 89 The Double Exposure Artwork: Hi, there. Welcome back. So in this exercise, we're going to be creating this artwork. It's quite simple. It's called the double exposure effect, and we're going to be creating it right now in photo shop. Okay. It's quite simple, so for this final project, for the final module, we're going to start from simple to more art vans. Okay? So just go into your folder. Your folder on compositions and final projects, come to the folder on double exposure to the double exposure effect folder and bring in this image. Select this image, select this image, select this image, the three of them and hedopo. Okay, so, like I said, we are going to be greens from simple to more advanced. Okay? Perfect. Now, the first thing we need to do is to remove our subjects from the background. So what do we do, we take our object selection and those on the object or select subject here. The select subject and it's going to work, it's magic and select our subject. Perfect. So I want to refine the hair because we can see that the hair needs some refining, right? So selecting mask end while having my refined ge too, I'll just go ahead and click here. Just click a couple of times to refine our hair. I also want to refine the beds. Here. We can see these blue colors from the background's appearing in the beds, so we just want to refine the beds too. And I'm just going to click on Smart Radius here, activate Smart Radius, boost the reduce to one pixels, and then for feather, I don't need too much feather. So 0.4 will be perfect. Ok. And I'll just go ahead and mask and create a mask. Okay. Perfect. Next thing I want to do is just walk on the color of my image pit, I'll just go to the filter gallery, and then go to camera filter. And for here, I'll just go ahead and work on some few adjustments. Let's see the blacks, and then for the color, I don't want this color to be I don't want it to be shouty. So I want to reduce the saturation. The saturation reduced maybe the texturing or clarity a bit. Basically, we just want to a something that looks like this and heat okay. Perfect. Key perfect. Now, next thing we'll do is go ahead and create our document. Now this document will be A four sized, and it's going to be landscape. So go ahead and pick A four, then it landscape and create. Perfect. Now, I just want to bring in our guy into our document. Bring him in and then I'll just right click here and convert to Smart object. Perfect. Now I'll just go ahead and reduce the size of our guy. This is perfect. Next thing, I'll do is go ahead and bring in our landscape image. So this is our landscape image. Maybe we should do some adjustments to our landscape image. So go ahead and open the camera or filter. And for here, I'm just going to boost up my exposure a bit. Key and then for my shadows. Let me lighten up my shadows and then for the color. I just that's for the temperature for the color temperature. I'll just take it to minus ten. Key and then maybe boost up vibrance a bit. This is just something that looks like this. Mustn't be exact. So yeah, from here on, we just bring in our guy, so we can just grab him into our composition. Drop him. Perfect. Now just go ahead and turn this into a smart object, reduce the size or reskill it. Perfect. Now the next thing we want to do is just select our landscape image and make this and change the blended mood. We want to use screen. This is our screen blended mood. And you can see that immediately we change the blended mood. We now have our effect. Okay, we've done most of the job, right now, all we need to do from here and just maybe a few adjustments here and there, and we will be done. Perfect. This looks nice. Next thing I'll just do is select my guy here, creates a mask. A then take my ingredient to. While selecting my mask, I just go ahead and do it all the way around, create a ingredient on our mask. Ingredient fell on our mask, and then just do this adjust it so that this please feed away. That the hair region and feeds away into our ground. Okay. Something like this would be just perfect. Perfect. Next thing I'll do is go ahead and bring in our birds, grab our birds into our composition. Here, we have our birds, skill them and please them here so that the lucasive, they are going, they're flying out of his head. So the idea of this Zion is happines is free. So we can see that the guy is happy and the birds are free. That's just the idea behind the e. Happiness is free. Perfect. So please make the t. And we can just go ahead and select our guy here. That's our landscape image, that's this one, and hod down or option on the mark and bring your mouse between them and then just clip our landscape image to the guy image to our subject image. So that's what we just want to do. And final thing or not final thing, actually. Create a background. You can use a rectangle to create a background, or you can create a new layer and then fill it in, or just use a rectangle and then go ahead and select a color. Perfect. So we want to go with this very faded blue color. This is the color we can copy it. Hit. Perfect. Now, next thing we do is just go ahead and add our text and see happiness. And just type free here. And then we have is in the middle of our artwork, so is free. Perfect. So happiness is free. Yeah, so we want to go with a color like this. Something too. We get 00. Happiness is free. We can go ahead and select everything and just deselect the pack around so that we can decentralize this. Centralize it perfect. So we have approximately the same distance between here and there. I think we need to move it one more time. Move it right hand side. Perfect Happiness is free. Yeah. Maybe for this, we can just go ahead and give it a drop shadow. Yeah, very faint drop shadow. Eyes. Yeah, so this is basically our artwork. We can go ahead and do some extra little adjustments here and there may be changing or rather bating our levels. Okay, but it all depends on you, really. It all depends on you. These other adjustments are not necessary. The most important thing has been achieved. Before and after. There isn't much difference. So I think we're just cancel on this y. So this is our first artwork. We have come to the end of our video. I'm just going to go ahead and see if this control S, and see if it as double exposure. Save. Ok. So this we've come to the end of our first final project, see you in the next one. Bye bye. 90. 90 The Sliced Artwork: Hey, guys, welcome back. In this exercise, we're going to be creating this artwork. I call this the sliced artwork because our fist is sliced, so also our body. This is what we're going to be re creating in this video. Go to Photo shop and go ahead and open your folder. In your folder on sliced artwork. On the composition and final projects, go ahead and bring in the image. It's called the PC girl portrait to select the image and select all other images apart from the sliced artwork image and at open. Perfect. Now, the next thing we're going to do is we're going to recover her shoulders. We can see that from the image, she doesn't have the left shoulder. She doesn't have the left shoulder, we're going to just recover that using AI. So I'm just going to hit C for my crop tool to make this bigger. Okay to expand the canvas along the side. We can see that it's black. It's so pleased with black color. I'll just undo this, and I will first of all, unlock the folder, sorry, the layer, and then now create my expansion on the Canvas. Perfect. The next thing I will do is select my layer. Go ahead and pick my make select, my rectangular make selector, and then select round my shoulder just like this. Just like this. Perfect. Right now, go ahead and hit generates feel and then generates. We're going to wait for photo shop to do its magic and give us a new shoulder. Perfect. So we have our new shoulder. Let's go ahead and see some other variations. So click here to see other variations. And I think we will go with the first one. Perfect. Now, I also want to use EI to clean up a few more things. I think one more thing, just this hair we have on her shoulders here. Here we don't want to have this because you know we're going to be cutting the fees, and it's going to look we having this piece of hair still on her shoulder here go and select around it, select it. Must be a perfect selection. Something like this will do. And then just go ahead and hit generate one more time. Let's wait to see what we get. Okay, so we have our changes made. Now let's see the other variation. We can see that this one give us still has hair on the shoulders, Sims with this, Sims with this. I think what we do is, we just delete this, and first of all, cut out the background. So go ahead and tick your selection that your object selection to, you can use any of these if you don't have the litst version of push. So just pick my object selection two, and go ahead and hit select subject. It's going to just select our subject automatically. That's what we want to do. Went ahead and selected this part. That's because we have it selected. So what do go ahead and merge them. Merge Ls. Where Merge LS perfect. Now, select this and select subject one more time. I should work this time. Perfect. No have of selection. And next thing we do is go ahead and refine our selection, so select and mask. And we're just going to hit smart radius, go to boost up the radius bits in the one pixels. And I want to shift edge. So let's shift edge by three pixels. Okay. Yeah. Let's shift edge by three pixels. And then next thing is the Fedrne. Let's go ahead and add a bit of fedrin to it, C 0.6 or 0.5. Now, just pick up my edge refine too and give my head some refinement here. So just click and drag, click and drag on our heads to expose the strands. Okay? We don't want to spend too much time here. This we do. Let's go ahead and create a mask. Perfect. Now, I think our effect, our generation should work better now, that's regenerating this part here to clean up the hair on the. We just try one more time. So go ahead and make your selection. Perfect. Now just go ahead and hit generate few, and then generate. Now have our shoulders generated. Now let's see the variations we have. All of them are good. I'll just go be the second one, and here we can merges, Merge. Yeah, March layers and let's control C on our layer. And then let's create a new project, a new document. So that's A four and Control V to paste our image here. Now, just go ahead and turn this to smart object. You can control for that. And we just scale this. Scale. Yeah. Here's a full image. Here's what we want to have. Full image with the shoulders and without has on this other shoulder. A Perfect. Now the next thing we want to handle is the slicing of our image. We want to slice it on the shoulder here. Okay. Remember, it's sliced on the shoulder here, that on the chest, around the chest. And also we want to slice the fish, we're going to cut out the fish, okay? Yeah. So we just go ahead and pick our pain tool for this. This time we're going to use our pain tool, we want to use our selection tools. This is just so we have control over our selection. Okay. While drawing it. While drawing it. I'm just going to show you what I mean. So I'm just going to create a drawing around the chest to signify our coating. And I'll just go ahead and give it no feel. Just to see what I'm doing better. Then pick my dir selection and start to modify these anchor points to perfect my selection or my sheep. I want this to be just the sheep of my selection. Let me look at this again. We see that it's cov around here, we have to make this curve. So go ahead and pick my pencil and let's convert this guy into a cove uncle. Go back and pick my di section too. And I'll just go ahead and try to make this look better. And I'll just fast forward the video so we don't spend too much time. When I'm done, you'll see what I have. Perfect. When you're done, you want to have something that looks like this, a selection that looks like this, or a ship that looks like this. Next thing we do is go ahead and on control or command on your keyboard and then just click on the thumbnail of the ship. Here click here, make the selection and select our image, and I just want to select inverse instead. So select inverse, so we can only select this side that the lower side, right? So do control G to duplicate it. And after activating our selection, we want to go ahead and set our image one more time and just create a mask for this selection. Click on our maxs and control I to invert, so as to cut out this part from the image. Mark out this part from the image. Now we can delete the ship one, and then bring this guy up. We get perfect. Now, just select my mask and go in and try to just clean. Miss Halos the creating here. So B with the push to make this shop, use the sides, and just clean it up like this. Se also with this part. Incredible. So from here on, we just want to cut out our fest. So we just want to do the same thing we did with this part with lower partes. Select our fest go and pick our pin to and start to draw the ship. And I'll just fast forward this and come back when I'm done. Have a selection that looks just like this. So you can go ahead and post the video to achieve exactly what I have or similar to what I have on here. So from here on, I can go ahead and activate my selection, on control and click on the or command and then come on a layer and control G. So Control G to create a cutout of just the fees. We selected. Perfect. F here and I'll just go ahead and hold down control one more time. Click here or command and click here to activate my selection, and then go back to our mask and just hold down and pack piece or option delete on the mak to fill our mask with our foreground color, which is black. Okay. So this will basically add the entire selection to our mask. So it means if we just dab our mask, for example, we can see that we have our fees. It's just hidden in our mask. So enable our mask perfect. While selecting my mask, where I the pick my brush to, maybe de select the selection first. So pick my brush to, and then I'll just add this to the selection to the mask. Give these heal effects to the mask, just like this. Perfect. The next thing I'll do is enable my fas my cot phase, and just move it. First of all, delete this chip lier. And then move my face away from the entire phase. You get perfect this will do. Perfect. Now I want to create the empty score effect. How do we do that? We go and control and select our mask. I'll just go ahead and hit Q on my keyboard to enable me paint out my selection. So it B and start painting this out. I just need to pint this out. So also parts of of the head here. Perfect. Now, I just want to have only this selected. Go ahead and hit Q to have my selection back. And from here and we can see that it seems like parts like the entire face or the entire art board is selected. So let's just go ahead and invert our selection to have only this parts selected. Now go ahead and create a new layer and then fill this layer with some color. So right click and f. And let's choose a color. An coolor will do really. Let's use this que to fill it in. Perfect. And now we can detail it and bring it below our guard here. Now, we want to actually H our selection activated one more time. Then good to select, good to modify and good to contract. So we want to contract this by C six pixels for now and C. So six pixels, not bad. I think we should do it one more time. So let's go and contract this time by ten pixels. So we have 16 ordinal. And yeah. So right here what I'm trying to do is create the thickness of our coat. You get of our section. So let me go back to the image and you can see our coat here. This is what I want to create. So comparing this to this, I think you might need to maybe expand our selection one more time, so modify and contract. This time, let's do this by three pixels. He? Yeah. Perfect. Now, just go ahead and use my keyboard keys to move my selection. Be see we want to create this perspective loop. Because you see this part is t thicker than this part here. This part of the co is ticker than this part and also this part. So that is what we want to achieve here. So we achieve this by moving our selection bit to the left hand side, and this is just perfect. Now just go ahead and create a new layer and fill it in. So I'll just old delete or old bar space rather or option delete, to fill it in with white this time, and I'll deselect. Go to layer styles and fill our layers with ingredients. Okay with ingredients. First of all, do this for the mean guy. That's the background guy. For this, I'll go ahead and give you the gradient. First of all, we have to use the ingredients, and then change the colors. Yeah. Want to sample the face a bit and then make this darker. And we actually need to do some color correction on the image. We need to make it less saturated, less saturated. Trying to expand our scale. And go back, make this seven darker. So see we're beginning to achieve the effects, we want the desired effect. Perfect. Now, I just want to transfer this gradient we just created to this next layer because it's actually supposed to be on this next layer. Yet to hold on, click and drag it on the next layer. Now we have to go ahead and edit this gradient we just created. Okay. We have to make this brighter. We have to make this brighter. So let's try to make this brighter. This will give us the court effect. This will give us the court effect. H as you can see if you've been able to create the coat effect. I'll go ahead and select my two layers and just move them to the right hand side the bit. And just kill this just a bit and so as to remove the white outline we had on them. Perfect. On the next thing we do is go ahead and create the other parts for the bottom side. Now, go ahead and pick your pencil and start to create. H No. Incredible guys. So you want to have something that looks like this. Okay? It does to look like this. So go ahead and take your time and maybe pause the video and try to achieve what looks like this. Okay. To bring it done, you just come ahead and give it the gradient feel. Go ahead and give it the gradient feel. And now we want to give this this color. He reverse and work on our g. So this is what we had, and this is what we're trying to recreate. So it seems we need to make this ch green. H This needs to be brighter. Perfect. He. Perfect. So as you can see, we've created the two coats, the coat on the face and the coat on the chest. Next, we're going to go ahead and bring in our flowers, so click and drag this guy in. And for this one, you want to have it's behind here like this. Perfect. And we need to come back to that later on. So for this one, for this other flower, you have to click and drag and drop size. Yeah, we have to meet this position this week. You can see that for this one, we actually need to flip it to flip the red round. And let's bring in the leaf. Yeah, we also want to have a few extra copies for our fs here. Perfect. And this looks good. I'll set everything and just resize a bit and shift everything to the middle. Now I'll go ahead and create a new layer that's for my background. And that's a rectangle. Bring it to the bottom. And we will just give this ingredient feel. Ingredient feel. We can see that we have the blue ingredient. Let's see if we can get one of these presets. If we can use one of these presets. Yeah, I think we can just select one and then go ahead and edit the colors. Onto reverse. Yeah, I think we can just make this a bit. And less saturated. Perfect, make this probably lighter. Yeah. We see that we actually need to create this ellipse behind our subject. We see that we created it inside our rectal gloves and do that and have it on its own. And bring these ellipse behind our subject. Go ahead and align this to the middle and we actually need to change the color. Just do that here. To yellow. Perfect, and give it an out blue. O blue, Outer blue. Be She? Perfect. I'll just go ahead and do some color adjustments to our image. So I'll select this guy now and just go to image. And for this, I'll just turn this to a smart object. So we do our adjustments non destructively. So image adjustments, and stuation, reduce the saturation a bit. You know what? I'll just go ahead and add the black and white image black and white effect, rather. So black and white. And let's see. Blue filter should do. Ho. Perfect. Go ahead and reduce the intensity of my effect. All I need to do is come here on my filter on my smart filters on my layer, you see smart filters in black and white, I'll just do click here. And it brings up this blending options dial up box. From here, I can choose a blended mood if I want. Okay we change the blended mood. I think change the blending mood actually makes a lot of sense. We see darken, and then we can even reduce the opacity. So we are reducing the intensity of our black and white effect. So I'll go with this, hero. Perfect seam also with our image. You select our image. Go ahead and give it for our image. Yeah, Black and white should still work. Black and white blue filter, H. We'll click here. Let's give it the dc. Not bad. So I'll reduce the opacity. This will be a bit more saturated as compared to the cut out. Just like we have here. This should just do. I think I'll one more time make our gradient here that's inside our head even darker. Okay. Perfect. We want to achieve just this. We expand the scale. K. Let's see what we can do to this other guy here. I'm making this less saturated, you see? Yeah. So this works better, ok, and perfect. As you can see, we're almost done witho design. There are just a few things left. So what is left, we need to add these flowers. Pate this guy here, make this bigger and just cut out one of these. Just go ahead and pat my selection to. Make our bush smaller, make a selection around our flower. Perfect, control G, and delete. Yeah, I think I just did that. I just did that. I think I'll just hit Q instead and take my brush to just push this part. Brush in this parts like this. Yeah, my point. Perfect. Q buck and control G. Yeah. This looks better. So for this, we can just duplicate this a couple of times and those are the blow effect to. Me this bigger. We have another one here. Okay. Actually like this. This should be p to the up and this p to the down. Okay. Yeah. This arrangement. Of course, you can experiment with other arrangements. If you have a better way of doing this, go ahead and do it. Yeah. So can go ahead and add some blow to the bud filc I think, I'll just turn these guys to smart objects, so I can just I can just transfer the effect without having to without having to redo everything from scratch again. So I'll start with this guy. We make him even bigger. With the filter blow and then part blow. I just use a tilt blow instead. Either of them work actually. Either the tilt blow or the or parts blow. This part blow works just like a motion blow effect. Let's try the tilt blow. You can see how this one works. You can actually move these guys up. Can move the guys up to to edit the placement of our blow effect on our image. Yeah, but I think the part blow would do just well. Yeah, and we don't want it to be too much to just 45 will do for this one, o k. Go ahead and transfer our blown holes and click and to transfer a blow to these other guys here. Do seem to this one. H Perfect. Now, can go ahead and just and maybe add more bloness to this guy, Hao. And then I'll just reduce the opacity of. To have this ft effect here. So it looks as if it's more into the background as compared to this one. I'll just leave this one this heat see canvas pits. Kilo, and perfect. This is what we have. So we can do a couple more things if we want, but this is just perfect. I think I'll do one more thing. I'll just pll down control shift old E to merge everything together into a new layer. Okay? And for this for this new layer, while having it selected, I'll go to filters and filter gallery. In my filter gallery, I'll just zoom out. Now these are the effects I have on my filter gallery. I have the torn edges with these settings. I have the half ton pattern with these settings. So go ahead and add these two effects, the half to pattern with these settings, three and three, and also the torn edges with two, 12, and seven, and heat. Perfect. Now, here on, I just want to change the blending mode. Maybe experiment with them by going from down to bottom from top to bottom, rather. And we can see that this works just fine. And from here on, we can just reduce the opacity. And yeah, this should do. So go ahead and see our file control S and see it sliced tw sliced tw. K. K. One last thing I want to do is adjust my redent for here just a bit. It's very optional. I just feel that this part is too bright. Yes. I want to increase the scale and maybe going into the gredent, and Maybe do this. Sorry. Delete this guy. Let's just walk with this too. Let's keep adding this one this by mystic. Okay, H o. Ho. I'll just go ahead and use what we have here. Guys, as you can see, we've perfectly replicated our sliced artwork. What we've achieved might not be as exact as this. Okay, but of course, you can make it better. You can go ahead and add some blue to the edges to the edges to make this standout even more. So go ahead and do that and share your results with me. We don't want to make this video too long, so we have to end it here. That is for this exercise. See you in the next video. Bye bye. No. 91. 91 Orange and Fish Artwork: Hey, guys, welcome back. In this video, we're going to be creating this artwork, this photo manipulation, here in Photoshop. Go ahead and open Photoshop, open your folder. And in your folder on composition. The composition on final projects, go ahead and open the Organ fish artwork and bring in these images. Select the images and bring them all in except, of course, the Organ fish artwork image, right? So because that's what we are going to be creating. So H open. Perfect, and we now have our images open now. I'm just going to create a new project. I'm going to give this 10 " by 10 ". I'm going to make it 10 " by 10 ". He create. Next thing I'll do is go ahead and bring in my woods stomp, my orange will be sitting on my wood. Like we have it here. Select my whole st Control C and control V. Bring it below like this. Hide this layer, and then go ahead and bring in my sunset image. Drag it and drab it. Perfect. And you'll bring it behind our woodtone and launch it to sit just like this so that it serves us our background. So this is what we want to achieve? Perfect. Now we can see that our Woodstp has this he effect around its edges. That's from the cut in. So what I do just first of all turn this into a smart object, and then go in to our smart object and just put on Control or command on your keyboard and click on the thumb to create a selection around our subject and then go to select. Go to modify and contract. We won't contract this by p exels. And from here and we want to go ahead and Go back to select, modify fea. O fea is by one pixel, and just control G, and then delete the one behind, and control S to see go back, and we see that our helo effect is long gone. Perfect. Next thing we want to do is just do quick color adjustments to our wood storm and I go throu adjustments and choose huan situation, reduce the huan situation B. And after that, I'll go ahead and add brightness and color. Sorry, brightness and contrast adjustments and reduce the brightness. He we don't want it to be too bright. Perfect. I'll just adjust my background, more and convert my background to smart objects into my background. I'll go ahead and add the hue and saturation adjustments, reduce my situation and bits, and then add a blow to my background to filters, low guian Okay. Yeah. So go with this value. I think 23, 23 should do, okay. I mistakenly hits cancel, so just go back and do it. So filter blow gan blow and 23.5. Okay. Perfect. So next is our orange. So go ahead and bring in our orange. Orange, control C, control V, convert to smart objects, and sky lit. Okay. So we actually want to make our wood store bigger. We can see that it's a bit bigger here, it's bigger, bigger. So just click and hole down or command on the mac and make it bigger, move it a bit down. K. Perfect. For orange, I think we can also make our orange a bigger. Yeah. Everything is looking perfect. Yeah. Next thing we'll do is select our orange control G and go ahead and give this new copy of black and white, or make it black and white, so go to adjustment and black and white. Perfect. Then I'll just go ahead and turn this to screen. Give the screen blending mood. If I just hide my layer behind, we can see that this looks now like it's transparent. Now I'll just control for my levels. I my levels, I can actually make this even more transparent and give it more details. You get more details to our transparency. I'll just adjust my sliders. To achieve better transparency. Perfect. Now we want to just create a mask on this layer and go ahead and mask out our leaves, first of all, so just take my brush to make my brush bigger and sharper or had, and go ahead and delete or mask out the leaf. Yet, this is the first thing we want to do, Musk cut our leaf. Perfect. The next thing we do is select our orange layer, that's the colored ne, and we want to give it also a mask. So we create a mask. For this one, we are going to now mask out part of this layer, part of our ge. We want to hoo down shift, click and drag. To c from this side in the street line. The next thing after this is just go ahead and mask out the top side without masking out our leave. So we just want to take our time and mask out the top side without masking out our leave. So zoom in and carefully mask out our color d rng from this side from this part. O Perfect guy. This is what we now have. The next thing I'll do is go ahead and bring in my sliced range. B is my sliced range of copied and paste it my project control V. For this, I'll just ho down shift and scale like this, scale it like this. Scale it down. Like this and just fit it properly while scaling it. So we want to make sure these edges are aligning. You get just like this. Si also with this side, so you can just who down shift and rescale sed orange along this side along this axis. And you just want to have something that looks like this. Perfect. And if we want, we could go ahead and do some color adjustments, maybe levels, Control L or command L, and add some levels adjustments. Perfect. So we are done with most of our work. Next into this is just add our water. So I'm bringing your fresh water image. Click and grab and drop. And just re scale this. And I'll just convert this to a smart object, convert to smart object, and sc it even further. So I'll just go ahead and reduce the opacity so as to see what I'm doing behind my water liar. I want to position it just like this. Just like this. Perfect. Then ok. First of all, we tick it a bit and then ok. Perfect. Next, I'll go ahead and create a mask on O La and then select my hold down Control and click on on this terminal to select my orange. To make a selection around my orange. And from here on I'll select my mask for my water on Lia and heat B for brush. Make this bigger and just erase the part of our water image which are outside our ne selection, okay? So, firstly, just go ahead and clean this pd up. We can zoom in and erase it more cleanly. Perfect. Now, we want to invert our selection so as to be able to erase these parts, right? To invert our selection, B and start to erase the parts outside just like this. P. Now, we also have these parts, which we should ease. Now, for this, I'll go ahead and first of all, invert my selection, invert my selection so as to have just the inside selected, and go ahead and tick my brush. We scale it and start to clean the inside like this. So in order to make this easier. I think I can just select this guy here. This guy I just select it and select inverse so as to have outside it selected. And with this, I think we can make our joke even easier. You see, this is an easier way to do things instead of fing the edge with our brush like that. So the select, we now have everything looking perfect. So go ahead and pop your co, and we want to actually Do one more thing here. Just tick your Magic one, two, and we want to select this part of our water. Okay this white part and select then our liar mask and old box piece to fill it in with the foreground color. That's old box piece, four PC and Option delete for Mac. So the select Perfect. The next thing we do is change the blending mood of our layer for water layer to hard light. Hard light we do. Let's try out the blending moot and. Let's start from over. This is soft light, this is hard light. Hard light will just do the job. Hard light, we can reduce the opacity beats and select back our near mask heat B for brush. Now mi a brush, very soft and boost up the size. I'll just paint on our layer here to kind of reduce the whiteness of our water. You get. First of all, I'll go ahead and reduce the flow to maybe 25 and make this bigger and just start painting on our layer to reduce the whiteness of our water. Perfect. So this is just incredible, perfect, selected control L, and just stop my levels to make this sound out even more. H. And yeah, this is incredible. Last but not the leases, go ahead and bring our goldfish, drag it beside it. Let's bring it below our water and change the blending mode. Let's see, Let's see over. Had light works well also. Yeah, but I think we need to do some refinement to our fish. We can see that there are these white hilu effects around the edges, right? So for that, we just select it, control and click, and then we just select, modify, and let's contract our selection by two pixels and C. Perfect. And then let's just feather this out. By one pixel, and control G and hide the one pig. Yeah. So we see this does the job. This is perfect, and we now have our artwork completed. So we now have a wooden fish in our orange. Perfect. Now there's one final thing we need to do. We need to add shadows on our wood storm. That's shadows for our range, right? So O orange will normally cast shadows on our wood storm. So go ahead and put a new layer like I've adjust done here, it B for brush and just adjust the roundness of your brush like this, this just like this and start to pint on your new layer. So click couple of times to pint on your layer. Okay. D the size pits? Perfect. Now, I just want to squash its size like this, denta bring it up a bit, and then go to filter go blow and galcan blow. K, ok? Perfect. Want to reduce the past bit. Perfect. And we actually need to make this part darker because we see that the light is actually coming from this part, from this angle. And if our light is coming from this angle, this part of our orange will not be this bright yet. So first of all, I'll actually go ahead and bring in my light flare. So I'll just click and drag it into my composition. Skil it. And so my light flare, I'll go ahead and change the blending mood to let's see, lighting. Lighting is not bad O screen. Screening is not bad. No I just bring it behind our orange right above our background. Perfect. This is our sun. This is mimic our sun. In order to reduce the light on this part of the orange, we'll just go ahead and create a new Lear, create a near, and I'll just hit I for my drop to sample this color. Then it B. Select back our brush. And let us go ahead and select an even darker sheet of our selected color using the color panel here. So I'll just select this sheet. And yeah, that's perfect. I'll just go ahead and pint on our layer like this. And then hit V from my move to and bring my layer above my orange layer above my sorry, above my orange chair, this guy. On it above our orange chair. So we can just hold on and just clip it to our layer. Now we can go ahead and change the blending to maybe. Darken multiply, and then reduce the opacity opacity to hide this is before, and this is after. Yeah, this looks better. This looks absolutely better. So I'm erasing parts of this layer, sing our mask so as to get rid of this highlight here, this highlight we have. I'm just clicking to erase. Slightly erase it, this looks better. Before and after. Perfect. So guys with this, we've come to the end of our video. We've been able to physically replicate our artwork here. Go ahead and do some further color adjustments, maybe even reduce the brightness of our background. And this will actually help bring our artwork to focus even better. Let's try that. Yeah. See it's helping bring our artwork to focus even better. He. Yeah, and that's it. Go ahead and see this as orange and fish at work. And see. A. Yeah. So this will come to the end of video. See you guys in the next one. 92. 92 Skincare Product Artwork: Hello, D and welcome back. This exercise, we're going to be creating this product artwork, product display artwork in folder shop. So go ahead and open your folder. Yeah. So in your compositing and final project folder, you're going to see the skincare product artwork folder. Go ahead and open your folder, and you'll see the podcrem image, select the Podcrem image, open. It's a PNG image which will serve as our product image. So go ahead and create a new new document, and we want to use 10 " by 10 ", create Perfect. Now, drag in our product image. And of course, we want to turn this to a smart object, so we can scale without losing quality and apply our effect non destructively. Convert to Smart object and let's resize it a bit. Perfect. Now, the first thing we're going to do is create our platform. That's the platform on which our product will sit. So how do we do that? We do that by ticking our pin two and simply creating it. We just click and try to achieve this perfect perspective. Yeah, I know this is not perfect. We can just then go into our dire section two and make this look perfect. So I'm using my guides here to help me achieve a better shape. You get. So this is what we now have. Incredible. So this is what we are trying to a. Okay? Perfect. I'll just go ahead and dete my guides. Let's give it this color. The Perfect. Now go ahead and create our sides. Create the sides for our platform. So let's tick our pencil back and simply create it. Let's zoom in click Won shift, and click. Click. Click and click. So a different color and tick it below this layer, and then tick our dir selection to set our ankle points. Let's just zoom in and please these points. Properly. To this edges need to connect. Again, do same for this other guy. Take a pent. Click here. C here. Shift, click, click and join. This will go below all our layers. Give this a more shot color. Perfect. So be able to create our platform now. We'll go ahead and give our platforms the desired color. Now, we're actually using gradient fields for that. So go ah give this a gradient feel. And let's walk on our colors on our gradient field colors. Okay. So you want this to be To be duck? To be duck a color. Ki, key, go ahead and try to make some adjustments to our gradient. So as to make it look better. So we need to, of course, adjust our angle. Yeah, this angle is perfect and go back into our colors and them look better. So this is what we're trying to. Is a color we're trying to a. I wasn't be exactly the color here. Wasn't be exactly. So we just came work with something that is quite close. Okay? Hook. Yeah. So all we do now is pull down or option on the mark, click and drag your effect to the next layers so as to apply so as to copy the same effect. And we can go back in and further make adjusts. Make this. M this also. Ido. Kio ch. Perfect. So we want to also walk on this one. Go in. The key. And for this guy, this key. Sh make this. And, I think I did something wrong here. Yeah. So ok. And yeah, this is what we now have. Let's try placing our product on the platform. Utt product. We want to tilt it just like this, want to reutt it, just like this. We want to make it big because it's the main focus of our presentation, right? Yeah, and we can just select everything and just key everything down a bit. Just a bit and select our subjects or put and make this bit bigger. Perfect. I feel maybe make our product a bit smaller. I'm just trying to see the perfect size. I'm just trying to get the perfect size for our products. So I think this size we just do. Thing we have to do is go ahead and try to create these paved edges we have around our platform. So go back to photo shop. We use a rectangle for that. To create a rectangle. And feel it reach this color. Ok. And we just need to rasterize our er and then convert it to a smart object, go to filter, low, gaugan blow, and 8.0 is perfect ok. So we just bring our er, our er. Try to fit all the edges just like this. Hi ok? Perfect. Yeah, Let me go ahead and try to reduce my my gasion blow. Go ahead and reduce my gasion blow. Bits. So 5.4's with 5.4. Perfect. Now, I'll just give you the layer mask so I can and just delete some of these parts that Some of these parts that are overlapping. You get those parts that are overlapping. Identify them. A mask. Per and duplicate our bev control G, and just apply our bev all around our edges. So I'm just going to take my time and apply our be all around our edges and fast for the video, so we don't spend so much time. C. Oh M. Yes, guys, so we're done applying our bevele to all the edges. And we actually have to go in and reduce some of the pebbles or reduce the intensity of the pebbles on some of the edges. But before we do that, I'll go ahead and create our background. Our background needs to be a pebble. Sorry, need to be needs to be a gradient also. So go ahead and create my background and from my background. I'll give you a gradient feel gradient feel gradient. And for the style, I want to use di and make this Me this brighter. M brighter. Yeah, made this less brighter, but not this dark. Key. And I can actually come in and use my mouse to just adjust the positioning of my ingredients like this. Make my scale bigger and he key. Perfect. So now we can see how our beveled edges are interacting with our background. So we can furthermore adjust them better. So first of all, we can see that there are some blemishes on the edge like this. So heat and just use a soft brush and just so use a soft brush and just clean this up like this. Key, you seem it's seem for this guy here. B. Clean it up. Seem also for this guy. B, clean it up. Okay. And for this one, we want to change the color. Okay? So we want to change the color, so go in and give it the color overly. Color overly we want to use something that looks just like this. Okay, we can increase the opacity of our color to reduce the effect. Yeah, perfect. I want to also add this one, but have in mind that this will be the brightest because our light is coming from this, please, we don't want to reduce it too much. Let's give you the color over, and let's actually reduce the intensity for color overly. And even further increase our blow. Let's make our blow bigger, 7.2 perfect. And for parts like this, we can just reduce the acity. Okay. This guy, you think we should give it. Oh Cole. Perfect. Me also to this guy, Colo Val. And I actually feel like increasing the pavl for that guy. So Thank you. Sorry, but this guy. Perfect. And finally for this one. Let's reduce the Pele. Let's increase the Pele. Seven is okay, and let's give this color over and color over. Reduce the intensity. Perfect. Yeah, I think we are good to go. We go to go further. Perfect. I think this is good and we are good to go. But I have some problems with this edge. We can see how it's looking. It's not looking really clean. So I'll just try to fix that up. Let's try to fix that up to select my mask, P, or push. And let me just hit X to review all my blow to seem for the other MSP. For this one also. P. Let's see what it looks like. So I think this one is the one that needs adjusting. Okay. This last one you selected. Wrap this one. B, go in and just clean it up. Yeah, and it actually looks better now. Let me try disable this bevel this agency. I think I will just reduce the opacity very much. K. Perfect. So the next thing will do is go ahead and work on our products. We have to add some shadows on the background and also work on our product to make it look better. So create a new layer, bring it below our product, it B for brush, M our brush bigger, make the hardnes zero, and let's quash our brush. Just like this. D to change our foreground color to black, I bigger. I'm going to use my arrow key to repeat my prose clockwise and anti clockwise. So for clockwise, I'm using my right arrow keys and the left ro keys for the anti clockwise. I'll just go ahead and dub some pints on my liar. Just want for now and pick my move to a chose I adjust my shadows. Bit. Have miking like this. This is the first one I'll go ahead and create a new lear kit B. Now for this one, I'll make my brush a bit rounder and reduce the flow between 7% and just Yeah, a couple of times. Pin a couple of times and Yeah, it looks better. So, for this, I will reduce the opacity just a bit. Let me bring it even. La. Perfect. Now the next thing I'll do is work on my products. So I just want to do some corrections, some color corrections on my product to set my products, ah and add the filter the camera row filter, and I just want to make our blacks bit brighter. Increase the intensity of our whites, our highlights. K and clarity should go a bit higher. Let's see the vibras. The vibras also and k. Yeah, and our product looks better now. Yeah, and we can go ahead and do the background. For the background, I'll just pick my pen and create some that like this. Perfect, and I'm just going to give it a gradient. First of all, I think we have to take it behind. Just approve our background a, give it a gradient few gradient. For this, we want to use the reflected g ingredient, and then just walk on the angle, just the angle. Yep. They chief. Add colo here, M this Bitaca. Perfect. Totally like this. Yeah. Just go ahead and e. And yeah, we don't have our background. Now, I'll go ahead and this guy this part. I'll just create a new. So bruh. And let's just some color. Yeah, and I'll just change the planet mode. Let's see what darken or multiply have. So multiply, we just do and just reduce the opacity a bit. And yeah. Perfect. Now go ahead and add another layer on top of this layer and I'll do the same thing I just did here. He so as to create some shadows. Yeah. This is good. Blend mode to multiply and reduce the positive bits. And that is perfect. For my produ, I think we could, furthermore, do some more adjustments. So I'm just going to create a near and our wooden les or command on the mac and keep it to my produclea, and at B for brush. I just want to make this side der. Now sample my golden color here and just make this side a bit. Okay because of course, we new light is coming from here and this side will be darker. I just want to make this darker a bit. While still my board selected, I'll hit X to change my ground color to my foreground color, and we just want to use white this time to kind of make. To make our highlights stand out and just reduce the flu to 13%, and just kind of make our highlights stand out. So highlights should stand out. And our shadows should also stand out. Just like this. And zooming and creates the same effect on our cream like this. Perfect. So overall, our cream looks better. This is before, and this is after. We can see added depth to our cream pot up perfect. Now, the final thing, we just go ahead and add some light as coming towards this direction. So for that, we just create our angles with a white feel and just use my direct selection too and adjust our angle points like this. So we want to have them spread as they come. Just like this and state it. Pleas it well. Control or duplicate, or just hole down and drug and just arrange these light es on our scene on our composition like this. Perfect. Next thing I want to do is select everything and merge layers or rasterized layers, and then merge them Merge layers and then add, of course, you know, our gas blow, right? The other gagion blow effects of filter. Hok for the seven hero K. From here on, we're just going to create a mask, sorry one liar mask and use our gradient bruh, sorry, our gradient feel or our gradient tool to apply a gradient over on our liar mask. So it does to look like this. Perfect. So this is all we need to add to finalize it, before and after. And with this we've come to the end of our video, we just agreed to go ahead and see our file skin care products, artwork, select and see. Okay. And with this we've come to the end of our exercise, see you in the next video. Bye bye. O 93. 93 Action Movie Poster Design: Hey guys walking back in this exercise. We're going to be creating this action movie poster design right here in photoshop. Go ahead and open your photoshop, create a new file, A four, portrait, and hit create. Now, go ahead and open your folder, your action movie poster folder on the composition and final projects. We want to bring in these two images, first of all, select the boot of them and bring them in. There's the first guy, and there's the second guy. Now we want to remove the background of these images. All we need to do is, of course, tick our object selection tool and select subject, or we can even use our contextual bar here to just hit select subject. I would do its magic of selecting our subject. Perfect. Now we have our subject selected. We can do same with this one, select subject. Perfect. Now our object selected. We can see that we have some errors here. So we just hit Q. And just erase the errors. We can just hit the x to have whites as a four ground color, just erase these errors to have a perfect selection. A better selection. So reduce my per size and erase the selection around here. Perfect. And as you can see, we actually need to add this part to our selection of heating x to change my for gran color to black. My smaller pin in this corner. Yeah. We'll just ease these parts. So so far so good, we have a decent selection. I'll just hit Q back. And we can go ahead and mask and select to refine our edges. So I'll just zoom in and use my refine edge to just paint on here to refine my hair better. Seem also with the bed. Yeah. I like this. I'll just remember settings, I'll enable, smart reduce, maybe this one pixel, and feather 0.7 is k, okay. Perfect. Now, let's go ahead and create a mask. My selection. You don't with this guy, go to the next guy, gone yielding guy, and we see that Fuso actually did a good selection here, except for places like this. L hit Q at B to add to places like this. K, reduce my brush size, my brush hardness, rather, and add to places like this by erasing our mask from places like this. Perfect. Hit Q. Select and mask. Fu did a pretty good job with the hair. I don't need to do any further. I'll just hit a key and create our mask. And we have our mask. Perfect. I'll just go ahead and convert this to smart object and do seem with our image. Convert to smart object. Copy, control C, bring contro. We scale it. And do seem with this guy. Copy, contro C, him here contro V and re scale him. So you can see that we need to do some color adjustments to blend the booth of them as they are not looking like images that we're taking in the same place, we just need to make a few adjustments, not much. So this guy is bigger. This guy is smaller. Let's look at our poster, we can see the sizes. Yeah, I think this size is just k. Right now, let's go ahead and just fix the coloring quickly. We just need to do some color balancing. We can see that for this guy here to erase this part. Let's go into the mask, or rather the smart object, and select my layer mask B. I the size, increase the hardness, erase this part or add it to my mask. Perfect. Control I see. And we can close this guy now. Now we can see that it's aged, right? Perfect. Now go ahead and bring up the color balance two. Just kind of balance the color bit. So my color balance, color balance color balance. There you are color balance. You can use control B or command B on your ma to go to the color balance. And for this, we just want to increase the amount of red. So you can see, we have two colors on the extreme ends. We have the sin, we have the red, we have the magent, we have the green, we have the yellow, we have the blue. These are basically opposite of each of these colors. This guy is opposite of this guy. If you want to add more of red, you just drag your slider to the right hand side and do vice versa for can. Sims with green and blue. I think we just want to add a little bit of red to our guy here. Yeah, and I feel the blended more. Maybe we're going to work on this on the images more literal. So let's just go ahead and perfect our composition. So right in my folder. That's my action movies folder out. I have these images. So I'm just going to click and drag them one after the other. So we have this image click and drag into our composition. It's supposed to sit at the background, and we actually need a black background. S of f so create a ship and feel the entire canvas. Make this black, and bring the layer below. Perfect. Next thing we're going to do is bring in the remaining images. So we have this guy click and drag into our composition. This guy is actually going to sit way behind above this layer here. Perfect. Now, we have this guy, let's select him, select him, select him, and select him. Okay? Yeah. Just bring them all in at once. Hi dent a couple of times. And yeah. Hide some of them so we can properly arrange our composition. So this should be bigger. Yep, should be way bigger. Perfect. So, we need to bring this guy or make him bigger, then bring him way behind. For this guy, we actually need to change the blending moods. Let's see what blending moods we could use. Let's just go through all the blending moods. We see that with lighting, we are beginning to have a really grammatic and cool effect. We can have screen also color dodge. Then linear light. Let's see, let's see. Linear color. This is linear color this is normal. This is linear color. For now, I'll just go with linear color. Perfect. I just want to create a mask on my layer, it G for my gradient and click from here downwards to create the gradient so I can blend in my image like this. Perfect. Yeah. Perfect. So next is re enable our layer here. This guy. Scale him down, bring him below here. Let's look at our Pusa bit at this our puster. For this one, we actually want to have him sit like this. He's going to be way behind. He's going to be behind here. And let's change the blending mood. L et's use the lighting blending mode for now, and we can go ahead and create a mask on it, G, and then just blend it like this. Perfect. Next, is our image of a boning car. So we want to re scale this, just bring him. In fact, we actually need to reduce the opacity of this er, so let just reduce the opacity of our boning tank of our damaged tank. That's this layer right here. It's not string because of the blending mood. And, this lier. T this layer. Let's just undo everything. We actually need to reduce the opacity, so 52%, perfect. And then we have this layer, scale it up just like this and bring it below, have it here. Of course, you know what we need to do. We need to change the blending mode. Let's see. Let's see. So I think lighting will do a good job also. Or lighter color. Lighter color equ s create mask at B, make our bush size bigger, reduce the hardness, and just start painting to erase parts of the image ts. Perfect, maybe reduce opacity. Then have this guy enabled, bring him below. It's going to be on the left hand side of our born in car. Oh. Yeah, it's going to be sitting here and it just blends well. So far so good. I'll first of all create a La mask, however, and it be from my bush parts of the image like this. Yep. It's good. The next thing I will do is just walk on this red image here. So this image is too. Let's try changing the blending wood and see if we get something cool. So I prefer this effect here. Let's create a layer mask and try to erase parts of this red from this side yet it's a bit too much here. And now we're left with this guys. Let's see, Let's try bringing this layer above our guy. Let's bring this layer above our g here. And of, parts of the layer to blend everything better. And then select our guy. Create a a mask G, and create a blend. We want to just feed out the ending parts of the image like this. Perfect. Seals with this, a mask rag not just on the white hooding down shift. Perfect. Now the next thing I do is just go ahead and create a rectangle, click and drag to this side and let's give this black color. And for this guy, I'm just going to create a a mask G and create my blend. Create my bland. Just like this. Perfect. So you can see how we've blended everything using our layer masks, using our blended mood, and we've just in a couple of minutes, come from having just random images all around to having something that looks way closer to expected outcome here. Let's try reducing the deposit of this guy and see, yeah. So maybe 95%. And next, I think we need to work on our images. So first of all, I'll select my image, go and add the brightness and contrast. Let's reduce the brightness of this guy. It's too bright. And also the contrast, because we were going to the camera o filter and do more adjustment. I just want to reduce the brightness and contrast. So it is before, after. Yeah. This is before, after. Ok. I like this better. So do seem with a guy here. So go ahead and reduce the brightness and contrast. Es brightness, dus contrast. Okay, ok. Perfect. So the next thing we're going to do is, no, I'm just going to zoom in and I can see some hilos around the hair. Now, I don't want sta, so I'm just going to try to fix that quickly. But these I'll just go into our mask. Sorry, I smart object. And first of all, I want to just give this black background, so I can see what I'm doing clearly. And I'll just go ahead like my layer mask, heat B, re size, and just feed parts of the hair like this. Sorry. Hat X. Feed parts of the hair. As you can see we're painting, we're actually painting on our image. So we don't want to paint on our image. We want to paint on the layer mask. Likely layer mask and as parts or soften the edges of our hair like this. Does mean to seem to these parts? Because we want the head to plan perfectly into our composition. We don't want it to be standing out. Do we currently standing out. So gli rect control S. Let's go back and see. It looks better, better. So we can do to this guy here. Going create a black background. And bring him below. So a marks B for brush. Let's just ease parts of the hair like this. So we should have actually done this right when refining our selection, right? But however, it's not bad. We still can achieve a good result, doing it this way. Okay, what did this. Okay, so delete our rectangle controls. We can see that it's a bit too much. Relay. It's a bit too much. Let's try to regain or recover some of our details. Let's see. Yeah, I think we should work, so Control S, and go back to our scene. And yeah, it plans better now. So we will just go ahead and work on the images to select our image filter, camera or filter, Shift Control E, if you like. So for this guy now, just go ahead and first of all, bot our details. So we just go to go to sharpening. First of all, may be sharpen it a bit, then go to um Go to our clarity, increase clarity texture. Then because we are looking for this cinematic look. So we have to do this. You can see we then boost of our shadows and then reduce our exposure repeats and boost of our blocks. Let's just boost of our blocks and just key. Yeah, it gives us more details, makes it look more cinematic. Makes our guy here look more cinematic, more bars. So we got to select the dest guy the filter camera filter, and basically do the same thing. Go down, increase the sharpening, then go up. Increase the clarity and the texture, and then go ahead and lighten up our shadows and our blocks and just reduce the exposure. Bit. You're going to be to contrasty. So maybe reduce the contrast a bit and ok. Yeah, looks better. Looks better. Los better. So here from now on, we just need to do a couple of more things, and we will basically be done. So you can see, it's basically all about adding images, or blending multiple images together. So there's nothing really special or really complex about this. If you just know how to blend and use the layer masks, you can achieve whatever kind of complex design you want to, okay? I do D to bring back my black to my four ground color and I'll create a new layer and olds back piece or my PC or option delete on the mark to fill it with the four ground color, which is black. And for here, I'll just go ahead and change my blended mood. Let's see. Okay, I don't really need to change my bland in mod first of all, I just need to create a layer mask at B. Me my bush size pa and kind of make my brush look like this. Get to increase my brush size. You just heat X to enable my er to swap my colors, for gun and bagund colors. I just click and so we can create this vine effect. Okay creting this vinete effect. I just reduce the opacity of my near this before this after. This also gives this cinematic look. This complex nematic look. Perfect. The next thing we do is go ahead and add our texts. The first text is death, which is the title of our movie. Now, this is not a real movie. This is all made up. It is all made up, so don't think it's a real movie. I'm just using the names of some existing actors, and these are not their images. So just be aware of that. And let's just go ahead and see what phones to use. I've downloaded some phones previously. And I think these guys, this PP sorry, this p22 Rog Cut is good. Let's see. That's the font I actually used. So you can go ahead and add the font. If you have the AB Cloud subscription, go ahead and add the font, it's an ADB font. But if you don't have, I think you just look for a similar font or maybe check for the font on the Internet. Probably you might have it there as well for free. But you can just use any other font. M be this font, really. We just want to have it look like this and then go ahead and bring in our ast wall texture open. And we just want to use this grange texture to create a grange effect on the text. Okay. Select it, poling down control and click and Control C. Deselect. Sorry, deselect. Okay. You don't need to deselect, whatever. Just go into your layer or go into your project, select your death image or your death text rather, create a layer mask, cool down old and click here, to go into your layer mask and control V to paste into your layer mask or in your er mask. So just rescale And just please sit around the position of our text. Commit changes de select. H t and click t option on the mark and click back on our layer mask. And now we can see that our gronge defect has now been added to our text. No just select our layer mask Control L to bring up levels and just to stop my levels. This with my white and my blacks, so as to have a more daring effect. So I'll just go ahead and link the text and the layer mask, so as to have control over my layer mask, and I'll just go ahead and move it around, skill it, so as to achieve better placement. And this is just cool, it ok and link it back. So this is our text down. Incredible. Now, going into our layer mats. Sorry, our blending options. And we add drop shadow. And I like meeting my drop shadow, just so too. This is subtle enough and ok. Perfect. Now, just go ahead and bring in my Netflix logo. Sorry. MyNetfx logo. This is my Netflix logo, click and drag and drop. Re scale it and bring it to the bottom entering and now we just want to have the dates of the release of our movie besides our Netflix text or Netflix logo. So for this, we just go ahead and pick our text to and write April 21. Go back to I move to change the phone. Let's use Monat for this and we skate it. So Let's rise in a different font and see. Let's use Let's use near heavy. Nex a heavy is the name of the font. You can go ahead and download the font. It's a free to use font. Perfect. So we actually need to scale down the size of our netflix logo here and then create a rectangle. We just have it in between our netflix logo and our release. Give it a red color. Yeah. We can go ahead and group them together so control G, group them, y select our group, click on our background, and then align to the middle, just like this. Perfect. So I just activate my group selection, so I select our group and move it to the better place, have a better placement, and yeah, this is just cool. Now the next thing is to add our remaining text. So we want to have the name of the mean actors here, one on the left hand side, one on the right hand side, and then let's see. And then base on the true life story and then produced by the Rousseau Brothers. So we have Mark Walberg on the left hand side and Chris Hemsfort on the right hand side. So select my text to click and Mark Walberg. I For some of these parts which we do not want to keep selecting, we can go ahead and lock them. For this group, I can just lock the group, so we don't select it mistakenly. Okay. And then Smalso for this effect we created is nette effect, go ahead and unlock it, so we don't select it mistakenly. Okay. Perfect. Sam also for this guy ahead it. Anything that is going to stand in, we just lock it. So we don't select it mistakenly. Okay. I'm finding how to select my text. I think it's in the group. Let's see. It's actually in the group. So D select or unlock and then bring it above my group. Close my group and lock my group. Perfect mark and select my text. We skate my text. Maybe give it 16 point scale font size rather. Red and use 25 -25. And we just want to turn mark to red color. We want to give Mark a red color. Mark a red color and on or control G rather and bud the copy to the right hand side, and then change the name. This is s Hams fot Cris Ham's fot. Here, I think it's H's worth rather not Tam's fault. He's worth? Perfect. We can go ahead and control on this, contri. Sorry, Control G to have a duplicate and for duplicate, let's just go ahead and write based on a true life story. Based on a true life story, on a true life story. This should be whites. Cont then produced by the Russ Brothers. Produced Let's rescale this. Let's position them properly. Just a bits below this, and we are physically done. One more thing we can do is maybe create the black effects. We can just duplicate this layer, and bring the layer up rotter. So we can be able to see our text here properly. You get that's basically it. We can change the color of our text to red if we want. You can use whatever color you want ok. Zoom out. I think I'll just use white instead. Yeah. So you see this is now our completed posted design. And, I'll just go ahead and see if my post design in the folder. So action movie posted design. And a safe. OK. Perfect. And with this we've come to the end of our exercise. See you guys in the next one. 94. 94 Nescafe Product Artwork: Hello, Dre. Welcome back. In this video. We're going to be re creating this neskif product manipulation. And this is sort of an introduction to advanced compositing or photo manipulation because in case you do not know, all the elements of this composite are from different images. Okay, so these are all different images with different lighting effects, different color effects, and all of them have been brought in to one composition to create this. So that's the power of advanced photo manipulation or advanced compositing. And we're going to do this all in this video. So go ahead and create a new document and this should be A four landscape and it create. Now, in our folder, so just go to your folder. We have the net KF product artwork folder in our composition and final project folder. So open it up, and now you can see all our separate images. There are 16 images all together. All of them combined to form this single image. So the first thing I want to do is drag in my Cloud. This will be my cloud. I'll just drag it in to Photoshop and release it. Perfect. I just want to scale my cloud a bit. Scale it up. And just move it up like this. Go back to my folder, and the next thing I'll want to do is, sorry, not this folder. This folder. And the next thing I'll want to do is bring in my next image. Now, this will be my next image, which will sit on top of my sky, drag it in, and I'll just scale it up a bit, or before scaling it up. I want to actually remove the sky of my image. So in order to do this, I'll just go to select and then sky. So it's going to select a sky. Perfect. Now we can go ahead and add a mask and just invert our mask, control I. Perfect. I'll just kill it up just a bit. And the next thing we're going to do is bring in our grass field image, so click on it and drag it into Photoshop and it k, select and sky. Then give you the mask. Select the mask, control I, to invert our mask. Perfect. Now, this is the first thing we want to do. Now, I want to actually add this tree to my selection to my mask. So just go ahead and select my mask, at B. Met my brush size smaller. Select this brush, the size and start painting over my image to add my mask. Perfect. So tree has been added to a mask. Now, I just want to select this guy, I guess, so as to delete this line I'm seeing here. So I'll just add the line to my mask, select the mask. He'd be just brush into our mask, that's pulling down shift to need in a street line. Yeah, and now we have our three images sitting on top of each other. And just by looking at our composition, we can tell that these are all separate images. These are three separate images. We have the sky, we have the hills, we have the green grass, right? So they are all separate images because they don't blend perfectly with each other, just like we have them blending here. Yeah, so that's what we're going to fix right now. So first of all, we're going to start with our sky, select the sky and go to image adjustments, then color balance. We're going to use color balance to adjust our colors and kind of improve the harmony of our composition. So I'm reducing the reds here. We can see that with this we are getting more blue un sky here. And then for this guy, which is the second slider. Let's bring it to the right. We can see that's now looking good. Neither is you looking good. So we want to maintain the balance, we want to track a balance. So I think around plus 52. And let's see this other one. So for the blue. Let's see. That we don't overdo this. This is before and this is after. The change is quite subtle, but I think we can work with it. Next, let's just go ahead and pick our brightness of contrast and see what we can do with this. We use my brightness just a bit and then increase my contrast. Increase contrast. Yeah. Go and pick my levels. Oh This is before, this is after he ok. Good. Now the next thing I'll do is walk on my heels. So select my heels and then image adjustments color balance. Color balance. And for my heels, I want to kind of reduce the reds in my heels because you can see that it's too reddish. Reduce the reds. Let's see what we get by reducing the greens or the blues. I think we maybe add some blue. Key. Maybe add some greens just a bit. And then also add some brightness and contrast and just reduce the brightness of our heels. See also with our contrast heat ok. Now we'll just work with this for now and then now select ours. Sorry, our green grass rather and image adjustments and color look up. Now we need to blend our green grass to look like our heels, right? Sorry, not color Lp. Color balance, color lookup. Color balance. So Color balance is just control B, so I'll just keep doing control B instead of going all to B. So just reduce the greens. K, Mybe reduce the reds bits, Maybe add the reds. We can see what we get in. This is before. This is after. A Perfect. I think I'll go back to my heels and walk on the color balance one more time. So I just adjust my heel to make it closer to the green grass, instead of making the green grass closer to my heel. So for this, I will go ahead and add some green to my. So we can see that it's now looking closer to our grass. Okay. So just a bit of green. And more can get more sion. This is before and this is after perfect. So as you can see, this is what we had before. And this is what we have now. Incredible different. Perfect. Next thing we do is select our heels, select the mask, heat B. As you want to feed this out into my sky. You get as you want to fit into our sky. Pin lightly. Et's take this guy. Let's just like just the pit. As to feed our heels into our sky. Yet, we should not do it too much. We're just going to hit x to recover some of the details we've lost. Perfect. So it's now a better blending between the sky and the hell. Next is our table. So this is our wooden platform or wooden table. So bring it in. Yeah. This is our wooden table. He key. Nest thing we do is go ahead and walk on our table in isolation to click here to open the smart object. And for this, the fsion I want to do is just delete this part. This block I'm seeing here. This black I'm seeing. Click and drag to the edge like this and just select it and delete a keyboard to delete, de select, control zero, and then tick my pbar asso tool, and I just want to follow this line. A the piles line, and just create the cots this and delete deselect and do the same thing here, on the piles line. You want to start here. Just like this. Delete, D select control zero, V, and then dos who shift and make this dpa. Control S perfect. And go back and yeah, our changes have been added. Let's go ahead and see what we have in the original image. Now we can see that our table is actually flatter than this, so we can just hold down shift. Click and make our table more flat like this. Okay. Just like what we had here. And we can our table longer. No longer like this. Make it flatter. Perfect. So the next node, go ahead and bring in my plants, my grass, to select this grass and bring it into the shop, drop it, re size, and just have it here. Perfect. No. Select this guy, bring him. This one will be kept here on this side. Perfect. We actually want to create extra versions of these plants. Tres on this and bring him behind our grass here. Behind our grass, and we want to have a copy of this grass behind our tropical tree here, or our tropical plants here. Perfect. Just like this. This should definitely be smaller in size. Should be bigger. Perfect. The next thing will do is go ahead and bring in our nest cave product. Drag, drop it on the table. I put will be big because it's the main focus of the design. It's the main product. I be this big. Perfect. Go back and bring in this guy. Palm leaves. Drag it in. And it's just going to be pleased like this. Perfect. Go back my funder, and then bring in my bird. And my bird is just gonna sit here. Go ahead and bring in nest Ki drink. He size it. We just speak? And I would like to do some adjustments to our net give drink in isolation. So for this, I will just go ahead and go into the smart object and try to do my adjustments. So first of all, I want to go ahead and delete the shadow we have on our Cp. For this, we're going to pick the magic one to just select and select and select and delete. Delete the shadow, and we actually didn't do a good job. Do and use a different method. D select. And for this, I'm just going to take my pen to, and I'll just draw out a selection instead. So I'll just draw this. So we have a cleaner selection of our cop. I'll remove feel. I'll just follow the edges like this. Tse our selection and control or command click on our to select this part and then select our near one and delete. So we've totally deleted that shadow. Easy. I feel we didn't do a perfect job soldiers on a couple of times. We should have selected this part of the Copas soldiers on doo this a couple of times and select my ship. Kick my pen. Okay, d two mods, go back and in my selection and then tick dir selection to select the ankle points and adjust my ankle points to include the parts. Ohh just like this. Perfect. Control and click. Select and delete, and de select. Perfect. Now we have a better selection. Next thing we do is go ahead and erase the write up we have on our nest cup. So go to our removed tools, and then just select the patch. Select this one. First, click and crag, select this guy next. Click and drag. Perfect. So we have it. We can sit right now. Now the next thing I want to do is, I want to go ahead and adjust the perspective of my copy. You can see that. We're having, let me just go ahead and see this fw. So can see back to the original flat. So I think we just need to delete this guy and. Perfect. So it's saved now. So we can see that the perspective doesn't line up. Get the perspective of our cop doesn't really line up. So in order to do that, I'll just go ahead and pick my rectangular March you select to, and select on top of our cop like this. And then we pick my move to and just hol down shift and do this. So you can see reducing or adjusting my perspective. You get adjusting the please ma of my cop the perspective of my cop. So just go ahead and see if, go back to my file. We can see that we should have moved it a bit more. So have your move to selected and then just use your keyboard to move it one pixel into the cup. And that line will just disappear. Perfect. So Control S. And now let's go back and see. Now you're ticking better. You get ticking better. So let's go ahead and let's go ahead and flip my cup like this. Perfect. And then apply. Now we can just close this and we have our cop fixed. Next thing we have to add is, I think our animals, right? So let's go back to our near and we have our animals, we have the d, we have the graft both of them, click and drag and drop. Hok For deer, our d has to stand around here. We reduce the size or k It has to stand behind our chair, our wooden tube rather. Perfect. Let's look at Perfect. Let's look at our image. We can see where it stands, right? So it actually needs to go down a bit a bit more. Perfect. Next thing is our raf. We see our draft and move it. Our raf is actually way into our scene compared to our DA. That's why it's not very big because we all know that normally a df is extremely big as compared to a DA. O drive is just here. Let's look at what we have. Maybe we could increase the size of our giraf Yeah. Perfect. Perfect. Now finally, we just need to add our coffee bins and these are coffee bins. Yeah. We actually have the birds flying also. So select the both of them and just, actually, the coffee bins, we should open them in a whole different document. And then for the birds flying, we can bring them into our composition. We'll just cut this copy or drag this into my composition to the bird flying garden. So the birds flying have to be we into our scene as compared to every other thing. So they're just going to be behind our green grass here. So to select or to select, so we don't select something else mistakenly. For this, I'll just pull on or control G to duplicate our birds. And I'm just going to flip our birds like this. M this ones bigger. Perfect. And for this one, I can just go in and use my selection to select at V from my move to and just move it and do seem with all these other ones. Hat V, move. So as to spread them apart. Get heat V and move. Selected it, movie like this, select S until S rather to save and go back, and we have our scene updated. Perfect. So last, but not the least, we have to add our coffee bins. So for our coffee bins, we can go ahead and select two coffee bins. Let me just see and have a clear. Okay. So the particular coffee bean we select doesn't really matter. I think we will just go with this guy and this guy or pot of them, maybe this guy and this guy. I you select a bin and then control, select this guy also. Then control. We can sell both of them, copy and bring them here, control V. I'm going to first of all turn them into smart objects. Convert to Smart object, convert to smart object, and now position them properly. They should be touching each other, not being on top of each other. We should be touching each other just like this. Perfect. They should actually be smaller. They should be smaller. Compare them with what we have here. You can see that this cp is actually way into our scene. So in order to activate the transform to instead of just clicking here. We can always just control t. So if you do control T, you're going to activate the transform too, so you don't have to always click. I always click because it's easier and it's quicker. You get. You can always do control T if you're having problems. Always clicking. So this we're going to move it into a scene a bit more and maybe you sce it. And the cop should actually be also big because it's the copy because man it's the freaking Nescafe drink, right? So it should be big also, not just the nes kf pack. This is what we had, and this is what we now have. Should we proceed? Or we need more adjustments? I think we need to bring this guy Pit. So really, guys, we don't need to achieve exactly what we have here. Just something that is close is okay. And as you can see, we also have some leaves here. We have the sleeve and the sleeve, and I don't think they are in our folder here. They should be in this other folder. This folder on orange and fish. No, sorry, not fish. I think sliced awk. So this is the leaf I used, so drag it in grab it. Perfect. So this one, we're just going to reteat it like this, I guess. So one should be first of all, we need to squash it like this. The one should be here, resized, to, one should be here, resized, tetd. Let's see. Yeah, even resized even more. No, cheated. Perfect. Y, so this is our composition. Let's take a look one more time. In fact, you know what? I'm just going to bring in my original artwork, so as to compare them, compare our positioning and everything, we better. So this is what we created before. And we're just going to bring this guy here. Bring this guy here. B here. This is what we now have control zero, control zero. This is what we have. This is what we had Key. No, I think we did a great job. We don't need to worry ourselves too much. To the birds. Let's let the birds. Let's make them smaller in size. Let's make them smaller in size, so they look far into our sea. Perfect. This guy should probably be bigger. And moved up. Perfect. Now it's time to handle the most interesting part of our work, which is blending our elements to look like they were there originally. For this, we're going to start with our trees. Sorry with our plants. Select our plan, Control B for blend, let's just reduce the green maybe. Maybe a bit of red and go ahead and add the brightness and contrast. For brightness and contrast, we going to reduce the brightness very much. We don't want them attracting the eyes so much because this is the main focus of our artwork. So I should attract all the eyes. So we should reduce the brightness to something like this. Maybe the contrast, maybe increase the contrast just a bit. Yeah. So you just make sure you have this. And I'll just go ahead and copy this into the other guys. Hold down drop, hold down and drop. Okay, no, not on the net CIF mystic. But we have to do that for the other plants. That's this guy here. They should actually be closer to each other. I don't know why they are so far from each other. Okay. So hold on ls, click and drug. Hold on ls, click and drug. Sorry. Pull down and click on the smart filters and rag. Okay. So this is probably okay. But for this one, we have to do some work. We have to do some work to just open it up. And click on Bags and Contrast. For this, we don't want to do this. Okay I'm actually editing the wrong one, so I'll just cancel and select this guy. So set this guy. Click here. And let's make it a bit brighter. Just a bit. Okay. Yeah, just the bits. And I think I'll just make this guy even bigger, just a big. Perfect. So we're just going to do the same thing with the guy at the back, just reduce the brightness. Reduce the brightness. Or rather, increase the brightness. You get increase the brightness. Increase the brightness, maybe increase the contrast a bit. Key. Perfect. Now we have to work on this guy. So for this one, brightness should be reduced to the barest minimum because this guy casts the most shadows on itself. You get the sun is actually coming from this direction. This is perfect. And we just want to go ahead and add the song. I forgot to add the son, so go back to the folder, and we see this lens flare image, click and drag in the photoshop. And of course, change the blending mood and do some blending. And, that's just it to turn this to screen or lighten. I think screen will do a good job. Bring it here. Create La mask. Tell er mask hit B, make this bigger and just feed the boundaries of our image into our sky this and just make this guy even bigger perfect. I'll bring him behind. Perfect. Perfect. Now, select my lam mask and at B. And we can see that all this while we had white on our foreground, so we didn't really feed out the edges. So let's just at X to reverse everything or to reverse the colors and just blend it now. So we can see that it's blending now. Perfect. What do we do next? We can go ahead and work on the leaves. So for this one, just go ahead and give it the brightness and contrast. We use the brightness. And also the contrast. And I want to actually reduce the saturation for this guy. You reduce the saturation and ok. Do same with the copy. H on t, click and drag on the copy. H on ts, click and drag. Perfect. And the next thing we going to do is just go ahead and add some shadows behind our plants. Select this plant, with a new layer behind it, B, and just start to add some shadows. I'm just going to reduce my flu. Maybe 59% and just add some shadows. Perfect. Just do the same thing for this one. Read the nullia, bring it behind, and he'd be start to paint to add some shadows. Perfect. Next thing we'll do is go ahead and work on our animals. First, I'll select my dear, and my dear needs to be darker. Because if light is shining on my from behind, the front is going to be it's going to be less brighter. Let's increase the contrast just a bit. 10% is okay. Yeah. Same also with my v. Now, my graf is going to show more lighting because the son is actually hitting my gf on this side, right? So for this, we chick notes and meet the reduction too. Okay. So so be 14 -14. And contrasts doesn't really matter. -14. Perfect. Now, one more thing we need to work on is our table. Our table is actually very bright. Actually very bright. So we just going to go ahead and work on our table. So go ahead and add the levels and contrast to our table or wooden platform. So reduce the brightness. Key, so we can see that we're now aching of details on our table. This is before. This is after. This is before, is after perfect, ok. And then go ahead and give it hue and saturation. So reduce the saturation. Just a bit perfect. Now, our scene is coming to life gradually. And the next thing I'll do is go ahead and work on coins. M pins will be less bright. But also want to increase the contrast. Okay so they can attract some attention to themselves. Perfect. Seems with the other one Hold, clicking rag. Perfect. And the final thing we have to work on is our nes ki p, our nes Kif park. So select our netcif park. And for this let go ahead and make it, brighter. And less contrasty. Heat ok and go ahead and give it u and situation. Let's see. Let's just stop the situation by a bit. Heat. Perfect. Now, I've decided to just make this pia. This guy Pi. Hat ok. Perfect. And I want to also make the shadow behind it bigger. B. So he be. Let's just add more shadows, actually. Let add more shadows behind it? Perfect. See mores with this guy. So we're just gonna add more shadows behind it. Perfect. Now for our product here, we have to start analyzing the lighting of our product and try to make it as accurate as possible. Let's analyze the lighting of our product. Now, if the sun light is coming from behind, we are not going to have these highlights here. These highlights will not be present on our product. We want to a realism. In order to eliminate this highlight, we just need to create a new layer. Sample our color, sample this color, for example, maybe, of our nes Cif sample this color, and let's hold down all and just clip this layer to our Ns Cf park, B, and start painting on the highlights. Start painting on the highlights. With this, we're going to eliminate our highlights. Yeah. So for this one, I just want to make it a bit lighter here. Yeah. So let's go ahead and change the blended mood. Now, let's just experiment and see what we get with different blended moods. So this is co. I think multiply will actually do a good job. After going through all the modes, probably go up to multiply. Hatlight is also doing a good job. Hat lights multiply. They're all doing great jobs to multiply. Yeah. This just works perfectly. Maybe reduce to opacity bit, and this is before, and this is after perfect. Now, I'll go ahead and add some highlights to mya. Now, because the sun is shining from the back of the DA, we're going to have some highlights on the edge of the DA. Okay? So I'm just going to create a new layer, clip it to the one below at B, heat X, and just go ahead and pint some highlights on the edge of the animal like this. So you can experiment with other brushes and see what you get. You're going to also get cool effects with other bushes. But for me, I'll just go ahead and use this push because I want to try to finish this within the shortest time possible. So I don't need to go and start looking for bushes and so on and so forth. So just add The highlights like this, this is before, is after. Of course, we could change the blending the blending with if we want. Maybe lighten or soft lights. The Soft light does a good job to soft light. Yeah. We can see how so the highlights are. That's good. We can even control G and just clip it back to make it stand out even more. Perfect. That's it for. That's one. For the next thing, I'm just going to add some highlights around the edge of our bird, create a new layer, clip it to our bird layer and it B for brush. I'm just going to add some highlights to the edge of our bird also. Perfect. We don't want to do that too much. Just a bit. Perfect. So this is before, and this is after. Maybe even make this bigger and just add more soul white to our highlights, No, it is soft light. Perfect. Our next thing I want to work on is my cup here. So we can see that we're having a lot of highlights here. And if our light is coming from this direction, we actually won't have this much highlight. So what do I do? With a new layer, heat I to sample my color, at B. Yeah, sample this color in. Yeah, sampling this dark and the heat B. And we can now start painting. So pint. And I think we actually need a darker color. So for this, I'm just going to select manually. Perfect. And I'll go ahead and clip my Lia and create more of my shadows, right? And do seem with this part. Perfect. Seem aalso with this part. Perfect. Go ahead and change the blending mode. Let's try, multiply, let's try Different out the blending modes. So we see that soft light is doing a great job. So we just go ahead and use soft light and and reduce our opacity just a bit. So this is before, and this is after perfect. So as you can see, progressing really well. I'll just add a bit more shadows, more sort shadows. Just to clear that strong line. I'll see here. Perfect. Before, after. Perfect. Now, from here on, we can go ahead and start adding shadows, a literal shadows. Because our objects will cast shadows on the table, right? So we can go ahead and start adding shadows. So for that I'm just going to take my selection to first of all, I'll select my first object, which is my cup, then with anular take my polygonal lasso two and start to create my shadow. Now, if my sun is casting shadows from this direction, it means the shadows for this cup will be something like this, will look like this. Come like this. Come like this. And then actually finish like this. Perfect. So go ahead and the black space or option delete. Here. We can see that the color is actually not Plax Plax space, fly Plack and D select and bring it below our net ki cup, right? So we actually want it to be above this guy. Or, we actually want this guy to be above our shadow. So what do we do? We bring it above our shadow just like this. And I'll set the shadow, give it the pan map. Sorry, Lea mask, it G, and just create a plane like this. Just this. Perfect. And then from here on you can go ahead and select our shadow, go to filter, blow G, blow it out. Perfect. Next, we'll just go ahead and walk more on our ingredient. Walk more on our ingredient. Let's do this. Let's make our show stand out. Mike. Perfect. Now, I'm going to select my shadow, create a new layer on top of it and a heat B for my push. Me met my ph this ship. Reduce the size, and I'm just going to rotate it with my R K. Now I'm just going to start painting below my cop. Yeah. So just like this. We've added more realistic shadows. So I'll just give it the La mask and kind of Es part of the shadows com here like this. V, select click and while hooding down shift on t and I'll just reduce The length of our shadows like this. Perfect. Here, and as you can see, we've been able to achieve very realistic shadows here. So we're just going to go ahead and do same with that's for our park, NSG park. So go ahead and create a new layer, take your polygonal as to, and then starts creating your shadows. Click. And click click. Click and click and click. Perfect. Go ahead and fill this old box piece or option de lit. This actually is supposed to be top of here and not clip, so cool down and clip it perfect. And then deselect. And then bring this behind our a. Behind our nest, right? Perfect. To just go ahead and do the same thing we did to our last object to create a liar mask KG, you come from this side and just bland it like this. On did that. O go ahead and do that again so. Select my Shadows G. Come from here. Now go ahead and the of my a pro Perfect. To select my shadow, or to filter blow and cargan blow. Y, and this is perfect. He. Perfect. Now I'll just go ahead and add more shadow like I did before to this cup, so heat and add more shadows behind this. Just on doing a couple of times. Yeah. I'll do it again. Perfect. Um, I think we just need to erase or maybe just resize our shadow bits like this. Her. Perfect. The next thing we have to work on is our coffee bins, right? We can see that our coffee bins have the sharp highlights here is helo and we don't really want them. We want to adjust that. So go and heat to sample the solar and create a new leer on top of of our coffee bin lier and just make this the hardness really low and can go and pin. First of all, clip it. And then go ahead and pint around our halos. O sharp edges. Pint it to remove that that sharp highlights around the edge. Do same with the next guy, which is this guy. Screen aula clip it, it B, and do the same thing. This part so actually be really dark. Since they are in front of Anscf park, and nonsif pack is casting shadows on them, and they're also casting shadows. The next thing we do is go ahead and create the shadows for these boots. So just go ahead and create an Lea behind the boot of them and tick our polygonal to click click click. Key. All right. Just like this. Old delete rather old box piece. First of let's make sure this is black, and then old box piece or option deletes on the ma D selects. And can go ahead and give this mask G bland from here to here. From here to here. H damages on D and pretty a mask. It G. Let's give its ingredient one more time. Perfect. So go ahead and give it the blow, causan blow. The blow actually has to be on the liar or the mask. So it filters Cucion blow. And this is a bit too so green and treat new settings for a cacion blow. All right, right, by. Perfect. So just go ahead and put a new layer on top. H B and start adjusting our shadows. I'll start adding more shadows. Just this. Perfect. And in fact, we actually need this part to be even darker. Okay. So we actually need this part to be even darker. What I'll do is, first of all, I'll just sample the same color first and then try to pint around here to eliminate some of the white highlights I'm seeing right now. So we'll just eliminate this pint around here, this. And let's make this even darker. So make this even darker and pint inside here now. Okay. Perfect. Because this part will actually be very dark. Seem also with this one. Okay? Seem also with this one. So select and paint repaint, just like this. Incredible. Now, when I just doom out and see, you can see that we've achieved so much realism just by adding these shadows. So I think these shadows will not run down our table this much. So for that, I'll just go ahead and select my mask, at B, and just erase them a bit from from behind the table. Here below the table. So go ahead and hit X. We have our black as our foreground color, and just erase them from this part of the table. Perfect. H at V control zero. And yeah. We now have all these shadows created. And the final shadow is the shadow for this bird. For that, we're just going to tick or set of bird first and then create a newer behind our bird. Tick go so two and start to start to create path for our shadows. We want to do this, we want to create something that looks like this. Something close to the shape of the bird, k. Most get the exact shape of this, but since we are actually going to be filling it with our foreground color which is black, we select. And we can go ahead and add the go blob. O M heat. I'm just going to move this closer to our bird and even scale it cooling down shift to come closer to our bird just like this. Maybe even t, maybe not. You just position it like this perfect. And just go ahead and create a liar mask heat G or not nesial, select mask heat B and just feed it out from here like this. Perfect. Now created Lea on top of it and it B selected guy, make this smaller, so we can add more shadows behind or under our bd. Just like this. It looks like our bd is actually sitting or standing on on the chair. Perfect. And you can just reduce the size or the opacity of this guy here. Perfect. Now, there's one more thing I want to do. I just want to reduce the brightness of my bird's feet you get. So I'll just swatch my bird, come here, and then create the brightness and contrast adjustment a that is now clip to my bird. Okay. So for this one, I'll just reduce the brightness due to brightness, just like this. Perfect. And I'll just go ahead and select the brilliant map. Sorry, the mask the mask he be this preset, this bigger. And let's just start erasing parts of the brightness and contrast on the bird. A just leave it around the lower side of our bird and also on the feet of our bird. So we're just going to erase it here. Se also here. And seals on our on our feathers like this, this is before, and this is after. So we can see how much realistic it now looks. And I feel we can actually reduce the opacity of this guy bits, just like 93. Se also the opacity of the shadows. 80% tras were, and this is looking incredible. Control zero. So as you can see, we've basically changed the entire look of our composition. Okay? We had a very pale and deathless composition. Before we started adding the shadows, we had something that looked very ugly. But now we have a really cool cool composition. So let's go ahead and bring this guy in one more time. So as to compare them. This is what we had. This is what we have. Okay? Perfect. Now, I feel we should also reduce the brightness of this one more time, a bit more. K. Perfect. So next one we'll do is just create a new layer below our green grass. That's below this layer. And even even below our animals actually. Let's go ahead and bring our animals way below our green grass. Sorry for that. So we just need to select our animals and also the layers that are clips to them. So I just bring them way below. Just a little bit above, just above our green grass. Se also with our giraffe bring him above our green grass. Because there's something we need to add, we need to add a fork effect to select our green grass. And create a new layer on top of our green grass. Now, on this layer, we're going to add a fourth effect to hit B for brush. And let's just go ahead and choose one of the brushes we created before, and that's the cloud brush. Okay, we created a cloud brush before. So see, Let's see. I can't really find that brush. Okay. I think this is it. Cloud tree brush. Let's go ahead and pick that bruh, but you can choose whatever brush. You want to choose. Okay, even the normal soft brush will work. You just need to Me this white or close to white. Maybe sample this color. O k, and start to add maybe we approach a bit, and then just add this for the background at this. Perfect. These fog should actually come above our animals. Above our animals, actually. Above our giraffe. Next thing we'll do is, of course, go ahead and blow out our fog, blow it out, just like this, H. Then create a new adjustment clear. A new mask for our fog g. Now we need to blend our fog come from do like this. Perfect. Yeah. This will just do, and from here on, we can go ahead and reduce the opacity of fork. And let's try all the blended modes. So this is normal. Let's just go ahead and try all the blended modes. You should have something that looks, be better than normal. So o 95. 95 Conclusion: Hey, guys, thank you so much for seening till the end. I'm really happy you chose this course over many of the courses out there. Now, as a bonus for this course, I just want to share with you a few tips to help you become a better designer. We never stop learning. We never stop learning. So you should always have an open mind towards learning. And that's the first and probably most important advice. I'm going to give you now. I'm going to give you today. So always learn, always be open to learning. And having said that, I want to share with you some sites which could help you learn. You can learn by looking at other people's works. Okay so that's one of the very a big ways of learning. Now this is bans.com, it's owned by ADB. There are many other sites, many of the portfolio sites. So if you have an Ad account, you can actually log in or you can create one. Now, you can see lots and lots of creative work on this site. So you can never run out of inspiration. No matter the project you're trying to work on, be it illustration using softwares like Illustrator. And by the way you have a cos on Illustrateo, if you want to learn industto, you can learn from beginning to advanced with MCL. Whatever you want to work on, B it illustrations, be it food maniplation, be it digital painting, be digital painting. You can always find inspiration and learn from other people's works on platforms like B Hands. Be hands has personally helped my creative journey, and I've been using variants for years now, and I just keep getting better. And yeah, you can see MCOs. You can see digital paintings, you can see illustrations. Basically anything you are looking for, let's try searching for photo Mnuclation, and see. Or let's see products photo Mnuclation. Now, you can see the incredible work designers like you and I have been doing. You see, look at this product maniplation. This is so beautiful. Designers tend to show the design process from inception down to to the prision on the w. I don't know why it's not loading, maybe it's network. Let me just reload the pitch. So you get to see the process of design. You get to see the process from inception to completion of work. And this guy even has a tutorial, which you can watch on YouTube to learn how to make this. Okay? So this is the final project. And we have many of this. We have many of this. You can just go ahead and keep to see and keep watching. Okay? Yeah. So that's it for this. You can check all the sites. Beans is not the only site. We have a ribo. We have many of the sites. Okay. And you can sell your services on platforms like FVA. FVA is really popular. I don't know if you've heard about it, but Five is really popular. And I've used FVA personally to get jobs done and also get jobs for myself. I used to work with FVA back in the days. I think I started using FVA 2016. But for some reason, I just left in Um, at that time, Fever wasn't this good. Okay, so I just lived and used other platforms. But Fiver is really good. Right now, it's really good. We have freelancer. We have per all of these are freelance sites, which you can use to sell your work. Okay? Yeah. And kindly check out my other courses. I have other courses on design, logo design, industrial, after effects, motion graphics, and so on and two for two. I would love you to just check out these courses. They're really good, and they can really help you in your design journey. So I don't want to make this video too long. I just want to cut it from here. So thank you once more for the opportunity of learning with me. If you have any questions, please reach out to me. If you want me to review your work. If you need feedback, also reach out to me, I would love to do so. So that's it for this one, guys, I wish you good log in your career as designers, keep creating and bye bye.