The Ultimate Adobe Photoshop Fundamental Course (2024) - With Over 25 Class Projects

1. Introduction: Welcome to the Ultimate I B Photoshop fundamental Cure. We creativity meets the Canvas, and your journey to becoming a photoshop pro begins. I am E and I will be your instructor. Are you ready to turn your imagination into stoning visual masterpieces? Look no further because this photoshop fundamental course is still made for absolute beginners like you with the goal of propelling us straight into the exciting realm of intermediate photoshop sel f. I've crafted this course with simplicity in mind, breaking down the complexities of photoshop in bite size, easy to follow lessons. Discover the magic of Photoshop as I guide you through the essential tools and techniques that will empower you to transform your vision into reality? We begin this course by laying the very foundational skills in Photoshop, such as navigating the interface, starting a new project, understanding the working concepts of layers, and customizing photoshops interface to suit your creative needs. From there on, we learn how to color correct images, basically putting life into d images. We don't learn how to export files from photoshop for different purposes, and how to create, modify and use shapes how to be photoshop. From there on, we learn how to create and use texts, smart objects, and how to crop on stret in images in Photoshop. We then jump into near styles, blended modes, selecting and cutting, masking, transform and distort, filters and effects, image retouching and enhancements, and then brushes. After we've covered all of this, we then go on to work on our final projects in which you get the opportunity to review most of what you've learned in past modules and even learn a few new tricks. Get ready to mole the schemes. This course is not just about theory, it's about hands on practice. We have exciting projects and assignments after every module, which will have you apply your new found skills right from the start. Learn at your own pace on your own schedule. Whether you're an early bird or a night, this course is available 247 to fit seamlessly into your life. Learning photoshop has never been this enjoyable. Don't just imagine the possibilities, create them. Join me in this class, and let's together embark on an adventure that will define your creative capabilities. See you in class. 2. Get the software: Hello and welcome to the course. I'm really glad to have you here. In this very quick video, we're going to learn something really important. And that's how to get our photoshop software. Now there are lots of ways to get cracked softwares online. But honestly, crack softwares are what they are crack softwares. They don't really give us the full functionality and features. That genuine software gives. So in this video, we're going to learn how to get the genuine photoshop software. So to get started, all you need to do is come to this website, you can see here, adobe.com, and you're going to be brought to a page that looks like this. So this is the home page, and I'm not sending to my creative Cloud account. So this is actually the page you get to see when you visit the website. And in the home page, you get to see details about Adobe's products, right? So that photoshop, Illusto, and so on and so forth. So from here on, all you need to do is to click on COL plans. That's assuming you don't have a critic cloud subscription yet. But if you have one, I will advise you sign in first. So if you sign in and then click on COL plans, I'm going to bring you to the page where you see all the plans that are available. And that B provides us with a number of very affordable subscription plans for the softwares. So right here, we have the individual subscription plan. And with this single plan, you get to have access to all ADB products for just 59 and $909 per month. Okay. So this single monthly subscription, will give you access to all of ADB creative cloud apps that includes photoshop, light room, Premier Pro, ADB Los to, after effects, and lots of many other softwares. So you can as well pay for single software, For example, this one is photoshop at 22 point $9 per month. So if you only want photoshop, you can just go ahead and select this one. And, of course, it's going to be more expensive if you are going to need multiple softwares, right? So this is the best plan, in this category. And we also have the business category, and this is a bit pricey. And after the business category, we have the students and teachers category. And this is the one I will recommend for you because it's the most affordable plan. You get 60% of your first year. So you can go ahead and click by now and then pay for the subscription. It continue, and then proceed with your payment. After you complete your payment, you'll then be able to log in to your Creative Cloud account. Softer you sign into your creative Cloud account, the first thing you need to do is to go ahead and download your creative cloud app. Okay, go ahead and download your Creative Cloud app. You have to download your critic Cloud app and install your Creative Cloud app. After you install your critic Cloud app, you will then be able to install Photoshop right inside your Creative Cloud app because your critic Cloud app serves as a manager for all your creative cloud softwares. Okay, it's right from your critic Cloud app that you to install Photoshop and manage it. And that's also true for all other creative cloud applications. So when you sign into your Creative Cloud account, this is what you get to see. You get to see an interface that looks like this. Okay, so all you need to do is to come here, click on this icon, and then go to all apps. And then right here in All apps, what you need to do is go ahead and download the cretic Cloud app. So click on download and it's going to download the app into your computer, and then you go ahead and install the app and from the app, you then get to install all other softwares like Photoshop. Okay. So this is what the cretive Cloud app looks like. So once in the app, all you need to do is to come to all apps and then install Photoshop. Okay. So like you can see, it says open here because I have it installed, so I can just click here and open it. But if I didn't have it installed, this button here will have said install instead of open, just like how this one says install. Okay, so just with a click of button, you will be able to install your software. So go ahead and install Photoshop and let's meet in the next video. So see you in the next video. Bye bye. 3. Module Introduction: In this module, you'll learn how to start a new project No B photoshop, how to navigate the interface in Photoshop. You're going to learn about layers and how to work. You're also going to learn about artbts, how to modify images and resolutions. Finally, how to customize your photoshop workspace. Kindly download the attached project files for this module before you continue. And please reach out to me via message or you bet and E section, if you have any questions. I'd love to make this course five star experience for you. See you in the next video. 4. Starting a New project in Adobe Photoshop CC: Hello, guys, and welcome to this video. Really excited to have you here because in this video, we're going to start learning. Okay. We're going to actually go into photoshop and start to learn from the scratch. Now, in this video, we are going to be learning how to begin a new project, how to start a new project. We're going to learn how to open an existing project if you want to open an existing project, okay? And we're going to just kind of get ourselves familiar with what you can see on your screen right now. Okay? So this is Photoshop 2024, the most recent version as at the time of recording. So if you open your photoshop software, this is what you're going to see, right? This is the interface you're going to see. Now this interface tells you or shows you quite a number of things here. First of all, you're going to see where it says recent here. Now, these are the most recent works which you've opened in photoshop. Once you're on this page, you're going to see your recent works, and you're going to see filter here, which allows us to kind of search kind of search for our projects or for our recent files. This allows us to search and this modifies our view. This modifies our view. Now, in order to start a new project in photoshop, you only have to click a new file. So you click a new file. You're then provided with this interface. We see here it says recent. Now these are the most recent templates you've used or sizes you've used, and then it says sd pot. So if you're going to be creating something in the lines of professional photography, you're probably going to be choosing one of these template here, and you can modify the sizes here. We're going to look at all of these things. And now we have prints. Now these templates here are for you if you're going to be working on prints project, right? So like a poster. So we can see them in print sizes. Okay. We can see that this is letter. Okay this is legal, this is tableid, this is E four, E six, e five, and so on and so forth. We have the arts and illustration. Now we see the template here with the sizes and features. We have the web. Now we see the template here, with the sizes. Okay. That we have the mobile and film. So these templates have basically been provided or been created for the particular project, which you're going to be working on. So if it's a film or video project, you see that we have this size, which is the 1920 by ten t, that's the full HD size and pixels. And we have different other sizes. We have four k, two k, and so on and so forth. Let's just come to recent. Let's go back to recent. Let's just see we want to create a new project now. So let's look at the details on the right hand side. Okay. Now, this space here, It's meant for the name of the project. And then we have the wit size, we have the height size, and then we have the units. So presently, the unit is set to inches. Okay. So the wit size is 8 ", the height is 8 ". And then we can kind of change the units. Let's select pixels. So it automatically converts 8 " to peak els, right? Then we have centimeters, we have millimeters, we have points, and so on and so forth. Let us go back to inches, and then we have the resolution. So the resolution is basically how detailed your work. Is, how detailed your project is. Now resolution affects also the size of your files. The size of your photoshop file, the size of the files you export. Now, higher resolution, of course, means higher detail, lower resolution, of course, means lower detail. Now, this is the unit for resolution. We have pixels per inch, so we have 300 pixels per inch per inch. Then we have pixels per centimeters. It's just going to convert this one, and then we have the color moods. Now color moods are a little bit more adversed. But just know that, the RGB will starve for basically everything we might want to do in photo shop. Let me just give you a brief explanation of this color mode. Now, the RGB stands for red, green, and blue color. Now this is meant for digital media. If you are going to be interacting with the design on digital media like screens, you're going to be designing in RGB. And then CMYK, is Sion, Margin Tau, and Key or black. And it's going to serve for print media, when you're going to be interacting with the design in print media, or when the design is meant for prints, that's when you use the CMYK. But the RGB is, let's just see the RGB is kind of a big brother, so it can kind of serve for prints as well. That's why we're going to be using the RGB basically for everything we're going to between here and photoshop. For the remaining ones, you don't really need to worry about them. Oh, for the gris keel, it basically turns everything to gris k. Just turns your design to gris ke, so we are. That'll be avoiding Mr. Gris ke here and just sticking to RGB. Every other thing you don't need to worry. This eight f is okay, except for this maybe. And this is the background of your document or your project. We have the white background, we have the black background, we have the background color, we have the transparent background, and you can choose custom for now, we're just going to be sticking to white background. Of course, if you click here, you can see that you can change the color of your background. Everything here that says advanced, we're just going to close it and not worry about it. It's not really important. When you are okay with what you have here, just click Create now diesel project and we can start working right away. Okay, I know this is a bit scary. The interface might look a bit scary, but don't worry. We're going to take things, step by step, we're going to take things little by little, o? So I just want you to come here to come back here. W it says whom, click here, and you're going to be brought back to the interface we just left. So doll beat for this one and see you in the next video. Bye. 5. Navigation in Adobe Photoshop CC: Hey, guys on welcome back. In this video, we're going to be going a step further from where we stopped the last time, and we're going to be learning about basic navigation in our B photo shop. And here are we on our welcome page. Now, we're going to create a new file. Let's choose this 18 by 8 " and just click, create. Now, if your interface doesn't look like this, I want you to just come windows, and go to Wx piece, and then go to essentials, which has about default in bracket. Just choose essentials and your workpiece so look like this. If for any reason, it still doesn't look like this, you can still go to windows, go to Wx piece, and then go to reset essentials. So if you click reset essentials, it's going to reset your workpiece to look like this. You workpiece has to look just like this, just like mine, This is the interface of foot shop. On top here, you have your file. You have your edit. You have your images. Basically, you have your menus here. So this is your menu bar, right? Is your menu bar, and under the file menu, you can, of course, start a new project, and it's going to bring up this interface. Okay for a new project. Basically choose your values and creates a new project. And you're going to see that we now have another project here. And the first project we created and the second one which we created just now. So that's what you do with file. Okay, you start a new project open. Now all of this, we're going to look at as we excel in the course. We have our s, we have our severs, we have our s copiers, now the silver copiers, we basically receive a different copy of your project. Does it about the file, and then the edit. We have a whole lot of options here. We're going to look at all of this during the course. Then we have this, this is your properties bar, and it changes based on what you've selected. Okay. So now we have the move tool selected here, and then we see this. And if we have this tool selected, we're going to see that the properties here change. And we have these other tools, and then it just keeps changing, based on the functionality of the tools you selected or based on the possibilities of what you can physically do with what you've selected on your interface, right? We have the properties panel here. And this is our properties panel. Let me just click here. Now you say I'm clicking this line. I'm clicking on this line. And when I see this arrow icon, I just click and drag and it enables me to kind of adjust the sizes of my panels. Okay? So I just want to adjust this ops to give our properties panel more space, okay? And I'm going to click here and just bring it down just so that we can look at the properties panels. On this properties panel, we give us properties of what you've selected. Also, and some of the things we can do with water selected. So we see we have nothing selected. We just have our empty workpiece selected. So it gives us properties of our workpiece. It tells us this is 2,400 pixels by 2,400 pixels, and then it gives us this this link icon here, which enables us to link the width to depth to the height rather. If we link it, we can adjust the boot of them evenly, and we can link it. We have the resolution, which is 300 pixels per inch. We have the orientation, we have the portrait, we have the landscape. Now, basically, this award, the properties panel shows us for our project. I shows us our color mode. It shows our color bits, the field, and so on and so forth. It also shows us that sorry, I just changed this mystically, take it back to white. It also shows us that we have a ruler. And this is the, the ul. We can actually remove the ruler. Let's see control R. And we see that we've now removed the ruler, and you see that the ruler is no longer selected. When I do control R, it brings back the ruler and you see that it's now selected, and it shows us the units of the ruler. And this is pixels. You can change to inches and we can see changing here. We have guides, and so on and so forth. All of these things we're going to look at as we progress in the course, but just know that this is the properties panel. Each of these things, we see here, each of these things are called panels panels. We have the color panel, switches panel, gradient panel, the patterns panel, and so on and so forth. All of them are panels. It contains Functionalities. They allow us basically perform different tasks. So we have also the Leas panel. Okay? We're going to learn about Leas Lita in the next video, I think, or in one of the videos in this module. So is the Leas panel, we have the channels panel and so and so. There are lots of panels. If you want to see the panels, or if you want to activate or the activate a panel just come to windows, and now these are the panels. These are the panels. So the ones that are checked are just the ones that we can see right now. If we click on Pats panel, you're going to see that we have the parts panel opened, and we can uncheck it to close it. We see that we have, let's see, the character, the character panel. Now if I click the character panel, we're going to see that is the character panel, and this character panel contains functionalities for texts, Okay? And check it because we don't want to DT it right now. It's a bit advanced for this level of yours. Now, on the left hand side, is what we refer to as your tool bar. Now, this is your tool bar, it's your tool bar or your toolbox. We have all the tools here. You can do this. And this is a tool, there's a selection tool, the move tool. We have the artboard tool. We have lots of tools here guys and lots of functionalities. This is a massive course. We're going to learn so much, very excited. And now these are just the tools. Here we're going to be using. I want to just show you a quick function. If you click or if you press your space bar, you're going to see this hand icon, right? So if you click or left click on your keyboard or rather on your mouse, on your mouth, you then be able to kind of pan around your interface, or your project. You're going to be able to pan around. You're going to be able to go tick it up, tick it down. Just pan around. Now this is very important because time to time, you need to zoom in, you kind of pan around to see what's going on. Okay. Now, how do we zooming? How do we zoom? Zooming by hoding ols and then using our mouse wheel to role in that's for zooming in and then rule out for zooming out. Using our mouse wheel, we can pull down lt or option key on the mark. A on the PC or the option key on the mark does in to zoom in and rule out to zoom. That's using your mouse. Using your mouse. If you're outside the frame, If you of outside the frame and you want to just bring everything back to frame, you can do control zero. Control zero will bring your project into frame. Control zero. Control zero and everything come into frame. Now, what if I want to scroll up like this or scroll down? Scroll up or scroll down, I do this with my mouse wheel. So if I just rule my mouse wheel without pressing any other key or without doing any other thing, I can up down. But if I want to rule right and left, I pull down control and then use my mouse wheel. Control, with my mouse wheel, and these are kind of the basic navigation that are really important for us as beginners. Okay, so now be it for this video. I've kind of messed around with my interface or with my wx piece rather. I can't see my layers panel. I'm looking to go back to windows, and walk piece, and then we set essential. Now we have everything back, and we're going to continue from here in the next video, TDA 6. Introduction to the concept of Layers in Adobe Photoshop CC: Hey, guys, and welcome back. In this video, we're going to be learning about layers. We're going to be learning about layers, what how they work, what we can do with layers, features of layers, and so on and so forth. Basically everything kind of. Let's see, basically an introduction to layers, not everything, everything. Because we're going to advance our knowledge as the course progresses, and layers are kind of a big Tm to learn about it means there are lots of things we can do with layers, right? So we're not going to learn everything in this video, or in this video, we're going to have an introduction to layers. You're going to learn basic stuff, the fundamental stuff you really need to learn about layers because layers are actually fundamental to f to shop. Now, this is a new project, the project which we've opened from the last video, right? Now, if you're not here, you can of course, go ahead and create a new project. We learned how to do that in the last video. Is not in this interface, once again, go to windows, x piece, then reset essentials, or then select essent shoves. So you can select essential and I not still here, you can then reset essentials. So you would then be brought to an interface that looks like this. So every new project you start in photoshop comes with a new layer. Okay. When the layer comes, we see it like this. You then check your layers panin and see it here. Now you always see it locked, and then if we try moving it, that's while selecting or move to the fare moving layer. I selecting it and moving it, we'll see that we are unable to select it, or rather we're unable to move it. Now that's because it's locked. And if we click, let's click on the Lock icon, we are going to basically unlock our layer. Okay. Now instead of clicking here, we can also click here to unlock it. Now, when we unlock it, we then see that all of these options here now come to live, right? You agreed out before when it was locked. But when we unlock the layer, we are now able to select these options, right? Now what selecting the move to come and then move Move the layer. Here move the layer. This white stuff here. Just move it. And now we see something revealed. We see this checker pattern revealed. Now this check pattern just symbolizes transparency. It means behind this guy, there is nothing else. They just transparent behind it. So it means there are actually transparent layers. There are layers that have nothing on them, and we can then add stuff on them. There are different types of layers, and I did to learn about some of them or most of them in this video. I'll just or lock our layer back and then bring in an image. Come to file and go to please embedded. And then come to your projects folder for the module to that's module two. Getting started with Photoshop into your projects folder, and then click on this layers one, please. Now what we've been able to do is, we've been able to bring in our image into our project. Now look at our layers panel, we'll see that we now have a new layer. We now have a new layer, which is above our default layer or our Layer zero, right? This is the new layer, and this layer represents our image here. You can see the preview here. This is the layer, and this is the image it represents. So if we move it here, we actually move in the layer, and you'll be able to see it move here also that in the mn. Now, this layer, this image is on top of this layer, and we can praticarly see that it covers parts of the white we have here. I'm going to do the same thing I just did by going to this embedded, then bring in the second image, k. Perfect. Now I'm going to click here to finally please our image. Now, we can see that we now have a third layer. So we have to understand that layers are like papers or sheets of papers tacked upon each other. And the one that is on top is the most visible or is the one that is visible first. So it means if we move this guy, we're going to see the one glue, right? So it means this guy is on top of this guy. It's covering it. So that's basically how Layers work. That's basically how Layers work. Now, we can also move the ap positions, so that we see the one below first instead of the one on top. How we can do that is we just have to come here while selecting our move to click on it and drag whenever we see this blue line appear and release it, it then means that we've brought our layer below the one on top. K below the one under. So we can now see that this layer is now on top, right? So that's how to move layers, how to move layers. Now, like I said, there are different types of layers, we have even transparent layers that we can just create and then put stuff on, right? So let's see, for example, we want to create transparent layer. All we need to do is to come here, then create and then click. And then we can see that we have a new layer and it's transparent. How do we know it's transparent because we can see The term nail here. The term nail has a check pattern, right? A checker pattern. And like we said before, the checker pattern symbolizes transparency. So it's basically transparent. Now we can put things on this layer. So why selecting the layer. Let's just come here and this is the brush too. It's basically a brush. You know what the brush is. A brush is used to paint stuff. So why selecting this guy, we can come to the properties bar. We click here, we're going to see that we are able to adjust the size of our brush, let's just take it to the lowest. Let's take it very low. And when I bring my brushe we can see that it's very small, right? And when we increase it and bring my brush, we can see that we've increase the size. So this is basically the size of our brush, and this is the hardness. And the hardness is basically how hard or how soft our painting is. So if we make it soft and paint, you can see that it's a soft spree of paint. Now, if you make it hard, and pin. We can see that very hard. So that, basically, we're going to learn more about the brush tool in subsequent lessons. We need to help us explain how we can add stuff onto an emptier. So I've now selected this size of brush, and then let's just make it this hard. Not too hard. Let's make it 53% hard, and we won't look at all of this for now. We can please. Now when we select our layer and pints, we can see that we are on painting on our layer, and it appears on top of all of these other layers because the layer is the topmost one. Is on top of all of them. Now if we move this behind, we see that it's moving behind the one here, now if we hide this layer, can see that we are now revealing our layer, which is behind. This icon is of course for hide. You can hide it and unhide it. Let's see you're working, and you just want work on the erhind this layer, and you don't want to move the position of the layer. You just hide it and then walk on the layer beneath it. They are perfectly satisfied. You come back and unhide the layer. We can see that this is an empty layer and we've added brush pints on it. With added colors on it. Using a brush to. That's one of the ways to work with layers. Right up here, we have where it says opacity. Now, this opacity is basically how much visible our A is. While selecting our LA one, when you come to opacity and reduce it, we can basically see it's reducing. When I take it to zero, it basically becomes invisible, right? I increase it, we can see opacity increasing. This is basically what opacity does for you. Increases the visibility of our layer. Now, apart from this opacity, we can of course lock our layer back. We are not going to look at all the options here for now, because for now, I just want you to understand how layers work, and a few very basic things we can do with layers that will affect our daily work. So one other thing we can do with layers is we can delete layers. So if you select this layer and then come to this being icon here and click on it, you're going to see foota shop asking you whether to delete the layer. So if you click ers, it's going to delete, and our layer is gone. I'm going to do control Z to bring back our layer. Okay. We can delete the layer, we can add layers. We can starck layers, keep adding layers. Okay. We can see that we can add as many layers as we want. And we can now select all of them and it. How did I select them all? We can select the first one and then pull down shift on your PC, then select the last one. Then you just did it? Yeah. D. Perfect. Now one other thing we can do with layers is we can group our layers together. That we can now select these guys. Let's select this guy, that the one be needs while putting down shift, and then just drag the both of them, and then let's release. When you release, you see that we now have group one. So group one, we can now release with these layers as a group. We can double click here to ream the group, and same also for the layers, we can double click on the names to change the names, and now we can release with these guys as a group. We can hide them if we want. We can open the group and then work with them individually if you want. Perfect. Now let's go back to our move to. On our move to while selecting our group, you then see that we have here where it says a group. Now with this group selected, It allows us to select groups. We can make this actually layers, which will ignore them as a group and then select them as layers. That select each layer within the group. But if we have this as group, we're only going to be able to select them as a group. They are going to be selected together. If we have this as layer, we are only going to be able to select layer by layer. That's one quick tip we need to know. I'm not going to take it back to group. Perfect. And we have way, it says auto select. No Auto select stands for automatic select, right? So if you hover around the auto select. Again, you see that it automatically select a group or layer by clicking on it. So if we have it checked, we can select the group or layer by just clicking on the Ws piece. On the Ws piece. We can click on the Wx piece and select the particular group or layer. So that auto select for you. So it can come in handy in certain circumstances. You can select Layer if you want, and Lyer only to select the Layer, not the group. Okay. Oh, sorry, sorry. We've spoken about this. No the group. We're not talking about we're actually talking about Auto Select. So if we select or unchecked Auto Select, we won't be able to select any other thing apart from the layer that has been selected here. So even if we click here, we won't be able to select it because Auto Select is off. We can only select our layers by coming to the Layers p and selecting it Ler panel. So that's what Auto select is meant for. One other things we can do for our layers. Let's just select the boot of them, and then drag them on top of the group, and then release. Now we've just bought them out of the group. So we can select the group and delete the group. Now one other thing we can do with our layers is we can merge our layers, so we can select this guy who do and shifts and select the other guy, right click, and then merge layers. Now, when we merge layers, we can relate with them as a single layer. We've merged the two layers together no one. That's merge layers for you. We can do that. We have many other things we can do to layers and Lys, but we're not going to look at all of them for now. As time goes on as we advance in the course, we're going to learn more about these but for now. You have learned about layers. You've learned the most basic stuff. You need to know about layers, and that's that's the purpose of this lecture. This, we've come to the end of this lecture. So here I'll see you in the next one. Bye. 7. Working with Artboards in Adobe Photoshop CC: Hello, and welcome back to the costs in this video. We're going to be learning about art boards in how to be fut shop. So first, things first, go ahead and create a new file. So click new file, and you're going to maintain this whole setting. Now, when you come here, you see it says artboards. So the artboard option is not checked right now, so I'm going to tick it. And when I tick it and click create. We then see that up here, we have our file, and it says artboard one. Okay Artboard one. So What are outputs? Outboards are basically what they are outputs, the pods, which you can have different works on, or will I say different works pieces. So there are kind of different work pieces or multiple work pieces in the same photoshop file or in the same photoshop project. So for example, if we come here to the move tool and left click and hold, we're going to see this option, and we're going to see the Artboard two. So if you click on Artboard two, you will now be able to modify our artboard. Okay. So now we can see this plus icons here. So we have this one here, we have this one here, we have this one here this one here. So let me just click here. So when I click here, we don't see that we have artboard two. So we've kind of created a new art board using the plus button here. So we can create multiple artboards. Multiple art boats, physically. So what are the use of art boats? Where do they come hand, right? So artboards are used mostly for designs which have a lot of things in common. Let's assume I'm designing a web page. Or a website. Even though that's kind of not very popular or very common these days because people use other softwares like Figma and AWB XD to create website, okay, but people can still create website with photoshop. That's website interfaces with photoshop okay. So let's assume you're creating a website interface. You know that website usually has plenty pages. And usually you're going to be using similar color schemes, similar logos, similar phones, tiles, and so on and so forth. So it would be wise to have all your pages in the same photoshop file using artboards. Okay. So we might have this artboard For the home page, we might have this albut for the About page, or if you're creating similar designs for different media. Okay, let's assume you're creating a design for a company, and then they are going to have the same design as a poster, the same design as a banner of different sizes, the same design to be interacted with in different places in different media of different sizes. Okay. So that will be a good scenario to use buts also. Because a lot of things are in common. And after you finish your design, you can just export all the artboards. And we're going to look at how to export from Foti Shop later on in this course. That's basically how to add artboards. We can just click on the line here and move our artboards. I'm holding down shift to move the artboard in this kind of straight line, either to the left or to the bottom or to the top of kind of straight line. I'm using the shift. Without holding shift, you can actually move it freely. You can move them the spas. Okay, I selected the boot of them, tb. Okay, guys. When we select our art bots and then come to our Layers panel, what do we see? So they appear like groups. The kind of appear like groups. If you remember groups from the last video, they appear like groups, so we have each artboard, we can like a group, serving as a group, so there are things that are layers under each tbod. So if we start adding stuff, we start adding suff our toads. Let just come here. Let us come here to the Ellipse to and click. Lets just come and grab the ship. P the ship. Now we can see that is at boot one, right? Now, if you open at one, we're going to see that we have this te ship inside At boot one. Let's try it again. Put in at bot three. Open at bot three, we're going to see that we have our second Elite ship in Ato three or under Ato three. So like you can see, the all serve groups. And let me just come to file and open. And come back to our projects Folder, and still open this file. This file we used for Layer, okay? Layers one. So just open it. When you open it, you're going to open a new document, right? So what I want you to do is use your mouse, your select to, rather, you move to rather, click and hold, then drag. Into our project with the art boats. They just come to display or one of the art boats and we use Aut four in this case, and then release it. If you release it, you don't see that it is now on artboard four. It displays perfectly inside f. So if you see but four, you're going to see that we have our image. So like I said, duplicate artbots, can duplicate ad boards using this can also delete ad boards. You can delete hitting delete on my keyboard to delete the dd boards. So basically, that's all about artboards that you need to know. One other thing we can do with boards is we copy sf from one artboard to another. If I have this guy selected and control C to copy. I can just and hit control C to copy. I can just come on this albard and tt V to piece, and I'm going to paste it on this artboard and on any other artboard I might want to piste it on. So all I need to do is to select the artboard, control C to copy and control V to piece. So that's one of the thing we can do with artboards. And this will come to the end of our lecture on artboards, see you in the next one. Oh. 8. Image Size – Modifying resolution in Adobe Photoshop CC: He guys and welcome back in this video, we're going to be learning about something very simple, yet very important, very basic, but very fundamental, and important. That's image size. Image size enables us to increase and decrease the size of an image. Or footage of five. So let's say you create a poster design in a particular size, C E four size, and then the client tells you that, okay, we want to have this version of the design in a bigger size. Okay? Let's see, well prints a flex banner with the same aspect sue, that's the same tie between the width and the breath. And we want to print it on a bigger medium, flex panel. Okay? Now, if we print that same design, you created on an EFO paper or on an EFO document on that big sized flex panel. There might be some reduction in resolution. Okay. There might be some reduction in resolution, and that's not good for your work. You want your work to be nice and sharp. You don't want any pixelation no reduction in resolution. Okay. So image size helps us with that, helps us increase the sizes of our image of our photoshop document. Not only footshop documents, it also works with images, normal images. Okay? So we're just going to go to open here, click open and then come to my project folder. That's project folder one. Which contains the project files for this particular module. Okay? So image size. So click on image size, the documents, or this photo named image size, then click on Open. Perfect. And then we have this beautiful little jo pull in bonny, right? This is the image. Now, this image isn't bad. Resolution isn't really bad at. If we even go to, let's just go to the image. Now, this is the image, right. Now when I write click among the PC, so I have to write click and then go to properties. When I go to the properties of this image. We go to details. We're going to see dimensions. Okay the frame sizes of this image. Now we have 3,340 pixels by 5,010 pixels. So this image is pretty good. Doesn't have a bad resolution. Now, right in ot shop, I want you to just do on image and then image size. So we have the short cutters lt Control I on the PC. So we just click on image size, and then we get brought to this interface. Now, this is the image size interface. Now we see that the image size is 47.9 M. And then we have the dimensions. On dimensions here, we have 3,340 pixels by 5,010 and then we have the resolution, which is pixels per inch. This is 72. Now these are just the things you want to look out for for now. Now, in order to increase the resolution, all you need to do is increase this. So let's take this to 300. If we have it at 300, we'll see that we now have our file from 47.9 B to 830 31 B, that's a file size. And then we can actually increase our dimensions using our mouse wheel. So I'm rolling my mouse wheel up and down to kind of adjust the dimensions here. Okay, guys. So basically everything we can reduce or increase using our mouse wheel. We can increase or reduce the heights, the width, mos wheel, and even the resolution. Just take note of this. Click Okay. We then see that our image size has increased. Now we have a bigger image. And let's try saving this image to see what file size we now have. So let's go to the file and click on save us. Now, save us. It's going to save it's in the same folder. Let's add large to them. And then click save. Click Okay. We can see that it's now saving yet. It's 10%. We can also see that it's saving here. When it's done, we're going to have a new image. Now we can see that our saving progress has been completed and our file has been saved in our folder. Back to our folder, we see that this is the original file, which is 799 KB kilobytes in side. If you click on this one, we see that it's the large one, which is 33 B in side. And you can see the difference. Now, this guys taken quite some time to do because of the large size, right? Now, it's finally loaded. You can see how much larger it is compared to this one. This one doesn't even take long to load. We can see different. Now, if we wanted printing these images, this will be for a small size print, and then this will be for a large size print. This could go on an or an E five paper. While this go on flex banner on flex banner, and it's going to work perfectly with low pixela. So that's all you need to know about image sizes and how to modify the image resolution. And in the next video, we're going to dive even deeper. So we'll see you in the next video. Bye. 9. Customize your Workspace in Adobe Photoshop CC: Hey, welcome back. In this video, we're going to be doing a lot of interesting stuff with our panels and with our piece. Okay? We're going to be editing our piece, modifying our piece to suit our needs. Okay, O individual needs. So let's start by creating a new project or a new file and then just choose the default one we've been using. And then Do not select buts, just deselect outputs, and then create perfect. Okay, first of all, let's just look at other work pieces. So for example, we have not just the essential work piece, we have other workpieces. Now these are other workpieces. We have the three D W piece. Now the three D wo piece gives us makes it easier for us to work in three D here in foota shop. Okay. So you see that when I just choose the tree work piece, things just changed, right? Some panels got removed, some got added. Okay. And when I choose the graphic end web, we can see that things also changed again. Some got removed, some got added, okay? Now, these workpieces have been designed based on, of course, different things we might want to achieve. So if we're working with TD, we might want to choose the TD bpiece. We're working with graphics and web. We might want to choose the graphic and web workpiece. If we're working with motion, that's video and motion graphics, and you might be asking, Can you do motion graphics in photoshop here? We can actually do that in Photoshop. Edit videos in photoshop. And we're going to cover that in the advanced cose. Okay. But we can actually do that. So if you want to do that, this is the workpiece you might want to be using. Okay? Now, we have the painting workpiece which gives us access to our brushes, paints, and so on and so forth. Our works pieces change based on the templates we choose here. So perfect. Now let's go back to essentials. And let's say we want to remove things, we want to add things. Let's say we want to change the direction of things, we don't want everything looking like this, okay? So first of all, we just start by removing the library panel. I click here and drag. So when I click and drag, you can see that I've removed it from this please, right? They have three panels right here, but I drag the library panel out, and now I have it. Now when I click on top here on top here, or we can see that I'm able to move the panel. I'm able to move the panel. So I can click it and drug and kind of just stark it here and it's going to be placed there. So you can have moved it from here to here. Okay? You can also click it and bring it out. I can close it if I want. You can drag the parts out, and close it if I want. Okay? This is how to move your panels around. And this basically works for everything. You can customize everything here. And you can not just customize, but after you customize it, you can also save your new look. That's your new Wx piece, okay? So for the tool bar, what you have to do is just come here to this particular place, click. And drag it out. So you can see that we've now removed our tools from this place, right? So we can take it back, we place it back if we want. We can bring it out. Okay? We can even bring it to this place. Let's see we don't want it here. We can bring it here, place it here. So we have our tools here. And let's see we want to change the position of our properties bar, which is this one. Let's assume we want to change the position. We can just click here and drag it out. So let's have it here. Okay. Let's see if we can dock it. Since we can duck it anywhere else up from here. So we won't keep it a as that I keep it here like this. So we have this. And then now if you've observed, we can see this little bar here. This little bar has been introduced into the most recent versions of Photoshop. And this bar helps us do very quick tasks, which photoshop senses that we might want to do. Based on the tools we select and based on the things we select in our viewport, or in our workpiece. So if we select this guy now with an empty workpiece, he's going to show us importing image. So I sense that there's nothing and we might want to import image, so let's import image. So we're going to import image, and it's going to allow us import, right? And we have other things here, other options here. We can show more properties. We can hide the bar. We can reset bar position, we can pin the bar position. We can even move it. Here we can click and move it. Okay? So that's by the way. I want us to kind of remove and add some things. I want to remove this guy. This is the history panel. But the history panel, I want to put it here. Here. And then let's tick the color. The color, let's just have the color of see here. Doesn't look too good. Okay. Let's move the color. Let's see. Okay, the color doesn't look good, like this. It's continuing too much piece. So we can just Let's see we want to have the color here. And I'm not really doing anything specific. I'm just trying to to edit the works piece as much as possible. I'm not having any particular view in mind. I'm just trying to scatter things as much as possible. And still makes sense. Okay. So adjustment layers properties. So let's see, we want to add some other panels. Let's see. Which panels are we adding? Let's add the character panel. So here is the character panel. The Carter panel here. We can click here to close the character panel, click here to open the character panel. And we can see that it's actually obstructing our tool, right? It's actually obstructing our tools. So let's see. Let's see. Let's see. We we could have our character here, so that it doesn't obstruct our tools. Okay. Perfect. So basically, I've been able to edit my workpiece. Now, when I come to windows, and can come to wkpieces, and come to new wkpie. I can now name this wxpiece, and see edited kpiece. Very bad naming. But of course, the naming can be better. It can carry the name of the particular task we want to be achieving, or we want to associate with this particular workpiece. But the name is in bad edited workpiece. Perfect. Let's hit s. Now we have this workpiece sved as the edited workpiece. So if you come to our workpieces, we are going to see it here edited workpiece. It's one that that is currently selected. Let's go back and select essentials. Now we can see that after selecting our essentials workpiece, nothing cheap. Now that's because we were on the essentials workpiece. Before we created before we sved our edited workspace. So we did all those changes on our essentials workpiece, and it kind of sived it as our essentials workpiece. Now, what do we do to bring it back to normal? We can just heat reset essentials, like we've always done. So heat reset and we have everything back to the way it is. And we can still go back to windows workpieces, and back to our workpiece, our edited workpiece. And if this is the workpiece that is best for us to complete our work, we can use it to complete our work. That's basically it about editing your workpiece. It's very simple and basic stuff, but you might find it useful. That will be it for video. Okay, so see you guys in the next one. Bye. 10. Module Introduction: In this module, you'll learn how to do color correction in dB foto. You'll learn how to perform color correction, using levels, curves, exposure, vibrant, saturation, Q, black and white. Finally, using the color lookup feature in ADB foto. 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 would love to make this call five star experience vi. See you in the next video. 11. Color Correction with Levels in Adobe Photoshop CC: Hey, everyone. Welcome back. So we're going to start the module with this video, and this video is on levels in photo shop. That's color correction with levels in photo shop. So I'll just go ahead and open my file. Now I'm going to come to the projects fda or module three. That's the modular color correction in AV Photo shop, right? Now, go to the Projects funda and now you have these files. So we're going to start with this file. So we just click on this file, which says Color Correction one, and click open. Perfect. So this is our image. Mother and child, very beautiful image. Now we can see that the image is a bit washed out. It's not looking its best right now. So we're going to use levels in footy shop to kind of make it look a step better. Okay? Now levels are a set of sliders, which you can adjust to the right hand side or to the left hand side, and they're going to kind of increase the richness of your blacks and your whites. So that's what levels do. They increase the richness of your white colors and your black colors. So there are two ways to do this. The first and simplest w or the quickest w is basically to just select your file. That's to select the layer to select your layer and go to images, you go to adjustments and then levels. Click levels and see it here apre. We have to have preview on so that we see the changes that we make as they get updated. As I drag this slider to the right hand side, you can see that the blacks are getting richer, the blacks are getting richer, blacks are getting richer. And as we drag this slider here to the left hand side, you can see that the whites are getting richer. So we don't want to do it too much. We just want to kind of do it moderately, I think something in the lines of this will be just perfect. Now, this is like I said, the first way of doing it quick and fast. But if you do it this way, you click OK now. We're going to see that it then implement the changes we adjust made to the image. And we can go back and adjust or reduce the intensity of the effect. There is the second way to do it, which gives us more flexibility. More control. So you're going to hit control Z to undo. Then go here under adjustments. Now under adjustments, we are now going to come and for levels on this levels. The click levels, and we see that the properties pane open and you can see the levels interface. Now, we can see under our layers that the levels adjustment layer has been added as a new layer on top of our layer. So as we make adjustments here, it affects our layer. I affects our layer. So we can bring our slider here, bring this one here. And everything affect our layer, which is beneath. Now, we can select this layer and we can do to this layer, what we normally do to other layers. It means we can hide this layer. If I hide this layer, you can see that the level effect goes off. The effect goes off, I I unhide it, the effect comes back. This layer, I can reduce the opacity of this layer. I can delete this layer, I can click on this layer whole and bring it here where it says plus, and I'm going to duplicate this layer. I can group the layers, I can do. Basically, everything I do for normal layer. Okay. So let me just delete the duplicate. And then now we can see that just by adding these levels, we have physically increased the richness of our blacks and our whites immediately. And levels has other channels. Okay, we have other channels. For example, this channel we've been working on this called the RGB channel. So it affects all colors. But we can come and select particular colors which we want to affect with our adjustments. For example, we can select red. If you select red, you can see that when we adjust this takes out the red. When we do it from the right or from the left rather to the right, it takes out the red, and we do it for the right to the left, it adds more red. You just want to do it in moderation. Perfect. And so also we have other channels. We have the green Channel, we have the blue channel. Perfect. So I don't want to adjust any of the channel. I just want to affect only the RGP channel. So the G channel, what I want to do. We also have this slider here, which can help us reduce the lightness or increase the lightness. If we drag this to the left hand side, we increase the lightness, increase the lightness. If we drag this guy, of reduce the lightnes you can see it becomes dark. Basically, this is what you need to know about about levels rather levels. So yeah, guys, with levels, we have been able to add a bit of life to our image. This is what we had before, and this is what we have now. Perfect. So that'll be it for this video on levels in the next video, we're going to look at how to adjust or add more richness to our image in cuffs in for shop. To see you guys in the next one. Bye. 12. Color Correction with curves in Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to take our color correction project one step further with curves here in photo shop. The first thing I'm going to do is I'm going to save my project. So come to file and then click Save. We're going to save it in the projects files to folder. That's the folder for the current module we are in. That color correction one, right. And then make sure you're saving it as a foot to shop file, that this particular one, which has PSD in bracket. So all you need to do is just click save and click Okay, and now our file has been saved. So everything we are doing from now on, we will save. Okay. So the next effect we'll be adding is the levels effect. So go to adjustments, and then so not levels rather. Curves. So this is curves, click on curves, and this is what we have. So like name implies these are curves, we can curve them. Any way we want. So we can see the adjustments happening right before our eyes, right? So we just need to undo. Cubs add more richness to our colors. The tick our color correction journey. Step further, basically. So first things first, we can just come and then bring our mouse on this line. We see here. So this line is where the magic happens. So we can see that this line on the default it has two points. We have the 0.1 here, we have another point here, so we can select them by just clicking, and then we can click and hold and move this points. As we move, we see the effect, right? We see the effect. Good is, we see it becoming too bright and good this way, we can see it becoming too dark. Seem also this one. Good is, we can see it coming too dark. Good is we can see to Right. Okay. You just have to know that below here, darkness and above here, is whiteness. Okay. So like I can see this gradient here. We have white here, we have black here. Okay so the higher you go, the bright becomes, the lower you go the darker it becomes. Okay? And if we bring our mouse on the line, we can see that our mouse then has this plus icon on it, right? So if we click, we can see that we can add points. Here we can add points. So we can add points here, we can add points here. You can just drag points to adjust our colors, to adjust our image. You don't want to do it too much. You just want to have a subtle effect and his subtle effect. Perfect. Let's see the difference now. Let's hide it and see what we've done. We can see that it has taken our color correction step further, has made our colors richer, has made our whites richer, or darks richer, Perfect. Also, we can see that we've been working on the RGB channel. We have the red channel, the green channel, and the blue channel, and it acts physically just like the one we saw previously, that's levels. The red channel will affect the red color. I'm going to do this. The green channel will affect the green color and the blue channel will affect the blue color. So basically, guys, there isn't any science to this. You just have to adjust it to the point where you feel is okay. Then experience really matters really helps in this when you do color correction over and over again, and when you interact with professional photos that have been corrected properly, you tend to gain the experience on what to look out for. On what level you want to take your color correction to. Perfect. If we just hide this, we can see the effect of now added. See the effect we've now added. Perfect. Perfect. I like what you've been having so far. Now we also have a slider here for input and output. Looking good. We don't want to just overdo things here. Let's see. We can see that yeah, we're really getting the hang of it. I want to go in here and the intensity or reduce the intensity of our ls. That's on our levels or Layer let's hide this. Let's hide this. You can see this is the initial added levels, and we're able to achieve these levels. After levels, we added cuffs, curves step further to what we really want to ecstasy. Basically, that's it for curves, and we've come to the end of this video on cuffs, and the next video, we're going to go step further into making our image the ideal image. See there and by. M 13. Color Correction with Vibrance & Exposure in Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to be learning how to add more life to our images with vibrant and how to kind of brighten our images with exposure. So we go to our adjustment layers, and all of these effects can also be found here. Remember, all of these effects can also be found on the images. Images, adjustments, and then here we have them. So let's go to your adjustment layers and then look for vibrant is vibrant. So it is vibrant. So what does vibrance do? Vibrance increases the vibrance physically of your image. It increases the richness of your image. So it physically makes your colors richer. So I take this slide out to the right hand side, we can see that our colors become richer. They become richer. When we take this to the left hand side, we can see that we are physically losing colors, right? So that's basically what vibrance does. So we want to take this to the right hand side to a very nice level. We don't want to overdo this. I think this is even if we took it to the maximum, still looking good. But for some images, you might not want to take it to this level. Basically depends on the image really, depends on the image. For this, we're going to maybe okay with this. Let's hide it and see the effect. The effect is sole, so it's perfect for me. I think this level of vibrance will be perfect. Now, that's for vibrance, and let's look at exposure, exposure. Even though this image doesn't really need exposure doesn't really need an increased exposure, but exposure increases the brightness of our image and also the darkness. We can either make our image more exposed to light or reduce the exposure. Basically this or this. We got exposure for you. On the exposure, we also have what we call offset which those ds. Quite similar. To what the mean exposure does, and we also have gamma correction. So you might not want to mess with the other guys that's offset and gamma correction. Let's get one, G it at one before. Or, you know what? Let's just delete this layer and add it back. So let's go back to adjustment and then exposure. So let's see. Let's just adjust our exposure only. So let's see this is too much. So I think we might need to maybe reduce the exposure a bit because I think this is quite much. Let's just take our exposure lower. This bin 0.117 is perfect. We can see the effect is really subtle. We just makes our image less hh. It's less hh, this cool image of mother and her baby. Smiling. Perfect. That's it for exposure and vibrance. In the next video, we're going to look at situation and see you in the next video. Bye. 14. Color Correction with Saturation and Hue in Adobe Photoshop CC: Hello, in this video. We're going to be taking our color correction a bit further, using saturation and care in a B photo shop. So we're going to go two adjustments and two saturation and u. So we have our saturation on Hu Lea, and this is the interface of the stuion and panel, right? So we have here, we have saturation. So we're going to start with situation. We saturation. Situation basically makes our image colors more saturated or less saturated. So it makes our colors richer. Or poorer. If you click on the slider, I take it to the left hand side, we can see that we're losing colors. It basically works like the vibrant, but it's more intense. We can take it to the left hand side to lose colors. We can take it to the right hand side to gain colors. We can see it's too much here. It's too much here, but this level will be perfect. This level will be perfect. T four or 24 will be perfect. So let's see 33. So Tir two will be a perfect level for saturation. So we can see how saturation has brought our image to life physically. We have the lightness here, which does physically this. So this is quite less important for me in my opinion. So situation and u. Now we have hue here which changes the entire colors on our image. So if we drag our slide to the right hand side, we can see that all the colors are changing except for whites and blacks and sims to the left hand side, we can see that all the colors are changing. You might think this is not really important. This effect is not really important, but we're going to see We're going to see a scenario really gets important real soon. We can also change the layer which we work on. That's the channel. We have the master channel, which affects all colors. We have the red, which affects only reds just like how we saw on our levels and curves. We have the yellows, which affect only yellows. See we want to change only red color. Or we want our hue to affect only red colors. So we can see that it's only affecting the red colors, even though it's not very perfect because we don't have exact red colors and This is a complex scenario for you to work perfectly. But we're going to look at a more perfect scenario or more ideal scenario. That's basically it. We have different color channels which we can adjust individually, and we have the master channel which affects all the colors. That's basically what you need to know about this human situation, and we can close it or hide it to see the effect of ad. On hide it to see the effect. Perfect. Now, I'm just going to bring in one more image. That's this image. That's color correction five. Open the image and this is a vibrant image with vibrant colors. I'm just going to demonstrate to you how the hue can work in an idea situation. I'm just going to drag my slider to the right hand side, and you're going to see the changes. You can see changes the colors and everything just makes perfect sense. Everything makes perfect sense because all of these are sharp colors. Okay. Perfect. In a scenario like this, would make perfect sense. Let's see we want to just adjust a particular color. Let's make this zero. Let's we want to adjust a particular color, let's see yellows. Let's see yellows, and as we adjust, we can see that only the yellows are adjusted. So it's more. Accurate in this scenario. What we're going to look at a scenario or an effect that makes selective color correction even more accurate. And you more accurate than what can give you. Okay? Basically you guys that it for the hue and situation. I'm just going to close this file because we don't need it. I'm just going to look at our effects once more. In fact, let me just hide all the effects. So I'm basically clicking and dragging. So I click and drag to reveal, click and drag, to hide multiple layers. So we can see that this is where we started from. Kept having improvements until this point. Okay? So this is a good point in my opinion. So that is for this video on human situation. See you guys in the next one. Bye. 15. Color Correction with Black and White in Adobe Photoshop CC: Guys, in this one, we're going to learn how to turn our image to black and white. Okay. So all we need to do is to add the black and white adjustment layer. So red we have black and white. There is our black and white. This is our black and white. So click on it. Boom. We have our black and white adjustment layer. Okay, we've totally turned our image to black and white. Now we have different presets for black and white. We have the default presets, and we have the blue presets. We can just keep using our mouse wheel to go through all the effects. Scaling, using our mouse wheel so the dark effect, green effects, green shelter, high contrast, infer red, lighter, maximum black, maximum white, neutral density red, whatever, whatever, whatever. So we have quite a number of them. So go back to default, and we can see that we also have sliders, which we can use to adjust these effects. Okay. So we can use to adjust the particular colors and how much black or white they become. Physically, that is for black and white. The default one would just be perfect. This we've come to the end of this video on black and white. See you in the next one. Bye. 16. Color Correction with Color Lookup in Adobe Photoshop CC: In this video, we're going to look at the color look up filters. Now, visa filters. We can add to our images. We're just going to hide our black and white. Okay. So we are now adding the color lookup. So Color look up, this is a Perfect. When we add it, we see nothing changed. All we need to do right now is come here. Sorry, Come here where it says Lod three D LUT. So if you click here, you can see that nos are de presets several presets. Let's start with this one. Click on it. Now we can see the effect that has added. Now we can of course, reduce the intensity of this effect using opacity slider, or if you like, you leave it at 100. So we can go through all of the effects we can see this one. Quite hh. You can also see this one. You can just keep going through them and seeing the effect the ad. Some judges in my most will to go through them. I like this one. It's quite subtle, gives me a subtle cool effect, but let's just go through all the other ones. So we can see what we have with them. Let's take this guy O. So this one has that kind of washed out effect. Really looks cool. It is also good, but quite harsh, maybe we reduce pay or the intensity. We see no looks incredible. Let's just stick back opacity so we can check the other. We have this one also pacity. We can see the very subtle warm effect of gifts or cool effect rather. Then we have this one. Let's see. Perfect. This one. We have this one. We have this one. You have a of filters to choose from. You have a lot of options to choose from. You could have different versions, different versions, and then just see if which one looks better. Better one. I like this really subtle effect. We have here. I like this really subtle effect we have here. We have come to the end of our video on color lookup. There are other options here, but physically guys, you don't need to worry yourself with the options. We are focusing on just this one for now. That's it. This one. See you guys in the next one. Bye. 17. Selective Color Adjustment in Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to be looking at selective color correction or selective color change here in A B photo shop. So go to file and open. Come to this image five. We're going to be using this image for our experiment. Click on the image and open. Perfect. We don't have this effect here, but we can actually still get this defect image, then adjustments, and then come to replace color. You click on replace color, you can see that we now have this replaced color panel. Pop. One thing we can do is click here and this allows us to select the color, which we want to replace. Let's see we want to replace this color, so we can now come here and then using this hydroper tool. It automatically selects an hydroper tool for s, then we can just click and then samples this color for samples this solar automatically. Okay. So the next thing we want to do is come to result, click on result, and then now we need to change this color to the desired color. So we can see that I changed the color to this kind of red color, and we can see that immediately everything changes to the red color. So we can see that this kind of selective color adjustment is more accurate than the one we saw under hue and saturation, right? Oder Hue. So this is more accurate, so we can I choose the color. You can choose a different color. I can choose a color that is a bit closer to the original so that the blend is even better. When we are satisfied, we can just click key. We have this option called the foziness. Now, this fuzziness does this. You can see that the higher the fuzziness, the better the blending. And then we have here, which we can change the hue of the selected color. We can see that we change the hue. We can select different colors using the hue slide here, we can change the situation selected color. We can see that we now have a gray color because we've taken the situation down to -100. If you make it higher because we see effect. Perfect. We also have the lightness, can make the lightness lower or make it higher. Perfect. That's how to change a particular color in an image more accurately. If you're okay with what you have, maybe I'm going to e. I'm going to choose this one. I like this better. If you're okay with what you have all you then need to do is click and your color is now changed. That selective color change in to be fo for you. This will come to the end of the video on selective color change. See you in the next one. 18. Exercise 1 – Color correction: Hey, guys, welcome back to the first exercise, and we're going to start by opening the image. Now if you go to the project folder, you see this color correction to, click on it and open. Now this is our image, and we're going to bring this image to life sing all that we've learned from previous videos on Color correction. We're going to use all that we've learned to bring this image back to life. We're going to come to our adjustments panel and then start with levels. Click levels and then this ot levels. This looks perfect. Let me see what we get here. This also looks perfect. Right away, you can see that by adjusting our levels, we have made our blacks and whites char. I I reduced or if I hide my levels, we can see the different. This is just by adding levels. Let's add curves. C, we get. Oh. Let's do this. Then the defect should be just two. Okay. Let's see our red channel. Let's see our red channel. And there is this button here which says. If you just click on auto, and it's also on the RGB channel two. If you click on Auto, it's going to automatically adjust it for you. I just click on auto and simply didn't do any maybe this is just perfect. So maybe I'll just add it a little bit. And this by friend looks absolutely perfect. So I'm just going to go back to my RGB and let's see what we've got here. So, this is the curves, this is the levels. Perfect. Next up, we're going to add our our vibrant. So let's make our colors more vibrant. So we can also see that on the vibrant, we also have a slider for saturation, right? So we can adjust situation here if we want or use the saturation and u effect. So right away, can see that we've added a lot of richness to our colors, by just using vibrant here. Perfect. So this is perfect. Let's go on and add our hue and situation. Click on hue and saturation, and then increase the situation. We don't want to overdo this. This level is perfect, perfect. You can see the improvement. Basically, guys, you can see with just a few clicks. We've taken our very washed out image. From this to this. Okay, we've given its richness, we've given its life. We've added more life to our image. Let see should we add exposure. Let's see what exposure does. Let's see if exposure will do any good. Yeah. Exposure isn't bad at all. So just a little expose more exposure. We don't want to lose our colors. We don't want to lose our whites. Let's be mindful of our whites. Exposure as a little bit will do. Taking our image from this to this perfect. I'm just going to control S, see our file color correction two. Let's not see it as color correction two. Let's see it as exercise one, exercise one, and then color correction. Correction. Perfect. So it s k and perfect. Now, that's it for this one. See you in the next one. 19. Exercise 2 – Color correction: Hey, guys, in this exercise, we're going to be doing our second color correction. It's good to file, open and select this image, that's color correction and open it. We can physically hit control S for this and then close our file. Now this is the color correction three image. Now we're going to start with levels, we're going to start with levels. Levels. Bring this. Bring this. We don't want to lose our white colors. So we can zoom in and see how we can scream. Yeah, I feel this works in this before and after. Perfect. Now, the next thing we do is add our curves. So where our curves, these are our curves. O curves this writer. We want effect to be quite so. Okay. So this looks absolutely amazing. Okay. We have our curves, we have our levels. Perfect. What next, we can add our vibrance. You add vibrance. C of vibrance, is vibrance vibrance, vibrance, where are you on this vibrant. You can just increase our vibrance. We can see what we get. Perfect. We can even take it to the highest. Perfect. Next thing is our saturation. Saturation. Then colors should be more saturated. You got it. Perfect. Here guys. The next thing we do is add let's add the color lookup in this one. In the previous one, we didn't add the color lookup, but in this one, we're going to add the color lookup. Click on Color lookup, and then let's let's try some of these presets. Let see. Let's see. Um, I not so fun of this. Let's see this. Okay, guys. I want to go with this color lookup filter. Yeah. We went from we went from having this to having this perfect. A thanks to color correction in A B foot shop. So being heat controlled S for S, and then s this as exercise two. Color correction. H s. Perfect. Now, this will come to the end of this video or this exercise on color correction. See you guys in the next one. 20. Exercise 3 – Selective color change: This exercise is on selective color correction. Click open and then choose this file Color Correction form. Open. This is our image. What we want to do is we want to change the pink color to a different color. What I want to just do is click on my layer and then bring it here to this and duplicate the layer. I have a duplicate, which I can fall back to in case something happens. I'm just going to select the layer, that the duplicate, then go to image adjustments, and then select sorry, selective color. Please color. You please color. Perfect. I'm just going to come here, click here, then sample the color this color, sample it properly. Let's sample here, let's see. Yeah, this will do and then click and then come to the results, and now we can change the results. Let's change it to green. Change it to green and click. Now we can plays the saturation of bits, maybe make it less saturated, then maybe the lightness bits. Okay? And basically, I think we are good to go. Click. Okay. Now we've changed our color from this color. To this color. Here we can see that even this part of the image, this part of the image, got changed, got affected. There's a way to fix this, but it's a bit advanced for this level. We're going to learn how to use masks to fix issues like this in the modular masks. Tune and with this we've come to the end of this exercise on selective color correction. Selective color change. I'm going to see this to control S Then we select this to copy the color or rather the name, and then change this two to three and then selective color change. Selective. Color change. Perfect and then it save. All these project files will be made available to you or download, so you can go in and see for yourself in case you're having difficulties in case you want to see Les for yourself. So do it for this video and see you in the next one. Bye bye. 21. Home work: He guys welcome back. So this is an assignment, and you're going to use all you've learned in the previous videos of this module to complete this assignment. So it's a very simple one. It's just color correction. So just come to the folder. That's Project fooler project files two for the color correction folder. So we have this cool correction six in this image. All you need to do is use the knowledge you've acquired from the previous videos on color correction to bring more life into this image. That's just a very simple assignment, and just share with me your results. I'd love to see your results. So that's it for this one. See you in the next one. Bye bye. 22. Module Introduction: In this module, we learn how to export files out of A to B Photo shop. We learn how to export files in different formats and for different purposes. 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 would love to make this course a five style experience for you. See you in the next fido. 23. How to Export your work from Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to be learning how to export our files out of photoshop. Okay? Now we're going to be learning how to export three different types of files out of photoshop. That's the PDF, the GPAC format, and also the PNG format. I'm going to start by opening a new projects or opening, sorry, an existing project. I'm going to start by opening this projects on the Color correction. I'm going to choose exercise one Color correction. You can go ahead and open the project. Perfect two. Let's assume I'm a photographer, and I just took this shot of edited and I want to export or rather, I want to see the image for print, right? Now there are two ways to do this. I can export it as PDF, and I can also export it as GPE. So as PDF, if I want to export this as PDF, all I need to do is come to file, and then SS, not export CAS. And now we'll be required to see our file in location, and of course, give it a name. So you can choose a location, but I'm just going to choose the same location you picked the file from, right? So not to do it as PDF, all you need to do to come here. And then now you go to PDF. Photoshop PDF. You see it here. So Photoshop PDF now is it, and all you need to do is hit save and it, and then you're going to get the settings here, the save PDF settings. And all you need to do is come and choose high quality. And then uncheck this because if you leave this on, the file size will be unnecessarily large and then you're basically saving a footage of file because you'll be able to go in and then edit the layers again. Okay, but we don't want to do that. We want to just send it to the printer. So we need to uncheck this to reduce the file size and then he save PDF. It's going to take some time to see and now we have our PDF saved. So we can go back to our holder and we can see our PDFF. Now we see 13 MB, right 13 M. So open it and this is our PDF ready for printing. We can send this the printer and we're going to get all the necessary details we need for a print file. Now the next thing we'll be looking at is how to save in GPE format for print. So you just come to file, and then simply go to save us once more. You're going to choose GPE. You're going to choose this particular GEC format, so click and then give it a name, right? Color correction, so exercise one, color correction. Let's just say V one, serve as version one, and then you hit C, and you are now brought to this place where you can choose the quality. So you can choose low quality. If you want medium quality, high quality. Or maximum. I'll choose maximum because for print, you really want to have the maximum quality you can get. So this is all you need to choose here. You don't need to worry about any other stuff here. And then it's now saved in our folder. Now we go back. You're going to see it saved here. Now this is 8.7 M. No it's for saving PDF and GPE for print. For some reason, sometimes, your photoshop might not show you see format, some of these formats. So it's just a very simple thing to fix. All you need to do is to go to edit, go to preferences, that if you're experiencing that problem. If you're not seeing those other PDF and GPE formats. All you don't need to do is to go to preferences, and then go to file handling. Okay so go to file handling, and make sure Nib legacy S is turned on. Okay. So if you turn this off, let's just see what's going to happen. If we go to file, S S, and come here, you're going to see that we don't have those formats yet. So In order to bring those formats back, you have to go to preferences, and then file handling, and then enable legacy Cas, then ok. So go back. I mean to see our formats. Our formats. Perfect. Now there are other ways we could export. We could export by going to file, and then go to export and export us. You can do this for GPE and PNG. And one other way you could export PNG is to come to quick export SPNG, then you're just going to save it and you're done. Now what's a PNG file? The PNG file is basically a file with a transparent background. And you're not going to really see the difference. If we save this as PNG, for example, if let's just go in and export SPNG. And then go to projects first two, and let's see if this is PNG. Now you're not going to see any difference. You're not going to see any difference between DPNG and D PNG. Let's open it. Sorry, this GPE and D PNG. This is GPE and this is PNG. You're not going to see some more difference except for the file size. PNG files ally have more details. The file sizes are usually bigger than GPE, and you see this GPA is 8.75, or this page is 18.1. PNG usually carries more details. That's why it's larger, but apart from that, you will not see any difference from the preview. That's because this image doesn't have a transparent background. But let's just go to file and open and go to the folder for export from ADB, that's 04. Open the HF creation to Lugo. Now this is my Lugo, and we're just going to see how exporting SPNG can help us have a transparent background. Let's come here and we see that we have the layers for the Lugo mark and the Lugo text, and we have the background layer. Let's just hide the background layer so that we now have a transparent background. Let's assume we want to export this. As PNG so that we can use it as a watermark. Again, we can use it as a watermark. We could place it somewhere. Let's assume that's what we want to do and then go to file export, quick export as PNG, and then save. Now, if we go back to our folder, we're going to see that we've been able to export our file with no background. We see that it has background. So it means if you see let's go back to this, please and drag it. Drag our file down here, we're going to see that our file appears with no background. He, we can see that it's basically has no background. So that's how to export PNG. Or that's what the PNG file looks like. But if we export this as GPE, see what's the happens. Let's see we want to export this as GPA. And go to JPEG, where is MGP my GE. Let's assume we want to export this as GPE. Let's just sill export in the folder. Let's save as GPE, and ok. Now we can then see that O file was given a background. You see, we had no background initially in foot shop, but then we exported it as GPE, it was given a white background. So GPX cannot have a transparent background. On the PNGs do have a transparent background. That's one thing you should take note of. Let's assume we want to export for screens. We want to export so that we can interact with our design on the web and our smartphones on Instagram, and so on and so forth. All you need to do is go to file. Export. And by the way, this also works. You can also use C for this purpose, but you can go to file to export us. And then we are now presented with a preview of what we have. We can zoom in Zoom out. We can zoom in to see the quality. Now the quality is high and it's under PNG. So we can save PND, we can see GPD we can even s GIFs or we're not discovering that for now. Let's choos GPD. As we review the file size, we will basically see the PVew here. So let me just take it. We can see that our image is losing pout, so you can see that it peaks a little. So we can increase the quality or reduce the quality. But if you're going to use this on the website, you know that you want to keep the file size as low as possible because you don't want your page to take forever trying to load the image, right? You might just want to keep the file size as low as possible while meting on some quality. That if you're going to be exporting it for a website. That's one thing should take note of. Now you can actually increase the resolution. Now we can see that it's 1x1x I we take it two x, it's going to be twice the size of our image. It's going to be twice the size of our image. Let's make this 100, and then we can choose the image size. We can basically adjust the image size here. That's the resolution. You go to adjust the image size, we can adjust the scale. We can reduce the image size by making it 33% and the current. We can see that even our size, that in Kb is reducing. The size of our image is reducing, just by adjusting the image size option here. So we can make it bigger by choosing one x or rather by choosing one 50%, it's 150% bigger than our current image. Keyboard lets ke it at 100. Then basically, that's all you need to handle and then you can export open where you want to see. The images let see it a two, option two. Perfect. Let's try exporting our PNG using the same walk f. Export export us. Now let's choose PNG. Perfect, now we see that we now have our transuent background pattern. So we can do all of the settings here just like how we did for the GPE, and we can hit export. Then D one. Perfect. Now we've exported this SPN D also using the same workflow. Now, there is one more thing I want you to see when it comes to exporting. Let's go to file and set a new project. Now let's choose art boards. Let's hit k. Let's assume we have multiple art boards. Okay, let's assume we have multiple ad boards. Let's you know what, Let's delete this guy first. So I'm just sitting delete on my keyboard, and let's make this pig bigger. Then bring in some images. So I want to bring in I want to bring in my transparent logo. Perfect. And then I want to duplicate the file or the artboard and bring in some other images. Let's bring this guy in. Let's make the image big. Arrange it. Let's just go ahead and work with these two files. Or these two artboards. Let me just add one more. Second. Let me just add one more. For this O want me to add this image. I'm dragging into my out, and I'm scaling them. Now in order to scale evenly like this, all the need to is to hold down alt on the PC or option, I think on the mark, so you can hold option on the ma or t on the PC. And then just s k it. It's going to scale evenly and then. Now we have these three outs, which we want to exports. We have the three buts which we want to export. All we need to do go to file export and export us. Now let's wait for B photoshop to load all the artworks. Now, we see that we have all our artboards here. Here we have Art one, but two but three. It's copying the names of the artboards. If you want to change this name, we have to change it from here, so we can give it a different name. Let me just give the but a diera select. Sorry, come to your Layers let's see go. We see it change here. Then for the second one. Let's see. Family image, family then for the third one, Me mistake. Did that. Then for the third one, we have shoe shoe image. Now I'm going to go to file export. And we have our boats. We have our outputs with our new names now. We see that our outputs now have our new names. If you want to export all of them, we can select all. If we don't want to export all of them, we can just choose the ones we want to select and basically effect the same changes we effected when we saw how to export using this work flu. We can pump up the image sizes or the quality of maybe just make this six or five. Let's say we want to just rat with them on on the Internet. That's for this image. That's for this image. If you want to edit the options, we have to select the image. Can see that this one still has PNG, so we tick it to GPEC, and then for image size, we leave it at six. Sam also for this ones PNG, we can take it to GPE, Then image size leave it at six and export. And go to our exports from ADB fda and just select Folder, and ADB Ft Shop has exported our files. When we go back, if we go back, we're going to see all our aports perfectly exported. We can see all of our files perfectly exported. Okay. So that's it for exporting from poo shop. Cos we don't need to save. Thus this, we don't need to save. We also close this, and we don't need to save because we've worked on it. Perfect. So that'll be it for this video guy, see you in the next one. 24. Module Introduction: In this module, you'll learn about ships in a Do B photoshop. You'll learn how to create basic ships, how to create custom and complex ships, and how to modify ships all in a DB photoshop. Kindly download the attached project files for this module before you continue. Please, reach out to me via message or in Q&A section if you have any questions. I'd love to make this course a five star experience for you. See you in the next. 25. Create Basic Shapes in Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to learn about ships. So what are ships? There are rectangles, spheres, or ellipses, triangles, and so on and so forth. So we have very basic ships. We have custom ships, and we have complex ships. We're going to look at all of this. But for this video, we're going to focus on basic ships. So first of all, go ahead and open a new projects if you don't have a new project opened. I have my new project, and I'm just going to go ahead and come here. You dug to be having this triangle. Yours might be like this, right? Push the four. I'm going to go to this place. You sees the rectangle two. The short code is, and I need you to click and ho. If you click and hold, you're going to see the different ships we can pi. Okay, we have the rectangle two, which enables us the rectangle sp, the p two, which enables the p ship, the triangle two, the sig two, We're going to start with the rectangle. Let's come and select the rectangle. Then come to your works piece and And then click and drag. Just click and drag. Okay. So as you click and drag, you see that you're able to create a rectangle, so you can have it like this. Can have it like this. You can have it whatever way you want. If you want to create a square that equals sites, all you need to do is hod down shift while dragging. When I p down shift now, you see, it down locks my sits, and then be unskilled even even together. So you see that we are no log creating rectal goods, with different sites. We're creating square by holding down shift on your PC, so you can release your mouse when you are satisfied, when you are okay. Okay. Now when you create your ship, and you want to move your sheep or you want your shipyard, go back to this move too. So always go back to the move too. So we can select our sheep and we can move our sheep. We are able to move our sheep. Because we selected the move to you get. Right now, I just want to come here and click on shoe transform controls. If I click on shoe transform controls, I don't see my transform controls. On these transform controls, enable me to scale my ****. Okay. Now, right I want to sk it, I don't need to hold down shift to scal it even. So I can just click on this side, then sk it up or down. If I hold down shift, I will now be able to scal it unevenly. Yeah, I will be able to scale it in an uneven manner. That's it about creating the rectangle When we create our rectangle, let's assume we're still in our rectangle shape. And now we want to change the color. Here, now we have what we call the feel. Here we have what we call the stroke. On the fel is the color inside our shap. If you click here, you change the fiel, you click here, you change the stroke, and the stroke is the color outside. Lets just come to the stroke and select fresh color here or whatever color you have. You just to select it here. If you do not have any recent colors, you can just come here to RGP and then click on red, so that we have it as our stroke color. We can now come here for the stroke size, and then now as you see, we are then increasing the stroke size of our guy here. Let me just teach you how to modify the colors because there are lots of ways to do that. Now, you are able to choose whether you want to have no field color. You can see when I click this, I have no field color. When I click this, I have a few color. So if you just go around, you should see now you see new color, and then this one has solid color. Now, solid color, you to choose a solid color. Now it means you to chos this color, this color but these are solid colors. They are solid because they contain just one color. Then if you click here, you to choose brilliant. Ingredients are not solid colors. Ingredients have a blend of two or more colors. For this one, we have a blend of black and white. So you can change of course. You can do click and change the color. Let's say we want to have green. And say new. Perfect. So you can see that we've changed the gradient. For here, we can have a pattern as a field color or as a field rather. We have a pattern. You can edit the pattern, you can increase the scale, make it bigger, or make it smaller. We can see the pattern. This be a forest, and this ps a forest, and the are leaves. We can create patterns with these. Perfect. We have other categories, other categories of patterns, we have the grasses, we have the water. You can actually add patterns. You can come here and you can import patterns. You can import patterns. These are just the default pattern. And you can of course change the angle, patterns, and you can see how weight is change here. Maybe we should increase the size of bit to see how the angles change. That's it for patterns. For gradients, like I showed you before, you can change the color here, you can change the color. Here. Then we also have the gl. Let's ache the angle and you can see how the angles change. That's g for the ingredients, and we have the type of gradients, we have different types of ingredients. We have the linear gradients, we have the radial gradients. We have the ingredients. We have the reflected gradients, we have diamond ingredients. This is just an introduction for you to know. We're going to work with a lot of these things as the cost progresses. We have method, perpetual these things. That's too important. You can just explore them for yourself. You have this thing here where you can switch between gradients, the position. If you click here, this guy is to come here come here, of course, it doesn't show here here, but you just shoes on your art work or on your ship. That's it for this. Apart from this, we can actually choose custom colors. If you just come here and click, you can down to the custom color for your shape select the guy and you can see that we now have custom color fill in our shape. Right? So that's just a brief introduction into this. We have this place where we can corte switches. Now, these are called switches. These are called switches. We can porte switches. We can check other other presets or other switches. These are pistol colors. These are lights, and then these are darks, darker, and so on. Potential we are arranging these things, and these ones are called pale colors. In Illustrator, there are way more swatches, really amazing. That's it for the feel color. Now, the stru color has basically the same thing the f color. It's basically the same thing. Only differences. You can adjust fifth size here of your stroke or stroke size. Call it the stroke and also the stroke options. We can have solid stroke, we could have d lines. We use this to see the effects more. We have d lines, we have smaller dashes, who have these other changes. I don't want to go to go into this so that you don't get overwhelmed. But you can go ahead and see the differences. You even have more options. Give more actions to choose more presets. Now the most important thing for it to know is fill color and the stru color. Now that's it for now. Come here and create an ellipse. We have an ellipse shift, rag, we have an ellipse, and then we have triangle perfect. Sorry, I created this in the same layers, let me just do. The next thing is triangles, click, I'm plling down one shift. Your triangles, we change this, increase the stroke size. K. Then have a polygon. You can create a polygon, you can choose the side, a number of sits. Let's see we want to create a polygon let this di first. Let's select the polygon to. Let's see we want the polygon with six sits. Typing six, then create a polygon. Let's we want to create a polygon with 12 sits, typing 12, then create a polygon. We can see how it works. Perfect. This we can select and then go back to our tool and maybe modify our colors. The little colors. Give this different color. Let me give this new. As you can see under your layers panel, we see that each one has its own layer. You can manipulate each one as a single unit. Perfect. We have lines also. These are lines. We can create lines. Lines. Lines only have strokes. You don't have fs. You can side the lines only have strokes. The feel color is insignificant. You can see there is no few that is changing. Basically, these are what you should look at the next video, we'll to go a step further and see you in the next video. Bye. 26. Create custom shapes in Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to be creating custom sheets in photo shop. Go ahead and create your new folder or rather your new file and come here. Click and hold. And now we've looked at rectangle to ellipse to triangle to pull on to line two. Now let's look at custom Sp two. Click on Custom Shape two, and now you're able to put in your colors. Let's select this color. Let's select this color for fiel color, and let's select this one for stop color. Let's maybe increase the struc bits. It to f. Okay. Now, when you come here, you're going to see sheep. So you click here, you're going to see different sheeps. And there are even categories, even categories, you can click here to make this bigger. Now I'm just going to open these categories, so you see all the sheeps within the categories. We have these categories for wild animals. We have this one for leaf trees. We have this one for boots, we have this ones for flowers. Let's append default once and see. When we append, we see that we don't really get more. These are just the default ones. We need to append. But we can import ships. You can import ships, allows to import, and you can see that the format is custom ship C S. That's the format of ships. I'm just going to create some of these custom ships. Click and Drag. Now the rules for shifts are still maintained for custom ships. So you can hold down shift to maintain what do you call it, the size, the evenness of the size, so that your ship looks normal, and Let's go back and try to create more custom ships. Let's create this guy. Okay. Click on your to. We select another guy. Let's create this elephant. Perfect. Let's let's look at a tree. Let's work with this tree. Perfect. This tree, I think having a stroke on it don't look too good. Let me just remove the stroke. That because there are too many details here. Then let's try a boat. Let's see this guy. Then finally, I think we should just try a flower. We can have flowers also. Perfect. No, that's how you create custom ships now to be photo shop. And with this of contin end of this video, see you in the next one. Bye. 27. Create compound and complex shapes in Adobe Photoshop CC: Hello in this one, we're going to be creating complex and compound sheeps, complex and compound sheeps. That's what we're going to learn how to create in this video. There is one thing I skipped from the previous videos or from the first video. That's one little feature. We have when creating sheeps like the rectangle sheep or the square sheep or some of these ones with sharp angles. Like this one. One option there is to modify is the corners or the radius of the corners. Now, let's just hover on it. I think there should be yeah, 96 set radius of rounded corners. So we can set the radius of rounded corners. It means if we increase this, let's say to 24, we try to create our triangul we see that it comes with rounded corners. It comes with rounded corners. Based on the value we choose here. Okay. Let me just pump this value to 40 and see what kind of square create. Now, this kind of square create with rounded corners. That's how to create designs or shapes with rounded corners. Perfect. That's the little option, I forgot to add in. I was going to delete this ones and faze our creation of complex and compound sheeps. Now what are compound sheps? Let's s compound sheps. Compound chips have more than one sheeps in them. So it means we can come and select can go two, pick the tan go. And then while selecting our near, come to this place, where it says path opresion. So click here and now you see different options. Now the current option is to scret near. It means if you click and create, we're going to be creating a new layer each time. So you can see the layers keep adding up, right? So I'm just going to delete this here. Yes delete this one. Yes. So we have other options. We can choose other options. We can have this selected and then come here and choose combined sheep. It means if I click and delese, it's going to combine my two sheeps. Now we have two sheeps combined into one er. Two sheeps combined into one layer. We can use the size and see if we want to do even greater things. We can have our layer selected and add No, no. The right option wasn't selected. I'm just going to delete this one and select my LR, select my rectangle and then and select combine. It still combines our hips. Let's select a different option and see what it does. Okay, let's select subtract from ship. S. I wanted to create a new one and then subtract it from this one. Let's just All right. So what you want to do is select this guy first and then select your operation. Select the subtract, and then now we can subtract. Get how it works now. You have to select your tool first, and then select the operation, which is subtract and then select your ship and sub. Get the point. If you subtract, you can still modify the sheep, which is inside the layer. One other thing I want you to just learn, please is that if we create a new sheep, for example, let's see we want sub truck right. We just want to create a new sheep. And we get to see this little icons, I call them on each of our corners. As far as the sheep has a sharp angle, you get to see these things on each of our corners. These things enable us to modify the curvature of our angles. So we can see how we modifying the curvature of angles just by doing this. Perfect. That's a very little thing I want to assure you. I mean select my ship, my second ship. And then select this common go mode. Let's see intersect that intersect sheep areas. I can just select this guy and then click. And we can see that it's going to just intersect the area between the two sheps. So you can experiment with the remaning options. I think that's only one option re meaning. You can see we've been able to create this compound sheep, which we wouldn't have been able to easily do it with our ship tools here. These are what I mean by compound sheps. We are basically adding multiple sheps together. Why selecting this guide them, you just try adding an ellipse. We have to first of all, select your ellipse, select your mood, and then select the layer, and subtract. You have to really get the work flow very well in order to achieve this. We have to first of all, select your ellipse, select your mood, then select the layer, and then. That's that. These are all we call compound sheeps. Then we have one more thing, which are complex sheps. Now these are sheeps, you can create by using the pen tool. You can use the pen tool to draw out sheeps. You can see that presently some parts. You can see some parts. That's why I'm not seeing any shook or any field. I'm just going to delete the path and then tick my pen tool again. Now click here and click Ships. Here now we have our feel color and show color. I'm just going to start creating my sheep. Perfect. Now we can see this is now a complex sheep, because I don't have it under custom sheeps and I can't create it with my sheep tools. This is my complex ship. The p in set the p tool, all you need to come and create a point. A you then need to do is click and drag to create a Cuff point, click and drag, the Cuff point, click and drag, get click and drag. Now, if we do not want to create the puff point, we can just click and click, click and click. Let me see, we are not creating points. We're creating points with sharp angles. You get to click. Now when you come to the please, you started, you're going to see this little icon appearing beneath the pen to asking you to complete the sheep. You can complete the sheep. Now it's now a full sheep. So that's how the pen tool works. Pen is a very simple and and important to, simple, yet important. And we're going to work with the pencil while this course progresses. Apart from the pencil, we have the free form pen two. This free form pen to helps us draw sheets, but without clicking and clicking and clicking. We just need to click once and then draw the desired sheet, and it's going to just complete this for us like this. J. That's all you need to do with this. Perfect. And to get this. We have the Coviture Pain two. And the Covitur pin two is really similar to the Covert tool in Atto. If you're familiar with it. Now, all you need is to click click and click. Now we have a cou, click and click. Now we have a coup. So click, click, click. We have a coup. Click, click, click, we have a cough and click, have a co have a ship. That's how this works. But if you do not want to have a cough, you can click, click, click, and let's see double click. Double click. I'll click once. Double click, double click, click, click, click, and we're going to have these these points. So we can modify it if you guys like this. Yeah. That's how the curvature tool works. Now we're going to look at the remaining in the next video. This is just how we create complex and compound shapes. Okay. That's star for this video. S you in the next one. Bye. 28. Modifying your shape in Adobe Photoshop CC: Hello, and welcome back. In this quick one, we're going to learn how to modify our ships. Modifying our ship simply means turning a square into something else, or turning a rectangle into something else or turning an ellipe into something else. Okay, or whatever ship, whatever ship really, turning it into something else, modifying it. That's what I mean by modifying our ships. So now I still have these ones which I created. Now we're going to start with some of the tools here. Like this one here. Now we're going to look at add anchor points two. So in this two, what you're able to do, you're able to add an cle point. So what do I mean by anchor points? An cho point is basically the points. Sorry, Let me just go into this two. This two called direct selection to. Now, if you select the ship, whatever ship you select, whether an ellipse or a square or rectangle, you're going to have points like this. Not me see and click the point. We have this guy here, this guy here, and these guys are called handles. So this is an anchor point, and these are gle. These are handles. Okay. Now, this is an anchor point and and this is an angle. And this is it's handle, okay. Now, we don't have another handle here because we have this angle here, which is sharp. So we have two handles when we have a curved anchor point. Yet. So now what do we do with the handles? The handles are used to modify the curve of the sheep. So we are basically modifying the sheep. Is the hundle. So you have turned from this guy to this guy. So I am doing control Z for d and then control Z or we do. Okay. So let's do Control shave, for redo. So Control Z for undo contrary shaves Z for redo. Okay. So I have been able to modify just this point. From what we had before to this. Now, if you want to select an anchor point, you have to use this two, which is a direct selection two. Now, you just select the tool and then come on Markie Select. Now, this is what I mean by by Markie select. You have to click and drag. Okay? You have to click and drag to reveal the anchor points. Or you can just click on the ship, and then all the anchor points will be revealed, but to be in white. Whenever you select one, it's going to be new color while the others are in white. Now, let's tick this path selection two. This part selection to is similar to the dir selection to only that this part selection to is used to move the entire path, the entire shape in this move it. You move the entire shape. It's basically a move tool for a path. That's just what this guy here is used for that part selection. The di selection to is now used to select the entire shape, as you can see, we can move the entire shape. We only select co points this. Every sap pass and co point, We matter the ship. Let's try creating that we have the ships. Let's try creating a square. Okay. So this is a square ship here. Let's create another one without rounded edges. Without rounded edges. Zero, enter. Now, you see. We have one with rounded edges. We have one without rounded edges. Now when I select my direct selection to in select the sky, you're going to see that we have four anchor points. So these cho points, our makeup are square shape, so we can modify it. It's going to modifiers, this operation will turn a life shape into a regular path. Continue. Yes. So we now we've turned it from a life shape, which is square into a regular path. So this is a regular path because it's no longer square. So for shape like this, Sorry. For ships like this, we have more than four anchor points, okay? Because what footage shop does is, it creates anchor points here and here in order to give us this care yet. So we can still select the ones we want and edits. And yeah, we can even add Yeah, like we saw before, we added anchor points, right? Like, for example, this guy as an example. We added anchor points, right? You could add anchor points. You just come on it, and you're going to see the plots under the penal. So you click and you see now we've added an anchor points. So you can select it. Click and select. So you see we've added cho points, right? We modified our ship here. Perfect. And we could remove cho points. And this is for removal of ancho points. Means if you come and click on Acho points, it's going to remove. It's going to be deleted. Click, delete, click deletes. 15. So we've seen how much we've no modified this sap, we can't even recognize our square anymore, but it's totally modified. So that's how to modify your saps in photoshop. And we have one final two. Sorry, we have one final two here, which is the convert points two. And these two enders convert a curved point into an angular point or a square point. So, um, to select the sheep and then select that two. Okay. So now you can just click and you see that it's now converted into an angular point. You get it's now at a shop angle. So it's no longer a curved sheep. And with this, we've come to the end of our lecture on how to modify our sheps in shop. So see you in the next one. Bye. 29. Exercise 4 – Using shapes in designs: Hello, there. Welcome back. In this video, we're going to start the process of creating our first poster design in filter shop. Okay? And the processes we're going to cover in this video will include adding image to our poster design and then adding ***** to our poster design. And then the next module, which covers text. We're then going to add texts to our poster design. So now, go ahead and start a new project, and we're going to use it by eight in we create. And then first things first, I want us to import our image to put a file. You go to please embedded. Okay, and then we're going to use this image. Color Correction five. Okay, to select the image, and please Go. Now we have our image plast. I'm just going to bring it up here. And let's make this bigger, a bit bigger. Let's work with the size for now. Okay. Now what we're going to explore after this is kind of adding more details to our poster design. Okay, or more beauty to our poster design using ship layers. Using ships. So we're going to start with our ct angle two or with the g hap. We're going to pu the direct angle like this. Okay. I'm just going to do picker to go into the shape or the color picker two rather, then go out to sample my colors, right now, I'm going to choose this blue here. Click sample blue color. Click or let's see. Maybe make it a bit lighter. Okay. Then click Okay. Perfect. Now the next thing I'll do is get my add ankle points to again and then just add an ankle point here. Perfect. Now, I'll go back to my pen to my move to and see whether got. Perfect. Now, I'll just take my direct selection to, select it, and then M Key select here to select my ankle point. I'll just drag it down at this. K. Perfect. So drag it down and maybe check this one also and bring it a bit lower. Perfect. Okay. Now, next thing is I'm going to duplicate this guy. So we can click and drag here and release to duplicate or we can do Control G. You can do Control G on the PC to duplicate, and then I'm just going to take the duplicate bits behind or one step behind behind the main layer, and then use my keyboard arrow keys to move this up. Move it up. Then come here, click here, change the color. Make it a brighter blue. Perfect. Now, I can see that it seems our ship has struck. So we don't want stroke here, so I select my rectangle to remove the stroke. So I've removed the stroke for this guy, we need the same thing for this one. Remove the stroke. Perfect. Now for this one behind, we need to click and make it bigger. Maybe tilt the bit to create some difference between it and the one we copy it from. And we can tell the boot of them and move them a bit lower. Perfect. Perfect. Now we have our first we have our image that the shoes, and then we have our sheeps, 02 sheeps. Perfect. I want to make this image a bit bigger. We adjusted a bit. Then. And yeah, I think we're making progress. Now, the next thing I want to do is add an ellipse. Come click and hole and then select the ellipse to who down shifts. I'll just make a perfect ellipse. Okay. And then for this ellipse, I'll just bring it to this point. And then click here to change the color, make it white. And it seems it do a stroke, so I'll remove the stroke because we don't want any stroke for now. And guys, that's something I actually forgot to teach you from the previous ide. That's how to create a star. So star is a polygon. It's a polygon, just that it's a special kind of polygon. So we have a special way of we have a slightly special way of creating it, but it's still going to be using the polygon too. Okay. So maybe this size would do. So let's finish the shape. And now I want you to just come here, come to file. Let's please embedded. Once more, please embedded. Right now, you have to go to the folder. On the ships in dub f to shop. Okay? So this module five, that's sheps in dub foot shop. We have this nike logo. Select the nike logo in place. Perfect. Now, we need to just make it smaller, and then place it on top of this white background here. Okay. So next thing will be to reduce opacity of these bits. Let's make this 86 so that we can slightly see through our image. Now I want to just do one thing here. I do not like the way the white is covering the shoe, this much. I want to just move this guy to the right hand side, make this guy smaller. M this guy smaller. Okay. Perfect. So this is good. But the problem here is we have this, this empty spiece. We do not have this color or as the background here, and it looks awkward. It looks weird. So what I'll do is take my eye dropper tool. So this eyedropper tool is used to physically steal colors or sample colors. So if I click here, let's if I click here, for example, you're going to see this color sd here. You get click here, you're going to see the color sed here. So this is our color picker two, to. Whenever I pick my eyroper two and then and then steal a color, we're going to have it seved here. It's also going to be sved on our switches. So if we take this guy, for example, and then come here, we're going to see that our color has been sifted. So that's the eye dropper tool for you. Now, I'll just take my hip two or rather go back to my i dropper two because I've not sampled the mean color the color, I want to sample going to sample this color. Okay. Then take my rectangu and then remove the stroke. And then just click here and drag. Next thing, I'll click this guy and take him. Below our background. That's below our shoe image background. Perfect. So this is what we have. So we have a clean blend. Okay, so the blend is perfect. So our logo here is not covering our image too much. Okay. Perfect. Now we have this so far. And next thing I want to do is show you how to create a star. Now we're going to come here, to put guns. Then we're going to use five sites, because of course, a star has five sits. But the thing you're going to do now is come here under seconds. Then you're going to use what we call this star ratio. So yours should be 100%. So whenever it's 100% you create an ellipse. Sorry, pul gon. We're going to see that you have actually a ply gun. You actually have a pul gun. But let me just delete this guy now and then come and make this 50%. Let's make this 50% and then create white hooding down shift, click and create. Now you see it's a star I'm creating. That's just how to create a star, very simple. I'm just going to make the star white color. Perfect. So I'm just going to click and reduce the size of my star. And then I want to modify my star. I want to make this point longer. Come to my direct selection to mark you select the anchor point and I'll just make it longer like this. Okay. Perfect. And then one final thing I want to do is, maybe not final, but I want to duplicate my star shape to control J or we drag and drop here. And then make this other shape the second star smaller. That's holding down ls. Clicking and holding down ls to even resize it. Get evenly resize and then close and then choose undo the color. Let's choose this color instead. This is the color. I'm just going to arrange the guy properly. Perfect. I select the both of them and maybe make them smaller and adjust a position like this and perfect. This is what we have now and one last thing I want to do is I want to just create a rectangle just at the bottom here. Maybe we're going to add a text on it. That's it. This is just what I want to achieve. Perfect. So I think we've made ite some progress with this. In the next module, we'll cover texts, and we're going to learn how to add text to this poster. We're going to add text to this poster in the next module. So this will come to the end of this video and see you in the next one. Now, you just want to see your file, so control S. And then s on the ships. So we have new poster. You post the design. Okay. Perfect, so safe, and okay. And with this who've come to the end of this video, see you in the next one. 30. Module Introduction: In this module, you learn about texts in ADB Photoshop. You'll learn how to create an edit text, how to create texts along paths, and how to distort texts using the text wrap features in ADB photo shop. Kindly download the attached project files for this module before you continue. And please reach out to me via message or in Q&A section if you have any questions. I'd love to make this course a five star experience for you. See you in the next red. 31. Create and Edit Text in Adobe Photoshop CC: Hey, welcome back. In this video, we're going to learn how to create and edit texts in how to be photo shop. So when it comes to creating texts, we have two types of texts. Now, this is the tool for creating texts. We have these two. So this is called the horizontal type two. Now if you click and hold, you're going to see others. Okay. The vertical type two is just the direct opposite of horizontal type two. While the horizontal type two writes texts horizontally, vertical type two write text est it vertically. So I'm going to click the horizontal type two. C select that, and then when you do that, you can come and just click on your works piece. Now you're going to see the text a here. Now this is a Dummy texts. So you can double click and then edit your text. Let's see, hello one. Okay. So now we've created this text. Now let's just change the color. So you have what we call the character panel. Now this is the Carter panel. You get this is the character panel, but this panel is ducked into our properties panel. Okay? So let's just go to windows, and then character. Click on character. Now we have the Carter panel on its own. Not under the properties panel. Now, this gives us more options. It gives us more options. Now why selecting the text? You can come here and click and then change the color. You see the color changing, right? You can change the color. Okay. So perfect and then click. We're going to come back to this later on. I just want to show you the types of texts. Now you see this is what we call a point text. It's a point text. Now when you create this, You can scale it up and kel it down using these transform controls. And basically, all you need to do, like I said, to be to create this text is just select the texto and then click and start typing. Now this allows you to keep typing typing typing down to infinity key. You don't get anywhere to stop. So you can just stop whenever you feel the written word is needed, or you can hit enter and then go to the next line and continue typing. But this text is mostly used for headings, okay? No for the body texts. Okay? So if you want to create a body text, what you need is called an a text. Now, all you need to do is to click on your text too and then click and hole and then drag. So you have to drag to the points or to the area which you want your text to cover. So when you're satisfy you now release, now you see that the text covers this area. But I feel that the text size is to or the phone sizes, too large, so I'm not going to complete this and create another one. So select my text to at this time, I want to reduce my phone size. So I'm going to take it to 12 points, 12 points and then click and drag. Now we see that we have smaller texts, and then this is of course a domi text, like I said. So we now have it covering this size. Now, let's say we are still on our text too, and we selected the area you get. Now, if we increase this, we are not really increasing the size of our text on like what we had here. So this doesn't increase the size of your text. I only increases or decreases the size of the area. So you're just modifying the area, which the text covers. Now you can select the text, you can just click, click here and drag to select all texts, and then click on the font size and then use your mouse wheel to scroll up and down in order to release, or in order to increase or decrease the size. When you're okay, you finish your text. And yeah, we now have our text. So if you do not have the text tool selected, and you want to increase the size without using the font size option, you can just come and click here and and increase it like this. That's if you do not have the text tool selected if you have the move tool selected instead, perfect. That's one way you can also increase the size of this text. Yet. These are the two main categories of texts. You have the point text, you have the area text which covers an area. Okay. Now, in order to edit our text. Let's see, we want to change the font style. We want to change the font size. We want to change the spacing, we want to change this, we want to change that. Now this is where the cara panel comes in handy. Now the cara panel comes along with this one, which we call the paragraph panel, and all of them can be found here. You see the paragraph panels, this and the Carter panel is this. Now you can remove them, and separate them, or you can have them. Together like this. Now, the caracter panel or the paragraph panel will of course help us align our text in the center or along the left hand side or along the right hand side. We can also choose these other styles of alignments. Okay. Now we don't need to worry about this, but you can check out what you do. Now, the main guy is this one. That's the character pan. If you want to change the font size or the font style, you have to select the font or the text, then come here, bas the font style. Click here and now you have different font styles. Now you can go over them one after the other. You use your mouse wheel to scroll. Then no select a good one. Let me select this one. It's called Carl t. It's a pre to use font for noncommercial use. I don't think you have the text because I had to download it. I have to download it and moly install it, so it's a custom phone. But it's a phone style you can get on the Internet very easily. Just type the name and you have to download it and then install it. Perfect. There are many other phones you could try. You can let's try another one. Let's try another one. Let's see. This one, you just selected. Let's try this one. This is elephant. Mark you select them and just move them this. Perfect. Now apart from the font style of the font itself, we can change style which it appears. Yet, now this is regular. This is italic. You can see the difference. Now, it all depends on the fonts. There are some fonts that do not have the italic, there are some fonts that have way more options here to choose from. But this one only has the regular and the italic. Then we have the font size. Now you can reduce the font size by going down, by reducing this value or increase increasing this value. And then we have this guy. This guy is the spec in between each line. So now we have it as at two, but we can reduce it let's use two and C. Now we see that the spec in decreases, right? Now, let's just click here and use the mouse scroll, and you see that the space keeps increasing. The space in between between the lines, keeps increasing because we are increasing the value here. Now in this other one, the space in between the characters. So you see when we take it to 100, if we take it 100, you see that the speed between the characters gets reduced, right? Gets smaller. So in five, we see that the small space, and then we have this guy This is what it does. It's not that useful, in my opinion. Now we have this one which increases the heights of our text. Yet, we can make our text longer than it or shorter than it is perfect. We have this one which increases the wideness or the width of our text. We have this guy here which of course, changes the color. We looked at it before. And we have all these other options here. We have this guy makes it ticker, this one makes it italic. Even if your text doesn't have italic, this guy don't make it italic. We have this one which does this, makes all the characters up per keys. We have this guy which makes the first one, all the first words, upper ks. Then we have this one which does this, which makes the character a superscript. Then we have this one which makes it a subscript, and then this one which underlines it, this one which crosses it. So I'll wait for this one and see you in the next one. Bye. 32. Create Text along Path in Adobe Photoshop CC: He welcome back. In this video, we're going to learn something very quick and simple, but it's very important. Now, that's how to write texts on a path. That's how to write texts on the path. I'm just going to shift these guys here. Now, come here to your pen to, click on pen to, and instead of ship, this time, choose path. So come here and then try to create something that looks like this. Mustn't be look like mine. This will just do. And one funny thing with parts is, they have a funny way of behaving. Now you see, I've gone back to my move to. Now, if this was a ship, after I select my move to and click on my background, you'll see that it gets the selected. Parts do not behave like that. Parts keep getting selected. And one thing is, parts do not show up on the layers. So they did not show up on the layers, so they are not layers. They didn't have a layer of their own. So we can move them and malate them with our path selection to. You see with this one, you can move your path. And with this other one, you can, of course, select the ankle points and walk on the ankle points. In order to access our parts, in order to see were, you have to go to your path panel. The path panel is just after your channels panel. So this is layers, this is channels. Now we have the path panel. Now we can see that a new part has been created here. No, this is our path, and this is just how the path panel is. Ling very simple, very basic. So that's because parts are basic. You get. One thing we can do it part is right along a path. All you need to do is select your pen two or your type two. It's very simple, guy, very simple. All you need to do is to come to the point on your path where you want your text to start, and then just click. If I want you to start here, I'm going to click here and see that you have our text on our path. If I want to edit the size, I'll just increase the size. I can basically change every other option here. If you want your text to start from here, like I said, you click here, but if not, let's just undo this and see. If not, let's conc this. If not, let's say I want it to start from here, or I need is to click here. So I just need to click from the point where I want my text to start. I'll just click here so that my text starts here. And then you can type hello designers. Then select my text. Make this 48. Make this zero. Zero is two small make this 25, 100. Perfect. This is basically how to write on paths. Now if you are cut it, you can continue to work. Let's try creating another path. This time, I wanted to create a love or the heart shape. Very simple heart shape, very basic. So this just neat this part M curved. K. Perfect. So Let's see we want to write on our path. All we need to do is to self our pin two or rather our type tool. I keep changing this. I keep confusing this for the p two type two text two to select our type two and click here. Now we have our longer path. So that's how to create your text on a path. And with this we come to the end of our video, see you in the next video. 33. Text Wrap in Adobe Photoshop CC: Hey, guys, in this video, we're going to learn a few more things about texts before going ahead to finish our poster design, which we started in the last module. So we'll select your text too. And click to create a point text. Now I want to just make this zero and make this 60, maybe even make this bigger. Now the first thing I want us to look at is the text menu, do this menu, the text me or the type menu. Now there are lots of advanced to here which are not meant for this level or which are not meant for this cose. They are meant for the advanced course. But there are lots of few things I might want you to see. The first thing is probably how to change your type or your text from a point text to a paragraph text or an a text. Okay. This is a paragraph text or a text. Remember, I said there are two types of texts, we have the point text, and we have the paragraph text, right? So if you create a point text like this one, remember, create a point text like this one, remember you can keep typing for point text, right? So let's say you create a point text like this one. Can actually convert this to a paragraph text. How do we do? Just come to type and then convert to paragraph text, which is the symeting as area text. It means income, and now you do this. You're going to be increasing the area, not the size of the text. You can just keep typing and it's going to fill in our area. Get the point. That's how to convert from a point text to a paragraph text. Now, this is a paragraph text or an area text, and if you want to convert it back to a point text, you just do the same thing with the file and convert to point text. And now it's back as a point text. There are other few things. And for example, we should learn how to convert the orientation, right now, this is horizontal reentation. We can changes to a vertical orientation, and we have our text looking at this. We get these little things are possible, which the type menu. We just lost our text here, and just use my keyboard direction keys to bring it. Frame. So we have other ones. Okay, we have rasterized type er, so it turns our type layer into a normal er. Now, this is what I mean by normal layer. Turns our type layer into something like this, into type in it. You get It means you can have more control, but you lose your editing capabilities, which come with the type two. That's what that option does. That's the option to rasterize your type and then we can convert our text to sheeps. We have to just click and we now have sheps instead of texts. We can use our direct section two, in select anchor points and modify them. We now have sheeps. Get very powerful option here. You can see we've totally modified some of these characters. Because we were able to convert our text to ship sys contro converted pa to our text. Let's look at one more option. We can convert our text to a path to work path. That's also possible. I was going to undo. And then now I'll just delete this second word here so that I can make this bigger and we can look at the last thing I want you to learn, which is the text option. Perfect. Now, select your ship. I'd rather select your text, and then set type to click inside. When you click inside, you're going to see these options, right? You're going to see these options. Now, remember, of course, this guy is for changing your phone style. This guy is for changing these options of how your phone appears, and then we have this one for changing your phone size again. Then these are the ones are irrelevant for now. And we have this guy here. Now, when you click on this guy, we're going to see all called text rub. Click on none. Let's select this one. So this is what it does now. You can see it wraps our text in a certain we get in a certain form. Distorts our text in a certain profile. We have many other ones to choose from. We have the c which does this. Then we have the upper c which does this. Then we can choose whether it affects horizontally or vertically. What we go vertically and horizontally. Then we can choose the arc. We can choose the bulge. We can choose the shell. You can just experiment with all of this to see what you come up with. That's it for the text wrap. It allows us to modify our texts in this way. In this video, we've been able to cover the text wrap options and we've been able to see some other advanced or a little bit more advanced options under the text me. That will be it for this video. See you in the next one. Bye. 34. Exercise 5 - Adding Texts to our first poster design: Come back in this exercise. We're going to complete the design which we started in our previous module. So we had begun creating this poster design from our previous module, and we said at the end of this module, we're going to use the knowledge we acquire to finish up this poster design. That's why adding text. So we're going to just do that. That's a very quick one. Now, I'll just go to the type two click. We're going to create the point type or the point text. Click and we now have our point text. And this is the heading, like I told you before, point text is very suitable for heading. And this dummy text like you know. And then secondly, we're going to create our body text. That's the paragraph text or the a text. Now, after selecting my text two, and sing that text two, just go ahead and adjust the phone size. So my phone size now has been adjusted to 12 points. So I'm going to click and drag. And release. Now we see that this all caps option is selected here. I don't want that. I'm just going to select this. We now have our text in small letters. So I'll just make this bigger increase this to 14. This is perfect. Then maybe change the color to white. Okay. I don't want this to be black. I'm going to make this bold. Perfect. And basically, we are almost done. Maybe we should just give this a text rap. So select this guy text, give this arc. Let's see. So maybe won't work so let's choose this arc opera. And I think this is just perfect. Good. And yeah, we have our heading. Looking perfect. Now we can just maybe edit the heading. Let's say, best men men's shoes. So it's more of a post design advertising the shoes, right? Best men's shoes. And then we have this text. And yeah, let's just have some other text at the bottom here. Let's select text to click. Let's see discount and soon. And give this e. I. Perfect. And then. I just want to create more space here. What I'll do selective guy, selective guy down shift. Select my star to or rather my star, the one inside, select the one outside. Then I'll just e my keyboard direction keys would downshift to move this upwards to bit upwards or b to the top, and then move our text to the top also. Move our body text, I'm going to give this centralized paragraph. This is perfect and for you. I'm going to give you due color. Perfect. And maybe we should make this color a bit brighter because it's on the blue background. And yeah, this looks perfect. I think one last thing is missing. That's we need to align our text to the middle. Select your text, go down, select the background by holding down control, to set the text and then hold on Control, and then select the background. And then just come up here and click on this guy. It's going to align our text to the middle. I'll do the same for this one. Select the guy hold on control, select the background, and click here. Aligned our text. I'll do this for this last one. So one last thing I'll do is just save our image. So come to file Export, Export us. Or maybe I should just receive us method, receive us, and then save this as JP. And just go back to our funda. And yeah, this is now our design. Looks absolutely incredible, absolutely stunning and simple. So this we've come to the end of our exercise and our video, and of course, our module. To see you in the next one. Bye. 35. Module Introduction: In this module, you'll learn how to crop and straighten images not to B Foot 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&A 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. 36. Cropping an image in Adobe Photoshop CC: Hey, guys, in this very short module, we're going to be covering image cropping and image stretening. So these are very basic stuff, but also very important. So let's go ahead and open to an click open and then go to the folder and crop in and stretening, in the folder shop and bring in these two images. Okay. So what's cropping? Coping basically cut in your image. Okay? Maybe you have some redundant or unneeded details, which you do not want to be parts of your image. Or maybe you want to print your image in a particular size. So you might need to crop it to that size. So that's cropping for you. Now, this is the tool we use for copying. This is the crop to. So when you just click the two, you are now given this controls, right? This 12, three, four, five, six or nine controls, which you can use to crop the image. When you select the crop too, we get this properties bar changed, and there will we have options that are related to cropping an image, right? Now, when you come here on the tio, you're going to see different options. Now, tio, if you leave it on the ratio, you'll be able to crop this image to whatever shape or whatever size you want to crop it freely get without having any problems, so you can just crop and And let's see we want to have this image this size or like this. We want to cop out these places. All these parts of the image. We can just do that and then create k. And now we have cropped our image basically that with this crop option with this ratio option. I'm just going to undo crobin. And then come and try other options. Now, if you want to use particular width and height sizes. You could use this, you could use this option. And then you'll be required to type in the wits and the height, and now this is the we the height. You can see the height 768 pixels, and this one, 366 pixels. You could edit this let's see we want this to the 800 pixels. Let's just see 1,000 pixels. We get so as you can see, we are basically crabbing our image right. Now we can click. Now we have our image cb. Perfect let's hit z, Ct. And w me back. Now, we also have these other ones, which enable us cb specific sizes. So we have one ratio one, let me see. We have this one, which is four ratio three or eight ratio ten. And so on and so forth. Now we have the ones which give us the ability to crop our image to particular sizes. We have four by 5 " and 300 PPI. We have 8.5 by 11 " and 300 PPI also. You see these are different putts. Now, depending on what you want, let's see you have a photographer and you want to print these images. Now these are standard sizes based on normal printing for photography. This could come handy. When you don't crab in, receive your image and go out of the crop tool and maybe come back later on to crab another image or to work on pots and maybe you want to use the crop too the cropto. You need to come and change this from your previously selected preset because it remembers the selected preset. You have to take it back to sue in order to have this free ability to crave your image, if not, If not, you won't be able to have this free ability to cove your images. So you have to always take it back to ratio, then, you are not able to cove your image like this. Now you see it's not cove it freely because it's not is on this let's take it back to ratio. When we take it back to ratio, Sorry. Let's clear. Now, if we clear, if we take it back to ratio, we will need to clear the previous dimensions. If not, it's going to lock the dimensions. That's why I was having I was unable to still edit it freely, even after taking it back to ratio. Now I've taken back to ratio, and I've cleared the locked dimensions for height and wit. Right now I can now edit the heights and wits freely. So that's that about robin. And we also have some other features on the robin, which I want you to know. Now, apart from just robin freely and robin with fixed sizes. We also have one thing, which is called delete crop pixels. Now, if you have these delete crop pixels on, and you crop. For the shop is going to delete the crop pixels. That's the uneted parts. So Pars like this will not be deleted. Do okay, and then try to move this layer. Let's say I unlock this layer. I'm trying to move it. You can see that all of the parts have been deleted again. So that's one other thing you should take note of. Now Let's contro, contro con. Then let's check this guy. Let's check delete crop pixels. If this guy is unchecked and we crave it, and finish. Now we're going to see that we still have the other parts of our image which we cropt. The needed part we still have, and we can just use them later on if they need arise. Yeah. That's star for crabbing. Okay, let me just undo. I think there is one more thing I need to show you before we go into stretening our image. Now the last thing I need to show you is what we call content A. Let's just unlock our layer here and choose our cro. Now we have what we call the content. Let's say we want our image to be bigger, we want to crop it like this. Presently, it's set to front p which is default. If you do this, this is what you just get the key. Well, let's assume we do that. We want to actually have fa shop feel the space for us. You can do that. All we need to do is to come here and select content of a few, and then do our curbing. Do our curbing now. You don't want to do too much. It shouldn't be this big because it's going to start acting, so you can just make it this big probably and then Click. Okay. The shop is going to walk on our image and generate the remaining parts. Now you can see how foto shop has been able to generate the remaining parts. Magically. That's for content AA field. Now in some images, you might not have this perfect or this clean, but there are even better ways to do that to do this content feeling. We're going to learn some of these other methods in little videos of the case. We have our cpt image perfect. So this will come to the end of this video and in the next video, we're going to work on streening our image to see you in the next video. Bye. 37. How to Straighten an image in Adobe Photoshop CC: He will come back in this short video, really short video. We're going to learn how to strat in our image. Okay. So what do I mean by streting our image. Let's go to this one. Now, if we have an image, it's a horizon, like this one, just like this one. K. There is a possibility that we get who one to be not straight. Just like what we have here. Let me just take my pen to and draw and draw a line. Let me draw a line. Let me draw a straight line. Click here and then we'll on shift click here. So we can see that this is a straight line a stroke color the fit. Okay. So we can see that this is a street line. So our horizon is supposed to be at least this street, we can see that the horizon here is from here to here, so it's not street. Et let's bring this shape. To this place. So we can see that this our image here is a bit better than this one, right? So what we want to do is we want to straighten this whoism. That's just what we want to do. I straighten this whoism. And we also use the crop tool for this. So select the crop tool, and then she straighten. Going to click. On treating, then you have this kind of ul tool or this tool that looks like Ruler. That's the crop. Tool converts to this ruler to all you need to do is to click here and drag the line to the end of the horizon. Okay. And you're going to get photoshops treating your image. Okay. So remember we have content a field, right? So we are going to ax photoshop. To fill in these other empty places automatically. So if I just click this, we can see photo shop of magic, and let's see if the Shop does a good job filling it in. So we can see Photo shop did a really good job. A incredible job, in fact, by straightening our horizon and also by filling in the space. Now, let's see how street our horizon is once more. Let's d row set line, click here down shift, and click here. So we see that. We now have a street horizon all thanks to Photo shop. That's not about straightening your images. That's double straightening your images. This one doesn't need straightening really. But even if it did, we could still use our crop tool and straighten it. Can just see from here to here like this. Yeah, now it's treating it. And if we have contained a few selected, we can click it and put the shop fills in our image. Okay. That's that about sting our images in Adobe pot show. And see you in the next video. Bye. 38. Module Introduction: Learn about smart objects and what they can be used for in A B 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 QNE 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. 39. Getting started with Smart Objects in Adobe Photoshop CC: Guys, welcome back. In this video, we're going to learn about smart objects in photo shop. So go ahead and create a new project, and let's use our eight by 8 " preset. Set create. And now I just want you to go ahead and open an image. So go to your folder on smart objects, that 08 smart objects in AV photo shop and select smart objects, select this image, this image of father and Duter and open. I'm going to bring my image into this place. I'm going to click and drag and drop. We can see that my image is very large, way bigger than my work area. So what I'm going to do is just scale it down. Now, I want you to observe something now. I just want you to kind of observe the quality here. We see that this image is quite high in quality. It's quite high in quality. You can zoom in to see for yourself. So I want us to scale this image down, and not just scale it down, but really scale it down. I'm I'm going to pull down ts and scale my image down to this please. So I just completed my scaling. And now let's select our image once more. And maybe scale it even further. Okay. And then select our image one more time and n scale it to be bigger. Maybe not as big as it was before. Just as big and click. Now you agree with me that our images lost quality. In fact, our image has totally been destroyed. We can't see the details. We can't we physically can't use this image anymore. Now, what happened to our image? You see photoshop the Pexel software. And when you scale images or shapes or whatever, you're going to be reducing the quality. You're going to be reducing the quality just like what we saw here. So we can't use this image any longer because our scaling has reduced our quality. Maybe if we wanted to use it in this size, maybe it can work, but we can't use it to the scale any longer. Because our images totally lost the quality. Now that's what killing can do to our images. And what's the solution to this? That's where smart objects come in. Now, let's go back to our smart object image, click and drag and drop. Okay. Now we have our image back, and I wanted to just do one thing. Just come here, come to the Las panel, right click and go to convert to smart object. Convert the smart object. And you're going to see this little icon here telling you that yeah, this is a smart object now. This is a smart object. And what Smart object does is it's basically a protective filter. That we put on our image to kind of protect our image. You get. And basically protect our image really from being affected by scaling by the effect we add on it. So it means if we add effects to our image as a smart object, we can disable those effects and see our real image. So it protects our image. So right now, biting my image. I'm just going to scale it down once more. So I'm scaling it down, and we can see that I've scaled it down to the same size or similar size to the last image, so we can even see the pixels, right? On the next now, do you select my image and scal it bag up. Boom. We can see that no quality has been lost, so we didn't lose any quality this time. We can see our image. In fact, maybe I should do the scaling with the normal image so you see the difference in real time. You have some me to dive this guy control G or click and drag into the new layer. Button. So now we're working with this guy, and I'm going to right click and rasterized layer. Okay. So Rasterize Layer is basically the opposite of convert to smart object. So a layer like this, which is not a smart object, which doesn't have the smart object filter on it is called as talia, right? Rasta. Now, I'm going to just hide this smart object, layer, and then skill my raster down. Okay and then skill it back up. Perfect. Now we can see the difference, right? I going to hide my mean the air. Now, you can see the difference in real time. You can see the defen in real time. Perfect. So that's what Smart object does. That's one of the things that Smart object does for us. What else can we do with smart objects? Now, let's just ski this guy down and see one of the thing we can achieve with smart objects. Okay. Now, I just want you to come to the thumb nail and just double click on this smart object thumbnail. Double click on it, and it's going to open a copy of our image with the name LR one. Now I'm just going to add some graphic to our image. Let's take this two here, rectangle two and this cate square. The. Let's give it the color. Let's give it this color. Let's create another one, HTA, maybe make this one smaller. Create another one. Maybe change the color. Let's give it this color, and we change this color to green. So I'm just trying to add these graphics to differentiate the original image from this modified one. So what I'll do is press Control S that's shortcut for C on my PC, and now I've just seed this image. Now when I go back to my guy here, we can see that these changes with met have been audited. To our image that have been omitted in our image. Now we can't select them because they are a single image, a whole image. But we can go back here and make even more changes. Let's we change the color of this one here, we make it maybe a little bit transparent and save. Goba, which it has updated get. So that's one thing you can do with smart objects. Smart objects are used in graphics a lot. They are used in branding materials like M coops. We're going to learn how to use more coops and even create more coops. I think in a further module in this course, but if we don't do it in this course, we are doing it in the advanced course. Okay. So that's for Smart object. And one more thing about smart objects is you can copy a vector file or vector objection. I'm just going to go to Illustrator, and I've opened this file, even though it's not in your project funda not going to be included, but it's just for demonstration purposes. So what I'll do now is I'll select this graphic. Now, this is illustrator, and illustrator is a vector software. Now, vector software enables you to create graphics without losing quality. So no matter how much I is zooming to this image, or this graphic or this illustration, I will never see the pixels. I'll never see the pixels. So it's never pick the ts. I'll never do this quality as far as it's a vector object. So I just selected my drawing here or my my illustration here. Now, this is a project from a cousin Illustrator, my cousin Illustrator. I'll just go to file or other edit and copy. I've copied this guy here and go back to photo shop and pieced Ct V. We're going to see this option here, which asks us to piste it as either a layer. Now, if you piste as a layer, it's going to piste it as a rasta lier, so it means it can lose quality. But we can piste it as a smart object, and it's going to behave like a smart object. We can piste it as a pixel, we can pit it as hiper as parts. We get so we don't need all this. We just need to piste it as a smart object. Okay. And now we see that this is our smart object Tm nel once more. Y, it's a smart object now. We can sce it down. A. K. It's kill it up without losing quality. So we never lose quality because it is a vector layer and a smart object. We can also do changes to our layer here or to our vector object here by double clicking here, again, we can double click. I' going to open the software or the program in which it was created. In this case, that illustrator. This is illustrator let's just see I want to change the color of this. Let me change the color of this guy to C green. And also color of this guy to C green. I'm going to hit controles. I will see this controles. Then go back to photo shop. Now we can see that our updates have been made. So that's on smart objects. That's all you need to know about smart objects for now. Okay. So with this we've come to the end of our video on Smart objects. See you in the next one. Bye. 40. Module Introduction: In this module, you'll learn about layer styles in Adobe photo shop. You'll learn about the pebble and bos layer style, the shook, the inner blue, gradient of, and drop shadow layer styles. Kindly download the attached project files for this module before you continue. And please reach out to me via message or in the Q&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. 41. Bevel and Emboss: Hey, guys, welcome back. We're going to start learning about Lear styles. Let's start by creating a new project, choose eight by eight presets, create a new project. Now what are Lear styles? I don't need to define LA stays. We're going to see in a bit. I'm just going to create a text. I'm going to create design. Design. We're going to start learning about Lear styles with our text here. Layer styles are basically effects, I'll call them. They are basically types of effects. We can add to our layers. G these to help our layers look better. So I'm going to start with what we call Bev and emboss. Bev and emboss. How do we get to create layer styles? How do we get to add layer styles? To our layers. Now there are different ways of adding layer styles. And, so I have now created these two graphic elements, right? So now to add our layer ts, there are a couple of ways. The first way is to come here and click on the layer, right click, and then go to blending options. So you go to blending options. It's going to open ear styles. These are the ear styles. And we're going to come back in a bit and close you. And one other way to open er styles, you can double click. Okay. D click on the er. Just come to this part of the layer, this part, not the name, not the tom nail either. Just come to this part of your layer and double click. And you're going to have your layer styles again. Okay. And the last we I want to show you is to come to effects. You see this please where it says effects. Click it, and then you're going to the blending options. So you can add blending options. Okay, so you can add layer styles here, or you can just go ahead and add the specific layer style we are adding. So we're going to start with the Bevan en boss, click Bevan M bos and going to open it. Okay. So you can as well use these other methods to open and then come and select Bevel an M bos. You get So what is Beverly and Evos? Right? Benbos is a kind of layer style that gives us a three D feel. Okay? Gives our layer a three D field. Now, if you just added it, let me just close this guy and zoom in a bit. I'm zooming in to see my ship properly. So I've opened my layer styles and then click on vlan embos we can see right now, it's turning to our layer to something that looks close to a three D layer. Now we have options here on the vela bs. We have the style, we have the technique, we have the depth, we have the direction, the side, we have the softness, we have the angle, the altitude. Okay. We have the conor, that's the gloss conor. If you click here, you're going to see them. Here, we have the highlight mode. We have the shadow mode, all of these settings, and we can make a particular setting or a particular set of settings, a default. Okay so that whenever we open it, it's going to just apply that event emboss effect automatically, that default setting, then we can reset to the default. Now, this is the default. This is the default, right? Perfect. Now, let's start with the depth. Let's start with the size. I'm just going to increase the slider here. Now, increase the slider. You'll see that our t defect is becoming more glaring, becoming more glaring. I can increase the size and reduce the size. Now the maximum size is the minimum size. I'll just leave it ne this, and then increase the depth. Now we can see that the depth gives it more clarity. It makes it makes the effect, makes the effect clearer. Yeah. That's what the tape does, and then the direction chooses the direction of application. You get so we have the up direction, we have the down direction. I can see in real time, how it affects our effect, right? Good. So we have the softness. This will soften the edges of our effect. Here we have the softness. Perfect. That's pvar emboss for you. And we also have we have group. So this is at 90 degrees now. This is at 62 degrees, so we can just adjust the group to get different effect. You get I like this angle. It is six degrees because of this subtle highlight on top of our ship here. And it's making our ship look like like a chocolate bar or god bar. K. We're going to work on one project at the end of this module with this bevel and bows. We're going to work on a gold bar project. So we're going to be creating a gold bar. Now, we don't want it to be salt, we just want it to be zeroed, and now we can enable glubal lights. Now you see the effect. We can disable global light. Then the altitude, let's make this 100. See. We can see the altitude. It's supposed to be 90-0. Let's make this zero. Let's make this 90. We can see that IA, my altitude, our highlight also spreads. The highlight, we just got here, the St highlight we got here. I'm just going to make this 61. Perfect. Now we have the gloss contro, and we're going to go through them so that you see the different effects can get you can see that this gives us this effect, this gives us this effect. This gives us. You can go clear around with the settings and see what you get. Perfect. I leave it at this. If you click here, you can actually edit your mapping. That's the mapping for your gloss control. If I click here, just like the curves. This one we looked at when covering color correction. So you can basically manipulate this just the way you manipulate your c, cs effect. That's basically, you can just add points and see different effects you come up with. We can also choose presets, we have the linear, you have the C. We have the inverted. That's it for this one for editing your control map. We have the highlight mode. Now, these are basically the modes in which your highlight blends with your layer. Now your highlights are the whites. The highlights are the white. Now, I change, the highlight color, you can see that the white part is changing, that this really subtle white pd that's the highlight you get. This blend mode, even though we've not looked at blending modes, which we are definitely going to look at in details. This blends are highlight to our layer. You can change the blending mode. Let's see darker we see what darken does, multiply. But we don't want it to be that. Yeah, so it was in screen. Then this one was in screen, and then this one is multiply. We get. So we are definitely going to learn about blending moods, and you're going to understand this whole thing better when we do. But for now, you just want to keep this as screen, and then keep this as multiply. And then when you lower the opacity, we see that the white disappears, right? Increase, we see that the white becomes more and more glaring. And so also with the black or with the blacks. So 50 will do. Sem also 50. Of course, this place is where you can change the color of your highlight. Maybe you want your highlight a little bit closer to the red, do this. It's going to give you that effect. But we don't want that. I Sem also with the shadow. But we don't want that. And finally, about the styles, we can change the style. And this is just where you get with the styles. You can choose outer bevel. It's going to bev outwardly. We have inner bevel, we have embers. We have pillow embos and just click with the settings, and we have the technique, we have the smooth, we have the chisel. So we get this really sharp look with the chisel. Really sharp look. We might want to increase our opacity or the white so that choose more, and we might want to change our blending Rather our gloss contro. Okay. Perfect. So now this looks just like gold bar. You agree with it looks just like G bar. We also have this guy here, it's called the texture, I'm sorry, the conto. And this conto add this effect. You can see what it does, right? We are able to choose other contos. It adds more detailing to our conto. Look at what we get. Perfect. We can increase the range, reduce the range, you see what we have been able to come up with. And we also have this which it's called texture. So it adds texture to our object. Now there are lots of textures. They're just similar to the textures we saw when looking at fields and strokes, that's on the saps. So you can as well access all these other textures and you can add your texture. You can put textures. But I don't want to add textures. Maybe I should just kill it down so you see what it does here. Perfect. Check conto on check texture. This is just what we want to have. Perfect. Now, let's try adding our v to this guy here. But what we want to do now is copy this bevel effect onto our text. We don't want to just add it directly. We want to just copy this guy. What we do is s the right click, and then come here it says copy style. Copy Ler style, and then come here right click and pi er style. Now, this doesn't work on texts. It seems it doesn't work on text, but it works on other objects. So we can right click and piece layer style. It doesn't work on text, it works on sheeps. Well we can still add layer styles here, we can just click. I'll go ahead and add it to here to Pevlar embers. Here, we have our pavilar embers and it remember our settings, so we didn't lose anything by not being able to copy. We can see that it basically looks like this. Let's just try to adjust some settings, some properties. Let's reduce the size so we can see what we get with the size. If the size is too much or to the maximum, we get this. And this one the size is little or small. Perfect. Physically, that's that's where you get with Pebb. I'll just add a little something to this one. I just want to change the color. I want to make it softer softer. Increase the softness. We don't just have the sharp edges all over. Okay, so this will come to the end of our lecture on Bevel and Emboss. See you in the next video. Bye bye. Y. 42. Stroke: Hey, welcome back in this video. We're going to cover the stroke Letile. So I've gone ahead and see this little project of S in the Lee Ttiles project folder. So you can have access to it, and I'm just going to click here and hold down Alt. Click on my guy and drug. Why holding down ****? What I've been able to do is duplicate it by just clicking, hoding down Alt and drag. Yeah. If you click Alt and drug, you're going to duplicate your Lia. So we're going to experiment layer styles with this guy here. So while selecting it, double click to go into the layer styles mode. Okay. So this is stroke. I've just applied my stroke. You can see that the entire color changed, right? And that's not supposed to happen strok, but I worked with stroke earlier on and shop remembered my settings. So what I would just to come to this layer or sorry size, the stroke size and reduce the stroke size. So we can see what we now have. And the reason why we're having our stroke inside our text is because it's selected here, so have it inside. So we want to have it outside for now. We also probably be like this. We can increase the size of our stroke and you can see what we get. You can choose a blending mood. Like I said before, we don't need to stress about blending moods for now because we have a whole module on blending moods. Again, this is the position of your strop. You can make it outside, your sheep, you can make it inside your sheep, or you can make it in the center of your sheep, so it's going to be between inside and outside physically. But I want to keep it outside. Then we have what we call the co feel or the feel type, not color. Right now it's said to color. That's why we can click here and change the color to what we want. Then we can make this default. It's going to remember the settings and make the settings, the default setting. Whenever we want to add the stroke, it's going to just remember this settings as our default settings or you can reset this to the default settings that came with photo shop. You can actually choose other field types. We have the gradient field, and it basically fills our stroke with gradient. We can reduce the size. We reduce the size to click here to edit our gradient add presets. What we looked at gradient preset and we're looking at ingredients that shape. So we can choose Multiple presets, or we can choose preset we want, and we can even edit our preset. Let's say we want to edit the colors, we can click here, or click there and then change the color or click, and then click here, and then change the color. We can add colors by coming here and just click coming here and that clicking if we change the color to this, then come here and click, change the color. To this. And click. Perfect. We have what we call opacity and you definitely know what opacity is. These are the opacity handles. If you click here, you to change the opacity of the colors of your gradient from here to here. Let's say this is zero. We're going to see our colors flowing 100-0. Get and you can add more opacity handles by just clicking here and clicking in. Basically, that's it for ingredients, and you can add patterns in that pattern. Let's just look at some of these other ingredient options here. You can reverse your ingredients, You can change the direction or the angle of ingredient. You can reduce the scale or increase the scale, non scale is basically the blending between colors, how well the blend. If you make the scale smaller, you're going to see that the blending isn't much. But if you make the scale, 100, you see that it blends well. That's just it for green fiel. We have the patterns, and it's basically like patterns, which we looked at in the last video and in other videos before it, we don't have to stress about this. Now there's one other thing we would do. Two strokes, go into strokes again. And one thing we can do is we can add a stroke on top or stroke. So just click on stroke and then where you see this plus, just click it, and now we have a second stroke. Now this guy is the one on top and this guy is the one below, just like how the layers can be structured. So we have layers of strokes. So it means this one is going to show first before this guy. So we could just let this guy make it bigger so that it appears behind the one in front. So when I change, the color. You see that it appears behind the first stroke, right? So I don't want to change this to gradient two, but maybe different gradient, maybe blue, maybe you want to this rests on the blues and then have this guy to be on the reds. That's the way to add multiple gradients to layer, and there is one way to copy between layers, that's a copy effects between layers. I showed you the first way before, one way to do it is to just come to the layer or come to the layer here and then come to the effect and then pull do ts. On your keyboard, and then click your mouse or let's click your mouse and drag it to the new layer you want it and then release. We can see that copy this guy here. That's the one outside, the shook outside to our layer here. Yeah. That's basically how to copy or that's basically another way to copy your layer style. That's that for our stroks. In the next video, we're going to look at the inner blue layer styles. See you in the next one. 43. Inner glow: Hello, and welcome back. And this one, we're learning about the inner glue Lia style. So I'll just duplicate my lia here or my ship here. Dupate my ship, bring it down while hooting down shift and then zoom in a bit. Perfect. Now, to clicker and add the inner glue layer style. Now, this is the inner glue, and you probably do not see any change, but just crank up your opacity to maybe at, and then your size, you're going to start seeing the change. It basically adds a glue to the inside of our shape. Now we have a couple of other options. We have the blending mode. K. Let's make this lighter lighten or screen. Or just normal because we are going to look at blending modes in a further module. Then we have opacity. Opacity, of course, you know what it does reduces the visibility of our effect, of the noise, we can increase the noise, and you can see what we get. It adds noise to our blue. We have the method. We could choose this or choose this to the perpetual method, and this is the linear and that and that you could just experiment with this to see what you get. We can change the color. Maybe you want your blue to be bit to the red side. We just adjust the color like this. Then we have these other settings, but I'm not going to look at every other setting. I'm going to just adjust the size and the choke. We see this what they do. Success with most of this effect basically comes with you just going in and gaining experience for yourself. So just going adjust the settings to see what you come up with. So we have the size, we have the choke, and I'm just going to use the noise so we see the effective more clearly. Now we can the size. My believe it. This pig. Then now we have the contos similar to the contos we have on the Bb. So they give us this really cool looks. Basically, guys, that's it for the inner glue. That's what it does. I adds glue to the inside of our shape. We also have the outer glue, which does the opposite, which adds the glue to the outside of our shape, and it's basically the same thing, basically the same thing. The outer glue will not show here unless I give it lack backgrounds to this. Select wanted creating a newer. Lets create newer, then give this er lack. Then bring this layer blue layer. Now, if we add an outer glue, we are going to see what it does. I'm going to see the effect. Now these are outer glue, right. Now we need to crank up the size, and we can see what we get. Perfect. That's just it for inner glue and outer glue. These are really simple effects. I'm just going to delete this one we used and let's leave this over the te. We've come to the end of our video on the inner glue, see you in the next one. Bye. 44. Gradient Overlay: Hey, guys welcome back and this one, we'll be learning about the gradient of a knee. OG, so it's a really simple one. What does the gradient of a knee do? Basically the gradient added to our knee. So this is the gradient of a knee, effect. Edent now, you can see that our layer turns to having a gradient field. Now, I'm just going to cheer the color so that you see even clearly. Whatever color we have on our ship or whatever pattern we have or whatever we have, basically, if we add the predent we're going to have it replaced with a gradient over and then we can choose a preset. And edit our preset. The same way we edited this gradient field, which is here, which we used for this design type. We can make the scale lower. We should show our demarcation, our color demarcations very well, and blend it by making our scale. And we also have the tan or the angle. Like we saw before. We have the blending mood, which of course, we're going to look at further module, we have the opacity. Now, the opacity blends, it blends the gradient or the gradient of with our original color. As I reduce vpacity, we see that we are getting more and more of red, more and more of red, and make it zero, we see that everything turns to red, or main keys because we have reduced opacity. We can reverse our gradient of. We can align with layer. We see the effect it gives us. And method, we have the classic, we have the the linear perpetual. And then we also have the style. We also have the style. Now we can choose the linear brilliant. Now this is the linear brilliant. Basically gives us a linear blend from one color to the other, and we also have other ones. We have the radial gives us this then we can as get reposite arrangement of colors, and we have g it gives us this. We have sorry, We have the reflected and we have the diamond. So you can just go ahead and experiment with these options and see what you get that start about the ally, and I'm just going to add the buns. The color over. Cool overly replaces our color with another color. It means if you have, let's see graphic that has a color. Let's say you imported a Logo. Let's say we imported Logo now. Let's just try this. Let's go ahead and import a Log. Let's open and report that kig we used. That will be let's see on the text. Let's check text. No, we on the shapes, I think. Yeah. So that's the nike logo. You could have a logo like this. Now, I was going to it here. This is our nike logo. And like you know, this logo we can just click here and add a color, because this is raster. So it's like a normal layer here, just like this. We can click here and add the color. But we can add a color over me. Color of logo and will change the color of our logo. You can see we've changed our logo to red Nike logo. Perfect. So that's what the color over a does, and we can also add the gradient of lead to our nike logo. Let's add the gradient of a. Let's physically hide our color. Okay. Perfect. So you see we've added the gradient over and the color of lead to our nike logo. I just put the effect to this layer, that the mistake. That's it for these guys. As you can see here, we can add more. We can add an extra ingredient. We add an extra ingredient, we blend blend the two gradient together. So that'll be it for this guy this guy let's just keep the nine t logo in the project file and hit control and see you in the next one. Bye. 45. Drop Shadow: Hello, welcome back in this one. We're going to learn how to apply drop shadows. Okay. I'm going to select my layer one, which is my Nike logo, which has a gradient over y applied on it. P down old, click and drag to the right hand side while holding down shift. So that I duplicate it to the right hand side on street line. Now, select my guy here, then go into layer styles. I can do click, we can use here. We can use this option to just add drop shadow. Perfect. Now this is our drop shadow effect. And as you can see, we can add extra drop shadows on top of drop shadows, or behind our drop shadows. So first of all, let's look at the options. Now, select my drop shadow. We can see the blending mode, we can see the color of our drop shadow. Now we can change all of this. We can change the opacity of our drop shadow. We can change the angle, drop shadow N. If you change the angle, it affects the angle of every other effect which you add here. Okay. It affects the angle of the peblan and boss. So maybe we should just use this particular angle. 94 or let's say 90 90 fault. So we can use 90 and then we have the distance. Now look what happens when I bump up the distance. This is my distance, and we can see that there is now a distance between our drop shadow and our nine k logo. We can increase the spread to make ET spread bigger. Then we have the size, which will increase the softness of our drop shadow. It increases the softness of our drop shadow. Perfect. So we can see what these sliders do, or what these options do. We also have the conto here, so we can also edit the conto of our drop shadows and we can get some really cool effects with these contours. I really cool effects. The best part of it is, you can add multiple drop shadows. We have the first one, we have the second one. For this one, we make the distance even even farther, maybe the size bigger or smaller. Depends on what you want to achieve. We also have the noise. I didn't check this. We have the noise, which will us to add noise to our drop shadow. K. You can see we've been able to add multiple drop shadows. And just like we saw in the Bevel and emboss, we can also edit the conto map of our effect here. The conto map effect to we change this color. Look this here that's is for our drop shadow. I want to show you one more thing we can do to our effects. Now, while selecting our guy here, just come to your effect, just click on your effect. Click on your effect. Let me click on drop shado effect. Now we see options. We see options on these options like this one shoos us which effects are applied. So we have the gradient of only, we have the drop shadow, and then we can copy, we can paste, we can clear. So these are really simple things which we have looked at in previous videos, but we didn't look at this guy here. Now, this guy create layers. Now, if I click create layers, you're going to ask me some aspects of the effects cannot be reproduced with layers. So what this does is, it physically reproduces the effects on layer. So we can click. Now we have our effect on the layer. Now we can see that some of these can get confusing for you because we've not covered clipping masks. But what it did what footsop did this, it basically clip masked this gradient layer to the logo. And then added these other ones below. Now, these are the layers for our drop shadow. Okay. So I'm going to just do a simple one so, you see, so I'm just going to do this to have our effects back. I'll just maybe select everything here, sk them down so that we have This, right? I'm just going to copy this guy pulling down ks and drag in. And I'll remove the gradient field because it's the gradient that makes it click mask, but we don't want the gradent field, so I'll I'll check the gredent field. And so I'm going to work with the drop shadows. So right click on the effect and then create layers and ok. So now we have this guy. We have this guy, which is our main Lugo layer. Then we have this guy on top here, which is the shadow layer. Get to the shadow layer, the first shadow, and then the second shadow. When you do that, you're going to see this little icon here telling you that this has been done to the layers or telling you that the layers have been got from this little effect we just apply. Or this little technique we just applied to separate the effects from layer. Now with this, it gives us more control. Let's hide this guy, work with this one. Now we can resize our drop shadow, so we see that we are physically reciting our drop shadow. We're definitely going to look at how to use this particular technique to create realistic effects. Effects that look more realistic than what we get on a default. Okay. So for example, let me just give you an example of what I mean. Let's say we add a drop shadow. We have a drop shadow added. Let's just use this normal contro and this normal conto here. Perfect. Maybe we want to just bring down the size. And maybe reduce the opacity perfect. Now we have this drop shadow, and we might want to achieve something more realistic than this. Let's see the light is coming from top. If the light is coming from top, the drop shadow will be casted on the ground. A. If we want to create something like that, all we need to do is see create a We might then need to distort this drop shadow and move it in such a way that it's going to look more realistic. Now, I haven't taught you how to do these kinds of distortions. I'm using my shift key and using my earth key to do some of these things, but you don't need to follow along because we're going to cover distortions. So we're going to cover how to do some of these distortions that help you achieve realistic looking shadows and realistic looking effects. Like this. We can't achieve this with the normal drop shado. But when we manipulate our drop shade further, we're going to be able to achieve this. Okay. So I'll just delete this guy and save everything else. So we can receive. This file will be attached, so you can go ahead and see for yourself what we've been able to create and see how the layers have been made up. Yeah, that will be for this video, see you in the next one. 46. Exercise 6 – Write your name on gold: I'll come back and this exercise really interesting exercise, by the way. We are going to be creating our names on god. We're going to be creating a gold bar and writing our names or whatever, you want to write on it, and it's going to be kind of inscribed into the good bar. Let's quit talking and start creating. Go create a new file. I want ad boards, create. Then first things first is come and create our gold bar. This will be our gold bar. Just the size and currently white color. We're going to give you the gold color. On gold is between yellow and brown. O gold color should be similar to this. Perfect. We can use this as our god color. Now, just come and give this Peble and embosser style. For style, you want to leave it at inner B and then for technique. Let's just give it a artist. But we can experiment with other options to see what we get. For the direction, we want to leave it up. And then for this one now for depth, this is where we get to define how big or how large our good bar is now. I'm not getting to see what we have, maybe we will just change this for now. Key depth isn't showing us how large, really. It's actually showing us how sharp or how defined our good bar is. So let me increase the size so we can see how large our good bar is. So for size, Yeah, 98 is perfect. A, and for softness, we don't want this to be soft. We just want this to be at zero. And for the angle, we're going to experiment with this to see which angle is best, right? Let's just tick it. Let's tick it. L et's take it even as low as C one degrees or zero degrees. So now, we have minus ten minus nine. Let's just work with minus nine or now. And we only use global colors for the altitude. Let's see what the 40s or 50s give us. Let's see, 48 now we want to change our lost control. We only use this one is cool. Let's see this one. This one is also cool. For now, let's experiment with this one. Maybe we'll look at other ones literal and then just boost up our opacity, maybe not this much. Maybe 257. Then for this one, 50 will do. Basically, I think we can now add a conto. Let's add conto. Now, for contour, We can leave a control like this, but this doesn't look like an ideal ba because yeah, it just doesn't look like an ideal pa. Let's try ones. Let's see this guy. Okay, I'm starting to get what I want. Let me reuse this contro. Okay, so I like what I've got here gives us this really cool looking detail here on top. And yeah, I want to work with that maybe just make that a little bit smaller. And for now, I think I like what we have. Ja, I'm just going to click, and then go ahead to create our text. Just take your text to click here and type in what you want. For me, I changed my mind. I'm just going to type gold. Or you can write whatever thing you want to write. Gold for me will do just well. Then you want to change the color to this color, sample the bagra color and maybe take it up a b, make it a little brighter, just a bit, and then click. Perfect. The next thing we'll do is create our layer tile. We are going to add a B and boss. As you can see, it remember our settings. But we don't want to use the settings, of course. Inner B will still be perfect for this and then chesel. We want to turn this chesel had to smooths smooth so do and then we want to really reduce the depth here. You want to really reduce the depth. One, we just do or two. Because I pressed on my keyboard. Everything just closed. So you want to go back and continue ad trusting other settings. Now, as you can see, my sizing is already giving that kind of inscribed effect. Now as I include the sizing, include the sizing, you can see that we're already getting that. So Let's ok to this and zooming to see if you want to add other things. Select your guy and go back. Let's look at other things. Let's reduce the opacity of our highlight. Now as we reduce the opacity of our highlight, we see that the effect becomes more realistic. We want to just it. We don't want to make it too. We don't want to make it too little. It's not going to look real. This is also good. This is good. Perfect. I just want to duplicate my good and just have few more variations to my evolin in both settings. For this guy, I'm going to go in and try to maybe change the conto a bit, maybe give it this conto. Okay. Then maybe the highlights and the shadows, I think this will do for the shadows. And then, Let's see. Let me zoom in to see I pulling down old and using my mouse to zoom in. So we can see that they give us two different effects. But all of these effects are kind of cutting into a good bar. Cut it into a good ba. This will do. Since I'm trying to create variation, let me also create one variation for one go ba. So we come to contro a different conto. Let's see. Let's chose a different control. So this contro gives us nice details, too. Let's try another one. No. I like this one because it gives us that kind of smoothness. That kind of smoothing effect you see here. Mix this kind of plane. Get to mix our good but moalistic. Good but mealistic. So maybe we want to do it this much and then enter. Yeah. That's it, guys. We've been able to write our names on good and you can go ahead and change the text if you want. And our effects will be applied. So I'll just undo this school S for S. Then come to my Myers in Ado fda and maybe give this the name ba and S Perfect. And with this have come to the end of our exercise, see you in the next video. Bye. 47. Exercise 7 – Add Layer styles to Poster Design: Hey, welcome back. In this exercise, we are going to be adding layer styles to our poster design. Now, we've been creating this poster design, this particular one. So we started from our module on ships. So we created we added ships to our poster design, we added the logo, we added the image. And then on our module on texts, we added the text, right? So in this video exercise, we're going to be adding some layer styles to our poster design. So go ahead and open your poster design. And now go to the layer styles in Ad B Photo shop. Folder, and then you're going to see new posted design. So you open new posted design. I'm just going to have a copy of this so that when you come, you're going to have one that we haven't added the near styles to because I'm going to see this when I add it. Okay. So let's am it. New posted design, no styles. No styles. So you can come and get them new styles. Now we're going to use this one to practice how to add styles. So we're going to use this guy to practice open. Perfect. Now, there are a few things we can do here. We could just add a stroke to this guy. So best men's shoes to come here and add a stroke. Perfect. We see that we still have it inside. This time, Let's just choose outside. Let's reduce the size. Let's change the color. Let's give it this white color. White color wouldn't walk. Let's give it this color. Give this sheet of blue so that it doesn't blend with the background, but it still stands out. If we want it, we can chose a gradient, maybe we should choose ingredient. Let's choose the predent. Let's give this ingredients, one of these ingredients. This color. And then the other one. Let's give it say this color. Then maybe I just want to make this color darker. Darker blue. Perfect. Perfect. Maybe increase the ski and the size, and we have the opacity, we could reduce the opacity to make it a bit transparent if we want. And when we are okay with our layerstyle, we can just click key. Right away, we've added more detail, more beauty to our text here with our stroke layerstyle. Okay. Perfect. Now, maybe for this guy, we could add a drop shadow. Okay, so this looks quite sot. Sorry. On d. So I want to zoom in two and you see it doesn't allow me to pick my my Zoom to. I can use my mouse with Zoom. So you can see it, so, but makes our text stand out even more. Maybe increase the opacity of bits. Perfect. That's our drop shadow a style. I want to add one moa style to this mean text. Now, that's the pebla pose. But I want to really reduce the depths. No really the depth, maybe the size, and make this very soft. Increase the softness, and reduce the side. And maybe just play around it. It's more. Perfect. And let's play with the cantos. We have this, we have this, we have this. I don't want the effect to be really shut. I just want it to be quite so too. So this just to. Let's see about the size again. Yeah. This is perfect. We've done this done we've added drop shadow to this. Maybe we should add another drop shadow to this guy to make it sound out to you more drop shadow capacity this stands size. Perfect. So we have our near styles, making our design come to life even more. And now let's change the color of our Niki we here with color of or ingredient of a. Let's see red color, re color is. Let's see blue or this color. Let's see blue. Let's see the sheet of blue or we could even add ingredient, if you have a blend of this and blue. Perfect. I love this. Absolutely love this. Yeah, I like what we have so far. For this one, I want to just do one thing. I want to copy the Layer styles from this guy here. That's our 90 logos. So click on the Lea style itself and then copy. And then come here and then click on it and piece Leer style. So see we've added the gradient of a to this guy, and it looks absolutely amazing. Now we can see control S C, and with this we've come to the end of our exercise on Stiles. See you in the next one. Bye. 48. Homework: Hey, guys, so a quick homework. I want you to create gold bars. So I want you to do this on your own. Just create multiple versions with different effects with different control effects and share with me. Share with me, so I see what you come up with. That's our assignment for this module. That's only assignment for this module. Yeah, that's it. See here in the next one. Bye. 49. Module Introduction: In this module, you will learn about blending moods and how to B photo show. You'll learn how to use blending moods to achieve incredible photo effects. 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 question. I'd love to make this course a five star experience for you. See you in the next video. 50. Getting started with blending modes in Adobe Photoshop CC: Here, guys welcome back in this video. We are going to have a very quick introduction into blending modes. So I'm going to create my new file, choose my eight by eight, preset and create, and go ahead and bring in some images. So please embedded, and I'm going to choose this image and please embedded, and this image. You know what are blending modes. They didn't just work for images, they work for any layer. So blending modes are basically the way two or more layers blend to each other. So I can blend this layer to this layer. So there are different modes of blending. And these blending modes are kind of categorized. As you can see, there's this line that demarcates each set of blending moods. So we have this one, which is the normal and they dissolve, and they kind of do similar things. So each of them kind of do similar things. So we have the darker, the multiply, color bone, the linear, and the darker color. We can see that they do similar things with a bit of difference. And then we have this other category, the lighting, the screen, the color dodge, the lighten dodge and lighter color. And as I screw through them, you kind of see the way it blends out two images together. We have to overlay the soft lights, the hard lights, so on and so forth. Now, let's look at this one. The difference, the exclusion, the subtract, the divide we can see, the kind of weird effect they give us. All right. So that's the category for that. Then we have these other ones which kind of mess with our color. The hue, the saturation, the color, and the nosity. So this blandm was kind of messed with the color. So we see that all of them actually do similar things. And we're going to see how to use them practically. To achieve really incredible foot effects. Now, like we saw on the ar styles, we also have blended moods on the lear styles, right? Like, for example, if you come to this option, you have blending moods, if you come to the stroke, we have blending moods. If you come to the color overly, we have blending moods. If you come to the gradient over, we have blendings. Let's look at color over nee, for example, and see what we will get. Let's choose the over. We can see how the color is blending with the image, right? So maybe we reduce the size and then try other ones. So soft light. Now, as we change the color because our effect is going to change. That's how blending moods work. Let's check these guys. We want that me color. That's just a quick intro into blending moods. Starting from the next video, which is an exercise, we're going to start seeing practical ways we could apply this knowledge into achieving really incredible photo effects. We see you in the next one. 51. Exercise 8 – Light flare from eye: Hi and welcome to this exercise. Now in this exercise, we're going to be creating something really amazing. So go ahead and open your image to come to your folder, your blending Modes project files folder. So select this guy this image, the girls eyes, and this one, this lens flay. Select the both of them and open. And now, what we want to do is we want to click here and drag the lens flay into our girls eyes image. So we can scale this. And now let's look at how these two images play. So now, click on the image and then let's come to light. So on lighting, we can see that we have totally illuminated our black or brown. Lens flay is on the black background or on black bgroun. But when we apply the lighting or the screen or any of these guys here. You're going to eliminate our black ground and just have the lens flay. So we can have this, and then we have the lights coming from our eyes. So that the very effects I wanted to create. Let's control to duplicate and can even maybe rotate the lights this. Perfect. Maybe skill it up and perfect. Yeah. That's that for this with you. And this have come to the end of our exercise. I was going to see my file, girls eyes so that you can have access to the projects file. Now we're going to go to the next blending exercise and see you in the next Bye. 52. Exercise 9 – Nike shoe and logo: Hey, guys. Welcome back. In this exercise, we're going to do more blending. So go ahead and open your file. You're going to use the Nike kicks image and the Nike logo. So we're going to use blending modes to remove our white background. The white background. Of the 19 Lugo. So now, we don't want to white background, and we don't want to go ahead and go through the stress of kind of ting out our Lugo out of our background. So we're going to use blending moods to do it. Very simple. One click. So just come to your blending moods and on the darken, multiply color bone and just this category. You're going to see that we totally eliminate our white background. So darken and boom. We have our Lugo without a white background. So we can have our Lugo here. And it's basically as simple as that perfect. With this, we've come to the end of this exercise, C in the next one. I'm going to just see my projects before I close. Perfect. C in the next one. 53. Exercise 10 – Light bulb: I'll come back in this video. We're going to do some more interesting blending. Yeah. So go ahead and close this file and open your file. Now we're going to be using this guy here. That's the light bulb image and this lens flare and this other lens flare. Good. So open them. We want to bring all our lens flares into our lightbulb image. Just close this one, click drag drop. Now you can close this one. Perfect. Now just kill this guy up and bring him here. Now we want to have lights coming out of this bob. That's simply what we want to achieve. Click and bring it on your bob, and then now select your layer style. Sorry, your blended mood. Now we can use the screen blended mood or we can use the color dodge. I feel this one gives us that's what I call it. That's realism of blue in bob. Now, we can add this other guy, so we can have some flares flares that come with bubs. Flares like this, n flares like this, or light flares. Get what I'm seeing. Kill this guy up and we can see that we've been able to achieve a gluin bub. If I just disable this mean guy, we can see what this one is doing. You see what this guy is doing. Maybe we should try the other linear dodge. We can see that it's even a better blend with the linear dodge. Okay. But it's going to be too much too. We can just reduce the opacity of some of these layers. Yeah. So this will do you guys, and I'll just save my file, L light bob, Save Perfect. And with this we've come to the end of our exercise, see you in the next one. 54. Exercise 11 – African child: Guys, alma, in this exercise, we're going to be creating our last land effect. Go ahead and open the folder, and this time, I'm going to select the African child and the foggy mountain images and open. Now, I'll just bring the foggy mountain image into the African child and rescale it, re size it fits the frame. And I'll conclude this one. Then I create my blend between two images. We're going to see what we get with hard light. We get something cool. We get hard light, gives us this cool effect. Let's see. The screen also gives us this cool effect and colored dog. Maybe we do screen. The screen, and we can control G to duplicate this and maybe reduce the opacity. Yeah, so that judges for this exercise. Really simple stuff. We can achieve with just a click of a button. Yeah, and that'll be it for this one. See you in the next one. 55. Homework: Hey, welcome back. In this assignment, you're going to be creating a blend, go into your folder. And as you can see, we have lots of images here. We have lots of images here. Now, I want you to select two images of your choice. Get two images out of all of these images and create a blend effect. So that's just the exercise. You just have to choose any two images of your choice and create a blend effect. So that starts for this assignment. And with this, we've come to the end of this module on blending moods. See you in the next one. Bye bye. 56. Module Introduction: In this module, you'll learn about selecting and cutting in A D B photo shop. You'll learn how to use the several cutting tools in Photoshop, how to refine your selection, and how to remove or change the background of an image in a DB 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&D section if you have any questions. I'd love to make this course five star experience for you. See you in the next video. 57. Getting started with the selection tools in Adobe Photoshop CC: Guys, welcome back. In this very first video, we are going to start learning about the selection tools in a DB photoshop. Now these tools are used to select characters or subjects from an image, so that we can maybe fill in the selects piece with color or change the background, or do a whole lot of other things, maybe manipulate the image or fill it with the content a we feel. That photoshop basically filling the select piece automatically. And we looked at that of course, in or our module on cropping and stretening. Now we're going to learn these tools and how we can use them to select subjects. So let's go ahead and open Our images. Images will be used, so we're going to start with these two images. We're going to start with this image Pepe and then box. Okay. So go to your fol down on selecting and cutting. All these images will be made available to you. So select the bod images and click open. That select one and ll down shift to select the other one. Now for these tools, we have a number of them. We have some of them here, we have some of them here, we have some of them here. So we're don't to start with the first ones. Click and hold, and you're going to see all these one under this category. Now, this first one is the rectangular Make select two. Then we have the Elliptical Make select, single role Make select and single column Make selector. I' going to go through them quickly to see what they do. So let's start with a single role Make selector to select it, come to your image. Now, just click and now you see that what we are no able to we're able to select. Now if you Zoom inside, I to see that we've been able to make a selection of R. I don't see these two as very useful. I rarely use it. But that's basically what this tool does. So you're able to select this role. Okay. And these tools come the option here on the properties bar, right? Now, we have this one which allows us make a selection, so we can select here. We can make a selection here. We can make a selection here like you can see, and then maybe we do not want to use this selection, then we can come here and make another selection. So that for this one. Then this one adds to our selection. We make one selection here, if we select this one, we're going to be able to select that. We are going to be able to select another one, another one, and another one, another one. We going to be able to select multiple while adding to our selection. These are subtracts from our selection, right? You see subtracts from our selection. And this one gives us an intersection of our selection. But these are not very big selections, so we won't really see the effect. Let's just select some right clicking and deselecting. So you can select and click and select, or you can select and click and select inverse. If you select invoice, it's going to select the inverse of that selection. You see it now I selected the inverse of our selection. If you zoom in here, you're going to see that it has selected this side here and this and left out this particular rule which we selected. Same also with this column. Sorry. Okay this is a column, not to rule. That's left out this particular column. Then same also with the rule make select two. That's exactly the opposite of this to select. Now we have the rectangular make select and elliptical make select. Now, this elliptical, We'll select Elis. Select Zoom out. Now, this one has gives us a bit more control. So let's just click and drag and we see that we're able to select an Elis, right? We will shift. Aspect which will be maintained. Yes. So we select, now we've selected our guy, and we can click and move our selection. Let's see we didn't select the particular please we wanted. We can move our selection, or we can select move to and move what you selected. So we are basically cutting it out. So you see this shows us that this part has been cut out, and so we can put it on top, we can move it around. And if you now go back to our tool and deselect, you can see that our change has been made. So our image has been modified, our selection has been moved from here to here, correct. So I'm going to undo with control Z Z a couple of times, and deselect. So we can see how we've been to select. Lwise, we can see select and then come to edit, come to feel and click on feel. And now we can fill in the selected piece with colors or whatever with colors with the foreground color, which is white with the background color, which is green. And we can choose color. We can choose the content of were, we can choose pattern. We can choose all these other options. Let's try choosing color and filling it with red, now we can see that we've filled our selection red color. Let me just take some little time to explain these things to you. Now, I just expanded my tooth box so that we're going to see it well, now we have this guy here, this guy here. Now, this is what we call the foreground color, and this is what we call the ground color. That's why when we cut this guy out, when we cut our shape out and then kind of moved it, we saw that it's automatically filled the ples was cut out with our foreground color. So if we change this color, and then secrete a cotton again, and then now move this guy again to see that we've now fill it with our background color. You see. This is the background color and this is the foreground color. And we can actually switch between the ground color and the four ground color. We can just click here, and you're going to turn the prograun color to the four ground colo and vice versa. You can just click here and click here or you can do shift x, I'm doing shift x to shift the bagraun color to the fo ground color. And we have the default color. The default color is black and white. Now, I hit Shift D and brought me back to the default color. So we can change the bground color and the four ground color. And just do shift D, I'm going to tick back to a default color, or shift x to change between these colors. Perfect. Ltr creating a shape now, for example. Now, if we create a shape, you're going to pick our four ground color automatically. We to lets try changing this to see, then try picking a sap. Picking a shape. Now we see that it has picked automatically a four ground color. So this is just by the way. Now we were looking at selections and we saw how to use the elliptical Muti select two M selections to make elliptical selections. And we can add to our selection. It means we can add here and keep selecting several ellipses. We get like this, like this. Maybe we would fill our selections, good file or rather good edit and fill selection with a column. And select. We see that we've been able to fill our selection with colors. Okay? Now we have this other selection tool, which is the rectangular selection tool. All it does is the same thing this elliptical selection tool does only that it select rectangles or squares. So basically, that's what this one does. For this one, we could maybe use it in an image like this. Okay, sorry, not an image like this because this one has images that have been tilted, rotated angle. I won't work here, but we're going to come to this image soon. We're going to use one of these tools to cut out these boxes. So we're going to use a tool that works for images like this. Let's just go back to our PPA image. For this one, we could use a rectangular selection. If we add to our selection, we're going to add, we can subtract from our selection and do this and then subtract this part. We can create more creative selections by subtracting from our initial selection, and we can intersect, which will give us this intersection. Basically, that's it for this one. Let's just close this image because we've messed with it and open a new one. Perfect. Now we have these guys here, which are the Lasso two, the Polygonal Lasso two, and then the Magic Lasso two. Now, this is what we do. The Lasso two gives us the ability to make the selection freely, get that with free hand. So we can just click and make the selection with our mouse and we'll see that selected. So that's what this Lasso to does. To this, we come. Make the selection this. We're going to select it. Now we can fill it, we can move it. We can do a whole other things, right? With our selection, just like how we saw with the other selection tools. And then we have the polygonal lasso two, which makes selections in street lines. So we can see what we are able to achieve. So we can kind of achieve polygonal selections that selections with angles. This kind of selection. Not just that, we can use it to also select our image. It means we will be able to do this. We can use this to make selections that are not necessarily pull go out as far as the have street lines. We can using our old and mouse wheel, make selection. We can just keep doing this and select our paper. From our image. Yeah, so we can actually use this tool. But there are even simpler ways see our Pepe subject from our image, and we don't want to look at some of the tos. So D that for the polygonal lasso to, and then for the magnetic lasso two, it works like a magnet. So if you click and just keep dragging, it now creates points around our subject. So we can see that it automatically create points around our subject. We can just keep zooming. Now, the only problem is if you Zooming and zoom out, there is the possibility of making the wrong selection. Just like how you can see here. This is a wrong selection. That's the only problem, this guy. If you want to use this guy, you have to maybe have a subject which you can see completely without needing to zoom in or zoom on. If we're making the selection item we don't get our point, you can as well just click and it's going to be created for Rs. And that is to for us. Of course, we could add to our selection like every other selection to. So we can continue this, do this, and then continue. This is a work flow for selecting subject out of our background using this particular two. You can keep selecting two by lit by bittil you're done with selection. You do that magnetic las two, then we now have these guys. Now these guys I called the advanced guys or the big boys because they really make our work incredibly easy, especially this one, which is the subject selection to. And we're going to look at this last this subject selection to because it's the craziest among all of them. This one was just added into Photoshop recently to using an old version of Photoshop. You might not get this guy here, but it's incredibly bananas. So let's start with this Magic 12. Now, this magic one, you can see, it's a magic one, and that's magic. All you need to do select your Magic 12 and click. On the background, and you have it selected. If you can see the magic, so it selects our background. Now it comes with a bit of problems sometimes. So let's try selecting this other background. Let's kick and see. And we see that we are not able to select the background. Now, why did it here like this? Behave like this because this background has a single color. So if you have subjects that have a single color, this guy who select that background. Yeah, it's going to select without any issues without any approval because the background has a single color. If your background doesn't have a single color, you don't have any businesses in the two magic 12. So you can see that places like this, it's going to select easily, that places like this because they have a single color. That's for this to. I have a single color, it's going to select it. So we're going to have issue selecting the Pepe subject because we do not have a single unified color. So to selected guy. And then we are going to see the next one and this is the quick selection to. Quick selection to is one of my most fiv tools for selection. In fact, it's the second most favor because this guy replaced this object selection to rep. Now, this quick section to, all you need to do is to just click on your subject. You're going to select it little by little. Gradually. You get select the select and see. Now for this pe, it's going to select it very easily because of course, it has a single background, right? If you have instances like this where it selects inside the subject, all you can do is press lt to change it from a plus to minus. Now if you look at inside the selection brush, that the quick selection to brush, you're going to see a plus sign. Now if you click on lt, you're going to see a minus sign. So it's basically switching between this mode. We have the addition mode and subtraction mode. We can as well choose this mode for the subtraction and then select outside our subject like this. Take it back to positive and you're going to select inside our subject or negative and you're going to select outside our subject. We can actually reduce the size of our brooch, we can click. We can cu to right click. We can just come here and reduce the size of the brooch. So you can see that the bth size has reduced. You see the bar site has reduced. So like I said before, I'm going to show you a way to select these subjects properly. Now, this is the tool I was talking about, that's the polygonal lasso tool. So with this, we can select straight lines. All right? O. Is, we will do this, we out at and select this, so we just click the points. Click the points. Click and then click finally. We see that we've made our selection. I go to the move to now, we can move our box around. We can move our box around. And we will cheat our box. Well at our box and our selection will be updated. Oh. That's for you to know. Let's go back to our Pepe image, and let's look at a pot of them all, which is the object selection to now. This tool is incredibly bananas. It's just crazy. Select our object automatically, so we can just come and have one click on our object. The Photoshop in its brilliance will select our object. You can see it makes all of these tools just audited. We get. But of course, if we have a complex object in a complex background, we might have problems with our selection, but it still does an incredible work. Let's look at this example, so we can just click and have our selection. Will take some time to do its calculation, so we can see that our selection is very accurate, and we can maybe choose the addition mode and then select this other guy here. And fut takes some time to do its calculation and we have our selection. So we can see that this tool is the boss here. Mk selection incredibly easy. Okay, so that start for our selection tools. This was just an introduction into our selection tools. In the next lecture, we're going to go a bit further into selection in bef shop. See you in the next one. Bye bye. O 58. How to remove the background in Adobe Photoshop CC: Here, we'll come back. In this video, we're going to learn how to reples background. And the last one, we learned how to cut our subjects from our background and how to kind of use all our selection tools. Okay. So in this one, we're going to learn how to replace the background. So first of all, we have to select our subjects and cut it out of our background before we replace our background. So that's usually the general work flow to that. So first of all, we have to open our image. I have my paper image opened and also my boxes image opened. Images we used in the last video. So the first thing I'll do is tick my desired selection tool, which is the Magic one tool for this particular image. That's because the image has very clear background. So I take my Magic one selection tool and then click on my background, and I have my background selected. Now what I'll do is I'll just click on the lock button to unlock my background. Andre are several ways of removing the background or repecing the background. One of the very quick ways you can do this is by simply deleting the background. You can just hit deletes on your keyboard and the background is gone. So you just selected the background and hit the lets on my keyboard, and the background got deleted. So that's one of the very easy ways to do that. We can also right click. After selecting the background, right click and do an in selection that's selecting my subject and then duplicate my subject. So I can do the control G to duplicate my subject. So I now see under my layers panel, that I now have a new layer with my subject. So I can just off this guy. I can see that we now have a new layer for only our subject. Okay, so that basically two, we're going to be reason to change the background or to cut subject out of the background in this course. O for now. We might look at other advanced was later on. But for now, you just have to either delete the background or duplicate the subject out of the background. To see also with our subject here. You can just tick our pgonal 02, which might take some time to select, but to still work. Click, click click. Click and click to select, and we can just do control G to duplicate it. If we hide our macron here, we can see that we now have our guy here. That's our box. We can do same for the other one. Click and click and click, maybe. Select this part also, and then close our selection. Or maybe let's select this part and then close our selection. Perfectly, then we can complete g and hide our background via. Now we have totally removed our boxes from our background. I'm going to go ahead and open my folder and select a background 15 background for our subject now. I'm going to select this background too. And open. Now, I'm going to click and drag my background image into these my images. Okay? So You can also click and drag your selection, that your character, that you've leave the background of into the background images. So either way it don't work. Smeal so for this one. I fits my background to fits the retion, my images of my subjects. And when I'm done, I just click completes and then bring my background below my subject. And now we can see that I've pleased the background for these guys. Now, it might not be very realistic now because we don't have shadows and we don't have some other details which we are in the original boxes. Of course, we can add shadows. We just put Mer styles and maybe add a drop shadow, increase the size of bits, then the distance bits, maybe red pacity. In criticize more. So we can have it spread. And if you are okay with what you have, you just click and maybe copy the drop schado to the next guy here that's using lt and drug. Of course. We can see that with other drop schaos and our selection now looks realistic on a new background. We can do see with this guy. This guys let's bring him below, and we need to select our ground. Click and select, and let's just delete, delete. And perfect, we have now been able to replace our ground for our paper image. We will give it dynamic look. And yeah, maybe also give it a drop shadow, give it that realistic look. Drop shadow. The size, use opacity. And perfect we done. So as you can see we've been able to replace our backgrounds. Yeah. And this we'll come to the end of our video on background replacement. In the next video, we're going to look at a more complex scenario, a little bit more complex scenario so that we learned how to remove backgrounds for images that are a bit more complex than just having straight edges like we have here or clay grounds like this one. See you in the next one. Bye. 59. How to cut out complex subjects and refine selections in Adobe Photoshop CC: I'll come back. In this video, we're going to be dealing with a more complex image. We're going to learn how to how to select and remove the background of more complex image and further refine it to fit into our background into our new background properly. You're hopefully going to be learning even better ways of doing things. Let's go ahead and open our image, go to file open, go to the folder and select this little girl and bon image. Click Perfect. Now we're going to be using this image. As you can see, the image doesn't so much have a contrast with our background. The background is white, and the image is quite different from the background, but it blends a bit and then we have hairs here. We have hairs and we have has here. So we want to also remove the background of our hairs as much as possible. So you can see how complex. You can already imagine how complex doing something like this will be. First of all, We have to start the tool and then expand, right? So we are going to be using this tool here. Or let's use our object selection tool for the first thing, so we can just build up from there. Select our subject that's our girl. Let's add a selection. You have to be here and add a selection. Select our bunny. We can then add the selection. Okay from here on we're just going to use this guy, the quick selection to. So from here on we can now use the quick selection to clean up the selection to select our automatic or rather our object selection to couldn't select. We're going to start with these places. You want to keep it at plus and then just add the ps other little places to your selection. So these places we selected well. We can see, we're adding them to our selection. Add a. We're also adding the table here or the Yeah. This is a little table, I guess. We're adding it to our selection two. And basically, we see that we've been able to add all these to our selection. Let's go up to the hairs and we can see that our tool did a pretty good job with the selection of the hairs. So we are going to leave it like this. And I know we didn't select other parts of the hair. But the method we're going to use to refine our selection will help select most parts of the hair. We just want to maybe your selection quite simple for now. Okay, we've been able to select our subjects including parts of the hair. So we're going to see how to kind of change the background and refine our selection even more. But first of all, I want to show you a few things we can do to our selection. So we have the select option here. Now, this select option works with all our selection tools, so we can select all el see we select, so we can select all. I can see that everything that we selected. S do control Z to undo that. We can select, we can inverse. We can do a whole lot of things. We can also right click and do some of the things we can do on select. Now, some of the things I want you to learn is how to kind of modify our selection. So we can select and then modify our selection. This is where you go to modify your selection. So we can expand our selection. So if you click Expand, we can expand our selection by several pixels. Okay. So let's put ten pixels so that you can see how it expands very well. If I click, okay, you can then see that our boundary moves from here to here. Let me undo that and then use a bigger pixel value. So expand our selection, C by 50 pixels. We can see that we've basically been able to expand our selection. Control Z. And then we also have recontract our selection. It's the opposite of expand, so we can do that by 50. We see that it takes our selection inside our subjects. We can do that. I do contro Z go back. Let's see the other things we can do to our selection, so we can feather out of selection. If you feather out our selection by see 50 pixels, it's going to smoothen our selection. Yeah, it's going to smoothen our section, and if we do control g, we're going to see that we know it we have the edges of our selection very smooth. Unlike the previous time where we control G and we had very straight lines or very straight edges of our subject. This time because we added a feder to our selection, you now have very smooth edges. Let's do that and undo the feather. Now, let's check the guy, which is the smooth. It's similar to a fda only that it doesn't need to lesser effect. See what it did. It's mostly appropriate for objects rather than human figures. Dot, control Z, perfect. These are just the few ways of modifying our selection. I want you to see. Now there are many other options here for select. We're going to look at some of these options. We're going to work with some of these options as the cost progresses. Okay. Now the next thing we'll do is to come to our properties bar. It says selection or select and mask and click select mask. It brings us to this place where we can now refine our selection. So it gives us some options here under our view mode, so we can view it on black. It means we can view our selection under a black background or we can view it under this de called over. And we can select it and you will increase the opacity or reduce the opacity. So we can see that at 100% opacity, it's actually a red background. So it's a red background, and you can view it under the black background, and you can reduce opacity. You can choose high quality reviews, even though it's going to take a toll on your computer, or it's going to be more expensive to your performance. But if you have a well performing computer, you can always have this option checked. So you have other view mode. We have the onion scheme, which gives us that checker d pattern. That transparency check board pattern. Of course, you can also increase the opacity or reduce it. Then we have the matching ts. For this, it physically shows us our selection, matching our original image. We have other ones, you can check all these ones for yourself, all the other ones for yourself, but I want to just have it on black. I want to have it on black. I want to even boost my opacity to 100% Check this to remember settings, so we can remember our settings. D mean and then come to here where it says reduce. Now, click on Smart reduce. What this does is, it refines our selection by checking our emit one more time and seeing where we didn't select well, which we should have done better, and it's going to just addit our selection. And if we increase our reduce, it's going to do that even more. So we might see areas where we didn't come into our selection. Let's just reduce it to see some of the effects here. I just checked the smart radios and I'm going to increase the radius. Now we can see what it's doing. You see what it's doing now adding to our selection. The areas where we didn't select well it's now adding, so we can see that these heads are being added to our selection. But I don't want to do this too much. That's what the smart reduce does. That's what the smart reduce does, and we also have the smooth the feather, the contrast and the shift edge. You know what the smooth does, you know what the feather does. You know what the contrast does. And then for the shift edge, it shifts the edge of our selection. If we shift the edge, let's say to here, you can see that our selection goes even deeper. That's what we do. And we can clear our selection, we can inverse our selection. These are just the settings for now. Now, if we want to work more on our hair, We have to come here to the left hand side, and we have the two, which is the zoom tool, if you can zoom in Zoom, we have this guy, which is the pan tool, you can pan around our selection. You can zoom in, maybe pan around our selection. Key. Of course, you can do that with the Spice bar key. Hold the spice bar key and click and drag to pan around, and also with the with the old key right to Zoom and Zoom. We can walk on our heads by selecting this guy here. Now. This is refine edge Broch tool. If you click it and click around our heads, we can see that we are not able to refine our selection. We can just do this for our heads. So we can see that our hair strands are being selected. You can go down and do this for other parts of the hair. So you can see our hair strands are being selected. Perfect. It's basically a brush tool. It has the size and the hardness and the hardness will reduce the intensity of the effect. You can do this for this p. We are now refining our hairs. You can also click and drag to do it without having to worry about clicking and clicking and clicking. Perfect. We are now able to select our hair strands more accurately. So you are not accurate selection, you can just cont Z to go a step backwards. And then we can do the same for our hairs here. I'm just going to use the bracket keys to reduce the size of my brush. And the size the mouth and do seem for displease. Perfect. You can see that we've been able to do a bit of justice to our heads. Perfect. I need to do more here. Perfect. Now, I just want to shift my edge a little bit so let's take this to see minus C minus four minus four is in bad, and then we want to increase our feather. We say 0.8. And basically, I think this will do. Now, click, and now you can then duplicate your subject. Contri now we have our subject properly refined. Now we can change our background. Let's add this background. Let's click and drag drop size. Bring it below our subject. And now we have our subjects under a new background, and all our hair strands are showing. All our heads have been perfectly refined. And yeah, that's how to work with more complex subjects in food to shop. And with this we've come to the end of our video, see you in the next one. But before I do, I'm just going to see all of these guys into our folder or in our folder so you can have access to them. Something control as safe. Close the background. Yeah, and this will come to the end of our video. See you in the next one. Bye. Yeah, so this will come to the end of our video. See you in the next one. Bye bye. 60. Exercise 12 – Image Background removal: Guys, in this exercise, we're going to replace an image smack ground and do a little more extra stuff to our image. Go ahead and open the image. Now put five, open and select this image. African may be smiling. Open. This is our image. We can see that this isn't really tough subject because we don't have a flying around. So go ahead and tick your selection too. Now we're going to let's use our object selection to. Click on your subject or your object. So click boom and we have our subject selected. Tick the quick selection to and on the start. Building up your selection. Now we're going to have this selected. That's the addition option. We're going to add to our selection. Add spat. Perfect. And add this part be add this pot. And yeah, we're done with our selection. So go ahead and refine your selection. So we're just going to add a little feta. O selection maybe 0.9. 0.9 and Have your smart vids checked, and maybe the vids should be one pixel. Perfect. Okay. Conclude G to dedicate our subject. Now let's go ahead and open our background image. So we're going to use this background. Select a background and open. For this background, I actually want to make it a bit wider. The first thing I can actually just set my image and being to a background. But I want my background to be wider. I'm going to use my crop to have my layer selected, and then have my content of a feel selected. I going to just this big and click Okay, the shops magic. You're going to fill our space. Have our space field. What I want to do is maybe crop my mage because I didn't like this apart apart my image, right? So maybe copy it to this point, and then reduce the size of my image, my character. Perfect. Now we have under the background. Now, there's a bit of contrast between the brightness of our character and then the bund side that the background is kind of the shot was kind of ticking outside, right? But the character was ticking inside the building or inside the building. So it's an interior shot while and it's an exterior shot, so the lighting much match. So we just want to adjust our gout characters that put the subject in the background so that the come close to each other visually. The first thing I'll do here is image, and then adjustments and brightness and contrast. So use the brightness of. And maybe we use the contrast. Then select my background. Come here. Brightens and contrast also. Let's increase the contrast of my background. Let's reduce the brightes. Let's increase the brightness of pits. Perfect. Last thing, I want to just take my image, go to adjustments, and then and saturation. I want to reduce the saturation of pits. Let's play with the hue and see. The hue should be minus four. So we can see that we've been able to at least create a bit of similarity between the lighting on our background and on our mite, even though this part is still dark. Maybe we fix that later, but let's do one more thing. Now let's tick out and then creates a t. Let's see Bau Let's see beauty. Let's see But, but let's do this that as BE A is one line and TY is on another line. Let's do this and let's just bring this behind our subject. Maybe reduce our space. Let this to 300. I this please, maybe take this to 700 or 1,000 points. Perfect. Perfect. So we have our image or text behind our image. Change the color of our texts. Let's see which color fits more. An color that works best for you. For me, I might just go with black or black or blue. You said I'll just go with this color and perfect. Now, if I like, I could give your drop shadow so that we have the shadow casting on our image that put our background and our text. Let's do the size opacity, the distance. And OG. B. Perfect. Now, let's tick our levels. Let's try our levels. Let's see. If this would make some sense. I'm kind of looking for to brighten this up. I know of a way I can brighten this up by using masks, but with no covered masks, so I don't want to go the for now. It's going to be a bit too advanced for you. Let's just try these other options. Let's see. This one works bits. This one works a bit. Let's use this preset. Yeah, that's that's let's try this. G. Hm. Perfect. That is it for this exercise, we've come to the end of our exercise. The next video, you're going to be taking an assignment to see you in the next one. And we can just see controls. I'm going to see this as exercise. Exercise. And s. So guys be for this one, see you in the next one. Bye bye. 61. Homework: Hello, there, welcome back. This is an assignment homework. You're going to be removing the background image, and replacing with another background, so come to the folder on selecting and cutting. And we have this girl with shots. This image. You have to remove the background and then choose either of these backgrounds. You have to repuce the background of this image with one of these here and then maybe you add texts, add text like you can add crop shadows. You can do some color adjustments, and you'll even add some graphic elements and just make whole look good. That that for this assignment. I choose this email because of the hair and some of the details we have. Removing the background might be a bit challenging, but that will actually bring your skill in this aspect, in the aspect of background removal. Yeah, so that's it for this. See you in the next one. Bye bye. 62. Module Introduction: In this module, you'll learn about layer masks and how DP Photoshop. You'll learn how to use layer masks and how to create cleving masks in how D P Photoshop. Kindly download the attached project files for this module before you continue, and please reach out to me via message or the Q& E section, if you have any questions. I'd love to make this course five star experience for you. See you in the next video. 63. Getting started with layer mask in Adobe Photoshop CC: Here, welcome back. In this video, we're going to learn about a masks in photo shop. We're going to learn what they are, and how is it that we can use them and apply them to our work flow in photo shop. So let's go ahead and create a new file. Let's use the eight by eight, template using, create. And now, what's a mask? Leer masks reveal parts of our liar and can hide parts of our layer. So we can use them to hide or reveal parts of our layer. That's basically what they do. Yeah, like the masks we wear to parties. Okay. All the Halloween masks. Some of them, when we wear them, we hide parts of our face and reveal parts of our face. Okay. So like the mouth might be revealed, then the nose might be revealed, and the yes might be revealed. Get. So that's just the concept of the name masks. So that's just for you to understand what masks do. And when we were looking at layers, when we're learning about layers, we saw the option to add layer mask. Now, this is it. Can see this is layer marks, right? Layer mask allows you to hide parts of your image and then bring them back at any time. Get. So that's what they do now. I'm going to create a square. Okay, I'm going to give the square discolor. And that's just for you to understand what layer marks do. Now, I'm selecting my rectangle and then I'm using this g here, which is the layer mark two, so click and add layer mask. So we see nothing happened. Now in layer masks, there is one most important rule. Okay. One very important rule. Now that's a rule of black and white. In a layer mask, the white color reveals your image and the black colours conceals your image. So you can see that our layer mark is white color. It's a white color right now, so it's revealing our image. But whenever we paint a black color on our layer marks, that parts where we paint black will be concealed. So as you can see, we can select our layer, which is this, and we can select our mask, which is this. Now, select my layer. As I just click on the Tom Neal. You can see that my layer is selected. And for this guy, my mask is selected. And there is this little link button in between them, which links them. It means if this button is on that if the link is on, we can move earlier, and our mask will move without layer. But if it's not there, if there's no link there, we can move our mask without moving earlier. You can see now we're moving our mark. I know you don't see it, but since the mask is selected, we are moving it and our layer is not moving or we can moveer without our mask moving. We're going to see this practical ivation. Let's just delete the guy and create another box. Give it probably the same color maybe brighter at this time. Perfect. Now let's create another mask. Now I have my layer mask. Now this is white, right? Going to undo. Now pull down t and click here. Now, lt basically inverts the color of my mask. Get pulling down lt while clicking here, inverts the color of my mark. So you can see that now right now my mark is black, and my layer is the, M layer is de. But you can see my layer. You can see my layer, because the black color of our marks totally concealed our layer. So it means does cover our layer. So our layer is hidden because the whole mark here is black. So if we start painting white on our mark, like I'm going to do now, from taking my brush to and reducing the size of my brush, and maybe the hardness a little bit. Right now, I'm going to start painting on my mask. Right now, you can see that my foreground color is set to black, and my background color is set to white. Right now, I want my foreground to be white and background to be black, since I am going to be painting white on my ar mask. So I can just click this little button here. Click on it so that I switch the colors. So right now, I have white as my foreground color, and I have my leer mask selected. Now if I pint, we see that I am beginning to reveal parts of my of my rector good. Yet I have completely painted inside a rectangle, and as you can see here, parts of it is white while parts of it black now, the black parts are these parts, and just paint completely. So you can see that everything now is white, and our ship is totally revealed. I'll just delete my layer mask and add another layer mask, a new layer mask on my ship. Right now, I'll just pint, sorry, switch the colors. I'll just paint on this guy here so that I show you more options, more layer mark options. While my liar mark is selected, if I come to my properties pan, I'm going to see options. I'm going to see density. I the density of our mask. You can see what happens as I increase or reduce the density. We have the feather. Now, the feather is very similar to the feather we looked at on the selection. Now, the feather feathers out our selection, or our mask. It makes the edges smoother, smoother than what we already have. We have some things we can do. Okay let's go ahead and open an image. Let's let this go image. So that's on the masking in Photoshop, go to the module on masking in photoshop and select this African lady smiling. Yeah. So you just want to have this image, and I'm just going to hit this lock icon to unlock it, and then add a layer mask. So on my layer mask now, I'm going to tick my brush tube and paint so as to reveal. Sorry, I'm going to just increase the size of my brush tube by hitting my bracket keys. Okay. Let's see if you want to hide these parts. Perfect. No go two. Section two or move to rather. Now, there are other options with layer mask, so we can right click on our layer mark, and we can see several other options. We can disable layer mask, so it's going to be disabled. Then we are now able to enable it we want. We can delete layer mask, which will totally delete our layer mask. And let's undo. And we can apply layer max to image. If you apply it, it's going to join with the image, it's going to be one with the image, and the changes are going to be permanent. You get. That's the option to apply to image, and we can add layer max to selection. It means Photo shop, it's going to select a mask. And then we can subtract from selection, we can intersect marks, and we can select a mask. Let's see select a mask. So now it brings up the option for defined edges. The options we use to refine our selection, the are the time that in the last module, it brings up these options and then we can maybe increase the radios, increase the feather, smooth. And if we are okay with our changes, we click okay and everything becomes permanent. So these are the options our Lear Max provides. So that's that for the options under layer mask. Now I'm going to just delete layer mask and then show you one last thing. Now our layer masks can also help us cutting our subjects out of our background, and it gives us a little bit of more flexibility as compared to the previous methods we saw from the previous module. Let's see we're using this tool to select our objects. Let's try to our object. Perfect. Now we've selected our object, let's use the quick selection tool to just add to our selections. Doesn't need to be perfect because this is just me showing you a very quick way of using layer masks to cut out backgrounds, or cut out images or subjects from background. So as to change the background or do other things. Perfect. So we have our selection. Now instead of CG to depict our selection, Okay. Or maybe delete our background. Instead of doing that, or going to select a mask, we can just go ahead and create a layer mask, and we can see that photo shopper created mask for us for our character. So with this selected, we can use our brush and maybe reveal sorry, maybe reveal parts of our background if we want. Or maybe we want to keep the selection temporal. So maybe we want to be able to disable to see the background around so we can disable like this. Okay. Using the layer mask, really helps us to have more flexibility when removing backgrounds. So we can just use this workflow and remove the backgrounds and then go back to the backgrounds literal or modify our marks to add to our selection or to reduce from our selection. So basically, that for an introduction into layer mask. See you in the next one. Bye bye. 64. Clipping masks in Adobe Photoshop CC: Hey, welcome back. So this one is going to be a very quick one. We're going to look at what we call clipping masks in photo shop. So go ahead and open your image or please your image, so create a new project, eight by 8 ", and please your image. We go to please embedded, and we go to our folder, right? So what we want to please is, we want to please, let's see. Let's see. Let's see, let's see. We want to please this guy. Let's please Let's I'm quite confused as to which one please. We can please anyone. Let's just please this guy. Just that I don't like to it's in a portrait wood, or we can walk with it, easy. Let's place it and then maybe scale it up. S Scale it up. So I'm pulling down all of co to scale it evenly or in an even manner. So I'm going to write see wall. Let's give this -25 or -50. L et's reduce this piece in between our characters. Now let's reveal our wall image. Now, clipping masks help us to mask our image inside our text. So this can work for our images, can work fors. So we have our image here. Now we're going to bring our image on top of what we want to. And then right click, and then go to create clipping mask. Click Create Clipping mask, and right away, you can see that we have our image inside our text. Okay our image inside our text. We can select our text, our image rather. Click here and start to move. Also to adjust our image. We could even rescale it and begin to reposition it to fit properly. In the manner, which we want it to fit. If we're okay with it, we click done, and y and we have it. We can also move our text. Click on your text, click here and move it. We can move it to position it well and. We can also select the booth of them, move them together, kill them together if we want. And we can even merge them into one single layer. This merging them completes the effect. It makes everything permanent. It means we can't go back to change the image or to move either images separately. So everything has to be complete after this. That's about clipping masks. We're going to use both clipping and layer masks in coming exercises, and you're going to see how we can apply these features in our work flow and achieve incredible designs. This will come to the end of our video on clipping masks. See you in the next one. Bye. 65. Exercise 13 – Smiling Lady: Hey guys welcome back in this exercise. We're going to be creating something really cool. Okay, let's go ahead and open our image. We're going to be using this image, the African Lady Smiling image. We're going to select this image and our background one image and open. Perfect. Now, I'm going to go my lady smiling image and drag our image into the background. And this time, I do not want to create or rather remove the background. I just want to first of all, my adjustments and add a few adjustments, maybe increase the brightness bits, and reduce the contrast the bits. And then um Maybe we should work on the saturation and hue, may increase the hue, make it plus four and then saturation B to the left hand side, maybe minus seven or minus nine. Okay, now I want to add layer mask to our image. Add a ar mask. Then tick your brush to, and then make the hardness zero. The size should be just this. You can then start to paint. Fall. You have to change our four ground color to black, and then start to paint on our layer mask. And just start to hide some parts of our image, mostly the background, right? Hide parts of the background or image. Perfect. Perfect. Perfect. The next thing I want to do is take my move to and we move my layer bits. I we reduce the size of my layer, and then work on these are the parts of our masks. These parts, the very sharp parts, the left hand side. And yeah. So from now on, we want to use a blending mode on our layer. On our image. Let's see which blended mood will work best. So we want to blend our image with our background. So Let's see O. Let's just try other ones. Hard light is also good. Hard light also blends well, let's use hard light for now. And then now we want to create a text. I don't use the horizontal type two. I don't use the vertical type two because I want to type along the vertical axis and type smile. Perfect. Now, scale my text. And as you can see, my font style is in true. So that's the name of my font. It's in true it is stick font. And it's a free to use font. You can just google it, intro font, free download, and you're going to be able to download it from the Internet for free. So we wanted this big. But you can use any other phone as well. You can use any other phone that is this Tick. Let's reduce the spacing between our characters. M this even this big. Then go ahead and open an image. Let's use this image. Let's use this image to select your image and open. Drag your image to this place. Now we want to create a liar mask between these two guys. We want this guy inside our text. So it's going to be on top and right click and then create a mask. So we have it on top. Now we can select our text and go to near styles and give it a s. Perfect. Now, we go sow bigger, and then for the color, we want to choose a color that's closer to red or then still dark. Perfect. And with this, we might just want to increase the distance between our characters, and I think this distance is just perfect. Do Ct, Cty. So I'm trying to reduce my text, but it's not going well, so I'm just going to select my layer. That's my image. First of all, scale it because we can see this part needs scaling, right? We have to scale it so that it fills our entire text. And then select our text and then scale the book them so that we have this Perfect. Well, let's adjust the distance between our characters one more time. Maybe add a drop shadow to our text to drop shadow. O text. Perfect. Let's adjust the color of stroke. Let me make it darker Perfect. So this is what we've been able to come up with our our near masks and p masks. And maybe I'll just pink so more on our near mask to hide parts of the image and create a more interesting land. I'm hitting X to switch between my background color and foreground color because I want to reveal parts of Yeah, I want to reveal parts of my image here. Perfect. Okay, guys, and that's it for our exercise. So you can save this Control S and save it on the masking in the. Let's see this as exercise one, or just exercise. Perfect. Or let's see with a smiling ge exercise. Smiling girl exercise. Perfect. So let's copy this. Let me copy this and just delete this guy so that I can V to the get. Perfect. So that's it for this exercise. Se you in the next one. Bye. 66. Exercise 14 – African Child: Hey, guys, welcome back. In the last exercise, we together created this amazing image, the girl smiling and this smile text with the image inside it. Yeah. So that's what we did in the last exercise in this one, we're going to do something different. Not really different, similar, very similar. So we're going to work with this African child file we started creating in the video on blend or in the module on blend blending mode. So we're going to add some more detail. To this design here. I'm going to maybe mark out some parts. So first of all, I want to put max a layer mask on. This layer one to click and create my layer mask. Tick my brush to start painting it X to switch between foreground and background color, and start painting to kind of delete parts of that image. K. This is exactly what I have. Perfect. We have this. Next thing I want to pre is, I want to have a text. So this text it's not going to be cult this time, it's going to be. We just want to have African child. African African child. Perfect. That's just what we want to have, and then we need an image inside our text. Let's make this 300 and see. Maybe 400. Perfect. Now, I want to bring this layer. Remember, our layer is basically hidden because our opacity is zero right. I'm just going to boost opacity, bring our layer up and change the blending mode. Maybe before then, maybe we'll just leave the blending mode a screen for now, but I want to click on my layer and create clipping masks. We now have our image inside our text. If I can change the blending mode to normal and then move our image. This Okay. So that's just what I want to achieve. And right now, I can just add a stroke stroke would work on our text. Create a stroke. Maybe give the stroke white color. Let's see. White colors isn't bad. Maybe we should reduce the size bits. Let's try black. Let's try something in color. Yeah. Let's go with black for now. We change it later on. Black and then boot top will pass the shot size, maybe 31 or two and enter, and then just move the boot of them. We've selected the layer and also the text and move the boot of them, maybe even s, then we bit down and just have them here. Will be here or here. Either we is speak in sense and. Perfect. So this is what we now have African child. So this we've come to the end of this exercise and see you in the next one. 67. Homework: Hey, guys, welcome back. So we're going to be taking a homework. On layer masks. So we're going to between the homework on both layer masks and clipping marks just as we did with our boot exercises. Okay, so with your folder. And in your folder, you have this image. You have this image. So we're going to use this guy as the background. We're going to use this image. So we're gonna cut out this image and put on the background and then use your layer masks to create creative blends between the image and the background, and you can get other images and just be creative with the whole thing. And you should also use this image to create a clipping mask with a text all on this background. So just be creative with the whole thing and share your results with me. I'd love to see what you come up with. Does it for this assignment, see you in the next module. Bye. 68. Module Introduction: In this module, you'll learn about transform and distort in a DB photo shop. You'll learn how to use the transform and distort features of photo shop, and also how to distort subjects with a lupifi tool in A D B photo shop. Kindly download the attached project files for this module before you continue. Please reach out to me via message or in a Q&E section, if you have any questions. I'd love to make this course five star experience for you. See you in the next video. 69. Getting started with Transform and Distort in Adobe Photoshop CC: Hello and welcome back. So this video is an introduction into transform and distort in Ado B Photo shop. So go ahead and open a new file, create a new file eight by eight. No adverts, Create. Good. Now we have our new file, and what do we mean by transform and distort? Now, since the beginning of this course, we've actually been doing transform and distort, at least some parts of it. I transformation is basically either rescaling our ship, or routing our sheep or moving our ship or transforming it even further. Now, we've looked at how to rescale, how to resize how to move, how to route, but we've not looked at the other forms of transformation, which are a little bit more advanced than simply rescaling or routing. Now, these are what we're going to be learning in this module. Now, select your guy, your ship, go to image. So we're good to edit, and now you see where we see transform path, right? Transform path. We now have the scale, we have the rotate, we have the skew. You say you know scale, of course, you need that keel, I just to scale it down, scale it up, key. And then very quickly, we're going to go through all of this. We see rotate. Routine of course, rotate it, we know the skew or Mb not for the skew simply does this. So ship it transform our ship like this, so we can physically do this to our ship. Basically the distort ship. Doesn't come in handy. Most of the times. We use it personally so much. But that's what the skew does, and then we have the distort. Now the distort does this. Ks distort our ship like this. You see what it does, right? So we can complete our ship, and now we have our distorted ship. So I'll do and go to it. Once more, the transform path. And now we have the perspective which does this. The perspective does this. Pesca distorts our ship and creates a perspective. That's what the perspective does. I'm just skimming through all of this very quickly because we are actually going to look at some really more advanced stuff. But basically all within the transform options. Now we have what we call the flip vertical. To show you this. I'm just going to bring in my flag of America under the transform and the stored folder. So go into the project folder and select the flag of America and open, then bring it in. Perfect, maybe re scale it. Relex re skis cally and enter. Select your flag, edit image, transform, and then flip horizontal. And see what happens right. We'll flip in our image horizontally, and you can also flip vertically. Flip vertically, and this is what we get. Transform. Now you can look at all these other ones. They are very simple. Now there is this one we call work. This is the work. And then this is the one that gives us the most flexibility. This, we can physically turn our flag into a dynamic flag that into a flag that is actually moving. So we can turn the image to look like a flag that is actually move. We get you can have this this is that's distorts for you. Luck make this. Cove have it kind of bending this week. Okay? We have this guy comes. This one. So see our flag is bending flag is bending. Now we can simply add some shadows to this part. Let's see, we want to add shadows to this part. First of all, select this part. Sorry, Let's come and do our selection from here. Y. We can see that I'm not really trying to get the perfect selection because I just want to show you this very quickly. This is not the main thing or the most important thing for this module. We have other things that are really important under the transformation. We can see that we've selected this part of the map of the flag. We could just control G to duplicate it. And then come and create a new layer under the duplicated part. On this new layer now, we can use our pint, change the color to black, maybe reduce the side of our brush using the square brackets. We can start painting inside here. We start painting inside here. Pints Pints like this. Okay, and we can just take the riser tool it E for that. E the riser tool it's used to clean. So you can take the Eraser tool and just clean. I also works with the bracket to for resizing or rather the bracket keys for resizing. For resizing, of course, the size of the riser. You can also right click to see the size and the hardness, we just reduce. And t's now clear this No. Perfect. As you can see, we've now added shadows under our flag here. It's basically showing that this part is turning. It's casting shadows on our flag. Now, we can maybe change the blending mode of our shadows, we see multiply and then just reduce opacity of bits. Maybe see 77%, and see it looks very listed. These are some of the things we can a with our transformation. So basically, it is a very quick intro into distortion and transformation in A to B Photoshop. The next video, we're going to look at how to do transformation using the Lifi effect. And afterwards, we're going to look at how to apply this knowledge that does transform knowledge which we just learned in actual projects here in Photoshop. So see you in the next one. Bye. 70. The liquefy effect: Guys welcome back in this one. We are going to be learning about the Lukefi two or the lukefi effects because it's basically an effect of the two. Here is it in photoshop. So I do not want to just delete what we've done here. I can't like the flag. So what I do is I'll save it in your project folder, so you can come and see what we have done. Past S. And then save this as the flag. O let's see US flag. L project. G. Perfect. So seeive. Now I can close my project and also close the flag. Okay. So open your folder. Let's choose this guy here. So the funny man image is what we're choosing to select the image and open. Now we're going to use this image to see what our luefy to can bring, or our lukefy effect can bring. Now this image is really, really funny, really hilarious, and we're going to use the lukefy to to physically make our image less funny. So first thing first, let's lock our er, and I want to make this guy a smart object so that you could turn off the filter later on. So you can come to filter and then come to convert for smart filters. That's another way of turning your image into a smart object. So you see it's now a smart object. You can go to filters and go to our u or our luefy effect. I keep seeing to, and this is what it is basically. So it's basically this separate window. So we walk in this window. Now we have the tools here. We have this guy, which is called the Fard wap basically, if you select any to the options so that you kind of adjust the level of effect it has on our subject to fa select my ford wap and I just do this. It basically distorts our image like this. You can go this total image. Make his port beady bigger. Okay. It also works with the bracket with the square bracket tos, or rather the square bracket keys on our keyboards. We can increase the size or the size. Of course, we can do the sliders here. Okay. So we can make his belly bigger. But of course, that's not what we want to do. And we co preview so we can see the original and see the after. So d do 12. Let's just undo that and take it back to the beginning. So that's what this guy does, and we have this one which does the construct, and we're going to see it in the bit. So first of all, let's start with the sky. So I'm just going to increase my porch size and pushing pot belly. So I want to really eliminate pot belly. I want him to be healthier. I want our guy to be healthier, so it's better to have pit brushes and dot movements. Get. So you see. I am physically taking his belly back. So he no longer has pot belly. Wow. He lost so much weight with some seconds. Just by a few clicks of the button. Let's preview and see what we've been able to do. Let's see before and after before and after. Basically, this is what we've been able to achieve. I the tool so quickly. We can even give him chest. And then this reconstruct tool is basically an do tool. If we don't like the change, we can actually just use the reconstruct to tick it back to the original. We can just do this or we could do this to tick it back to the original, just like this. I don't want to take this guy back. I just want this one. So going back to my tool here, my ford tool and making my tool, my brush bigger. I just doing this. L et's move the chest a bit bigger or a bit forward. This is what we have so far. Now let's look at this two. This is the blot. I'll click on the blot so we basically Ms we click and who we see it biceps, right? Click and hold and you see this. But you don't want to do this too much. You don't want to do this too much because you can really get weird if it's to get. But this is basically what it does, and then this other guy, which is the plucker to does opposite basically makes ten smaller. It makes our selection smaller. Let's just go back to the plot and in b se moles, a couple of clicks. So we can side from a very unhealthy guy. Our guy here is turning into a very strong guy. But the power of the ify to. Now, I'm going to add here, I'm going to make this big also. Perfect. Now we can see. He no longer has hot belly and he's even more sul. So we've done some really great fever to this guy here. We've made him lose weight in minutes. We can make our neck like this. Perfect. And we have other tools here. We have this guy, which is called, this guy, which is called the frieze to. This frieze to basically allows us to paint an area. Let's say we want to paint here. So it allows us to paint an area. And then whatever we do, with other tools, does not affect that area. Now, you see, if I do this, doesn't affect this area. This area that hasn't be painted gets affected. And we also have this two, which is called the two or the thou mask. The thou mark to. Now, this one just like an araser for this two. It's an easer for the freeze mark two. Basically cleans. I get so that's what they do. And the t to just does some words twirling. Let me show you. If it is what it does. Okay. It does. I'm just clicking and hold it and achieving this. So this can come handy when you're doing things like caricatures, what it here. Now we can give our character here six packs. Let's too much. Maybe reduce the pressure. Let's reduce the pressure. Maybe make our size. The size of our bush smaller. So we've been able to give our guy a six pack, it looks fake, but it can still work. It is for demonstration purposes. If we want to really give him a six pack, we settle down and do that properly. T. That for for this one. We can also adjust the legs or this moz. Let's at this the tall two. Let's. Go back to the forward the forward. Let's make. That's to exaggerate. Physically meet him strong man from a really weak man. Really weak and unhealthy here. Met him really strong and health. He's physically a body builder here. So that's how you typically if effect or the liquify filter. It shop. Now you can hide your smart filters and hide it. Now, I'm just going to see this guy. So it's titled the funny man, and it's a PSD file. You can have access to this file in your project folder. So this will come to the end of this video on the LP 52. See you in the next one. Bye. 71. Exercise 15 – Sporty Man: Hey, welcome back. In this exercise, we're going to be doing some interesting marking up. So go ahead and open your project folder and bring in the confused young sporty man image and also the flag of America. Bring them in. And what we want to do is we want to please the flag of America. On his band on his head band. K. So that's what we're going to do. So we want to place it on his head band and his hand bands. But I'm only going to do the head band in this video, and in your homework, you are going to do the hand bonds. Okay, so that's what we do in this video or in this exercise. I just pated the flag and just hit one. Okay. So convert this to smart objects. So that we don't lose our quality as we re scale size and transform our image. So we reduce our size or size our image. And finish and then come here on the image, and sorry on the edit. And let's go to Skew. Let's do this on the skew. So let's basically do this. Okay then ****. Perfect. We want to just use our free transform on 12. To edit and go to the ap. Okay. So now we want to use the p feature to basically blend our image. It does this if we do not click on our anchor points, or on our points. We have to be clicking on our points or on the handles. We can also click on the handles. Let's just o in and see. Okay. So it's becoming too hard to select our points. So I'm just going to be more careful so that I keep getting that awkward sound. So we can also select inside our ship and do this. This guy here. Let's do this or modify this part to flow with the movement of our head band. Oh, Oh Oh we can mit with this. Next thing I want to do is just kind of use one of these blending moods to blend a flag with the background. This blending mood, that's the multiply does justice to blending. And we can just maybe add a stroke. Two pixels, big center. Okay so two pexels center and k. Perfect. So this is good to see you in the next one. Bye bye. 72. Exercise 16 – Face Distort Poster: Guys will come back. And this exercise, we're going to be using our lukefi tool to create reveal effect. Reveal effect. So let me just go ahead and open our imation. Come to your folder or your project folder and open the pretty girl image. And we want to first of all, select our subject. So take this very interesting object selection too and just select your object. And we won't really take so much time to want to define our selection, to make it perfect. You're going to look with what we get with a default click kick to go ahead and select and mask. The fact that you can see, we really did our tool an incredible job intellecting the image. So we just want to zoom out, we can do control zero to fit our image. And you see it remembered our settings. I remembered the radius, a smart dice, how smooth our feather. So we can just okay and then control duplicate and height up ground. Next thing I want to do is stick my cpto and make this bigger. I want to make this big. Maybe okay. No reduce the size of our Image. Myb just take the cup to. I just hit on my keyboard to make this even pig. Okay? So I'm hitting, I'm putting down ts and shift. Make this big. So bring this down and right now, I'm going to select this guy. Then I'm going to control G. G to duplicated. And I'll just add a black and white filter or a black and white adjustment to our image here. So this default one, two, perfect. So the next is just save my image here. Go to filter, convert for smart filters, has to turn it into a smart object. Go up to filter, go to liquefy, and I want to just do something really simple here. Our pressure isn't very strong so do and make our pressure 100 and drug my image. Like this. Make this smaller my image like this. All I need to do now is click. We're basically revealing our color image from our black image. We're using this liefy distort effect to reveal our color image. I don't feel the color correction for this color images right. I want to just use this adjustments here to make quick adjustments to our image. So I'm going to use the levels. Maybe make this a bit brighter. Perfect. Let's see if levels do work well on the black and white image. Also, let's try to adjust the levels too. Perfect. And then on our color image, I want to also our saturation. So basically adjust our saturation, may make it a bit less saturated. Yeah. Perfect. So the next thing I want to do is is just create a new layer to create a new layer here, then come to my tools and take this g ingredient to. Click on the ingredient tool, and we want to add a gradient feel to our empty layer. So click here and drag while holding down shift, so drag it up so as to create a gradient fiel. So now we've basically filled our layer here. O empty layer, ingredient feel now, we can choose Gradient preset pently is on this blues because I worked with it last. So you can choose other ones. Choose anyone of your choice? Let's go with this one. I'm going to go with this one. You can choose any other one. If you don't like that one. The side of this guy and do ok. And I think one last thing I will do is maybe have a text. I want to just type real and make this. Let's see. Let's try this behind of black image. Let's see. Okay. I want to bring it behind our black image put on top of our black and white image so that we create this complexity. But you know what? I'm just going to I'm just going to keep it simple and work with this. Select our text. Let's just on it right inside. Perfect. And maybe change this color. You want to give it don't give it a con. Let's see. Yeah, is just perfect. Perfect. And yeah, we could just finish here, but I can I'm feeling I should add distort to our text. Let's click on free transform. Click on this. And do this. We'll do this. Perfect argument, is below. And yeah. I'm thinking I should add something else. I'm not just too satisfied. I'm thinking I should add another text. Top not bad. But we could have instead of reveal, we could have image review image review. So pulling sublating it to the top to have this guy 100 opacity so that we have image image review. Just that smaller bits a bit lower. And yeah, I like what we have so far. So this we've come to the end of our exercise. See you the next video. Bye. 73. Homework: Hey, guys, welcome back. So this assignment is all about transformation and this Tout. So go ahead and open your folder and go ahead and bring in this confused young Sporty man. So your first assignment is to bring in the flag of America and mark it up on this hand band and this hand band. That's the first thing you have to do. Then the second thing you have to do is to use this guy. And give him some modes. You give him some modules, using the lupefi filter and just make him basically better, using the lupefi filter in photoshop. Yeah, so that's it for this assignment. See you in the next module. Bye bye. 74. Module Introduction: In this module, you learn about filters in how to B Photo shop. You'll learn how to use filters to achieve incredible visual effects in how to B Photoshop. Kindly download the attached project files for this module before you continue. Please reach out to me via message or in T&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. 75. Getting started with Filters and Effects in Adobe Photoshop CC: Hey, everyone welcome back in this video, we're going we get familiar with filters. So go ahead and open your folder. Come to filters and effects. Let's start with this image. Click on this image that's the wedding girl image and open. We're going to start to learn about filters using this image. Filters are physically effect. We add to our image, so they are physical effect, and they just change the video look of our image. In order to add filters, it's best to first of all turn our layer into a smart object so that the changes are not permanent. So that you can go later on and disable the changes and make changes to the effect. So basically, that's what we're going to do now. So you can, of course, right click and tone and convert to smart objects or come to filters and then convert for smart filters. It's basically the same thing. So you hit okay. No filters are here, and we looked at one filter from the last module, that's the liquefy filter, and we saw how this guy works, right? In this video, we're going to be looking mostly at filters under the filter gallery. We have what we call the filter gallery, and some of the filters found here are also found in these options in these places. Some of them are found here, but we're not going to look at every single one of them. First of all, we're going to handle the filter gallery. Click on filter gallery, and it's going to open this window, this interface. You can use this minus button here to zoom out of your image. You can see that we were working on a filter called the half ton effect. Which we're going to be looking at in one of the exercises. But for now, we don't want to add the half to pattern. So we're going to start with what we call the artistic category. As you can see, they are into categories. We see we have this guy, which is the artistic category, we have the brush, stroke, we have the distort, we have the sketch, have the stylize, we have the texture. Then we have this place where you physically see the effect as it's added. And you have here so that you can zoom out and zoom in and visualize your effect properly. We have this other side. Which enables us to make changes to our effects. So whatever effect we select has its set of values, which you can use to adjust the effect. Now, first of all, I'm just going to count on this because our image is quite large. To go to images, or go to image d rata and image size. So our image is quite large. So we don't want our image to be too large. If not, it's going to slow down our effect application, and we don't want to spend forever trying to apply these fitters. Here, instead of 62 ", I'm going to make this going to make this 25 ". Let's walk with 5 ". Perfect. C zero. Now, I'll select my layer on more or my image, and go to filter, then filter gallery. So things will be w faster now. Now, let's just close this guy and go to artistic so we can start looking at them one by one. And we might not really cover all of them, but we will have an idea of what they do, or what most of them do. So we have this guy, which is the colored pencil basically giving this effect to our image. You can given this effect. We have the pencil width, we have the pressure, the stroke pressure, we have the piper brightness. Yeah. These are the sliders you could adjust for this particular filter. You have the cut out filter. And this cut out filter basically does this to our image. We can increase or reduce the number of levels. Now, see what happens when I reduce the number of levels. We had it at eight. So now we are bringing the levels down to C three. Now you can see that it is trying to cut down our number of colors, simplify it to three colors to basically levels of colors. Then we have the edge simplicity. This is what we get. So we can see that it's basically turning our image to our C sketch. So we can use this effect to create cartoon or vect effects without having to draw using our pen tool. So that's what this guide does, and then we have this slider fidelity. I physically simplifies our edges or adds details to our edges. Basically that the cut out, and we have the dry brush. We have the film green, and I'm not going to be able to look at all of these obviously. But I'll do my best to skim through them. And we have the fm green and just basically adds greens to our image. You see? Were adding green to our image? That's noise to our image. We can adjust the highlight area and the intensity. I is higher or you get basically that this effect for us. Density higher. And then let's look at a few others. We have this guy called Fresco. We have this guy called new blue, so you can change the color. He what we get between new and blue. Perfect. Now, I'm just going to look at some other effects on the here we have. This guy, which is the accented edges. These are the guy, which is called the Angled strukes. So these are just artistic effects. We can add to our images. Okay. You see what we are a Perfect. Now let's look at this texture. On that texture we see some of the things we can do to our image, we can add green. And this green is a bit different from the one we added up here. It's more cleaner. Then we have this guy steed glasses, which does this to our image, turns it into a glass t or a stein glass art. That's it. And our image into your class are perfect. Now we have this one, texturizer. And then if you come here, so if you come here, you're to you to choose different effects that these effects are here. You to choose them. You to go through them straight away by using your keyboard direction keys. I'm just using my key direction keys to go through all of them to s key through all of them. See how easy it is go through all of them. I really like this blue. So we can see the effect it's adding to our image, giving us this blue effect. This is what we had before. This is what we have now. And there's one more thing you can do. You can stack filters on each other. So it means you can have this this filter glue and then stuck another layer of filter. So we could maybe choose another one, different one. It's going to be on top of this, and it's going to be just like layers. You get you can change their position, right? You can bring this guy up or bring this guy down. You can see that the effects change also. Let's see. Let's try to cut out this glue. So you can see that the glue simplifies our growing, and then the cut out turns it into this sketch type effect. This sketch type effect. If you just the glue, you see the effect it's added. So basically that's we can add effect on each other, and we can actually delete them by just clicking here. If you want to add another one, you just click here, and you can add another one. You can have multiple filters. And if we are okay with what we have, just click okay. It's going to apply the filter to our image. Perfect. Now, because we have used the smart filters, it means we can switch of stitch on our filters, right? Future stitch of filters. We're just going to switch it If you let's fit this guy instead so that we can add more filters. So go to filter. Then now we have these guys, which are the blow filters, you can add the blow to your image lets try the gasian blow. You can see what does to our image at this blow. And then we have the blow gallery. These are all types of blows. We have the distort, which does some distortions to our image, we have the pull, which basically adds a ripple effect to our image. We can increase the amount, and this will be good if you were creating a water effect. That's a ripple effect on water. That's the ripple effect for you on the distort. We also have the wave effect, which is the wave effect. Yeah, that's the we effect. You can look at all of these options for yourself. I'm not going to spend time reing each and every one of them. So let's look at one more tot. Let's see 12. 12 basically does some weird stuff to our image. You see twirl in our image. But all these effects can come handy. In certain designed scenarios. Some of them might look really unnecessary right now. But if we start applying them in some really special scenarios or some really advanced scenarios, design scenarios, you'll see that we're using them to achieve incredible things. So we have the pixelate, and it has its own effect sets of effect. We have the Music, which does this image basically pixelate our image. It turns our image into pixels. So that's the Mic filter. And then we have the whatever you call it mesotin, mesotint, this mesoin does. It has different option, dots, so many options. Look, these effects are so, so many. We can't go through them in this video. We can go through all of them in this video, but you get the point. You get what and what we can achieve with these effects. So what I'm going to do is from the next video, we're going to start handling exercises so that we learn how to do specific things. We learn how to complete specific tasks with some of these filters. So it's not going to be too advanced. It's just going to be on the fundamental level, so that you get started with using these filters in real life scenarios. So that'll be it for this video on getting started with filters, see you in the next video, bye bye. O. 76. Exercise 17 – Turning picture into oil painting: Hello, guys. Welcome back. In this exercise, we're going to be turning an image into an oil painting. So we just close file. A from the previous video, and then go to open and go to the Fund. And this is the image we're going to be using. This image, sorry. M Michale. That's the name. Michael, select the image and bring it in. And let's look at our image size. First of all, let's look this guy, select our image, go to image, and then image size. So we don't want to have a too large image. So this is 83 ". Now that's very large, incredibly large. So I just want to induce my image size to say, S 30 ". 30 by 20 so you just fine. Just click k. Perfect. Control zero to bring our image to frame and now select your a filters convert for smart filters. Now we can start adding our filter. Just going to file filter, and then go to stylize with the stylize, and then you see oil paint here, oil paint. This is basically a filter. We're basically turning our image into an oil painting. We have the stylization. This basically changes the style of our oil painting, we want it to be. Closer to reality or closer to being realistic or very very oily, right? So that's basically what sization does. We have the clean ness, which basically shows how clean our effect is get. This is what the cleanness does. So you can leave it at 8.5, we have the scale, which is, of course, self explanatory. The scale of our effect. We want the scale to be large or little. Yeah. So this will be just fine. Then we have the bristol detail. Okay? It adds details, some details to our oil painting or more details to our oil painting. Then we have this lighting. Let's bring this Let's out. Let's see what lighting does. Checks lighting. We see what lighting does, right? This is without lighting. This is without lighting. This is lighting. I is without lighting. Let's. This is lighting. We don't want the lighting to be too much, Let's try reducing the shine. This is what we have with lighting at 100. Yes. It all depends on what you want to achieve really. It depends on what you want to achieve. You might light this effect. You might want to reduce the lighting. No reducing the lighting will bring it closer to realism. But taking it high, will give it a bit of abstraction. Yeah, basically depends on what you want, and it's art. Yeah, it's art. Someone might like it this way. Someone might like it this way, yout like it. Art, and basically depends on the effect you want to achieve as an artist. I'm just going to leave lighting at 1.6. I don't want it to be two vio, 1.8, C 1.8, and then, we now have our oil painting. We can do more things to this image if we want. I will add more filters, but that's not the objective of this exercise. You just want to add our oil painting and be done. You can see the before and after. Now just save our image. Oil painting oil painting. And save. Yeah, so this will come to the end of our video or our exercise on turning our image into an oil painting. See you in the next one. Bye bye. 77. Exercise 18 – Adding camera blur: Hey, welcome back. In this exercise, we're going to be adding some camera blow to depict depth of field in our image. Okay? So let's go ahead and open our folder, and bring in the winter image. So bring in winter image, plus the oil painting image. Then let's look at our image. I think our image is a bit too dark, so I'm just going to do a little adjustment to our level K levels. Let's do this. Let's check before to this before and after. I think we can work with what we have now. So on local layer and then go to image image size and let's see the image size. This is 54. Let's make this 40 to images. Perfect. Now, select this guy filter, convert for smart filters, and we want to try We want to try what we call the blow sorry, the field blow. And the field blow does this to us. It gives us the points, these blow points, we can move around and basically adjust low values. We can please multiple points, so we can see one point here, one point here. Get to this guy now. We have low options here, and other effects even. We even have motion effect? Noise that we have effects, but we don't want to focus on low for now. And now we can select this guy since it's at the middle and basically increase or reduce the blow. But we want it to be reduced right since it's the one closest to the camera. Now you can also increase or reduce the blow using this slide ahead. You can go around to increase the back to reduce the blow. We just want the blow to be zero. Here. But we want these other guys to have more blow because they are fiery and since we're trying to depict motion blow, means sorry, since we're trying to depict depth of field, means The things that are father and the camera will be more blowed out, will be more blowed up. While the ones closest to the camera will be less blowed out. That's why we are having our image less blowed out. So let's have one here. This is going to be zero. But we are going to have one here and one here. And we're going to make this e higher 29. Just this higher. Maybe one and one we do. And then let's have one here and totally remove the blow and also one here because they are very closest to the camera. The further we go, the more blod image, we get let's have one here and let's basically reduce the blow. So we clear the blow or most of the blow on our shirt. I'll leave this shirt. Let's bring this guy here and reduce the blow this this error. And basically, we've been able to add our depth of field a minute long. Okay. Now we have our flow. Now we can hide our effect to see before and after. Okay, that's and we can also use other types of blow to achieve this effect. Like for example, we could use the gaussian blow, so we could blow the whole thing. We could blow the entire image. Let me just try to duplicate this layer duplicate layer and just hide this layer and disable filter mask. No Let's rasterize this layer so that we totally remove the filter. Let's just control. That duplicate the layer once more. Then go the filter and blow and then gauging blow. So we could add this gusan blow, for example, and then just add the layer mask and take our brush to make this make the bruh bigger and then just make our foreground color black and start painting. This is another way to do it. We actually want our partners to be very low. Then our size could be pier so that we clean this place and A If we just disable our er, you'll see the effect we've been able to achieve. You can use this method or use this method. Get to either of them. We do just fine. Control S for saving, and then winter exercise. Camera blow exercise. We didn't need to put inter there. We can just write camera blow exercise and save it. Perfect. So if this we've come to the end of our exercise, see you in the next one. 78. Exercise 19 - Halftone effect: Hey, guys, welcome back. We are going to be handling our next exercise in this video. So go ahead and open your file, and it's going to be this file. So this file, the name is girl with hat. So bring in the file file. Just close this image. You just close this image. Now we're going to be using an effect called a half tone effect. So lock your layer, go to filter, convert for smart filters. Let's just look at the image size. We're going to make sure it's not too big. So we have this at 72 " and here at 48. So we want this to be let's see 30 ". Let's see 2027, 27 will do. Perfect control zero to bring in our image to view. Now, select your image and go to filter. Then let's go to filter gallery. And we just want to go to sketch, right? And then go to half tune filters. Now, we see that we have other filters which we added from previous videos. From our first video, I think, on getting started with filters. So these effects are still here because photo shop remember our effects. So we can just select them and delete them because we don't want to use them. Delete them. Now we only have our half tone effects. That's perfect. Now we want to zoom out for image. Let's basically close this other ones, which we do not want to use and focus on the half tone pattern. When I just increase my size, you're going to see what the half tone is doing, right. We're basically turning our image into dotted pattern. So we can increase the contrast. Not only dots, we can also add lines. You can make it lines to have this, and we can make it circles to have this effect. But I'm going to keep it at line, sorry at dots, and maybe adjust our dot sizes. This size do just fine. That's three. Three or five. Either of them. Let's choose five. I think. Let me see. 53 each one looks best. Let's go with three. So we are okay with half two dots, and we can just get okay. Perfect. Now, I want to add one more thing that's a gredM map. Okay? So go to your adjustments, and then add gradient adjustment layer. Dent map adjustment layer. Click on this. Now we have a gdent map added. But of course, we don't have any because gradient map is black and white. And there's one thing guys that I didn't tell you before adding this half to effect. You have to make sure your foreground and background are black and white in order to achieve the black and white mix because the have to effect will automatically take the color of your foreground or your background. So as you can see my foreground and background are black and white, so that's why I'm having black and white. So if you have different colors here, first of all, change these colors to black and white. If not, you're going to be having something different. So after this, we can just add our dent filter. Or rather our gradient map. So let's com use and see. We can just go through them one by one. See which one we might like. So this one is cool. Is also part. Remember we can adjust our colors, right? So it's not going to be big de choose anyone and then choose the colors we want if we didn't want the colors, ts. So we can see that some of these ones are kind of negative, negative, I mean, of having this look get having this look. Instead of look like maybe this one. Yeah, instead of look like this one. Get having this. So let's see pinks. I'm just going to choose this guy and make my color darker. Let's make the darker color der this particular color darker. You see the darker we make it, the more contrast our image becomes. So this level of darkness would you just fine? We can adjust different sliders. We can change the colors if we want. Maybe play with these other colors bits. Effect, and now we have our half tune effect. If you want, we could have a text, say in half tune or whatever we want. We have pros. So we've come to the end of our exercise on half tune. See you in the next one. Bye. 79. Exercise 20 – Turning image into artwork with filters: Hello, welcome back. This exercise, we're going to be turning our image into an artwork by adding several filters. We're going to be adding several filters to our image, and we're going to be doing a lot of free styling to turn our image into an artwork. Go ahead and open your image, and for this one, we're going to be using this image. Once again, con our image, and then close our half ton object. First things first, check the image size because we do not want to be surfing our computer and wasting our time. Let's change this to let's see 35. Let's see. Let's see 35. 35 should. Perfect, C zero, Unlock our Lia, then convert our La into smart object. So let's go to filter, the filter gallery. We can see that the last filter effect was added right. That's the half tone filter. That's not what we want. I look incredibly good on this image. But that's what we want to create for now. Let's see. We can do, but that's not what we want to do. So just go out. First of all, we want to add the cut go to cut out. Let's see. So these are cut out effect. You can see number of levels. See the effect you're basically achieving by understanding this guys. Let's with this, um This four wouldn't be bad. Four doesn't look bad for numbers of levels. We could use four, we could use five. And we can actually come back to change, so it's not going to be a pro. We have cut. Let's add another one. Let's add a f green. Let's see here. We have the fing green here or the fing green here, and then let's do this. We can see the effect of fingers hide you can see it before and we can actually move the positions. You can see it's turning out the ions or cut out to the below our finger effect. Let's see what we can do with the highlighted areas or highlight areas. Intensity. Perfect. Now, I want to add one more filter, at least one more filter. I don't like the w I O it looks now by adding this extra fil green. I'm just going to add the new filter and have two fin green filters. This one we're going to use, let's see. Poster edges. Let tri poster edges. Made L et's see the be fun of. Yeah, let me just hit okay. Okay and let's see what we've turned our image into. Let me try adding of this sky. That oil pints. Let's see what we're going to have. Doesn't look. See. For a lot of these things, you just have to keep trying to trial and error. You have to just see what works best, try and see what works best. You get what works best, you keep it. It's basically trial and error. Sometimes. Perfect. Let's come to S for artwork. Artwork exercise and safe. Perfect. So have come to the end of our video. You can see how we have totally turned our image into an artwork. So that's it for this one. See you in the next one. Hi. 80. Exercise 21 – Create motion effect with blur: Hello, welcome back. And this one. We are going to be adding Motion B to our image. So go ahead and open your image. So o I building this image of guy Ron. So guy Ronin. Open. Now we can close our arctic. Now we have this image of a gon, and really, we don't need to reduce the image size because the blow effect doesn't take so much tool on our computer. So on Lock, my layer, then turn this into a smart object or combat for smart filters. Okay. So what I want to do is conf G to duplicate this, and then just hide this one. And for this guy, I'm going to put my filters, go to blow, and go to motion blow. So I need to be adding a motion flow. Now we want to create an illusion of this guy run. So we want to give it speed. So for this effect, the more the distance, that the more you increase the distance, the faster it will seem that our character is running or subject is running. So the lower the distance, the less the speed you get. Of course, you don't want to make it this high because he's not an ero clean yet, so he can run this fast. So you just want to do it moderately, maybe this much. Maybe this much there. What we need to do next is to cut out our character. So we just go to our object selection and just click on our object. Must be a perfect selection. We agree to modify our selection. So this is just our selection, and what we want to do just create our layer mask from our selection. This is what we have. Now we have our guy and basically have. Now, we can actually select a a mask and feather it out a bit. We can just add the B of Fedn bit of Fedrin, K or note. Basically depends on what the wants. Yeah, so this will do this much failure. I be just perfect. Now, on the edges, we can see that we're having some redness on our edges, right because of glove. So we can just hit C for the crop to and just p shift and click and p shift. So we can grow and it. I think this is just perfect. It's now looking to see if our guy is running very fast. Let's try even increasing the blow. You can see what we get. The higher the distance, the faster, the speed, or the faster our character is. Okay? So 180 will be just fine. And can see Running guy or let's see Motion L. Exercise. And s. Okay. Perfect. Now, that's start for this exercise. And see you in the next one. Bye bye. 81. Homework: Hello, and welcome back. So this is an assignment of homework, so you have to just open the folder and choose either of these images, A image from here. You choose this one, you can choose this one, you can choose or you can choose multiple images, you get and I just want you to create effect filter effects, to add filter effects to these images. You can turn some of them into artworks like we saw from the last video or from the video where we turned our image into an artwork. You can apply multiple filters to turn your image into artworks. I just want you to create different effects. Get different artworks as much as you can. Get as much as you can. You can use multiple field tasks different from the ones we used from that video. I just want you to basically explore the field task, and please share your results with me. I'd love to see what you come up with to see you in the next one. Bye bye. 82. Module Introduction: In this module, you learn how to retouch photos in ADB Photoshop. You'll learn how to use the removed two, the Patch two, the content A Move two, the spot healing tools, the red eye two, the bone, Dodge, and sponge tools, all in our DUB Photoshop. 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. 83. How to remove from an image – The remove tool in Adobe Photoshop CC: Hey, guys, welcome back. So in this video, we're going to go ahead and start learning how to retouch using the remove tool. So go ahead and click open, and go to your folder, that's the image retouching and enhancing folder. So we're going to bring in a couple of images. Let's select this guy, H down Control and select this guy, that's the castle image, the rock in a image. And let's also select this guy, girl dancing image. Let's have all of them open. And the image removed to the removed tool is a pretty new to to retouching in photoshop. If you check older versions of Photoshop you find this two. The tool is here. You come to this place, click and hold, and you're going to see this tool. It's called the Remove tool. Click on the Removed tool. And of course, the shortcut is G. That's same for every other tool here. This is the removed tool. Now, what this tool does is, it fills in the space. We paint over. Get it automatically fills in the space, we paint over. So it's footage of ding its magic. Once more. When you select the removed to, you can just select your background or your image. And these are just the options you get. We have sample all layers. For sample all layers, It means we can actually paint on our background layer if we want. Or we can create a new layer and paint on our new layer, and then it's going to work we get, so it's going to work on our new layer and won't affect our background layer or our mean image permanently. So let me give you an example. Let's see, I want to just check sample all layers. So check sample all layers and then select your background. And now we are working on our background, right? So let's paint over this place. So pint gently over this clots and this fruits. So when you're done, you just release your mouse, and Fodo is going to remove the area and fill it with parts of the rock you get. Now this is what we now have. We see that pudo be able to remove the area, even though we have some repetition of patterns, we get, but this is something we can also further edit. That's not a problem. Now what I wanted to see is now look at our layer. Our layer is completely distorted. Right? It's completely changed. Whatever we had on the rocks are completely gone and gone forever. So we can't go back. Let's say we export this image. We can actually go back and have our original image. We get. So we don't want to be working on our main layer using this remove too. So to bring back our image our original image. So we now have our original image. So in order to work not on our original image, so as not to permanently change our original image, we can create a new layer, and then sample our layers. It's going to create a change on our new layer, and then our original layer will not be affected. So now let's try doing it on the new layer. Spin over this place. Gently. And also make sure you capture the shadows. Perfect. Now watch what it does. Okay, we forgot to select this please also. Let's just paint. So it has totally removed our object and we have this newer. Let's hide our background layer and see what it did with our Nula. We can see that it created this pattern on our ner, and then filled it on our ba ground layer. Now, if we just hide this, our background layer is still intact. With this, we can also just paint over here to create more changes so that we don't have just this very even pattern. We cannot bad, quite manageable. Let's go to the next image and that's this image. Now, we want to remove this castle from our image. We're going to create a new layer and then make sure sample all layers is on, just paint over my castle. For this image, because of how complex the whole thing is, we might have to go back and forth a bit to achieve the ideal look. We can see that our castle has been removed, and he didn't do a really bad job because I was thinking we have a lot of repeating patterns here because of how the castle was occupying. But for the shop did a pretty good job. Maybe we just need to clean a bit of this area. I need done. And I want to just undo it because I'm seeing too much repeating pattern. Yeah. Let me do that. And I think this is better. Better. Yeah. So I'm just going to paint here also and remove this rock. Look here. Yeah. So wouldn't say it's 100% perfect, but it does the job. Does the job. And for this tool, you don't want to be using images that are too complex, okay? So let's go to the next image, which is this gel dance. Now, for this one, we might be having we might have a bit of problems, some little problems. Let's just create our Nula and then pin over our dancing girl. Perfect. Now, we see the gale has been removed but we have some two problems here. This line that comes from up. We can see that it wasn't replaced, right, there is an empty space here, and we can see there is a bit of we awkward look here. This is one of the lit two issues you might get with this two. We can go further on to use the metods of retouching and to make sure they look realistic. This is just to show you that sometimes we might get not perfect results with these two. So that's just the removed tool for you. It's very simple tool. It's a pretty new tool in for the shop but it does amazing job. Okay, it does an amazing job. Let's just remove this hat and see. Yeah, it looks good. That's basically it for the removed tool, see you in the next video. Bye. 84. The patch tool in Adobe Photoshop CC: Hey, welcome back. And this one, we're going to be learning the patch tool. Go ahead and open your image. For this patch tool, we're going to be using this girl. Click on this image and also this image. Click on this two image, the smiling, that's brown ted, and then girl with pip. Maybe even this image. Pen. Let's close these other ones. We don't want to see them. Perfect. So this patch to is a bit similar to the last two we look at, which is the remove two. Only that you have to select the area. You have to mark you select the area. And then after you select the area, you kind of have to move the area to the place where you want to patch that particular area of it. Yes, so you just move it and the fot blends the whole thing for you. You see that's how it works. You just select the area, then move the foots blends the whole thing for you. So that's a bit similar to the pervious two Even though in the previous photoshop does the inge of all you need to do is just paint, and you don't need to move and the photoshop in its intelligence does the feeling for you. But for this one, you have to select and then click and move. The photoshop will now do the blending for you. I is pretty simple. So the blending sometimes might not be very perfect, so you have to kind of be patching it with areas that you know are of the same pattern and basically similar in look. For this part, you want to you just move it here, even though it's not perfect. So for places like this that have patterns like this, it's going to be hard to use the patch tool. You just want to be patching areas like this. Get where you can just move here and it's patched. Little two changes. Little two changes, work best for the patch tool. For bigger areas like the G. I want to let's try the removed two. Let's try removing this please and see. The Remove two should do a better job. Yeah, we see that the removed two does a better job here because Pots hop had to calculate and know that there is a pattern here and for it to be realistic, it has to flu. Photoshop did the whole calculations for us, unlike the patch to which we have to do the calculations ourselves. This one might not work really well. Let see. Basically, that's the patch two, the patch tool for this image, we just and grog. We see. Sometimes the blending might not be perfect, like we can see here. The patch tool is pretty much limited. It's not as powerful as the remove image two. So that's the patch to for you. The next one we're going to be learning about the content of move to. See you there. To 85. The content aware move tool in Adobe Photoshop CC: Hey, guys, welcome back. So in this video, we're going to be learning how to use the content A move to. This tool is also under this category. So this is the content Aware Move to. It's also a pretty new tool in Photoshop. So what this thing does is, you have to mark you select around an area and then move the area. So then ok. Then we see what it does now. The footage of moves the area for us, but we see that sometimes it's not really the blending is not really perfect, so we might need to kind of blend it with other tools. But basically, that's what this tool does. And we can do this for even parts like the eye. Let's want to move the eye. Let's want to move the eye bit to the side. Click. You can see that it does the blending for us. But we might need to kind just go in and tidy up this blending to be better. It means we can move the entire eye somewhere else, right? Let's see done. We can see that covered this please, covered this please. So basically, that's what this does. You can move That's what it does, basically. And we also have these moods where you can add to your selection subtract from your selection intercept, just like how we saw when using the select to when learning about selection. We also have this which individuals to expand. Now let's Let's see to select, then to change it to expand. It creates a copy. This is the original copy we had. So it didn't move it, but it just created another copy. So we could have another copy here. Okay? When we have it the extent, it just creates more copies of our selected areas. It means if we have it on the extent and we select our I here. It's not going to replace this piece. It's going to just create a copy. Basically, that's what it does. It just creates a copy of our. It's either on the extent or move. You either move it or extend it. And that'll be it for this video. See you in the next one. Bye. 86. Retouch with the spot healing & healing brush tools in Adobe Photoshop CC: There, welcome back. In this video, we're going to be learning how to retouch using our spot healing and healing grouch tools. So go ahead and open your folder. And for this one, we are going to choose a couple of images. Let's select this image, pull down Control, and select this image, and also this image. Open. Perfect. So we are learning how to use what we call a spot healing brush, and also the healing brush too. So let's start with the spot healing brush. Now what does the spot healing bush do? What it does is, it heals our spot. Let's undo this and then create a new layer so that we do our changes on our new layer. So sample all layers, and we can see that it gives us this thing that looks like a brush, and then we can increase the size or reduce the size, the hardness. Also can be increased. I'm just going to make the hardness 64 and the size 87, and then start to follow my spots. We can see that my spots are disappearing. I'm now retouching my image clean out my spots with this two. Perfect. So we can see with just a couple of clicks, we've been able to totally remove the spots on her face. Now, of course, these are the spots. These are the spots on our layer one yet, so we can hide them and hide them. Perfect. Now we come to this image also, and let's just make our brush bigger with the square bracket keys, and then sample. Maybe I should create a new layer also sample all layers. And we can we don't want to do this too much because gate start looking thick at some point. Perfect. So for places like this, M work. Let's try. He it worked, but still we have we. I'm going to do this and use a defer to. Let's. It's going to take some time, but it definitely going to do a better job. Perfect. You he did a better job even though the skin looks quite like a fabric, but the spots are gone, right? The spots are gone. Problem. And we can also use other tools, right? We can use other tools. You don't have to depend on on this guy. So let's try the healing brush tom and see. So for the healing bush tom, you have to first of all, sample an area. So you have to select the brush with the healing brush to and then pull down and click on an area you like to sample. You have to choose a clear area. So let's pll down and click here. So sample this area and intro click, and it's going to gradually fill in blemish. I want to sample this because it's c to this place. In color. So sample again with an odd sample and then odd sh. So this is how to use this other two of the spf area and then. Sample area and sha Perfect. This will also work on an image like this. Sam proof. Or use your sport healing too. What we get. But we can see that he didn't do a very good job all the time, or the last time. I just di it and we did it. So it's now better. We have some unevenness here. So I'll just undo this and maybe make my approach smaller. Yeah, it's better now. S guys how to remove blemishes on our images. It's bring this smaller. And you know what, I want to just start this guy again. I want to use all the tools we've learned so far to remove the blemishes on this wooden image. But I want to have a background on which all my changes will be done. Yet. So let's remove the blemishes on this wood. Let's go ahead and start with the tool. So let's try to remove the big guys here. Pint over them and wait for photoshop magic. And the size of the image also matters. That's why you don't want to pick an image that's too big. The image is too big, it's going to take time to feel. The smaller the image, the faster the effect will work out. Okay. So our retouching has been completed. Now let's do also for this pot. So let's just paint over this please and allow foot shop to do its magic. Perfect. Now, let's do same for the guys here. Paint over blemishes. Even though it's a perfect, but we can now use other tools to basically make our work perfect. Let's use this one, which is the healing brush. Let's now start attacking the spots. Some of them, this one, we'll just attack them. Okay. I've done a great job here. I don a few job. It's this one. So for this one, I just want to e I want to use M. Make the brush smaller and then pints over it. Perfect. Now, we see that we've been able to turn our wood from this to this. Let me see with us would be blemishes. Perfect. Perfect. So you can see how we've used the retouching tools to totally remove our blemishes for this image. And with this, we've come to the end of our video, see you in the next one. 87. Remove red eye – The red eye tool in Adobe Photoshop CC: Hey, guys, welcome back. In this video, we're going to learn a very quick one. That's removal of red eye. So let's go ahead and open our folder and bring in this image. Bold red eye. Bringing in this image. Perfect. Now, this is our image. And sometimes this occurs. This red eye thing occurs when we take photos, right? So if you are a digital photographer, you probably know this. Sometimes you might find that the eye is red after you've taken all the pictures and you want to edit. Now, it's a tooth here in photoshop. Still under the retouching tools. Now, we have the red eye on these two helps move our red eye. All you need to do is to select the two, and then click on the red eye. Now, our red eye is gone. Click on the red eye, and our red eye is gone. Very simple. And we can see our image if we want. But we're not going to see. Yeah. So that's it for the red eye two and see you in the next one. Bye bye. 88. Retouch eye and teeth – The burn, dodge and sponge tools in Adobe Photoshop CC: Okay, welcome back. And this one, we're going to be learning how to retouch the eyes and the teeth. So go ahead and click open. Your folder and you're going to choose this image that's the colored eyes, and this image, that's the Asian boy. Finally, this image, that's the smiling and brown teeth. And click open. You can see that this image has brown teeth, right? This image is an image of a red eye. This one has red eyes also. The eyes are not really looking good. These are just what we're going to learn how to fix, and we have tools to help us do that. We have three tools to do this for us in the photo shop. You'll have to come here. You see that we have the Doug two, and we have the born two. We have the sponge two. So the Dodge to makes things brighter. Let me just in pace the size of my brush, square brackets. If I click here on this piece, You're going to see that. It's becoming brighter, right? That's the Dutch tool for you. It makes things brighter, and we use it a lot in retouching images. I'm just doing contri to undo what I just did. And now when you select the tool, that's the Dutch tool, you're going to have where it says ringe we have mites, shadows and highlights. Now, you're just going to select what you want to fix. You want to fix the mid tones. Mit tones are between the highlights, which are the bright and the shadows. You shadows are the darker ts. So it's fixing the shadows. And you either choose shadows or met tones or highlights. Then you choose the exposure, what 50 is perfect, and then you have what you call the protect toons. So if you protect tones, you're going to protect the tune of your image, and get So basically, that's what these options do. So we have, sorry, not the blow. We have the Dutch two, we have the bond two, and the bond tool also has the same options because it's basically the opposite of the Dutch two. So if we come here, we be increased of bush size and pinned over here, we see that the touch tools which in the side lack, right. The touch tool does or a bond two does. And we have the sponge on this ponche to saturate, our image will desaturate parts of our image. So we have the mood, we have desaturate, and we have saturate. So desaturate means it's going to make the colors feed out get desaturating this part. And so you know I'm gradually turning it into the black and white image. That's the desaturate, and we also have the flow, which should be left at 50%, and we have this which you shouldn't mess with. Basically, you should choose either saturate or the saturate when using this two. Saturate. It's going to make It's going to bring back our colors, not really bring back our colors, but it's going to make our colors pop out more, as you can see. They are not just used for doing stuff like this, that's working on images. They can be used also for other stuff. You can use them to add shadows, add highlights, add mid tones to our images, so we can use them to fix shadows also. So let's select our Dog to and start with this image. So we want to make our teeth right. First thing you want to do is reduce the hardness of your bg. So you want our broche to be quite soft and just adjust the size to size you want. No you can start clicking on the teeth. You can see that we're brightening up our teeth gradually, right? So you don't want to a this. You can adjust the be size pais the square brackets. O So now we're brightening up our teeth, but we still have that brownness. One thing we can do is you can use what we call the sponge to. So that ponche to just desaturates our teeth. So you o de saturate and start painting on parts of our teeth to desaturate it. So it's going to kind of that brownness. He's going to really it natural. And again you don't overdo this it doesn't look fake. O Okay, so we've been able to fix our teeth. You're not going to bring in the image one more time to file pla embedded, then bring in this image. So I can compare before and after. This is before t and this is after. I can see that it a bit too, but you get the point. This is before, and this is she really white. We're done with this one. We've been able to whiten up our girls teeth here. Yeah, we now move to the next one. Let's look at colored ice. The same method works for the colored ice. We can be saturated with a sponge. You just have to sat click on these areas that are too red. But I have to wings. Click on them using our sponge to. We're going to saturate. T s. C maybe even this down part so? Perfect. Now we want to brighten things up a bit. You take a doch tube and brighten things up. You don't overdo it, just a bit. Perfect. Then you also want to brighten up the inside of our eyes that's this part, and we brighten it up a bit so so that it pops out even more. Let's just bring in our original image and compare. We can see this is before and this is after before. We've done with this. We've done with our teeth. Now, let's work on this point. So I'm just going to take my tool. Here's my too. These on my toes. I'm going to take my sponge to and satate the ice. Also this pat. Perfect. D same with this pat. Like I said, you don't want to overdo this in so that it looks neutral. And we can also do some with the ****. Yeah, our image looks better instantly. So let's take our touch to and brighten things a bit. So I want to brighten this part. So that the eye pops out more, brighten this part. So we can see that it's looking quite, but you get my point. Stands out, makes the eye stand out. So I'll brighten this part I don't with my pro size one more time. See this one. One more time here. And also my teeth, just a bit. Perfect. Now, our effect is a bit too much, but if we compare it with the original, you'll see that we still did a great job. You'll see this is before, and this is after before and after. Before and after. Perfect. So, guys, that's it for be touching our eyes in our teeth here in foot I'm not going to see this one because this is quite simple. I to everything and see you in the next one. 89. Homework: So in this assignment, you are required to do retouching for an image. So click open to open your folder and you see this image, the smiling girl retouching. So that's your image. So you have to fix the image. You have to work on the blemishes on the skin, you have to work on the teeth, you have to work on the eyes. So you have to use everything you've learned in this module to bring this image to life. Okay. So just do this and share your results with me. I'd love to see what you come up with. Okay, so that's it for this one. See you in the next one. 90. Module Introduction: In this module, you learned about brushes in a two B photo shop. You'll learn how to use book default and custom brushes, and you'll also learn the different brush settings available in A to B 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 do. 91. Getting started with brushes in Adobe Photoshop CC: Hey guys, welcome back. In this module, we'll be learning about brushes. And in this video, we're going to be having an introduction into brushes. And of course, I know you're a bit familiar with brushes because we've been using brushes since the beginning of this course, even though we've not covered it officially. So we've been using brushes to paint over masks, and yeah, you are pretty much familiar with the interface. So let's go ahead and create a new file. And this time, our file will be a bit bigger. Not going to be the eight by eight, usual eight by eight, it's going to be a DP guy. So I'm using 11 by 8.5 " at 300 PPI. So just create this file. And now we have our interface. Come and select the brush tool, the brush too, you know, and the shortcut is B. So if you select the brush too, you already know that when you right click, you're going to get this interface where you can select the brush preset. And then choose the size and the hardness, right? So let's select this guy and we see that we can choose the size, we can choose the hardness. This will increase or decrease the hardness, this will increase or decrease the size. Yeah, that's really basic stuff. And these are the default brushes. In case you do not have these ones, or you're not seeing them, you can come here to this gear icon and then a pen default brushes. Click on a Pen default brushes and click OK. If you click OK, it's going to bring in the default brushes. You can also access the settings here. Now you can see that they are in groups. We have the general brushes. You can click and open, close. You have the dry media brushes, the wet media brushes, and special defects brushes. So now, one thing you can also do is common routt your bruh. So you didn't cover this before, so you can routet your brush at the angle of your brush. But this is something you can also do under brush settings, even though we're not looking at bruh brush settings for now. So we have the brush panel. I know that you won't be having these panels because we've not been using them. You probably are using the essential panel. So you just want to come to your windows and then come and click on brushes. Okay so click on brushes, and you're going to have the interface open. Now it's basically similar to what we just covered. Only that it has the settings here. Okay. Let's look at some options we get with our brushes on the properties bar. Of course, this is the option to open your brush settings or close your brush settings. And then we have the bland modes. We have the bland modes, and we look at bland modes before so you can create a layer and then start painting. And then you can blend your layer with the layer below. Because we have dissolved. We have now you can see the effect of dissolve. We have behind, we have play. We have Darken see the effect. We just have all plan modes. You have difference. Now difference will paint the difference of the color. Let's see we want to delete this die. Let's delete this and then create a new layer. Now let's select white instead of black. So we are painting white on a new layer. So we see that pint. Click, click, click and drag, click and drag. Inside that we painting white. So it's basically painting the difference of our color over and over again. So basically, that's one needle thing you could achieve with ruse. And we could just add ingredients to this or color to this, and then you can use it as a background. It's an abstract background. But this, by the way, the next thing you have to look at here is the opacity. Let's change the bend move back to normal, and let's hide this layer with the new layer, so have the opacity. Now the opacity of course you know is the transparency. That's how visible or how transparent our bruh is. So you can pint. Let me change the color. Let's take it to red. Pints. You can see that our brush stroke is 13% opaque, right? Poten percent Vcb. So we can keep painting and see the effect. Okay, now we can hit this guy to allow our drain tablet control our opacity. That's if you have a drain tablet. So I have a drain tablet connected. If you do not have a draint tablet, it's not a problem, you can see paint with a mouse, even though there are some little options, just like this one, which you won't be able to access. And we're don to experiment drawing with our mouse, s drawing with our tablet, so you can see the difference. Now we have this guy, which we can turn on to enable us to control the opacity, the pressure we apply on our pin, right? So let's take our act back 100. And then we have the flu. No flu is simply the intensity of our brush. L et's see. We have it at 56. This is the intensity at 56. Or let me just do one stroke. This is the intensity at 56. Let's take it back to 100. This is not the intensity. So we can see that this one is more intense, than this one. Let me just bring them back so that we can try it at 6%. So we can see that it's very less intense. It's quite similar to opacity, but really the same. So that's the flue for you. We now have the smoothing and the smoothing controls how smooth our paintings are or our draws are using the brush tool. Now, this option might give you a bit of lag on your brush tool. So it might give you a bit of lug on your brush to, but it smoothens up your drawing. So let's see, I have I have grain to draw. So I'm trying to write a tree that us in my mouse. And drawing with mouse can be very unpleasant sometimes. Now, if you take your smoothing to say 60% or 70 or 53% or 57% rather and try to do the same, you're going to see that we get more smoothness. You get fo kind of intervening and then making our growing smoother. So all our mistakes which are visible here are not visible on this guy here. If I do it again, with my smoothing at zero, you see all my mistakes, all my changes, you get, but when I take my smoothing to 100, it might lag, but I get a smoother more perfect rowing. So that's what smoothing does for you. And then we have these estimates, you should not really worry about them. Then we have the angle, which you should not really worry about again. And then we have this guy. Now, this guy enables our tablets, control the size of our brush tip. So let's try Now, we have it on, right? Now I'm going to use my tablet to draw, or I'm going to use my mouse to draw. Let me just delete this guy. And then also use my tablet to draw. So create anular. Now I'm using my mouth to draw. I'm using my mouth to draw, right. Now you can see what I've been able to achieve with my mouse, even with my smoothing at 100 and also with my brush pressure on. Even though my mouse is not going to recognize this because my mouse is not a drawing tablet. Let me now use my drain tt to draw so that you see the difference. Now I'm using my drawing tablet. Now you can see that I'm having different sizes of my brush tip, depending on the pressure I'm applying. You see I'm applying little pressure right now. I'm having very thin bruh size. I'm applying much pressure right now. You can see. So my brush size is increasing. To pressure, size, much pressure, much size, pressure, size. You get. But for the mouse, we don't get this option, right? So now that's because this option is on and because I have my grain tablet. Connected. You see? We're going to try paint with different other brushes, so you can see the effect of a drawing tablet. Let me just of this layer and create a new one. Now we're going to see this guy. This is called symmetry. This allows us to draw in symmetry. Let's try the vertical symmetry. If you click on vertical, you're going to have a vertical line and you can recite the line, you can rotate the line. You can do whatever you want with the line. You know that the line will control your symmetry. If you click, and then try to draw now, I'm using my pen to draw. We can see that I'm basically drawing the same thing on the other side. That's the symmetry for you. You can use this to really create incredible art. I'm going to change my symmetry. Let's change our symmetry. Let's have the t the horizontal is just the opposite of the vertical. So let's have two axis so I see what we get with our axis. Okay, I'm just going to rescue my symmetrical axis, and then start to draw. I'm having basically the same thing being grown all over. On all four axis. That's how this other guy works. Now, let's try one of the one, which is the Mandala, and Mandala enables you to allows you to put in the number of segments. Let's see six segments. This is what we now have. Let's rescale this guy. P down holes and re scale him and. Let's try growing now. And people use this to create really incredible patterns. Incredible art patterns. So that's what we get with this guy. Create a new layer and of our symmetry. We can off our symmetry so we don't use symmetry. These are the options we get on the properties bar. And now let's come to our brushes. Now we can see that here also, we can the size of our brush. We can adjust our bruh. Now let's open this guy. Click here. P. Let's just expand this brush panel like this. Now you see that Pod shop has been able to recognize that I have my grand tablet connected. We see that these brushes, these brush presets are pressure brush presets. So do only work with a pressure pain. It means I can now grow with my pressure pain while selecting this brush presets. Now I can see that I am able to control the thickness with my pen. You go did this. So I just created a new layer, so let's continue experimenting. Now we've been able to use these brushes, the pressure pen brushes, and there are lots of them. Let's try out the ones. Let's let this guy, and we can see the effect we get this one, right? I just undid that. Let me try writing something. Something serious. I'll just reduce the size of my pen. And basically, your pressure pen is just another mouse. I just another mouse with a pen. So right now, I'll write something. I write beautiful. Uh, So we can see that this isn't too good. But we can see that it was easy to create, right? That's because I used the pen. If we were to use our mouth to create this, I'm sure I will not be able to create something good. That's just a demonstration for you. Now, we have other the preset. We have this guy. We have this guy, this other category. Let's just hide a in the nuclear. So we have this on the category, and this one is under media bruh, right? This one is media bruh. So let's increase the size of our bh. And come to our raw area. So we can see that it's also being our pressure or pressure pain. So we can grow, can shed, we can sketch all little pain. We see the amsing effect it's given us, right? We have this other guy Okay, this guy is an eraser brush, or it's an eraser. If you see these little icons, you see that this is an eraser, this is a brush, this approach, this is a brush. And also if you look at other ones, you'll see that some of them are connected to certain tools, like the smoch tool, so you can use it as a bruh. You see, and this is the history brush or the cooler. You can see that it's a cooler. We also have this guy, which are special defect. Now these ones were created by Kyle. He's a very popular guy. He works with AB. Now, the guy creates crazy brushes. He created some of the best brushes we use as designers or digitalis. He's now working with S so he can have access to his brushes if you have a subscription. And we're going to look at how to get access to his library. That's in the advanced course. Key but in this because we are basically having a introduction. You can see what I'm able to achieve by using this brush. Now, even though it's a smug rush, even though it's a smart brush, we'll see the effect giving us. It's smudging on our pints to give us this beautiful effect. These are some of the things we could achieve with brushes. H. Now we're going to do exercises also in this module. We're going to have exercises, so you see how to use these brushes in very creative ways. I think that will be it for this. That will be it for this lecture. Le Let me create a final drawing. It's not working. So I'm trying to create it drain but I don't know why it's not working. Maybe an error occurred. Okay. Sorry. It's on my smog tool, right, so I have to take it back to my purse too. So select my guy back. Now we see it's you. Let's try writing F to shop. Full to shop is best. But that's that for Brushes, this will come to the end of our lecture on introduction to Brushes. So on the next video, I'm going to go a little bit deeper to see you in the next one. Bye bye. 92. Brush settings and custom brushes in Adobe Photoshop CC: Here, welcome back. And this one, we're going to be looking at brush settings, and we're going to be exploring also some custom brushes. So create new file. Create. Let's take our brush to and then go to our brush settings. Okay. But first of all, I want to just import some brushes, which I downloaded. So you can have some experience with using custom meat brushes. So these are free brushes you can get online. So go ahead and click inputs. In a click input and then come to the folder to the brushes folder. Now we're going to see all these brushes. We have about one, two, three, four, five, six, seven of them. So we have to actually go in. You can just select the folders like that. Go in to each of them, and click load. So go again inputs. We go to the second one load. Okay, so let's just do that for the remaining. So we have all our brushes loaded. So we see that our special custom brushes are from here to here. Yeah, so these are our custom bushes. We can open them to see the various effects we get. So these are spree brushes. Let me just select this one and then and then pint. So we see what effect this brush gives us, right? That's the spree brush. So I'm going to create a new layer, so I don't paint on my background. And let's see this guy, see what it gives us. And we can see that our flu is 38%, right. So let's take our flute 100. We see that were having the full version of it. These are our spray brushes. And we're going to use some of these brushes to create a really credibly effects. We see that this one looks like like a dripping blood, you can go in, maybe add pave. You can see how much we add, we are now adding to our brush by just adding the paving effect. Soften our brush, the size. Arches, take it a smooth or H arches or Soft Chester. Yeah. Now we see that we can go in and furthermore do incredible changes to make our effective better. We see all of this. All of these are bruhs, free for you. Now we have this other one, these are painter brushes, what we gets for painters for digital painters. We're going to have you achieve really realistic pin strokes. We see what we are achieving this particular brush. So I won't be able to go rough all of them. But go through as much as we can. So you can change the color. We will add to our painting. Maybe we will change the plan you multiply. See hot light. You can see the beautiful effects were aching our bushes. M this blue pins. Darken. T. We have other ones. Let's just close these ones. We have the spree brushes to. Sa pre bruh. So these are. They are just like spray. They just like a spray. We can change the blend mode color bone. Then we change the bh. The bush size. We change the color. This Perfect. Now, there are lots of them. Let's try that last one. Let's see now. Okay? So maybe I'll just change the color. Perfect. Now there are lots of them. We won't be able to go through all of them, so you can just go through the remaining. C for yourself. Have these guys on the GF X pins on this particular one is the fog, pin fog physically. They are really realistic, realistic. And we have this guy adjust dashes, disguise a dashes. Let's change our color. See what you do. If you doing, you see dashes, right? This is what we get. You come with really incredible settings so that you paint, you get a different tition of your bruh. All of these effects can be adjusted on under settings. To the setting based changes. So basically, these are the brush peaches are halfway use so you can go ahead and use them, and we're going to use some of them in our exercises. So we're going to create a nuclear. We will hide this one and then now look at the brush settings. I'm going to select my hard rounded pressure size here. Good bh settings. Now bush settings are incredible. Okay. There are lots of settings we can do for our brushes. First of all, we have the brush tip shape, which basically allows us to select the bh the bush tip. Particular brush tip. We can select it. We have a preview here, a direct review of what we're going to get. So let's just stick this guy, this very basic guy. We can see a preview of what we will do of what we will get if we just do a simple drawing like this. But of course, we're not getting that because I'm not using my pen presently. Let me just use my pen so we can see. S, just go my pressure. We get the point. It tells us that we can use pressure to adjust the tips. Let me just select normal one. I'm selecting this one without the pressure. It's not show me though. So but you get the point. This preview tells us what we get. And now, this is the size, how soon we can see that our brush previews of dting as we adjust the settings, so we can flip X of flip Y. We can reteat our brush. Okay. And this is a round brush, so you won't really see the rotation. But if we choose this guy, for example, rotate, you're going to see that it's routing because it's not a round brush. We go back to our round brush, and we also can adjust the roundness. Okay? We can use this to adjust the roundes we can just drag pen in, and we are basically adjusting our roundness. Then try drawing with this one. Now, we see that this looks like a calgraphic pen, right? Because we have adjusted our roundness. Caligraph pens, usually have this shape, this kind of oval shape. So by adjusting our roundness and maybe tilting it to this angle. We have been able to achieve a calligraphic pen. I'm just going to create a new layer, so we can basically experiment our caligraphic pen. Let me just reduce the size of my brush, come back and type something and write something. Let's see C graphy. I think graph should have Calligraphy phi. Be able to turn our normal brush into a Caligraphic brush. But that's the way. Let's take it back and we have angle, and we saw how we just change the angle. That's on the bruh. Let's go to scattering. No, not cutting, let's go back to brush tip size. We have what we call spacing. I think cover spacing. Now spacing is the space between the brush points, the brush points. We have to understand that this brush is a round brush, right? Now, because of so many round brush rooks together, packs together. We now have a brush rook that looks like this. But if we have space between them, we're just going to have a round brush ok. So that's what Spacing does for us. I'm going to keep my spacing like this, so we can experiment other settings. So we have the ship dynamics. Now this enables us to control the pressure. And as you can see, it's set to pressure pen. And then the ita. Now, I'm just going to keep changing the setting so we can see what we get here. This is the ita changes the arrangement of our brush strokes. Then we have itagle roundness ita also. I basically gives variations to our roundness. Okay. So we have scattering. Now, this will be able to scatter our bruh. Se we are trying to create a dust brush. This will come really handy because we want to scatter the particles very much. So we also have the scat account and see what we get with our scatter accounts. And count jitter. It also creates variations under our counts. If we come here and those paint and see what we are getting. This was a normal smooth brush at first. We can this normal wood brush at first, but what we get. We have the texture which adds texture to our brush. We can choose texture here. Of course, we've looked at textures before. We can invert our texture and pre scale, but we're not going to look at every option on the texture, so I'm just going to check texture and we have brush. These boss add another brush to our brush. Yet basically joins the two brushes, and then we can paint with the both of them at once. If I uncheck this, you see that the preview goes back to our numeral brushes. We have the color dynamics, which bus to change our color. So we could change the hue. You can see that now because of our color dynamics, we are basically changing the color of our strokes so we can see. We are painting really colorful particles, with the setting. Now, we can of course increase a huge guitar or reduce it the saturation Gita also, also increase or decrease the saturation. You can see that it's physically creating this cool effect. And given the brightness and the purity, then we have the transfer. And the transfer will include our opacity and also our flu and we looked at ac and flu all the time. They are controlled by our pressure pen. Then we have the brush pulls. We have the noise, which inviers add noise to our brush. So with this once we can't make changes, we can just select them or deselect them. So basically, this is what you get with a brush settings. So I don't spend too much time here. Now you can go ahead and reset your settings. We can reset our settings and get our settings back. So basically, does this for the brush settings, and also for our brush presets. That's our custom brushes. Okay. So in the next video, we're going to do more. We're going to start doing projects using our brushes now to be photo shop. So see you in the next one. Bye bye. 93. Exercise 22 – Brush image reveal effect: Here, we'll come back. In this first exercise on the brushes, we're going to be creating an image reveal effect using our brush. Click open. Go to the folder, that the folder for the module, which is 16 Pi tool brushes. Click on classical Girl image and open. This is the image we're going to be using. Come to the Crop tool. So I hit C for the crop tool or selected here. Then I just want to crop this image to look close to a square. Mustn't be half a square, but something close. Get and then click Okay. And now I want to create a new folder, create a new folder. A new layer. Bring it below. And for this layer, I'll just select my layer and go to edit, go to file. All right I'll go to fill, then fill it with a color. This is going to be a white color. So you have this filled with a white color. Now the next thing I'll do is select my image, pull down t or option on the mark, and then click on the layer mask button. And this are layer marks, but now we've been able to create a layer mask and fill it automatically with a black color. So it basically covers our image totally. Your layer mask and then take your brush to and now go to your brushes with your brushes, and let's now select a very interesting brush. Let's go to GFX. This GF, we want to start using brushes like this guy like a fork brush. Click on your layer mask and let's put the size of your brush and just paint on your image. We see that we are revealing our image. Let's do this. For now, I don't like this particular brush. Let's try the watercolor brush. The water color. No water color. Let's take this guy, for example, just impute the size and try. You can see that it gives us a water cool effect. I like this one. So I'm going to now select one of these other ones. Let's take the smoke and compute the size. I'm not going to use my bracket keys to increase the size. Okay. Let's now do this. Reduce the size. We don't want to click and reveal this sharp edge of our image, so we just want to do it within very small area so that we don't reveal that sharp edge. Now we can see that we are revealing our sharp edge a little bit here, so we can press X to Tg between our foreground and background color, so we can have black, and then just click here to cover so we can cover that this sharp edge we are revealing. We can click a little bit on our image. Le increase the size, and we change the resa to get to go back to your brush. Let's see presets. A the brushes. Let's see this guy. So this guy we concrete the kind of. Let's hit X to make this white. Okay? Now we can see that this particular brush gives us the ability to rotate our brushes, our brush strokes. That after every stroke it rotates. Now, let's try some other ones. Let's see let's see this guy. Now for this one, we want to use it to me parts of our image. The mean parts of our image, maybe the eye area and the mouth, maybe we want to use it to clean the whole thing so that some of these parts become very visible. Perfect. Mm. We see that we are able to feel our image using our brushes and a layer mask. Let's try changing the color of this background. But that I'm not going to feel it. I'm just going to create a square and change the color. Take my square behind my image layer, and then let's see if another color work better. Very close to grey, also works well. Us Perfect. I'll do it. Maybe for an extra touch, we could just creates a new layer. Take the brush to, and then take some of these dashes. P the size. We want to sample our color here. This color this grey color. I'm just using my drop two. I just hit I for my drop two to sample this color. Then hit B, brush, go back to brush. Let's try doing this. I'm undoing some of the strokes, reducing my size again and then redoing it. Perfect. Close our brushes, conclude zero. This is what we have. Now you can have a text if you want or not. But for sure, you want to see this controls to see, come to your fda and classical girl exercise exercise. Perfect. Good. And there you have it. You classical girl image revealed effect using custom brushes f. So see you in the next one. O. 94. Exercise 23 – Dispersion effect: This exercise, we're going to be doing what we call the dispersion effects. So go ahead and open your file with the folder, and let's open one of these guys. Let's see view. Let's just preview. Let's review them. Let's see this guy. Not bad. So I'm going to go with this one. So click the Mn jumping outdoors and Perfect. Now, what I want to do first is I want to remove him from the background. So I'm just going to take my object selection to quickly select my object. Perfect selection. And next, I'll just select and mask. And Photoshop remembers my sentence, right? So I'll just hit ok, and I'll just conclude G to duplicate. And then go ahead and pret a new file. New file, e by e, e by e, f. Then go back, select my guy, bring him into my new file. Perfect. Now I can close my image. Yeah. So our dispersion effect is meant to give us an illusion of our character or subject dispersive. H that be dispersion. Of our character. You might understand that, but let's just go ahead and start creating. Create your Nula select your brush, be a brush, or select your brush, then go to your brushes. Now, under the brushes, we prot in, you're going to see this one called disperse, dispersion photos brushes. Then the are the ones, we're going to be using every other one. None of these are the brushes. You see the preview. Let's just review the size here, so we can see the preview better. This is it. This guy. This one This one, this one. So I'm looking for one that doesn't have too much of very regular pattern. Y that doesn't have street edges. Some of these ones won't work. Let's try using this one. First thing I want to do this to try this color, just paint. This is not bad conclu Z. Now, there are two tools we need for this effect to work. First one is the drop, it for hydropat and then sample the color of his body. Then B for a brush tool and then now you want to pint that it looks as if he's dispersing, like parts of his body are green out. That's basically the dispersion effect. And we can also sample our white color and pint. It looks like this disintegrating. We get that's basically the dispersion effect. Change the brush to this one. And we might need to also control our rotation. H. Let's see. Painting has to be so to Celeste with our whites. So I don't want to go into my character too much. Focus on the edges. On that and maybe make our brush smaller. It's not looking realistic if our brush is small. I made a mistake. I didn't create a new layer. I'm supposed to create a new layer. So I'll just undo some of the crush shocks and then create a new layer. So now we have a new layer. Now we can do this better. It means we can pinch. Like this and then go in and kind of clean things up. Well it like this, the paint. Don't do. Paint. Paint. Paint. And then I take my ears to, so it I keyboard or the ears are the go in. Since I don't want the effect to affect pieces like this, es pieces like this. I Perfect. Hit B, to go back to my push to so our arc is dispositive, right? Disintegrated. At this point, we want to change our brush. And these brushes all have square shapes. So it's really hard to use them. So we might need to always go in and clean things up. Maybe I'll go a bit deeper, y. And then delete the on the parts. I did that so much. Just the pots. Perfect. Now, I want to start painting the colors. What I'll do is, I'll create a newer, then start to sample my character color. Now, I'll sample this color, hitting I for drop two, and sampling, then go to B, then start painting. Painting. Now, I'll just hit E for my eraser to make this bigger and just clean things up. We actually want to be able to control the hardness of our za. Let's see if we can select preset for. Let's see that these ones are not too good. Let's go back. Let's see if we could use some of these guys for our user. Yeah, we can use our mean art brush for our user so that we don't get the remnants of the ones we've deleted, right? So select your layer back, and then let's sample our proser color. Sample the color and B for brush. The pit. So for this, we need to of course come and clean eyes like this, right? Clean this sky. Maybe our ears is doing too much, let's just go back to the tos. Now, this might take a long time to really get perfect. Yet take some time to really get something really good. So you have to be patient. So I'm just going to try to hurry this up. I'm going to create a new Leer and sample my color here. This particular color. B, then click. And apart from using my ears, I could actually use white that's doing this to cover up what I've, right? Yeah. So to have this also. Instead of just using the eraser. And it actually makes our particles smaller. Then it as and just delete these parts. So with this, you have to really go in and clean things up. But this is basically the dispersion effect. We're going to sell everything. And we can actually do more, but it's going to take so much time. I don't want our video to take so much time. But with this, we'll be able to create a statement. We I've been able to show you what I mean by the dispersion effect. How bad. It's going to hit D and x. D to take our colors, our background and foreground colors back to the default and then x to switch the colors. The background color is no black and the proground color is no white. Now, I just want to use this to clean up my effect. And we can save this control. And let's see this pasion. Save. Perfect. Of course, you can go in and clean things up and make it. But that's the idea. So that's it for this one. See you in the next one. 95. Homework: Hey, welcome back. So this is an assignment for you to complete. Now we are done with this S one more time and close, and go to the folder for this module, and you're going to see this image, these two images, this guy and this guy on them. You're going to use this one to do a dispersal effect, just like we did in the last video, and then this one for the vial effect. For the bruh vial effect. The image vial effect using the bruh. You get to. These are the two things we are going to do this assignment. Okay. So complete the assignments, be as creative as you can. You can add in a little more things. Okay, Mustn't be exactly what we've learnt. You can do more. That'll be incredible. That'll be nice. Kindly share your project with me. I would love to see what you come up with. Okay. So see you in the next one. Bye. 96. Module Introduction: In this module, we work on our final projects for this course. These projects will cover most of what you've learned in the past modules, and you'll surely learn some new 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 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. 97. Beautiful Nature design in Adobe Photoshop CC: Hey, there, welcome back. In this video, we're going to be covering our first design for this module. Now, this is our first design. This is beautiful nature. Okay. So this is basically a landscape image with a text, beautiful nature. Okay? And this is the mean walk in this design that's creating this text, this nature. Okay? So that's the mean walk, and we're going to handle this right away in Photoshop. Go to photoshop, click Open. Come to the folder for this module. That's 17 final class projects. Now, come to this image, beautiful Nature and open. So this is our image. On the next thing we're going to do is create our text, and we have our font in the folder in the project folder. Now, this is the phone I'm going to use. It's called clash display font. So I have included this font in keys. You do not have this font. Now, let's go ahead and unzip this file and then install the fonts. Just install the phones. We have different formats that you can install. Now, when you install the font, you come to photo shop, and then type nature. Now let's type nature. First of all, you can select the phone, so just come to your characters panel and type clash display. After you install the phone, your clash display phone appear here. So you choose the bold and then start to create your text. We're going to create this text character by character. So we're going to start with n, and then click and then hold down s by sel in our n, hold down ls. Let me just H do and drag to the right hand side to duplicate and then we have A. Then go back to your move tool, how l and drag to the right hand side. Then t. Go back to your move tool, how l and drag the right hand side to duplicate and then, go back to the move to and do same for the mining characters. R Perfect. Now we have our text Niche. Next thing I'll do is just make our text bigger. And then we need to arrange our text to overlap. Coming to the initial design, we can see how our characters here overlap. That's what we want to achieve. Go back to photo shop, and then we want to overlap our character. A is going to overlap like this, and then we have C, which is like this, and then we have, which is something like this. Then we have R, which looks like this, and then we have which looks like this Perfect. Now we can go back to see if we did the right thing and maybe adjust if we did not do the right thing. Maybe we take this guy. So these two guys a bit lower, then bring this one a plan case. And then, let's work on. Maybe our T. Okay. O T looks just perfect. So I think we can work with this. Okay. I think we can work with this. Maybe I'll just select these guys and move this just bits. Now the next thing I'll do is I'll select all all our characters. Then click here and make them bit bigger, M them this big, and click. So I'll just look at my text one more time to make sure I'm not p icing anything. I think n should be lower than T. N should be lower than let's go back now you can see, n is lower. Let's bring n lower. Dissolution too. You don't need to get it so accurately really. I can make s a bit different as far as it gives you what you want and makes you satisfied. So now I have my texts arranged just like I want them, right? The next thing I'll do is select everything control D. Sorry, control, not control D, control to duplicate, and then control G to group. So we have a duplicate of our text. Arranged this way. I just dragged the group to this position, so it's below these other texts, right? And the next thing I'll do is select my text, right click and go to rasterize type. We're rasterizing our type. We're making it we're turning it into a normal layer. G to I'll do this for all my characters. Perfect. So now all my texts have been rasterized. Now I'm going to teach you one little trick that has to do with selecting. So we want to add the shadows, right? We want to add these shadows you see. So A is casting shadows on n, then is casting shadows on T, and then R is casting shadows on u, and E is casting shadows on R. So we want to create these shadows in a way that they don't overlap. They don't fall out of our texts. And if we Try normal way of adding shadows. Let's see take a meta A and then give it a drop shadow. We'll see that let's just ree the size. We'll see that our shadows are falling off, right? So we can see that our shadows are falling off. But that's not what we want. And if we see we're going to paint on our liter N, let's see if we want to paint using a brush to We still see it falling off of litter N. So that's not what we want. We want to actually have our shadows inside our texts. So what we want to do is we want to select our litters, our characters, and then pint inside them. So we want to add shadows inside them. It means if we are going to be doing this the normal, we come and pick our selection too and start clicking and clicking and moving and basically selecting our sheets, or our texts, right. But that's not what we actually want to do. So we are not going to take this route. Now there's a shortcut to select. All you need to do select your guy here, your Lita N, then come to this T thumb Neil and then pull down control, and then click. So you have to hol down control and click on the Tomb Neil. So with this, you can now select just the characters. We get. So let me do this one more time. I'm going to select this. Then come and select my character. Let's see, I want to use Lita T this time. So select my character, Hol down control. Click on the thumbnail. So you see that my Lita T has now been selected. So that's what we're going to use to add shadows inside our text. So we're going to go back to our Lita N and then pull down control and click on our thumbnail and then take my ph to make my push a bit bigger. Just this big. Maybe a bit smaller. This is quite big. Oh. So let's see 700. So 700 ratio two and then let's just give it zero hardness, 0% hardness. Then now make sure our foreground color is black, so we need to start painting over our text. You see as I paint, I'm adding this shadow in very stain, right? And it's not falling off of our text. Falling inside our text. So now is what we have maybe just do this and then maybe add it so that effect is not felt so much. Get no. Go to our selection tool and click. All right, click and select. We see our shadow inside our text. Now we can do same for all the others. T is not overlapping A. So I don't need to select A. I'm just going to select t to add the shadow that litter U or will cast on T. Select litter T. Then take your brush to one more time. I'm just going to hit B for this, then start adding your shadows at this. Perfect. All right click and the select. Then now you have to select your DU. So who control and click on the um to select, and then tick your brush and add your shadows one more time. Perfect. Select. And finally, select your litter E. Then select your litter R and then put on control and click here to select, and then go back to your brush too and basically add your shadows. Perfect. So when you're satisfied with what you have, you click and select, and we have our shadows added, and it's looking so perfect. Now the next thing we want to do is select our n, and then go to filters, and then good noise and add noise because we want to add this green effect. We want to add this green effect. Just go on add noise. We we review the size or the dmunt. G. So 11% should do. So add and select your next character, go to filters, and you don't need to go to add noise this time because we have add noise here. We have our last filter here. You can just click add noise and you have our noise, then do same for all other characters. Perfect. Now the next thing I want to handle is I want to add drop shadow for our entire text. We get our entire text because I want our text to cast shadows on our background. So what I want to do is only add the shadows on this group of texts. You get. So what I'll do is click on them and then merge group. So they become one single D. Then click here and to add drop shadows and just maybe increase the acity this much. And click O G. Perfect. So this is what we have now. The next thing I'll add is my beautiful text. Beautiful. And maybe make it bigger, b bigger, then change the color. We have a color as yellow. Perfect. Now I'll just change my font to this fund. It's called Gibrla Smit to select the font. Maybe you don't have this font, and I didn't add the font initially. So what I'll just to do right now is go ahead and add it to the folder. So you're going to have this font in your funder also. You just install the font and use it. This will do. The next thing we need to do is just add our drop shadow to our font, and it's going to be a very sharp drop shadow. This is what we're going to work with. Maybe a size of three and. Perfect. On the final thing I want to do is come and give it a vignette effect. What I want to do here is just create a new layer, maybe and create a solid color layer and p. Now I'll just go to the mask, then take a brush to make it really big. And then just mark out like this. Just click maybe two times and then we have our Vnet effect. For this layer, may make the layer 58%, and maybe even reduce my phone size more and make the Vnet even more more beautiful. Perfect. This is what we have right now, we've been able to create our design or beautiful nature graphic. That's it for this one. See you in the next one. 98. Be the best poster design in Adobe Photoshop CC: Hello, and welcome back. In this video, we're going to be handling this exercise. We're going to be creating this design here in photoshop. So go ahead and open your file, open your folder, and then select this image. This young basketballer image, so select the image and open. Perfect. The first thing we're going to do is remove our character from the background. Please go ahead and pick the object selection two. And then I'll just go ahead and click on my character. The Foot shop is going to do its magic and select our character. And yeah, we now have our character selected. We're just going to come to my ball, and then click to select my ball. Then now go back and then select the quick selection and start adding to my selection. So I just want to add the hands or the fingers. So these fingers. I just want to add them to my selection. Perfect. Let's just check if we didn't select anything that we need to select. And we selected everything we need to select. Next thing now do is go to my select mask. Then just make the feather 0.1, and I think this settings are okay, click. Then just com J to duplicate our guy from our background. Okay. Now, the first thing I want to do after this is come to my crop two or hit C for my crop two. Then just crop this image, make this image. Because we want our design to feel this image. We get how to feel this piece. Perfect. So this is good. Go back to your Move tool and then come here. The next thing I want I just wanted to rep this guy so that I have a copy hidden so that in case anything happens, I can go back to my image. I'm real going to hide this one and then and now go to my text to. Let your text to and create theta S capital letters. He select S and then maker. And just come and choose a font. So we want to choose a font that is stick, and I'm going to go with proxima Nuva. Now proxima Nuva is a fit to use font for noncommercial use, like all the others which we've seen. Now I'm going to select the black version. And what I've done is, I've gone ahead and added this font to your folder. So you have the proxima Nova font in case you did not have it So we just select the black Russian and then make this big. So we want this pig and then maybe even big. See maybe this pig because we actually wanted to cover the legs. Let's compare this to what we have in our original image, and I think we have some little adjustments to do. Maybe I'll just move this guy to the right hand side to the right hand side, and, I think this. Perfect. I select your guy and give it the red color. That's the text, give it the red color. And now we want to come here, and then duplicate our guy again. That's our character. So duplicate this guy control G. One more time, and just hide this layer, and now come back to your Lita S. Cool down Control and click here, select your Lita S. Yes, so click to select your Lita S. Let me just shift this this bar. Now, what I want to do is come to my quick selection tool or any of my selection tools, right click and select inverse. Okay. And then go to my layer, my image layer. I don't want to pick my eraser two, so hit E on your keyboard for the eraser two. Then just right click and make this very hard. Then let's come and start erasing these parts like this. So erase this part, the image. And also erase this part of the image. This is what we have. This is what we want. We don't want to erase this part, but we can actually do that. Well, we don't erase this part when let's leave it. So go back to selection to right click and the select. Perfect. Now the next thing I'm going to do is unhide my second image layer, and then hold down. Then come and add a layer mask and inverse layer mask. Okay. Now we can see that you have the black color filled into our layer mask. Now, we're just going to tick our pain to or add our push to. And then let's right click and make sure we have the hardness, the maximum and maybe the size to 290. Then let's click here to reveal the ball. And his hand. So we want to just do this in a way that the legs or the other trousers do not be refeel. So we just want to refeel the hands just like this. Perfect ns. Me this even smaller brush even smaller and then we go in and hit X for the inverse so that we can now mark out these parts of the neck or the trousers that's got added. Mask it out. This. Perfect. I think we do it just this part. Okay. Perfect. So this is what we want to have. Now the next thing I'll be, I'll just select this Lia and select this La. I click March Les so that we have this. Perfect. After here, just select my guy, come to image, come to adjustment, then give it Q and saturation, and I just want to reduce the saturation to this level. I just want to reduce the situation to like 85 or 83, and then we'll that minus 83 and then heat K. And now let's just look at our design to see. Now we can see that our image has a bit more contrast than what we have here. So just select the guy, heat control L, then bring up our levels and just make this a bit more contrast and k. Perfect. Now the next thing I want to do is create this effect. Now we can see when I zoom in, we can see this color shift effect. You get this color shift effect. Now that's what we want to create. This effect is very popular and very common in glitches. What I did is Come back to my image, right click on my image and then control j to duplicate it. Then just click, go to the blending options. Now in the blending options, you're going to see these options, right? What we want to play with is these channels. These channels. We have the RGB channels, all checked. If you uncheck the r, you're going to have the G and B channel, that's the glen and blue, and if you uncheck the green, you're going to have the blue channel. So these are what we want to play with. So leave the red channel and then k. Now, I got to see any much difference, but now I'm going to use my keyboard keys, my arrow keys on my keyboard to move our image. Now you can then see the effect we get. Perfect. This is the kind of effect we want to achieve. This will just two and maybe control to add another one. And for this one, we're just going to maybe leave I'm just going to leave the blue, and then move it to the side. Perfect. So this is what I want to create. Now, I just want to create my background. Come and tick your rectangle to click and just click and creates a background. Now this is black. Just going to drag this guy below, leave it here below our lit S. Then let's see. We have this background that has this green f. So we want to leave it like this. Then O. Perfect. This is what we have so far, and I like what we have so far. And next thing I'm going to do is come to my final projects folder, and I have added this guy. It's called the crunch. Okay? It's called crunch. I just let the image and drag it into Photoshop. It's a grange effect, and it's a PNG image. You're going to have it look like this, and all you then need to do is just kill it, maybe on and scale. It's like this, and. Perfect. This is what we now have. So let us look at our design, see if we're missing something. Maybe we need to make our design a bit bigger. So I've selected everything. Selected my background, and also my crunch and click here, and then put down click and drag so that I make my image and my text bigger. Perfect. The next thing I'm going to do is add these effects, right? These effects, and then the text. So the text is be the best. Be the best. So go back to the photoshop Take your text to, and then lets just write the best. Now I'm going to use this phone. I'm going to use the phone we used the last time. I'm going to use my Gibra Smith phones. Click this speaker. Then click here, then choose this color. Click. Perfect. Then we want to have a duplicate. So I just held down all rag to duplicate this, and then I just want to make this captain letters and type it's going to be the best. For this one, I'm going to e. I'm going to choose the Proxima fs. Proxima nova. I think we used this font for the last we didn't use Px Manoa. But we actually used Px Manu for this one. Now this is Px Manu, this text here. I don't know if I mentioned that before, but this is Proxima Nova, and I also have the font in the projects fold. This is Px Manuva. You just have to install this font and you're going to be able to use it like this. Now I want this to be Proxima two, and I want this to be Let's see. Proxima Nova, and I want this to be Extra poll. Perfect. So it's B the best. Let's change the color to black. Let's see what whites will be. Let's just use white for noun and then for this one. Sorry, for this text, the best, I want to first of all, go and give it drop shadow. Or instead of drop shadow, I want to make the sticker. But unfortunately, we don't have options, right to make the sticker. So what I'm going to do is just come here, click here, and go to the color, and you see this code, this color could just right click on it and copy and heat okay and click here and go to stroke, and then add the stroke. Now we want to go in and then piste our color, so control V to piece our color and heat ok so that our stroke is the same color as our field color so that it doesn't look awkward, right? Perfect. We've just added one pixel worth of size to our stroke. I just hit okay to finish everything up and then and then select my B position it well, so we have B the best. One other thing I could add is a drop shadow. Add drop shadow to your text, the best. Okay. Now, drop shadow. We can just adjust the size. Maybe the sites should be this peak, and then opacity this much. Perfect. So we have be the best. Again, there are some other effects. We should add this effect, this effect and the background effect. I want to add the background effects first. I feel the rupture is a bit too much, but let me just finish all the stuff first. For this, I'm just going to my a here and then click make this bigger. Maybe I just want to create a duplicate so that I have this one ped up to create a duplicate, make this bigger. And you can see that it's below or behind our background. This is what I want to do. When you have your transformation active, you're going to have these options on this bar here. Now, this is called the contextual bar. And we're going to look at this bar and use it even more in the advanced course. You have these options. Click this one, and it's going to flip it this way. Going to flip it this way. You just click this option and it done. Then now let's give this black and white, ck black and white. Black and white, then let's bland this with our background. Let's give it hot light, then just reduce pacity to this. K. So this is what we want to have. I'm going to reduce the drop shadow here because it's too much. It's too much. Maybe the size maybe reduce the size and opacity. I'm going to come to that litter. So the next thing I want to handle, is this guy, this guy, this guy. So for that, I just need to create go like this. Then give the color. Come to the color and then remember we have you can either come here and select this color, come here and just piece the colo, this is what I had in mind. I'm we're going to pull an t and reduce the size of this and then this. This, perffect. I bring this guy way down. We want it here. We can also do control G, I duplicate, then we want to move it here, but we see that the grunge layer is topping, right? So we want to undo, and we just want to lock this grunge layer. So we lock the grunge layer and select the guy, move it here. Perfect. Next, we we create our ellipse, the same color, control V, then bring it way down. Perfect. Position it well. Basically, this is what we have now for the drop shadow. I just want to let's see, make the size very low and this stands make the distance just as much and he and perfect. Now we have our design. Let's go back and I prefer this one to the original. Don't with this one, see you in the next one. I'm just going to see this one to control S, then see its young Masco H C. And I'll do same with the beautiful landscape design. So C S. The beautiful landscape save or beautiful nature. So PK and we have our foot files, or pot design saved. Okay, so this will come to the end of our second exercise. Hope you learned something new. So see you in the next one. Bye. 99. Torn Paper Reveal Image in Adobe Photoshop CC: Guys, welcome back. In this video, we're going to be working on this effect in photo shop. So this is basically a PPA T reveal effect. We're going to work on this in Photoshop. So go to photoshop and file open. Then bring in our image. We have this bearded man witht. Click on the image and bring in the image. But not just this image. We also want to bring in the torn pipa image. Pull down Control and click this other one to bring the boot images into Photoshop. Perfect. Next, what I want to do is click on my image here. And hole and bring it into our bearded man with hot image, drop it, maybe recize this to this point. Okay, and just kind of position it like this. Perfect. Let's look at what we have here, and we can see that the colored image is in the background. And then the black and white image is the one that was torn out. So it means the black and white image is going to be on top, select your background, control G. Then come to image. So let's just hide this one. So we see what we're working on to select your image, and then come to image adjustments and black and white. Perfect. Now, we want to just play around with some of these presets. Let's choose the blue filter preset. Okay. Now on height, my image. That's my paper. Then the next thing I want to do is I want to come to my quick selection tool, select my quick selection tool and then select my layer, that my paper, and then start to select these omost part of our tier effect. You get select the atomos parts of our tier effect. I'm ing, making sure I select as much as I can. Selecting the shadows. As of the shadows will also be good. Perfect. I'm just going to make my bruh smaller and then select this part also these parts, and select more B. Keep selecting. Using our peak selection too. So I just did it too much. I control Z to bring it back to this, do it in control Z. We don't want to select the whole thing. We just want to select this part, right? So have to be careful. Let's just go ahead and select this other part first. We want to join it like this and then continue our selection. So we can even go down like this to add some of our shadows. Contro Z. So we can see that we've selected all our shadows right, so we can just add the other parts that we have left out. Now there is actually an easier way to do this. But I don't want to shade in this course but I'm not going to shade because this is get me frustrated. Okay. So there is an easy way to do this selection. We can just hit Q on a keyboard. We're going to have this. Okay. We can now take our brush to and then maybe make it, bit bigger. And yeah, we could hardness to this level or at this level. And then just kind of sorry, um, come to your foreground color make this white. That's we do this. We can now paint over your image like this. You can paint over your image like this. In fact, we can make our brush hardness bit bit accommodating so that we can have a smoother selection. I think that will make more sense. So this is an easier way of doing this selection, where it's more advanced way of being the selection. So it's going to make our work easier. Lets just use it. So it's just a very quick short cut, you just have to hit the Que on your keyboard and you'll to do this selection. So we're basically using our brush to paint our selection. Basically in our brush, pint our selection. So this is just perfect. Now, when you're done selecting, you can Q, and it's going to just select that part K which you've selected. Now, let's just contribute J to duplicate this part. If I just hide the paper, we are going to see what we duplicated. So this what we duplicated, this part this part. And on hide our layer. What I want to do is, I just want to add more paper make our paper fell in these empty spices to select the guy here and then just come to this rectangular, Mike select tool. Let's just make a selection. Sorry Let's just make selection like this. Select this and then contro g to duplicate our selection. Just bring it below like this. And then come add a mask and its B for your brush to make your or your hardness very low, make the size big, and then just start painting on our edges so that we don't have sharp edges any longer. Yet if you're ocuate it, go back to your motto and you can just keep duplicating this guy t G, and bringing it lower to feel in our space. In order to create this kind of variation, I'm just going to click the edge here and then come and flip it like this. So that we have this part here. So we have this kind of intelligent variation. Now, I've just selected the two layers and hold on and grab them to fill in the remaining space. Perfect. Now, I can do same with this other guy. He select a guy. Then take your rectangular, and select to select here control G. Hits V. I go to move to, and then just move this up, and give it a layer mask. Hits B for brush, and just pint over the edge to remove the sharpness, then contro g, then move it up. Fill it. Perfect. Now, all you need to do is to select all the layers apart from this topmost one, right? To select all of them, including the Layer one, and then I click and Merge layers. Sorry. I did merge visible now. That's not what I want to do. I just want to Select merge layers instead of merge physics. Select merge layers. Now we have people feeling the whole space, right? Perfect. Now the next thing I want to do being my background or my my black and white layer on top here on top of here, maybe not yet, not quite yet. What I just want to do is kind of just mask this space, this particular spiece, out of my black and white image, so I can reveal my colored image. You get reveal my black and white image, just create layer mask, and then take your brush to control or at B, and control, and then just make the hardness 100, I use the size of the brush like this. And start painting. Start painting. Paint here. I just want to paint over this piece. Paint O this piece. Perfect. Sorry I selected this guy. So let's go back to my brush to and just completes my painting. You can see that our whites or our colored image has been reviewed. Perfect. The next number will be just select my guy and then kind of blend. I just want to blend. So let's see let's see hot light. Hot light is in apartment and just reduced opacity. Okay? Perfect. No, I just want hide my m. That's my my tear effect. Let's see. Hey, I think we need to reduce our opacity even more. Maybe this will do. And just select my guy are control L for levels increase the levels. Yeah, this is basically it for this effect. Now you can just see the effect to controles, and let's see if it bedded man with hut. Let's just add it at, and let's just add T PP reveal effect reveal effect. And heat save. Okay. Perfect. This we've come to the end of our exercise, and yeah, this is how to creates a PPA TA reveal effect in food shop. We see here in the next one. Bye bye. 100. The money effect in Adobe Photoshop CC: Hey, dear, welcome back. And this one, we're going to be creating the money effect in our photo shop. And this is the money effect. Now we find these effects on currencies, and we're going to create this right away in photo shops. So Bout photo shop, and Gut Pu jacks Folder. And in your project follow, you're going to see this professor, this image, the professor. So click on the image and bring it in. Perfect. Now, the first thing I want to do is I want to reduce our image size because our image size is quite big. So go to file and adjust or rather go to image and instead of adjustments, go to image size. G, now, this is our image size. We see 44 " by 53 ". So what I want to do is just met this 24 24 ", and then it. Perfect. So this is our image now. The next thing I'm going to do is Here, come and add the solid color. I want to make this this color. I want to make this color. You can just come and copy the cotate grey color. This is the color code and you can hit k. Perfect. The next thing we're going to do is turn our layer here into a smart object, so we convert to smart objects so that our effects are not permanent. So we can go back and address our effects if we don't like how the. Perfect. The next thing we'll do is no go filters, and go to filter galley. And just sum out so we can see what you're doing. Now we want to go to our sketch, go to sketch, and then we want to add two effects basically. We want to add two effects. We want to add the half ton effect, where is the half tone effect on is the half to effect, half ton pattern, and we want to our half ton size a t, and then even on contrast, we want to leave it at B three. We can also come back later on to maybe adjust the sentence. If we're not satisfied, of course, we what we have, right? So we're just going to work with 33 and then the dots. Then for the pattern type, we're going to choose dots. Yeah. We should work for now. Then for the next effect, we're going to add the torn edges effect. So just come here and click on new effect. So for this one, we're going to add the torn edges effect. For this guy, we're going to do some more adjustments. For the image balance, we're going to make this 26. The smoothness. Let's make this 12. And then for the contrast, let's tick this down to two. Let's in a bit to see what we have. Yeah, let's work with this for now. So when you are done, just click, and the effect is added. Now the next thing will be to change our blending mode to hard mix. Perfect. This is what we now have. Just select our color filler again, then come to filter, come to distort, come to Twirl so that we create distal effect. So just 100 and let's 120, should work. Now we see what we've now been able to create, right? Perfect. We've now been able to add this two pattern that makes our artwork even more complex. That's good. And the last thing we want to add this, we're going to add an adjustment er. We're going to add a gradient map. If I upgrade the map, just click a to change the colors and we can change the colors. Now we can either pick presets if we want, or you can just come ahead and change the colors to what we want, maybe whites. This could be green. Okay. Perfect. So Let's maybe make this a little bit greener, a little bit greener. And heat. Let's make this maybe a little bit. Perfect. This is what we have. C we have the mon effect. If you're not satisfied with the outcome, you can always go back to your effect. You can always go back to your effect that your tone age effect and your half tone effect, and you can always make adjustments, always make adjustment, maybe let's emphasize to f and. We've increased our size to four and this is what we have being to hit contro Z to tick back our size 23. To this is the size we want to work with. So the uses a bits greener, Bats ger. Maybe I'll just address the greens to look a bit darker. And heat O and O G. Perfect. Now, this is the moon effect, very simple. Okay so control S s, and you can see it as profess and then the moon effects. Perfect. See you. And with this, we've come to the end of our exercise on the morning effect. See you in the next one. 101. Broken Skin Effect in Adobe Photoshop CC: Hey, dear. Welcome back. Now, this is our last video for this module. And this video, we're going to be working on one final effect. This is the last, but not the least. We're working on this broken skin effect. So you're going to be breaking his skin. Okay? Zoom in and see the effects of close. So we're actually cracking the skin. Okay. This is what we're going to be creating right now in the photo shop. So go ahead and open the image. Now this is the image, Mac Jones, and click open. Perfect. And you also want to open one additional image. And this is this image, the broken ride mode image. So click open to bring it in. Now, click here, drag and bring your image here. And you guessed it. You're just basically going to be blending our two images together, or blending this image to this image, right? O with this image. Perfect. So that's what we're going to be doing. So it means we're gonna be using our blending modes, right? Yeah. I'm just going to repeat our image like this, make our image bigger, just adjust our image like this. Perfect. In fact, I don't want this image to be this big because I don't want the cracks to be that big, so I'm just going to have two images. One here, that's this big and t and drag, to have another one here. That is this big. Perfect. The next thing I'll do is select these guys and then give them a blending mood. Select multiply. Yeah, we don't have effect. It's that simple. You don't have our effect. Do seem with this other guy. Select blending moods and then select the multiply effect or the multiply blending perfect. This is all we have. I'm just going to select my image, L for my levels so I can make The cracks even darker. So these are my cracks, increase the contrast of bits. Perfect. And I'm going to do same with this or the image. Control L from my cracks or rather for my levels, and then just boost up the levels a bit and make our cracks more visible. Okay. Perfect. Now. The next thing we want to do is just start blending out the unwanted parts, right? So select your image, put down and give it a er mask, and inverse layer mask, do seem with the other one. Perfect. So let's just bring this guy up because it's the image on top, right? And this guy is the crack on the chest. So I'll select the one on top, s your er mask, select your bush to with this beaker. G, so this work, then you start painting. You have to do this, then start painting. Of course, we see that our bush is very hard, so we don't want our push to be hard. We just red the hardness. And even the size, I think we can re the size, but we should re the size. And 1083 is perfect. 1083 pixels is perfect. So we can start adding our cracks. Click and just click a couple of times to make to make the crack more and more visible. Then just do this we don't want to exceed this please because we're going to have the sharp edge effect, which doesn't make the whole look realistic yet. So we just are going to work on species like this. Click click click, Pret crack. Maybe pieces like this. Quickly click, creti crack. We see that we need to just clean out thistle guy because we're still having that sharp edge effect. At x for your black color, and then just click to blend out this piece. Then maybe reduce your b size and at x to swap the colors and so that we can work on this smaller piece here without affecting the bigger part. Perfect. I'm just going to add my crack here. Okay. Maybe I want to add, let me see. Yeah, I don't want to add my cracks here. I just want the cracks to be here and now on the chest, right? So make my brush bigger, add my cracks. Need to select this guy this time, select my mask, and then now pain. Perfect. This is what we know have? Let's see our image. Let's compare it with our image. On our original image. We actually have cracks here. So I'm just need to reduce my pre size, and then come back to my image. My cracks. Perfect. But I don't want this blackness. Here, I don't want this blackness. What I'm just going to do is hit X, then reduce my size, so I can eliminate some of this blackness. Okay. Perfect. Perfect. Maybe even to see here. Perfect. And also you walk on. This is like this. Go back to move to and control zero. And yeah. This is our broken skin effect in Adho. And with this we've practically come to the end of our module, and of co. So see you in the next video, which should be the. So see you. Bye bye. 102. 108 Conclusion: Hey, D, I'm really happy you met it at the end of the course. Really excited. You chose this course, and I'm really grateful you chose this course. Ian's a lot to me. Okay. Now, I just want to make sure we're on the same picture. Now, this is the B photo shop fundamental course. And you've taken this course because before you took this course, you basically knew nothing about photoshop. Okay? So it's meant for beginners, and it means there is more to learn. Okay? Now, we have another course, which is the advanced course, and I will strongly recommend that you jump to the advanced course immediately after you're done, with this course. Immediately after you're done, it's the fundamental course. Okay, so go ahead and enroll in the advanced course and further your knowledge. Okay. So how can you become better? Basically by practicing what you've learned? So I expect you to do whatever we've learned over and over again, and you're going to get better at it. Okay. So you should also try to kind of have a portfolio. Of your project. So we've walked on quite a lot of projects in this course. We can keep those projects and create a portfolio with those projects. Now these are projects which you can shoot to clients and shoot to your friends and well wishers so you can see the progressive meat. And so you also can reflect and see what you have been able to achieve and what you've learned. So you can shoot to clients and claims to see these projects and know that yeah, you can handle that particular project you want you to handle. So create a portfolio. That's very important and practice and practice and practice and practice because that's the only way you can get better That's by practicing and rolling the advanced course to learn even more and expand your knowledge. Okay, so that's basically what I want to cover in this concluding video. And I have other courses. On B products, which you can also learn, which I recommend you to also get. Now, this will make you a better designer. This will give you a holistic knowledge of softwares. Now you have to learn softwares to become better designer. Okay, so you can also get B Illustrator courses. These courses will teach you how to use AD Illustto like a pro, and we also have lots of projects in these courses. Okay, so it means when you're done, you will have a lot of projects for your portfolio also. Okay. And I also have a course on motion graphics, but that's maybe for ta. Okay. I cannot want you to focus on design. Okay, since you're taking the photoshop fundamental course, I can't want you to focus on design based softwares for now. Okay so just master Photoshop, master that to be sido. And when you're very comfortable with the softwares, you can then look outside to start learning motion graphics using software after effects, which I have a course on that also. That's it for this video. Once again, I'm really grateful that you've chosen this course out of all other photoshop courses. O for this video, guys, and I hope to see you in the advanced course. Bye bye.