Original subtitles

Photoshop is a creative design tool

that can help you to make professional photo more beautiful.

It can give you the power to do things you always wanted to do with your photos

because it is designed for photographers, graphic designers, video editors,

web designers, and other type of digital artists.

Photoshop is created by artificial intelligence and deep learning technology.

Photoshop knows how every detail of every photo works together.

It automatically understands what works and what doesn't and why.

It gives you the power to quickly and easily creates stunning results.

And Photoshop is easy to use,

just like a traditional Photoshop, but much more powerful.

It can learn by itself and make designers job easier and more efficient.

Well, the secret sauce of this A.I.

is a layer of neural network that access brain to the program and that it's trained

with millions of images to be able to recognize specific traits.

Because of this brain, the program is able to perform actions

on the image with similar accuracy as with humans.

The flow of Photoshop is designed in the way that the user

will work on an image like he or she normally would do in Photoshop.

It is not perfect yet though, but with the support of air,

the program will automatically make minor adjustments

to these actions and then perform time to time.

It may lead to the users to a different direction,

but it definitely makes the work easier.

This course is your first step into mastering powerful applications

and this module.

I'll show you how to get started in building the foundations that you need

to broaden your knowledge in Photoshop.

What you will learn here might be all that you need to know.

We will tackle the most important concepts in the program, like its interface

selections, layers, photo retouching, image adjustment and more.

At the end of this course, you will be able to understand

key digital concepts like resolution output

and how to navigate successfully in the program.

Adobe Photoshop is an important tool that graphic designers,

photographers and digital artists must be familiar with using.

If you want to deepen your knowledge that we discuss in here,

I strongly recommend that you check out other topics that we prepare for you here.

Without further ado, let's jump in and start our journey

with Photoshop Fundamentals.

In this lesson, we will familiarize ourselves

with the working environment of Photoshop, learning how to navigate within

the program will make you more efficient as a digital artist.

So to start off after you launch Photoshop

from your computer, this is what you will be greeted with.

We call this the welcome screen.

Anytime you open Photoshop without an image or artwork.

This is what you will see.

This welcome screen gives you the ability to open

different kinds of documents or create a new document.

If you look at the left panel of the window,

you will see different categories.

And what's selected right now is the home screen,

which is what we're seeing at the moment.

It shows the welcome greeting with your name,

the most recent image or document that you opened and tutorial

that you can browse on on Adobe dot com to perform

specific task in Photoshop.

Now, if you want to hide this area, you can collapse the suggestion

on the upper right hand corner of the screen.

And as you can see, there are two types of view at the bottom.

And what's showing right now is the thumbnail or channel of you.

Now, if you have a lot of documents and wanted to see

most of them, the list view will be able to help you.

So as you can see, if I click it, you will notice that the view change

into a list of documents with more details.

Now, if you can imagine with more work

that you do here in Photoshop, this list becomes populated.

So if you want to search a specific file,

you can filter it when you need to on this field.

So this is very handy when you're

when you have a lot of files already in the in your Photoshop.

Now, as you type the first few letters, you can start to see that

the file that matches it appears

and anything that does it will disappear.

So this filters like a shortcut in finding the new documents

or documents that you are looking for.

Now, let me just navigate back to the title view here

and go to the learn category, which gives you a table view of tutorials.

Feel free to browse here.

This a very powerful tool you can use when starting off with Photoshop.

Now you can also view files that you saved on

Adobe Cloud here on your files category.

And if you look at down here, there is also the deleted files,

and the deleted files will be here

until you permanently delete them.

You can also import photos from your Lightroom library.

And lastly, you can either create a new file or open file.

What happens here is that when you open the file,

it launches your system to browse the document that you want.

So this is the initial interface of Photoshop

on on our next lesson.

In this lesson,

we're going to be taking a tour around the interface use of Photoshop.

Now we will

be starting off with this blank document

only because we won't see other panels

if we don't create a new document.

Now we learn a little bit

about selecting options in the menu up here in the last lesson.

So we'll call that the menu bar.

What you should Know about Photoshop.

Actually, many Adobe applications are the same.

Everything is referred to as a panel.

So right below the menu bar,

we have our control panel, which basically shows

different controls or settings for tools you have correctly selected.

For example, right now I have the MOVE tool selected

and if you look up here, you can see things

related to the move to

Now, if you come up here and click some of this different tools,

you'll notice that the settings in the control

panel changed based on the tool I have selected.

All right.

Now let me just go back to our Move tool here.

So up here you've got your document tab,

and below that you've got your document window.

This consists of your canvas.

Now, if you look at this one, this big white square here

on our screen is our canvas.

And then this area outside of the canvas

is called the scratch area.

All right.

So that's the document window.

And now to the right and left.

We have more panels over here on the left panel.

We have our tool panel, which is currently a range

and sort of a single column

so we can expand a panel

whenever we see one of this, a little global white arrow.

And if I click on that, you can see that

my tool panel changes to two columns.

Now, we have a lot of space down here that isn't being used to its fullest.

So what I usually do to utilize my tool is to put it in a single column view.

All right,

now, over here on the right, we also have some other panels.

And if you see there, there's kind of a lot of things going on here.

We have a lot of different panels.

And we also have some column here that looks like a cluster of tabs.

And anytime you have two panels together

like this, it is called the panel Group.

So that panel group can be minimized

simply by double clicking on one of the tabs.

Or we can also click and drag

one of this panels and move it out of the panel group.

Now, this is what we call the floating panel.

And as you can see, the panel is being floated at the moment.

And if we want to put it back over, we can do so.

You'll notice that when I move it

over here, there's sort of this blue outline, it appears.

And you may also notice that

at several other places, depending on where I move the mouse,

the blue outline also shows.

So this bar is right

here are called your drop zone.

Now, if I wanted to drop that right back where we got it,

it will highlight this panel here.

All right. So now I'll drop it.

And just like so we have it back on this panel

so you can see they are not exact only in the same order.

So we can just like with our document tabs, just click on the tab and drag it

to the left or right and we can reorder the panels in that panel group.

Now, we have multiple panel groups here,

and you could see here that we got

adjustment libraries and properties.

Also, we've got layers, channels and paths.

Everything that you see here is known as a panel dock.

And anytime you have multiple panel groups

arranged in a vertical format, it's going to be referred a special dock.

Now, if you look at here, we still have a couple of other panels.

These are in separate groups.

You can see that if I click on them, they expand.

So we have a version history.

We also have comments and history.

Now, we won't be expanding the use of this.

It will be covered on a much more advanced topic.

All right.

So over on the very far right hand side, you'll see this little dropdown.

And if you click that,

it will show essentials.

You can also click this icon here

and it will also show the same selection.

So all

of this arrangement of panels that you see here,

this are like preconfigured workspace known as the essential workspace.

Now, if we want to make some changes here, we can

just take out some of this panels right here

and let me just stick this one out, too.

And again, this panel right here and another one right here.

Now, let me just close this one here by clicking the icon here.

All right.

Now, we've made some changes to this

workspace that the configuration of this workspace.

And now we could actually come over here inside

if we want to reset it back and just click this dropdown again.

And then you can just

click on Reset the Essential Workspace.

Now, when I did that, almost

all of the panels went back to where they started.

So you'll notice inside also the workspace switcher here

that there are a number of different reconfigured workspace.

So we have our graphic and web workspace.

It got some arrangement of panels

that are all related to graphic and web designing.

We also have our photography workspace

and of course, photography related panels will be loaded.

So you have a few types of workspace here.

And aside from that, you can also even come in and create your own workspace

if you choose to.

Now let me just go back

to our Essentials workspace here.

All right. Awesome.

With that, let me just go in here and let's dive into this panel

because there are a lot of customization that we can do with panels.

For example, in the history panel here again, you'll you'll notice that

there's a little double white arrow again indicating that we can expand it more.

So let me just go ahead and do that.

And as you can see, it expanded.

Now, let me just collapse that back again.

And now if I move over to this side of this panel dock,

you can see the cursor change.

And that would mean that we can drag it.

And as you notice, if I drag this out,

you can see that the

actual panel names are here than there.

Now, this is pretty handy, actually, because when you're

having issues, remembering by just looking at the icons,

you can just drag this out and just let the name show.

Now, I don't know exactly what type of jobs you are redoing,

but typically the way I work inside Photoshop is a fine balance

that I'm going to use.

And I usually

only have them have only those open

and I usually arrange them here inside the interface

in such a way that my workspace is nice and clean.

Again, we all have different presets.

It may be fine for you to have all of this things open

where you can work here in the middle of something and you can kind of

balance back and forth between various panels.

But again, that's totally up to.

All right.

So let me just go ahead and come over here and just reset

my essentials workspace one more time.

All right, cool.

Now, when it comes to sorting

or cleaning up your work area here inside Photoshop,

there's one thing that I do quite a bit, and that's to hide my panels.

But there's a couple of ways you can do this.

And if we want to hide all of the panels as well as the toolbar itself,

we can just come over here and simply hit the tab

key on our keyboard.

And now you can see here

not only our panel docs that hidden, but

as well as our tool panel and control panel.

Awesome.

Right now we've got a nice clean workspace here,

unobstructed of other panels

and we can focus on the artwork that we're creating right now.

All right.

So let me just hit the tab key on my keyboard again to bring back the panels.

Now, another thing that I do quite a bit is

I'll hit the shift key on my keyboard

and then hit the tab key again.

And what's

that going to do is to,

like, hide only the panel dock.

And as you can see here, we still have the tool panel in, the control panel here.

With that, we still have all the access for these tools

and we can still continue working

while having a bigger

look on our artwork, like a more space

on our artwork.

All right.

Now, again, I'll just hit the tab key again

and we can bring those right back now.

Again. Awesome.

Now, you probably notice that

there are more panels inside Photoshop than just the panels we saw.

There are also a few different panels.

Once we started switching through the different workspace,

we can actually get to those.

So let me just come over here under the window menu and you can see here

there are a number of panels available to us.

So maybe we want our character panel.

Maybe we need to do some touch work with.

So now you can see here that opening that character

panel opens up both the character and paragraph panel,

and that's because they are part of a panel group.

So again, all of these additional panels

can be found under your window dropdown menu here

and now.

That's pretty much all of it.

And this lesson we've learned a little bit about the Photoshop interface

and we've kind of learned some terminology

in some ways that we can customize of this interface.

Now that we're familiar with this, we also need to know how

to look at different presets when creating our new document.

So on our next lesson, we will dive into creating your first

in this lesson will be

creating your first document here in Photoshop.

Creating new document in Photoshop is pretty easy.

You have a lot of different options in terms of how

you can go about creating a new document.

If you're working here within the starting homescreen,

you can always just hover and click the new file on the left, bang

a different screen shows.

If your currently or recently working with document.

So another way to open the new documents should come up to the file menu

and from the file and you can choose a new.

The shortcut key for windows is control and

and command and for Mac.

Now the control panel will open up after you click the new document

and a dialog box will pop up.

This dialog box is a bit large.

It may be overwhelming at first, but don't worry, we'll basically section

right now.

Now we're

in the recent section and what will be displayed

here are different types of documents

that you've set up recently within Photoshop,

and those presets will appear here or templates that you work with.

Next would be the saved section, which will show you templates

that you work with or any presets that you've saved personally.

And now we have a series

of different categories up here towards the top.

We have a photo section for photographers and if you notice, there are templates

that are ready for use, which is pretty convenient, you ask me.

We also have the print section for printer designers,

which shows us several sizes for printing.

We also have the art and illustration section for graphic designing.

Then we have web for web designers, mobile for app designers.

And lastly, we have a film and video.

Now, basically what this sections

are, are a series of different presets.

Now let us come over here.

Let me just use this photo section, for example.

We'll see document sizes that are commonly used by photographers.

And not only do we have this for, but there's some more and we can view them

by clicking this button to view all recents.

And now you'll see the window expands to show you all the presets.

And at the bottom on that you can also see templates

that are available to you free from Adobe Stock.

You can also take that one step further

and search on Adobe Stock

on this dialog box right here.

Now again we have a photo as a series of presets here

going back to the French section, you can pretty much

see the similar look that we have in the photo section.

If you are looking for ideas, you can just check out the templates

available here from Adobe Stock.

Now. Well, feel free to download them and use them however you need to go.

So moving on, if you notice the web mobile

film and video category are four documents that would be presented on screen,

and the first three, which is photo footprint art and illustration,

are generally documents that will be printed.

And because of that, you'll notice that the size of the documents

are being displayed in different unit of measurement.

Now, let me just start a name in here for my document.

Let me just give it a unique name, which is a document

I really don't know what to type in here, so let me just put in anything here.

Let's not make it hard.

All right.

So you'll also notice at the bottom, we can modify the width and the height

if necessary.

You can also set its orientation to landscape or portrait. And

if you notice the width and height swaps number, as I toggle between these two

and now,

as you can see, I will be displaying

this using inches for us on the print category.

It will be displayed using pixels.

So again, these are nothing more than starting points.

We will talk about artboard in another lesson,

but it's really a way of having multiple workable areas

within Photoshop

again, resolution

color mode and bit that are more advanced topics

that we are going to tackle about in greater detail in a future module.

But if you need to change any of this attributes, you can do so.

Likewise, you can also change the background contents,

the background contents of the document, if you want it to be white or black,

or if you choose to have it transparent,

you can just see it here on this dropdown.

All right.

So again, we also have some advanced options here

which deals with color profiles and social aspect ratio.

Again, we don't really need to worry about these advanced options.

We'll we'll be punching them in the future clips.

But now I can just focus on the basics.

And now if you're happy with this parameters

that we have established, we can save this preset.

And normally we do this.

It will be working on a lot of projects

that will be having this same presets.

So if you're done with that, you can

click this little icon right here.

And this case, I'm going to be kind of specific

with the dimensions to me a few.

All right. Awesome.

And then I'll just put in a name here.

We'll call it Custom Landscape.

All right, So that's done.

I'm going to hit Save and now that's available within

the save section on this new document dialog box.

So once you're happy with all of this parameters,

you can just come over here and click create.

And when you do, a new document is created

inside of Photoshop.

We looked at how to create new documents in Photoshop in the previous lesson.

Now one of the options for creating

new documents is to work with art boards.

If you work with art boards in other Adobe applications

such as Illustrator, our are similar here in Photoshop.

If the implementation are a little bit different, they're pretty much the same.

But then we're not going to talk about much

about art works here.

And if you're going to be working

with art boards a lot inside the program, I strongly recommend

that you look at one of the courses here, which is a Photoshop for web design,

and now art

boards allow you to display numerous pages

or screen within the single document, which is particularly beneficial

if you're working on a website mockup or a mobile application mockup.

But then in this lesson, I'd like to simply give you a general overview

of how to deal with art boards so you're at least comfortable with the tool

to achieve this will create a new document here

on the homescreen by clicking the Create new button.

If you're not on the home screen, go to the file menu and select new

or use the keyboard shortcut command

and for Mac and Control and for Windows,

all of these options will launch the document dialog box.

Now, if you come over here and select a document preset that isn't

based on screen presentation, should just something you're going to print.

You'll notice that the artboard option isn't selected

if you select any of the preset from the web category or the mobile

category, the artboard options will be selected by default.

It's completely up to you.

If you want to work with artwork

and all you have to

do is select or select the checkbox here.

This will either put the documents in artboard mode

or it's going to get out of Artboard mode.

But like I said, what they want to do here

is just give you a general understanding

as to how artworks work.

Now, what we want to do is to come over here to the mobile category.

I'm going to select a preset for a mobile device

and then I'm going to click all preset so that it expands selection.

Now you'll notice that our board is in fact

selected, which means you can come down here.

Great, a new document.

And now when you enter a new document

that uses artboard, you will probably have

the artwork tools selected, but by default the MOVE tool selected.

So you want to come over to the Tools panel

and click on the Move tool

and underneath them will Tool, you'll find the artwork tool.

Now the artwork tool

allows you to change the width and height of your art boards.

You'll also notice that you have some other options here

near the top that allow you to add new art boards.

There are also alignment options and some other settings objects.

And you will notice in this case that the default size for the new artwork

is custom.

However, when we created a new document, we selected Android ten ATP.

So if I come over in this select selection and click on the dropdown,

you'll notice that date may mention change.

And now if I click on this space, a new artboard will be created.

So that's the same specification that we specified earlier, created a new document.

And you'll also notice that

there are other ways that we

can create artworks with this little plus sign here that you see.

There's one of the corners of the document.

There's a plus sign here towards the top and at the bottom there's also one.

And on the right hand side,

there's also a plus sign here.

And if I click it, another new artboard will be created.

You'll also notice the art boards are identified

within the layer spell and you can see it highlighted.

This again is another visual indicator that you are in fact working

with art boards.

Now, if you want to resize an artboard, you can do that by clicking

and dragging any of this resize handles.

You can double click the name of the layer and you can just put in

any name that you want.

So that's pretty much the

basics of working with artboard inside of Photoshop.

Like I said, if you're going to be

working with Photoshop to create also

like website or mobile applications, take a look in Photoshop

for web designers.

Now, in most application of Adobe, if you're going to be working in Photoshop

all day, it lets you adjust the interface shading options.

Keep in mind that the darker UI is designed to alleviate eyestrain,

but you have the ability to brighten or darken if you choose to.

If you're using a Windows computer

can just go to the edit menu,

then preference then interface.

Or if you're using a mac can go to the Photoshop menu,

you'll notice that there are four shades of gray,

dark gray, medium gray, medium, light gray and light gray.

It's really up to you how you want to work here

and set your team to best fit your needs.

But for the purpose of this

course, I'm going to leave it at the default.

You can also manage

or change to documents back on color,

which is currently set to dark gray, but no, this you have all this options

can even choose a custom color by selecting custom color

and then selecting that color here within the color picker.

And once you click okay, that color will be assigned to the documents.

Background.

Another thing you can do or if you notice, is

that you can create a border around the image.

Well, it's difficult to see in this video, but if you're paying attention,

you should notice a tiny drop of shadow around the image.

Now you can change that line to put a border

around the image or not to put anything around the image.

But for this course, I'm going to leave the color and set it to default.

Dark gray and the drop shadow border

is set

and then you can come over and click

okay to exit out of the dialog box.

Now, one last thing I want to show you

that you can access the documents background color within the document

by right clicking or clicking this empty area.

Now, as you can see, if I choose a color here and click on it,

it changes the scratch area's color.

So again, that's for our team options.

On our next lesson will be learning

about screen.

We learned in the previous course

that we could temporarily hide panels by pressing the tab key,

and this is incredibly useful if you're zoomed into a picture.

Now, if I go to the View menu, I can choose a zoom in.

So it's going to be control plus for Windows

or Command plus on a mac.

When you see a scroll bars, you know you're not viewing the whole picture.

But then by using the tab key, you can now see the whole picture.

And that's one reason to temporarily hide those panels.

There are also different screen modes that you can work with.

If you look up towards the bottom of the toolbar, there's a button

that you can click and hold to see, and there's the standard screen mode.

We also have a full screen mode with menu bar

and then simply a full screen mode.

F is the keyboard shortcut

and you can use that keyboard shortcut to cycle through this different modes.

So if I leave standard screen mode

and press F on the keyboard, I now enter

a full screen mode.

When I press tab key, all of the panels disappear,

but I still have access to the menu bar, so you may operate in this mode.

You can always hover over the space

where they would be and they would reappear.

And of course you could always add key to restore them.

You can also press the f, g one more time to go into full screen mode

and this gets rid of everything and we have no menus available in all.

Panels are hidden, but then you can still access the panels

by hovering over the location of those panels.

As you can see here.

And again, you can press the tab key and all of them will reappear

and they'll press the tab key again to hide them.

And then you can press the F key one more time

or escape in keyboard to return back to its standard mode.

Now, when you return back to standard mode, if your panels are collapse,

you can simply press the tab key again to restore them.

And now these are the different screen modes

inside Photoshop.

When working with multiple image in Photoshop,

each image will appear in its own tab,

making it very easy to switch between documents within the program.

If you prefer this windows to be a free floating

and simply click and drag a tab away from the document structure,

additional photos can be dark through this free floating window

by simply clicking and dragging the step to make it a free floating window

and then drag title bar from that free floating window to this free

floating window, which will then combine this two tab structure.

Now, if

I want to restore the original document,

all you need to do is just drag this title bar right here

to the top of all of the tabs and it will be restored over.

Now you can change the order in which tabs appear by simply clicking

on dragging the tab either to the left or right.

And you will notice that this image is now the first image

within the tab structure.

Now, there are a lot of the viewing options

when it comes to working with multiple images.

If you come up to the window menu and under the window menu,

you select a range, you'll notice

you have all of this options here.

It represents what the icons from.

For example, if you want all of the images to the style

vertical view, you can select that options.

And now we see all of the open

document style in a vertical.

Now I can come back to the window menu and from there I can select a range again.

And you'll notice I could also view this in a four stack image

if I come back to the window menu under the window menu

and I'll select a range again, we can see

the six up is grayed out

because I don't have six images

and what they only have are four images.

Open up on this tab structure.

Now I can also make all of the Windows two float.

So what I will is I'll go to the Windows menu and under the Windows

manual go to a range and I can choose

to free float all of this window.

Of course I can easily restored aspect to the tab structure

by coming back to the window menu, selecting a range again,

then choosing to consolidate all tabs.

And now we're back to our original tab structure.

One last thing I want to show you is you can control properties

across documents that if we come back to the window menu and select a range,

we can do something like four up again here

and we can see the zoom levels are different

for each image here.

Now, this image is showing 50% as zoom level.

Likewise, this windows

here is a zoomed in at 25%

and this one here is zoomed in at 16.7%.

If I want all of them to be zoomed at percent,

I can do so by selecting this image.

And now it's an active image.

I can now come back to the window menu and again click a range.

And from there I can select to match the zoom.

Notice that you also have a match location

and match a rotation.

Or you could just match all three.

But in this case I'll select match a zoom.

Now, if you notice, they're all

having the same zoom level of 50%.

Now I'm finally just going to return this

back to their original tab structure by coming over to the window menu

selecting range again and then choosing to consolidate old tabs.

So those are some options that you have

when working with multiple images in Photoshop,

we will learn how to navigate around our documents in Photoshop in this.

So if you want to double check your project files, I'm working with photo

number one, which is the same photo we looked at earlier in the course.

Now, whether you're working on a project in Photoshop,

whether it's a

single image like this or composition comprises of numerous layers,

you need to be able to zoom in and out of the document

and also as well move around a document.

There are a few different tools that are essential to accomplishing this.

So let's start with zooming in and out.

Now let's head over to our tool panel and grab this

magnifying glass down here.

Now, if we click on that, this is going to be our Zoom tool.

You can see that there's a plus sign inside the magnifying glass

and you can simply click on my canvas here

and there we go, zooming.

Or I could click and hold and then drag the mouse left

or right to zoom in and out of our canvas.

Now we can

also come in here and in our control panel up here,

the top can change this over to a zoom out.

And if I click this button,

we could do the exact same thing

that we just did earlier.

Okay.

Now that we're zoom in on this image, what if we want to move around the image?

There are a couple of ways we could do to move our pan around the area.

So let's come over here and try to use this scrollbar

at the side, at the bottom

to try and look around our image.

All right.

Now, we could also use this handle right here

and just click on that here.

Then you can simply just click and drag

and pan around your canvas.

But then zooming in and panning on

your document is much easier when you're using keyboard shortcuts

to do this.

Let me just switch to the move tool here and I will just hold my spacebar.

Now you'll notice what happens to my cursor.

It changes to that little hand tool we have earlier and quickly.

I can just easily just hold the spacebar and

I can just move around and you can see that

I'm checking the other areas of my image.

Now, when it comes to zooming in and out,

we can actually just hold our control key on our keyboard

and as well the spacebar.

And we can access the Zoom tool

now to show you how convenient this is.

I can just

like zoom in and out of this, release the control button

and I can now pan around my image

and then just hold the control again while holding the spacebar.

Then I can zoom in and out again on my document.

So it really gets easy when we begin

to use keyboard shortcuts to do just those two things.

Now we've

learned how to zoom in and zoom out.

We've learned how to paint a document.

Now let me show you another place where we can do this.

So let's come over and open up the navigator panel.

Now, if you don't have the navigator panel on this side of the area

can just go to window.

And right down here you can just click on the navigator.

Now you will see a preview of our image on this side.

And if you notice, there is kind of this red rectangle now

on our image.

Now, by mousing over this, you'll notice that if I switch over to

what looks like my move to or red or my hand tool,

we can actually click on this and drag this red rectangle around

to change our point of focus on the canvas.

We can also work on this flip right down here

and we can begin to zoom in and out

of the image.

Notice how that red rectangle actually shrinks the closer we are.

Zoom in.

Now. I'm actually zoomed in at 211% right now, and I can tell you

in a couple of different ways, three different places,

you will see this 211%.

So right here, you see it up here in the document tab, you see it.

And down here at the bottom left

hand corner will also see it.

Now, if we want to get back to 100%,

another way to do that is to just type it down here.

But then let's say we assume that the very high magnification here

and we want to quickly go back to 100%.

Now we can do that with a shortcut key

by simply hitting control one,

and that's going to take you back to 100%.

But in I don't use control one as much as I use

the keyboard shortcut control zero, because control zero will actually fit

whatever size your document is inside your document window.

Now you can see this document

window I'm viewing as is at 31%.

And if you want to go back to 100%, I can just click Control or Press Control

one and we can begin to see that we're at 100% again.

Now, you'll notice what happens to that red rectangle.

This is some quick ways that we can kind of zoom in

and zoom out on our canvas using keyboard shortcuts.

But there's one other thing I wanted to show you about sorting

and navigating around our canvas here.

Now, if you're planning to do any kind of digital painting

or anything like graphic designing

and you're more like a traditional artist,

now, you'll be planning to rotate those piece of artwork,

like how you're arrayed, rotate the piece of paper on your desk.

We can also do that here by going to our tools panel

and clicking on this rotation tool.

So what this does is can actually rotate our canvas here from the side

and can also put it back again.

We want to.

Okay.

So that's pretty much about it for this lesson.

So we've will how to zoom in And now

we've learned how to pan our document

and we also learn how to rotate our canvas here.

And we've also showed you some keyboard shortcuts

that can make this action really quick and easy.

Now, I would like to encourage you to practice zooming,

panning and even rotating your canvas because again,

these are the things that you're going to be doing

all the time if you are working inside of Photoshop.

So with that said, I want to go ahead and move on to our next.

So we spend a good amount of time looking at the Photoshop interface

and getting comfortable working inside the application.

Now, before we move on to the next chapter,

I just want to talk a little bit about preferences

and now the preference dialog box has all sorts of options available to you

in terms of how you can configure Photoshop to the style that you want.

I don't want to

go over every single option within the preference dialog box, but

again, I don't want to bore you and I know you're probably anxious

to get going and start doing things inside the program,

but as a new user, it's important to be aware that these options exist.

There's a couple of things that I want you to know and

to make things operate a little bit more smoothly.

We're going to start off and open the preference dialog box here.

So if you're on a Windows, what you'll do is to go to the edit menu

and then underneath you'll see preferences

and you can just choose a general.

Now if you're on a mac computer, we're going to come over to the Photoshop menu

and then we're going to select preferences and just choose General.

You could also access this using the keyboard shortcut,

which is control key for Windows

and Command K on a mac.

Now both of this

options will launch and the preference

dialog box, and we've already looked

at some of these options that are available here.

One thing that you can do is you can reset all warnings dialogs

if you want to of not to see a particular dialog box at some point in time.

But then if you decide that you want to see them

and you can reactivate them by clicking this file,

we already know that we can come over

to the interface section and change our color theme here

and also change text options here.

In the workspace section we can auto collapse iconic panels.

We can also auto show hidden panels,

but you can select the large tab options

and you will only do it if your screen resolution is set

in a way where you don't have tremendous amount of room.

But then, as for me, I have

like a big screen right here

so I can record this video using that option.

But the feel free to set this.

Do however you want to work in the tool section.

You may want to come over in the select shows tooltips.

Once you're comfortable with what the tools are inside a toolbar.

But for now, as a new user, you should probably leave it on.

You can also zoom with your scroll wheel.

That may be an option that you want to turn on.

If you come over to the file handling.

When you save a Photoshop document, every time you save it,

it asks you if you want to maximize BSD and BSD file compatibility

or for different version of Photoshop by default, it's said to ask. You

can just never.

Or if you don't like that dialog box again, as a new user,

you probably want to see it a few times.

But as you begin to work with Photoshop more and more,

you may want to turn it off.

There's also an option to auto magically save

recovery information every 10 minutes.

That way if you have a power failure or for some reason

you your computer completely carves out.

You have some type of protection here and you can adjust the increments

if you want to and be 5 minutes or so.

And maybe you also want it every hour

or maybe you don't want it at all,

so you can just turn it off.

I also want to point you to performance section here within the

dialog box.

Now, enabling this will give you features

and enhancement within the applications,

things like birds, eyes zooming,

rotate view and as scrub zoom.

These are just some features that you can do.

And aside from that, the graphics processor also accelerates

the computation that you're going to make with Photoshop.

So it feels like a lot faster.

Now I'll come over here and click okay.

And finally

you can select the cursor here and you can decide how you want

your painting course to appear.

If you want it to be normal brush step or a full sized brush step.

Again, as you work with the program, you'll know what you're comfortable with.

I know that there are options to change them,

as some people aren't comfortable with the defaults.

Once your okay and happy can come over here and click okay

and at any point in time you can always return back

to the preference dialog box and make further modifications.

There are

few preference within this dialog box and if I go ahead and open it again

using the keyboard shortcut control K or command K for Mac,

you can make some adjustment here and you'll notice that some of

those adjustments will only take effect if you relaunch the program.

So be aware of that and

yeah, I'll go ahead and cancel

out of this dialog box here

and, and now that should give you a general understanding to what

friends are and what are the things

you can do inside here with Photoshop.

And now I encourage you to return

back to the dialog box and explore all of its features.

They'll make more sense as you become more comfortable

with the program.

All right, before we move further, deeper into our lesson,

let's take a step back and look at some of the most frequent

file formats come across when working with Photoshop.

All right.

So these are some of the file types that you can open with Photoshop.

And as I previously stated, these are file formats

that you would most likely encounter as you start your journey with Photoshop.

So let's begin with the most significant one and the Estey file.

So these stands for Photoshop document

and it is a native document in Photoshop.

It contains all of the original information.

So if you want to change some of the presets of your file,

like the layers and effects of your document,

this is what the file format preserves.

The advantage of a p sd is that the file size is often quite huge.

The sharing is unnecessary unless you need someone else to see the original data.

Another common file type is JPEG,

which commonly is associated with photographs applied by the internet.

JPEG stands for Joint

Photographic Expert Group

and as I mentioned, JPEG

reduces the file size of an image

with a lot of total range like a photograph.

So it makes the photograph document

size or file size very small.

And it does this by using something

called the lossy compression.

Lossy compression will remove data from the image.

And the problem is that

data can be never recovered with this.

So normally when you save a files such as JPEG,

it's a one time occurrence.

Now you don't want to re compress a compressed

image away, saving it as a jpeg.

Now it would surely not

show a good quality.

Another file type is Jif, which stands

for graphics interchange format and this is used for images with few

colors like logos and flat graphics,

so they are best saved as strips.

So there is also a

compression process performed to the image.

The GIPS

in the image quality is not compromised.

As a result, you receive a higher quality graphic with

considerably less file size than you would with a JPEG.

However, it only allows 256 colors,

so Jif is actually not a suitable option

when you're dealing with any photographs

that require more than 256 colors.

All right.

So one of the a newer file format for images is PNG.

It stands for Portable Network Graphics.

Now it is aimed to replace the file format in in the sense

that it does not have the 256 color restriction that GIFs do.

Furthermore, unlike gifs, it offers

comprehensive transparency capabilities.

GIFs do all of transparency but not the same extent.

SPOG files

and Nexis.

We have IPS which

stands for encapsulated postscript and is a vector format

designed for printing to postscript, printers and image setters,

and is widely regarded as the best graphic format for high resolution printing.

For illustrations,

EPS are typically created and edited in illustration programs

such as Adobe Illustrator.

Now finally, I want to go over that TIFF file format,

which stands for Tagged Image

File format, and

it's an industry standard for managing rest

or bitmap images.

So to save or ensure image, integrity and clarity,

what it does is saved files can be stored in a number of color formats and lossless

compression methods like this are often used

and professional photography.

All right, so those are a couple common

file types that you're likely to see as a new Photoshop user.

And this file types are

widely used across the Web graphic and in the printing industry.

So it's really important knowing this.

So now that you're familiar with them file types, what we will focus on next

is about raw files.

We just looked at a few common file types.

However, if you're a photographer, you should know

about some of the raw file formats you might encounter.

So whether you're a photographer, web designer, or a graphic designer,

this course is designed to be a starting point

for anyone who wants to learn in Photoshop.

So this course provides a one size fits all approach

to learning the application regardless of your role.

And with that said, I'm sure there are a few photographers in the audience

who want to learn more about Photoshop so they can their images.

And since we've already talk about file types,

I think it's important to mention the raw file associated

with some of the most popular camera manufacturers.

So what exactly is a raw file format?

It's a file that hasn't been processed by the camera in any way.

It's essentially a raw data from the camera's image sensor.

Now, the advantage is that

you have a lot of information within the image, and the data

is there for you to make changes to things like contrast,

highlights, shadows and other presets

compared to JPEGs, which is also what comes out of the camera.

You don't have the same privileges.

So what's the drawback to the raw format?

Well, the size of the image is probably four

or five times larger than JPEG, but you have a lot more data.

So how can you work with raw images?

Well, if you open a raw image file in Photoshop,

it would launch the camera raw plugin.

So just give me a few.

Let me just come over here and open

some a free sample file from the Canon website.

If you want to follow me, you can open the raw canon

file on our tutorial assets folder.

All right, there we go.

So the camera raw plugin is specifically designed to deal with

this raw images and is a lot of features built into the plugin

that allows you to manipulate and enhance the image.

As you can see, we have all of these settings here that we can modify,

but then we wouldn't go much further on this as my goal

is to just give you an idea about raw files.

Okay, Now if you're a photographer, you're probably also familiar with Photoshop

Lightroom, which is an application built around this camera raw technology.

Okay.

So with that in mind, I want to draw attention also to the raw

file formats connected with the two most common manufacturers

canon users will produce

C, R2, or C RW files,

while the Nikon users will produce

any f, NEF or RN RW files.

Of course, there are a lot of them more camera manufacturers out there now.

All you have to do is Google your camera manufacturers, file

extension in raw format and you'll be able to see them.

Now, although each camera manufacturer has their own raw file format, others

employ a more universal formats, just as DNG,

which stands for digital negative file format.

And it was originally created by Adobe.

It's also an open source file format.

All right.

So that's pretty much it for raw files.

I just thought it was important to at least mention

what these two file formats represent.

If you're a photographer taking this course

and wanting to learn more about Photoshop now,

at least you're you're not in the dark about what this file formats represent.

Now that we're

done with raw files, let's jump back into graphics and understand

what is the difference between bitmaps and vector

graphics.

Bitmap images and vector graphics are the two

most common types of computer graphics.

Bitmaps are images made up of squares of color

information called pixels.

These are commonly employed for images

with a wide tonal range, such as photographs.

Now, let me just show you what I mean by this.

If you look at the photograph,

you can see all of the pixels that make that image.

All right. So you can see it at the moment.

But as you notice, if I zoom further,

you will start to see squares,

and this is what we call pixels.

All when utilizing Photoshop bitmaps are the primary graphics that are created.

All right.

So the other type of computer graphic is called vector.

Vector graphics are different

in the sense that vector points are plotted out

and then mathematically connected you patterns.

So vector graphics often have

fewer colors than their bitmap counterpart,

but then another advantage of a vector image

is it may be scaled indefinitely

without losing quality.

So when we talk about resolution,

we'll see that this isn't the case when working with bitmap graphics.

When you scale a bitmap, the pixels are spread out,

leaving holes that must be filled

and this lowers the overall image quality.

Now we will talk more about quality later on on this course when we tackle

about resizing and resampling images.

So now we can work

with Vector inside Photoshop.

If you're working with type and shape layers,

also a vector graphics

are much utilized in Adobe Illustrator,

but then in this course we are primarily

focused on the bitmap features inside a program.

All right, so that's pretty much it.

And yeah, let's go on to the next lesson, which is understanding

a resolution.

The resolution is a crucial topic when it comes to Photoshop

and a new user sometimes find it to be extremely intimidating.

But the truth is it doesn't have to be that way.

It's not that difficult.

And in this video, I'll go through three common output scenarios

that you're likely to come across when working with Photoshop.

So what are the three outputs?

Well, the first is have two, and we just use four professional pre press.

Or if you're sending your work to a professional printer,

if you're working with an inkjet printer at home

or having images printed at the office, the next is continuous tone.

And then

after that we'll talk about on a screen delivery.

This is considered display output, something that you're going to display

on screen, whether it be a website or mobile

app or whatever the case may.

All right. So let's dive in.

And that brings us to the first and possibly

the most complicated, which is how often?

Well, it's important to understand that professional pre press print,

there are useful colors in their printing process.

So these are cyan,

magenta, yellow and black.

And it's often referred to seem like the why is this important?

Well, each color is a different path within the printing process.

And in the printing process, little dots are placed

on the paper and these dots collectively will create the illusion.

Now, anytime

an image is printed on paper through the professional printing process,

if you were to look at that image through a loop,

which is a magnifying glass, you would see those dots.

But far enough away you won't it.

So you are really creating that illusion

that those dots doesn't exist.

But then now your job is to figure out how to convert

a continuous stone image, which is a photograph

you have in Photoshop to a half tone image.

And the way that you're going to calculate that is by figuring out

the lines per inch or a line screen

that's needed for printing on a particular piece of paper.

And that really is an important component.

When you're calculating how to create that conversion,

you're definitely to have to talk to your print shop.

When you talk to your

print shop, you're going to determine what paper quality you want to use.

And based upon paper quality,

that would ultimately determine

what your line screen is

an important component

when figuring out what the line screen should be for a particular

piece of paper is something called dot gain.

Now, if you can think of any liquid falling on a piece of paper

and typically that liquid spreads out,

the ink does the same thing that.

Ink is spreading out and again, it's called gain.

The resolution of your image will typically be two times the line screen.

And the line screen, like I said, is typically determined by the paper quality.

Now let's take newsprint as an example.

Because of the absorbency of newsprint,

newspapers typically use 85 LP

If you're going to be

printing to a paper that's looking for a line screen of 85 LP,

then near Image restricts the resolution needs to be

170 or pixels per inch.

So it's the Y state of paper that you're printing to.

Again, the key takeaway here is that you have to talk to your print shop

and when you talk to your print shop, that discussion

will lead to the type of paper that you're going to be using,

and that paper quality would ultimately dictate

what your line screen should be based upon the game.

Continuous tone is the next step

about what I want to talk about and continue.

Stone is commonly found in consumer level jet printers,

and anytime you send out pictures to be printed as photographs,

the rule of thumb here is to set your resolution to 240 pixels per inch

to 360 pixels per inch.

You may want to experiment with different resolution

and. In fact, you may find that you don't see a dramatic difference

between setting your image to 60 pixels per inch

compared to 300 pixels per inch.

But generally you'll you'll see a difference between 240

PBI compared to 260 BPI

So you can do a little bit of experimenting.

If you were working on an inkjet at your home or your office.

Now if you're trying to print some photographs, you can try it.

You can talk to your print shop

and ask what resolution they prefer,

and you'll typically get something in there

300 pixels per inch range.

Finally, let's talk about on screen delivery

and when we're working with on screen graphics representation

on screen, like a web browser or a mobile app, those images are measured

in pixels and dimensions, meaning it's the width and height

that's ultimately going to dictate how the image appears.

And it has nothing to do with resolutions, pixels per inch.

So think about a mobile application.

If a mobile application has a full screen view, that's

1024 by 768

and you want to take up the entire screen,

well then you need an image that's 1024

pixels, five, 768 pixels tall.

So it's those height values

that you need, and that's the one that will determine how the image appears,

not the pixels per inch.

All right. So yeah, that's pretty much it.

And for our next lesson

we will be tackling about resizing

and resampling documents.

All right.

So in this lesson, we will learn the difference between resizing a document

and resampling it.

Great.

So again, I've got our autumn leaves here, and if you want to open

that, you can check on tutorial assets,

one photo file and just open it.

All right.

So we'll be talking about the makeup of an image.

Now, on our last lesson, we learned that an image is made up of this,

a little square things called pixel.

So just to recap, we can see

individual pixels at this particular magnet, the magnification level.

But if I were to go ahead and hold our control and spacebar

and let me just zoom in really close on this area, just give me a few.

And yeah, as you can see, when I zoomed in very closely,

you can see this pixels here, this squares here, and basically

we get this little grid, white lines that appears here inside of Photoshop.

So again, this is our pixel grade.

And you can see as I pan around this document, zoom

in, there are like over thousands and thousands of pixels.

For example, this one over right here, you can see

there are some red pixels along in here and there's some kind of a

red, the different red color here and also here.

So now this particular

image is made up of those thousands

and sometimes even B millions of pixels.

And they all work together when we're viewing this at a much lower

magnification level to create this image.

Now let's do this.

Let's, let's come over here to our image dropdown menu,

and we're going to come to the image size.

Now, this is going to give us some information

about this image.

We can come over here on the left and we can

we can kind of zoom in and out to look at the preview of the image.

But over here on, the right is really where all the magic happens.

So let me just break this area down for you.

So up here we have the image size and you can see that

the size of this image is at 69.1 megabytes,

which is which is fairly large, if you ask me.

All right.

So down below here, we also have the dimension of this image

in terms of its pixel dimension.

So if we zoom all the way out here, you can see here

that this particular image is over

4000, 16 pixels wide

and over 6016 pixels tall,

and that's a lot of pixel data.

And below that have here a with and a height field.

And you can see by default mine is set to inches.

So this is the physical of this image right now.

And if we were to say print this out on a giant piece of paper,

we would need a piece of paper

that could print this image at 20

by 13 inches.

Now, I don't know of a printer, at least in my house,

that can feed the paper that large.

So obviously we wouldn't be able to print this image in its current state.

But we basically need to

this image down and we can do that right here

inside the image size dialog.

All right.

So let me just go ahead and uncheck this resample option right here.

We're going to talk about that here in just a moment.

But notice what happens when I check that this by default,

this kind of a little link right here, the width and height.

And basically what that means is we can change

one and it's going to change the other proportionally now.

And checking that option creates a bridge between the height

and width and as well as the resolution.

So basically we resize this.

Let's say we had maybe five by seven piece of photo paper

that we wanted to print this on.

All right.

So just give me a few.

Let me just put in five and just for the height here

and we get a value that's pretty close to seven inch for the width.

But watch what happens when I change those values.

Now remember, the resolution down here was set at 300 pixels.

And now by changing the height value of this image,

it's taken those three pixels that are spread out on an inch

and it's increasing it and it's back them tighter together inside this file.

So still have the same number of pixels working to create this image,

but then they're just back even tighter. Now.

Now let me show you what I mean when I say pixels per inch,

I'm just going to hold down my alt key here.

And as you can see

the button here change to reset and I'll just hit the reset button. Now

you can see here that

we're at 300 pixels again pi and yeah,

let me just cancel out this dialog box right here so I can that for you.

Now, if you want to follow me inside your tutorial assets

folder, you'll have this resolution image file and.

Okay.

If I come up here to the image size, you can see you'll see it's

it is in at one inch by one inch

at 72 pixels inch.

So here the resolution is at 72 pixels.

And if we zoom in on this,

you'll see here that each one of this colored square

is ten pixels by ten pixels.

All right, So let me just go here so you can see of one,

two, three, four, five, six, seven, eight, nine, ten.

All right.

And I've got this.

One, two, three, four, five, six, seven.

So that's 70

pixels

across here.

And we have this little purple down

and right here, which is Stupak's cell.

So the entire document, as you can see, is 72 pixels wide

by 72 pixels.

So that's what 72 API means or pixels per inch.

So again, we we have many, many more than 70 pixels inside a square inch.

But as you can see, the measurements are 72 by 72.

All right.

Now, if we were to come over here

back to our image under the images ice.

Now let me just change this back to say, inch grade and and then we can come.

Now, here again, we're sampling it.

This not changed resolution then.

We're going to talk about that in just a moment.

Let me just reset this and uncheck resample.

So let me just change that back to five.

And you can see here that the

value on the resolution

automatically gets changed to 803.2.

So that means in a square inch

there are 803.2

by 803.2 pixels

many, many more pixels than a 200 by 300.

So essentially what this means is by uncheck this resample box,

we can resize our image safely without losing any resolution.

Now, if I click

okay on this, we've now resized our image and we can come back to our image size

dialog here and you can see that those settings are retained

now at this point we could safely print this out

on a piece of photo paper on our home print there.

So now maybe we're making some color corrections to this image

and we're wanting to print it out so we can make a photo album or something.

Now, at this point, because

we resize this image, we we didn't resample it.

So we can also come back in here and change this with value again.

Now let me just change this back to our

old value here, which is 20.053.

And you can see here

that it's back to our original measurement.

And again, our resolution has been adjusted

back to 300 pixels per inch.

All right, awesome.

So I've just changed this image back to its original dimensions or original size.

And so you can see no adverse effect

have had been on this image.

So this is again resizing.

Now resampling is something totally different.

Let's come back to that image size dialog.

As a matter of fact, you can actually access that by holding

down control in out on your keyboard and hitting I key

and it's

option plus command on a mac.

All right awesome.

Let's go ahead and check our resample options

now there's some options out here inside this dropdown

these are just methods of interpolation and that's the kind of method

that Photoshop uses for this resampling.

I would go ahead and leave this on automatic

because that that allows Photoshop to determine the best way to do it

without getting overly complicated.

All right. So yep, that's going to be your best option.

Now, in terms of resampling, there's two different ways that we can do this.

We can either resample to take pixels out of an image

or we can resample to add close to an image.

So taking away pixels from from an image is called

downsampling and adding pixels to an image is called upsampling.

All right.

Now let me just show you an example here.

I'm going to come over and change dispersant.

So you can see here we're at 100%

and I'm going to go ahead and drop this down significantly.

Let's let's change it from 100 to, let's say 10%.

All right.

Just like so now, when I did that look at what happened to the image

size up here, remember it was 69.1 megabytes.

Now it's down to a very small size of 709 kilobytes.

So this is going to be really important if you're maybe wanting to publish

digital photos on a web and create a file that is easy to download

because obviously 69.1 megabytes images are going to take some time

to download for someone who doesn't have a high speed Internet connection.

So this is really important.

And mostly if you're in web designing.

All right, so

I'm going to go ahead and reduce this now to 10% of its original size.

And again, we're going to downsample it.

So I have my re sampled box checked here.

All right. Let me just hit. Okay.

And you'll see that my image shrinks down significantly.

But if zoom in on this now, by holding control and spacebar,

I can begin to look at this and you'll notice

that the pixels are more apparent

much, much quicker than before.

So it's taking far fewer pixels to create this image.

Now, granted, there's a lot of loss of detail here.

If I were to maybe undo by going up here and hitting,

edit and undo, remember,

we had a lot of really fine detail inside this guy right here.

So let me just come back up here and edit

and click on redo.

Now, as you can see, a lot of detail is obviously gone at this point.

So now this is an example of DOWNSAMPLING.

Now this works both ways.

We can actually add pixels to this image and up sample it.

If we ever needed to.

But I want to show you again an extreme example for this.

So let's come up to the image and use image size.

And again, let me just come over here and we'll switch back over to inches.

And you can see here, obviously we have made a significant change

looking at the physical sides here as opposed to 20 inch wide image.

So now we've got about

two inch wide image with those pixels

spaced out at 300 pixels per square inch.

Now let's come over here and actually just

select our with again and with our RESAMPLE option check.

Let me just switch it back to 20.

So now we're telling Photoshop that we want to add the resolution to this file.

All right.

So with that selected, let's go ahead and hit.

Okay.

And we'll have to zoom out. So

it's obviously

made our image much, much larger.

But just check and look at this When we go to add that much resolution

by Upsampling, it doesn't show a good quality.

So now you can see that there's no way to create the detail that we lost

once we got rid of it by a DOWNSAMPLING and even by Upsampling.

This image back to its similar size to what we started.

We can't.

So Photoshop can't

recreate that detail that's already gotten rid of.

So this is a good example whenever you're trying to up sample an image.

All right.

Before I will never try and upsampling

an image more than 15 to 20%.

Anything beyond that, you're going to start to see some strange things

happening on that image and it's not going to look quite right.

It may get a little bit fuzzy or you may see

some other artifacts in the image.

But with the latest Photoshop, you do, you can do.

So you can actually get away with even maybe up to 25% or 30%.

And yeah, it's actually because of this a new interpolation method

here in the dropdown and it's called the pressure of Details 2.0.

Now with that said

you, you now understand the difference between resizing an image

and resampling an image.

All right.

So with that said, let's go ahead and move on to the next lesson.

And in the next lesson, we're going to learn about

print sizes.

Let us just take a moment and talk about resolution and digital camera

in printing forums.

A common question I see is what is the maximum size

I can print with that document?

Well, based upon the last of videos, you should be able to figure that out.

But what I'd like to do is just walk you through on that process

and how you can quickly come up with that number in terms of its size.

All right, great.

So right now I'm working with a nine, the JPEG,

which is available inside your tutorial assets folder.

All right.

Now with that open will, what will do is to come up here to the image menu.

And under the image menu you can choose image size.

Now, what we want to do here is these select

resample image for the moment.

And what we want to do is specify the target resolution of our output.

Let's say, for example, we're

going to print this on our inkjet printer.

And as we discussed, we know that inkjet printers would accept a resolution

from anywhere between 240 pixels

per inch to 360 pixels per inch.

All right.

So just to make things simple as possible,

we'll go with the lower resolution

in this case, which is 240 pixels per inch,

and this will ultimately give you a larger size.

They mention.

So if we come over here and type 240

now, you'll see that the maximum side is now nine by 11.25,

you could go into the image and provide more of a standard size if you want to,

but this would be the maximum size that you would be able to print.

So I also mentioned in our previous lesson that we can up sample Photoshop images.

So what this does is it interpolate the pixel for you

when increasing the size of the image, and when you increase

the size of the image, you spread the pixel out

and the pixel

grade gaps and those gaps have to be filled.

And that's something Photoshop has to figure.

Now, like I said, we can get away with at least 15%

or maybe 20%.

That would be our safe bet.

When it comes to

Upsampling, the image.

But then let's just say for the sake of argument

right now, we we wanted this document to print out.

So in nine by 11.25

inch and

and it's quite a bit larger actually than what it currently is.

Now realistically, you'd probably use

third party software for doing an up sample of that magnitude.

And chances are, if you're printing a much higher size

in terms of physical dimensions, you don't need the resolution.

In all honesty,

if you're creating something like a billboard or something along those lines,

you're really never going to see that image that close

so you can get away with having the dots further apart.

All right.

So what we want to do here is obviously resample image

and then we want to change this to be an 11.4 by 14.25.

So let's go ahead and type in 14.25 here for the height.

And when you do because you have constrained

portion selected the with increase this to 11.4 inches

now again you'd have to perform a crop to get this to to be more standard size.

But you can see the overall file size is now doubled.

So we're adding more information to the image.

But what it's going to do now is lose sharpness on the image

when you print it and it's going to look a lot softer

and it's almost going to look like blurry

because we just don't have the pixels information in this image.

And the pixel information that we do

is made up by Photoshop.

So you'll notice right now that the image is set also to 50%

in terms of its man elevation.

And down here towards the bottom, we automatic selected,

which means when you click okay it's going to use the bi

cubic smoother which is the best algorithm for enlarging an image.

Now before I click okay again,

when you're increasing the size this much, actually it's not something I recommend.

You're really going to soften up the image quite a bit

and you don't want to go this extreme when upsampling

but I'm just doing this for the sake of demonstration purposes.

Now note the magnification, which is 50%.

If you click okay, it's still in 50 person,

but you'll notice that the image looks a lot larger.

And in all honesty, if we look at this, it doesn't look that bad

and it probably won't look that bad on screen.

But when you go print this, it will have a softer quality to it

and it won't look quite as sharp if we go ahead and zoom in at 100%.

And you

can do that by double clicking the Zoom tool.

So as you can see, we did lose some detail here

within the front, but overall it's not that bad.

But again, I just want to quickly review exactly what resolution represents,

especially when you're working with digital cameras.

And also a lot of people work with digital cameras and come up with this question,

which is exactly why I decided to record this video.

So that's pretty much it for print sizes.

And we'll be focusing next on some color modes

or color preset here in Photoshop.

We'll go only over to a few of the color modes in this session.

But really, when you talk about color modes, it's

actually a pretty fairly technical discussion.

But then for now, just getting a general concept is all you need to know.

All right,

so we can talk about this color mode in greater detail.

I'd like to point out where you can switch to color mode

of your document when working inside Photoshop.

So let me just go over here on Image menu.

And as you can see, you can select the mode

and there are several different modes available.

There's grayscale index,

color, rugby, steam wiki and so on,

but we're only going to be talking about four of them in this video.

But then be aware there are a couple of other specialty

modes available like lab color and multichannel.

We're also going to be talking with the app here and by default,

most of the time you'll be working in an eight bit image,

but you can change it to 16 bits per channel or 32 bits per channel.

And we'll talk about this in

greater detail as we talk about the color modes.

With that being said, there's one additional thing

that I want to show you and that is the Channels panel,

because we're talking about Emmitsburg Channel.

It's important to understand that there are channels inside Photoshop

right now I'm working with on our GBE document,

and I know this because I'm getting read out here on a tab not only do I see

the file name of the document, I also see the color mode that I'm working with.

You'll also notice the bitmap here.

Now, if we come over to the channels panel,

you'll notice that we have three channels.

In this case, we have red, green, blue.

And I'll talk about what this channels represent in greater detail

in just a moment.

All right.

So let me just pull this up right here.

Okay.

So the first color mode is probably the most basic color, which is bitmap.

You're not really going to be using bitmap mode all that often

because it supports two color values, black and white only

bitmap mode are

called one bit images because they have a bit depth of one.

Now, if you look at this image, it looks like

there are shades of gray there.

It's really not.

It's just how close or far away the black pixels are from one another.

All right.

The next mode I want to talk about is grayscale.

So grayscale mode uses different shades of gray in an image

and there can be up to 256 shades of gray

in every pixel of a great scale image.

So it also has a brightness value ranging from zero, which is a black to 255,

which is why if you're dealing with a 16 or

32 bit image, then the number of shades in

an image is much greater than that found in an eight bit image.

Next, I want to talk

index color mode and index color mode is produced

by eight bit image files

with up to 256 colors

when converting to an index color, Photoshop builds a color lookup

at the table and it stores an index color

that are used within the image.

If a color in the original image

doesn't appear in the table, the program chooses the closest,

using dithering to simulate the color, using available colors.

And as you can see, some of that on this image

now, it's important to understand that each of these things or image

contains one channel and it gets more interesting.

Now when we start looking at the RGV

color mode, the RGV color mode assigns an intensity value

to each pixel in an eight bit per channel image.

The intensity values range from zero,

it just black to 255, which is white

for each of the red, green and blue components.

And when the values

of all three components equal, the result is a shade of neutral gray.

When the values of all components are 255,

the result is pure white, and when the values are zero, you get

black, of course.

RGV images use three colors

or channel to repeat this color on screen and in an eight bit bright channel image,

a three channels translates to 24 bits of color

information per pixel with 24 bit images.

The three channels can produce up to 16.7 million colors per pixel,

with a 48 bit, which would be 16 per bits per channel

or 96 bit image, which is 32 bit supercharge channel.

Even more colors can be reproduced per pixel

and this is really useful if you're see bounding on the screen.

Now another important mode is communicate color mode.

And in the CMI key color mode,

each pixel is assigned percentage value for each of the process inks.

That means you'd be working in this in this mode.

If you're sending your work to professional pre press.

Again, that's another lengthy and technical discussion here

and I don't want the technicalities now,

but I

think a general overview of what this color modes represent

and what bit that represent is important for you to move forward

and learning here in Photoshop.

Welcome in this chapter will be focusing on selections

and compositing basics.

It is critical to be able to make precise selection

when using Photoshop selections allow you to isolate a portion of an image

allowing you to manipulate it in whatever way you want.

You'll notice that I'm working with a file called Shapes Onboard a JPEG,

which is included in the tutorial assets folder

that you downloaded from our website.

In this video, I'd like to give you a general overview

of some of the most popular selection tools in Photoshop.

There are a variety of techniques and options for making selection,

but these are the most popular for simple selections right now.

All right.

So making selections is a critical skill to have inside a program

because it allows you to isolate selection of the image

and then perform adjustments or the types of manipulation on that image.

It's a really important skill to have.

So Now, in this video, I just want to introduce you to the basic

selection tools, and we can do that by coming

over here on this panel.

So we are selecting our first tool,

which is the rectangular marquee tool.

Now there are options up near the top

and in the control panel, but let's not worry about them right now.

Let's look at how we can create a selection.

You'll notice that my cursor is now across here

and all I have to do is click and drag to create that selection

can also see a like a preview

indicating the within the height of that selection.

And if you need the selection to be a square, just hold down the shift

key on the keyboard and you'll notice that the selection is constrained.

Furthermore, you need to reposition

the selection as you're creating it with is the keyboard shortcut.

You'll notice the cursor change again to an arrow with a small pair of scissors

next to it, indicating that you can cut those spaces

out of that location by clicking and dragging it.

Now I'll just undo those commands or controls now, just like so

now, if you no longer require the selection,

you can return to the select menu and select the Select Command or Control.

The electrical Mark Key tool is the keyboard

shortcut underneath the rectangular marquee too.

It's the same tool, just a different shape

if you click and drag Ukraine and Ellipse,

and if you hold down the shift key, you'll constrain it to a circle.

Now, something else I'd like to mention is that whenever

you use a marquee selection tool, whether rectangular or elliptical,

if you click and drag it, you'll notice that it's like

dragging out from the corner out of this election.

But I hold down the alt

key on a Windows or option key on a mac.

When I begin to drag this, you'll notice that it's dragging out from the center,

and that could be a really useful way to create this election.

Okay, now through

these select this, we can use the keyboard shortcut, control

the on the windows or command the on the Mac.

All right.

So we also have lasso tools here.

And the first lasso tool is a freehand selection tool,

which means you can create freehand shapes by clicking and dragging

and then returning to the original starting point to create the selection.

All right.

Again, let me just deselect this selection again

and just beneath the lasso tool here,

there is another tool called the Polygon Lasso Tool,

which is also a free hand selection tool that conforms straight lines.

The making selection of something like this triangle right here

or circle right here would be much easier with this tool.

As you can see, when I click to set a point, you'll notice

that the line is essentially attached to the cursor

and you must click again to change direction.

All right.

So let me just click again here and then move my cursor up the starting point.

And you can either double

click or go back to the starting point to close the selection.

And you'll notice that once I get that good starting point,

you'll see a circle up here next to the cursor icon.

And when you click it, the selection is made again.

Now you can deselect this using the keyboard shortcut again.

Again, it's command D for Mac

and control the for Windows.

All right.

So underneath the quick selection tool, we'll see.

Here we have the magic wand tool and the tolerance by default is set to 32,

which means that when you click on a pixel it will find adjacent pixels

with 32 levels of luminance values similar to one that you clicked on.

And in this case, it's making a better selection

than the quick selection tool for this White background.

All right.

Now last thing I want to mention here.

So another lasso tool located here near the bottom.

It's called the magnetic lasso tool.

And what the magnifying glass or tool will do is

look for edge of contrasts.

All right, so let's try it here, because we have some high contrast

areas here between the background and what we'll do is click

our cursor around the edge and you can see that

this anchor points adds up.

You can manually

add an anchor point if you want to by clicking your mouse.

So, for example, let me just do that here.

And as you can see, I have manually added that anchor point there.

Just let me just continue to moving this around right here.

And as you notice, as I get to the other end,

you'll see that little circle icon.

And if I click it, it will connect the anchor point

and we'll be creating a selection.

All right.

Now, some of the tools here have more options available, but

we'll go over those in greater detail as we progress

through the chapter in the course.

All right.

So let's take a look at how to use some of these selection tools in practice.

I have a document open called the Basketball dot JPEG.

And what I like to do is select this basketball right

now, looking at

this image, you might be tempted to use the magic wand tool

or the quick selection tool to select some of this vast gray space here.

But that would be a mistake.

Those tools produce harder edges than we probably want for this type of selection.

And honestly, the elliptical maki tool

is the perfect tool for this type of project.

All right.

So with that said, let me just come over here and it

and then what you'll probably do is just come over here and click

and drag out the circle by holding down the shift key on your keyboard

and then you'll realize that your placement is in exactly right.

So again, what you'll do next is to hold down the spacebar

on your keyboard and start to move around this selection.

But then it's

difficult to make precise selection doing what we just did.

Instead, it's easier to draw the selection out from the center.

But the problem is we don't know exactly where the center is,

and that's where guides come into play.

All right.

So let me just deselect this again.

Command or control D, and then I'll just come up to The View menu.

And from The View menu, you can choose rulers.

Once you choose the rulers, you have the ability to drag out some guides

and once it snaps into place, you can just let go of the mouse

to drop the guide and you can do the same thing horizontally

by clicking and dragging until you feel it snap.

Yes, like so now with the elliptical marquee tool

still selected in place across here at the intersection of those two guides,

what we'll do next is to hold down the key

on the windows again, or option key on the Mac and click

and drag out an ellipse from the center to constrain it to a circle.

Now you don't want to go right to the edge.

You want to be inside the basketball just a little bit

to make sure you don't have any of those great pixels selected.

Once you go of the mouse,

you'll notice you have a nice selection of the basketball here.

Now, what we want to do here is look at how soft our edges are.

So again,

we used the keyboard shortcut for selecting that tool,

but The problem is that if I click and drag,

I still have this selection around the basketball,

so I won't be able to see how soft this election is.

And then what we can do here is to go up to the View menu.

And under the View menu we can select

extras and everything goes away

now, so you can see those selections around the basketball.

We can't see them now.

All right.

So if I click and drag, move the basketball to the right,

then temporarily activate the Zoom tool

by hitting the spacebar

and control on a windows or spacebar or a command key on on the Mac,

We can begin the zoom here and we can see the basketballs edge

and will notice that it looks pretty good.

There is some

anti aliasing there and Anti-Aliasing basically creates some transition

pixels between the foreground color and the background color.

But for the most part, I'm actually pretty good with this.

All right.

So let us just

zoom out here and fit this image within the available space on the screen.

And there's a couple of ways you can do this.

You can just

click this hand tool here and double click it and it will fit the image.

Or you can hold down the control key on your keyboard

and hit zero on a Windows

just hit command and zero on a mac.

Okay, Now we want to move this basketball back to its original location.

And the easiest way to do that is to come over to the history panel.

And if for some reason you don't see the history panel,

you can just come up here to the Windows menu and from here you can choose history.

And what the history panel does is to record each step

that we take within the application outside of the menu commands.

All right.

So the last thing that we did that

we want to check is our elliptical marquee selection.

But then we don't see that selection here.

Again, that's because the history panel sent record menu commands.

So what we can do now is to come up here to The View menu again.

And from The View menu, we can turn extras back on.

All right, great.

Now that we have this selection of the basketball,

we may want to soften the edges just a little bit.

And we will take a look at how we can do that

on the next lesson.

We're using the same document as in the previous video,

and this time we want to soften the edges of the selection a little bit

because we're going to move this image into a picture of a basketball court.

And one way to do this, to go up to the select menu and choose, modify

and from there you can choose.

Further, this will open up the feather selection dialog box, and in this case

it has a default value of five pixels.

Now we're going to change this feather radius to two pixels.

And just so you have an understanding as to what's going to happen

when you apply this feather command at the edges,

what size of the selection will be blurred two pixels or roughly two pixels?

Well, if you have the concern of what's going on in the background,

there's something called gosh, an algorithm being applied.

And to be honest with you, you don't really need to know that

if you enter value here, you're pretty much going to get what you expect.

But because that algorithm is being applied,

the true value here is a little bit larger than two pixels.

All right.

So once you're happy, you can go ahead and click okay.

And once you click okay, we now have a softer edge.

When we move this object, we can verify that again

by moving it out of its original location like we did in the last video.

Now, of course, we're not going to be able to see this edges

with this selection right here.

So let's come up to the View menu.

And under the View menu, we can turn off extras again.

And as you can see, the keyboard shortcut for that is Control

H for Windows and Command H for Macs.

All right.

Now if I click and drag this to move the basketball

and then zoom in this area right here

again, control space

on a windows and command space on a mac.

And you'll notice that as I zoom in here,

you'll see a softer edge around this area.

But then if we zoom out, you'll notice that we have a problem here,

and that is we've picked up a portion of the gray background.

So what we want to do here is kind of a condense

our selection a little bit before we apply the feather.

So again, think about what happens when you apply a feather.

It burst pixels to the right and left side of the selection and the right side

happened to pick up some of the pixels in the background,

which now cost this halo effect, which we don't want to see.

So I'm just going to go ahead and zoom out just a little bit more

and then I'm going to come over to the history panel again.

And once again,

if you don't see the history panel, you can come up to the window menu.

And from the window menu, you can choose history.

Now, we want to come back to a point where we made the original selection

with the elliptical marquee.

So we don't want our feather compound to take effect at this point.

All right.

So we're going to jump just above

now, of course, we can't see the original selection

because we've turned off the visibility for all of our extras.

All right.

So let me just hit control H on my keyboard, command H on a mac,

and it'll turn those back on.

Now, before we apply a feather, what we want to do

is condense our selection a little bit, and we can do that

without making a new selection by coming up to the select menu.

And from the select menu we can choose modify.

So this time we can choose to contract.

So this will open up a dialog box where we can contract

this election based upon a pixel value.

All right.

So let me just try and put here two and then we'll click.

Okay.

Now you'll notice that the selection tightened up a bit.

After we do that, we can reapply our feather by coming back to the select menu.

And under the select menu.

We're going to select Modify again, and then we can choose Feather.

And in this case we're going to use that same two pixel

value for the feather radius.

Awesome.

So go ahead and click okay.

And if you want, you can further verify this by turning off the Extras

command again, again Command H

for Mac and Control H for Windows.

Now then we'll just click and drag it over a little bit

and you can see that we have this nice soft selection

without the gray hollowing taking place on the right hand side.

All right.

So let me just and do that again.

The keyboard shortcut for that would be Control

Z for Windows and Command Z for Mac.

All right.

I'm going to turn the extras back on again.

And we're now ready to move this object

after this image and place it to another image.

And we'll know how to do that on our next lesson.

All right.

Now we're ready to copy this basketball image into a different image.

So let's go ahead and do that by going up to the file menu

and using open, this will launch the open dialog box.

And in the tutorial assets folder, you'll notice

there's a file called Basketball court like JPEG.

This is a free image you can download from raw pixels.

Great.

Now with that selected, let's come over and click open.

And now

we have this document available inside the program.

So we have a couple of options.

The first is, of course, to just copy the selected pixels,

but then I still have this selection that we created from the last session.

So let's just copy this to our clipboard

and we can do that by coming up to the edit menu.

And from the edit menu you can choose to copy the keyboard

shortcut control C for Windows and Command C for Mac.

Now once you copy the data within,

this selection is stored on your clipboard, meaning you can move

and come over to the basketball court tab here and paste it.

So again, you can come up to the edit menu and from the edit menu you can just use

paste the keyboard, shortcut A, C, control

B, and would be command B for Mac.

And when you do that, add the basketball pasted.

You'll notice it does appear on its own layer here in the Layers panel

and we'll talk more about layers a little bit on this chapter.

All right.

So you'll notice also that the basketball is a little bit too large.

We can deal with that because it is on its own layer.

We can move it around

and change its position without impacting the basketball court image.

So that's one way to move data from 112 to another.

But there's a couple of disadvantage to this technique,

and that is any time you copy something new, anything that was in

the clipboard is wiped out with that new information that you just copied.

So if you had something stored in your clipboard that you didn't

want to remove, copying and pasting really isn't the best solution.

All right, So

let me just delete this basketball here.

And from this image, let's return

back to basketball file.

The selection is still active.

So another thing we can do here is to have the MOVE tool selected.

Again, we a keyboard shortcut.

If you don't have that selected over here

and then we'll just simply click and drag it up to the tab of the document

that you want the basketball to appear.

And you'll notice

that we switched to the other document that we want to copy that into.

And when you let go of the mouse, you'll drop the basketball

notice and move the mouse into the location

where we wanted the basketball to drop.

But that doesn't really matter.

You can always move it after.

So there's another way that I would like to show you

on how you can move the data from one final to another.

And remember, on our previous chapter, we about working with multiple documents.

And this is one of those cases where you can utilize that.

So again, let me just delete the basketball here

by pressing the delete or backspace on my keyboard.

And let me just return back to the basketball file.

And here we're going to do

is change the view in terms

of how we're looking at both of these currently open documents.

Again, we simply just go up

to the menu and from menu we just select a range from here

and you can choose to open up horizontal or to up vertical.

In this case,

I'll just go with two of vertical so we can see the images side by side.

And at that point all you have to do is click within the active selection

and drag it over to the new document just like so.

And as you can see, we when we let go of the mouse,

you'll see that the basket will appear in the basketball court image

and we say, Now I'm going to change the view back

to its original tab by just coming up here to the window menu.

Selecting a range and choosing to consolidate all the tabs.

All right, now that we have that here, it's

pretty obvious that it's too big for our basketball court.

So before we move further, I would just like to say that

any time you take contents from one image and place it in another,

that's considered.

And what we're doing here right now is a very basic composite inside of

Photoshop.

So in order to pull this off, we need to make the size realistic.

And the first thing that we have to do is to scale down the size

of this basketball.

So there are several different ways that we could do this.

And what are we going to do?

First is to just come up here to the edit menu and select free transform.

Get a keyboard shortcut for this control

T for Windows and Command T for Mac.

And now you'll see this box appearing around our basketball.

And this is what we call the bounding box.

And at this point we can grab any of this reshapes handle

to transform the size of this image.

But we do want to make sure that we maintain the aspect

ratio of the basketball so that it doesn't turn into an oval

or some other weird shape.

All right.

So let me just grab some of this corner

resize handles here and I'll just hold down the shift key.

And again, this make sure that the image is a scaled down proportionately.

And now we'll say click and drag this inwards.

We will see that the basketball is getting smaller.

Now, once you let go of

the mouse, you can place your cursor inside the bounding box

and you'll get a move icon on the cursor here.

So at this point we can just click and drag

this basketball here to reposition it within this image wherever we want it to.

But then it's still too large.

So I'm going to continue to scale it down.

And again, we'll just hold down the shift key on the

and click and drag inwards again.

All right.

So that's that should be fine.

Now, let me just reposition this again somewhere here.

All right.

And once you're happy

with the transformation, you can either double click inside the bounding box

or you can press return or enter on your keyboard.

Or you can also come up here on the control panel here and

click this checkmark.

It's really up to you.

And once that's done, we've committed to this transformation.

All right.

Now we have learned how to copy and paste images.

We also learned how to scale our image within the help of Transform Tool.

And again, these are the most common things

you'll be using a lot when working inside Photoshop. You.

All right, now we have this file called Toy Car got JPEG here,

which is available inside your tutorial assets file.

So let's take a look at some of the techniques

that you can use to modify your selection after you create them.

Now, you would really choose a selection

tool, make a flawless selection here in Photoshop, so you have to take

several steps to refine and modify that selection

and make it perfect.

So let's start off by selecting the front piece

of this car, the wheel.

And now if you look at car,

this picture was taken at the angle,

which means the front piece of this wheel is not the perfect circle.

And that means that it's going to be a little bit

more challenging to make a perfect selection.

All right.

So now we will start off with the elliptical marquee tool here.

I'll just come over and drag this selection out from the center

or close to the center by holding down the all key on

windows and option on Mac.

While you hold down the shift key, remember, you'll constrain it

through a circle.

So let me just hold down the spacebar

here too, so that I can move around the selection.

And in this way I can continue making a larger selection.

And once you feel that you're pretty close

to making the selection as good as you can, let go of the mouse.

All right.

Now, once the selection is made, you can see that

we still need some modifications.

So what can we do?

There's a couple of things that we could do.

We can add to the selections by using other selection tool,

but something that might be a little bit easier is to transform the selection.

Now, in the last video, we used the Free Transform command to do that,

and there's a similar command associated with the selections in Photoshop

and you can access it by coming up to the selection menu.

And from there you can choose the transform selection.

So you'll see that familiar bounding

box appearing around the selection.

At this point, we could resize it by clicking

and dragging any of this resize handles, but really that's not what we need to do.

We need to distort this selection in some sense.

All right.

So what we're going to do is to come up to the control

panel here and click this warp button.

So this warp button places said with within the transform box,

allowing us to grab this points here and modify this selection.

Now as, you can see as I click and drag this flash points,

it gives me the ability to push out certain areas of the selection.

All right.

So once you're happy with that, you can press the return key or enter

on your keyboard, or you can come up here and click the checkmark.

If you don't like it, you can always click this button here or.

Press Escape Key.

Now I would like to show you another way

of selecting this, so let me just select this first.

Again, it's Control the for Windows

and Command D for Mac.

So there are some other automated commands

that we could use that will help select similar pixels.

And if you look at the car, we can see that

this wheel right here is right there than the rest of them.

So again, with our elliptical tool selected, let me just select a piece here

so you can see I've only selected a portion of it.

Then what we'll do next is to go here on the select menu and select grow.

Now, when you select this command, Photoshop will do a pretty good job

of selecting similar color values around, the selection in a contiguous fashion,

and also it wouldn't jump across other pixels that uses different color values.

So now if you miss any selection, you can just go here

and make sure that the ad selection is selected

and now you can add what you missed through the selection.

What if we want to save some time and select

the other wheels of the same color value

so we can do that with another automation here in Photoshop

and we can do this by going up here to the select menu

and we'll be choosing similar and what you will see that is it select

the other wheels that has the same color value.

Pretty cool, huh?

Now let me just go ahead and get rid of this election

by using the keyboard shortcut control or command D again.

And let's say

our goal here is to select the entire car again.

There are actually several ways that we can do this,

but one of the quickest way is to use the quick selection tool

and what the quick selection tool

does is to select pixels that use the same color values,

which in this case would be the background.

So again, let's make sure that this option here is selected.

So this option gives us the ability to create new selection.

If you want the change to brush size, you can do that as well here.

But as for me, I'm happy with the brush size.

All right.

So let me just click and drag here from the top left hand corner

and you'll notice that we selected a good chunk of the background.

Now, up here in the control panel,

this is automatically selected after creating a new selection.

What this means is if you come over here in an area

where there isn't a selection and you click,

it will eventually add it to the current selection

and you can continue do that until you have all the white pixels selected.

Now, you'll notice down here that this part right here

is not selected, and that's because of this shadow.

All right.

So let me just click and drag and click some of those fields here.

And as you can see, we played a little bit too much in this area.

But then don't worry, that's an easy fix in the control panel.

What we're going to do here is select this last option.

What this does is to subtract from the selection.

So again, we're just going to click and drag around this area.

And now you'll notice that we've done a pretty good job of selecting everything.

Remember, our goal was to select the car.

But right now we have this shadow excluded from the selection.

Finally, the problem is we wanted to select the car

and we have everything with the car selected.

So what we can do here is to invert the selection

by coming up to the select menu, and under the select menu

we will choose inverse.

Now will see that the car is selected and everything else is not all right.

So hopefully this gives you some insights on how you can go

about modifying your selections once you created them.

Now our next lesson, we'll talk about more about the popular types

of selection tool here in Photoshop, which is the wand tool.

And the last lesson we learned about editing selections.

Again, it's usually not going to be perfect

when you initially create a selection, it's

almost always going to involve some type of modification.

Would being said.

It's probably a good time now

to look at some of the automated selection tools that we have here in Photoshop.

So we have the magic wand tool here

and we also have this quick selection tool here.

But then we also have this latest one here, which is the object

selection tool, and you can use them as starting points for your selection.

All right.

Now, in order for you to use them effectively, it's important to understand

how they operate, behave, and some of their options represents.

Okay.

So we're going to start off with the magic wand tool here

and now, the magic wand tool, the oldest selection tool

that that's been around since the first version of Photoshop.

And that being said, the quick selection tool

was probably the original design to replace Magic Wand tool, yet

the magic wand tool is still useful up to this day.

So the magic wand tool works in a way that's very different

than the quick selection tool, but ultimately they can be used for a

similar task.

But it's important to understand the difference between the two,

so you can use the right tool for the right situation.

So with the Magic Wand tool selected,

we have options or settings here at the top called tolerance.

And right now it's set to 32.

And what the tolerance for percent is the pixel values

that would be considered the same based upon luminance.

And now at this point, let's say we click right here.

They would then consider 32 levels of luminance value

to be the same based upon the size.

Now, by default, the sample size up

here is point sample and most people leave it before.

All right.

So point sample simply means the actual pixels

you're clicking In many cases, especially when you're dealing with skies

and clouds, you have texture associated with the image.

And if that's the case, you may want your sample size

to be a little bit larger so you can expand it out.

And you can do that by selecting different options within this menu.

So if we do something like five by five average,

it would average out the luminance values based upon you click.

And of course, tolerance also plays a role there too.

No, in most cases you're not going to know

what you're going to get when you make their.

But as you get more comfortable with the tool

will be a little bit more predictable.

But oftentimes you are experimenting to figure it out.

What's The right tolerance and what's the right sample size should be.

If you click it, you'll notice I made a fairly large selection here

and now we can continue to add the selection

and we can do it continuously or this continuously.

If I select

or D select contiguous up here, and then I come over

and hold down the shift key and then click to add this to the selection

because. It's not contiguous.

You will also notice that I'm selecting just a portion

of the water right here, which is obviously not.

I want.

So if I can do that and select contiguous

because we have a fair sharp edge here along the horizon,

if I hold down the shift again and click,

it won't consider the ocean at all

in As I continue to hold down the shift key

and click, you'll notice that I'm making a decent selection of the sky.

Certainly you want to make some modifications,

especially where the lighthouse is concerned, but

this is a starting point and that's how the magic Wand tool works.

All right.

So I'm going to go ahead and select this controller command on Mac.

And now we can come over and use the quick selection tool.

All right.

So let me just go over here and select the quick selection tool.

And and now the quick selection tool by default will behave much in the same way

in the sense that you're going to be selecting a range of pixels,

but it's a little bit different in the background.

So what's happening is the quick selection tool

is a growing selection based upon edges.

And as you can see here, so click and drag on the sky here

you'll find that we are getting results.

So whenever you're using the quick selection tool,

you just have to make sure that your brush has a hardness of 100%.

Now, tool works, even if it has a hardness of less than 100%,

But the predictability seems to go down as the hardest

hardness of that edge is less than 100%.

Right.

So let me just continue clicking here and just like

so we highlighted the entire sky.

So you may find that more effective than the magic wand tool.

But then we will notice here that the portion of a lighthouse was selected.

And that's part of the problem with this tool.

And it's

all right.

So finally we have

this new type of selection tool here called the object selection.

And it's actually a pretty cool tool, mostly when working

with a lot of objects inside one image.

Now, if I click that, Photoshop will take time

to scan the image for some objects, and once it finishes,

you can just click those object and make a selection.

Now notice

how this lighthouse highlighted in blue whenever my mouse hovers over it.

Now if I click it, it made that selection.

You will also notice that it has more predictability

than the magic wand and, the quick selection tool.

But then again, it still depends on the contrast of objects.

You can see it didn't see this rocks right here,

aside from this one, which has a sharp edge.

So technicalities in the background

are different amongst the tools and understanding

that those technicalities are different would ultimately lead you to choose

one tool over the other based upon a particular situation you find yourself in.

All right.

So let me just go up here on the control panel

and you will see we have a couple of options here.

Again, this one is to create a new selection.

And the second option is to add a selection based on our current selection.

And this one is to subtract and fourth

one is to add a selection based on what's inside the intersecting points.

So let me just show you that here I'll make a selection

and make sure that the first option here is selected.

And when I made another selection

and overlaps it to the current selection, what's inside

by the intersecting points will be the one selected.

So let me just go ahead and do that

just like so it has selected what's inside.

All right.

So let me just go ahead and select that and go back up here.

We can also turn off the object finder.

But before do that, if you want to re scan the image, you just click

this re scan or refresh brought them here to re scan the image.

But with that object finder off you not see the blue

highlights on the objects whenever you hover your mouse to them.

All right.

So we also have modes here that we were using

and what we were using is a rectangle here.

And the other option we have here is the lasso.

And it is cool because we can use that and just go over to our objects,

do a draw down here, and even if you don't get them perfectly,

Photoshop will predict what you're trying to select.

Oh awesome.

Again, these are just starting points.

You will really not get them perfectly on first try

and you would need to modify later on to be flawless.

So that's much it.

And again, these are just some of the useful tools when creating

selections in your images, when working in Photoshop.

In this video, I've got this document that are available inside

the tutorial files that you downloaded from the website.

I have this cute girl, that JPEG and beetle that JPEG.

Now, earlier we looked at how we could work

the quick selection tool, the magic wand tool, and the object

selection tool to automate how we go about creating selections.

Now we're going to take that a step further.

Look at a feature that does some advanced automation

in the process of selecting a subject within an image.

Now, oftentimes new users will think that subject

simply means person within an image, but that's not necessarily the case.

You can have more than one person in the image

or something other than a person altogether.

But before we get there, let's take a look at how this command works.

So the first thing that we're going to do

is zoom into this image so that we can look at it closely.

And as you can see, it does pose some problems here.

If we look at here, the table shows her reflection

and of course, it will have the same color values only that it's darker.

Nevertheless, we're going to take a look at this new command.

So what I'm going to do is to come up here to the select menu.

And from the select menu, I'm going to choose subject.

And when you

choose subject Photoshop, we'll take a moment to analyze the image

and then it will find the subject and make a selection.

And as you can see, it's

not a perfect selection, but it's a pretty good starting point.

And you'll also notice that it has selected her reflection in here.

Now, if you want to modify this using some of the tools

that we looked at in the previous lesson, we could do that.

I'll just come over here, choose the Greek selection tool here,

and I'll just choose this option here to subtract from the selection.

And what I'll do next is to increase the brush size

by using bracket geese on the keyboard.

Then I'll just simply click over here to remove some of these

areas from the selection.

All okay, that's good.

And so again, what we have here is a pretty solid starting point now.

All right.

So let me just show you another thing here.

I'll just come over here on our other document,

which is the Beatles dot JPEG.

And in here we don't have a person at all.

Instead What we have

is this bill, and I'm go, I'm going to use the same command here.

But you'll notice that with the quick selection tool active,

we can see that the subject command is available from the control panel.

Now, if I click this button here, you'll notice that Photoshop again

is analyzing the image until it comes up

with its version of the selection or this object.

All right.

So just like so again, it's not perfect, but it's a great way to start a selection.

So once you have the selection, how do you modify them

really to tighten them up and make them as specific as possible?

Well, there's something called select in Mask Workspace,

which has all sorts of settings that allow you to modify the selection.

It's just perfect and it is exactly the way you wanted it.

And that's what we'll look at in on the next video.

How can you make your selection as perfect as possible in this session?

Want to show you the selection and mask workspace.

The workspace is designed to help you refine or modify the edge of a selection

that you've already made within that workspace.

Now I'm working with a document called Little Girl, that JPEG,

which is available inside your tutorial assets folder.

If We take a look at this subject.

You'll notice that it's going to be somewhat complicated to make

a good selection because of this strand of hair coming off the back.

And here at the front we also have this eyelash here.

And like I said, you can create your initial selection in the Select

and Mask workspace and you can do that by coming up to the select menu.

And from there you can choose, select and mask.

Or if you want,

you can create your initial selection here within the regular workspace

and then enter the selected and mask workspace to refine it.

So let me just make my initial selection here.

I'll just come over and use quick selection tool.

And just to make things simple, I'll just click on select subject

here from the top.

Well, it does a decent job, but you'll notice that it didn't select

the megaphone here, so I'm going to add that to the selection

with the add selection tool selected here.

All right.

So let me just click and drag here until I got

most of the megaphone, just like.

So we now have this initial selection.

But what we want to do here is to have the ability to pick up

some of these stray strands of hair coming off of her head.

And with that,

we will just come up here again with the quick selection tool selected.

You can see that the Select and Mask workspace is available here at the top,

and when we click it, we will enter the select and mask workspace.

Now we have a couple of different tools here on the left hand side,

and you'll notice that we have the quick selection tool.

You also have the object selection tool here.

You also have the lasso selection to hand tool and zoom tool here.

So with that, you'll also notice we have a refine edge brush

and we also have the brush tool here, and the brush tool allows us to expand

or contract the areas that we're going to refine when we looking

at the edges of the selection.

Now in the Properties panel,

we have several different options available to us

and the first thing that we could do is we can change the view mode.

Now, keep in mind that there isn't a secret mode

that you're going to be using inside this workspace.

Get the best result.

Every image has different needs,

and so depending upon the image that you're working with, that would

ultimately dictate which one of these options makes the most sense.

So in this case, you'll notice that there's

a view dropdown here and you can choose something like onion skin,

or you could go with the marching ants to see the selection, or if you want to

go, you can go an overlay which will give you kind of a quick mass mode appearance.

So we'll talk about quick mass mode in great detail later on on this course.

All right.

So next we also have black or white here, and there is also black white.

So what this does, as you can see, is to just look at the selection here.

And finally, we have layers here, which is really useful

if you're creating composite in the image that you would want.

Now, I'm just going to come over here and use something like onion skin.

And we could also choose black or white or overlay.

And all of these options have an opposite or transparency slider

that we can drag from left to right to control it.

Now towards the

bottom is where the real magic happens.

The first thing that we have here is the edge detection

and the edge detection as a radius slider.

This radius slider allows Photoshop determine

the size of the selection border where the edge refinement occurs.

Now, if we click and drag this to the right,

we're going to be increasing the size of that border.

It's almost like a gutter around this selection.

All right.

But then I'm going to keep this dial down to a lower value, like three pixels.

All right.

So there's also a smart radius option.

And the smart radius option will automatically adjust the

for hard and smooth edges.

So with a subject like this, it's

really difficult to get good results with smart radius.

All right, So as we scroll down, you'll notice that we have some additional

global refinements.

And the first thing that we're looking at here is the smooth slider.

And the smooth slider will smooth out jagged edges.

It really looks for hills or valleys within the selection.

But our subject here is is a person, so it doesn't make good sense.

Here.

We also have the feather slider

and again, like what we've talked about on the previous lesson, feather slider,

it uses an algorithm to blur the edges on both side of the edge.

But then this can be an issue as it may pull in color values

found within the background here which will not really give us good result.

So what will happen is that I will be having like a

like a halo effect around the subject.

All right. So then there's contrast.

And if contrast is an increase, you will see what happens

is that the soft edge transition around the selected edges becomes more abrupt.

Graining is sharper selection.

So you'll see that if I increase that,

you'll see those sharp here.

So let me just bring that back here.

All right.

To be honest, smart radius and the refinement

brush will typically yield better results for you here.

All right, Now, before we look at the shift edge here,

I would just like to scroll back towards stop here and

I'm just going to change the view from onion skin to black,

and then I'm going to increase the capacity a little bit.

So at this point, you can see that we're pulling in some yellow

background in between the strands over her hair here.

And this is where the refinement brush

becomes really. So.

All right.

So with that selected, we can also change our brush size if necessary.

Again, just hit down to the bracket, ski on your keyboard,

and then you can just click and drag within the stray strands over here.

Here.

Now you'll notice that those yellow pixels values are disappearing.

All right, So now I'm going to go ahead and refine this a little bit

more here until I'm happy with the results.

All right.

So in this case, we're now getting good results here,

but we still have somewhat like a yellow glow around the area

and we can fix that by coming towards the bottom here.

And from the properties panel, we can use the shift edge here.

And by shifting the edge, you can contract or expand the selection here.

So if you have a yellow values, you probably want to contract it a little bit.

So I'll just click and drag this to the left.

And as I do that, you'll notice that some of those yellow values disappear.

And let me just scroll down here towards the bottom.

And as you can see, we also have this output settings

where we have the decontaminate color option.

So this option will essentially remove

any color values within anti-aliasing pixels.

If you remember what they aliasing is, it essentially borrows colors

from the foreground background and creates transitional color values.

So this makes the edge looks nice and smooth.

Well, instead of having those transitional colors values,

you can decontaminate them, which will remove those color values.

You can also specify how you want this selection to be output.

In this case, I have a new layer with the layer mask

selected, but notice you have several options here

and now you can just remember the settings if you want.

But it doesn't make sense because every image is different.

All right.

So finally, if I scroll up to the top, a couple of other I want to point out

is this checkbox here you can show original, which will show you

the original selection so that you can see what changes we did on this one.

And as you can see, we made a pretty big improvement here.

You can also show the edge so

you can see exactly the area in which the refinements are taking place.

All right.

And once you're happy, you can just come down here and click okay.

And once you hit okay, you're committing to this selection

also by putting it on a separate layer with layer masks,

you can always go in and modify if it proves to be necessary.

Right now I'm happy with all of the settings that I made here,

so I'm just going to come down here and click okay.

So once you click okay, you can see that

we've made a pretty awesome selection here.

Awesome.

So I strongly encourage you to practice masking,

keep on experimenting on the settings and as you go along.

You will be comfortable with isolating any subjects

or objects that you want in Photoshop.

The select in Mask Workspace eventually gave us the ability to modify a selection

so it is somewhat kind of an automated process, but

we did have a little bit of manual control with some of the tools

within that dialog box.

But for the most part we were globally changing the selection.

We were either expanding it or contracting it and so on.

What if you want a precise control on a very manual level,

you gain that by using something called a mask, and moreover,

you would gain that by using something called quick mask mode.

Now, a mask is nothing more than a visual

representation of your selection that is stored within the layer.

So we're going to be talking about

mask in layers in much greater detail on a later lesson.

But for now we want to focus on quick mask mode,

which is a temporary masking mode that allows you to paint your selection.

So the review quick mask mode, we're going to start off by creating

a general selection of this bottle in the small base within this.

All right.

So let me just come over here

and just a quick selection tool with a quick selection tool selected.

Let me just adjust the brush the size here again

by hitting brackets on my keyboard.

And so we can see Harden is set to 100% do so it's all good.

I'll just press, return or enter to collapse that panel.

Then we'll start making

this selection now by clicking and dragging this model.

All right.

Just like so.

And you'll notice that it's doing a decent job after selecting it.

All right, Now we're going select this small base

next by doing the exact same thing.

But then there's a problem here.

We've selected a portion of the background here, and that's probably

because the all must have the same color value here.

So what we want to do is to modify the selection

and we do that by entering the quick mask mode or.

All right, So you can do that here by coming over to the toolbar

and clicking this button right here underneath the foreground

and background Swatch view is the keyboard shortcut.

Now when you click this, you'll see that

our overlay over all the pixels that are not selected.

So our goal here is getting this red overlay to appear

exactly the way we want it to appear.

So we could add the red overlay by painting black and you can remove areas

from the image out of the overlay section by painting white pixels.

There's also shades of gray that are available for any transparent areas.

And if you think about drop shadows, shades of gray generally

do a nice job in that scenario.

But for our purpose right now we can just paint in black and white.

And so remember to remove pixels from the red overlay.

You want to paint it with white.

All right, So let me just come over here and select the brush tool.

Be is the keyboard shortcut.

You can also modify the brush size if it's too big for the image.

And you also want to modify the hardness here.

You don't want it to be 100, but you certainly don't want it down here too.

In the lower percentage levels, you want it up somewhere in the 80

to 90% range so that you'll get a fairly crisp selection.

So once you're happy with that, you can press, return or enter.

And that's what we mention earlier.

We want to painted white to remove the red that we see here on this area

of the base.

So let's zoom into the base here.

The keyboard shortcut again is spacebar and control to temporarily activate

the Zoom tool and it will be spacebar and command on a mac.

All right.

So you can let go of the control or command key to temporarily

activate the hand tool if you want to bend around the image.

So if you want examine the image and see

refinement, you can do that.

But before we zoomed in, it's pretty evident

where we need to refine the area.

So again, if your brush tool is too big for you at this point,

you can just adjust it again with the brackets key on the keyboard.

All right.

So again, we want the white to be your foreground color.

And if you're looking at the default colors

and you see black here, you can switch the foreground

and background color by clicking this button right here.

And if for some reason it's if it's not black or white,

you can press D on your keyboard to get this color back.

There defaults.

Then you can click this button again and

then we can just come up here and click and drag

to remove the red overlay from the selection of the base.

And so as you can see now, you can get a really precise with your selection here.

And we have a little bit of too much of that here.

So just cleaning that up a little bit,

that looks good.

I'll just continue to pan around and check for problems.

All right. All good.

Now, at this point, we want to paint with black.

So to flip the foreground and background

colors, you can press X on your keyboard.

So you may also have to reduce the brush size again

a little bit if you need to.

And now, as we get into the tighter space here, you can also reduce the brush size,

allowing you to come up further in between this. Do.

All right, Awesome.

Okay.

So let me just focus on the bass here so you can see at the bottom here,

I still have some pixels that we need to clean up from the background.

And there's also some of the pixels here at the top we need to

clean up will make it as perfect as possible.

And as you use Photoshop,

you'd be getting much more faster and comfortable with this.

And also you can also determine what kind of selection tool

that you'll be using as you get along with this program here.

All right.

So we're almost done here.

Just so doing little bit of cleanup here, just like so

And I'm just going to have some one last look here.

All right.

I think this looks pretty good.

Let me just press down control and zero or command zero on a mac

and this will get our image

to fit within our workspace.

Okay.

So let me just exit quick mask mode here by pressing the cookie on the keyboard.

And now we can look at our selection and it looks pretty good.

All right.

So as we look at this and if we decide that we want the refine

a selection further, you can just toggle back and forth between

the quick mass mode and the regular mode by pressing the Q key on the keyboard.

Again. All right.

So you can always return back to the quick mass mode if you need to.

And again, quick mass mode is just one of the great ways to have precise

control over your selection by literally painting your selection

into the image.

All right.

So in the last lesson we learned how to work

with quick mask mode when creating our selection.

And this lesson will look at another way

that you can go about creating a selection inside of Photoshop.

So now I'm working with a document called Down Little Kid that JPEG.

And in this case what we want to do is to select her clothing.

Now, the problem with this particular photograph

is if we decide to use something like the quick selection tool,

because the quick selection tool works based upon finding edges within the image,

it's going to struggle quite a bit over here where we see her hair.

In fact, it will probably just ignore her hair.

So we're not going to get the best selection.

And if we use something like the Magic wand tool here,

you can see that there are many different color values here.

So it's going to make using that tool very difficult.

Now, there is a better way

inside Photoshop to this, so let me just go here to the select menu

and from the select menu we will choose Color Range

and that will open up the range dialog box.

And the first option here is the select option.

And as you can see, there are several different options here.

You can just use a color like a Scion or red or yellow.

And when you do that, you'll get a preview down here towards the bottom

and you can see the type of selection that's being created.

Honestly, it's not too bad, but unfortunately, it's not including

enough of the color values and there's nothing that we can do about it.

We can't modify this in any way.

And that's really the limitation, reducing one of these colors.

Now, if you're a landscape photographer, you may find something

like the highlights, mid bones and shadows really useful.

Maybe you just want to play with the mental image or shadows

within the image, and this option will give you the ability to do that.

But obviously in our case, they're not all that helpful.

You could also choose something like skin tones,

which will find the skin tones within an image,

and there are things that you can do to modify

the initial selection, one of which is detect faces.

When you choose detect faces, you'll notice that the selection

is tightening a bit.

So there's a lot of work that we can do here,

but obviously that's not our goal.

And on this case, our goal here to select the clothing.

So what we're going to do is I'm just going to go

and choose the first option, which is sampled colors.

Sampled colors are the colors that you sampled within the image

with this eyedropper cursor here.

Now you can change the preview, which is the image

over here by choosing another option in this menu.

So we have grayscale, black matte,

white matte and quick mask.

For simplicity, I'm just going to leave mine

to non and I'm just going to be using this preview here as a guide

now you can use this Eyedropper tool here

on the preview area or in the image and it's completely up to you

now. When you click on the clothing, you'll notice that we're getting

a decent selection here, but it's leaving a lot of color values out.

So what we'll do is if we come over here and click again,

you're just changing the selection.

You're not adding it or modifying it in any way.

All right.

So what we want to do here now is to come over here

on this selection here and, click this button,

which is a add to sample.

So this means that we're going to be sampling

even more of the color values.

The other thing that you probably want to do

is also check localized color clusters,

and that's just going to make sample area,

contiguous area so it won't jump other color values.

So if you select the purple value here,

it will to select the purple value next.

All right.

So at this point, we can just continue to click and aside from

and you can also drag it in as you click and drag,

you'll notice that we're adding that to the selection.

Now, you want to be careful here not to sample too much,

but you do have a safety net in that and you can just come over here

in the select tool again and select this, subtract from the samples area.

But so far we're doing good here.

So let me just continue to click and drag here

and we can see that we're getting decent results here

now. We can make additional modifications here.

We can change the range which will expand or contract the selection.

So as I click and drag this the right, we're including more values.

We also have the fuzziness slider here,

which soften up the selection.

It also seems to expand it slightly as well.

You'll also notice that we've picked up

some of our eyes here.

All right.

So aside from that, we're also softening up the edges around her clothing.

In this case, I want this dial down little bit.

And honestly, I don't think the range has to be this high either.

So I think what we want here is to be

just to be around 50 to 40% range.

So if that doesn't do the trick, we can just

fix it later on

after we've finalized all the selection.

So what we want to do here now is just to continue

adding to the sample here by clicking and dragging on her clothing.

All right.

So see that it's

it keeps adding up on the preview here.

And it seems to be becoming more wide.

I do want to avoid her strands of hair here if possible.

All right.

So but then we'll just continue clicking and dragging here.

All right.

Now, let me just warn you here that

you want to make sure that you're happy with the selection, because if you click

okay on that one, you won't be able to get back on this dialog box.

So you want to be a spare figure as possible.

And if you really can't get it to be possible, you don't have to worry

because can use the quick selection tool or the lasso which will

or the marquee tool to dislike or select

any of those missed selection.

All right.

So, um, I think I'm done here now.

I'm just going to click. Okay.

Before that, we'll just have one final look here

and All right.

So I'm pretty happy with this election already.

So let's click okay And you'll see the marching ads up here.

Here now on her clothes.

So again, we did miss a little bit up here and maybe just a tad over there

in this area, but overall, it's a pretty good selection.

All right.

So like I said earlier, we can fix this area.

Let me just go to my lawsuit tool here and then I could just

hold down the shift key to subtract this, the selection

all. Right.

So let me just do some cleaning up here and there.

Every time we've made this selection, we really haven't done anything

with the selection.

We've moved the basketball out of one picture and place it in another.

But what can we do with this selection now?

We should be tackling about adjustments, a different chapter.

But then just to get some satisfaction about this election that we've

just created, what we can do here is to come over to the adjustment panel.

And if you don't see the adjustment panel, you can just come up to the window menu

and from there you can choose adjustment.

All right.

So I think we're all set here.

All right.

So I think it's a good selection now at this point.

And and in this case, we just want to apply a hue and saturation adjustment.

So this will open up the hue and saturation panel.

And in here you can just drag that hue to a different location

and you will see that it will change its color.

So again, we'll talk about adjustments in greater detail later in this course.

But for now, you can

see that we were able to successfully make a selection

and change her purple clouds into a different color.

All right.

Now I'm working with a document called Coupled Start JPEG.

And again, you can that in the general assets folder.

So what I'd like to do here is to make a selection

of this couple right here that are in focus, keep them in color

and set else into that image black and white.

So we can do this by coming up with a select menu.

And from the select menu we can choose focus area.

And when this dialog box opens, Photoshop will evaluate the image

to decide what's in focus.

And at this point it does a decent job in terms of starting point,

but obviously it took out some areas that we want.

But now if you're not, we have several options

for modifying the initial selection.

So the first thing that we have here is to adjust the view mode.

And right now

we're looking at the image on White, but we could change that through black overlay

and we could also change that to marching ants.

And there are also other options here right now.

I'll leave it set to white.

All right.

Now, keep in mind that it's important to leave the preview option selected

so that we can actually see what we're changing here.

And now, if we look at the parameter

section, we have an IN-FOCUS range,

and if we drag the slider to the right,

it increases the value right here.

And what Photoshop will do is consider

areas that the image to be in focus.

And if we drag it to the left, fewer

areas of the image would be considered in focus.

So In this example, we should drag it to the right.

So we are missing some areas that we want.

All right.

So and as you can see, as we do that Photoshop will reassess the image.

All right. So it's in a pretty good job here.

But then we still have this arm here cut out.

So let's just go ahead and drag more the right

and let's see if we can get this arm here back.

All right.

Well, it seems that we can't add that arm.

What I'll just do is just go back a little on the settings here.

And what happens is if you run into this kind of situation

where you really can't get the in-focus range that you exactly want,

we can use this tool right here.

And what we have here is the focus area ad tool

and the focus area subtract tool.

So let me just highlight the focus area here with the subtract tool.

And I'm going to increase my brush size by using the bracket scale on the keyboard.

Now I'm going to click and drag on to this area right here.

And as you can see Photoshop will remove it.

Likewise, I'll drag and click on this sorry,

stray areas here and Photoshop will remove that too.

All right.

So let me just clean up this area here.

Let me just click and drag here again.

All right.

And it seems that it included

some of the areas that we want, but then again, no worries.

We can fix that.

So what we'll do here is to go to the menu here again,

and this time will be using the ad tool.

All right. So I'll just click and drag here

and also click and drag here on his arm.

All right.

So we got that arm back now, and it's looking good now.

So finally, we just want to take part of the street

here in between the legs and between the arms.

All right.

So let me just go back to the subtract tool here.

Let me just adjust the brush size here.

So I need it to be smaller and then I'll just click and drag again and

we'll just click on here, too.

All right. Awesome.

This one looks pretty decent, so

we could also come and clean this up a little bit more.

But for the most part I'm happy with this.

So now this point we could click okay,

then the output would appear as a selection.

But if you want to soften the edges a little bit, especially around her hair,

you could do that.

Now, if the Softened Edge isn't selected,

you could selected the see if you get any improvement.

But in this case, it's not helping that much.

All right.

So now I'm ready to exit this dialog box.

And it's important to understand that once you exit

the dialog box, you can't come back anymore.

All right.

But in this case, instead of playing okay, I'm going to click, Refine, Edge and,

that's going to open up

the Refine Edge dialog box that we looked at earlier in the lesson.

And now

all I want to do here is just add some feather in this election.

All right, So let me just drag that here

and you can see that then the edges is just getting a little bit more blurry.

We just said, I'm going to make a nice transition

here, too, between the black and white background.

All right.

So in this case, I want to put it out as a selection and we can click okay.

And once we click okay, we can see that selection.

All right.

So let's just have a good look at our image here and now.

We want our background to be black and white.

So what we will do to invert this selection.

So we'll just come up to the select menu here and we will choose inverse.

All right.

So now everything is selected except the couple.

And now with that being said, the quickest and easiest way

to set the background to black and white is to just come over here

to the adjustment panel and click the black and white adjustment.

Again.

If you don't see the adjustment panel, you can just come over to the window menu

and just use adjustment.

But once it's open, you can click black and white

and all

right, now you'll notice the background is black and white.

Cool.

Okay, so let me just

take a good look again on our image here.

And so can see if I turn off the visibility of this layer.

This is what the original image looked like.

And you can see that we have some colors here.

If I turn the visibility of this layer back

on, we can see that the black background is black and white again.

So again, if you want to make a selection based

upon what's in-focus within an image, this is a powerful command

that is available for you inside the program.

If you're going to be making a good selection in Photoshop,

you're going to be

a combination of techniques that we looked at in conjunction

with a variety of selection tools that are available inside the program.

Well, if you're going to spend much time making selection,

you might want to save it, because anytime you select the selection,

you can get it back. It's lost.

And if you your files a BSD file,

then that selection becomes a part of the document,

which I'm now working with.

Photo for that JPEG on your tutorial folder.

And just to demonstrate this on, what I'd like to do

is to come over and choose the quick selection tool

and with a quick selection tool selected, going to create a new selection.

All right, let me just click here in the sky

and all we want to do is really select the scar here.

And so I'll just continue

dragging this until we select the demo,

just like so.

So now once you are finished, you can then come up to select

and from the select menu you can choose save selection.

So you can specify a document whether it be

the one that you're working on now or the new a new document.

You can also specify

the channel in this case we have and save any other selection to this document.

So it's the only option available.

All right.

So we can name the selection and I'm going to call it Orange Sky.

And in this case, because we don't have any other selection in the document,

we can only select this, a new channel here.

All right.

Let me just go ahead and click.

Okay.

Once you click okay, you can select the sky.

And if you come over to the channels panel,

you'll see the Orange Sky Channel list.

There.

So this means you can load it at any point in time here.

If you come up to the select menu under the select menu,

you can choose load selection.

And here in the load section dialog box, you can specify the channel

that you're looking to load.

So in this case, it's just the orange sky.

We can invert.

So everything by the sky is selected

and we also don't have anything else selected currently.

So the only operation we can perform here is a new selection.

If I leave invert selected, I could then come over here

and click okay and you'll notice everything but the sky.

And from there you can save it again.

All right. So.

So I just wanted to point out that you can save your selection in Photoshop

and you can recall them at any point in time.

So will be very useful.

If you spend a lot of time

creating a selection, it's probably worthwhile to save it.

If there's a power failure or unexpected,

you wouldn't be worried that your file is lost.

You can just

load them and you can recall it at any point in time

within the program, we have learned how we could go

about creating selections on the last chapter, and now

we're going to take a step further and look at how we can work with Mask

and layers.

So this will ultimately give us more control when we manipulate an image

now, because we're starting to change manipulating image, there's good chance

that when you perform an operation, you're not going to be happy with it.

And with that said, you might probably want to undo

or redo an operation.

So in this clip, we're going to focus on how

we can undo certain operations that we perform.

So let me just do something fairly basic here.

Let's come up to the select menu, and from the select menu, we can choose

Color range and what we're going to do here

is to select this flying lanterns.

So what you want to do now is make sure that you have sampled color selected

and then you want to come over here and just also click add to Sample Tool.

Then we will click and drag within the lanterns to make a nice selection.

So you want it to look something like this.

So you want the lanterns to be white

and you want the background to be black.

But then ultimately we want to do here is to leave the lanterns in color

this some orange lanterns in color and have the background

appear as a black and white. All right.

So once we finished

selecting the lanterns, we want to select everything but the lantern.

So we need to invert this selection.

And there's two ways that we can do that here.

So we can just click this checkbox here to invert,

or we can go to the select menu and choose invert.

And in my case, just

hit okay on this one.

And then we see the marching ants.

Now, Now I'm going to come up to the select menu

and choose inverse

and next layer.

So what we want to do is to apply a black and white adjustment.

So I'll just come over here and click

the black and white adjustment here on the adjustment panel.

Now, if you don't see the adjustment panel again, you can just come up

to the window menu and choose adjustment.

All right.

So once we add the black and white adjustment,

the background is black and white.

Now in the lanterns here are in color D so

we only the orange lanterns here.

But then as we can see, it's doing that for the most part.

Now, we still need to fix this.

If you notice, there are some black and whites being applied to the lanterns, too.

So we're going to get into this mask in a much greater detail a bit later on.

But anything black and this little thumbnail here

that you see is not part of this selection.

So we want to make

sure that we highlight t mask here.

We can see this highlight here appearing around a thumbnail.

And then what we'll do next is just the brush tool on the end.

The keyboard shortcut this be in.

You want to make sure that that black is the foreground color.

If yours is not just press d on your keyboard,

see the set, the foreground and background color to are defaults white and black,

and you can just exchange them

right by hitting X on your.

So with the black foreground set here, I'll just

click and drag over the lanterns here to add the black to the mask here,

which means you will reveal the color underneath the areas that you're painting.

And as you click and drag, every single click that you need is being recorded.

And then we can verify this by opening up the history panel up here.

And if you don't see the history panel, you can come up to the window menu

and use history.

You'll notice that I have several steps recorder here.

We've opened the image, apply the color range command have been burst selection.

We've applied black and white adjustment layer

then we've been working on with the brush tool.

If you decide to undo something you also come up to the edit menu

and from there you can choose undo, in this case

the brush tool, the keyboard shortcut, this Control Z.

So as I start to do this, it might be difficult to see.

But take a look at the lanterns.

You'll start to see that they're losing color information.

And if you look at the history panel, you're

you're going to see that we're actually moving back in time.

Now, history panel will record 50 states by default.

And what's important to note is if you get to a certain point

within the history of panel, like in this case,

we've just applied black white adjustment layer.

If I do something else here within the image,

all these steps that are grayed out will go away.

They get flushed out.

This is to make room for new steps.

And then now I'm going to go ahead here and do that.

So as you can see, you can circle back in time, which brings back

this old steps here, which is what I want.

And now we can just come down here to get back to the point

where I was before, before I start making the mistakes on the history panel.

And believe it or not,

we there is

quite a few more features in this, but this is not about the history panel

here, but rather I just want to show you how you can go

about undoing and redoing operations that you may performing Photoshop.

Just be aware that when you do something in Photoshop,

rarely is it something that's set in stone with the same robust history panel.

Chances are you can get back in time.

But from here on, as we go through the course, at least,

you know how to undo possible changes

that you make inside the program.

As we were working with selections, it is also important

to work with layers inside of Photoshop.

If you introduce a new content into your image

or make some type of an adjustment, there's a good chance

that you're going to be working with multiple layers or layers

allows you to separate content out within the same document.

A good example of that would be a document that we were working on earlier

when we pasted the basketball to the basketball court image

the first time you open an image in Photoshop.

So it will have a background layer.

But once you start adding content like the basketball in this case

to the image, that content by default is separated on its own layer.

And the advantage of that is

we can work with the ball independently of the basketball court.

Image.

You'll notice right now

that the ball layer is active layer because it's highlighted

and if I click on the background layer, it becomes highlighted.

Now want to make sure that we have this layer selected

and what we want to do now is use the move tool

and from there you'll have the ability move

the basketball somewhere else within the image.

And because all the pixels associated to this basketball lives on its own layer,

you can turn off the visibility of that layer.

And when you do, you no longer see the ball.

When you turn off the visibility of that layer,

not only is it making a visual change in Photoshop,

but if you were to print this image, the ball would not print too.

So we're temporarily disabling the pixels on this layer altogether

and we can reactivate them by clicking on the same icon to return to visibility.

Now there are some unique qualities associated with the background layer.

The first thing, of course, is

if you select the background layer, you can't move it.

I still have the move to selected here and as you can see, if I click and drag,

you'll notice that I get warning telling me that I can move this,

and that's because the layer is long.

Another quality of the background layer here is

you can't change its stacking order.

And as you may know, one of the great things about layer here

is having the ability to change the order in which way they appear

within your document, if it's a background layer, has to be at the bottom layer.

Now if I click and drag the change to stacking order, you'll notice

I get this no sign telling me that it's not possible to do that.

Finally, if I were to erase the pixels on this background layer,

I won't see transparent pixels like I see on the bowl layer.

If I turn off the visibility of the background layer, we see this

checkered pattern.

This is an indicator that there's no other pixel

information, it's completely blank and transparent.

Now, if I were to choose something like the Eraser tool

and with the Razer tool,

I just come over here and click on the basket more to erase it.

You'll notice we see the background underneath

those specs, those because we removed

of course, I don't want to do that.

I'll just hit Controller Z or command Z

and that that will undo what we just did.

And if I were to do that on the background layer here,

we won't see that checkered pattern underneath.

All right.

So finally, if you want to be able to change this

stacking order or c transparent pixels underneath the background,

all you have to do is unlock it or rename.

You could do that by clicking this icon right here and it will automatically

rename the layer.

And at that point you can change the stacking order

and you can also move the pixels on that layer.

And if I erase it too, you'll notice that you see transparent pixels.

All right, So let me just go ahead and step back then the history panel

to go back where we were before, before we made those changes.

But that's the importance of background layer and it's important

to know the first time you open an image in Photoshop,

it will contain a background layer.

All right.

So let me just show you another thing in here.

I'll just close this one out.

And now what I'd like to do is create a new document here.

So again, you can do this

by clicking this button right here, or you can go to the file menu.

And from the file menu you can choose new

or you can just use the keyboard shortcut, which is some control

end for Windows and Command and for Mac.

Now what we're going to do is to change the unit of measurement to pixels,

and we want to set the width to 1900 pixels here

and a height of 200 pixels.

And finally, we want to make sure that the content is set to white.

Then after that you can just come over here and click okay.

And now we have this a new document created.

So the next step is we'll be opening up several different images here,

but I want all of this image to open in one single document

and have the images separated out into different layers.

So how can we do that?

We can do that by

jumping over to the companion application called Adobe Ridge.

And if you'd never worked with Adobe Bridge before, it's essentially a visual

way for you to find files that you want to open Photoshop.

So in this case you want to go to the tutorial assets

folder that we've downloaded from the site.

And in there there's another folder called multiple Images.

So you can just go ahead and open that and

you'll see that we have four files in there

and we can select them all by clicking

the first one and holding down the shift key.

You can select the last image or file here.

The other option is just to click and drag the marquee around

all of the thumbnails.

And if you let go of the mouse, you can see all of them being selected, right?

So once that's done, you can just come up to the tools menu

and from the Tools menu you can choose Photoshop

and then you can select load files into Photoshop layers.

Now what this will do is to create another Photoshop document,

but it will place each of these thumbnails on their own individual layers,

which is exactly what we

now at this point, we have a new document

that contains four layers, but ultimately we want this images.

In that document we created earlier.

So let me just come up to the window menu here.

And from the window menu, you can select a range

and then we can choose to up a vertical.

All right.

So at this point, we can select all of the layers

in the new document that contains all of the images.

And we'll just be clicking on the first layer here.

And I'll also just hold down the shift key, selecting the last layer,

and that would select all of our layers here or images.

Right now from this point, all we have to do

is click and drag this image to the new document.

And once we let go of that mouse and you can see that

all of the images are now on the document that we want.

All right.

So let's just return back to this document.

And again, what we will do now is down from the window menu, we will again

select a range and we'll be choosing consolidate all tabs.

All right, cool.

Now, if we want to move the images, we can.

So with the MOVE tool selected, we can just click and drag.

And at this point, all all of the images are present

within the document,

but then you can't see them properly, and that's because they are stacked on

of one another.

So as we turn off the visibility of this layers,

you can see that the images are there.

All right, you're all set.

And then before we move on, what they'd like it to do is save the document.

So you can do that by coming up to the file menu and just clicking on Save S.

All right.

So I'll let let's just save this

document here as up the file

and then once you set your name here, you can just click on.

Okay. All right.

So on the next video we'll be talking about

Layers panel.

We have the same document here that we created in the last video.

And what I would like to do in this video is review some of the basics

that you should be aware of when it comes to working with layers panel.

Well, first of all, we can see that we have these four images

and right now they're all stacked on top of one another.

But if you select the MOVE Tool vertical keyboard

shortcut, you can click and drag to move this elements.

Now we have

smart guides turned on, which enables us to move them on same horizontal plane,

but you'll notice that you can move them outside that plane

if you move your mouse up or down.

If you want to ensure that you are moving them on the same

horizontal plane, you can hold down the shift key.

But as you move this object on on different layers,

you begin to see the content of the layer underneath it.

And that's because they are not in the same location anymore.

It is also a good practice, an idea to rename the layers

right now I have generic names right here

and we should be like renaming them

based on what they look or what the image like.

So it will be easier for us to describe

and we wouldn't be confused when we were looking at our layers here.

So for me whenever I

want to verify that I'm looking at the right layer,

I just turn off the visibility mode by just clicking this icon right here.

There you go.

And then you can just turn it back on by clicking the same icon.

So again, when you're working with multiple layers,

naming becomes really important because it allows you to stay organized.

But then nevertheless you will run into situations where you have so many layers.

You want to reduce the amount of layer that you're looking at.

For example, we can filter layers

based upon the kind of content and textures within the layer

and at this point, all of our layers contain pixel information.

But if we click this button right here, we will only see pixel layers.

If we had that adjustment layer, that layer would get filtered out.

Let me just show you what I meant by that.

I'll just select the layer right here and apply a black and white adjustment

like we have in the past.

And you'll notice that adjustment leaves on its own layer.

Right now all the images are black and white

because this adjustment layer is above all of this images, if I were to drag it

underneath this layer right here, you'll notice

that this layer is not being affected by this adjustment layer.

Nevertheless, if we

come back to this filter in click pixels layer,

you'll notice that adjustment layer goes away.

Likewise, if I click this button to view

just the adjustment layer, all the pixels layers will go away.

And that also exists for type layers

or shape layers or smart objects.

Not only you can filter based upon Klein, but You'll notice

you have all of this other attributes that you could filter by.

If you want to filter by name, you could do that

if you were looking for a very specific and you had hundreds of layers,

it might make it easier for you to just type it in the layer name.

So as you can see, as I start typing in yellow here,

you'll notice that the layers filters out display

only that layer that contains that that same name.

And if you want to turn off that filter temporarily, you can just switch it here.

You can press this button right here.

You'll notice that once you click if you turn off the filtering capability

and if you click it again, it burns it back on.

All right.

So let me just switch mine back to kind and I'll leave all of this buttons

the selected.

So we see all four layers here.

If you want to create new layer, you can just click this bottom down here

and just click button to add new layer.

So with that a new layer is created

and it has a generic name, in this case some layer ones,

again, you can just double click on it if you want to rename.

And the other option you can do is

if you hold down the ALT key on Windows or option key

for Mac, when clicking the new layer, you'll you will get a dialog box

and in this dialog box you can give it a custom name.

Then once you have a custom name in there,

you can just coming over here and just click okay.

And you'll notice that when the new layer is created,

that name is already attached to it.

And if you decide that you no longer want a layer, you can just select it.

Then you can just come here and click the trash icon here.

And when you do that Photoshop, ask you to confirm that

if you really want to delete that layer.

In this case, we do.

So I'll just click. Yes.

Another way to delete the layer is to simply press the delete key or backspace.

And when you do that, the layer

that's selected on the panel will go away.

So as you notice, you don't get that warning dialog box because

Photoshop figures that if you're pressing the backspace

or delete key, you know what you're doing.

Likewise, you can also delete the layer

by just simply clicking and dragging it to the trash.

In this case, you won't get a warning too,

because as you can see, it's a very intentional move.

It's not something that you would be doing by accident.

Finally, it's important

to understand that you can change the stacking order of these layers.

Right now I have this layer selected and I also have the move tool active,

which means if I use the arrow keys on the keyboard,

I can then nudge the content on that layer over.

And if you hold down the shift key, you could move it in

larger pixel increments in this case.

And you'll notice that this image

here appears underneath this image.

And that's because this layer is underneath this layer.

If you want it to appear above this layer

right here, you can just simply drag it to change its order.

So again, be mindful of layers.

So what's highlighted is the one your working with.

And even 3 to 5 years from now, I'm pretty sure you will commit mistakes

with layers.

Like for example, you want to move one image,

but then you forgot or you might have clicked the wrong layer.

And these are the cases where you will see like or

you will be surprised that why did they move the wrong layer?

Why did the brush painted on this layer and not on the other layer?

So again, just watch out for those kind of situations.

All right.

So now let me just show you another way to quickly select a layer that you want

so you can just right click on your mouse here

and you can see that you can choose that on this options.

And if you click that, you will notice that on the layer panel

it becomes highlighted.

So when, for

example, you have layers also stacked up on each other, you can also right

click on that and you will see all the layers underneath of that too.

All right.

So another quick way is to hold down the controller command key

on your keyboard and click on that

image or layer that you want and you will notice

that it also highlights that on the Layer panel.

Finally, you can also come up here and enable all the select.

And when you do that unit, as soon as you click on the image

on your canvas, it will select that layer.

Just be mindful also on using this

so as you can easily create a mess with this enabled here.

You can also see that you can choose if you want layer

or the group to be selected here when clicking.

So we'll just leave at layers here.

But I think it's safer to just hold down the controller command as

so you can see that the when we do that we also toggle auto select,

but in this way we won't accidentally move other layers on the document.

So again, these are the basic features to help you better understand

than how you can interact with the layers

in the Layers panel.

Now we will talk about layer options in this lesson.

And let's start looking at it by coming up to the top right hand

corner of the Layers panel here and clicking just this button right here.

So that will open up a menu of options.

And down towards the bottom you'll see panel options.

And when we click it, it opens up a dialog box.

And the first option we have here deals with thumbnail sizes.

You can

go with none, but the default size is small.

There's also a medium size and a large size preview for the thumbnail.

So in this case, let me just switch it over to a larger size here

and we'll leave the thumbnail content set to entire document.

Now if we hit, okay, you'll see that we're getting a large thumbnail

for an entire document here and.

This is because the document is a thin strip

and also the other images also has a thin strips here.

So something that you may want to do instead is to just return back

to the panel options and choose layer bounds.

And when you click that, you'll see all of the content

within the layer here now on the Layers panel.

All right. So let me just do something here.

Just for example, I'll just select this brush here and then just come over here.

And right now I have the oval bulb selected.

And if I click over here, you'll notice that the thumbnail

completely to show you all of the content within that layer.

All right, So

I won't do that, but this is a nicer way to see

the content on the layer by using that layer bounce option.

So let me just come back now to the panel options

and I'll switch it back to the entire document

and I will leave it set the standard for smaller size.

You'll also notice that you have other options like expand new effects.

There's also use default mask on fill layers and we'll talk about

feel layers effects and adjustment layer a little bit later on.

And the by default copy can be added to any layers or groups that you do copy.

If you don't like that, you can select

the problem with that, though it might pose a problem of not recognizing

which is the original or we just duplicate.

And also when you see the word copy added,

it's really kind of a cue for you to rename that layer.

So again, naming your layers properly is going

be pretty important for staying organized when you're working inside Photoshop.

So again, just

be aware that these layer panel options do exist

If you want to change the appearance of the layers within the Layers panel,

those options are available to you

when working inside Photoshop.

You want to avoid mistakes as much as possible

mistakes, such as moving a different layer

or painting on a different layer unintentionally.

Now there are several different ways that you can

lock layers when working in Photoshop.

You'll notice in the Layers panel there's a lock label

with several different images or icons, and each of these images

represent different ways that you can lock layers.

So let's take a look at how this images impact

what's going on inside a canvas.

We'll start off on the far right here.

We have an icon of a padlock, and when we click it,

you'll see that same icon up here on our active here.

So this icon is the lock options,

which means everything is locked right now.

And I the move tool selected here so you can see now

if I try to click and drag

you'll notice I get a prompt, a warning telling me that I can do that

because the layers are locked.

Likewise, if I select another tool like the brush tool,

I also then don't have the ability to paint based locks in any way.

So that's what this option does.

It blocks the layer down completely.

However, anytime you lock a layer can still manipulate it.

Here in the Layers panel, you can change the name.

You can also click and drag it to change the stacking order.

You're just locking the content of that layer.

All right.

Let me go ahead and deselect that option right now.

And to the left of it, it's a newer option that gives you the ability

to prevent auto nesting when working with art boards.

So with artworks, you can drag content from one artboard to another.

And when you do that, that content gets nested to the destination artboard.

And you can prevent that by using this behavior

right here now because we aren't dealing with artworks

that much, we won't really look at that feature right now.

I'm just giving you an idea of what it represents Now on left of that

you can block the position of the content within the layer

if I click this option.

So if I select the MOVE tool here and,

if I click and drag, I get that same warning dialog box.

So let me just hit okay on this one.

However, if I choose the brush tool here,

you can see that I can paint the pixels on that layer.

All right.

So let me just go ahead and do that again and control

command Z for Mac.

You'll also notice that you get a different icon

and the icon looks like a padlock, but it's not solid.

So that indicates that there's some type of attribute

that it's a lot over this layer.

All right.

Now, let me just go ahead and select this position lock right here,

and I'll come over and select the next to the left,

which is the locking the image pixels.

What that means is if you want to move the pixels.

You can do that.

However, if you want to manipulate the pixels in some way, like

if I select the brush tool, again, you'll notice that I don't have that option.

I can't brush or paint any pixels within this layer.

I'll just go ahead and select that option

and we'll select the last option here, which is a really useful option.

So this is the lock, the transparent pixels.

If I select this option and turn off the visibility of all

the layers, you'll notice there's a quite few transparent pixels within this layer.

So let's say

I wanted the border of this artwork to have a black stroke.

What I can do here is I'll just select the brush tool right now

and if the transparent pixels are lock, if I click and drag,

you'll notice that I'm not painting the transparent pixels, but rather

just the pixels that is already contained on this layer.

So this could be a really useful option if you're trying to preserve

the transparent pixels within a layer.

Awesome.

So those are your locking presets.

You can utilize this, especially when you are working with a lot of layers

here inside Photoshop.

What if you want your objects or elements within the document to be position?

How do you do that?

We can do this by using the alignment and distribution options

that are available when you're working with multiple layers.

In this case, we want to align everything to the canvas.

So I'm going to select all of the layers, including the background layer,

because it is the size of the document

which we will be using as our basis for outlining and distributing.

Okay, Now I'm going to select the topmost layer

and then hold down the shift key and select the bottom most layer,

just like So at this point, if I want to align all of this

image to the top, the canvas, I can do that with my move.

Jewel Select that again, be sticky with shortcut.

I'll just come over to this alignment options up here

and I'll just click this button right here, which would align

all of the top edges of all the artwork that we have here to the background layer.

Likewise, I could align it to the bottom or to the center,

and in this case I want to align it to the center.

There you go.

But also want to distribute the image.

So so they're even spaced out.

So what I'll do next here is to select the background

layer here within the Layers panel, and you can do that

by holding down the control key on your windows or command on your Mac

and clicking on the background layer that B selects the layer

from the rest of the group.

Now, with all of this layer selected, you'll notice

that I have this fusion options available here in the control panel.

And in this case, I want to click this button right here

which will distribute horizontal sensors.

When you click it, you'll notice that they're now evenly

spaced, horizontal throughout the document.

So these are the alignment options.

You can also see in other creative cloud applications such as Illustrator

or InDesign, that we also have this same options.

Again, they work in a way that allows you to position

content relative to one another, but you can also include the background

layer if you want to position the content relative to the canvas.

I cannot stress enough

how important naming convention is when working with layers inside.

It helps you identify what's on that layer, and it's not unrealistic

to have hundreds or more layers within a Photoshop document.

So them becomes really important.

Likewise, if you have a lot of layers, you may want to group them together

to stay organized and also to reduce space needed to be able

to view all the layers within the layers Panel

you can easily create layer groups by clicking this button down here in.

The bottom of the Layers Panel.

Now, what I'd like to do first here is to come and select

a couple of layers that I'd like to place within a layer group.

So I'll just select the yellow bulb here and then hold down the shift

key on my keyboard and also select the opal bulb, which is underneath it.

At this point.

I can come down and click the new layer group button

and that will create a new group giving it a default name of group one.

Now A

layer group is nothing more than a folder that allows you to expand and collapse.

Layers that exist within the layers that are inside.

A group becomes indented and.

You can add as many layers as necessary to a particular group.

For example, if I want the green bulb, we can click and drag it into the group.

And now you'll notice that the green bulb becomes a first layer

within the layer group, but then that sometimes can cause a problem

because in a lot of cases you would want

to maintain the stacking order of your objects.

So what can you do on this one?

You can just simply drag the green blob

layer here at the bottom of this layer you

just like. So

again, you can change the stacking order of layers

within the layer group and you can collapse the layer group

by clicking this icon to the left of the folder.

You can also rename it by double clicking it.

All right.

So at this point I'll call mine images again.

You can create as many layer group as necessary.

Awesome.

Let me just go ahead and create yet another layer

group here by clicking that same button and you'll notice

that group one is a default name given to this new layer.

And that's because we renamed our previous layer group.

All right, So let me just select the other image here.

I'll just drag this images and into the group one layer group here,

collapse it.

And at this point, I have all of this layers.

You'll notice it's not taking up that much space because layer groups are collapse.

And if you want to expand both layer groups at the same time,

you can just hold down the control key on your windows and command

key on Mac and just click it.

You'll notice that both layer groups are expanded

and you can also collapse it back using the same process.

Finally, if you want to create a nested group, you can do that.

Notice that we have group one here selected

and if I come down towards the bottom of the layer panel and I click

the new layer group, then a new layer group is created above group one.

But if you wanted to be inside of group one, you have to do is click and drag it

until group one is highlighted and then you'll see that Group two layer

is nested within the group one layer group.

And at this point

I could again just take this image and drop them into group two

so you can nest groups to further organize your content within the Layers panel.

Also again, layer two groups are nothing more than a way for you

to organize your layers to make your layers panel more manageable

as you work with a particular document inside program.

On our next lesson, we will focus on opacity

inside the Layers panel panel.

I have two documents open Opacity, dot BSD and nine dot JPEG.

Both of these documents are available in your exercise folder.

If you come over and select the Beagle layer, you'll notice that we have

in the past the option in the top right hand corner of the Layers panel.

If you want to adjust the opacity, you have a couple of different options.

The first option is to hover over the label opacity

and you'll get a scrub slider.

This means if you click and drag to the left, you'll reduce the opacity,

introducing transparency within that layer.

If you click and drag the right, you'll increase the capacity.

But the other option is if you click this down arrow,

you get a physical slider, you can click and drag to the left

or decrease the opacity and click and drag to the right to increase the opacity.

And as you decrease the opacity here, you're

increasing transparency within that layer.

And as you can see at the moment, we are seeing some changes

within the transparency of the layer.

Aside from that can also see the layer underneath that's showing

if you need a very precise percentage value,

you can just come in here and click and type that value.

For example, if you want it to be 50, you could just type in that number.

If you also want to use a keyboard shortcut, you do that.

Let me just press enter here to actually get out of this specific text.

Then I'll just place my cursor within the image here

and I'll make sure that the beetle layer is

still the active layer.

Now, if you press the one key on

your keyboard, you will set the opacity to 10%.

Two is 20%, three is 30%, so on and so forth.

If You want something more specific, let's say

like 35%, you can press three, then five,

and you'll notice that the opacity is set to 35%.

Not only

you can you control the opposite of this vital layer

and also control the opacity of the background layer.

So let me just turn off the little layer here and select the background layer.

Right now it's turned off because of the last layer here.

So let me just take that out.

If you reduce it, you'll notice you begin to see the transparent

checkered at the back, which is an indicator that you're

introducing transparency within that layer.

The only exception to this is

if you're working with a background layer that this lock.

So if you come over to our next document that's used the nine

not JPEG in this document, we only have the background layer with the lock.

And with that you'll see that the opacity is some grayed out.

We can't do anything for this image.

But then if you want to do that, all we need to do is to just unlock

this background layer and convert it into traditional layer.

Then we will get that opacity option back.

So again, opacity gives, you the ability to play with transparency

within a given layer.

But what is open right now is a document called Blend, BSD and.

In this video we will talk about blend modes.

You'll notice in the layers.

Now there's a menu and right now it's set to normal,

but there's all sorts different options within this menu.

And this menu represents the different blend modes available to you.

And what does a blend mode mean?

Well, what you're going to be doing is changing how the pixels on the selected

layer interacts within the layer underneath the

now, oftentimes new Photoshop users and some experienced Photoshop

users will come in and just start selecting blend modes

without any real reason behind their selection.

They're Not even sure

what they're going to get when they choose a particular blend mode.

Now, as you can see, there's all sorts of different options within this menu

and it would take too much time to explain all the different options.

So instead what I'm going to explain is that this free blend mode

and by understanding this three blend modes, you'll have a better understanding

as to what some of the other blend modes might do when choosing them.

You'll notice that

the blend modes grouped in different categories.

For example, these blend modes are grouped together,

these blend modes are grouped together, and this blend modes is grouped together

and if we take a look at these three groups,

we have a darkened group, a lighting group and a contrast group.

So let's take look at this first group.

We're just a darkened group, but in order for us to do that, what I'd like

you to do is to turn off the visibility of the only layer here.

And when you turn off the visibility of the ozone layer, you'll see this

three square one is pure white, one is pure black, and the other is gray.

Now, I will warn you, rarely will you have an abundance

of this color value to within one image, but you will have variations of this color

not yellow, black, maybe not pure or maybe not gray,

but somewhere close and within that range.

But by seeing the purest form of each of these color values,

you'll get a better understanding to what the blend modes are doing.

So with a square layer as the active layer,

I'll just come into the blend mode here and we're going to choose multiply.

And when you choose multiply,

what will happen is the gray values and darker values within an image

will make the clouds on the layer underneath it appear darker.

If we select that, you'll notice that the white pixel are ignored.

So in this case, where we had the gray square on the cloud layer underneath,

it appears darker and you'll notice that the black square is still black

because you can't get any darker than black.

So that is how the darken blend modes behave.

But specifically, that's how the multiply blend movement behaves.

So based upon the information that you see,

you can better guess as to what this other blend modes in the scene work will do.

Let me just tell you this There will be some experimentation

any time you use a blend mode, but at least you have a better understanding

to what you're selecting in a particular group.

So let's just take a look at this screen blend on here.

We just the opposite of the multiplied line mode

and in this case, black pixels will be ignored

and we'll see the white square and the clouds

underneath the gray square will become lighter again.

Black pixels is ignored and the clouds appear wider

underneath the gray layer.

And the white square is still white because you can't

get any brighter than white.

And then finally, what we want to take a look at

now is another blend mode called overlay.

Overlay will ignore the gray square and it will make the pixels

underneath valleys greater than gray.

So in this

case, pure black appear darker and you can't see anything

brighter than white, which is why this pixel stays white.

So hopefully that gives you a basic understanding

as to what the blend modes doing in Photoshop.

And yes, there's quite a few blend modes and it will take

you quite a bit of time to understand how all of them work.

But this is a good foundation you to work from.

So let's just turn off the squares layer here

and turn the visibility of the o.D layer on.

And now what we'll do is take a look at those blend modes using a real photograph.

So we do have a lot of dark pixels in the

black pixels in this image.

Likewise, we have a lot of light in white pixels in this image.

Do as well.

But let's go up to the blend mode menu and here we can choose multiply.

And when we do it almost, it looks like the car is some wrap

now in a cloud graphic because the car has many white pixel values

on, so it makes the clouds underneath it appear brighter.

But we don't see the clouds at all underneath them.

The darkest color balance within the image.

So let me just come over here and switch to screen mode.

And when we switch it to screen, we get an interesting effect here.

There is so much black within the image and it allows us to see

much of the clouds, the image.

And if we take a look at the car, the reason why we can still see the car

is because it's

making the pixel in the cloud layer so much brighter than what they were.

All right.

So finally, I will just come over here and choose

Overlay and we choose overlay.

We essentially get a darker version of the cloud image

because there's so much black within the Audi picture.

And then the clouds are bright where the white car is.

So while it's a basic example, I hope that you have at least an idea

as to what the blend modes do and what they represent within that menu.

But ultimately, a blend mode allows you to control how pixels on a top

layer interact with the pixels on the layer.

I'm working with Layer mask, not BSD here, and you can open that

on your tutorial assets folder.

So in the last lesson we've talked about blend

and now we will be focusing on Layer Mask.

Now when we were working with selections, we worked with Quick Mask Mode

and we also applied adjustments to layers.

So when we applied an adjustment to a layer, we created something

called a layer mask.

And a layer mask is essentially quick mask mode being saved on a layer.

Now the advantage of this is you can manipulate the mask at any point in time.

You're not committed to a particular selection.

You can always modify it, and because of that, you can always access

all the pixel information within the original image.

Now when you work with layer mask, you're typically working

in a nondestructive way, just really the preferred workflow in Photoshop.

So let's take a look at the Layer mask in greater detail.

And the first thing that I'd like to do in the Layer special menu is select

the panel options to open up the layer panel options dialog,

and they want to select the largest thumbnail size for the Layers panel.

This will give us a better preview within the Layers panel.

I'm also going to put it on layer balance,

making it easier for us to see what's happening.

So there's a couple of ways that you can create Layer Mask,

you can create Layer Mask from an existing selection

or you can just create one without a selection.

So let's look at that

first with the bus sign layer as the active

layer down towards the bottom of the Layers panel,

you'll see that there's an added layer mask button.

When you click it, a layer mask is added to the bus, same layer,

all white, which means all of the pixels are being revealed by this mask.

And if you want to hide certain pixels you would painted

with black just like the quick mask mode.

But the difference in here

is you're painting this matte which is attached to this bus sign layer,

and you can always modify the mass at any point in time.

But let's look at what happens if we hide pixels on this layer.

You'll see you will begin to show the pixels

on the layer underneath it, which happens to be this image of a sky.

So what I'd like you to do is select the brush tool by pressing B

on your keyboard then select the brush that has a fairly soft edge.

It's going to just drag this hardness slider down here to 24%.

You can increase the size by using the bracket ski on your keyboard

and you want to make sure that the foreground color is black.

If it's

not pressed d on your keyboard to set the foreground and background

color to their defaults, then press

X to swap those colors.

Now it's really important to have the thumbnail of the mask selected

and from that point you can begin painting with black.

And as you do that, you start introducing the clouds to the image,

and that's because you're hiding the pixels on the bus time layer,

revealing the clouds or the pixels underneath it.

Likewise, you can see the mass that we're creating here.

If you want to see the mask in greater detail, hold down the Alt

key on Windows option for Mac

and click on that.

Then you'll see you'll get the full screen view

and you can see the different areas that you may have missed.

If you missed some areas simply and drag

black paint overdose mist areas

and you'll see the preview updated.

Now hold down the alt or option key again

and click to return back to the normal view.

And anytime you paint on a layer mask, it's

really important to have that layer mask selected.

Right now it's selected because we see borders around the mask.

But if I were to click on the bus, sign thumbnail and if we paint it with black,

now I'm painting black on that layer and that's clearly not what I want to do.

So it's really important to make sure that these thumbnail is active.

The other way is to make a selection

and then create a layer mask based upon that selection.

Let's just look at that.

We need to remove this layer mask.

You can do that by dragging the layer mask into the trashcan, and when you do that,

you may receive a dialog box that ask you if you want to apply the mask or delete.

If you do see it,

if you apply it, what will happen is anywhere

you have black within a layer mask, pixels will be deleted from that layer.

So it's a destructive operation and one that you probably don't

want to perform in majority of the situation.

So you can just click on delete to remove the layer mask.

And now what we want to do is to create a selection of the bus sign.

We can do this in a variety of ways, but I'm going to do this

by selecting subject under the Select menu.

Again, Photoshop will scan the image to create a selection.

And as you can see, we've got a decent selection here,

but some parts were not included, so I'm going to add to it

by selecting the polygon Lasso tool here.

I'm going to hold down the shift key to add to the selection.

Then I'm just going to click and drag around this border of this bus sign here.

Also, I'll

just subtract some of the errors here.

Now you would want to take your time to make sure you get the best selection.

But remember, because you're creating a layer mask,

you don't really have to worry about being absolutely perfect because it's mask.

You can always make modifications any point in time.

So that is pretty good now.

And we can just come over to the Layers panel, we can click the add layer mask,

and when you do that, you'll notice that the pixels that are

selected are preserved and everything else is masked out.

So it's like we've been in everything else except the selection in black.

And so now we're revealing the sky layer underneath the bus, same layer.

I do see some problems.

For example, we have a window here that we don't want to see,

so I'll just select the brush tool.

I'm just going to paint with black and I can just adjust the size of the brush

here by using the brackets again on your keyboard.

And I'm just going to click

and drag over the location of that window to get rid of it.

All right, awesome.

So Layer Mask are way too essential to save a selection,

can modify it at any point in time and ultimately

you preserve all the original information on the layer.

This is much a better way than deleting the pixels

that you don't think that you need and.

At least with this process, you can come back to them at a later

point in time.

Within the document.

In this video, I want to show you how you can use gradient within a layer mask

to create a software transition between the pixels on one layer

and the layer underneath it.

All right,

I'm working with a document called Gradient, not BSD,

and we can just come over and highlight the audio layer

and we can just dial back the opacity.

But then this is a global change for.

The entire layer.

The entire layer right now has a party of 39%.

However, what if you wanted something a little bit more gradual,

Maybe you wanted to see the clouds up here in the top, but you want to see

less of the cloud down here in the bottom.

Well, that's where you can use a gradient within your layer mask.

So with the car selected right here,

let's just come down towards the bottom and add a new layer mask

after doing that, you can come over and use the gradient tool.

And with the gradient tool in the options

bar, you can select a type of gradient you want to work with.

So very first option is foreground to background

and if you have a black for the background and white for the background,

you're all set.

But if you are not, you can select the third option, which is a black and white.

Now with that option selected,

you can press, return or enter on your keyboard to collapse that panel.

And then all you have to do now

is to ensure that the layer mask icon is active within the Layers panel

and then we can click from the top corner and down to the bottom.

And when you do that,

you get a nice gradual transition from the cloud to the car.

And anytime you reapplied at the gradient, you're

essentially recreating the mask.

So for example, if I do the opposite here,

if I click in the bottom and drag out the top, you'll notice

that I'm more clouds in the bottom and more white pixels in the top.

Likewise, if you don't grab quite as far, if you click and drag,

maybe this much you'll notice you get more abrupt transitions.

So using gradient within layer mask gives you the ability

to create smooth transitions from artwork on one

layer.

Many Photoshop topics could almost dictate their own course

and layer effects is no exception to that.

And I do think it's important to at least show you how you can implement

a layer effect without going through all of the details associated

the layer effects.

And now if you're interested in learning more about layer effects,

there are some courses dedicated to layer effects exclusively.

So the first thing I want to do here is just show you

how you can apply a layer effect.

And we're going to do that by selecting this layer here, which is the oval ball.

And let's say we decided we wanted to add a drop shadow to this image.

We can do that quickly and easily inside Photoshop

by coming down here and adding a layer effects.

So you can see there's a little effects button and if you click it,

a menu will appear of all different layers effects that are available.

In this case, we're going to choose Drop Shadow.

And when you select Drop Shadow, a dialog box

appears with all sorts of settings here you can modify

the appearance of the layer effects by manipulating this references.

But you see here, for example,

maybe we think that the shadow is too far away from the image.

And if that's the case, we can back off the distance slider

and you'll notice that the shadow is being pulled closer to the artwork

and maybe you're not happy with this spread

and we want the shadow to be a little bit tighter.

Again, I can just click and drag this to the left

and you'll notice there's less of a spread associated with this drop shadow.

And finally, you could also decrease or increase the size of the shadow.

So all of this options have an impact on the appearance of the drop shadow,

but you'll notice that you can apply all sorts of other layer effects.

You could, and in both the artwork you could apply

a stroke and integral and so on and so forth.

You can even apply multiple effects to the same layer if need be.

For example, if you decide that you want inner glow to the artwork,

you can come over here and select the effect

and you'll notice it has a glow inside.

Now on this box.

Again, you can control all of this option here

to ultimately change the appearance of the effects.

If you decide don't want the inner glow, you can come over here

and select it and it's removed from the image.

Once you're happy with the effects, you can just come over and click okay.

And once you click okay, you can see that effects appear here in the Layers panel.

If you want to temporarily turn it off, you can do that by this icon

and you'll notice that the image no longer displays the effect.

If you want to modify it in some way, you simply double

click on it to reopen the layer effects dialog box

again, if you want to remove it,

simply uncheck that option here from the effects list.

In this case, I do want it so I'll leave it selected

and once you're done you can come over and click.

Okay. Awesome.

So the general overview

as how layer effects work and like I said, it's a fairly involved topic,

but at least you have some sense on how you can apply layer effects

to your own artwork when working inside of

because

we've spent so much time talking about layers, I want you to know

that you can get rid of layers by flattening an image

and this can become important if you need merge layers together

or if you simply don't need a flexibility of all the content residing

on their own individual layers, but still need the flexibility of a BSD file.

So now I'm working with a document called BULB, not BSD.

And now let me show you what I mean when I said that.

So let's for whatever reason they want this two image to be treated the same.

They want them to leave on the same layer.

Now we can do that by selecting the two layers.

This case, that would be the oval bulb and the yellow bulb.

And now with the both layers selected,

the top right hand corner of the layers panel.

And in the panel menu, you'll notice that you

have several options for merging and flattening layers.

What we can do here is select the merge layers control

command e on your keyboard is the shortcut

and this will merge the selected layers.

Once you select that command, you'll notice that both of those image now exist

on one layer and you can verify that by turning the visibility of the layer off.

And the other thing also

I want to point out is down here towards the bottom, the document window,

we have an indicator and if you don't see the same information,

you can click this right arrow and choose document size.

Now, I don't know if you know this, but before we merged

those still layers, the overall file size was quite a bit larger,

was 5.49 megabytes instead of 4.12.

If I can do that controller command Z on your keyboard, you will see that

it was 5.49 MI And let me just go ahead now and redo that again.

I'll just do that using the same keyboard shortcut

so you can see the fewer layers that you have, the less information

in the BSD file and the smaller the file size of the BSD file.

So let's say for example, your print shop is asking for a BSD file

and you need to email the file to them.

And most likely the print shop won't be needing the flexibility

of all the content existing on the individual layers.

So you can flatten the image down.

So we can do that by coming up to the top right hand corner.

Again on the Layers panel opening up that same panel menu.

You can choose either to merge visible, or you can choose to flatten

the image, which will flatten all of the layers onto one layer.

All right.

So I'll just go ahead and select that command.

We now have one layer and you'll notice that the file size is only one B now.

So as you can see it

dramatically decrease the file size.

This is a destructive way of doing it and you will lose

all flexibility associated with all of the layers.

Now, any time I flatten an image,

I always save a file copy that contains all of the layer content.

So I have one piece that's large in terms of file size

that has all the flexibility of the layers.

And then I also create a copy of one flat equivalent, which is dramatically

smaller in file size, but not nearly as flexible.

So this is actually a good practice so that if you need to change

something in the future, you will still have a backup

and you can just go back to it at any point in time.

This course is all about how you can perform cross

transformations and warps your images.

We're going to focus on craft tool in this clip now, and the crop

tool gives you the ability to change two dimensions and recompose your image.

And this is pretty useful, especially with photographers.

So I had this document open.

I thought our dot jpeg on your tutorial assets folder.

And now let me just select the crop tool over here in the toolbar,

or you could press C on your keyboard

and when you activate the crop tool, you'll notice that you get resized

bounding box to appear around your document.

You can use the resize handles within this bounding box

to determine what portion of the image you will be crop of.

For example, if I decide that there was too much sky

the top of the document and the tower, I could remove it

by grabbing this resize handle and dragging down towards the tower.

This area

will be cropped away from the document once I performed the crop.

Likewise, if I wanted to get rid of some of the landscape here,

I could just click and drag up towards the tower.

There's also resize handles on the left and on the right

and also on this Four Corners right here.

And if you want to change the width and height at the same time,

you can do that by just adjusting this handles here.

If you place your cursor inside of the bounding box,

you can click and drag to reposition the bounding box.

If you want to perform to crop, you can

you just need to double click within the bounding box

or you can press return or enter on your keyboard,

or you can click this check mark up here in the control panel.

You can also cancel out of the crop by clicking this button

here or by pressing the escape key on your keyboard.

And if you want to reset the bounding box, you can do that by clicking this month.

And right here now, I'm just going to press escape to exit out of that.

Now I want to show you that you can create your own bounding box manually

so when you have the crop to select, all you have to do is move into the image

and you'll notice that your cursor changes to a crop icon.

At that point, you can just click and drag out of your own bounding box.

So again, if you want to perform the crop, you can just double click

inside the image or press return or enter on your keyboard.

All right, let me use and do that by pressing down control or command

Z on your keyboard.

And then what I will do next

is some I'll just click and drag out another bounding box here.

You do have the ability to change out this crop shield

that you're looking at here, and all you have to do is

go to the control panel here and you'll see a gear looking icon.

And when you click that, you can access several menu options

from this icon, one of which is the crop shield.

You can disable it.

You can change the color and the opacity.

In this case, I'm happy with the crop shield, so I'm going to leave it.

All right.

So let me just click this overlay button here

and you'll notice that the crop tool has an overlay associated it.

Right now we're looking at the default rule of thirds,

but there's several options that you can choose from.

In fact, you can cycle all of this option by using the keyboard shortcut.

Okay, So let me just come over here to click away from the menu

and then I'll press on my keyboard and you'll notice

I'm cycling through all of those options.

Now, if you decide that you don't like the overlay

and you want to change its behavior can do that, it will just come over

back here on our overlay settings and we can just choose never show overlay.

So also another option called auto Show overlay,

which means you'll only see the overlay when you click inside of the crop box.

This can be a nice way to get an idea to what the image will look

like without any obstruction or discourse.

I'm going to leave it, set the default overlay, show overlay

and I'll just return or enter

on my keyboard to collapse that settings.

Finally, if you want the crop mask to be specific size or specific

aspect ratio, you can manually enter the values up here in the control panel.

Right now, this menu is set to ratio, but there's several presets in here

not only for rater but also for dimensions.

You can either choose ratio

and plug in your own values here within the options bar or,

you can choose within height by resolution and enter in your own values.

If you find that you would be using your custom value

most of the time and want to recall frequently,

you can always come over to this menu and save a new crop Presets.

All right.

So when working with crop, there's really two different ways

that you can work with the tool in terms of its behavior.

One is the destructive behavior, and the next is a nondestructive.

And 99% of the time, you would want to work with the destructive behavior,

because if you destroy pixels or distribute them

to remove them from the document, you never really get them back.

And that's only helpful if you're really concerned about file size.

So what we've been earlier is the nondestructive way of cropping.

I want to show you the destructive way.

So with that said, let me just come over and select delete pixels up here

and then if you perform the crop by clicking the checkmark,

those pixels are removed on the document

and you can verify that by dragging out yet another crop box.

Now, before, when we were working in a Nondestructive way,

all of the data was recalled and on the screen so I could recompose

the image from all the original pixel information off the document.

Now, when I let go of the mouse, now I don't have all of that

information anymore.

It's been removed from the document.

All right.

So I'll just press escape to exit out of this problem.

And I'm just going to come back over to the history panel

and go to the point where I open the document.

So just be aware of that.

When your working with the crop tool, you have two options

can work in a nondestructive way, which is really the preferred way.

Or if you have to work in a way that will permanently delete

the pixels from the document, you can do that by selecting that

here on the control panel.

Awesome.

So that's the basic functionality of, the crop tool.

There are several options that I like to continue to explore

over the next couple of videos.

As you use

Photoshop, you will find different ways to do certain things that you want.

Let me show you what I meant by that.

And oddly enough, you can use crop tool to add canvas to an image.

Let's say, for example we want to add a border around this image.

We can use the crop tool.

And certainly there are several ways that you could achieve this in Photoshop,

like using effects, brush tool, so on and so forth.

But I want to focus on how you can use the crop tool

to add canvas to a document.

So let me just come over here and use the crop tool.

And with the crop tool selected, what we want to do is click and drag out.

Now, in the last couple of videos, we've taken out these resize

handles here and we were clicking and dragging in.

But you can also drag out and you'll notice that you're

transparent pixels here.

The other thing that you may have noticed is that we were working on a background

layer and now we can see that it's showing a crop preview layer.

Now if you're working with a background layer

and you're introducing canvas, it will never be a background layer again.

And that's it has to display those transparent pixels.

So automatically it gets converted to a traditional layer.

So in this case we want to add enough canvas on all four sides

to add a border around the image, and we want to do it in equal parts.

So what I'll do here is grab one of the corner, resize handles here

and I'll just hold down the all key on Windows and option for Mac.

And then we can also add the shift key to constrain the proportions.

And as we click and drag outwards, you'll notice that you're adding canvas

and all four sides and you're distributing it equally.

It's almost like you're dragging out from the center of the image.

Now, once you let go

the mouse, you'll see that we have the canvas on all four sides.

If you want to commit to this crop

can press, enter or return on your keyboard

and you'll now notice that we have

layer zero right here on the Layers panel.

So let's see, for example, we want to add matte color around this image.

The easiest way to do that,

honestly, is to create a new layer and fill it with a color.

We can create a new layer by clicking the new layer bottom right here.

But what that will do is create a new layer

above our layer, and we don't that.

We want to add a new layer underneath our current layer.

And you can do that by holding down the control key or the command key on Mac.

And then after that we will just click the button right here

and that would create a new layer underneath our layer.

At that point, want to fill in the layer with a solid color.

And again, there are several options for that.

But I think the best is to just come up to the edit menu

and under the edit menu you can choose fill.

Then in the field dialog box,

you have several options in terms of what color you can use.

It can use the foreground color.

In this case it's black, but there's also other colors that you can choose from.

The background color, which is white, also have a here

and you can also select a custom color

could also go with black or white

if you don't have the foreground and background color set here.

But then in this case I'm happy with black, so I'll leave it as it is.

And when we click okay, you'll notice that

we have a black border or frame around this image.

Now, the problem with using crop tool is

you can't be overly precise from a measurement perspective.

Let's say you needed a half an inch all the way around.

The best thing you can do with a crop tool is guess that happened

instrumenting the aspect ratio, which won't give you even distribution.

So I'll four sides.

So there's a better way if you have to be incredibly precise

and that is using the canvas size dialog box.

So let me just go back to our history panel here first, and

I'll just go to a point where we just opened the document

and now let me just come up to the image menu.

And under the image menu, you can choose canvas size here.

You'll notice that you have several options in terms

of how you can work with canvas size.

You could plug in the numbers dimensionally for width and height

and then specify how you want that new content area

to be distributed within the document.

Right now, there's an anchor point in the center, meaning if we increase

the width and height, we can distribute it evenly on all four sides.

But you can change that anchor point in any one of these spots within the squid.

So you can anchor up the top right hand corner and add

all the new canvas on the left and the bottom of the document.

In our case, however, what we want to do is add

half an inch on all four sides of the document.

So the easiest way to do that is to check this a relative checkbox here.

And at that point you would plug in one

inch for the width and one inch for the height here.

Now, the question is why not point five or half an inch?

Well, the reason for that is we're going to be adding one of height

so that we can distributed evenly on the top

and the bottom based upon this anchor point,

which means we'll get half an inch on the top

and half an inch on the bottom.

Likewise, you will get the same result for the width.

Now the other

question is what the new canvas look like.

So let's just set our background color here.

And what I have right now is the black foreground color,

but then you can select other colors here on the options.

So again, I'll just leave it at this settings and then we can just hit.

Okay and you'll notice that we now

have half an inch on all four sides

based on the size of this document.

What if you get into a situation where you want to crop an area in an image

that is not a perfect square, rectangular circle, like this photograph?

If we look at this, we have a little bit of a problem here.

This photograph was taken in perspective, and I'm working

this document called Window That JPEG, by the way,

which is available inside your tutorial assets folder.

And let's say, for example, what we wanted to preserve

was everything outside of this window and get rid of the interior of the room.

Again, this picture was

taken in perspective, so it's not a clean crop.

So now is the perfect time to use our perspective crop tool.

And with this tool we can click and drag a bounding box around this window,

or should I say within the interior of this window.

And now we have this fairly elaborate grid.

Now the next thing that we have to do is to match

the corner points within the interior of this window frame.

So let me just zoom into this top left hand corner here.

Again, I'm holding down the spacebar and controller command key temporarily

here to zoom in until I find this corner point

and just want to make sure that it's in the corner of the window.

All right. So that looks pretty good.

I'll just hold down the spacebar Japan within this image.

Until then, find the bottom corner here

and I'll just position within the interior of the window frame.

All right.

And again, I'll hold down the spacebar here to pan over to the right

to find this corner handle here, and I'll just adjust it a little bit.

And then finally, let's just take care of the anchor point

up here towards the top and drag this the right location.

Once you're happy with the position, now you can zoom out by pressing control

or command zero on your keyboard to fit the image.

And at this point it's not zoom out enough.

So we need to see the whole canvas.

So I'll just press down to control

minus on my keyboard and that will zoom it out a little bit more.

All right, that looks good.

So let's commit to this crop here and I'll just click on the mark

here in the control panel and

now we have an image

of the contents of what we were looking at outside of the window.

So the perspective drop tool can be really useful for a situation like.

This there's a downside though,

and the downside is that this is a destructive crop.

There's no option to preserve pixels

and they get automatically deleted unlike the traditional crop tool.

You'll also notice that before we crop the image

that it was not straight out and after cropping it, it is now straight.

So let me just travel back here in time again.

And here on our is history panel, we want to go back

to a point where we just opened the document.

All right. There you go.

So what if we have an image that's not straight to begin

with, like this one and we don't want to do a perspective crop,

we just want the image to be straight out?

Well, fear not, my friends.

Photoshop got us covered.

There are several features within the application

that allows us to quickly and easily straighten up the image.

Now I'm going to show you what I think are the best ways,

and then I'll show you some of the other ways.

So the first option is to come over and use the crop tool again,

CC keyboard shortcut, and now we can place our cursor outside on one of this corner

resize handles and you'll notice that you'll get this a vented arrow.

And at that point you can click and drag to rotate the image

and if your overlays turn on, you'll be able to line up closely

the roof of this building.

So the grid line

and when you let go of the mouse, you'll end with a straight image here.

So in that two simple steps

with one tool, we were able to straighten up the image.

And as you can see, that's the case now.

All right. So there's another option here within the crop tool.

And again, as I've told you, Photoshop got us covered

now with the crop tool.

What we want to do here is use this straight, an option in the control panel.

And when you do that, your cursor changes to what looks like a little level.

And at that point

you can just click and drag the line across the roof of this building here.

And then when you let go of the mouse, you'll notice that the rotation

been automatically performed for you.

Of course, you can double click or press return or enter

to accept the crop, right?

So again, I'm just going to go ahead and do this.

And I think that those are the best options because most of the time,

if you have to straighten an image, you're going to have to crop it

because you're going to end up with empty bits within the canvas.

Ultimately, you probably want to discard those areas.

However, there is another tool here now that you should be aware of.

It's located underneath the Eyedropper tool and it's called the Ruler Tool.

With the ruler tool, your cursor changes to our ruler

and it will behave much like the level option within the crop tool.

So with that selected, you

could just click and drag a line across the roof of the building here.

And when you let go of the mouse, you can then come up to the control panel

and click strain and layer.

The problem, of course, is you do have this empty parts

within the canvas where there's no information,

so you'll be forced to perform a crop again.

All right.

So that's pretty much it.

Again, I think the best way really is to just use the crop tool

and with the crop tool and just use one of the two techniques that we reviewed.

Again, you can either rotate the bounding box

or you can draw a line with the straighten option

to ultimately straighten and crop the image.

When we were working with selections and doing some basic compositing,

we explored the free transform tool, but we really didn't go into any detail.

We just used it to scale some artwork.

So in this video, let us dive a little bit deeper into that tool

because it's really useful tool and a powerful tool

that you will find yourself using fairly often inside of Photoshop.

So what I'd like you to do is open up this document called.

Hello Dot, BSD and again it's available in your tutorial assets folder.

You'll notice I have a layer here that reads Hello.

And if we want to change the scale of yellow, we can use the free

transform tool.

So again, you can access the free transform tool

by coming up to the edit menu and from the edit

you'll notice that there's a command called Free transform.

The keyboard shortcut is Control D or command D on Mac.

Now you'll notice that there's a transfer menu also underneath it

and there's a series of option associated with it.

You can scale, rotate, skew, distort

work with perspective and warp.

Now all of this options are available from the free transform tool,

which is why I use that tool more often.

If you want to loft the transformation to one of this specific option, you can.

But for most parts you're going to be using free transform.

Now you'll get bounding box and if you grab one of the corner

resize handles here, you can resist the artwork.

And if you hold on to shift your constrain of support portion, you can also adjust

other attributes based upon what we're looking at in the edit menu.

For example, if we hold down the control or command key here when grabbing

one of this corner handles, you'll notice that we can distort the artwork.

So I'll just go ahead and do that.

Now, you can access all of this options

by right clicking within the mounting box,

and here you can access, rotate,

screw, distort, perspective and warp.

Again All of this options are available here,

but it's hard to remember the keyboard shortcuts associated with them.

So in this case,

if you want to change the perspective we could just select that option.

And now the free transform command is locked that perspective option.

So if I click and drag one of this resize handle, I'm changing the perspective.

But notice if I place my cursor outside of the corner

handles, I'm not getting the option to rotate the artwork

like I normally would if if it was a free dress from tool.

So to get back the free transform tool, we can just right click on this and use

free transform again.

And as you can see, it preserves that perspective transformation

that we've made.

But now we have the transformation options available.

So if I did want to rotate it, I can place my cursor now outside of

this corner right here, and then I can just click and drag to rotate it.

Finally, if you to warp this in some way you can,

we'll just have to come

up to the control panel and click this button right here.

Now, if you remember when were working with selections,

we were able to warp a selection, so it fits around a particular shape here.

If we wanted to do something similar to the artwork,

we can grab any one of these mesh points to warp the artwork.

You can also come up to the menu and in the control

panel and choose a particular style.

If you want to go with ARC or a lower arc or an opera arc,

those options are available to.

You could also go with something sophisticated like this flag here,

and when you select that, you'll notice that it has warp the text here.

Now, I said text, if you notice this text is an image.

So if you want the warp attacks or type, you might want to convert it to a layer

because you cannot warp a text or a type inside Photoshop.

So you really need to convert it to a layer.

Now, if you want to

apply this transformation, just click the check mark here to top

or accept it by pressing return or enter on your keyboard.

And if you want to cancel that, you can just

click, cancel here or just press escape on your keyboard.

In this case, I'd like to accept it, so I'll click the checkmark

and you'll notice that the transformation is now completed.

So the Free Transform command gives you all sorts of possibilities

for transforming the appearance of your artwork

in a particular.

I'm working with two documents here,

which is the Paradise Dot, BSD and another called

where not BSD, both of which are available

in your tutorial assets folder.

All right.

So let's say, for example, we want to reduce overall will of the image.

But then the problem with the tools

that we reviewed so far, for example, the free transform tool

is that we're going to compress the image

and store all of the contents within the image.

So that's really not a viable option.

The other option is to use a crop tool, but the problem with the crop tool

is we're just going to be removing portions of the image.

What if you want to preserve the distance

between the haystack and the cow from this edge of the picture?

And you also want to preserve the distance

between this cow and the edge of the picture over here on the right.

And you just wanted to get rid this center area here.

Well, your only option for that is to make a selection

and delete this pixels and then try to join the two different hats together.

And that's going to be really time consuming process

in one that's probably not going to look so good.

So there's a option inside Photoshop and it's called Content Aware scale.

But in order for us to truly appreciate that command, what I'd like to do

is use the free transform command, see what the results would be,

and compare it to the content aware scale command.

So using your keyboard shortcut again, we can press

control T on Windows and Command T on Mac,

and this opens up the free transform command.

And what I would like you to do is just kill the width of this image,

just drag this left resize handle into the right.

And as you can see, we've distorted everything.

We've just compressed the entire image and it's not looking good.

But let's just accept this transformation

by pressing return or enter on the keyboard.

Then let me just come over to the history and in the history panel

we can create something called a snapshot.

This will create an instance of this document in its current state,

and we can do that by clicking this little camera icon here.

So here's our snapshot, which means we can return

back to the content over DOT BSD, which is the original document.

And now what I would like you to do is perform a content aware skill.

So now just come over to the edit menu

and under the edit menu you can choose content over scale.

You'll notice you get a familiar bounding box like the free transform.

Now all we're going to do here is grab that same resize

handle and we're going to click and drag to the right.

And as we do this, take a look The image.

It's almost magical in the way that it works.

It's getting rid of low frequency areas or areas that don't have great detail.

And when let go of the mouse, you can press, return

or enter to accept this transformation.

And what I would like to look at is the before and after of this image.

So we can just come over to the history panel here.

And from the history panel, if you look at content where

the snapshot and really focus on the haystack in the course,

when we come back to the history step after we perform the content of our scale,

you'll notice that if look at the objects, there's little distortion happening.

So what we ended up doing here is removing information

in between this to cause some information to the right of this cow

here and a little bit of information to the left of the haystack.

But you can see that we preserve the integrity and dimensions,

all this elements.

So let's compare our content aware scale to our free transform scale.

If I click on Snapshot, you can see the cows and really this

haystack are squished quite a bit compared to the content aware scale.

So just be aware that this is a feature inside of Photoshop

that really can make scaling content while preserving the portion

of the content simple and literally being able to perform

multiple within one step before this feature.

It would have been a time consuming process to achieve the same results.

So now let's just take a look at another situation

here in the Paradise document.

In this case, we want to do the opposite.

We want to create content to the left of this.

And again, if we choose the free transform command

and just drag it to this left side right here, we're going to distort

the entire image and wooden house doesn't even look the same.

So again, this is not really an option.

All right.

So I'll just press escape here

and the content aware scale option will also have some trouble here.

So let me just try and go up to the edit menu here and use content over scale

and we'll do here is to focus on this portion of the wooden house.

And as you can see,

as we click on this and drag to the left, you'll notice it's doing an okay job.

But then wooden house becomes distorted.

So it's like it's being stretched out.

So really, we're not getting a good result in this one.

All right.

Again, just press escape to cancel.

So what we do have within this document is a saved selection.

And just to save some time, I already save to the document

so we wouldn't have to create a selection on this one.

But I'd just like to show you this on selection.

All right, Let me just come up here and select menu under the select menu.

I will just use load selection

and you'll notice within this document,

if we come over to the channel menu, we have channel.

And if I select that and hit,

okay, I have this selection right here.

So again, I just wanted to show you what the selection looks

so you know what the selection actually represent,

because we're going to choose this election as an option in just a second.

All right.

So let me just b, select this control or command D,

then I'll just come back to the edit menu.

And under the edit menu, we're going to choose Content Aware scale again.

But then this time in the control panel, there's a Protect menu

and we'll just choose the Wooden House channel on this one.

So now that you know what the selection looks like

earlier, everything within that selection will be protected.

And as we click and drag to the left, you'll notice that the wooden house

isn't being modified at all.

What we're doing is simply creating more mountains

and trees to the left of this wooden house.

All right, so now we can just drag all the way to the left and.

You can press return or enter on your keyboard.

All right. There you go. Awesome.

So now it's looking pretty good.

And if we undo the operation and just really focus on this wooden house,

it is exactly the same wooden house that we have

before we drag this to the left here.

It was really protected that selection.

So again, content aware scale is a really powerful way

to scale your artwork here inside Photoshop,

I'd like you to open up jump shot that BSD document for this.

And we were talking about transformation and how we can adjust

not only our images but certain parts of our image.

And so in this video I like to spend some time

looking at another transformation command that we can use,

which is the puppet war command, and it's a pretty specific command

that you probably won't use all that often.

But the few times that you run into a situation where you'll need it,

it's going to save you an enormous amount of time.

Most of this functionality comes from its Photoshop sister

animation application called Adobe After Effects,

and if you work with After Effects and you work with the puppy filter,

the functionality here is pretty similar, but then you can use

a lot of that functionality for this image and not the video.

So let's take a look at it.

This has two different layers here and there's one called

Girl and there's one called the Sky.

And this layer contains nothing more than the sky.

And the girl layer has this girl jumping up in the air.

What if we to manipulate this person's arms or legs?

You can imagine with the knowledge that we have right now,

it would take an enormous amount of time to make precise selections and then

try to choose the right transformation within the pre transform command

and get this arm and legs bend to a certain way.

Will the puppet warp command solves a lot of this problems

If you go to the edit menu and under the edit menu you can just pop it more.

Now once you just pop it warp, you'll probably see

mesh patterns up here around this selection here.

And in this case we have the gear layer as the active layer

so we can see mesh around this girl and mesh is really showing us

where we can drop the bits within this image.

We have a couple of different options here towards the top.

The first for mode is we have normal then we also have Bridget and this stalk

and we'll take a look at this in greater detail in just a bit.

But when we also have here is a a dense option for the mesh

and we can have fewer points or we can have more points available.

In this case, I'll leave it set to normal.

There's also an expansion option

and this will give you the ability to expand or contract this mesh.

So for example, if I drag this slider to the left, you'll I'm contracting the mesh

and if I drag it to the right, I'm expanding it.

So for now I'll just leave it somewhere around pixels.

You also have the option to show the mesh or not show the mesh.

So in

this case, let's say we wanted to bend this person's arm.

So what we'll do here is we'll just drop some pins on the arm here

and I'm going to drop it where the joints are.

So I'll just put one here on the wrist, one at the elbow and also the shoulder.

At that point, you can then select the pin you want to move.

So let's say we wanted to move the person's hand.

We'll just click and drag this pin right here.

And if you notice, it's just moving that portion of the arm.

So let me just turn the mesh off.

So we can see exactly what's happening here.

All right.

There it goes. So as you can see,

as I drag here, I'm kind of above bending and pivot point right here.

Likewise, if I drop up in here on this arm and then drop up in on this hand,

then click and drag notice, I'm moving the entire arm.

But also notice that this person's body is also moving with the arm.

And that's because I'm in the normal right now.

If I set that too rigid, you'll notice that

there's some less movement on the image.

So all of this is stationary.

The legs are moving a little bit

because we didn't put any anchor points on that area.

So that's how this tool works.

It gives you the ability to kind of drop pins

and just pick up a portion of the image and bend it if you choose.

Now, when I press this in this thought mode, you would notice that it's

sending her hand back closer to the clouds and further away from her face.

So I'll just leave it set to normal.

The other thing, though, that I want to show you

is that there's this pin death option.

Then click and drag.

Right now, this on her face, you can see that it's blocking her face.

But then what we can do also is we can just adjust the pin death.

And in this case, if I said it backwards,

I can make her head appear behind her head.

So you're not going to make this dramatic of a modification in most situation.

But if you did need the ability

to make a subtitle modification to some arm or legs,

you could achieve that using the puppet and ultimately you'd be spending less time

Then unlike if you were to use traditional methods of making selection

and then trying to transform those selection.

So if you're happy with the transformation,

you can always just come over here and accept it.

If not, you can cancel out of it.

And of course, you can also remove all the fans by pressing this button here too.

In this case, go ahead and cancel out of it.

So again, the puppet work command gives you the ability to make distortions

and warp within sections of the image based upon where you drop the pins.

Again, it's really good to know that this feature exists

because the more you know about Photoshop, the more time you can save and things

you want to achieve within the program.

So let's wrap up our discussion on transformations in this video.

I have this document perspective, that JPEG.

And what I'd like to do is take a look at a newer command.

That's really a combination

of perspective Transform tool and the Puppet Work Command.

So this tool is called the Perspective Warp Command,

and it can be used up at times when taking pictures.

Context because architecture suffers from distortion many times, like in this

case where the building looks like it's leaning in towards the right a little bit

and we're to try and correct this with the perspective warp command.

So to start, let me just rename this layer to unlock it

and in this way we can modify it now.

Now to activate the command, you can come up

to the edit menu and under the edit menu you can choose bar.

Once you select the command, you'll notice in the control

panel there's two different modes that you can work with.

There's the layout mode and there's the warp mode.

So this tool has two steps.

The first step is to create a layout of a grid, and once you have that

layout in place, you can come over to the warp section

and start manipulating the image.

So now in the layout mode, what I'd like you to do is drag

a grid over to this building that we're trying to correct.

And once we have a grid around this building, what we'll do

next is to go up here to the work mode by clicking this warp button.

And keep in mind that when you're in layout mode,

this beings are not active, so you have complete liberty

to click and drag them and place them wherever you want.

But once you come over to the warp command, the pins become slide,

which means if you click and drag, you'll notice that they're changing the image.

In this case, we're

correcting the perspective problems associated with this building.

In this case, you will notice that we're doing that

the expense of the other buildings here.

So when we click and drag, you'll notice that we're getting kind of this crazy

distortions throughout the entire image and that's not what we're looking to do.

We just want this one building

so we can come up here to the control panel

and click this button here to, return back to the layout mode.

And here in the layout section, we can create yet another grid

and we can create a grid to preserve the perspective of this other buildings.

So as I click and drag this grid, now I'm asking Photoshop to kind of

consider this great to be something completely separate from the first grid.

Now let me just get back to Warped mode here.

And when the pins are live, so click and drag this.

You'll notice that I changed the perspective

of this building, but I'm not impacting this business at all.

So it's actually doing a pretty good job until I grab one of these spins.

If I grab one of this spins and I click and drag,

you'll notice that I'm getting this weird band right here.

And that's because Photoshop knows that it can manipulate the area of the image

outside of this spin until it gets to this second grid.

And at that point, it stopped this warping process.

And that's where we get this weird distortion.

So to fix that, I'll just come back again to our layout mode.

And what we want to do here is to create a relationship between these two grids.

So I'm going to click and drag this spin up towards the other grids corner.

And when I get close, you will notice that the sides of both grids turns blue,

which if I let go of the mouse, they snap together.

And so now they have a relationship with one another.

Meaning if I do make modification to this spin Photoshop, manipulate

enough pixels relative to this screen to make the effect look realistic.

So if I come over in click warp mode,

I say click and the building here, you'll notice that everything else

is kind of moving with it, but in a way that doesn't ultimately harm

the perspective of this.

Other buildings

now want to click and drag this spin here and quality to the left, and

I think we're doing a pretty good job here of correcting some of this distortion.

So I'll just click and drag this spin in just a little bit.

And once you're happy with that, you can just come over and accept the water.

So I'll just click the checkmark here and will just take a moment, but then

Photoshop will show you the complete image once the work has calculated.

Now we'll just come over to our crop tool here.

And with the crop tool, I'm just going to crop off a portion of some edges here.

Awesome. That's looking pretty decent.

And let me just accept this by clicking the checkmark here.

Now here's our new image with the building distortion problems fixed.

So let us just look at the before and after here on our history panel

so I can just go back here to a time when we just the document, see the before,

and then I can just go back to the crop snap here so that we can see the after.

And as you can see, we were able to correct the perspective

of this building using the perspective warp command.

So hopefully this tools inside Photoshop will make it

look easier when you come in to manipulate images, especially when you have to

transform them and make difficult adjustments.

In this chapter, we're going to talk about one of the most important

foundation of an image, which is colors.

More importantly, we will focus on how we can

adjust colors here inside Photoshop.

So I want you to open car, start jpeg high rise, start

the beach dot jpeg and then support jpeg.

And to start off I would to show you how we can make judgments to our images.

By using the adjustments panel.

Oftentimes you'll open images that need some attention terms of color.

Perhaps there's a color gas that you want to remove, or

maybe you need to tweak the brightness or increase the contrast within the image.

All of these

things can be achieved quickly and easily by using the adjustments panel.

Now, in order for us to use the adjustments panel effectively,

it's important for us to understand how to look at that chart

that's available to us as Photoshop users.

And we can do that by using a chart called Histogram.

So you can open the histogram by coming up to the window menu.

And under the window menu you can choose histogram.

So the histogram is a chart representing where your color values lie

within the image.

So the simplified process of understanding what we're looking at here

in the histogram,

the first thing that I would like to do is come up to the top right hand

corner of the panel here to access the panel options.

And I'd like to change the view to expand view.

Next.

What I'd like to do is again to simplify this chart.

So instead of looking at all the colors, I'll just use the RGV composite here.

All right.

Now, well, we're going to be looking at the red, green and blue values here.

And in this case, with the color of the car.

We almost have an even distribution throughout the histogram here.

And typically those are the results that you want

unless you're going for something like a high contrast look.

So there's obviously scenarios here

where you don't want this even distribution, but for photographs

like this and even distribution makes sense.

You definitely want the in your shadows, you want bright

highlights here and you want a lot of mid tones.

And we're getting that based upon this histogram.

If I were able to zoom into the histogram, you would see a series of bars

and really

histogram is nothing more than a bar chart and you're on the left hand side.

We're seeing all dark values within the image and on the right hand

side we're seeing all the bright values within the image and in the center

we're seeing all the midtown values, the image.

So again, this image is pretty good in the sense that it has even distribution.

And if you look at the image here, it looks pretty solid.

So we're getting verification not only from our eyes,

but also by looking at the image here on the histogram.

So let us look at

the histogram in the context of some other images.

If I come over and open higher up ESD here,

you'll see that we have picture of a building, but clearly

this was lit from the back and because of that building

is spread dark in terms of the values that are available within,

we can see a large spike here and the darker section of the histogram.

You'll also notice the poor getting spikes here

within the Midtown range and also within the brightness area of the histogram.

So even if the image is darker than what we would like for the buildings,

you're are getting decent here within the histogram.

Now we can change this source in which the histogram gets it information.

Right now it's getting the information from the entire image.

But if we were to focus just on this building

which is isolated on its own layer, we can do that

right away by changing the source here to selected layer.

Now you'll notice we have a fairly large spike here within the dark value range,

but then it levels out as it moves to the right values.

In fact, we have a very little bright values here.

So we have some midtown bars, but not enough brights within this, um,

building itself.

If this is the look that we're going for a fine.

But then the histogram is just giving you some feedback

in terms of what it sees for the color values within your image.

So let us take a look another example here.

You can open beach JP here and it's kind of the opposite.

This is a really bright image.

Because of that, we have a spike over here on the right

hand side where all the bright values reside.

So it starts to drop off for the midterms, then really drops down here

where the dark values would be and should be.

Again, when you

look at the histogram, it doesn't mean that this image is wrong.

Your goal could be to have a bright image and it is successful

by looking at the image, but it's further verified by looking at the histogram.

And finally we have this are not cheap here,

which is a fairly flat looking image,

and that's because we don't have a great deal of contrast as all

the color values are within the tone range.

We don't have any bright or any dark values and therefore

we don't have enough contrast which results in this boring

looking image.

So you see that there's this little warning sign here.

And what this is telling you is that the histogram is being displayed using

cash data, again, cash is a reserved high speed section of your computer's memory,

which allows Photoshop to generate histogram quickly.

Now, the problem with cash data is it's not as accurate.

So what you can do is to just click it to refresh the histogram

and will be updated based upon your images.

Current State.

So the histogram panel will play a role anytime we come in

and make an adjustment inside.

In this lesson, we will focus on destructive and nondestructive image

adjustments and learn how you can use both feel and adjustment layers.

All right.

And now that you know how to read a histogram,

what I'd like to show you is how to apply adjustments to images.

The first thing that I would like you to do

is switch your workspace from essentials to photography.

Workspace.

And this is because the histogram panel is not up here already on the top.

And now what I'd like you to do next is to come up

to the image menu and under the image menu you can select adjustments

and from here you can just use brightness and contrast.

Now, after doing that, it will open up a dialog box

and you want to make sure that the preview checkbox is selected.

So this will give you a real time

feedback within the image and the histogram.

You make adjustments to this slider.

So if I drag the brightness slider to the left,

you'll notice the image becomes a lot darker

and you can see that you're obviously within the image.

It's also verified here within the histogram.

Likewise, if I tried to increase the contrast, you'll notice

that image shifts and the histogram is also updated

so you can commit to this changes by clicking okay here.

But there's a problem with this.

And with this we have just perform a destructive edit,

so we've modified the pixels and there's nothing

you can do to modify them unless of course if you on duty operation.

But if you decide now that you wish you want to adjust the brightness slider

a little bit, there's no way to go back to that dialog box.

So this really isn't the best way to work.

Now I'm just going to

undo this again, control or command Z here.

And instead what they want to do is come over to the panel and if you don't

see the adjustment panel, it may be just hidden underneath the library panel here.

Or you can just go to the window menu.

And under the window menu you can select adjustments.

You can also access adjustments on various areas like here towards the bottom.

If I click this icon right here, we will get the same option.

We can also access that here on the layer menu and under the layer menu

you can select new adjustment layer.

All right.

So within the adjustment panel, you can click this

first icon here, which is brightness and contrast icon.

You can see that there's all sorts of different icons, but

as you hover over the icons, a little label up

your store to top and it will tell you what the adjustment is.

Again, we want to apply the brightness and contrast adjustment.

And when we click this, you'll notice that the property panels open up

with the same controls that we were looking at within the dialog box.

You'll also notice that this adjustment

stored in on its own individual layer.

So this is a nondestructive way of editing.

And the bonus here is

that you can always come back and further refine this adjustment at any point

in time, regardless of how many steps you've taken already in this document.

So in this case, what I'd like to do is drag the brightness

slider to the left, and I can drag the contrast slider here on the right

and I get the same adjustments.

I can see it here within the image and also verify that on the histogram here.

And what's good about being stored on its own layer

is that you can just turn off the visibility of this layer

to see what the image looks like without the adjustment

and just turn it back on again so that you can compare again,

this adjustment layer is completely editable at any point in time,

and there's also a layer mask associated with this layer so you can control

what portion of the image have the adjustment applied to it.

So that's the advantage of working with an adjustment layer.

It has like a layer mask associated with it

and you can always modify this mask and because there's a layer mask,

you control what portion of the image have the adjustment applied to.

Right now this adjustment is being applied to the entire image globally.

So what if we didn't want that much of an adjustment to the sky right here?

Again, remember, we're working with layer masks here

and we can add black and gray values to this layer mask control.

What portions of the image have the adjustments applied to it?

So to demonstrate this, I'm going to come over to this tool here.

I'll use gradient tool and then I'm going to select the black, the white gradient.

Again, make sure the mask is selected here, and we're going to just

click up here towards the sky and drag down here

towards the cyclists and let go of the mouse.

You will notice there's no adjustment being applied to the sky,

or at least at the good portion, this line here.

And we can verify that by holding down the all key on windows

and clicking on the layer mask.

Tell me here.

So when you do that, you'll get the preview of the mask

and you can see that we probably have Drew Black up here towards the top,

which means this part of the image won't have any adjustments applied to it.

So now let me just hold down

the alt or option key here again and click on this thumbnail.

And now I'm returning back to the original view.

The Other thing that you can do is you can have an active selection

when you apply the adjustment to create the layer mask.

So let me just delete this layer here

by clicking on the trash icon and I do want this layer deleted.

So I'll just click. Yes.

And then before we apply another adjustment,

I'm just going to load the selection.

I've saved again, I made the selection just to save us some time.

I also applied Feather to make a nice, smooth transition

between everything else and the sky.

Now we will choose this adjustment again

and you can see that the mask is automatically created

because we have an active selection when we apply the adjustments.

So I'll just drag this slider to the left

and I'm going to drastically drag this slider to the left also.

Now we less contrast now within the sky and again,

I'll just hold down the alt or option key here and click this thumbnail.

You can see the edges are blurred out

and this is what makes our transition smooth.

So let me just go back again now because it is a layer.

You can also adjust the opacity

which will ultimately adjust the intensity of the adjustment.

So you can see you have a lot of flexibility

because adjustment layers are mask associated with those layers.

And you can also control the adjustment

to a very specific portion of the image.

Now, finally, what if you got into a situation where

and you only want to apply the adjustment on one layer

but cannot change the stacking order of other layers?

Let me show you what I meant by this.

Let's just go to the other document here, which is our clipping mask, not BSD.

So in here we have two separate layers.

If I apply our adjustments here, it will be applied to everything underneath it.

In this case, I only want the adjustment to be applied on the bus sign.

I can change the stacking order, but if I put it underneath the bus sign

it will only adjust the sky here.

If I put the sky, the adjustments in the bus sign,

it will block all other layers.

And this is where clipping mask comes into play.

What Clipping Mask does is to only apply

the adjustment to only one layer that's underneath it,

and you can access it on different layers here.

You can exit here by right on the name or on the back here and you will see

a menu pops up and under that menu you can choose create clipping mask.

You can also access it here on the property panel.

And then clicking this button right here will also create a clipping mask.

Finally, you can also access it here with a keyboard shortcut.

So all you need to do is just hover your mouse on the adjustment

layer and just underline here, hold down alt or option key,

and then you will see the cursor changes to this icon.

And then when you click it, it will create that clipping mask.

Now, as you adjust the brightness here,

you can see that it only affects Bus Song Awesome.

So now we are familiar with down feel and adjustment layers.

We're also familiar with them creating clipping mask on.

The next lesson, I'm

going to start talking to some of the most powerful and most popular

image adjustments here in Photoshop and we will get started with them.

Level adjustments.

In this lesson. We'll be checking up another adjustment.

We're going to be looking at the curve.

So adjustment,

the curves adjustment is a more complete adjustment than the levels adjustment

which is limited to true black, true white.

And amid telling where curves gives you the ability to adjust

all 256 levels of gray.

So let's go ahead and take a look at how we can work with the curves adjustment.

I'm working with an image called Audi Q3 JPEG,

which is available inside your tutorial assets folder.

And what I want you to do is to come to the adjustment

panel and click on this Curves adjustment button.

And when you apply the Curves adjustment, you'll notice that

the property panels opens with several different options.

All right.

We also want our histogram open here, which we have set to become posted.

So what we have here basically is a

which seems to be pretty intimidating to many users of the curves adjustment.

So here in the background we have a histogram.

Then we also have this baseline curve which stretches across the histogram

on the top right hand corner, this marker represents all the bright tones

and the marker in the bottom left hand corner represents the dark tones.

The gradient wrap here that you see represent the tonal range within the image

and the gradient ramp that you see here represents the channels

you are introducing to the image when you apply the adjustment.

So before we come in here and start manipulating this baseline,

let's go ahead and take a look at some presets in this drop menu.

Now, if you do

something like lighter, you'll notice that the image instantly becomes lighter,

but you'll also notice that you're stretching out the histogram

and you can see what the curve looks like

in order to create this lighter image.

So let's come over here now and choose Medium contrast.

And you can see now that we're getting two points in the middle section

of the baseline curve.

And you can also see that we're also altering the histogram so now let's

go ahead and take a look at how we can apply some of this values manually.

It's going to come back here and use default from the preset menu

and then notice that you the same sliders also that were available to you

in the levels adjustment.

And in this case you may want to select the dark slider

and drag it closer to the ramp in the histogram,

we don't have to make an adjustment over here with the white slider.

Adjusting the sliders doesn't really correct the image in a way that's

any more powerful than the levels adjustment as we know.

If we wanted to be able to manipulate the dark values,

we can click here and if we drag up we are going to make the image right there.

And if we drag down, we'll be making it darker again.

There's still an easier way to work with the curves adjustment.

So I'm just going to go ahead, do that and we can just come over

to the preset menu and use default to get us back to the starting point.

Now what we'll do here is come over and select Tool right here,

and this tool doesn't really have a name.

So even if you hover your mouse, you can see that it's just telling you

what it does.

Now, if you select it, it gives you the ability

to sample colors within the image and then you can click and drag

to make the image brighter or darker.

Now, if we think we know where the true black is, which may be around here

somewhere in the bumper or down here in the undercarriage,

if we click and drag up, you'll notice it becomes lighter.

And if we drag down, it becomes darker.

So we're basically controlling the dark values here.

And if you also look at the properties panel,

you'll see the curve is being adjusted in real time.

If you find an area that know, is that true?

White and you click and drag up, you really want in anything

this we're already dealing

with the brightness values, but you can back down to darken it.

So the curves adjustment, for what it's

worth, is a more precise way to make an adjustment within an image.

And like I said, it does take a little time to get used to it.

But fortunately enough, there are several different ways that you can work

with it, and some of those ways makes it a lot easier.

For example, you can start with the preset and then further modify them

to get the image to look exactly the way that you want.

If you feel like there's too many options here and it's a little

too complicated, you can stick with the levels adjustment for now.

But over time you will find that the curves adjustment

is usually the one that gives you the most flexibility for making the best

adjustments in your image.

On this lesson, we'll be checking out another adjustment.

We're going to be looking at the curves adjustment.

The curves adjustment is a more complete adjustment.

The levels adjustment which is limited to true black, true white, and amid telling

where it curves, gives you the ability to adjust

all to 150 levels of gray.

So let's go ahead and take a look at how we can work with the curves adjustment

and working with an image called Audi, Q3 JPEG,

which is available inside your tutorial assets folder.

And what I want you to do is to come over to the adjustment

panel and click on this Curves Adjustment button.

And when you apply the Curves adjustment, you'll notice that the property panels

opens with several different options.

All right.

We also want our histogram open, which we have set to become posted.

So what we have here basically is a chart

which seems to be pretty intimidating to many users of the curves adjustment.

So here in the background we have a histogram.

Then we also have this baseline curve which stretches across the histogram

on the top right hand corner.

This is a marker represents all the bright tones and the marker

in the bottom left hand corner represents the dark tones.

The gradient wrap here that you see represent the tonal range, the image

and the gradient ramp that you see here represents the channels

you are introducing to the image when you apply the adjustment.

So Before we come in here and start manipulating this baseline,

let's go ahead and take a look at some presets in this drop menu.

Now, if you do

something like, you'll notice that the image instantly becomes lighter,

but you'll also notice that you're stretching out the histogram

and you can see what the curve looks like in.

Order to create this lighter image.

So let's come over here now and choose medium contrast.

And you can see now

that we're getting two points in the section of the baseline curve.

And you can also see that we're also altering the histogram.

So now let's

go ahead and take a look at how we can apply some of this values manually.

It's going to come back here and use default from the preset menu

and then notice that you have the same sliders

also that were available to you in the levels adjustment.

And in this case you may want to select the dark slider

and drag it closer to the ramp in the histogram.

We don't have to make an adjustment over here with the white slider

adjusting the sliders doesn't really correct the image in a way that's

any more powerful than the levels adjustment as we know.

If we wanted to be able to manipulate the values,

we can click here and if we drag up, we are going to make the image right there.

And if we drag down, we'll be making it darker again.

There's still an easier way to work with the curves adjustment,

so I'm just going to go ahead and do that

and you can just come over to the preset menu and use default.

Get us back to the starting point.

Now what we'll do here is come over and select this tool right here.

And this tool doesn't really have a name.

So even if you hover your mouse,

you can see that it's just telling you what it does.

Now, if you select it, it gives you the ability to sample colors within image

and then you can click and drag to make the image brighter or darker.

Now, if we

think we know where the true black is, which may be around here

somewhere in the bumper or down here in the undercarriage,

if we click and drag up, you'll notice it becomes lighter.

And if we drag down, it becomes darker.

So we're basically controlling the dark values here.

And if you also look at the properties panel, you'll see the

is being adjusted in real time.

If you find an area that you know, is that true?

White and you click and drag up

you really want brighten anything this we're already dealing

the brightness values but you can back down to darken it

so the curves adjustment for what it's worth,

is a more precise way to make an adjustment within an image.

And like I said, it does take a little time to get used to it.

But fortunately enough, there are several different ways that you can work

with it, and some of those ways makes it a lot easier.

For example, you can start with the preset and then further modify them

to get the image to look exactly the way that you want.

If you feel like there's too many options here and it's a little

too complicated, you can stick with the levels adjustment for now.

But over time you will find that the curves adjustment is usually the one

that gives you most flexibility for making the best adjustments

in your image.

The use saturation adjustment is a fairly common adjustment.

It seems like simple adjustment, but there are some complexities

associated with it.

Now the complexity comes within the options.

The adjustment itself is fairly simple in the sense of what it does.

So all it allows you is to do very basic color information

and intent to be within the image or saturation within the image.

Now I'm working with a document, a final letter shape,

which is available inside your tutorial assets folder.

Let's go again to our adjustment panel here and apply hue saturation adjustment.

And looking at this, we can see three sliders.

We have hue saturation and lightness.

And at this point the the panel is set up will be modifying the image globally,

meaning if we click and drag the hue to the right,

you'll notice that we're globally changing the view of the image

and you can really see that within the sky here, within the trees

and in certain areas of the statue,

you could always come over here and punch in the value as

and you can also drag the saturation slider which will saturate the image.

And if you drag it all the way to the left,

it saturates to the point where it becomes a grayscale image.

Now the lightness slider changes the overall lightness of the image.

You can make it lighter or you can make it darker.

So let's go ahead and reset this slider.

So by clicking this button right here and perhaps a better way to work

with our use saturation adjustment is to come and select the tool right here.

And this tool allows you

to click within an image and then drag to make adjustments.

So in this case, I'll just drag this to the right

and you'll notice I'm really saturating the image here.

If I drag, I'm saturating the image, but you'll notice that I'm focused more

the blue color balance of the sky, and that's further validated

by looking at the bottom of the properties panel and you'll see this.

Margaret's right here.

This markers represent the color that you're about to adjust and to follow.

The colors are found here within this markers

and the falloff is found in between this two and, this two markers.

Now, the fall off gives you the ability to make a smooth transition from colors

that you're changing to the colors that you're not changing.

Otherwise you're just going to get a blob of colors.

Now, you can also add colors to this by selecting this eyedropper tool

with a plus and clicking somewhere else.

I'll just click somewhere here in the trees to add some green values,

and you can even remove colors by clicking this Eyedropper

tool here with the minus.

Now you can also come up and choose a preset

and in this case you could choose something like strong saturation

and you'll get a strong saturation adjustment.

All right, So I'll just set the preset back to the default values here

so we can come over here and specify the color value that you want to work with.

And you'll also notice that the indicator down here towards

the bottom is showing you that you have Greens selected.

And if I were to drag the saturation slider to the right,

you're really saturating the greens within the image.

All right.

So finally, if you want to create a monotone effect,

you can do that by selecting the color rice option.

And as you can see, we're dealing with the red monotone effect.

But if you want to change the color

that you're working with, can just drag that hue slider to the right

or to the left to create different monotone effects.

So hopefully this gives you a better understanding of you

saturation adjustment inside of Photoshop.

In the last video, we looked at the hue

saturation adjustment, and what I'd like to do in this video

now is to look at similar adjustment and it's called the vibrance adjustment.

It also works with color intensity,

but in a more subtle way, in a more targeted way.

It really kind of hones in on what Adobe likes to call skin like tones,

which are ultimately orange color values.

So regardless of ethnicity, everyone has orange in their skin.

And it's those types of points that this adjustment targets know.

I'm working on a photograph

by Alexandra Kovacs, which I downloaded from Unsplash.com.

Again, if you don't know one splash,

it's a website where you can download stock, you can go ahead and open it.

And what I'd like you to do

is come over and just apply a hue saturation adjustment.

Now, once you do that, you can come over here.

Let's just crank up the saturation a little bit and we'll notice

that as we do that, the overall intensity in saturation,

all of the color values within the image are increased.

Now, what we'll do next here is we'll just come over to the history panel

and from the history panel, what we'll do next is to create a snapshot

so by creating this snapshot, we'll be able to come back to this exact

state of the document and look at the hue saturation adjustment.

So here we have the image

and here is what it looks like after the adjustment.

So you can see we applied an extreme version

of the adjustment, but everything is deeply

so coming back to when we open up the image, let's now apply

the vibrant adjustment which is found here in the adjustment panel.

So when you click it, you'll notice we have vibrance and saturation

and in this case we can increase the saturation

and we can also increase the vibrance

Now we've just adjusted two sliders here

opposed to one slider with you saturation adjustment

and now we can go back to the panel and create yet another snapshot

and now we can compare all this pre version of the image.

So here's the original, here's the hue saturation version.

And again, take a look at everything,

the side of the building, the grass and the sky.

Everything is deeply saturated.

I can tell by looking at the before and after.

But now what we want to do is, focus on the vibrance adjustment.

And if we click on the snapshot to here, you'll notice

that much of the tone within the image is preserved from the original.

What's really changing here is the vibrance of the yellow blue

coming out from the windows and within the house.

So here's the before and here's after.

So now that's definitely more vibrant

and definitely a better solution than the hue saturation adjustment.

So just be aware of that.

It's an updated version of use saturation in some sense where it targets

specific color values to allow you to modify to a smaller values

and specific only modify the intensity

of those color values.

I'm working on a document

called Catalog JPEG, and if you look at this image has a blue color cast,

and it would have been great if it had the warming filter

attached to the lens since it was taken on a warm afternoon.

But then you don't have to worry about that

because what we can do is we can just come over to the adjustment

panel and click the photo filter adjustment and sure enough,

it will have a warming filter available within this menu.

So when we open that,

you'll notice that there's all sorts of options available here.

And in fact, you could even come over and use your own specific color.

But for our purpose, I want filter selected

and I want this warming filter will just warming filter 81.

These are the exact same filters that you can get for your lens,

and that's the exact physical filters and that awesome.

But here you can also control the density.

So if I click and drag this

the right, you'll notice that the image is really warming up.

If we take a look this before by coming over here and toggling

the visibility of the adjustment all in see the difference?

And this did have a kind of color casa with it, but when we turn it back on now,

it has that nice warm glow like this picture was taken on a warm afternoon.

So, again, a quick and easy way to make a simple adjustment

to any image inside Photoshop is by using this

photo field adjustment.

The last

lesson we've talked about photo filter adjustment

and we've used that to transform an image

that has a cool effect to have a warm effect.

Now let me show you some other techniques and how to remove color cast.

So I'm working with a document called Green Dog that JPEG,

and again, it's inside your tutorial assets folder.

If you look at this photo, it has some warm effect on it.

And what we want to do is to give it a cool effect.

And if you think of it,

we can just use a photo filter and just use a cooling filter.

And if we do that, you'll notice if there's a really nice job here,

honestly, for this image, we're

probably going to get the best result using this adjustment.

However, I want to show you a couple of other options,

and one option is with the background layer selected,

just come up to the image menu and then choose auto color.

Auto color is photoshop's automatic solution for fixing color cast

and it works with varying degrees of success depending

upon the type of image that you're working with.

In this case, it's probably not going to work all that well,

but there sometimes you'll find success with it.

Let me just select it and let's see what it does.

And as you can see, it seems that it's doing a pretty decent job here.

Awesome.

All right.

Now let me just go ahead and do that again.

Command Z, Control Z.

And another option here is to do average colors.

And you can do that by duplicating the background layer here

with background layer, select that.

We'll just drag it here down towards the bottom of the Layers panel

and you'll notice that you get a copy can also press down controller

command J on your keyboard to create a copy.

And in this case I have a background and a background copy.

So with this background copy selected we want to do

is come up with the filter menu.

And from the filter menu we can select Blur

and then we can choose average.

And this will give us a blob of.

But unfortunately we need a color that complements this color

and we can get it by coming up to the image menu.

Then we'll select adjustment and then we'll choose invert.

Once you do

that, you should get blue light color.

Then in the Layers panel, you want to change your blend mode

to overlay and remember overlay is a combination of multiply and screen.

And so when we select overlay, you'll notice it does remove the color casts.

Now if I turn off this layer, we can see the before and then after.

So it does seem like the high notes are getting blown out to a little bit.

But though we did remove the color casts and you could have use photo

field there and I think we're going to get a better result with that one.

But I did want to make sure you're aware that there are other options

outside of the adjustment panel for fixing common problems that you may find

with images inside Photoshop.

Most of the time, users will want to convert their colored images

into black and images, and often times what they'll do

is come up to the image menu, and from the image menu

they'll select adjustments and then they'll choose the saturated

which essentially gives you a grayscale image.

The problem with this is, of course, it's a destructive editing

and it also doesn't give you any control.

So let's go ahead and undo that command zero control Z.

And you'll notice in the adjustment panel

that there's a black and white adjustment.

And if you click it,

the properties panel will open up and there's a series of sliders

that you can use to adjust the appearance of the black and white image.

Now, you might be not good with color, and if you're not good with color,

it might be difficult to figure out what you should do with this sliders.

Fortunately, there's some presets and this presets

you the option to go for a particular look.

For example, if you want a high contrast red filter, you can select it

and you'll see the result.

But then you also see how the sliders were moved for you.

And if you feel you need to adjust it, you can

you can drag the science into deeper areas of black

or you can increase the brightness of the sign color values within the image.

So it's really up to you to come in here and further modify

anything from this presets, but that these typically are great point.

You could

also come over here and click auto and have Photoshop automatically adjust

the sliders for you, or you can click this tool here, which you remember.

It gives you the ability

to click on the image and then drag to the right or the left

to increase or decrease the values associated with that color.

So anytime you come in here and make adjustment.

You may want to take a look at what the original image looks like,

and you can always do that

by temporarily disabling it, by clicking this right here.

This gives us the before and after here

again, and black and white adjustment gives you far more flexibility

when it comes to converting your color images into black and white

images.

Now, in the last module, we look at how we could make some adjustments

globally to an image by using the adjustment layers

and you can localize them to some extent using the mask within those layers.

But what we want to focus on this module are some of the tools

that gives you the ability to target very specific regions of the image.

We're going to start off by looking at me toning tools,

so we'll look at the Dodge tool and the burn tool,

and we'll also look at the Spanish tool that gives you

the ability to saturate and saturate pixels.

Now I'm, working with a document called Mottaki Tonight JPEG.

And what we're going to do here

is come over and select this tool over here in the tool bar.

It's called the Dodge Tool.

Oh is the keyboard shortcut.

And when you select the Dodge tool, this tool

gives you the ability to light in areas of an image.

The options in Control panel comes in the way of the size

of the brush that you'll be using and also the hardness of the brush edge.

Anytime you are creating localized adjustment like this on the image,

you typically want your hardness down to a very low percentage.

In fact, you probably want it set to zero in many cases.

And the reason for that is you'll get gradual transition

from pixels, like you're not modifying the pixels that you're modifying,

but only you can select the

brush size in the brush shape, but you can also target different ranges

and you can target shadows or highlights or mid tones.

Here for this example I'll go with mid tones.

And the exposure option here is essentially the intensity

of the effect that you're going to be adding to the image.

A generic command, leaving the exposure, setting down to a lower percentage value

and gradually building up the effect

as you work on the image.

So the first brush stroke that you make may not give you the result that you want.

But after going over the same area a couple of times, you build up the effect

to eventually get the results that you're looking for in our case.

So leave the exposure setting to a little bit

higher here than what they would normally in the real world.

And this is because I want you to see the result of this tool.

And finally, there's a protect tones option here,

and this option, when selected,

will minimize the possibility of clipping highlight shadows within the image.

So again, the Dodge tool will light in areas of the image.

But then now this is a destructive edit.

So what I'm going to do here is duplicate the background layer

and I'm going to do that using the keyboard shortcut command

G on Mac and it will be control G on Windows.

Now with this duplicated layer as the active layer,

I'm just going to make

some general brush strokes within, this image to like in some areas

right?

Let me just click and drag over here on her forehead

and you should see the changes as I did that.

I'll also go ahead and light up the here

on her cheeks and on her shoulders.

And let me also just light up this section of her hair here.

All right.

So, again, this will be subtle changes and anything

that's not subtle won't look good at the end of the day.

And let's see that change here.

Now If we turn off the visibility of this layer, we will see that

we have this before and then now we have this after.

So again, we're making subtle changes here with this tool,

which is exactly how you want to work.

So that's the Dodge tool.

And again, the Dodge tool will light in pixels within the image

awesome.

So the burn tool does the exact opposite

and you'll notice it has the exact same settings.

So let's find some areas within the image here that we wanted Darken.

So maybe I'll darken this a little bit here

on the right side of her forehead and we go ahead and do something

similar over here on her ears here.

And again, I'll just take a look at the before and after here.

So again, we're making subtle change here.

We're lighting areas and darkening other areas of the image.

Now, finally, we can come over and take a look at this bonnet here.

And the sponge tool gives you the ability to either

desaturated or saturate colors within the image.

Now I'm going to leave it to the saturate and the flow

is much like exposure setting for the burn and dodge tools,

which is really just determining the intensity of the effect in this case.

I'm going to leave it set a little bit higher

because I wanted to saturate this pretty quickly.

Again, in the interest of time, I don't need to build up the effects

like I would if.

I was working in a real world situation.

But then let's go ahead and saturate her lips here,

just like

so again, what we're doing is just this saturating the color.

So we're getting gray in black values.

And again, if we come over to turn off the visibility of this layer,

we can see that before and now we can see the after.

So these tools are for localized adjustment

and oftentimes used for photo retouching and for repairs.

And again, the flexibility here over an adjustment layer is you're targeting

very specific location within the image without having to manipulate the mask

like you would if you were using an adjustment layer

in this video.

What I'd like to show you is how you can use some tools in Photoshop

to correct Coleman Problems found within images.

I'm working on a document called Nikolai.

We are not that cheap, and clearly in this image, this guy has some blemishes.

We want to correct those blemishes

and so we want to look at different options available in Photoshop.

We're making that type of correction now before get started,

what I'd like to do is create a new layer here, and by creating a new layer,

we can perform all of our healing

on this layer without damaging the original pixels, the background layer.

Now we're going to be talking about spot Healing Brush tool

because this tool is perfectly suited for this type of situation.

But I do want show you how you can use other tools

because you may run into different situations in your own work

where you may find this other tools useful.

And the first tool I want to look at is the Clone Stamp tool.

Now, it used to be called the rubber stamp tool, and it's been with Photoshop

for a very long time.

And what it allows you to is clone pixels.

So with this tool you can literally take pixels from one

area of one image and place them somewhere else.

A lot of people uses it for things like in this image, we can put this

guy's nose on his forehead, but that's not going to be cool though.

But then you may run into a situation where in you need it.

Maybe you're working on a project and you need to clone something.

This tool could be useful for those types of situations.

But let's take a look at it works.

The first thing that you need to do is

you need to sample the pixels that you want to clone, and you do that

by holding down the option here on the Mac and on Windows.

And then we'll just sample an area here.

But the problem is we're in layer one right now

and if we look at layer one, it's completely

we don't have any content on the layer,

so we really can't sample pixels from layer one.

What we need to do is sampled pixels from the background.

Yes, you can select the background layer

to sample the pixels, then paint them on layer one.

But an easier way to work is to just come up to the control panel here

and the sample menu.

You have the option of current layer, current and below and all layers.

In this case, either current than below or all layers will work the same way,

but this gives you the ability to sample pixels

from the background layer without actually selecting the background layer.

So in this case, let's say we

wanted to remove this blemish right over here, and I'm actually not sure

if that's a blemish, but let's say we want to get rid of this.

We will just hold down the option or I'll key here

and click and that's going to sample those pixels.

Then I can just come over and click again on this area to paint those pixels.

And so you can see now the dot is removed and honestly the result isn't that bad.

But the problem with this stamp tool though,

is it's only cloning pixels and it doesn't really care about the tone.

So you have to be smart in the way that you use it to try pull off the effect.

And what I mean by that is if I take or sample pixels from the right area here

and again I'll just hold down the option or all of them click right.

And after doing that I'll just spend over here

and you'll notice what a poor correction that is.

It's very bright.

So as you can see, this is a disaster

and not that useful in the sense.

So I'm just going to undo that again.

Command or control Z here on Windows.

Now a better tool here is called

the Healing Brush to just say, I'm located right here

and we're just going to look at this in greater detail in the next lesson.

But what this tool does differently than the cone stamp tool is it does

match the tone.

So we wouldn't get something as awful if we sampled right here

by holding down the option or all key before click.

Remember to come up to the control panel and change the sample to all layers.

Then if you option click or alt click, you can sample the pixels here and.

Then if you click over here, you'll notice that the tone is richer.

You can see that it did a pretty good job on this image

and definitely an improvement

over the stamp tool in the sense that it does care about the tone.

So let me just go ahead and do that.

And instead what we're going to do is we're going to take a look at the spot

healing brush.

Now, the spot Healing Brush has many of the same attributes

as the healing brush, except you don't have the sample pixels at all.

It will sample in much tone on the fly with a single click of a mouse.

So it's far more powerful.

And the other options that it has, which also make it

more powerful, are these type options.

And now in this situation, content aware makes the most sense.

And what content aware does is it will intelligently figure out

the best way to feel area that you're collecting on.

But there are other options here.

For example, there's also create texture right over here,

and it works in a slightly different way as what it does is

it will read the data surrounding the area you're attempting to repair

and will generate the texture pattern from that sample data.

So the main difference between this and the other two modes is that the other

two modes repair and blend using actual pixels, while

great texture and blends using texture patterns.

There's also a proximity match mode.

And what it does is it will analyze the data around the area

where you're painting to identify the best area, to sample

the pixel information from, and then uses that pixel data

that has been sampled to repair the defective base where you're painting.

So it's hard to illustrate each of these type at the moment,

but I can tell you Corning Aware will give you the best results

and depending upon the image that you're working on and depending

upon what you're trying to do within the image,

it would ultimately dictate

which of these types would be best suited for that application.

So with that said, there's really no way to demonstrate this.

Now, what you really want to do is experiment as a user of the healing

brush tool until you gain a better sense to what each of these types will do.

And then finally, we have some blending modes here,

and most of this are fairly straightforward and numerous.

The blending modes available

within the Layers panel, except there's a replace mode here.

And what it does is it operates much like the Clone stamp tool.

So you're not getting any of the benefit of the spot

healing brush over the Clone Stamp tool when choosing replace.

The only advantage for this one is if you would be trying to clone a high

frequency image at the edges of the clone

area and won't be a solve as they do with the clone stamp tool.

But other than that you're getting a similar function at the.

So we're going to leave this set to normal and we're going to come over

and sample all layers and watch this tool.

It's pretty magical the way that it works.

I'm going to come over here and with the sample layers checked here,

I'm just going to click to remove this blemish and it's immediately removed.

You'll notice it even functions and operates well within the stubble.

And I can also come over here and click

and drag over some other blemishes that I see within the image.

I'll just come over here and apply a few more corrections

just clicking on this blemishes.

Now I could spend a lot of time here, but I think I'd get the get the idea

and we can now take a look at the before and after.

And clearly there's

a large blemish here too, and we can use this spot healing brush.

So let me just go ahead and fix this.

I'm just going to increase the size of the brush here and click

and you'll notice that it's removed.

So what the spot Healing Brush tool is doing in one single

click is matching tone and it's sampling the pixels that it thinks

it needs to use for that area all within one click.

So hopefully this gives you some insight as to how you can use all of these tools.

And now that you're familiar

with the Clone Stamp tool, the Spot Healing Brush Tool

and the Healing Brush tool to some extent, the question you might be asking at

this point is why would you ever use the Healing Brush tool over the Spot

Healing Brush tool?

Well, let's go into greater details on the next lesson

and hopefully I can answer those questions.

At the end of the last video, I ask a question

Why would you ever use the healing brush over spot healing brush?

And it really depends on the situation.

And I'd like to show you an example that may make some sense here.

I'm working with the same document we were working in the last video,

and now there is this large blemish,

and I just want to show you what happens using the spot healing brush.

Now, there's a couple things that we can do here to improve this,

but I will show you how possibly the Healing Brush tool could be better

if we zoom in here on his jukes

here with the spot Healing Brush tool still selected.

I'll just increase my size here a little bit.

Just going to click here and once I did that,

you'll notice that we can the circle of the brush here.

So we're not really getting the best results.

Now, you might have difficulty on seeing this

and it might also be impossible to see in this video

that we're watching because of the video compression.

But if you're following along, you'll definitely see that it's not as clean

as some of the other corrections that we've made.

Now, one way to fix this is to reduce the hardness of the brush.

And you would probably want this down here in the lower

percentage values, and with that, you'll get better results.

Now, I'd like to show you how the Healing Brush tool

may be a better solution in this case.

So we'll just undo that last brush stroke that we did,

and I'm going to come over and use the healing brush.

Now, remember, with the healing brush, you have to sample an area to clone

and the healing brush will match the tone here.

So just looking some some of the texture here

and really want to come over here to this side of his cheeks

and I'm just going to hold down the option or out key here.

Sample this area of the image.

Again, it's important to make sure that all is selected within the sample menu here

and now.

If I click it, it will match the bone and you'll notice I'm able to pick up the

texture on the left side of this cheek, and now I'm getting a better result.

So hopefully that makes sense

in terms of why you would use over one over the other.

Another solution here, though, is

can you use the spot healing brush here and then in the option bar or the control

panel, instead of using content where we can choose, create texture.

And this will allow us to correct the tone but preserve

a lot of the texture that we have here within the image.

So I'll just click here and we can see

now that it has made a pretty good correction here.

So maybe a little blotchy right here, but for most part,

this is much a better way to work than using content.

So this is a good way to get a better result.

Similar to that, if you are using the traditional brush.

And again, the take away here is that we did get incredible results

with the spot Healing Brush tool, but it's not always the best solution.

Sometimes the traditional Healing Brush tool is still useful

and it's also important to experiment with the different types

that are available for the spot healing brush.

So I hope at the very least that you understand,

especially as a new user, that you will have to experiment with this options

and also experiment with the tools to ultimately get the best results.

Because every image is different, which means every situation

is different.

In this lesson, we're going to review the patch tool.

The patch tool is incredibly useful for correcting portions

of an image that needs to be centrally removed.

In this example, we're looking at the Statue of Liberty.

Again, this is available on your tutorial assets statue not JPEG,

which was taken by Chris April on Unsplash dot com.

You'll notice that we have a boat here coming from the right side

and what you want to do is remove this boat, which might take some time.

We're going to be using the tools

we've tackled so far like the STEM two or the Healing Brush tool,

and we're just doing it on this water right here.

Imagine if we have some trees or other elements

that are included behind the object that we want to remove.

Now we can do it quick and easy.

The use of patch to the batch tool.

This perform a destructive edit.

So what we want to do here is just come over here

and duplicate the background layer for us. Again.

Command or control J is the keyboard shortcut and the duplicate

layer selected and come over here now and use the patch tool

which can be found underneath the spot Healing Brush tool.

And with a batch tool selected, we have a couple of different options

in terms of how the patch can be performed right?

It's set to content aware.

And I'm going to say this the majority of the situation

will probably require you to use content aware.

I'll show you an example in a moment where you wouldn't want to use it.

In this example, we do.

So we're going to select content where it uses the same content aware

technologies, and many inside of Photoshop,

and it does consider all the content around the selection that you make

when filling in that selection in the new content.

So just be aware of that.

Additionally, you

do have options for structure and color.

Structure will adjust.

Adjust how strictly the source structure preserved

and color will allow you to adjust.

How much of the source color can be modified.

I want to be honest with you here.

You're really not going to know what this set here until perform a patch.

And then based upon the results, you may decide

if you need to tweak this values in some way to get a better result.

But in many situations, you're going to have to take a guess

as to what this value should be and then see if they work for you.

So it will be a little bit of a game for you in that case.

But now the default value should probably work just fine.

So in this case,

you don't need to sample all layers because we just want to work on layer one.

Then we have to make a selection.

Before I make a selection, I'm

going to zoom into the boat, hold down the spacebar and the command.

Here are control key to temporarily activate

the Zoom tool, allowing you to zoom into the boat.

Then with the patch tool I'm going to make selection of the boat

and you want to make sure that you include a little bit of the boat

surroundings here so we can get a decent patch.

Once you have the active selection, you want to place

your cursor inside of the selection, then click and drag to an area

where you want to essentially be copied into the location of where the boat was.

And now because we have content,

where's the patch option, we should get a decent result.

Take a look at the patched area right now before I let go of the mouse here

and when I let go of the mouse, you'll how it's corrected.

If I go ahead and select this command or control, you'll notice

that we're getting pretty good results in the background here.

We Have enough randomness within the ocean

where we really getting pretty good results.

Now, maybe you can come in here and make some additional modifications

in this area, the edge of the patch and the original image meets.

But overall, this is really good.

It was a simple process that only took a couple of seconds.

It looks like that boat was never there.

So that's a good example as to when you use the patch tool.

Now we can come over and take a look at the before and then the after.

So with the boat,

without the boat, not bad at all.

Let's come over to a different image here.

We have dog, not JPEG here

and this is also available in your tutorial assets folder.

So let's do the exact same thing.

I'm going to duplicate the background layer Commander control J on Windows.

Then I'm going to make a selection of the dog.

And again, I want to include some of the grass around a dog here

and then I'm going to leave the same settings here

that they used on the previous image for this image.

Then I'm going to click and drag to the left here

and when they let go of the mouse, you can see that the dog is gone.

And if we deselect this command or control,

we can see where we had the area selected.

And this is because when Patch Tool is selected using content aware,

it creates this a blurred edges.

And in this case we have so much detail and we're really not

getting a good result.

So let me just undo that again.

This time, instead of using content where we can choose a normal here

and normal, we get a couple of different options

so we can work with source, which is the same way that we're working

with the content aware mode and we would make a selection here.

Then drag it to the destination.

You could also work in the opposite way.

You could select the destination and then patch that over.

I prefer the source option here when working with Patch Tool.

Then finally there's also diffusion.

You'll notice that we could select the value between one and seven.

What ultimately represent is

how quickly the transition will take place.

So if you want a smoother transition between the area that you're patching

and the original image, you would bump this number.

If you want less of a transition, you would leave it lower in a case

where you have a lot of detail like this grass, you want number to be lower.

So what we're going to do now is make that same selection around a dog

and we want to be sure to include some of these grass here.

Once have this selection,

you can click and drag to a new location.

When we let go the mouse, you'll notice

that the patch looks a lot better in the normal mode.

Let's go ahead and select this command or control D again.

Now you can see that it's pretty difficult to tell that there was a dog here.

We're getting pretty good results so we can turn off the visibility

of layer one.

So that's the before, just the after

with the dog without dog.

When you look at the before and after right next to one another,

you can tell that

we have sharpness here within the grass and then it works out a little bit.

Again, there's some things that you can do to back off that transition a little,

but for the most part you can see that this is giving us a much better results

than the content though, where option for the patch mode.

So hopefully that makes sense in terms of when you would use the patch tool

and what the patch tool is good for.

In the last lesson, we've looked at the patch tool

and what I'd like to do now in this video is show you a less sophisticated

way to take advantage of content aware technology, and that is content aware.

Phil So breaking now with a document called Gram, that JPEG

which is available inside your tutorial as it's folder

and what we want do here is to remove this drum

and I'm going to do it now by using content aware feel.

So let me just come over here and select the lasso tool and.

We did select that and you'll notice

I have a feather here of one pixel, so I think that's okay for now.

And then we'll just click and drag a lasso around this drum here

and notice that we also have a shadow here too.

So we want to include some of that shadow within this selection.

You also want to include a portion of the sand here and right now.

This isn't a bad selection.

So let me just come up here to the edit menu and from the edit menu

we can choose to fill in this case for the contents.

We're going to choose content over and remember content over.

It's just

that Photoshop is aware of the surrounding content when filling this selection,

and it's going to use that information to hopefully give us a good result.

The other thing that you want to select here is color adaptation.

By selecting that you are getting better blend between the colors

that you're seeing inside and outside of the selection.

Without this option, you get some gray likeness.

So let me just come over here and click okay.

And once you click okay, you can see that it didn't do a horrible job.

Now, it's also not the best job.

If I select this command or control,

you can see that the sand also looks really good.

And to be honest, you looking at this picture,

you probably wouldn't even notice that we have some issues.

They just wanted to point out that content over field does exist

and you will really find it useful in cases like this.

And for something that only took just a couple

of seconds, the results aren't really that bad.

Now. A more realistic use of content aware

field is typically to extend the background.

So let us just come over to our

other document here that they have open, which is the barn dot JPEG.

And what it would like to do to

this image is to add a little bit of canvas here first.

And you could do that by coming up to the image menu

and then we'll choose canvas size.

At this point, I'm going to leave relative selected and change this to inches.

I'm going to my anchor point over here on the right hand side,

and I'm going to add eight inch to the left hand side of the canvas

here, and we'll just leave background set too wide here.

And then after that we'll come over and click, okay.

Now clearly we want to get rid of this white area

and fill it with more of the fields and the sky here.

And we could do that again by using the rectangular marquee tool.

So we'll just make a selection here.

And now

we want to make sure that we include a little bit of the sky in the field here.

Then we'll just come up to the edit menu and just fill in again.

I'll select adaptation here for Content Aware, and when you click okay, you get

more of the

sky and you get more of the field and it looks great.

Fricking good actually.

So there's a more realistic reason to use

content aware feel again, just be aware that this option is available

inside of Photoshop and it's just one of the tools that you can rely on

other than the physical tool when working inside

this program.

Since we're on the topic of tools that use this content over technology,

I want to show another tool which is called the Content Aware

Move Tool, and this is located underneath the Patch tool.

What this tool allows you to do is move content.

So in this example, we just the beach mode, not JPEG.

Again, it's available in your tutorial assets folder.

I want to move the boat from the left side

of the image over to the right now.

A few years ago this would have been a time

consuming proposition, but with this new tool it's incredibly easy

and it only take a couple of seconds.

What you want to

do now is come over and choose one type of your selection tool.

Here I'm going to select the lasso tool

and I'm just going to click and drag around the boat now.

And when you do that, you can be somewhat generous in your selection,

including the shadows here and some of the ocean in this election.

But once you have it,

you can then come over and choose the content aware move tool here.

And with this tool you want to make sure that then the most to move.

Since we're going to move the boat here

structure in color where the same options that were available for the patch tool

and if you think you're going

to want to rotate or scale the artwork when you drop

it can have this option selected,

which will give you a bounding box being a drop it.

Now, I don't think I need that, so I'll just leave this option D selected.

Now if I place my cursor inside the boat and click and drag it to a new location

and when I let go of the mouse, the boat is some remove

on that area and now appears on this area right here.

Now if I d select again command

D or control V can see that it did a pretty good job.

Awesome.

Now there's another option associated with the content

our move tool that is the extend mode.

Now, in order for us

to look at the extend mode, I'm going to open up another document here

and the document is called Beach Extension.

SD And in here what I want to do is extend the background. Now,

this could be problematic if you didn't have the content aware move too.

So let's think about some of our options

so we could just use the rectangular marquee to end.

We could select this copy and then paste it here.

And then with the regular move tool we can just move it over and you can see

that we're not getting a good transition here from the old to the new pixels,

and we have this hard line.

So that's really not a solution.

You could do it, but you would have to manually blend

these two images together and I really don't want to do that.

That's really time consuming.

Now, instead, what I'm going to do is I'm going to use the content Aware

Move tool and I want to make

that same selection of this content here.

So we're also leaving out the white background

and then I'm going to choose content over Move tool

and then we'll change the mode from move to extend.

Now I'm going to click and drag to the right,

and when I let go of the

mouse, you can see that the transition is better,

but you can see that though

we have some issues around this area, the color seems a mess here.

So this is where experiment thing

on the settings up here on the control panel comes into play.

So let me just undo that.

And now what I will do is adjust the structure and the color here

a little bit and do that selection again.

All right. Awesome.

Now you can see that the transition is so much better.

So again, this tool uses content aware technology to simplify

more complicated edits that you need to perform inside of Photoshop.

I'm working with a document called Rubix

Dot JPEG, which is available inside your tutorial folder.

In this lesson, we'll review how some of the eraser tools work inside of Photoshop.

Now, I'm pretty sure that these are not the tools that you're going to use

all that often, but even though you're probably not going to use them,

should still probably know how they function.

So let me just come over here and select the eraser tool.

E is the keyboard shortcut to activate that tool.

You'll notice

that we have several different options within, the control panel here.

But the most important, of course, is the mode,

and we'll look at the different modes that are available.

We have a brush pencil block for right now.

We'll leave it, set the brush, and then you can see it there.

This behaves a lot like a paint brush, but of course of painting pixels

you'll be erasing pixels.

So with the brush mode, you can use a brush size and a hardness

for your brush and anything you're painting with a brush,

the hardness percentage typically be in the lower percentage range.

And this is going to give you a nice gradual transition

within the pixels that you're erasing in the background.

There's always an exception, but for most, for anything brush

related, you're going to have a lower percentage here.

So after selecting a brush size and hardness

can also control the opacity, which is the transparency of the eraser.

And also we have the flow here, which is how dramatic the racing will take place.

If you have a lower percentage here, the erasing effect will be less dramatic.

Hopefully that makes sense.

And again, image is a little bit different.

So these numbers will change depending on the image that you're working with.

But then the eraser tool just erase this pixel.

That's all it does.

Before we erase anything here, let's go ahead and unlock

the background layer, convert it to the traditional layer.

Now, if you click and drag, you can see that we are just

erasing pixels and that's all there is to it.

But there are some other option, of course, and this is the brush mode

that we are using right now.

There's also a pencil mode.

You can see that when I click that the flow option went away

and the difference between a pencil and a brush is pencil

doesn't have any way of providing a soft edge.

Everything is alias, so you get a crisp edge and this can be helpful.

But for most part,

if you need a crisp edge like this, you don't want a circular tip.

Instead you want to block.

And that's exactly what the black option is.

It's just a block that allows you to erase pixels.

There's nothing more to it than that.

There's a couple of tools, however, and you need the eraser tool,

one of which is the background tool.

This tool is a little bit more interesting and has some more options

and it can really be useful.

It also has different modes and the first here is sampling contiguous.

So any kind of an odd option, it just kind of goes through fake sales.

But there are some other ways to constrain how it behaves based upon its limits.

You can find edges and it can be contiguous or just contiguous.

If you remember when we worked with the Magic one tool, we talked

about what contiguous and this contiguous represents and again,

contiguous means that it's going to erase all the white pixels in front of it.

If I click and drag here, you can see that they're really deleting them.

And then of course we have fine and just here and from the word itself,

it finds, which is areas in the image that contains high contrast.

We can see some edges here and in this image for example,

and the tolerance controls, the intensity of all this limits

you want to protect the foreground color, which is literally the foreground color

we have sampled here in the foreground swatch, you can do that.

But for now on, leave it set, do the default.

And if we click and drag now here, you'll notice

that it's erasing pixels.

They have fine edges selected here.

So you'll notice as I click and drag, you can look at this across here

and you'll see within the eraser if I get that right,

the edge of the shape, it finds that edge and honors it.

It's not going to erase the black at all.

So That's where this option could be helpful.

If you have the limits of fine and just set here.

And of course, there are other options here.

And this next option makes this tool little bit more interesting.

If you choose a sample once.

What that means in its most basic form is if you click and start erasing,

it will only erase that that are the same as the area that you've clicked.

Now, the variation of that, of course, are tied to the tolerance,

a higher tolerance.

You would consider more color value be the same.

And again, you have the same limit options here.

And I'm going to set this at two contiguous

and leave the tolerance set to 40%.

Again, honestly, experimenting with this value just makes

the most sense depending upon the image that you're working with.

So I don't know what I'm going to get the 40% here, but if I click drag,

you'll notice that I'm erasing the green in this Rubik's Cube.

So if you want to do just delete a certain color value.

This could be a way to achieve.

Now, there would be some times where you might need more than what

you should, and that would be the time to work with a lower tolerance.

So this is one way that can work with the background eraser tool.

Another option is to come over and select this third mode,

which allows you to erase color values that are set in the background.

So in this case, I'm going to choose this option,

but they may temporarily come over here and activate the Eyedropper tool

and then click right here, sample this color,

and then I'm going to swap this to the background.

Now, while I still have the Eyedropper Tool selected, I'm

going to click over here again and the library area of the Rubik's Cube

and set that as the foreground color.

So let's return back to the eraser tool and in this case, going to erase the color

values that you see here, because that's what's set to the background swatch.

And this will give me the ability

to really just get rid of the blue, this face outside of this cube.

So as say, click and drag, you'll notice that's happening.

I and as I get to the other blue here, really kind of preserving those lighter

blue values and I'm just getting rid of the dark blue ones.

Finally, we have the magic eraser tool here.

And the way this tool works is almost the same as the magic wand tool.

The difference being is you're not going to be making a selection,

but rather just erasing the pixels.

And if I come up here into the white area and click

all the white base, those are gone.

Except of course, those ones within the edges

so those are the eraser tool inside of Photoshop.

They can really be useful.

And now that you're aware that they exist inside

a program, it's up to you to utilize them or not utilize them.

If you wish to.

In this final video chapter, I would like to show you how you can go

about sharpening an image In this case, I'm working with a document called

AI for Airplane dot JPEG, and you can see that

the camera might be autofocus here and that's ended up

locking in on her curls right here instead of her face.

So what I'd like to do is bring back some of the details within her face here.

Now, there's all sorts of techniques for sharpening images inside of Photoshop.

The but then there's really no right or wrong technique.

You just have to figure out what's best for the image.

So the first thing that we're going to do is duplicate background layer here

by using the keyboard shortcut command and it will be controlled G for Windows.

And then what I want you to do is come up to the filter menu.

And from the filter menu, we're going to come all the way down here

and jump over the sharpening filter, believe it or not.

And we're going to come over to other

and then we're going to select high pass.

So what high pass will do is increase edge contrast,

which you will ultimately bring back detail.

Now you have to come up in here and adjust the radius slider.

You definitely want some details here, but you don't want to take too much

because it will introduce way too much noise within the image.

Now I'm just going to leave it set to something between three or four,

probably something higher than I would normally in the real world situation.

Just want to give it a little bit of an exaggerated effect

so you can see what this filter is actually doing.

So let me just come over here and click okay.

And at this point you're probably like, that does not look good.

And we have all of this gray within the image or within this layer.

But then we also have a lot of detail within this layer.

If we could just get rid of the gray values, that would be incredibly helpful

well.

If you remember when we were talking about layers

and more specifically blend modes, we had a blend mode available

that will just knock out the gray and remember in the blend modes

menu we can select overlay, which ignores 50% gray.

And now if you look at this closely, you will see variations of those gray

values.

That's what's going to introduce noisy to the image.

But for right now, I'm okay with noise.

I just wanted to sharpen her eyes here and some details

within the face.

And once we select overlay notice, we have more detail. Now,

if I turn off the visibility here of layer one, you can see that before

and now here is the after.

So that's a good go to technique.

Let me show you another way to achieve this.

So I'll just this layer create a duplicate

layer again, again, command or control J here.

And what we're going to do is to go to the filter menu

and from the filter we will not pass through.

SHARP And this time and we will select smart.

SHARP But once you click that smart, sharp and dialog box opens up

and in here you will have a few options that you can tweak,

can play with the amount radius and noise.

Here, you can even control the shadows and highlights if need be.

But for now, I'm going to leave it all

set due to its default and we'll just click okay.

And now if you at it, this is the before and this is the after.

So it really did a nice job here.

The last thing that I want to mention is that we have three tools here

that you should be aware of in terms of how they function.

But again, you won't probably be using them

all that often, but that they're located over here in the toolbar.

So we have

the Blur tool, the sharpened tool and the Smudge tool.

Now let me just start off with the sharp tool here.

I'm going to tell you right now, you're not going to use it

and it's not that useful.

It's a destructive tool that doesn't have much control.

Let me just show you quickly how it operates.

So there are options up here.

You can choose a brush size and you can select the hardness of the brush,

and there's different blend modes available for the tool.

And you can also specify this strength

higher the person page, the more powerful the effect is.

And you can try also to protect detail which will minimize specialization.

So you use this tool, but as you'll see in the moment, that's not all that helpful.

So let's select the background layer and then just

click and drag a couple of times here, over here.

And once you start to notice something happening, the image is ruined.

It just makes everything so high.

In contrast, the effect isn't usable for really anything

except the Blur tool, so it works in the opposite way of sharpening tool.

And if I go over this area a couple of times, it blurs that out.

Now finally, we have this much tool here and that allows you to push pixels around.

So if you want to, for example, lift her chin here

a little bit, I can use this smudge tool and say click and drag.

Here.

You can see that it is pushing that pixels upward.

But again, these are destructive edits.

I just want you to be aware that these tools exist.

After all, we want to learn everything here in Photoshop as this could help

choose what chores is the easiest and quickest to use in order

to achieve our desired results.

On this module, what I want to focus on is how you can work with type tool

and how you can use things like the guides

and the grids to position elements within your document.

Now the type tool gives you the ability to add type to your Photoshop document

type inside of Photoshop, it's vector based, so you get all the advantage

of working with vector graphics when you're dealing with type.

Remember the difference with bitmap based images and vector

based images is that bitmaps are created with pixels,

which are little squares of color information, whereas vectors are created

with vector points and mathematically connected.

So if you think about a letter form like a B

or a Q, we have a lot of curves, those letters,

and it's hard to make curves with pixels because they're square.

Obviously there's things that Photoshop can do to make the edges appear

more crisp, but at end of the day, if you go to print an artwork,

if you have vector based type, you'll get crisp edges.

Then bitmap graphics could never produce.

So it's really impressive that Photoshop has vector

capabilities for type inside the program.

You no longer have to use Illustrator or InDesign.

Set your type.

With that, let's come over and select a type to the the keyboard shortcut.

You'll notice that you have options for typeface size.

You also have an anti aliasing option and alignment option here.

You can also select a color if you want, and you can even walk or text here.

In this case, what I'd like to do is just type

hello up here in the top right hand corner.

To do that, I'll simply click here and you'll get a blinking cursor.

You'll also notice that a

new type layers created with the blinking cursor.

Now all you have to do is type in the sex.

And in this case it's going to be hello.

After typing it.

You made may say that you want to

change the appearance of the type and you can do this in order for you

to change appearance of the type, you need to have it selected.

And you can do that in two ways.

You can either come over and clip it in drag.

So all the text is highlighted or you can highlight the different tool for us,

like the move tool, leaving the type layer as the active layer,

but then switching back to the type by pressing D on your keyboard.

And at that point you can come over and use a different typeface.

Now, one thing I'd like to show you is that you get previews of this typeface

as you go over

each of the fonts within this menu, and you can see that happening now.

So as I hover along this

font styles here, you can see this type here changes its font style also.

So that's a really nice way to see if you're selecting the right

font can even work with typefaces from Adobe's Typekit here,

which is a service you have access to if you are a creative cloud subscriber.

So as I scroll this list,

I'm going to look for a typeface that I want to use.

And once I find that I'm happy with it, I'll simply click it to select it.

You notice in this menu you have all sorts of different filtering options.

First, you can choose the class of the typeface that you're looking for.

If you're for a sans serif font, you can select it from this menu

and this latest now filter to display just sans serif fonts

can even filter by fonts that you've installed from Typekit

or my one that's your favorite.

And you can mark points as favorites by clicking this little stars

here to the left here.

And if you choose a font you can come back to this menu

and filter based upon similar fonts.

So now we're getting typefaces that are similar

to the one that we currently selected here,

and I'll go ahead and choose this typeface.

The other nice thing about working with type

inside Photoshop that you can use the free transform tool to scale it,

and you'll notice that the point size will automatically increase as you scale it.

Let me show you.

I meant let me just activate the free transform tool by using the keyboard

shortcut, command or control key on Windows.

Now let me just grab one of the corner sites here

and hold down the shift key to maintain the proportions of the type.

And once you press return or enter

that transformation, you'll notice

point size has been increased appropriately.

There is also a different anti-aliasing option,

and this really is designed to anti-aliasing text

when displayed on screen, not for printing.

So if you choose crisp, you'll notice.

Maybe you see the edges appear a little bit more crisp,

but then in this case, when we're dealing with sans serif font, you probably won't

notice too much of a difference between any of this anti-aliasing option,

but they can be helpful for serious fonts and fonts.

So you may want to experiment with that a little bit.

And of course, if you want to change the color and click

on this color inkwell here to pick a different color.

And once you're happy with the color, you can click okay.

And now you have some type

inside of your Photoshop document and it's vector based type, which

if you do send this to print, it will print in a nice

crisp manner.

In the last video, when we use the type tool, what we did

is do we click to get a blinking cursor within Photoshop.

That technique is called point type,

but there's another way to work that a type inside the program

and to demonstrate that, what I'd like you to do

is to delete the low layer here we created earlier.

Then we'll just come over and choose that type tool again.

Remember to use the keyboard shortcut.

And what I'd like you to do this time is to click and drag.

And as you do that, you will define a box to hold your type.

And instead of typing Hello, we're going to type in a row.

Now I say type in here,

you'll notice I have to add a space and then start typing out the word world.

I would say, get to the edge of the box.

You'll notice that you automatically get word wrap

because here will can fit within the width of the box that we created.

Yes, you can transform this box, you can expand the width of it

if you want to accommodate that type, that is one option and the other option.

You don't have to rely on the word wrap.

You can just break the line by pressing return or enter on your keyboard.

So here I'll go ahead and type in world.

Now the opposite can be true as well.

You could not have enough height for your boss and you wouldn't

be able to see two characters that are exceeding the height of the box.

But again, you can always come over

and change the height by grabbing some of this resize handle.

You'll also notice that there's a little icon over here on the far right.

So there's a plus sign, which is an indicator that this index

is over set, meaning that you have too much time for the boss.

But again, at any point in time you can resist the box to accommodate

your type good.

Even position your cursor outside of one of the corners

and rotate your type if that's what you want to do.

So area type differs from point type in the sense

that you defined a box that will hold your type.

All right.

Let me just exit out of this edit mode here and we have a couple of options in.

Come over and use a different tool.

So the other option to exit out this editing mode is

you can just press enter key on your numeric keypad on your keyboard.

If you don't have numeric keypad, chances that you have

an F and or a function modifier key somewhere on your keyboard.

So you can just hold that down and press the return or enter key

if you're working on a mac will see the word enter appear in smaller

letters on your return key or you can just simply press down escape.

Also, if you go ahead and do that, you'll notice you exit out of that dialog box.

Other than that, all the other editing

capabilities that we looked at in the previous video apply.

And if I want to change the variation of the font,

then I'm using, I can do that.

If you want to change the size and color, all those options are available to you.

But do note that these are the two different ways of working with type tool

can work with point type or area type and there's a ton of capabilities

when it comes to setting type inside Photoshop.

Obviously we're just scratching the surface here, but At least

now you have an idea of how they work inside the program.

Anytime you start working with type inside Photoshop layout becomes

a much larger issue.

Fortunately, there's several different aides inside of the program

that can help you layout content, one of which are the rulers

you can view the ruler to be coming up to the View menu.

And from the View menu

you can choose rulers command or control are would be the keyboard shortcut.

And once you select that option, you'll notice that you have a horizontal

and vertical ruler here

and that you

can change the unit of measurement that are associated with this rulers.

So let us just come up to the Photoshop on the Mac and

that will be the edit menu for Windows and that will choose preference.

And then you can select units and rulers.

So this will open up the preference dialog box with the units and rulers

category selected in the top left hand corner of the dialog box.

You'll notice that there's a unit section here.

You can change the units of the rulers to any one of these units.

I'm going to go ahead and cancel out of this and show you

a couple of other ways that you could change units of measurement.

Now, an easier way to access that dialog Master, just simply

double click on the ruler and when you do, the dialog box

will with the units and ruler options already selected for you, yet

there's still a faster way to change the unit of measurement,

and that is to just simply right click or click on the ruler.

And in a contextual menu you can choose different options.

So in this case I'll go with pixels and you'll notice it's updated.

Show me pixels.

Now I'll go ahead and switch back to it just here.

Finally, you'll notice that the 00.

is two at, the top left hand corner of the document here.

You can change that.

So you can just simply place your cursor inside the box in between this two rulers

here, and then you can click and drag to the point where you want the 00.

to be.

And when you let go of the mouse,

you'll notice that your zero zero is now those two tiers.

So now zero is here and here.

And now that you're working with rulers, do you have access to yet another age

when it comes to laying out content and that is called a guide?

And we'll look at guides in greater detail on the next lesson.

As I mentioned just a moment ago, one of the great powers of working with

rulers is having the ability to work with guides.

Now there's several different ways that you can add guides,

and the most obvious way is to come over

and click one of the rulers here in this case horizontal ruler,

and simply drag down to the point in which you want the guide.

Now you'll notice that there's a heads up display indicating exactly

where you're going to drop the guide, and that's you drag it.

If you want the guide to snap to the thick marks and the ruler,

you can just easily hold down the shift key.

And when you hold down the shift key, it snaps to each of those stick marks,

making the placement of the guide a little bit more precise

as you're dragging the guide if you decide that you really don't

want to be breaking the horizontal guide, but rather a vertical guide,

you don't have to return back to the ruler.

Instead, you can use a keyboard.

So it's option on the Mac out on the windows

and it will flip the guide to the opposite orientation.

Once you drop a guide, if you decide that you no longer want,

it can just drag it off back to the ruler.

And when you do, the guide is removed.

Now, if you have several guides and you decide that you don't want

any of them anymore, you can always come up to the View menu.

And under the View menu you can choose clear your guides command

If you need a guide to be dropped in a specific location.

You can also come up to the View

menu again, and under the View menu, you can choose a new guide

and when you select new guide dialog box will appear and you can specify

if you want horizontal or vertical guide and at what position.

So In this case I want one at three inches and I could just type that in here.

And I also want a vertical guide.

So when I click okay, you'll see guide appear here

after you drop a guide, if you decide you need to move it, you can,

but you need to have the move tool active.

And when you do,

just hover over the guide and you'll see you'll get a two way arrow,

which is an indicator that if you click and drag, you'll move the guide.

If you drop the guide in a specific location and you know that

you don't want to move it by accident, you can come up to the View menu.

In Under the View menu, you can choose lock guides.

By doing that, you will no longer have the ability to move the guide.

Finally, there is an option to snap to the guide,

and this can be really helpful as you drag objects around

within the document, it makes content snap to the guide.

Again, we can come up with a view menu and under the view menu you'll select

SNAP two and then you want to make sure that Guides is selected.

If it is, then anytime you have an object.

Let's say, for example, I was going to create a selection here

using the rectangle OR marquee tool, and as long as I'm close

to the guide, you'll notice that it snaps to that guy.

So this guide can be really helpful for

precision within

your document.

In this lesson, we're going to be reviewing

how you can create the horizontal center and vertical center guide.

Now there's a feature that's really useful for web designers and new designers

that are creating website or application mockups.

It's available under the View menu, and under the View menu,

you can go to guides and then you can choose a new guide layout.

And in this dialog box, you'll notice that you can create guide

layout with a specific number of columns, and even a specific

number of rows can come in here and add any number that you want.

If you want 12 columns, go ahead and punch it in it.

Also specify the with an A gutter size and if you already have guides

within the document, you can clear them by selecting this checkbox.

Anytime you come into a dialog box, there's a good chance

that you want to reset

and most of the dialog but in Photoshop do have a reset capability

and you want to do just hold down the option on Mac out on Windows

and you'll notice that cancel button changes to a reset button.

I'm going to go ahead and reset this. Now.

I'm interested in creating a wide horizontal center

and the vertical center within the document,

so I'm going to get rid of the got there in here

for two columns.

I'm also going to do the same for rows.

I'm going to have two rows with no glut there.

So type in zero here and you'll notice I now have a horizontal

and vertical guy that appears in the center of the document.

When you're done, you can come over and click okay.

And we now have a nice grid system that allows

that center of this document.

Anytime you work with guides, you may want to change

some of the preferences associated with the guides and you can again do that

by coming up to the Photoshop menu on the Mac, edit on the windows,

and then you can come over to a preference and you'll select

guides, grid and slices.

And in here you'll notice that we have a specific options

Artboard guides and canvas guides and

because we're not working with Artboard, we're looking at Canvas guides.

We can change the colors.

We can even change the appearance from a solid to a dash line.

So you also have options here to manipulate these other guides here.

Now I'll just come over here and click cancel.

Finally, what I'd like to show you is that can temporarily hide the guides.

If you find them to be distracting,

you necessarily want to clear them in all situation.

You probably just want to temporarily disable their visibility

to get a clear look on your artwork and you can do that from the View menu

and you'll select show and then you'll deselect guides.

You'll notice that the keyboard shortcut is command or control semicolon.

So this lets you toggle the visibility of the guides

within your document.

As we talk about guides inside Photoshop, I think it's important

to talk about smart guides in order for us to review smart guides.

I'm working with a document called Smart Guides of BSD,

which is available inside your tutorial assets folder,

and this document contains through shape layers and a shape

layer is a special layer inside Photoshop that contains vector content

and you can create this shape layers using the shape tools

located down here at the bottom the toolbar.

Now, unfortunately, we don't have time to talk about shapes in any great detail

in this course, but if you're interested in learning more about shapes.

You can go back to our website

and check some of the other courses we have on Photoshop.

With that being said, we want review this smart guys

and in order

for us to do that, we need to make sure that the smart guides are visible

and we can verify that by coming up to the View menu

and. Under the View menu you want to select show

and then just make sure that the smart guides asset check next to it.

So the way the smart guide work is still here

intelligently, as you move content around within your document

like you to do here is select the shape one copy layer the topmost layer

and it's this shape piece down here in the bottom right hand corner.

It's important to have your move to selected be the keyboard shortcut.

And if we click, drag this to move it as we get closer to a certain point

within the document, like horizontal center or vertical center

will begin to see this smart guide.

Additionally, if we move closer to other objects within the documents,

again, we'll see these smart guides

so they help us position content as we move around within the document.

And again, you can turn off their visibility,

but my guess is you're going to find them very helpful.

There's also other ways that you can with smart guides.

If I come over to this layer here for this shape

and we can select that layer by clicking it on here in the Layers

panel, let's say want to duplicate this shape

and you can do that by holding down the option deal on the Mac on Windows.

And then we'll just click and drag and as we do that, we will get instant

readouts in terms of the distance between the elements that you're dragging.

So this is really helpful and it helps you position

the content as you duplicate here.

I can see the distance between the first shape and this a new

duplicated shape, not only the horizontal but also the vertical as well.

And you'll also notice you get additional readouts

if you are going through staggered content.

So this is really

but what if you

want to have all of that information after the fact

when in this case I still have this new layer as the active layer with it

being the active layer, or you can click any other layer to make it active.

You can hold down the command or control key

and hover over content inside of a document.

And as you do that, you'll notice

that you will get these readouts to see the distance between this object

and the top of the page and the bottom of the page,

and also that distance between the left and right side of the page.

So all of this information

is intelligently being displayed because of smart guides.

So again, I just want to point out that these smart guides exist.

They can really be helpful as you position content inside a program.

Of course, if we come up to the reference dialog box,

we do have some options for smart guides.

We would go up to the Photoshop menu on the Mac,

the edit menu on a Windows machine.

Then you would select preferences,

then you can choose guides, screens and slices.

And again here inside your preference dialog box, you can change the color

of the smart guides.

If something that you need to do.

And again, I'm pretty sure that you would want to keep

this guide enabled as it will really help you work

inside the program.

Photoshop can be used for so many different things.

You can use it as a layer tool, can use it for paintings and drawings,

and there are a lot of people that don't start in the digital space

and start with a piece of paper and a pencil and.

Oftentimes they use graph paper to plot out where things will be positioned.

Fortunately,

there's an option inside of Photoshop that gives you that wrap paper like feel.

It's called the Grid.

You can turn it on by coming up to The View menu, and under the View

menu you'll select, show and then or choose Grid.

At that point, you could also choose to the content to the grid,

and then you just have to come up with the view menu.

And from here I'll choose a snap to and then you'll

just have to make sure that grid is selected.

Now, as you start dragging elements within the document, it will fill it,

snap the different grid points within the document.

And it may be difficult to see here within the video,

but if you're following along as you click and drag this elements,

you'll definitely feel it snap into place.

There are other options for the grid in terms of its size and its appearance,

and you can control those options by coming up to the preference dialog box.

Again on the Mac, it's Photoshop menu on a Windows

machine, it's the edit menu, then you'll select preference

and over here you will choose guides, greets and slightest.

Again, this will open up the preference dialog box

and you'll notice that we have grid section here.

You can control the size of the grid by specifying

how many grid lines you want per unit of measurement.

And here it's set to centimeters by default.

And you can also specify the number of subdivisions.

You'll also notice that you can control the style of the lines

that are being used, the grid.

And of course, you can also control the color.

So the grid this really flexible and you can change it to accommodate

whatever it is that what you're trying to achieve inside a program.

Not a huge feature, but something that you should be aware of.

If you ever have the need to have a graph paper reference inside a

We are in the final module of our course here inside Photoshop

and in this module we're going to focus on how you can work with libraries,

how you can output your document inside of Photoshop,

and how you can keep the application up to date.

But first, let's focus on creative cloud libraries.

Creative Cloud libraries offers you the ability to create

the cloud based repository for assets a particular project.

Gone are the days for creating a master file for style guide

information like colors, typefaces and logos instead all of that

content can be managed in the cloud through creative cloud libraries.

And the great thing is any Adobe application that you use using

same Adobe ID will have access to these libraries.

So if you add a color to your library here inside of Photoshop,

it's immediately available in desktop applications

like Illustrator, InDesign, after Effects and so on.

Likewise, if you're working with Adobe Mobile applications like Fixed or Adobe

Capture, any assets that you add to a library using those programs

will also be available in any Adobe application.

So it's an incredibly powerful way to manage assets,

especially when you're working on a particular project.

So let me show you how you can create a creative library.

The first thing that you need to do is you need to have the libraries panel open.

If you don't see it, you can always come over to the window

menu, and under the window menu you can of libraries.

In this example, you'll notice that they have some libraries already set up.

And in this case, what we want to do is to create a new grade

library based upon the document that I'm looking at here.

You can open element C from your tutorial assets

folder and follow along.

If you look at here towards the bottom, you can create a new library

and if you select that, the new library from document box shows up,

let me just cancel this one out and let me show you another way

to get to this dialog box right here.

So in the top right hand corner of the library panel,

you'll notice that there's that same great new library option.

And when we select that, we will have the same dialog box here.

So you'll notice that we have four character styles,

five colors, one layer style, and one smart object.

And if you're going to be working

smart objects, you can see that there's an option

to move the smart objects to the library and replace the instances

of these smart objects within your documents with links.

So in this case, what I will do is leave everything,

check and click, create new library.

And at that point you'll notice that it also picked

the file name and used it as a name for your library.

So all of those assets also are added here.

Now, there's two different views for library.

There's an icon view and there's a list view that I can view

will show you all of the assets and it will show you an icon view

of colors, characters styles, layer styles and graphics.

The list view displays the same information, but if you look at it,

for example, this graphic here, it shows where this graphic originated

from whether it be Photoshop or Adobe Illustrator and so on.

If you want to rename your library, you can do that.

And just go back through your libraries here and right click on the library

you want to rename them, go ahead and click rename.

Likewise, if you want to delete, you can right click again

and choose delete and that will be deleted afterwards.

So how can you add additional assets to your library,

let's say for to come over to the background or foreground here and click it

and I makes a new color and I decided I want to add this color to the library.

You'll notice down here towards the bottom there's a little plus button here.

And if I click that, you can choose what asset can be added to the library

and when you add an asset, it is synchronized to the creative cloud,

making it available to any application that has access to this library.

So creative cloud libraries give you the ability to store assets

in a central location that's cloud based, making

all of those assets available to any Adobe application and.

The beauty is, you know, when you select an asset from a creative cloud library,

it is the latest version of the asset because everything is stored.

One of the real powers of creative cloud libraries is having the ability

to share that inside the library with other designers and developers.

You can do that easily by coming up to the top right

hand corner of the library panel.

And there's two options.

So the first option will bring us to a section in Adobe website

and you'll have to be logged in with your Adobe ID.

Then you have the ability to create a public link.

And when you create a public link, you can copy this

link and distribute it to however you want.

And there are some other advanced option here.

One is it allows the user to save the assets to Adobe

Creative Cloud and another one is to allow to follow

when they view content through this public link at any point in time.

If you want to remove the public link, you can just click this button

right here and then the public link will be deleted.

So this allows you to send assets to specific individuals

and if they want to be able to download and use those assets, they can.

There is another way.

However, if I returned back to the Photoshop, you come up to the top

right hand corner here of the library, you can choose in white.

And this option is a slightly different in the sense that anyone you invite to

this library will have access to the library through their libraries panel.

You can also access this by clicking this icon right here.

So when you do that, they will not only have access,

they can also edit or or change any of the content within the library,

and then the version of your library will also be updated.

So you're collaborating with other designers

through one central Creative Cloud library.

So that's what that option is.

And anytime you collaborate

with someone that I couldn't change slightly here in the library's panel,

if you have a team subscription, you can also share your team.

So again, this library makes it so much easier to share your work to others.

No need to upload files and send to either email or through a USB,

which will take some time depending on the size of your document.

Saving files in Photoshop couldn't be easier.

All you have to do is come up

with the file menu and from the file menu you can choose save s.

But before I do that, you can see there's also a saved copy.

Before we only have save s.

Let me show you the difference of this too.

So let us do save us first this will open up the same s dialog box.

And in this dialog box

you can specify if you want to save it to Creative cloud or on your computer.

And that is if you haven't ticked this box.

Yet in this case I'm going to choose a save to computer.

And on this dialog box

you can choose the format that you want to save the document.

You can only see this for options here.

We're in on save a copy.

We have other options, which we'll will see in a few.

Now, the majority of times you'll be selecting Photoshop in this dialog box

because this will ultimately give you a PDF file, a native Photoshop document,

and all of your layers are preserved here.

And when the layers are preserved, you can always come back to modify

the document in any way and any time you choose to.

So once you're happy with the settings, can click

Save and the BSD file will be created.

Another popular option that you'll be choosing here within

this menu is the tiff, especially if you're going

to be sending your document to a professional print shop.

Now, instead of canceling this dialog to go back to the file menu

and the Jewish the other save option, what they'll do is just click this button

here, save a copy, and this will switch up us to the save copy dialog box.

And in here you can choose if you want to preserve

alpha channels as part colors and layers.

So if the print shop wants the flexibility of layer

can just leave this button selected, you'll notice

that there's other popular formats in here like PNG, G and JPEG,

although you probably won't come through this dialog box

to save the document in one of these formats because there's

a better solution inside a program which I'll show you in the next video.

Now, one last thing I want to point out, as we talk about saving documents

inside a program, and that is that Photoshop will automatically

save recovery information every 10 minutes by default.

And can control that preference through the preference dialog box here.

So again, that's a Photoshop menu

forum on the Mac and on the Windows machine.

Go to edit and then you'll select preference.

And from the reference menu you'll come over and use a file handling.

Once you select that option, the preference dialog box will open

and you'll notice that there's an option to automatically

save recovery information every 10 minutes.

You can deselect this option if you want to.

You can change the approvals.

If you click this dropdown here, you can drop it down to 5 minutes

or bump it up to one hour or depending upon

what need in saving documents in Photoshop.

Couldn't be any easier. And

now we mentioned in the last video that there is a better way

to save files as JPEG or and so on and so forth.

Here in Photoshop, let's say, for example, we wanted to save this entire document

recipe in G file.

We can export this file that we're at here inside of Photoshop.

It will preserve the BSD file

that we're currently working with, but then we'll save up a B and G version.

And we can do that.

We're coming to the file menu, and from the file menu you can choose export.

Then you can choose quick export.

SPOG This will open up the save as dialog box

giving the file name of the anti extension.

In this case, I'll save it on the desktop and when you come down and click save a B

and you version, the document has been saved

and we can verify that by hiding or minimized in Photoshop

coming out the desktop and finding that being file,

If I double click on it, it will open up the preview application

and you can see that we have a B and U version. Now

of course

that's great if you need to save the entire document as a page,

but what happens if you only want to save a couple of layers as a PNG files,

not as one PNG document, but individual BMG files.

So let me just come over here on our document again and I'll just select

I can do in the Layers panel and then I'll hold down the shift

key and select icon for in the Layers panel too.

So we have this three layer selected and our goal is to have three

separate PNG files for each of these layers.

Well, with this layer selected, you can come up to the top right hand

corner of the Layers panel or you can also right click on the selected layer

and in the menu you can choose quick export SPOG.

This will open up a document and you have to open the location

on your computer based upon where you want to save this file.

In this case, I'll leave mine to desktop and then I'll click select

folder and Photoshop will save three PNG documents based upon this layers.

And again, we can verify that if we hide or minimize Photoshop.

And sure enough, we have three new files here and that's great.

But again, if you have additional needs, what if you wanted to save

a retina version in a low risk version

of some of these icons?

So let's come over and select icon five here

and then we'll hold down the shift key again or control.

You just select this icon six here

and we'll come up to the panel menu or right click under Selected Layers.

And this time we'll choose export. S.

This will give us a little bit more as it opens up and export as a dialog box.

And in this case you'll also have a size here.

You can add a new one by clicking the plus sign here

and once you click the plus you can specify the size.

In this case, I'll go with point five, which is half of the size.

So we'll end up with our retina and then our low resolution version.

Then you can specify any other attribute over here on the right hand side.

And if you want two of the files to have the same attributes,

make sure that you are selected over here on the left

so you can hold down the shift.

If you have a lot of them layers and you want to select

all or you can just hold down the control key and select this icon.

Next up, PNG.

And maybe you also want to include the copyright

here so you can come over and select that.

And once you're happy with the settings, you can come over and click export.

When you click export again, you have specify the location in print

so where you want the documents to be exported.

So I'll leave the desktop selected.

Then I will click select folder.

Once the export operation is complete, you can hide or minimize Photoshop

and you'll notice we have the two version of this icons here.

Let's return back to Photoshop one more time and what happens

if you want to export the document as something other than PNG?

Well again, you can come up to the file menu and from there you can choose export

and then you can select export s from this menu.

This will open up the same dialog box and in this dialog box notice that

you can change to format this something other than the PNG

like JPEG or gif.

If you select JPEG, notice you get this quality settings here.

You can also specify like the image size and the canvas size.

The last thing they want to show you is if you're working with a series of images

and you know that those image all have to be exported out as JPEGs.

Well, this is really help that the quick export command is stuck in PNG format.

What should it be?

You can change that instead of quick exporting PNG

g in quick export as a JPEG, we come down here in select export

preference.

Once you choose that option, the preference dialog box

will open in here.

You can change the format to JPEG or gif.

In this case I'll leave it set to JPEG and then click okay.

Once you click

okay, you can come up to the file menu, choose export and then you'll notice

that the quick export command has been updated to JPEG.

One last thing that I want to point out with this preference, you can adjust

the quality of the JP compression right here with any preference.

So if it's too low for you, you can bump that up using this slider.

And again, once you click okay, that quick export command

will export JPEGs with the higher quality.

So the quick export command and export as a comment.

Our best use for exporting jpegs, PNG use

and give files.

It's a good idea

to update your version of Photoshop any time that there's an update

you'll know that there's an update because if you're running your creative

cloud application, you'll see a little icon here in the taskbar.

You'll see this same icon in the menu bar of a machine.

A little number will appear

telling you how many updates need to be made to your application.

And once you see that,

all you have to do is click on the icon and will open up the creative cloud.

If you don't have your Adobe application running,

you can have it open on your files to run the application.

If it's installed on your machine.

So again, updating your Photoshop version is really important.

Mostly if there is a major updates.

Congratulations, that's going to conclude this course.

Photoshop Fundamentals.

I hope at this point you feel like you have a solid foundation of the program

and feel confident taking on your own Photoshop related projects.

Of course, we only scratched the surface here

and there's so much to learn about the program.

Now. We have several courses that go beyond what we reviewed here

to cover specific details on various features, whether you're looking to learn

more about photo retouching or using Photoshop or web design,

or you just want to dive deeper into specific features type or smart objects.

But again, I would really like to thank you so much

for joining me and I hope to see you in the future.

Course.