Bonus: Organizing Layers
Bonus: Organizing Layers
11. Bonus: Organizing Layers
Class Introduction08:02 2
How to Use Texture Overlays06:23 3
How to Work with Camera Raw Files13:05 4
Understanding File Formats09:20 5
Utilizing Resizing and Cropping06:58 6
Cutting Out an Image04:03 7
Utilizing Healing and Cloning01:56 8
Bonus: Organizing Layers
so organizing layers. This is a cool little chip. I'm going to show you some stuff inside of working with layers that you probably don't know. Um, and I see this another thing too. You can reset your groups. By the way, this is really great to reset. And so when I make a mess and I moved things around funny when I'm working, I don't. When I'm teaching, I move things in the middle of the screen so people can see it. So there's a number of different automation tools and things like that inside of photo shop. And, um, And if we want to put images together and we want to find a bunch of disease, little things here cooled. Um, please be there that I not put them in. Yes, they are. Okay, there. I've got, like, extra things, these scripts, and he's come a photo shop. There's a thing called load files into stacks. And so if you want to load a bunch of images, you don't have to open normal individually special if you want to put them all on the same layer. So if we go into here under organizing...
layers, I can select their and click open. And this is the kind of thing I would do, you know, for my website, like, create ads and things you don't like. I want to do a banner ad. I want a magazine ad or whatever, and I want to show some, you know, some different DVDs. I don't wanna have to do manual work. And I mean, you could use this for anything you could use this for, you know, laying out and organizing It is just what I happen to have. Um So if I want a corrupt this and make it bigger, let me turn this off. I'm gonna hit the really, But I'm gonna hit clear. And now we've got this is just gonna work by itself. So check check out these little tips. I'm gonna show you really quickly. Okay, so we've created that. You probably don't think I could do this in a few minutes, but watch it. So we've got all these layers. So if I grab this one here and I'm gonna drag this one up here, and I'm gonna grab this one So the whole point of this really is to just show you how to work with all these. Like look at all these layers. See how they were all boarded and I didn't have to bring them in manually. And now we've got this hot mess all over here. So now I'm going to show you some tips for working with all these millions of lives. Imagine if you could do it like I am right now. Like working an illustrator and just clicking on them. Wouldn't it be amazing if you could do that? So you can you turn order. So, like, play around. But what if you accidentally bumped me? Don't like order Cilic. Later. If you turn that off, the selected layer is gonna work. But if you hit the control kill to come on key. Now you can choose the layer and move it. Now what if I want to select those? I could go into the layers panel right and hold down the shift key and done so an option. I just hold the control key and just click it. Drag my key selectees. Then we've got order a line at the top and then we can automatically space them. See these portals control click Dragon. Let's start there Here's a tip, though. If you want this to look the same as the other, make sure that starting and ending place of the same control option select around here. We're gonna automatically at line knees and now, you know, we just laid those out awesome. And, um, I just want to fill the background with black. So let me just dry with white What I said, like, pull, it lays out. By the way, I'm used to working on Jewell screens or two screens. That's why I'm like, pulling things around because I got limited screen real estate, which is always the case when you're teaching, Um, So anyway, that you go and you could just lay that out. So it's a much, much quicker way of doing that. I mean, I happen to use these. You could. It could be anything, you know, it could be speech bubbles or, you know, whatever you decide to do photos you can see you can use the tools inside of photo shop to do the thinking for you. Now that's one of the things I love to do is I have literally thousands and thousands of these kinds of tips because I mean, I've been writing the tips column for photo shop using magazine for 13 years. So every issue of Photoshopped magazine go to the TIPS column. There's two pages. 10 15 tips. I wrote that I've written thousands and thousands of tips, and so I love to teach these tips. And the thing is, if you use them, you can save a lot of time. And I have a philosophy. If you have to do the same thing more than twice, you're probably doing it wrong. There's probably a quick away. So anyway, is there any more questions on all the stuff of endurance through everything questions in here? No, I think we're good, but we have one that I want to ask, um, when transferring files from light room to photo shop to use eight bit or 16 bit and what other settings. Also, why does 25 megabyte raw file become a 200 megabyte saved in PdF or tiff? So questions built in there? There are a number of questions in there. Okay, well, the first question this answers. The first question was, How do I move? Files an eight bit of 16 bit. You want to do with them. If you're gonna be doing adjustments, bring him a 16 bit because a 16 bit files hold up a lot more. Imagine me, like getting a bag of marbles, and I'm rearranging the marbles and I don't want to see any holes in there. But, you know, I've got, like, you know, 20 marbles in this bag, and I can just perfectly line about they keep rolling away. But I keep kind of pushing them to make him look good. And I want to fill up This little area is like a little tray, right? 500 marbles is a lot easier to fill that trey and not show the bottom of the tray. So what happens is when you're moving adjustment sliders on the photographs, you're moving pixels sometime. Well, sometimes when we get to a certain level, when you do curves, you do the adjustment and you'll see banding in the photos. If there's not enough pixels and there's banning would be like you'd see the not enough marbles to cover the bottom. Just use that example. So, um, if you do that, then then you know you're going to see banding, which looks like strata. Kind of things of rocks and ingredients are not smooth. If you're working a 16 bit file, then those Grady and they're going to be much smoother because there's more pixels toe work with. If you are not going to be doing that, you just wanna like file, Then just bring it over. You just get a printed. It ate better. Whatever. Do it. If you want to be doing adjustments bringing a 16 bit, you have more information. Now, if you ever combine in 18 16 bit, make sure you go on the image color, apply color. Perfect is, if you don't do that, they're not gonna match, and sometimes they can look kind of weird. They look different. Um is the other side there is, Why does it look so much bigger when it goes into a tiff or it goes into PSD? It could be a number of reasons. Um, you know, depending they're working in layers and all that stuff. But the big thing is that when you're going from a raw file, you come from raw image data. You're going from something that has to be interpreted. Eso you know, it's looking at those roll pixels and say, OK, we're gonna build it this way and you don't actually ever look at a raw file. You look a preview that's built when you go into a tiff or you go into a PSD. It's like going from you're making a cake. You got cookie dough. You can push that cookie dough around. You can reshape it. You can turn it into an elephant if you want, but once you bake it, then it's kind of stuck. So that's what happens when you come from a royal found tapirs. Deer a tiff. You're basically baking that, and you're creating physical actual pixels and in those baked in pixels are going to create a file, which is gonna be a biggest size, um, then working with the raw data film.
Ratings and Reviews
Colin is a Photoshop expert and shares answers to the top ten questions he's been asked, it was a great class!
I really liked this class and enjoy Colin's teaching style. No, it's not the first course you do if you've never touched Photoshop, but it's a class that helps you to think about how to use the software non-destructively, efficiently and creatively once you're familiar with the basics. He crams a lot of wisdom and gems in each lesson from the perspective of someone who's used Photoshop from the very first version.
Just watched the Live Class of this course, and it is by far the most entertaining and interesting class. There is no time for anything except to learn learn learn, Colin is a great instructor, he answered so many of my questions about Photoshop and explained every feature thoroughly (without losing my attention, mind). Thank you very very much!