Day 29: Quiz, Review, Projects


30 Days of Photoshop


Lesson Info

Day 29: Quiz, Review, Projects

well how about that two days to go and before we get to our wrap up session tomorrow it's time for another quiz I'd call it a pop quiz but again by now you've probably looked at the description of the day to know there's a quiz today and again the idea of these quizzes just to try and help us remember some of the key points and little fun test of knowledge and will also review a few things and I think I'll have a little bit of time with the end so I'm gonna start the first of a few little many projects to get your minds thinking about other possibilities in photo shop so once again I'm going to go through the questions give you a few seconds to ponder and then surely the answer and explain what's going on already let's go all right question number one which method of applying a pattern includes the option to scale the pattern by percentage at it phil and then you use pattern or and it phil used pattern but use a scripted pattern or layer style pattern overlay or the pattern stamp tool ...

what do you think and the answer is the pattern style excuse me the layer style called pattern over late remember that's the on ly one and all these other methods can apply a pattern is something but pattern overly is the on ly one that lets you have a slider that does a percentage scaling now the trick to it is remember you can't just have a blank layer you have to have a layer filled with something that you then apply the pattern over late if you don't want that pattern susan I'm sorry if you don't want the color that you've made the layer to be part of the display you changed the fill two zero percent so there we go tour false a shape player can be scaled to a larger size without losing quality true or false and by definition a shape layer means it's vector which means it's very scalable so the answer is true now if you remember let me jump over to photo shop for one second to remind you that when you go to any one of these shape tools you have the opportunity to turn them into a shape player by choosing this option here if it says one of these other ones pixels their path especially pixels is not scalable in all by definition shape is a very scalable shape you khun make the size bigger without losing any quality all right moving on to our next question which statement is true about working with paths a path can be edited using the direct selection tool a path has automatically filled with color you can change the blend mode of a path or if you make a path larger it will lose quality consider carefully let's consider this for a moment remember one of the key things about a path is pretty sure I said this in more than one lesson the purpose of the path is not just to create it something must be done with it like you must either fill it with the color or stroke it or do something with that path so that means that a couple of these choices like a path is automatically filled with color that's not true there's nothing to change the blend mode off because a path by nature doesn't have anything and if you make a path larger it will not lose quality because much like a shape it is by nature very scalable so that means all we're left with is the correct answer is a we have two different selection tools the white arrow is considered the direct selection tool that's one lets us edit the actual shape off the path the selection tool which is the black arrow is more like the move tool for past just want taken entire path and move it somewhere else that's what used the selection tool or the black arrow for next is our true or false talking about selections to our false changing the tolerance will affect the performance of the quick selection tool true or false and the answer is true no false quicks election tool really doesn't have any options the tolerance is an option for the magic wand when you go to use the quick selection to all you're really choosing is the size of the brush and then that option that's called auto enhance which personally I leave on just about all the time because it's a pretty good one so that's one of the benefits of the quick selection to remember we had before it was the edge detection tool so there is no such thing as color range or tolerance or any other setting to determine the quality it's determined how it makes a selection it's just candid find an edge or not all right moving on how do you find tune and existing selection in other words by adding two or removing from the selection here are your choices from the select menu choose modify selection in refined edge used modify edge and then either add or subtract hold option or salt to add to the selection and shift to remove from or hold shift to add to the selection and option all to remove from the selection what do you think well let's consider these the first one from the select menu choose modify selection there are actually commands under this like men you called modify selection but they either expand or contract or make a border from the selection they don't allow you to add to or take away from and refine edged there's no option that allows you to add or subtract remember refined edges the function we use once we have a nice edge and we're just trying to make it even better but it won't allow us to and missing pieces or take away parts that are too much selection was going to come down to c or d so option altar to add and shift to remove from or shift to add to an option all to remove from and the answer is d now they're different people have different ways of remembering one of the ways that I remember someone suggested to me a long time ago I thought that may make good sense for me for some reason it just clicked with me that shift was adding to I don't know why but one of the ways they thought of remembering it is when you want to go from a lower case letter to increase it or make it bigger you hold down the shift key so and there's their mind they're thinking shift increases or adds to the size of their type that's one of the ways they remember that in the world of selections shift adds to the selection optional takes away from well that helps you or not I don't know but the other thing to remember is if you have an existing selection and you hold down a key of being switched back to photo shop so I won't just say it out loud if I have an existing selection if I don't have any keys held down it looks like the regular lasso tool which means if I think I'm gonna alter the existing one I'm not going to make a new one so instead if I hold down a key it will indicate to me again here's another case where if I'm not sure shift gives me a little plus sign optional gives me a little minus sign so that's why the ways you can remember if you're not quite sure you know it's one of the other then holding on the key the cursor will actually change slightly with that plus remind assigned to let you know what's going on okay how can you temporarily alter an image to make it easier to make a selection so I'm assuming this suggest if you have something it's hard to see the area you're trying to make a selection how could you temporarily make it easier to make a selection so these are our options use any image adjustments on something from the image adjustment menu and then step backwards or use an adjustment layer and re adjust the settings at a new layer and then deleted afterwards or temporarily changed the tool settings wait go through these we can eliminate the first one pretty quickly because if you're using anything under the image adjustment menu it'll make a permanent adjustment if you then make a selection and have to step backwards to get rid of the adjustment you'll also lose your selection so that's not gonna work adding a new layer and deleting it afterwards not exactly sure what that would do and there's no point in temporally changing any tool setting so in this case the answer should be hope plea very clear and that's be using adjustment layer to temporarily and that's the key word there adjustment there's allow us to temporarily change something so that we could do whatever work we want to whether it's masking were selecting and then either throw away or readjust the adjustment layer back to the way want so in our example I showed you a photo of a white box and we couldn't really see what we were doing so we temporarily made the box frankly look horrible so that we could then make the selection we wanted once we've made that for away or readjust the adjustment layer all right next which of the following is not true when compositing one photo onto another if it's easier you khun select slash mask in pieces camera smart objects can be edited on the fly camera smart objects cannot be masked or use refine edge and or refined mask to make tweaks to your selection slash mask so let's look through these ones and consider if it's easier you can select mask and pieces definitely I do that all the time do the hair and one part the rest of the person in the second part and make it look like it's one definitely b camera smart obvious can indeed be added on the fly that's kind of the whole point do you remember the example of the soccer player and some of the other ones but particularly soccer player I really brightened up the exposure in the camera so I could see where his hair with several from the background once I'd made my selection and mask then I put the camera settings back on the fly to be able to change it c camera smart office cannot be masked well that must be the answer because indeed cameron's smart objects can be masked that's not a problem at all that's kind the way it works and that also of course means that user fine edge and or refined mask to make tweaks is correct so since this question as which is not true it would be c the reason that compositing works the way it does with cameras smart objects is for exactly the reason that you can make a selection of it turn into a mask and then go back and forth and edit the camera raw settings while preserving the mask now let's move on to some questions about working with type if you want to change the space between a pair of letters it's known as tracking kern ing spacing or letting well spacing is just that would mean me hitting the space bar that's not gonna help letting is the amount of space between lines of type going vertically tracking is when you select an entire word or sentence and want to increase the space soak earning would be the way that we change the space either tighter or looser between two letters and the typical examples like capital letter a and b together or capital letter t with an o and you want to put theo underneath the t that kind of thing that's considered turning and just a reminder that when it comes to all these things like turning and tracking and letting you can either do it numerically in the character panel I don't know too many people especially in the world of turning that go yes I want to go kern minus something they instead just click between the two letters and then use option or auld and the arrow keys left arrow will bring the curtain tighten the kernels of the letters come closer together right era will go out the other way now remember that in each of these cases tracking turning letting the shortcut is very much the same it's option or alter and the arrow keys it's just a matter of how you have your tech selected if you have a paragraph of text with a bunch of lines and you press optional on the upper down arrow key it increases and decreases the leading if you select a range of letters and hold option left or right arrow then it does tracking across all letters and a courses we just said if you click between two letters and use that shortcut optional ten they left my air keys it tightens or loosens the colonel between that pair of letters all right and I just gave away the answer didn't I oh let's pretend I didn't how do you increase the leading or amount of space between lines of type let's see presser return repeatedly press shift in the down arrow or press option ault and the down our I wonder which one it is I'm still gonna give you time to consider even though I pretty much gave away the answer so even though we know the answer is d because I just gave it away on intentionally let me just add that if you could theoretically press the return key multiple times to spread out the type make more room between lines but then that's kind of artificial way to do it because we wanna have it based on having happened automatically based on the size of the type and then do that letting accordingly so if you have multiple returns and you try to edit later it's gonna be much more challenging than doing it this way so tour false swatches can be shared between photo shop and other adobe applications true or false and the answer is true this is this thing called adobe swatch exchange so if you see something that has a little name is has dot a s e that's adobe swatch exchange which means those swatches can be shared you khun create them in photoshopping used them an illustrator or make them from in design and use them in illustrator any combination if you're creative cloud member one of the cool things about creative cloud is when you upload a file to the cloud and then you look at assumes you click on it it automatically generates a little set of swatches even if you haven't done that already that you can then download as that's watch exchange and don't forget just a reminder if you haven't already looked into the website called cooler k u l e r no it's built into photoshopped now as a panel that's an excellent way to work with color if you're trying to figure out what kind of color schemes to use just a reminder about that alright speaking in the world of painting and using the brushes when you're using the brush tool you khun temporarily access the eyedropper by holding down one of these keys shift commander control controller right click option or halt now even though there's only one correct answer the other keyboard shortcuts here all do something the shift key is away if you want to paint a straight line you click once with the broad paintbrush hold down the shift key and then click where ever you want that line to be painted it will paint a straight line so there actually is a reason for using the shift key with the brush to also commander control would be using the brush tool and you want to temporarily access the move tool that's what the commander control key will do control or right click in that in each case of course this means on the mac control windows right click when using the brush tool that will temporarily pop up the brush pickers you need to change the size or shape of the brush to something else in your brush picker this will pop that up wherever you're mouse's let's just see that really quickly I got my brush tool I go to brush and I hold down control are right click and there's my brush picker so I can say this is the one I want and that mean instead of going all the way up here to pick it it just pops it up automatically to say there's the one that I want and you can kind of do it on the fly but the answer we're interested in here is d option or halt because that's what we allow you to temporarily access the paintbrush so in the example to show that we're doing compositing and trying to make paint over the care that had a bit of a color fringe to it using the brush tool and constantly holding down optional to sample a new color from the correct area the perfect example of how we want to do that on the fly very quickly all right let's hance consider this one when you define a brush from something in photo shop how is the transparency of the brush determined so the possible answers is black is one hundred percent opaque white is a hundred percent transparent or and this is referring to what the what it is you're using to define the brush white is hundred percent opaque black is one hundred percent transparent the selection is opaque other errors or transparent or transparency is determined later by your brush settings well when we consider these answers look out let's look a d for a second transparency is determined later by the brush settings that's somewhat true is transparency can be determined later on top of how you define the brush but that's an optional thing later on what we're talking about is you have something in photoshopped you want to turn into a brush and the way we do that is whatever is black is one hundred percent opaque whatever's white is transparent so if you want a brush for example made out of a word you have a white document you put black text on it when you define the brush whatever his black will be your brush whatever's white will be transparent I recommend that you almost always unless you don't have a choice because of what you're using to define the brush try to define the brush is close to one hundred percent black as you can that way the brush is defined as one hundred percent capacity the reason for that is let's say we the sake of argument took our type tool and typed in fifty percent gray and made that into a brush that means we again we've set that ceiling so you can't go any higher than fifty percent because that's how you define the brush I'd rather make the brush one hundred percent have the ability to be one hundred percent opaque and then use either the brush or the layer settings to lower it down to a lower transparency setting already true or false when you define a brush it is on ly available in the current document well honestly this could be when you define a brush comma shape comma pattern comma whatever style is it only available current document no it's available in photo shop all of these presets that we're defining stay built into photo shop and as we talked about in the session on pre sets we can then go into the precept manager to create a backup copy and manage our presets even easier so we know where they are we don't worry about them going away but by definition when you create any kind of pre set like this it's built into photo shop in the world of automation what's the difference between running batch automation in photoshopped versus enbridge so our choices are bridge automatically uses an entire folder the contents of a higher fold in other words photoshopped lets you choose images within a folder or bridge lets you choose images within a folder or there's really no difference between the two methods what do you think clothe well bridge does not automatically use the contents of entire folder it lets you choose the images of the folder which is the reason why for many situations I feel that using bridges more beneficial to me because I can look within a folder on gold these are the ones that I want some of the times you can do that in photo shop when you go file automate but then the problem is all you're seeing is a list of file names and depending on the way you're operating system works it's a little harder to figure out which one is which so in some cases you have to almost pre do that by renaming or point things in a folder that's why I like the visual aspect doing something from within bridge true or false once on action has be recorded just pretend that says has been recorded you can edit the filter settings that are in that action true or pulse and the answer is true that's one of the benefits of an action is even though it's automatic you can still say but in this case I would like to run this filter within the action separately and remember there's a couple of ways of doing it one is you can click that little box that makes it like an interrupt switch so is this running the action it'll pause of that step and say what settings would you like to use for the action or you can actually double click before you run the action double click on that filter step and put in the settings that you want which will now be the new settings from then on all righty which of these statements are true about actions are going to choose two of them actions cannot be shared you khun temporarily turn off a step in action you can create actions that on ly have one step or actions will always result in new layers being added choose two and choose wisely hopefully this will be fairly easy to figure out because let's look at a actions cannot be shared yes they can so that's false and look at the bottom one actions will always result in new layers being added nope it will depend on what you recorded the action if you record an action that says put the results on the new layer or add a new layer that will happen but it won't automatically happen because it really depends on the action so that leaves b and c as are correct answers you khun temporarily turn off a step in an action that you've already recorded which is a really nice feature if you want to play an action that's very similar views want to skip a step and you can also create actions that on ly have one step this is one of my favorite things to remind people about actions is again they don't have to be this multistep complicated kind of operation it could just be like in our example I made one for a duplicate layer one for make smart object one for rotate ten degrees because all those things are fairly easy to get to in photo shop but in some cases take a couple of clicks so by recording the whole service of one step actions that we can change our actions panel to button mode and then click on them or we could assign f cke keyboard shortcuts do the same thing speaking back in the world of pre sets which of these presets is not controlled by the preset manager tool presets adjustment layer presets pattern presets or grady and presets well if you spend any time looking at the preset manager that pull down menu does not include one thing and that's adjustment layer preset those you have to kind of control yourself you saved them within the correct folder in that way they'll keep loading in and as we also we'll talk about I don't want to say this because I might give away another answer so there's another way we can do it we'll talk about that in a second I just wanna make sure I don't give away another answer here oh like here how do you move adjustment layer presets from older versions of photo shop to the current version of photo shop let's say you have previously created just my presets in an older version of photo shop and you want to move them into your current version of foshan in properties she was copy that's I guess assuming you've already clicked on your preset switch applications then paste or go to image adjustments and choose import or in edit under edit and then presets use a function called migrate presets or in the adjustments panel choose migrate presets which one do you think okay well let's again go process of elimination here very quickly in properties the panel called properties there's no option to copy anything we're talking about adjustment layers so image adjustments have nothing to do with it so it's either my great presets under the presets or in the adjustments panel well it's edit presets migrate presets so see now what should happen is the first time you install a newer version of photo shop and launch it a little dialogue box is supposed to pop up and say would you like me to migrate your presets and this includes not just the tool presets and those other ones we talked about like swatches ingredients but also adjustment layers actions in this case migrating on lee those air all concerned pre set so it should find as many of those should basically would come up and say would you like to migrate presets from the falling versions of photo shop and then they will list whatever else you have on your machine people have told me they never saw that dialogue box that could well be the case that's why we have the ability go edit presets and then migrate just in case maybe you either didn't get that dialogue box orthe at that moment you chose not to do it this is how you can do it later on true or false you can apply a smart filter to probably should say to a video clip you can tell I wrote these questions really quickly you can apply a smart filter to a video clip true or falls and the answer is whoops wait true so that's one of the fun things when we talked about the little introduction I did two video one of things that I really enjoy working with video and photo shop is as I mentioned it uses techniques were used to like adjustment layers masks layers all that kind of stuff and things like smart objects and smart filters so if you have a video clip and you convert to a smart object then you could do ah filter like a blur or whatever you want to to your video clip which is pretty darn cool all right speaking of finishing touches now which of these methods cannot be used to create unusual edge effects aye apply a smart filler toe a shape and use a clipping mask be apply a smart filter to a layer mask see youse refine edge with high edge detection setting so I had to think about what I was saying there or paste a graphic from illustrator to use as a mass which one of these cannot be used to create unusual edge effects well let's work through this one can you apply a smart fuller toe a shape and uses clipping mass you definitely can and that's a no depending on the filter someone work very much or work won't work at all but other ones like the displaced filter on ones like that to a really nice job can you apply a smart filter to a layer mask oh no you can't you can apply a filter to a layer mask but not a smart filter so that's the gut on this one because we can use refine edge with really high edge detection settings to try and create some weird and unusual edge effect or weaken bring in a graphic by pacing from elsewhere to use either as a mask or as a clipping mask so this was trying to be a little tricky because while you can apply a filter to a layer mask you can't be a smart filter unfortunately I wish that was the case that you could but it is not all right so that concludes our little quiz so as we review some of the key things I wantto just stress some of the key points and then I'm going to finish off this lesson with a couple little quick ideas for you on things we can do teo for background images and stuff like that but first of all let's just kind of remember some of the recurring themes here that we've done in the second half of this we talked about things like making selections and I use that expression once again end up with and we saw also saw that in some other aspects of photo shop and that's why I think that's one of those phrases along with things like having a checklist and all that kind of stuff thinking about the phrase end up with at least for me made a bit of a difference because I used to grab a selection tool and try and select something with that one tool if it killed me and it would take me a long time and I wouldn't be all that happy with the end result and then I realized with that ability to add to or take away from the selection why was I working so hard as long as I ended up with the result that I want and that's kind of the approach we're talking about also that we want to be able to define these presets make presets will help us any time you can make a preset it's going to save you time so if you're doing some work and you have a layer style that you like make it a preset if you define a brush and go while I could use that all the timing by nature it will be a priest but anything where you have the option you find some settings that work really nicely for a photograph either as an adjustment layer or in camera make it a preset and then use the preset manager to control all the precepts that air in your version of photo shop but also to save backup copies just in case oh yes one of the other things I wanted to quickly review is remind you the benefit of any kind of automation and please please please when you're thinking of doing something an automated fashion photo shop think of techniques that help you get closer to the end result if you could do an automation that does the entire thing in photo shop great but please don't how should I say this don't not do animation don't stop don't resist the temptation to do automation because you're thinking oh well I can't do the whole thing that doesn't matter do as much as you can and that's why things like content aware technology is a great example to me of a type of automated command because it's getting me closer to the end result remember my other favorite expression compared to the alternative of doing things by hand all right I want teo finish off this lesson with a few little quick ideas for you just to get your minds thinking these were just sort of random thoughts that occurred to me some tutorials that I've done in the past that seemed to be of interest to people so we'll come back to this one in the second but for now since we've been staring at this uh graphic of the quiz all this time here's how you can create an interesting background for something whether it's maybe you're not going to make a quiz but for something so I'm gonna choose a couple of colors red and I'll click on the background color picker choose the same red and then make a darker version so I wantto fill this background with the grady into a live press g for grady int go through my checklist to make sure it says normal and then we're just going to diagonally drag to fill the background with the grady in't that goes from red to black now on top of that I want to make a new layer and I'm goingto temporarily fill that with and I'm just gonna go back to normal fifty percent gray there's a lot of times oops off to go but let me interrupt what I was saying that didn't work and the reason didn't work as I was moving a little too fast and I didn't shame on me take my own advice and go through a little checklist cause even in a dialog box I should be checking things because dialog boxes for the most part are that thing we refer to as being sticky and when I was previously using the phil command let's look at it apparently I checked this little box that said preserve transparency which for certain operations helps in this case it doesn't because when you have a transparent layer and you say phil but preserved transparency nothing's gonna happen so a click okay now I have fifty percent great okay so when I was starting to say when it didn't work is filling a layer with fifty percent gray is a very common thing you can do because then once you've done some effect to it you can either change the blend more lead mode or lower the phil opacity to get the result that you want so in this case I'm going to go to my filter menu to filter gallery and I sat remember where it is I think it's in sketch half tone pattern and I want circle no I want dots that's what I want when I want fairly big dots fairly high contrast like that and it's using my foreground and background car so it's still doing those sort of two shades of red so in this case filling a fifty percent gray ended up not really make any difference because this particular filter used my foreground background colors all right so now will add a layer mask and on this layer mask we shall also make a grady int and she's a matter deciding I think I want the grady had to go maybe this way actually that's not bad but I think I want to make sure it really fades out more quickly so because I have a black to white grady int I'm going to say this corner white means keep this one but if I make it much shorter in effect that's going to fill the rest with black very quickly so just a matter of kind of experimenting finding the right place something like that is what I had in mind so now when we look at it we've got this little half tone pattern thing going on I might also experiment with a blend mode like multiply to try and get the result that I want and once I've done that let's just see if we lower the density yeah I kind of like that better with just a little bit of those dots in there now in this particular case you'll see not much of this is smart because I didn't make a smart object into a smart filter because I didn't really want to be able to alter it but at least the mask has one element of the a chance for me to at least try something different all right so let's go now with so these fellows people I'm sorry nice business people and I want to create kind of almost like a graphic look out of them so right now this is a stock photo the bunch of people standing and I'm thinking but I really wanted to look more graphic like the only I can think of is theirs a commercial for a well known big store that sells appliances and other things they have ads on tv starts with s and ends with us and they have this kind of signature look where you see there people just where you see like there what they're wearing we don't see their faces just kind of it's just to show this is our people I'm sure you know what I'm referring to so how can I emulate that kind of idea in here well it's try and see if I can do select color range now normally of course it comes in looking like this let's just kind of reset it just so that's looking that but because of what I want to do is select everything that's darker I can say what if I say tell it select the shadows now you still have and this is new by the way in previous versions of photo shop up until I want to say it cc when you said select shadows nothing else appeared here it was just shadows and you got what you got here we still have an ability to adjust it which is really nice I'm going to add maybe make up a white man because that's kind of simulating what I want to see so if I move the fuzziness that's too high like this all I'm trying to get is really their suits their shoes but not their skin color so that's pretty close so what I want it's pretty good like that let's also view it grayscale it's not bad there's a few places I need to tweak but overall not too bad so I click okay that's gonna give me my selection then I can go into quick mask on what I should see is just color their suits and everything but I want to make sure that I miss anything in this case actually might be easier to look at it in my selection so we'll go the lasso tool and I want to say don't include their facial features that's the point of this exercise I want you to sort of see faceless people because that's the look we're going for don't want to see the whole thing under his chin and then I look I can see in here there was this little shadow on her leg that was a little too much but I'm okay with almost everything else it looks pretty good to me I think I want to add a little bit in and as I've said probably numerous times throughout this whole thirty days if this was a real project I would be zooming in closer go two hundred percent and make sure a hundred percent's not that much bigger in this case but if it was I want to make absolutely sure that whole exercise was to get a layer now I'm just going to on the new layer sorry I said that wrong let me try that again the purpose of this whole exercise was to make a selection of their clothing now I've added a new layer and on that new layer I'm going to fill with black so let's just say it says black everything else normal click okay and then if I hide the rest of them I've got exactly what I was kind of imagining is thies you can tell they're people you just not really seeing their faces and let's take them and dragged them onto this background now these air not vector shapes I can't really scale them up too much but for something like this it still works pretty well I think now I might go back to my properties and put this density back up and perhaps even on link these two and actually drag that again click on ingredient and that's not really giving the result I want thought it might just be ableto tweet little bit but anyway you can see the idea so this is just an example now of course we could add some techs and a logo we got her a nice little graphic element that started with the photograph of the people and were able to make a selection to in effect almost trace them because I didn't want texture I didn't want to see the folds in their suits for this particular look I mean I could have done that let me show you what I mean I could have uh right back at this step get rid of this top players want to show you the comparison if I had taken this election member I made a new layer and filled it with black if I had chosen to duplicate the layer now you see I'm actually getting they're the actual photographs you can see his suit is blue she has pinstripes that's really not the look that I was going for I mean if you were we can see what it wants try and see what it looks like I don't think I'm gonna like it quite as much well besides the fact that there's some little weird french things gone you know I don't like that as much I think this looks like a better look because it has a more graphic feel to it so that's just a quick example of the kind of project do you khun take on where you say how can I make something look a little different if you're a photographer who uses photoshopped just to create prince for your own use you probably won't do something like this but you know what it's not a bad exercise to do it because in order to get to this end result I needed a few layers I needed to put a mask I need to do a grady in't I need to use my selection tools and tweak it and look a quick mass so even though you might look at a project and this is really a key point I want to make and we'll touch on it even more tomorrow when we wrap up his ifyou're looking through tutorials on a website or the magazine and you think I don't really do that kind of thing look a little more closely because to me half the idea have the benefit of falling along with tutorial is thatyou khun practice other methods or methods that you can use in other ways let's put it that way so an example like this one you use the grady and tool you try a couple of filters you add a mask it paint on the mask you do all those things which then later on when you're just trying to adjust a photograph to make it look better it's just more practice one of things that I've always felt intriguing when I talked to photographers is photographers always talk about going out and practicing their craft where they go up and take photos to practice taking photos why not practise photoshopped to take on some little quick project that didn't take very long try something like this find a photograph and just try doing something like this I think you'll find it's a great way to practice photo shop so that's it I hope you enjoyed the little quiz and some of the review and tomorrow we'll wrap things up and finish off thirty days wow thirty days congratulations and we'll see you tomorrow to wrap things up well the surprise was on me because when I finished recording that whole lesson I thought oh I got plenty of information there and I look at the time that went well I kind of short change them a little bit so keep in mind all those wonderful closing statements I made about the end of the lesson but let me show you a few other couple other little quick ideas for things we could do in photoshopped that are building on things we've already done it just some other ideas for you so let's go back here and I'm just going just to make my life easier let's just delete these layers and fill this one with white but I should tell you what I'm doing here because I do this all the time and this is another example of shortcuts that are second nature to me so here's what I want to do I want to fill the background with white and I glance over at my swatches at the bottom of the foreground background colors the foreground is black and the background is red so if I tried to fill this with white the only way I could really do would be to use the phil command but I want to cut to the chase and do it more quickly so what I do is I present d for default when you do that white becomes the background color black is a foreign color if I decided to switch them I press the letter x and that switches them back and forth so if I make the my foreman color white that I just have to press option plead or all backspace and that fills it with white so that's really wasn't the point of the exercise but since I was doing it I figured while I might as well show you that so one of the ideas that I think is kind of interesting is there's a lot of shapes built in to photo shop if we go to the the custom shaped tool here here miguel custom shaped hole and you'll see there's quite a few shapes I have a bunch of them and as I mentioned earlier including other ones that didn't come in photo shop that I acquired from some free download company or something I don't remember where some of these came from but these were all ones that were provided to me one way or another but you still might not find exactly what you want so one of things that you might want to consider is using the type tool to make interesting shapes and the way we do that is we use some of the fonts that usually are on your system and they typically have names like wing dings or web dings or uh ding bats or anything of that nature and you can even find other ones like this one which is a specific font that someone created that has all sorts of things from the fifties so I'll just take this and make it nice and big so you can see it and then what I usually do is just start trying different letters each time I'm just hitting back space so these air definitely more unusual ones than the average but these case I'm just pressing a letter and then back spacing leading to try the next one until I find one that I like so that's unusual let's goto amore typical one like uh wing dings that some more typical kind of one that you may find so as we go through you'll find a variety of different shapes some which you may find in here that actually could be used for something and then often if you have use like optional altar and the letter u get some other function so that's another option but let's try one more actually somehow changed fonts on the fly there by mistake by pressing the wrong keyboard shortcut which was kind of interesting so let's go back I don't need all these other japanese let's do web things that's one of the ones that I think might be more appropriate for us for some even though I said webb dings it decided not to so let's try web things there we go all right so now we start looking through these ones until we find something let's just keep going have one in mind but I can't remember what the letter is oh there it is so I really like this girl graphic of a guy so I think I could probably use that as a graphic element in photo shop well right now it's type and that means it's scalable but I would prefer to actually turn it into a graphic element that I could use some how and one of ways I can do that is when you under the type menu and that by the way let me pause for a moment and say the tight menu is quite new and previous orders a photo shop type was buried somewhere else under layers but now it's a separate menu so if I go to the tight menu and I can choose convert to shape so just by doing that now it's a shape and then I could go to edit and choose doesn't want to let me define the custom shape for some reason but doesn't matter because I can still use it as a shape that also means that it has all these elements so if I decide I don't really want this part of it I khun delete it and if I decide that maybe I don't want the hat or I want to alter or something else I can it's a graphic element but me undo to the point where it's still type the other option would be to convert it to a work path that one I can then to find a custom shape which is kind of odd because it I was already a shape of this way I can define it now is a custom shape so turning it into a work path now it becomes accustomed shape that if I delete this layer now I go to my custom shaped tool and down at the very bottom of this is my new shape that I just created like inside I want to be this color now I click and drag with the shift key it could make it much bigger and there's my custom logo that actually started life as type just kind of interesting now there's another reason for doing this maybe you're trying to create a logo or some look for yourself you don't want to just look like every other piece of text that you've ever seen so I'm going to now go away from that odd looking been let's just use something like this said give argument and get a little smaller so now I have some tax now I bet you can guess what I'm gonna do right now can you take a look at this text there's a couple things in here that bug me first of all the excellent tea too close together so click between spread him out a little tiny bit and then tuck the tea under the shoes maybe eat under the tea so now I have a text layer and I'd like to make it a little more graphically interesting so one of the ways I can do that is create work path now when I do that bye hide the type where see if that's made one of those past we talked about before so there's still the type player there in case I need it but I've hidden it now I could take my direct selection tool click for example right between these two points and as I drag it out I could say I think the part of the ex should look like this and maybe this part it also be stretched out down here and the letter t should look like this and maybe this part should come out in anger whatever I want now I have a path that I have altered based on type to begin with but now I'm doing something else with it as we mentioned a couple of times when you make a path like this there's usually some reason to do that and often it's I want to do something with it such as fill it or stroke it or something else so now I've done that I would add a new layer pick my foreground color and now in the paths panel tell it phil work path now I have if I go back to the past I can turn that off so now I have it looks like text it's nice and crisp and clean like tax but this is important it isn't text anymore so you can't edit it but you wouldn't anyway because the whole point of this was to take something that started out his text but make it more graphically interesting if I want to take it one little step further because we always like to try these things I can convert it to a smart object which would then allow me to do things like under edit puppet warp so now you can see I have this little mash thing all turn off for a second and I was going to add points on all four corners of my letter x and see what happens if I start toe had a bit of kerb to this maybe this one this way I don't know maybe not hit enter yeah I don't think I like that so I turned it back off again but this is another example of that whole kind of experiment and try things and see what happens let me show you one other little example of one of the ways that I like to experiment I want to create some graphic element here but I want to do it in a way that's going to give me the most opportunity to change my mind so let's just see her I want to take a quick look and remind myself if I kept this pattern or not yes I did okay good so earlier in the class on patterns I showed example of making a simple pattern that was just read on one side I think and blank on the other to make stripes now I'm going to actually use that so we will fill this layer with fifty percent gray and click okay now we go to the layer style to pattern overlay and find that pattern we're seeing gray through it that's because it's transparent and that's perfectly fine and now one two three four five six seven ideally I want to try and create this so I have an even number of stripes and I'm using the up and down arrow keys I wanted to try to be even so there's it starts with a stripe on one and it ends with the see through area on the other so something like that and I clicked ok now I don't want the grey in there so I'm gonna change the phil to zero so that means whatever my background color is aiken for example pick some other color fill my background or I could do a solid color adjustment later but for now I just want to show you this part so now I have stripes but I want to play with the stripes but be able to edit all these pieces so I convert this to a smart object so that allows me of course to access that pattern overlay separately and I want to apply some filter and while the ones will try is one called polar coordinates it's a very unusual filter only has two choices polar excuse me rectangular to polar and polar rectangular do very different things but in this case it creates this kind of retro starburst I guess you could call it effect very very easily just like by doing that and now I could try some other effects may be at a vineyard or something but the main point I want to mention about this is this is polar coordinates but now I say well what would that look like if I had more or less stripes well it's fairly easy to do that because I double clicked open this separate window this is where the pattern overly actually exists I can double click say what if I I lowered this down even mohr something like that and clicked ok soon's I had saved it'll come back to this document I think I like that better and I'm not just saying that I really think I do so let's go even lower down and again I'll just use the down arrow keys to try and find the right percentage it save and come back who even more hypnotic so this is and I an idea that for example the first time I was playing with something and I saw what that polar corners did and it was all out of balance so it did this start a starburst but there was one piece that was much thicker than the rest I thought okay so that's a good start how can I figure it out because I'm not gonna do any math and go well if I had nine stripes and they were evenly yet that's not me so instead this is the next best thing to me which is to create a pattern very quick and easy to do if you review that section on making a pattern and then use pattern overlay the only little kind of trick to it is many of the layer will all layer styles basically have to be applied to something you can't have a blank layer and say apply layer style nothing will happen so I had to fill it with fifty percent gray or anything for that matter because ultimately I lowered the fellow passing to zero initially we'll look back at this document you'll see it's phil ok was I meant to say zero but actually had at one but so it doesn't really matter where this is purple pink green or grey it's still going to be zero percent capacity so that when I update it it will see through to whatever my background layer is so now I could say well it's put a new actually let's delete that and do one other little last thing I think this would look maur even more interesting if we added this kind of vignette effects so we'll do a quick little review of one of the ways so hello train going by you know if you heard that but if you didn't there's a train going by this happens very rarely near my office but sometimes it does so this is a review that we talked about earlier on of kind of a way to do a vignette that's going to be very editable I just made it curves adjustment layer darken it all put a big black rectangle on this layer and then use the properties panel with the mask to feather it ah whole lot now that I've done that I think I might go back and make it not quite so dark and maybe just maybe I want to put one more layer fifty percent gray and then let's do here there is a filter that is called uh but um the one I want to find it because I'm this was a change in some burden go a photo shop where they went this way of having the so I want grain yep you can try different kind of ones I want something like this I think let's go with that and we're just going to change the blend mode for example multiply and then lower the opacity way down of course I could have made this a smart filter but you get the idea now we've created a background that we could put photos on top of or whatever we want and again as I said in my previous summation to this class the point of exercise like this is just too play to some degree but with a purpose so you're saying I want to end up with some graphic element that I might actually use but get in the habit of thinking smart object smart filters layers adjustment layers planning ahead and take it ok if I end want to end up with this looking this way how can I do this to kind of create the effect that I want so that's one of the reasons for doing this kind of exercise so at this point just rewind and listen to the summary I did last time and I'll just say quickly again that this or that one day to go so we'll see you tomorrow with our wrap up and some exercises and a project for you to undertake we'll see then

Class Description

Photoshop is an essential tool for all working professionals, no matter what industry. Join legendary Photoshop pro Dave Cross for an intensive 30-day series on everything you need to know about this unparalleled — and often overwhelming — program. Dave will teach one hour every day for 30 days, covering everything from setting goals to expert retouching strategies. Taught in bite-size chunks, this series will help you improve your skills, efficiency, and creative ability. At the end of this intensive series, you will understand basic techniques for every photo editing task, innovative hacks to improve your workflow, and which tools to use (and which ones you never have to learn). In addition, you learn how incorporating a non-destructive workflow will boost both your productivity and creativity. This is not just a passive, sit-back-and-watch class: you will be encouraged to actively take part by completing assignments and participating in live Q&A and feedback sessions. If you want to take your Photoshop skills to the next level, join Dave for 30 Days of Photoshop.

Software Used: Adobe Photoshop CC 14.1



I watched this live when it was on air. NOW that it is on Flash Sale for a short time, I will be able to own it and really benefit fror it. There is no way to remember everything! Owning it will be like having your own Photoshop encyclopedia of steps! THANK YOU Dave Cross for the wonderful class. AND, THANK YOU CreativeLive for putting it on Flash Sale! Happy New Year 2018 in advance! Roz Fruchtman aka @RozSpirations