Adobe® Photoshop® CC® Bootcamp


Adobe® Photoshop® CC® Bootcamp


Lesson Info

Adding Text to Pictures

Now in order to build this, what we're building here, we're building this kind of look right here, notice how you can still see some of the underlying layer underneath that. We still have things like fill and opacity that we can use here. Here's the cool thing about shapes. We've talked about fill before as fill being the calculation for what's happening, and opacity being the intensity of that calculation. With shapes and text, this really starts to play in, and it's actually pretty interesting on how it works. So I'm gonna do something, I'm just gonna double-click on this, and we've talked about layer styles before. What did I say about layer styles before when we were working with just a regular photograph? I said that typically, you'd use layer styles for things like shapes and text, and that's exactly where this is gonna play in now. If I were to go ahead and add a drop shadow to this, (mouse clicking) you can see that a drop shadow is gonna apply itself underneath that shape, and...

it's not very big right now, but if I change the distance here, change the angle of that, you can start to see a little bit underneath there where that drop shadow is starting to appear. You see that down there now? Now, that drop shadow, I can either use this distance here to move that with the slider, or I can click anywhere on this image and move that drop shadow around. And notice what it's doing. It's not just changing the distance, it's also changing the angle. Look at these two and how they're moving independently when I click and drag anywhere within this. This is with any layer style that uses a drop shadow, whether that's a drop shadow with a shape or a drop shadow with text. So I'm gonna make that right about there, I'm gonna make the angle just like this. If we adjust the spread, it's gonna adjust how far out that goes, and the size and the spread work hand-in-hand together. So the spread is basically how far it feathers out, and the size is how big that feather is and how far it can go. If we drop that spread down and bring the size up, it's very faint. So those sliders work hand-in-hand with one another. If I drop the size and I drop the spread all the way down and bring the opacity all the way up, notice how I'm kinda making a straight line down there. And there's a straight line that's not necessarily using the stroke path that we saw before, because the stroke path isn't really cool anymore (chuckles). It used to be cool, but now it's kinda fading away a little bit. So sometimes having an alternating color under here, really when you're working with shapes and text, the best thing you can do, flip through People Magazine. Or can I say that? Flip through any magazine. As you flip through those magazines, you can see the cool new trends that are happening with shapes and text, because they have to be in the know. They have to know at all times what the new fashion trends are with text and shapes. It might sound silly, but typography has been something that's been around since the very early days, long before Photoshop, working with shapes and text has been an art form. So look through magazines and see what the new hot trends are, and one of the new hot trends is to basically put just a little subtle line underneath, and maybe alternate that color a little bit. So because this is a drop shadow, I'm not necessarily using it as a drop shadow, though. I'm gonna go ahead and click on this, and maybe I'll click on the green in this image to add a little bit of green to that area, press "okay". Notice how the blend mode here is set to "multiply". It's actually using a blend mode that would be a better shadow than just normal. Well if I change that to "normal", now I've got a solid green line that's happening underneath that brown shape. So I'm gonna go ahead and change the angle to get it back up to here, 90 degrees, that looks pretty good. And maybe I'll change the color just a little bit, make it a little bit lighter, bring it out just a little bit more. And then move it up a little bit, so just up to about right there, just like that. I might change my angle, if it changes my angle, just change it back to 90. (mouse clicking) So, what I said before about shapes and texts, fill and opacity, that's starting to play in right now. If I look at this shape and I drop the opacity here, watch what happens. It not just drops the opacity of the shape, it also drops the opacity of the the layer styles. So let me go ahead and change this opacity and bring this all the way up, and now go to fill. If I drop this fill down, watch what happens. The drop shadow stays. That's crazy! Because what happens here is that the layer styles are acting independently from that shape. So when we say "adjust the fill of this shape," the drop shadow is connected to that shape, but it's connected to that shape in a way that it doesn't interact with the fill of the shape that we have inside there. So if I bring that fill back up, bring it all the way down actually, and I click outside of there, we don't even have a shape anymore. Completely disappeared, because we're not giving any fill value to that shape, but that fill value still has the drop shadow there, which is pretty neat. So if I go ahead and go back to that layer, and then bring that up, (mouse clicking) I can either use fill here, or I can use opacity, because I want that line to still be solid down there, I'm just gonna drop that fill just a little bit so we can see the underlying layer, but still have the nice solid band there. If I were to drop the opacity down to something like 90%, it's gonna drop the opacity of the shape as well as the opacity of any layer styles that I have involved in there. We're gonna see how this is gonna play in with watermarks in a second, and it's gonna be kind of mind-boggling here. So at this point, let's go ahead and look at what we're building. Now, I just need to put the "National Light Rays in Photoshop" in there. Okay, so if I press "T" for my type tool, notice how if I press "T" for my type tool and go inside the shape, it's gonna want to type inside that shape, because this shape has a path, and you can type on paths. So if you were to use the pen tool and do a really circular type thing, and then use the type tool, you can type along that path. Now I don't necessarily want to type along this path, so what I'm gonna do is I'm gonna type outside of it. I'm gonna type "Natural", (keyboard typing) and I click on this, press "V" for the move tool, and I've got my "Natural Light Rays" font there. Not the exact same font that I used before. It really depends, you can obviously tell who is doing the design work for a website, whether it's a man or a woman, typically by the font they're using. I know that doesn't sound right or politically correct, but it's true. Men are gonna typically use things that are more bold, and then we're gonna see more, maybe some more type sets like this for someone maybe, Mom blogs use this all the time. But I'm not a mom blog, so it's probably not a good idea if I use something like that. So I'm gonna go and press "T" for the type tool, click on that, and then change this to my favorite font, which is Bebas. I can just type it in, or I can search for it, and I'm gonna make that bold. Now if I press "V" for the move tool, I can move that around, and notice how I'm getting a magnetic line that shows me what the exact center is gonna be for where I want to place this text. If I press "Command" or "Ctrl-J", press "V" for the move tool, move this down, notice how I'm also working independently on these layers. Type "in", Ctrl-A, and then change this from bold to something like, light. And then Ctrl-T, and then make this smaller, "V" for the move tool, move it over. And it doesn't really matter where I move it right now, because I'm gonna show you something pretty cool here. Click on the "Natural Light Rays", "Ctrl-J", I typically will just use what I already have, duplicate that layer, press "V" for the move tool on that type set, "T" to change the font, and change this to something like, maybe the thicker one, regular, "Photoshop". This is an actual tutorial that I did on YouTube. If I click and drag this around, notice how I can get these two to be in line with one another, but still have pretty nice spacing next to them. If I press "Ctrl", if it's magnetizing and you don't like that it's magnetizing, press "Command" or "Ctrl", it'll allow you to move outside of those bounds and not magnetize it. If I Ctrl-click on both of these layers, this "In" and this "Photoshop", ctrl-click, have both of them selected, and then press "V" for the move tool, now I can get both of them to be nice and in line, and in the center with that "Natural Light Rays" that appears on the top. So there's how we would create that and combine shapes and texts. Now as I said before, you might not be creating splash screens or blog post headers, but you might be doing this for clients, you might be doing this for your client work, where you've got a series of images that you're gonna deliver to a client, you want to have a nice fancy cover photo that maybe you're delivering for them for an album. You can use the same concepts here. Just replace their names with something else. And remember that when we do this, we're using the same open type set font to create these letters here, and if you're gonna use any more than two, really, really consider why you're using more than two. And if you are using more than two, you'll notice that in the PowerPoint Presentation that we had here before, I was using another one that showed the little correction that said "more". Well, in that case I used three, because that one I want that to really pop out at you. So unless you really want that third type set to pop out at people, I would shy away from it and try to stick to just two, two that work well together. A cursive font plus that font are probably not gonna work well together.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018


1Bootcamp Introduction
2The Bridge Interface
3Setting up Bridge
4Overview of Bridge
5Practical Application of Bridge
6Introduction to Raw Editing
7Setting up ACR Preferences & Interface
8Global Tools Part 1
9Global Tools Part 2
10Local Tools
11Introduction to the Photoshop Interface
12Toolbars, Menus and Windows
13Setup and Interface
14Adobe Libraries
15Saving Files
16Introduction to Cropping
17Cropping for Composition in ACR
18Cropping for Composition in Photoshop
19Cropping for the Subject in Post
20Cropping for Print
21Perspective Cropping in Photoshop
22Introduction to Layers
23Vector & Raster Layers Basics
24Adjustment Layers in Photoshop
25Organizing and Managing Layers
26Introduction to Layer Tools and Blend Modes
27Screen and Multiply and Overlay
28Soft Light Blend Mode
29Color and Luminosity Blend Modes
30Color Burn and Color Dodge Blend Modes
31Introduction to Layer Styles
32Practical Application: Layer Tools
33Introduction to Masks and Brushes
34Brush Basics
35Custom Brushes
36Brush Mask: Vignettes
37Brush Mask: Curves Dodge & Burn
38Brush Mask: Hue & Saturation
39Mask Groups
40Clipping Masks
41Masking in Adobe Camera Raw
42Practical Applications: Masks
43Introduction to Selections
44Basic Selection Tools
45The Pen Tool
46Masks from Selections
47Selecting Subjects and Masking
48Color Range Mask
49Luminosity Masks Basics
50Introduction to Cleanup Tools
51Adobe Camera Raw
52Healing and Spot Healing Brush
53The Clone Stamp Tool
54The Patch Tool
55Content Aware Move Tool
56Content Aware Fill
57Custom Cleanup Selections
58Introduction to Shapes and Text
59Text Basics
60Shape Basics
61Adding Text to Pictures
62Custom Water Marks
63Introduction to Smart Objects
64Smart Object Basics
65Smart Objects and Filters
66Smart Objects and Image Transformation
67Smart Objects and Album Layouts
68Smart Objects and Composites
69Introduction to Image Transforming
70ACR and Lens Correction
71Photoshop and Lens Correction
72The Warp Tool
73Perspective Transformations
74Introduction to Actions in Photoshop
75Introduction to the Actions Panel Interface
76Making Your First Action
77Modifying Actions After You Record Them
78Adding Stops to Actions
79Conditional Actions
80Actions that Communicate
81Introduction to Filters
82ACR as a Filter
83Helpful Artistic Filters
84Helpful Practical Filters
85Sharpening with Filters
86Rendering Trees
87The Oil Paint and Add Noise Filters
88Introduction to Editing Video
89Timeline for Video
90Cropping Video
91Adjustment Layers and Video
92Building Lookup Tables
93Layers, Masking Video & Working with Type
94ACR to Edit Video
95Animated Gifs
96Introduction to Creative Effects
97Black, White, and Monochrome
98Matte and Cinematic Effects
99Gradient Maps and Solid Color Grades
101Glow and Haze
102Introduction to Natural Retouching
103Brightening Teeth
104Clean Up with the Clone Stamp Tool
105Cleaning and Brightening Eyes
106Advanced Clean Up Techniques
107Introduction to Portrait Workflow & Bridge Organization
108ACR for Portraits Pre-Edits
109Portrait Workflow Techniques
110Introduction to Landscape Workflow & Bridge Organization
111Landscape Workflow Techniques
112Introduction to Compositing & Bridge
113Composite Workflow Techniques
114Landscape Composite Projects
115Bonus: Rothko and Workspace
116Bonus: Adding Textures to Photos
117Bonus: The Mask (Extras)
118Bonus: The Color Range Mask in ACR