Adobe Photoshop CC Bootcamp

Lesson 61 of 118

Adding Text to Pictures

 

Adobe Photoshop CC Bootcamp

Lesson 61 of 118

Adding Text to Pictures

 

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 Photosho® CC 2018

Lessons

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

Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!