Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Shape Basics

This is what I would call one of my splash screens. So I'll just give you my tricks of the trade on how I build these splash screens. To build this, you can see that it's a couple different layers of text. And then we also have a shape with some layer styles in it. And then we also have all the other stuff that's building what's going on in the background. With this we can just control E, flatten all that down. And then just basically work with what's going on here. I'll turn this off because now working with shapes is really not that much different than working with text. Once you know how to work with text, working with shapes becomes a lot easier. So if I were to click on a shape here. I'm just gonna make a regular old rectangular shape. And just go right along like this. To make that border. Notice I've gone a little bit on the outside of the edges. If you ever want to get outside of your image like that you press control and space bar and zoom out. It'll get outside the bounds of ...

your image. Zoom in gets inside the bounds of your image. We're working outside the bounds of our image. So this shape actually does extend outside of our background layer. It can exist outside that space. And that's perfectly fine. If we go ahead we can press V and we can move that. Get it nice and aligned into the center of this workspace here. And working with shapes, if you just look at the shape as it is right now, after you've made the shape and you go to something like the move tool, you're going to lose all of the properties of that shape and what you can do with that shape. The cool thing about a shape is at anytime if you double click right here it's kinda like a solid color fill adjustment layer. At anytime you can change the color of that shape just by double clicking within here. That will save you a lot of time. Instead of bouncing back and forth between the shape tool and the document that you're working on. So if I go ahead and we'll just make this some other color that is in the image. I've got a color picker here where I can pick my own color, and I can guess. Or I can just click somewhere on the photograph to get a like color that I like within the image. This is a great way to tie together your image. What I'm doing here is, I'm showing this on a splash screen that I would use for one of my videos. But think about how you could use this with one of your clients. If you've got a client and you just got done shooting the Smiths. And you want to showcase that image on your favorite social media platform or even your website and you wanted to build something like this, you'd use the exact same process I'm using now by building the shape, lowering the opacity of the shape, building the text within it. So I'm showing you this from my perspective on what I do. But think about how you can adapt this to your perspective based on what you do. So we'll go ahead and press okay on that. If we click on the shape here, we get back to our shape styles. So we don't have to really worry about ... We can change the fill here just like we change the fill of the shape by double clicking here. Or we can go ahead and go into the stroke and we can put a stroke path around here. So if we put a stroke path around here and let's just pick a color. Stroke path set to an orange color. And then we change this little bit bigger. Now we have a stroke path on there. Now I wanted to show you how this can extend outside the bounds. Because if you build a shape and it goes outside the bounds, and you build a stroke path, you're like, "What's going on with my shape? Why don't I see that stroke path on that side?" Well all you have to do is press command or control T to modify that shape at any time. Just like you'd press command or control T to transform text and pull in from the side. And now you're back to normal. Press enter. We're still in the confines of our workspace now. So that's adding a stroke path. For this, probably wouldn't add a stroke path. I might do something different with the drop shadow instead. What we have up here with shapes is if you have multiple shapes on the same document, I'm just gonna show you how to do that here. You can either build your shapes on their own individual layers. Or you could build your shapes within the same layer. And building your shapes within the same layer would be if I were to have my shape tool selected here, I've got a shape already selected, and I just draw a shape on here. Notice how we have two different shapes here. Well it's not on the same layer. Let's get that back to the same layer. Press shift. So if I press shift and draw that rectangle it's gonna make another rectangle within that space. Now there's two shapes here. I can still move one of those shapes though. So if I'm in the shape tool and I grab the top of this and press control, I can move this shape where ever I want. And these shapes because they're on the same layer will interact with each other based on how I tell them to interact. Right now, this is set to a new layer. Meaning it's making a new shape on top of that shape. But I can set it to combine those shapes. I can set it to subtract the top shape from the bottom shape. I can set it to intersect those shapes so that where those shapes intersect we now have a box. And I can also set the to exclude overlapping shapes. So where they overlap, I now have a space there. This can be useful when you're building things like logos and you want everything to be on that same layer and you're working with these shapes. Because at anytime I can press control. And look, I can move around and it's still intersecting those shapes. No matter where I put that, it's going to intersect those shapes exactly how I tell it to with this box. Now if I set this to combine shapes. It's just going to combine them together so both of them are the same color. But I'm not gonna worry about that. Let me just go ahead and delete that. And it's going to delete that one shape because that was the shape I had selected. Working with shapes, it's important to know that sometimes you can work with shapes on multiple different layers, and other times you end up finding yourself working on shapes that are within the same layer. So instead of freaking out like I used to do and deleting all your work. That is how you control what happens within those shapes. If I were to make a new layer and add that shape on the top, whatever I do here, it doesn't matter. All it's doing is it's not interacting with the shape below that. It's only interacting with the current shape that I've created. So it's not going to do anything to that shape below when I change those settings. It's only going to interact with the current shape that I have on that own layer. Because it's on its own layer and not in the same layer as that shape there. So when we talk about shapes, shapes also have a bunch of different settings within them. Let's just talk about one more that's pretty cool here to kinda take a look at. If we go to the line tool, and we look at the line tool and we drop down these settings here. You can see that we can add arrow heads to it. So if you want to point something out to somebody you can go ahead and put a start arrow head, and where ever you start that, that's going to make an arrow head on top of your line work. If you turn that arrow head off, and make a new one, it's not going to have that arrow head shape to it. You can make all kinds of shapes like this. You can make star shapes like this as well. So those are some different settings that you can find within each one of the shapes that you have available to you.

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

Lessons

Bootcamp Introduction
The Bridge Interface
Setting up Bridge
Overview of Bridge
Practical Application of Bridge
Introduction to Raw Editing
Setting up ACR Preferences & Interface
Global Tools Part 1
Global Tools Part 2
Local Tools
Introduction to the Photoshop Interface
Toolbars, Menus and Windows
Setup and Interface
Adobe Libraries
Saving Files
Introduction to Cropping
Cropping for Composition in ACR
Cropping for Composition in Photoshop
Cropping for the Subject in Post
Cropping for Print
Perspective Cropping in Photoshop
Introduction to Layers
Vector & Raster Layers Basics
Adjustment Layers in Photoshop
Organizing and Managing Layers
Introduction to Layer Tools and Blend Modes
Screen and Multiply and Overlay
Soft Light Blend Mode
Color and Luminosity Blend Modes
Color Burn and Color Dodge Blend Modes
Introduction to Layer Styles
Practical Application: Layer Tools
Introduction to Masks and Brushes
Brush Basics
Custom Brushes
Brush Mask: Vignettes
Brush Mask: Curves Dodge & Burn
Brush Mask: Hue & Saturation
Mask Groups
Clipping Masks
Masking in Adobe Camera Raw
Practical Applications: Masks
Introduction to Selections
Basic Selection Tools
The Pen Tool
Masks from Selections
Selecting Subjects and Masking
Color Range Mask
Luminosity Masks Basics
Introduction to Cleanup Tools
Adobe Camera Raw
Healing and Spot Healing Brush
The Clone Stamp Tool
The Patch Tool
Content Aware Move Tool
Content Aware Fill
Custom Cleanup Selections
Introduction to Shapes and Text
Text Basics
Shape Basics
Adding Text to Pictures
Custom Water Marks
Introduction to Smart Objects
Smart Object Basics
Smart Objects and Filters
Smart Objects and Image Transformation
Smart Objects and Album Layouts
Smart Objects and Composites
Introduction to Image Transforming
ACR and Lens Correction
Photoshop and Lens Correction
The Warp Tool
Perspective Transformations
Introduction to Actions in Photoshop
Introduction to the Actions Panel Interface
Making Your First Action
Modifying Actions After You Record Them
Adding Stops to Actions
Conditional Actions
Actions that Communicate
Introduction to Filters
ACR as a Filter
Helpful Artistic Filters
Helpful Practical Filters
Sharpening with Filters
Rendering Trees
The Oil Paint and Add Noise Filters
Introduction to Editing Video
Timeline for Video
Cropping Video
Adjustment Layers and Video
Building Lookup Tables
Layers, Masking Video & Working with Type
ACR to Edit Video
Animated Gifs
Introduction to Creative Effects
Black, White, and Monochrome
Matte and Cinematic Effects
Gradient Maps and Solid Color Grades
Gradients
Glow and Haze
Introduction to Natural Retouching
Brightening Teeth
Clean Up with the Clone Stamp Tool
Cleaning and Brightening Eyes
Advanced Clean Up Techniques
Introduction to Portrait Workflow & Bridge Organization
ACR for Portraits Pre-Edits
Portrait Workflow Techniques
Introduction to Landscape Workflow & Bridge Organization
Landscape Workflow Techniques
Introduction to Compositing & Bridge
Composite Workflow Techniques
Landscape Composite Projects
Bonus: Rothko and Workspace
Bonus: Adding Textures to Photos
Bonus: The Mask (Extras)
Bonus: The Color Range Mask in ACR
 
 
 
 

Reviews

  • 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.
  • 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!!!!
  • A superb course and excellent overall job, beautifully presented and easy to grab the material, in total the material the style and the whole set of classes is just great love to g back and watch again and again