Adobe Photoshop CC Bootcamp

Lesson 23 of 118

Vector & Raster Layers Basics

Blake Rudis

Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

23. Vector & Raster Layers Basics

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Class Trailer

Bonus: The Color Range Mask in ACR

04:54

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Lesson Info

Vector & Raster Layers Basics

And we're gonna go ahead and move on to rasterized versus pixel-based layers. Now, at this point we've looked at a lot of things that are pixel-based. Everything we saw in those composites were pixel-based layers and not necessarily things that were raster-based. These names will show up a lot in the future, so when we talk about smart objects and we talk about text, we'll talk a lot about vector-based images when we're doing smart objects, text, and shapes. But it's important to understand this at the layer understanding level now to understand the difference between a vector-based layer and a rasterized layer. So if I press V for my move tool, and I click on this vector-based layer here. I'll press Control click, now with the move tool, you see this thing here that says Auto Select? I like to have that turned off. I like to be able to select my own layers, and to do that I press the Command or Control key. If you have this auto select here when you click on a layer, it's going to ass...

ume that the layer that you're clicking on, if that layer has a lot of content in it, that's above it but's also transparent, if it's set to auto select, it may not select the layer that you want it to select. So I make sure that that auto select is turned off so that I make the decision on what is selected, and by doing that, I press the Control or Command key, and notice, it switched from the background, Control click, it now clicks on the vector shape. So now if I Command or Control click on this vector shape, I now have that shape selected without having to go into my layers palette. So if I press Command or Control T, this will allow me to transform this. And we're gonna talk about transforming in the future here, but if I press and hold Shift and Alt, and move that up as I do that, that is a vector-based image. Notice how it started out very small, very small, but as I moved it up, we got to see all the stuff that's happening within that vector-based shape. If I Command or Control click on this rastered layer here, press Control T, Shift and Alt and move this up, those shapes were the exact same thing. So what I did when I built this diagram was I built this diagram from a vector shape, copied that vector shape on both sides, and then rasterized the one layer. And what you see from this is that the vector shape maintained the stroke path, whereas because that rasterized layer was so small, when we blew it up, we were basically interpolating all the pixels, just like you would if you were blowing up the image size of a canvas. The difference between a vector shape and a rasterized shape is a rasterized shape is made up of individual pixels. So when you increase the size of those individual pixels, you're telling Photoshop to insert information where information doesn't exist, so you get all that blurriness that's happening with the photos. But notice over on the vector-based shape, the vector-based shape was actually a shape made of a stroke path and not a full fill of red color. So what happens there is as we blow that up, it's doing all the calculations of the line work and all the calculations of the shape, so that no matter what size that vector is, when you make it small or large, it's gonna be the exact same thing. So this, I say typically the vector and raster thing comes in when you're talking about shapes and text versus pixel-based image editing that you would do from a photo that you get from your camera. Our cameras do not shoot vector-based images. Wouldn't that be beautiful if our cameras just shot vectors, because then any picture we took could be the size of a thumbnail or the size of a billboard, with absolutely no problems. I don't know when or if that technology will ever exist, but we right now are shooting in pixel-based form. That's why if you take a five-megapixel image and try to blow it up to a 24 by 36 canvas, it's not gonna look right. It's gonna be blurry because the pixels are interpolating or information is being added there. Making things smaller on a raster image is typically no problem, so if we started with this vector larger and made it smaller, it wouldn't have a problem getting much smaller but getting bigger is the problem. Whereas vectors, they are line and shape calculations that happen as they grow and expand and contract. Where we can see that is if we were to just go into a regular pixel-based image. This is a pixel-based image. Anything that we pull in from our camera is a pixel-based image, so this is just a background layer that we would get from say, we go in from Adobe CameraRoll and we come into Photoshop defaults to a background layer. This is a pixel-based layer. So if you're trying to wrap your head around this whole pixel and vector-based thing, just think of a pixel-based layer as any layer that comes in from Adobe CameraRoll that you're pulling into Photoshop as that background layer. You will know when you're in the vector world, you will. Because it'll typically be a shape or it'll be a text layer.

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:

Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Smart Objects, Transforming, Actions, Filters, and Editing Video
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

Class Materials

Bonus Materials with Purchase

Photoshop Bootcamp Plug-In

Textures

Clouds

Painted Backgrounds

1 – Intro to Photoshop Bootcamp

6 – Intro to Raw Editing.zip

11 – Interface and Setup

16 – Intro to Cropping and Composition.zip

22 – Intro to Layers.zip

26 – Intro to Layer Tools.zip

43 – Intro to Selections.zip

50 – Intro to Cleanup Tools.zip

58 – Intro to Shapes and Text.zip

63 – Intro to Smart Objects.zip

69 – Intro to Image Transforming.zip

74 – Intro to Actions.zip

81 – Filters.zip

88 – Intro to Editing Video.zip

96 – Custom Effects.zip

102 – Natural Retouching.zip

107 – Intro to Portrait Workflow.pdf

110 – Intro to Landscape Workflow.zip

112 – Intro to Compositing.zip

115 – Rothko and Interfaces (Bonus Video).zip

33 – Intro to Masks and Brushes.zip

106 - Frequency Separation.zip

Ratings and Reviews

Student Work

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.

Robert Andrews

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

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!!!!

2,000+ classes ranging from fundamentals to advanced techniques.

Adobe Photoshop CC Bootcamp

Vector & Raster Layers Basics

Lesson Info

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