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Flickr Homework Critique

So I see by the flicker group posted that there was some people losing some sleep last night. And it was very rewarding to see all the images posted to that flicker group and the variety of images and the work that went into it. I am. I have gone through some of them, some of them I have selected to show, um, to make a couple of points and and some critiques. We're also going to present two winners. I believe that we've selected that, that I responded to favorably, and that was, quite honestly, a very difficult task. I had a lot of favorites, and you did for me. What I'm hoping this course does for you, and that's to provide inspiration. So kudos to you. I'm gonna open up this. I've got this provided to be as a layered photoshopped file. So I'm gonna do command e out of light room to open it up in photo shop. And, uh, I'm also going to, um, dissect a couple of your layered files from the students here in the class, and that'll be a fun exercise because we'll be able to you'll be able t...

o ask questions. I'll be able to provide some tips and tricks and will see where it goes. So this, um, I'm gonna go real quickly through this just to and just make some comments and show you some of the ones that I reacted to favorably some of the ones that I think the image was strong. The approach maybe needs to be reworked a little bit. So I hope there's some positive criticism that I can provide everybody, um, some positive critiques that can help you take it even closer to the place where the image wants to live. I I really like this image. I think there's, you know, the texture and the nostalgia of the old radio and the fun composition where the platform base of concrete works with the rich texture of the background. To me, sets sets a mood in a tone that fits this image very nicely. The the image tonality is also very nice. It's it's sort of, ah, kind of a soothing tone, You know that and the texture of the actual radio in the background suit each other and the concrete that is resting on it. I think this is a real strong use of of the texture and tonality control. Um, I love the image. I love the thought behind the image. I think the treatment is probably the treatment to me is louder than what the potential for the image is for me. So, um, I would invite the artist to maybe find another way to add the punch so that the treatment isn't the feature that gives you the, you know, that attracts you the most. So and and it supports the image concept. Love, love, the image concept. It's great. I wanted to show this. You know, this was some interesting experimentation with masking and overlaying images together the but there's 22 separate things going on here. The I don't know that there's enough interest in the actual photo composition. I think there's a disconnect between the treatment and the photo composition here. A little bit one doesn't really support the other if it's if it's a story about the monument than the monument needs to come forward. If it's a story about the texture of the limbs in the foreground that overlay these things, then that needs to be, um, more prominent. So I'm getting mixed messages from this image. And at the same time, I need to commend you for your experimentation with masking and, um, you know, using a lot of different elements together. This does the same thing we're talking. We're using the overlays and the textures in a framing mode, which I actually have done in some of my still life work effectively. The difference here is that I'm unsure about what to focus on here. This has got a really clear focus with the cemetery of the shells, the color contrast between the background and the shelves. Um, the the one critique I would have with this is that I really want the shells to be some more control on the luminosity, the tone quality of these shells. I'd like them to pop just a little bit more rendered a little sharper. Maybe, um and I would also there's just it's a strong white surround, which carries a lot of weight visual. Wait, and it, you know, it's it's almost protecting that image. I want to get into the image a little quicker so I might minimize that white frame just a little bit again. These are meant to be constructive criticisms and just quick observations about each of these. Everybody did. Justin. Amazing job. I really like this image. I like the tonal qualities of this image. It's very monotone, but it has a range of color laid into it that's very appealing. And the soft, subtle qualities of the blending of the textures match the soft qualities of the snow and the bear limb trees. I'm a sucker for bear limb trees any anyway. So you show me a picture of bear limb trees and snow. I'm likely to say really nice things about it. This is This is strong. I like this a lot. I love this beautiful, beautiful treatment. I love the, um and this is a really good example of where texture, tonal quality and color are working in harmony. Um, so very nice job and it and it has a flavor to it. It has. It has a Asian tapestry feel to it, which I really like. I am, there's and that the only thing that that I would suggest is that I would like to see thus the, um the heavy weight of these rocks in the foreground. Taken down, it competes a little bit with me. It might be that you just need to blend it back into the background textures just a little bit. Um, I I love the way that the shadow and the blue hair and are against this clean, clean background. This part in the lower right hand corner is the only ISS the only you know, my detective and my detective is telling me that I would want to do something with that so that it didn't compete us much in the image. Your defective has a different client. That would be you. So you have to. And that's the whole idea of creating a piece of fine art. You gotta please yourself. So, um, quick suggestion there. I think it's gorgeous. Um, this love and it really sort of plays to the heart of, um, one of the messages that I want to make sure I connect with everybody. Textures, layering, blending, compositing. All that work has to be in support of a strong, strong vision with strong emotional content. The tonal qualities of this the rich fine texture are beautifully blended in with a very, very strong image. I love the light. I love the emotion I love the composition of this really, really strong work. And true to you can't the The image has to be a strong image to work. Okay, I you know, I love this image very little. There's just a hint of texture in the sky. I think this could be taken. Ah, lot further. You could lose. You could You could use the luminosity of this and lay it in on something rich with texture that speaks a little bit more clearly about a map or a vacation or being on top of the world. I'm not sure the this image is so rich with potential. I want you to work on this. I really want you to I want you to take it apart and put it back together again. Um, one thing that I would do just compositionally this guy walking out of the background is to me, Let me just Well, the guy walking out of the background, I would like to see not there if, if anything, I would take some other people. And maybe you have another shot that similar Where these people are lined up, I'd clone in some more people. I like the rial horizontal aspect with this, you know, Universal monument of the Eiffel Tower. In behind these these characters, the tones and the color are great. This is a keeper. It deserves more attention. So this is great. It's saying this is really the same story. Beautiful job of blending in a lot of rich detail. Texture. And I can see you're using imagery. Maybe some brushes. A beautiful combination of pastel colors. Let me see if I can. What? I what I would like to do, you know? Yes, if you could do. I think you know, quite honestly, I think your image lives in here. And I think, um, I'm getting pulled aside by this, um, object over here. I love the delicacy of what's happening here. And then, um there's this, um, tangle over here, and I you know, So I love it. I love the framing. I love the delicacy of the textures and the tones and the color again. A good example of how all those things need to work in harmony. Okay. I love it. Yes, yes. A quick question. Yes. Um, the, uh the Paris person. Yes. Oh, good. Paris person asks, How do I hide that left guy. Well, uh, okay. There's you you You don't actually have to hide him. Um, all right, Well, there's two things you can dio One is that and, you know, let's look at the look at the cropping overlay. What's happening with cropping overlay right now? The overlay is in thirds. You guys have heard about the rule of thirds. It kind of works. Look, look where the look how this composition works. The the horizon is on the bottom. Third, the side here is 1/3. These guys air focused right on the bracket of the third. So this compositionally works much better for me than then This this guy brings me out of the picture. I want, you know, I don't want to leave this picture because there's so much good stuff going on in it. I want to stay in the picture. So So help me. Okay, so there's another way. See? Love it. Now, if you want to extend, here's a little trick. If you want to extend E, I mean, you can do a couple things, Um, when you're actually are using the crop tool after I've cropped, and I'm gonna have done do this because everybody else's picture simulators got crop. But you can actually select beyond the borders of your image. And if I say OK, I'll do it here. It adds background to the image so I don't have to go up into image canvas size and add that you can do that with the crop tool. Um, then, you know, here's another thing. I'm gonna make a selection. It's if you want to add a little bit of border outside this, you can add a selection like this. I'm gonna move it just like that. Make sure you have zero feathers zero selected in the feather. It means that this is a very hard edge selection. So I have a selection of this side. You can make a selection like this, and then you can use the free transform tool, which is command t all right to just transform this selection. All these free transform selections come with this little dot that indicates where the center of the picture is that DOT also controls the center point or the point of origin for the transformation. Here's what I mean. If if I transform this, it's going to move from the sorry. It's gonna move from the center point. You can take that center point and put it anywhere. I want that this transformation to start at this right corner because I don't want that corner to move. What I want to do is stretch this just a little ways. Now, watch. Do I have that layer selected? Hang on. I might be. We see if I'm on the right. No. Okay. I'm doing this guy. Hang on. Let me get to the I start over again. I didn't have that image selected. So if I select the image now, I do free transform on this selection. I move the origin point of the transformation and anchor this side of the selection. And then I want to transform as selection by. See that? So it's not moving that side. You can I can get away with making these, You know, It's Paris, for God's sakes. They great food. They've just gained a few pounds. Nobody's gonna know. Right? So I filled in the area where the pedestrian was walking out and d select. And there you have it so that that was great, Doug. Perfect, big. And you showed a two answers to the question, which was one. Try a new crop and don't be worried about staying in your proportions. And then if you do have to stay in your proportions, which the person was concerned about here is how you keep your same proportions. That's right. Thank you. You know, Photoshopped gives you the ability to cheat. We are great cheaters, so and that's a great way to do it. So I am going to go into my history palette, which I haven't shown much to you before. And I'm just going to go back to when I opened it so that none of those transformations actually took place. Turn off those layers. Let's get down, Teoh. Well, let's see where I waas. I think I was. There was no Dr question from the chat room to use content aware. I'm sorry. Do you use content aware? Yeah, well, yeah. Content aware fill is a new thing. And it would work really well for this image, but it can, but it all it can also get tricky. Um, so content aware fill is something that you've gotta be, You know, that's that's a whole day class, and you kind of have toe practice with that, but it works pretty well. If I wanted to, um, see how I would do this. Let me select this layer. Um, I am going to put a crop on everything again. Let's just drop down to this image. All right? So I'm gonna put another crop on this image and extend it because I want that lighthouse toe live in my panel thirds. Okay. Okay. And so I have this open area now, Um, if I make a selection of that open area and there's a couple of different ways that I could make that selection, I can use this marquee selection since it's a rectangle already, um, you can use this is another selection tool. We haven't talked a lot about the quick selection tool. It also comes with a new selection, plus selection or minus selection. Here, drag in there. You know it. It does a pretty nice job of making that selection. There's another thing that you can do with selections. I want this election to be a little bit bigger, a couple of different ways. To do that, you can go modify and expand until it to expand by a certain number of pixels. Um, I'm gonna undo that. To show you another thing you can you can use the refine edge. Um, but one of the other things is you can actually transform the selection. Okay, So free transform of the selection just means that you can change how much is selected. It's not changing any of the image. It's just transforming the selection. You say Okay to that. You have a new selection that's a little wider. You can go up in here with that image selected. You can go to the fill command, use content, aware fill, and we you know, that's pretty cool. All right, there's a couple of other things. If there's some things in here that you want to kind of get rid of, there's a couple of retouching tools that are kind of nice. One of them is the patch tool. Um, if you select this patch tool, you can kind of select an area you can use. Um, you know, take it to an area that you want to use the texture from, and it uses those tonal textures. So we essentially got rid of those little anomalies you can actually. Then I'll show you something else with selections while we're at it. Watch out. Doug's loose. He's in the playground. When somebody get the monitor, I am going to make a selection and feather it by about 10 pixels. Because I like this part of the horizon and not sure that I like that part of the rising. You're fine. If I hold down, um, command and option key, I can take and move that part of the image, the selected part of the image and just move it over the top of the part that I have wanted to change. You see that? So I've actually lifted this area. It's still free. I haven't committed yet, and then I can lay it where I want it. Now. Those marching ants are distracting me a little bit, so what I want to do is hide them. If I go command age to hide them now I can see it. It's still not committed so I can move it around. And while I so a couple of things, there's a little a couple of new points selections transforming selections, um, lifting selections and copying the finality and laying it down Um and that's on Lee going to be there. It's still selected because I have that selection still active. If I do command h again, I'll see it Onley when I commit to it or go command the Is it a permanent part of the image? Now, the other thing that you can do, let me just back up just in history. Just a little bit. So I've still got this active. What's the favorite keyboard command for making a new layer from a selection. Gold Star Command Jay. All right, so what we've done is we've made a new layer with just that part of the image. Okay, so now it's independent of the background layer, and I can still use the move key moving around. I can change the blend modes of it. I can do a lot of different things. So a couple of good sort of cheat now more cheats knows a cheating techniques. All right, so there we go. I'm gonna go back to my history and get back to where we were. We see where we were. Uh, I just went the wrong way. Okay, So I love this image. Really, really nice. Nice job. I looked at this and I thought, Oh God, you know, it's just similar to one of my pieces. It's got the feeling of kind of cave art. It's got this sort of Petra Google, if quality to it, which was rich to me. I really liked it. I think it could go further. I think the stuff down here again, it's got some heavy weight to it might want to bring this in just a little bit more with the flower. But I think this is a good start. I think that's a good start. This is beautiful. Dell. Really, really nice work. Number one. Great image, great image. And then the background treatment. Beautiful, misty background. Very lovely tones. The coloring in the entire image. Real rich. Um, so we've got rich tonality. Real fine. Sort of textural background, misty quality to it. Lovely color gradations. Very, very strong. Everything working in harmony. Okay. And that's you know. So that's what your detective is looking for you looking for? You know, the balance between color and tone and composition and emotional image strength. Okay, this is this. When it has it all, it's great. I love this breakfast for the road. One runner, you know, and I wanted to show this. I mean, I love this image. You look at the texture of the insect and the snake, and it's a really appropriate use of this particular scratched paint texture that's in the download. Texture pack really great. The color treatment I would like to its very strong. Um, the composition is great. It's you know it. This is working for me. I think it's a very fun image. So kudos this. There's a couple of these that I really liked, and I love the way that this is There's a This is like a three tiered image. You know, there's the real soft background, then on top of that sort of missed it in There are the is the flower, and then on top of everything else is the insect. It's an off centre composition. It's, ah, minimal color. I'd like to see a little bit, you know, which I'd like to see more of what you've got going with the background and the plant in the insect itself, that the insect could be touched a little bit more by a technique. Um, and I think it's, I think it be really strong. Uh, same thing here. You know, I, uh this I love the way that the there's a subtle overlay of tones and colors and the composition, the insects. I'd like a little bit more black coming back in to the insect. Maybe some of the black tones coming back into the insect. Um, but it becomes it becomes very abstract and pleasing. It's a strong color palette and pretty vibrant, you know. But that's again very subjective and suited. Teoh. If it suited to your taste, I wanted to show this. This was good. To buy the background on this, I felt was a good start. You you have done a nice job, Aiken Sea of masking in different ways. I see sort of this rough mask in this this white layer that you've got, you've got some other masking to create these shapes and frames. Um, and then you're actually working at doing some masking to blend this in. I think that this is a good start. I think, um, it's got some rich content. I think the the flowers might just be a little stronger. I think the flowers just need a little bit more work. I think it's a good, good start. Love it. Okay, again. The foundation of this image is a strong foundation. There's a story behind it. If you've started with a very strong starting point and that can never hurt, I'm seeing a lot of, like color noise in here that I would, you know, I would love to. You know, my detective would tell me to clean that up because it becomes a little bit of a distraction for me. I think the strength of this border maybe a little bit strong. It would be really nice to see that Maurin character with the nature of the photo. This and I think this is a new example of that. I think, you know, it's really soft. This could, um I'd like to see this taken maybe in another direction. And the beauty of this is. And if you look at some of my folders of layer files, you will see three or four sometimes attempts at going into a new direction, all in hopes of really finding that that one image. So, um, kudos on this. I love the real pastel nature of it and It's a very good use of texture and tone and color. Um, that, you know, beautiful image, really a strong image. And I like the modeling that's going on in the background. I would like to see more of that. It's I'm I This is such a strong image in my mind. I would like to just push it just a little bit further just to see what happens. But again, the foundation is great. It's a beautiful image now. This is one of my favorites, too, and it may be a little difficult to see all the rich detail. It's very high key with just these shadow details making out this this little chick and it's a it's a It's a fun shot, a really delicate treatment, which I really like. If I was to do anything to this, I would separate the chick just a little bit more from the background in here. Whether it's the background becomes darker or the edge of the chick becomes darker, I'm not sure which, but, um, I love I love the subtlety of this, and it brings up a point you don't always textures, and the treatment, um, should serve the image. So the strength of the image. I mean, there has to be that the it has to live on a foundation of the strength of the image they can't subtract from the image. You don't want to be so heavy handed that it is taking away from the images message. This is a good example. It's a really nice example of that. Oh, wait, this is, you know, kudos on I. You know, this is really a wild image, and you have done a lot of interesting things. You've got borders, you've got a number of different backgrounds. Um, she's, you know, she is what the background is. There's a lot of color harmony, but chaos as well. Um, really fitting. I think it's a good start. I think you know some of the blending of the hair. Um, could be a little bit cleaner up here. I'd like to punch some of these dark details of here. You've really brought the face forward, which I really like. And maybe it's just a couple of little outlines total outlines that you bring in here. But kudos, I This is a very funny man in China and a real pleasure to see is from faras. They use of a bunch of different creative ways of blending technique and tone and color. Uh, okay, All right. Half blind. Um, you know, Wow, this has got such an interesting start. I I love his face. I am not sure what's happening in this picture and the the texture background of the concrete wall and so forth. It's it. This is an interesting start. I want you to work on this because this image is so wild and fun, and I love the sort of cyberpunk quality of it. And maybe that's what it has to go against. Maybe Maybe there's something a little bit more industrial that happens behind this guy. And maybe there's some color and tone that seeps into this sky. It looks very right now it looks very cut out. Cut and paste. You've created a little drop shadow behind him here and so forth. I I encourage you to continue to work on this piece because it's just got rich content and, um, it really I mean, I see so much potential in some of these. So I invite you to can continue to work on this. Um this, You know, this is I think this could be a strong image. I think that this is like almost too far you. We've almost lost the bird and the scene in the background of the bird inside this story. And maybe it's a crop. Or maybe it's just, you know, if it was a little bit closer to the bird, you know, there's some There's something kind of nice about the tones of this down in here that could be pulled out. I don't I don't know, but I think this is a case where there needs to be a little stronger sense of story or a little stronger central focus. This And here. You know, you've got this. Ah, nice shot of these birds up on this, But the the the color tones and the texture are so strong it prevents me from getting acquainted with these birds. Kudos on trying things. I, um quite honestly, I see the background a little bit before I see the birds, I see their birds, eyes and some of the color. Um, but I think this is a case where the, you know, a couple of the elements of color and the texture are actually prominent and not the story or the subject matter. I think this is a good start. You've got that. You know, you've got these tones. You've got a nice palate working. You've got the texture coming into the background that is reminiscent of the stonework in this church. You've got an interesting perspective, some nice tones. So, you know, this is fun right now and, um, could could turn into something pretty fun. Maybe a little bit more complexity like this. I mean, this This is another architectural image. Um, wait, where did I jump to here. OK, so both architectural images and, um, this one this I like the way that this sort of gets lost in the texture and it's probably about the same texture, but some of it gets lost and blended into the texture. I I would you know, this was my image. I think I would work to get rid of this building back here because it's not fitting with what's going on in the foreground. And again, these air, all my subjective opinions and thanks for sharing this. This was kind of fun to see the little before and after the gun slinging. You did a nice job of getting rid of the brickwork and I, you know, in isolating him against this old postcard background, Um, it's You could really enhance this by pumping up sort of the tonal quality and maybe enhancing the mid tone contrasts in this so that you get gritty detail in the cowboy as well as the gritty detail of the background. The cowboy looks just I think there might be a little bit of soft focus going on there, or it's just a artifact of the J peg. But I would crunch up some of that detail. I'm losing all the detail of the gun in the blacks here, and I'd like you to recover some of those highlights and punch it up. So, um, thanks for sending that and this again, You know, uh, right in line with the assignment. Nice shot. Nice composition. You got the strong diagonals and the bird kind of looking and facing the opposite direction and so forth like that. I have a hard time getting to the bird because I'm looking at some of the details of the texture Are just calling out to me just a little too loud there, speaking with two louder voice. And I want this guy to be the songbird. He should be the one that I hear the most so that it's my review. How we doing in the chat room? Anybody they're like, in your review, actually there. Lebanon. Okay, good. Waiting for their Their image toe come up. So I'm sorry. You know, I can God, there's too much. We would be here through tomorrow. I know, but there's some great images in there. Yeah, really excited. You know, I was blown away and yeah, I would love to show you guys just need to go online and I and keep adding to him. And if you guys have posted to this, it would be interesting to see, you know, some some further work. I'd like to see a little evolution in some of these images and see. See what happens. So, um, happy to provide those critiques. And they were really happy with the way you critique. They didn't feel like you were just slamming him. You were just, you know, giving us, um kudos as well, Which is a really appreciate it. Dell said thanks for the comments and looking forward to seeing you at your workshop here in Seattle. Oh, great coming up. So oh, man, you might have some things to teach me. And I think one of the nice things is that this forum will allow in the future all the other users to critique each other's work. Yeah, there's comments in there and so feel free to go in and that, I mean, that's what's so fun. And that's what I mean the connectedness of these kinds of courses. It's amazing to me how a community can be built so fast and so far flung where we have the experience of being inspired by everybody else's work. I know I was inspired by the work I saw, so I mean, it's just it's a great thing. So I am going to close this file. You want to take a couple questions are take a couple questions. Um, we have a question from me. A from Paris, who said, How do you soften the effect of the texture and only a part of the image like the inside people are flower. Say that again. How do you soften the effect of the texture and only part of the image Insect people or flower that the insect and flower image. They're just giving suggestions of one part of an image like just the insect or just the flower. Yeah, well, um, boy, that's an open ended question and, um, invites review of the entire seminar because, really, what? There's so many different ways of doing it, and you have to figure out what it is about the texture that's getting in the way of the image. Is it the placement of the texture? Number one isn't the quality of the texture. The texture really has to be supportive of the image and not distracting from the image, so you might try different textures. Then you have the opportunity to use different blending modes for the textures. Test different blending modes and see if you can soften them. Mask the textures from different areas. You can put a layer mask on there and paint with a 20% black brush and just mask it out gradually until you see the effect that you want show you something that just spurs a thought. If I am working on or if I can use well, yeah, okay, So I am just going to use an adjustment layer on this to show you this. Okay, let me. Here's another thing. Okay, Watch out. He's losing the playground. A couple of things. That and this is cool with blending modes. You can Actually, if I do a command Jane out a copy this image on top of itself, I can use different blend modes of the overlying image to affect the underlying image. One of the blend modes that's nice to uses their overlay and soft light. Both will dark. That'll add contrast. It'll brighten the brights and dark in the dark's so you immediately see this change in contrast, then you can change how much you add or subtract with the opacity slider. So I am actually going to use an adjustment layer on this, and we're going to make it obvious. So I am going to, um, okay, really saturated. And maybe this is your texture that you're working on. Then I'm going to mask that texture out. I'm going to grab a brush holding down my control option key. Get the size of the brush that I want. Now I'm going to go at 100% a mask on this. Okay. When I release my cursor, I have applied this brush on this mask at 100%. I can come in here and go fade Brush tool. All right. It's shift command F fade brush tool. I painted at 100%. And if you think I got to do it over again, that was too much. No, you don't have to do it over again. If when you before you do anything else, you can open up the fade command and just vary it until it gives you what you want. So let me go back and we'll look at the image so that it I'm gonna does that like a dynamic undo. Pretty much, Yeah. Um, let me show you this again. I'm going to get rid of this and so we can watch it in real time. I'm going to delete the layer mask on the thing that you just showed would have the same effect if you were to just select that layer mask and take down the opacity right there at the top. I mean, it is the same effect, right? Right. It is the same effect you can adjust. Well, yes, but what I'm doing is the hole that the hue saturation. I can adjust the a pass ity of the whole thing. But if I I don't want toe adjust the hue saturation of the I don't want to just the a passively of just the hue saturation. You know, the globally and I just want to do it in an area. Then I create a mask for the hue saturation, and I paint on that mask and you can see I've gotten rid of the saturation in just that area. If I used the capacity of the layer, it's a global layer change. Okay? I want the increase in hue saturation around here. I just want to get rid of it there. But what I'm saying is, any time you're painting with a tool, you can come up here and check the edit. I did something between I'm gonna go backwards just until I get rid of that mask. Okay. When you do a brushstroke like this and you think it went too far, go up under edit, fade, brush, tool and and fade it Okay, until you get what you want. It's a really good way. Um, you can do that with a lot of different tools. If I didn't have this If I just wanted to use, say, burn dodge stools. Okay, let's burn the mid tones down here. All right? If I just do that right on the layer, you can see what's happening here. Okay? I'm burning the mid tones with an exposure of 100%. Maybe that's too much. I go up here, fade, burn tool. So just take it back then to where you want it so it allows you to be. You know, let me paint a color on the thing. If I wanted to paint black on here for some reason on a on a mask or anything else, it was like, Oh, I don't want it fully black. Let's go back here. Fade the brush tool. Take it back to where you want it. Only the last brushstrokes, right? If I did a subsequent brushstroke, I cannot at that time go back and change that. So another way that you can cheat so many that that's a great way now. It also can change the way that tool is applied. Since I'm using a brush and since a brush has different overlay modes, I can paint with black in multiply, okay, and it'll multiply. That's a soft light. Okay, So I can change the mode of the paint that I'm applying onto that layer, and then I can fade it. So this opens up a whole new Your tool kit just got bigger. Yes, all right. And showing him. So my apologies to Tony for painting for your friend, but we got it. OK, so a couple of valuable essence there fade, um, layer mask. You can also toggle if it's a brush and you're painting on a layer, you can toggle. How that brushes working via the overlay mode. I mean, yeah, um, blending mode. Sorry. Okay. Doug, M r. Th 21 asks, Do you plan to teach a little bit more about how to use frames because they're seeing frames? Not only in your work, but in some of the students works. Yeah, I am. We're gonna talk about that next. Next time after I'm gonna dissect a couple of your images, and then I'm going to talk about textures and resource is textures. How you create textures and borders and lots of fun stuff. So get ready. Here we go. Everybody ready? Any other questions? Ready? I do have another question from the chat room, but, um, we can go for it if you want to just move forward. If it's a good question, OK, yeah. A question from Red Mango. Could you ask Doug to show how to bring the area of an image subject forward and more prominent, saying that you had mentioned it twice? Maybe that's going to be a discussion in some of my layered files, So that's good. And you have to, you know, you can use a lot of different elements. Utkan bring the subject forward by taking the background back, and that could be in color tone. It could be in luminosity tone. It could be by blurring the background and keeping the foreground sharp. It could be by just punching up the tonal quality of the foreground image or making it distinct and contrast either to a total contrast or a color contrast from the background. A lot of different, a lot of ever tools, and I think the creative detective process involved in that decision is how do you want the background to contrast with the foreground. How do you want the treatment of you know what's the hero treatment for the foreground? And I think if you deliver the hero treatment of the foreground and then subtract what bothers you about the background, you just have to find out what provides you that separation. So a lot of different techniques that will cover.