Fundamentals of Photoshop Layers

Lesson 1 of 1

Fundamentals of Photoshop Layers

 

Fundamentals of Photoshop Layers

Lesson 1 of 1

Fundamentals of Photoshop Layers

 

Lesson Info

Fundamentals of Photoshop Layers

Arop glitch image she runs come blum studios she's a photographer she's an author, she's, a speaker educator, obviously on she's written a book, hurt your camera, loves you, learned eleven back and has an upcoming album, her book called album moxie, which is all about album design. She is one of our favorites here, and we are excited to turn it over to this character, what's in its way. All right, you guys today, we're going to be talking about photoshopped layers and why they're so great they've been around since version three point o of photo shop and layers is kind of one of those things that freak some people out, because the layers panel can be intimidating, I suppose so, if you are one of those people who feel a little overwhelmed by layers and layers panel than this class is for you, so we're going to go ahead and dive in here on beale kind of just dig into this really quick, and then we'll take a step back and talk about why layers are so important in the role that they're play...

ing, but for to get us started, for right now, we're going to take this hot air balloon out of this image, and we're going to bring it into a different background, and layers are what make that so possible so the first thing we have to do is select the hot air balloon, and I'm just going to grab the magic wand tool and give it a couple clicks hearing gonna hold the shift key down to expand the selection and get this whole sky, which I'm going to inverse in order to get the balloon. And we can do that from the select menu by choosing select inverse. So we've got the balloon over here, and if I grabbed the move tool, I'm able to just move this into a whole new scene. And what happens when we do this is if we take a look in our layers panel, which, by the way, if you don't already see it on your screen, you can always find it from the window menu by cheating window and layers. So your leaders panel looks like this, and now that I've dragged this balloon in here, you'll notice that we c two things going on in the layers panel we see a background layer that's, the image that we started with, and now we see this balloon on top of it, and the very fact that it's in its own layer is what allows me to take the balloon, move it over here, move it over here. And move it all around and I don't have to worry that I'm tearing a hole in the background to do that. So if we flip back over to the image here that we started with, let me see I think I have a better selection of this balloon saved in my channels panel so if I have the balloon over here, we noticed in the layers panel in this image that the balloon is part of what's called the background layer and every image by default when you open it out of out of your camera it's just flat, meaning the only thing it has is a background layer and that means that if we select this balloon and I click and drag it over here, you'll notice that we're left with a big white hole right and that's because background layers by themselves can't have transparency and this balloon is actually fused together with the blue sky just like in real life. If you had a photo printed out of this scene the hot air balloon in the blue sky and you tried to take scissors to it and cut the balloon out you would be left with a hole, right? So here we are left with the whole and the whole is white actually because over here in my foreground and background colors at the moment my background color is white and that means that any time we cut a hole in or erase part of our background layer that's what we're going to see is that background color and we'll come back to that more in a minute, but for now we'll get back over to the scene and again, we have the balloon and it's separated from the background, so we are able to move it all around the scene and put it wherever we want tio when we look in the layers panel, we see these little eyeballs it took me a while to realize those air actually eyeballs they've evolved over time in earlier editions of photo shot, they looked like little beads I'm not sure, but they're actually eyeballs and you can kind of bleak them on and off tio show or hide different layers in your image as you work with them, so that can be kind of handy, and you'll notice that if I blink away the background so that the background layers hidden, then we're just left with the higher balloon on what's called layer one and photoshopped made this layer automatically when I dragged the balloon into the new background, but a shop automatically puts that object into its own layer and this checkerboard pattern that we see that surrounding the balloon represents transparency so that's how we know that the balloon is actually empty the rest of that layer is completely empty except for the balloon and that's what allows the background underneath to show when we turn this layer on so I don't know if any of you guys out there our viewers at home have ever watched the making of the old classic cartoons like the old disney animated, you know, bambi and such, but when I was growing up, I would watch those, and I was just completely fascinated by the whole animation process, and when I first learned about layers to me, it really seemed like it was born from the animation process in a sense, because if you've seen those, then you know that they paint the background. For example, if we're talking about bambi, right, that took place in a forest so the animators would paint the background on a separate layer, and they called it the background, and they would animate bambi, for example, on all the different characters would be placed on clear layers of celluloid, and they would paint them. So is very much a transparency, just like we have the hot air balloon here, that's just floating around on its own layer, surrounded by transparency that allows us to move it anywhere we want in this image and the disney animators, they would draw bambi and of course, the animation process they'd have to draw every frame rate of movement, so twenty four frames for a second and that would be a lot of work, right? We can all be grateful that we have computers now, but in those days they were able to save themselves a little bit of work by putting the background on a separate layer so that they could move bambi on top of the background without having to repaint the background for every frame. So this right here is pretty much the same thing the balloon would be like bambi, and the background here would be like the forest so we can move the balloon around, and we don't have to keep worrying about recreating the background. The other thing that's nice is we can rename these layers as we build our our images, so by default photoshopped calls this layer one, but we could call it hot air balloon, and it makes it easy to keep our layers panel organized. Um, any guesses? I should say it, why we don't, why we represent transparency with us checkerboard pattern and not just white way need the microphone? I won't forget that handed on over because you can actually fill a background with the white color exactly because white is something right and it would actually show through, so if this hot air balloon was surrounded by white, we wouldn't actually be able to see through it down teo the background layers it would actually be covering it so what we're looking at when we look at our layers panel over here and on the right hand side of me spain is the panel itself and what we're looking at there sort of a side view so we're seeing the base layer which you know another way to think of it is like a sandwich and we have the bread on the bottom and then you might have some lettuce and tomato and onion and whatever and then you have some more bread on the top so over here we're viewing the side view sort of a cross section and then this area here is the what I call camera view or I guess you could call it bird's eye view but I call it camera view because just like in the animator in the days where they were doing it by hand they would make all those drawings and then photograph them from above right? That was so much where can you imagine so they definitely wanted to be able to reuse as many backgrounds as they could so when we're looking at it here we're seeing the camera eye view from above so it looks like the balloon is actually in that scene but in reality it's floating around on its own layer okay, so now that we kind of have a little exploration of that I'm going to close these out and let's pop over to bridge really quickly and we're gonna open everything except these guys we're going to make a really fun composite that I put together for you um and it kind of it kind of came from the idea from walt disney and the whole animated layers panel sort of thing but while disney was a big fan of saying that it's kind of fun to do the impossible and layers are definitely something that makes the impossible possible in photo shop so I thought it would be fun to make our own little composite of otherwise impossible things and we're going to start with this little snowman guy and we're going to select him I've done that ahead of time just to save us a little effort so in my channels panel I'm pulling up a selection that I made previously and any time that you guys make this election and save it this is where it ends up in your channels panel so you can access it from the channel's panel and if you commander control click on the thumbnail it will load it as a selection leads one way you can access past selections or you can go to the select menu and click load so I've done those ahead in time just because we're talking about layers today not selections but I made the election around this little snowman and if I want to drag him into that beach scene I'm going to grab my move tool over here and I'm gonna put my cursor inside the selection right here, and then I'm going to click and hold and drag him up to the beach tab. We're all pause, and then my little trick that I usually do is before I drop anything into another document, I hold down the shift key because doing that prevents whatever object you're dragging in prevents it from landing out here in outer space. If you've seen the movie gravity, anybody e you haven't seen that yet with sandra bullock and george clooney? Well, what happens a lot of times whenever you're going back and forth between images and you're moving things around, if you don't hold shift, you run the risk of bouncing that object out into orbit. I call it so a lot of times when I'm teaching hands on classes, people will drop the stuff in here, and then they'll say, like, maybe the snowman would land here and they would say, I don't have my snowman it's missing, and when that happens, you got a check your layers panel, right? Because we know that the snowman in here because there's a layer one in the layers panel, right? So we know that he's in here, and if that ever happens to you and you can't find your snowman, you compress command or control teeth. To put a little box around it and then you'll know where it's at and you couldn't bring it back into place groups and I just undid that here we go ok, so here is our snowman and we're gonna put him in the beach, which is pretty impossible because normally he wouldn't last very long at the beach, but we'll bring him on in here and just kind of position him here and you'll notice that it worked out pretty nicely he fit just about the right size. We didn't have to resize anything that was pretty convenient rate, but in real life it doesn't always work that way, so we're going to go over teo this picture here of this horse and again, I made a selection ahead of time and I say saved it, which created this alfa channel over here in my channels panel, so I'm going to select it by commander control clicking on that thumbnail right here and again, I'm going to get my move tool and I like, teach this that's sort of a little dance whenever you're moving from one image to another, you wanna click, drag, pause and then shift drop and you can swap your images like this and you'll notice in our layers panel we now have layer one is our snowman and layer to is this horse, so to keep things straight I'm gonna double click over here on top of layer one and I can actually name it snowman, and that helps us keep things organized and layer to I'm going to double click and we'll call it a horse and then I'll press enter to set that tight. Now the horse obviously landed a little large, so thankfully we can go ahead and re size him, and I know that you guys have been learning this week about smart objects and things like that with dave cross, and if you wanted to turn this warrant this horse into a smart object, you can come up and do that by going to the layer menu in choosing smart objects convert to smart object, but I'm going to go ahead and just leave him as pixels for right now on going to transform him down in size so that he fits a little better into this hole sing so to do that I'm going to bring up free, transform the keyboard short a short cut for that is command or control teeth and that's going to put a box around the horse so that I can actually shrink him down, so I'm going to hold the shift key and dragged from the corner here and that's going to string him down proportionally shift is kind of magic like that it keeps you from bouncing out into orbit. So remember that if you're ever on a spacewalk don't be like george clooney and fly off into space remember shift on dhere it's going toe let us scale this horse proportionally so he doesn't end up squished like this, right? So you want to hold shift and we'll scale him down I'm gonna drag him up something he's going to be in the sky because that's another impossibility, right? We have a snowman at the beach and now we have a flying wingless horse that's just in the air and we're looking good things are coming along so far so we've got a few layers over here and we're going to see see shortly the importance of the stacking order of the layers came so let's get our next component it's going to be the set of magical wings here and again I've got the selection made and stored in my channels panel, so I'm going to drag the wings over into our beach picture with our little dance shift drag or click drag shift and drop and again the wings are going to land two large now if you're ever doing a composite like this it's definitely a good thing if the objects you're dragging in our landing larger than you intend to use them because that means they've got plenty of pixels and you khun scale them down if I had dragged in this wing and it was anybody then I'd have a problem because that means I don't have enough pixels to use it at the size that I want, so my choices would be fined a different wing or find a way to make a smaller project. I guess probably I would just end up having to find a different wing because we wouldn't want to stretch that and enlarge it. All right, so we're going to downsize our wing again, commander control team and I'm going to shift dragged from the corner in order to bring this down so that it looks like it should be on the horse. Another thing about free transform once you get this box up here is if you hover your cursor around outside of the box so you don't have to actually be on a corner, but if you have your cursor way out here, you get this curved, double headed arrow, which allows you to click and dragged to rotate that layer. So the advantage of having all of these things in their separate layers is that we can manipulate them all independently so we can put this wing in here put the horse moving around and we're not worried about tearing out background stuff, right? Ok, so we've got our wing we're going to go ahead and set this transformation by pressing, enter or return and maybe moving it kind of in place we think that's pretty good placement right now we're taking our horse and we're turning it into pegasus now so we've got a horse with one wing and probably it should have to in our layers panel that wing again by default is layer once so as you add more layers photo shot just names them automatically in numerical order so because we've renamed snowman and we re named horse this now becomes layer one and we can call this front weird and we can actually duplicate layers really easily so rather than having to go back to the wing image and dragging it back over again and scaling it again instead we can just actually duplicate that layer and there's a couple of different ways you can do that from the layer menu you could choose new or actually duplicate layer excuse me we'll come to that layer we could just go to layer duplicate lair and that would do it or my personal favorite of course is the keyboard shortcut commander control j so when I press in this case command j on a mac it duplicated that layer in my layers panel and now I'm going to call this back wing and I'm going to use my move tool to drag it over here to the horses other side now we have a problem right because what the wing is on top of the horse and this unrealistic scene is looking really unrealistic so we can't have that we can't have that, so we're going to move this and this is where the stacking order in the layers panel becomes so important because right now the back wing is literally physically on top of the front wing in the layers panel so if we want to change that, all we have to dio is click on this back wing layer and I'm going to drag it down and put it underneath the horse layer and look at that it just snapped right back in place and I didn't have to mask it around the horse or anything it just snapped right under there. Another thing you really want to keep in mind when you're working on all these layers is you have to be constantly aware of what layer you are on, right? If I want to move the back wing layer to reposition it, I have to make sure that that back wing layer is actually active in my layers panel in the way that I know that it's active is because it's highlighted right here and that's just by clicking on it, I can highlight and activate different layers, so if I happen to have the front wing layer active and I want to move the snowman, if I click on the snowman and drag it's still going to be moving the wing because that's the layer that act really active. So if I want to actually get down to the snowman I would have to come back to the layers panel click the snowman and then I could move the snowman around and sometimes people forget that and it's really easy to be on the wrong layer so you want to keep an eye on your layers panel any time anything's going wrong like the wrong object moving or something's just not quite right. The answer is almost always in layers panel so it's a good place to just kind of check and see where you are and take stock what's going on so you can avoid some of those mistakes. Okay, so our horse now has a body and wings, so that makes it a pegasus, but we're going to take this up a notch and actually turn it into a winged unicorn. So it's really a combination of pegasus and unicorns, so if you like greek mythology and all of that, then this is for you. So up until this point, where did all of our layers come from? They came from objects we selected in other images, right? And then we drag them in here, but you can also make layers from scratch, so to do that down at the bottom of the layers panel there's this little tiny button right next to the trash can and I like to call it the sticky note pad button because I think that the icon actually looks like a pad of sticky notes that you might keep on your desk and if we go back to the analogy of the disney animators, this would be like an endless supply of transparent celluloid and I'm sure you've heard are you heard the term and animation cel right sell of course a short for celluloid, so all of each of those frames of those painted celluloid were called cells, so this is sort of like an endless supply of cells and I get excited about it because it's, the closest I'll probably ever be to being disney animator is I get to work with layers and put so anyway that is our endless supply of blank layers, so what we're going to do is build this horn on our flying winged pegasus we're going to build it from scratch, so to do that I'm going to click that new layer button and again photo shot makes layer one and it's empty by default, so I'm going to double click to rename it and we'll just call it porn that's really clever right horn and I'm going to zoom into this area on our a horse's head so when hold command space bar or control space bar on a pc and want to click and drag so that I can zoom in on this area and see a little bit better what I'm doing so we're going to draw this horn from scratch and that to do that I'm going to use the polygon a lasso tool and it's really important that we make that blank layer before we do this because if I just made the horn on top of whatever later we were on what would happen the horn would be on the same layer with the wing, for example and then if I need to move the horn or alter the horn or change in any way, it would be fused together with something else on that layer and that would make editing very difficult so layers make things really easy. Another way to think about it if you're very tactile person if you've ever done scrapbooking not the digital kind but the paper kind you've ever done. Scott booking layers work very much the same way s so you have a background piece of paper and you might have a photo you put on top of it and a frame that you put on top of that photo and then cute little doodads and all those little things they're each kind of like their own layer so it's the same here and we want to make sure that the horn is separate from everything else, so we have a lot of freedom when it comes to anything it so I'm going to click let's see, we should probably have a nice tall horn, so I'm going to click ones up here or down here though we go to set this horn will make it like tall I don't know if there's a rule about proportionally corn sizes for unicorns, but I think that'll work, so now we have marching ants and we have our layer ready for the horn the neck thing we need to dio is paint the horn and we're going to do that using the grady in't tool, but first I'm going to select a nice gold color maybe like nice yellow and we will get just black really for our backgrounds, so I'm selecting two colors here because the way that the greedy in't tool works, one of the ways that it can work is that it can blend our foreground and background colors and I don't want to just give this unicorn a flat colored gold horn that would be kind of boring, so we're going to choose to colors we're going have gold and black so it can have some dimension I'm going to grab my grady and tool the keyboard shortcut is g ferg radiant and up here in the up in the options barr I'm going to click this drop down so that I have access to the grady int menu here and this little gear button lets me get um to all different types of greedy ints. So I'm just going to go and reset my grady in so they're back to their default settings, and right here you'll notice from this drop down these air, all the different presets and the first one is dynamic actually, the first two are dynamic, so that means it's always going to be pulling from our current foreground color and transitioning to the background color. So that's, what ingredient is it's a transition of color? And you can edit your radiance and you can make all your own kinds of radiance, and you could do incredible things with radiance, but we're going to keep it really simple today, and we're just going to have the gold transition to the black and then appear in the options bar. We've got five different styles radiance that we can use, and we could try we could do this really with the radio ingredients, or maybe we'll just go with the linear ingredient for now and then, the way that the radiant tool works is that you just click and you drag and wherever you let go, it's going to set this grady it in place, so if I draw really short line, we can see the transition from golden black takes place within the horn, and that looks a little bizarre. So and actually probably the sun's kind of the other direction, so maybe it should go this way I'm going to stretch it out a little further so that that transition stretches out a little farther and that way we get some nice shading on the horn and not just a stripe. I came perfect and now I can get rid of my aunts let's look, take a look at that actually turned out that turned out pretty nice I'm kind of proud of that horn is looking nice pegasus unicorn thing so that's lovely. Another thing that's really cool about the layers panel is that we have the ability to add effects tio are layers, and I'm sure you've probably seen a lot of that already this weekend. You'll I'm sure seymour we can add effects to our layers, so what we're going to do in this case is ad an outer glow effect tio hour horse and the wings and the horn so rather than applying an effect tio each individual layer we are going to create a group in our layers panel so I can actually come over here and if I hold down the shift key, I can select all of these layers at once and then I can put them into a folder to group them together and I can come down here and click the little folder um but they're not actually in the group yet, so we have the group here. Then I'd have to actually dragged them into the folder, which I could dio like this and then drag them so we can see that they're in the group when they're in den. Did you see that right there? So what I usually do is I usually do this all with a keyboard shortcuts, so I would select all of these and then hit command g to just put them in a group, so that makes the group and puts the layers into the group at the same time, whereas if you just hit the group folder, you get the group, and then you have to do all that hard work of dragging the layers over into that group. The world is avoid all of that by doing the keyboard shortcuts, so you just select the layers first and then keyboard shortcut, they'll be all grouped together and we can rename the group the same way that we go about renaming the layer so I can double click it and we'll just call it horse stuff horse bits. I guess we're stuff all right now. The cool thing is, if we add in effect to this, it will affect that hole, a collection of layers of layers that are inside this folder. So I'm going to come down in the layers panel and we see this little button right here that's labeled effects and all we have to do is give it a world and these are all the different types of effects that we can add to that layer and we're going to start with what do I say outer glow so I like to think of this as sort of a effects salad bar and it's pretty it's pretty good it's it's kind of like the food here creative life is just really good so this is our salad bar of effects and we want to add that outer glow we're just going to click on outer glow and then what happens is we get our actual plate here so on the left hand side, these air all the items that are on the salad mark and we can add multiple items to our plate the things that have check marks are the things that are on the plate, so we're gonna add an outer glow and move this over here so the outer glows already selected and added to the plate and over here we see the options for the outer glow on because the preview button is check they're here we can actually see the effect that it's having on the layer and right now it's kind of not very noticeable I would even say is pretty lame so I don't know about you but if I saw a unicorn flying through the air a winged unicorn because did you know but unicorns don't normally have wings I know check that out next time you watch a movie and there's a unicorn it's different if it has wings but if you saw that I would expect a better glow than this so in the er layer style window over here we're going to amp this up by increasing the size and we see that the glow gets much bigger and we see that it's taking place behind the whole horse and all of the components and that's kinda nice so we can increase the size and if we wanted to change the color we could ah we would just click right here and this is the color picker and I don't know if anyone's talked to spit specifically about the color picker yet this week but this is one of my favorite places and photo shops we've got millions and millions of colors available test right here and my favorite way of picking colors is manually actually and the way that it works is you would just dragged the slider up and down the rainbow to find the hue that you might want so if let's say we wanted a hot pink glow on our on our unicorn this is such a girl class right like no dude would ever teach exactly this so wait but we didn't get a comment from someone pollen hat in ohio says my daughter is being a ten critical of this weapon are she said that uh the unicorn would never have that puffy so that there's no way a pegasus would have that poofy of a tale and she wants to know why a snowman is on the beach because she and seven years old I love that we're starting among creative young wow and she's very astute that is great but we like to do the we like to do the impossible here a creative live right I mean that's the magic we get to do every day so I would say sweet little seven year old that lets let's be imaginative and let's put that put that snowman on the beach because we can because it's photoshopped and we have layers and he's not going to melt so he's safe if that's what she's worried about um all right so are our unicorn with his fluffy tail or her fluffy tail let's say we wanted a pink glow behind her him it whatever it is we could come up here into the color bar and pick the hue that we want and then over in this box this is where you click to select the corresponding saturation and brightness values which basically means just pick the color you like and when you click on it that's what loads over here so you can see that and compare it to your previous color and then when you click ok, you you've done it, but I kind of actually liked the yellow, so I'm just going to go back and kind of grab kind of a nice, pale yellow yellowish white and there you have it, you can also control the a pass ity of the glow and, um, we'll make it pretty big here because I think it should really be spectacular, all right? And just so that, you know, since we're talking about layer effects and all of that while you're in this sort of effects salad bar, if you wanted to add anything else, you would just pick it so let's say let's say we want to add a drop shadow, so I'm going to click the drop shadow and that does two things one it makes the drop shadow active and two it puts it on our plate that's the check mark so over here we could adjust any of the settings look at that crazy drop shadow we get adjusted the settings over here because whichever item from the salad bar is highlighted the resulting settings for that item show up over here on the right, so if I want to affect the drop shadow, I have to have it active over here and then I can change it on this side so we could play with the size of the drop shadow two and let's just pretend we like that kind of a stretch but pretend for a minute we'll go ahead and click ok and let's take a look at our layers panel so we have our folder that has the horse stuff in it and we see that there's now all these other things so first of all, the group of items that are in this folder are accessible if we click this little triangle right way still need to be able to open that folder it's nice that we have a folder it keeps our layers panel organized but we've got to be able to get in it tio get to the individual layers if we want so to do that you would click this little drop down a row and then we can see there's the individual components that are in that folder ok? And we can close that again by clicking this little arrow here. So in addition to that we have these little leaves little icons showing up underneath it that lets us know that we've got effects added to that layer you'll also see this icon here so it's telling us we've added effects and specifically we can see that we have an outer glow and we have a drop shadow applied and just like these little eyeballs over here next to these layers we can hide these if we want to see what does it look like with none of those effects? We can click them on or off or we can come up here and turn them off is a group so that'll hide all of the effects or we could just show and hide individual effects so maybe we're like yeah, I'm not really sure about that drop shadow maybe that looks ridiculous oh my yeah we could yes she's asking if we could separate the horse drop shadow from well, that would actually be a different kind of shadow we could call that like a cast shadow or something and yes, we absolutely could so let me show you how to do that so she wants to know how can we separate the shadow from the horse that's in the sky? And it should be down here in the water and what's really cool is if you right, click or control click on any of the effects that you've added to a layer and you come down here and click create layers and you get this morning. Yes ok, so what it's going to do now is in the layers panel you'll see that we don't have that little icon anymore next to the folder we have two more layers and what it did was actually took but glow and the drop shadow and separated them into actual layers so they're no longer effects that are applied to the horse they are their own actual layers which means I could get my move tool now and with the horse shadow layer active I could actually pull it down here we probably need to distort it right so our good friend commander control t that's just a really handy keyboard shortcut whenever you do anything and photo shop you're almost always bursting with layers and I feel like I'm always transforming stuff so commander control tease really handy on dh then I can actually write clique within this box and bring up the distort menu so we could really like flatness right and then it should be like down I guess I don't know where he is how forward or backward where we want him in our scene but we could put him down here and I'm going to hit enter to set that and um then we could play with this and the layers panel maybe we want to change the opacity a little bit that's kind of a neat trick so down here in the layers panel I would make sure that the horses drop shadow is selected and then I can come up here in the top right corner and actually just the opacity because it shouldn't be one hundred percent you know black it should be like a shadow a little faded yeah and if we if we wanted to blur it may be because you know maybe we feel like it should be a little softer although this is clearly lit with direct sons so it wouldn't be too soft but I guess we can do the impossible here so we could soften it to do that because it's on its own layer that makes it's really easy to come up here and go to filter blur godly ambler and then we could you know, blur it a little more if we wanted to and the very fact that it's on its own layer allows us to blur the shadow without blurring anything else in the whole scene right so that's kind of fine there wasn't I wasn't anticipating that good good question I like it I dig it ok let's do another fun thing before we move on from our pegasus winged unicorn whatever you want to call it um we need to add one more feature to it and I like to call this my tribute to lisa frank anybody remember lisa frank ladies it was kind of a girl thing when we were in school right? Trapper keepers yes. So leaves the brink with the artist who basically made all the artwork in like the nineties late eighties early nineties um that we had in school and it was all very about unicorns and rain beau's so I think our unicorn should have rain bos coming out of the back of it so right now you're wondering my gosh how are we going to make a rainbow and found a shop seems crazy but is really easy thanks toe layers and the grady and tools so in the layers panel what do you think we should d'oh make any layer right that's key you want to get into that habit every little thing you dio new layer pretty much because that way you can have a call that flexibility so we're going to make another new layer again photos up calls it layer one and we should get into the habit of naming our layers personally I still struggle with that because I'm just having so much fun I don't like to stop and rename them and then my layers panel is a big old mess and I can't tell what anything is so it's a good habit to name them so when I'm teaching I like to have really good habits so we'll play along and we'll weigh will call a rainbow and right now it's just blank because we haven't made the rainbow yet so we're going to make the rainbow using again the great and tool because really a rainbow is just a big old radiant so we're gonna grab the radiant tool and we'll come up here to the options bar and if we click that drop down hero again there's all these preset radiance here and there are some rainbow ones here yes but we're going to dig even deeper and if we click the blue moon gear we can get into the menu here and we can load special effects great aunts and this way we get those pop up and it's basically asking do we want to add the new radiance to the existing collection or just replace it and I always like to replace it because otherwise you have a mess on dh look at this right here and if I hover over it this come on play nice oh there it is so this tag pops up and it's called russell's rainbow and that's why I had to ask wrestling it's russ russ is rainbow I thought it was russell browns and he confirmed that it wasn't so it must be yours that's the only thing that makes sense to me yeah you and you deserve it obviously that's what way we're going to use russia's rainbow so I'm going to double click to select it now this one works really well in radial mode so these different buttons up here changed the way that the grady ints work so when we did the horn here we used the linear ingredient and so that made a linear transition between the gold and the black this time because it's a rainbow and we would like a curve going on we're going to switch to the radial green radiant and when you use the grady and tool like many other things and photo shop, you have to kind of just try right? And it may not turn out the first way and that's even more fun when you're on camera teaching live and so if it doesn't turn out you just redo it it's all right, so let's just see all right, so I'm going to click from like, here maybe and I'm going to drag to like here and when I let go, uh dot wavering but right now it's not perfect we got to do some cleanup, so to move it around again it's in its own layer thank goodness we're gonna grab the move tool and I'm just going to kind of position it you see it's cut off over here because obviously the image ended but that's ok, because we don't need that part, so we're going to put it like here ok and here's another neat trick about layers and one of my favorite features of the layers panel is layer masks all right and later masks are awesome because they give you the ultimate flexibility when you want to hide something in a layer or you want to show something in the layer and if you didn't know about layer masks, you might think, well, geez care I'm just going to grab the eraser tool eraser brush and you could you could grab the eraser brush we talked about this kind of stuff in the photo shop philosophy course, so there's more than one way to do everything in photo shop rate and there's not a wrong way, but there are ways that are a little more advantageous than others sometimes, so while you could take the eraser brush and I could just erase all of the rainbow, so the remote should be, like, coming out of the ocean or something, so we'll do that so I could erase all of that stuff, and that would be fine, except that I'm never really that perfect, and I usually would, like, make a mistake and a race too much, and I may not notice it until later, and if I have erased it, I'd be screwed, right? Because I can't get it back, I could undo if I catch it soon enough, but as we also learned in the history panel in the philosophy course, there's a limit to your undoes, so I'm going to just undo all of that, and we'll get back to here, so instead of a racing it, we're going to mask it. So in the layers panel, I'm going to come down here, and this little button right here is the masked button, and someone told me once that it looked like a camera, and I thought, it really does so it's kind of like a camera button but has nothing to do with cameras it was called masking, so we're going to click on that and you'll notice that adds this white mask in our layers pain also on the rainbow layer because it was active we clicked the mask and we got this white box but the rainbow still looking funky, so that's because the mask is blank and the purpose of the mask just like if you if you were I guess to do something terrible like rob a bank, you probably wear a mask to conceal your identity, right? That I hope none of you are robbing banks, but if you did, you'd probably wear a mask to hide things, and the way that the mask works in the latest panel is it hides parts of the layer that you want to hide, but you have to tell it what you're trying to hide and the way that you do that is by picking up your paintbrush and with black down here as your active foreground color and not a brush that is made of dune grass, something something round and soft, probably so with the black roundish, softest brush, I can now paint away the rainbow as if it was an eraser, so I would just pretend like I haven't eraser but really I have a paintbrush and I'm painting black and if we look over here in the layers panel, we see that there's black now on this little mask icon and anywhere that you paint with black it's going to block that layer from showing and I know the big catch phrase is black conceals white reveals and that is great until you accidentally say it backwards and then you just get confused on that's what idea? So I have to tell myself because it does get confusing sometimes and that's okay, we all get confused. So when I'm working with layer mass, I just remember and I tell myself black blocks they both start with b right? So black blocs that layer from showing through um and then if you make a mistake and oops, I just erased right through the middle of the rainbow or I'm asked right through the middle of the rainbow then to fix it I just have to exchange my colors and the keyboard shortcut for that is to press x on your keyboard so no command, no control, no shift, no nothing, just x all by itself to exchange your foreground and background colors which, by the way, when you are on your mask, they will automatically turn to black and white, so if you had hot pink and turquoise more elisa frank color schemes when you are on the layer mascot will automatically be black and white for you, and then I can just paint it right back using white paint that makes sense so it's hiding and showing parts of that layer and some other cool things you can do with layer masks are you can cancel them if you want to see what your image looks like, as if there were no layer mask, you just shift, click on the layer mask itself so that all cancel it, which is nice and sometimes it's really important. I mean, this one's pretty a simple example, but if you were doing a really complex masking of some sort, this is really handy to be able to toggle on and off. And then you can see see if you missed any weird little bits that might be hanging out somewhere so you can shift click to cancel it, or you can also click to actually view the mask on top of your image, which is also really helpful for checking to make sure you didn't miss any funny corners or any weird little bits that was alter option clicking, and you could also, if you wanted teo, you could load the mask as a selection by commander control, clicking on it in this case that doesn't do us any good, but in other cases it might all right so that is a little bit about the layer mask and another thing that we can talk about um up here is layer blend modes and by default everything in photo shop is just normal, right? But what does normal really mean there is no normal oh normal just means it's like paint and if you have this rainbow here it's just like red orange, yellow, green, blue purple paint covering up everything else but you can change the way that whatever a layer whatever layer is active you could change the way that it interacts with every other element in your image by changing the blend mode you're actually changing the way that it blends and in this case we're going to go ahead and change our rainbow layer to screen blend mode and we get a little bit more of an ethereal kind of fate is sort of, you know, realistic with our unicorn kind of a scene so that definitely I mean, I find this whole scene much more believable now that we changed the blend mode on the rainbow now everything about it makes perfect sense so that's great and we're going we have a couple more things to do here and I'm really excited about this next thing we're going to add of course a merman tio are seen of course now I was thinking of course of adding a mermaid but then I was like we have enough women and scantily clad whatever and there's always like a woman so I thought we're going to adam where man so here he is ladies tio here he is right here, right? Yeah finally ammerman of course he's not really his computer generated all right, but it'll do, so I'm gonna selective with the magic one and e forget what I wanted here for tolerance we'll see thirty two looks pretty great so I've actually selected the background, so I'm going toe in verse the selection tio get the merman by going to the select menu in choosing inverse and if we look down here it the bottom of his staff we see that it's actually including this little knock out right here so I just a huge fan of the magic wand tool it just makes life so easy sometimes. So what we need to do is actually knock that right out and you can do that with your keyboard and what you're doing or you can come up here and click what you need. What we need to do is just click the little subtract icon right here and then when I click in this spot it's actually going to select that white area and pull it out so we're all good now when we can grab our move tow, I'm going to click and drag him into the beach theme with my shift drop remember because we don't want mr merman and ending up in outer space and now here's a cool thing so he's he's really big horse in our scene here huh um and he is so being he's hogging the whole scene is trying to compete with the unicorn can't happen all right but he's so big so we needed transform him down right so commander control t now look at that I can't I can't see the handlebars on my control t because they're out in outer space but here's a little trick for you if you're ever commander control teeing something on you can't see the handlebars you compress commander control vero and it'll scooch all the way out so you can actually grab them that's a huge I think it's a really helpful tip because otherwise you're like trying to back out and grabbing it could be really really personal cities so alright we're gonna scale him down he's rather out of control there put him now I don't know how this is gonna work with the horse shadow that we've added that is um that's impromptu you that's ad lib over there we could move the snowman we'll see we'll see what happens but I'm thinking that this murder man guy is like kind of in the distance I don't know I think this will work I think they can coexist peacefully so here we have our snowman and I'm going toe command space bar drag in on him whoa and then back out a little bit um now will it be awesome if we could submerge part of him into the water? I was pretty excited about that when I when I conceived of this whole thing so we're going to do that and it's really actually simple I'm going to grab the marquis selection tool the rectangular marquis selection tool and I'm just gonna drag a box around him about under I guess I wanted a select everything that's going to be underwater so we'll just say about there and what we're going to do now is actually cut the underwater him out of the layer that it's on and we're going to put it in a separate layer and the long hand way of doing that is to come up to the layer menu and choose new via cut we could do copy that would basically just make a copy of the underwater part but in order for this to actually work the way I am going to show you which is really pretty exciting stay tuned we actually want to cut it out so you'll see that the keyboard shortcut for that is shift command j or shift control day on a pc so I'm actually going toe do that now that I'm hearing us and let's clean up our layers panels so we don't get confused so layer two is now the lower merman and later one is the upper merman roman has one and right I don't know doesn't matter oh well doesn't matter what order your layers aaron? It does it does when when it does so for example it did when we were up here with the wings that's why we re stopped them in the layers order so if I grabbed one of the wing layers if I grabbed the back wing, for example and they drag it on top of the front wing, we have this problem happening so that's why we moved the back wing down actually behind the horse so that it looks like it's on his other side so yes, the order does matter but like in this case right now when we're just working with armor man and we've cut him into it doesn't really matter. So as faras stacking your layers, I usually just say if there's a problem, you'll notice it because things will look funny and then you can pop over and move something if you need to move it right okay, good question so we've separated our man let's see where are we were on our lower merman okay, now here's what we're going to dio you guys ready for this? We are going tio distort the underwater portion of our merman based on the ripples that exist in the water what I'm so excited about that I don't get to do this every day is part of my every day, you know, I'm a wedding photographer, so I don't have merman underwater getting to do this, so I I really couldn't wait to do that here for you guys, eh? So we're going to distort that. Now we're going to use a filter called the displaced filter, and this is the similar technique that you would use if you were going to let's say, put like let's say you work for a catalog company and you are going to put it, you're creating mock ups of like a business company's logo on their shirt, right? And you're sure it would have maybe some ripples in it and you need the logo to sort of bend around the ripples and a shirt. This is the same technique that you would use, so imagine beyond the world of merman just in the water. It has a very practical function, so here's how it works it's called the displace filter and before you can use it, you have to create the map that will be used to do the displacing. Does that make sense? And the way that you do that is you make a back a black and white version of that image, so what we're going to dio is in our layers panel we're going to come down actually, before we do anything, we're going to open our history panel. So from the window menu, I'm going to come down to history, and here is the last twenty things we've done to our image recorded in the history panel and just to make life easier, I'm going to make a snapshot of the image as it currently is, because I'm going to depart from that to make the displacement map, then we need to return to this and then use the displacement map, okay? So snapshot so up here in the layers panel, this instance of the whole image, everything about this image, the way it is now is saved up here in snapshot one so now that that's done, I'm going to come over here, and I'm just going toe squirrel off all the other layers except the background, because the background is the layer that contains the ripley water that we need to use to distort the underwater merman. All right, so I've got that selected next thing we're going to dio is converted to black and white, so I'm just going to do a quick and dirty command shift you two d saturate it or control shift you on a pc, and it really works by reading contrast in the end ridge, so I'm going to boost the contrast by adjusting the levels control, so levels are found under image adjustment levels or commander control. L that's a nice one makes a lot of sense, right? So for those of you who have never worked with levels, they're pretty fun. I really I like the levels, dialogue and some people find it scary because this thing right this is called a history. Graham it's. Not too scary. You may have bumped into it on the back of your camera a few times, possibly by accident, in which case you may have just panicked and shut down the camera and to get out of there. But it's not so scary, it's just a graph of brightness values in your image or technically, they're called luminosity values, and right now we can see we don't have a lot of shadows. The slider here on the left represents the shadows in the image. This represents the mid tones, and this represents the highlights and the black stuff here represents where are pixels in this image, where they fall along the spectrum of brightness so we can see we have highlights? We've got lots of mid tones, we don't have any shadows, so these numbers here range from zero to two hundred fifty five so that's, our range of luminosity possibilities zero being no luminosity and two hundred fifty five being total luminosity so we can actually just grab the slider and I'm gonna pull it in till we get to like the bottom of this big mountain and we see that I've stepped us now to seventy one that means I'm telling photo shop every pixel that has a luminosity brightness of sony one or less is now going to zero so seventy one is the new zero like pink is the new black er orange is the new black or whatever seventy one is the new zero so everything now way we have some good shadows we have a lot more trust here so when we're happy with that we would click ok and now we're ready to make the map that we're going to use to distort the merman all we have to dio is save this now is a ps city so I'm just going to come up and choose file save as we'll just throw it on my desktop for easiness and we'll call it map and I'll just make sure it's selected as photoshopped click save done that's all we had to d'oh so we converted it we isolated that image first of all so we hit all the other layers so they wouldn't get messed up and be part of the map so we hit all those layers we made it black and white we boosted the contrast and we saved it as a map now I'm going to go back to my history panel and if I click snapshot one we're back to where we were so everything's back we have all of our layers and everything I'm gonna zoom in back on our guy here and we can close that and now we're ready to displace that you guys ready here comes we're going to select our lower merman we're going to come up to filter and we're going to choose distort displace and we're gonna put some numbers in here and again it's trial and error and I just guessed until I found something I liked and that's what I'm going to leave here so thirty five for both the horizontal and the vertical displacing and you can experiment to with these different options but I found that in this case it just works well toe leave them where they are I'm going to click ok nothing's gonna happen except I get this pop up window and now it's asking me to find the map so it's saying what do you want to use to distort your mower man and I'm going to say map that we just created and now the magic comes are you ready weii click open ripple the word for that really oh permit yeah they're like just make more make it make it more really make this house oh good yes this is really really yeah like you cannot deny this so we have now he's also of course a little dismembered this is like a magic trick gone bad and when you saw someone in half rate but of course it's really easy we just get the move tool and we just drag him and you can actually use with the move tool you can use your arrow keys on your keyboard to nudge because if you tried it you know nudge by hand you kind of it's like goldilocks it's too much too little too high too low so I like to use my arrow he's that's for good and then you could experiment you know, like maybe you like maybe it looks better if you drag that underwater part of him behind the on the above water but I don't like this now so actually might just keep that above because it kind of adds to the to the distortion um yeah that's pretty that's pretty awesome and then of course it should probably be a little faded. I would think so you'd have to experiment and play around in your layers panel maybe we just simply lower the capacity slightly we could come up and change the blend mount you could try dissolve that looks like I don't know now he's like turning into sand or something so I dissolve maybe but maybe overlay my kind of my kind of work and maybe add a little higher opacity yeah, I kind of I don't know I was kind of torn on this when I was messing around that I was like I'm not sure which blend modi like um but that's pretty sweet and you know you could mask it obviously the water's like kind of sharp right here that looks a little funny so you could go in and do some masking and you know, alter that all that you want but I'm so excited about that displacement command I mean it's just so excited shot of the other way to compare yeah, it could be yeah so if you were like let's see let's go back to our history panel and we can make another snapshot so we could call rename snapshot one like before the ripple and snap shot too is then after so we could toggle back and forth between two moments in time oh, sorry yeah, you could do that to you could do that to um but yeah, this makes a really extreme before and after so there's a lot of different ways you can use the snapshot function in the history panel but that is one of them. Yeah um we have a question so using the snapshot function here after if you should close this or save it you lose and you lose the snapshots yeah, you lose the snapshot so it's not like layer camps or, you know, saving different versions it's it's just like very temporary it's a very temporary kind of thing for what you've kind of ah made that lowered the capacity would just be a place where the healing brush would work to maybe blend the two together or we're going to a place where liquefy or what would you do in order to know? What do you do if they don't line up perfectly and all of that? You have a couple of different options? I'm going to bring this back up to one hundred percent so we can really see. So if we really wanted to blend these in a little bit better, we could try let's see this one's on top, we could try adding a layer mask here, and if I grab my brush and I'm using the left bracket key to make the brush smaller, I'm gonna press x to get my black paint back and I don't I don't want to paint maybe with one hundred percent, because if I want to blend it a little more, I could come up here in the options bar and lower the a pass ity of my paintbrush, so maybe like let's sade. Twenty percent s so you can you can dial around here, you can type twenty or if you just press key the number two on your keyboard it will just jumped to twenty percent that's a really handy keyboard shortcut as well on dh then I could sort of just bust buffer along this, but if I go too far, I'm going to be you know, um exposing the empty area down here so you'd have to tread very lightly and make your brush probably a lot smaller, but you could kind of blend this very carefully, but you see, I'm running out of room really to make that blend happen. Another thing that you could dio undo all of that another thing that you could try doing is warping it. So if we bring up our good friend commander control team, bring up free transform if you right, click inside or control, click inside that box you can choose the way warp command and warping loads this mesh overlay onto that object and then you can pull these little handles, so if I needed to kind of swing out one direction or kind of like pull it in one way, I can just grab this little handle and pull it or tuck it over this way so I can really adjust this to make it fit as precisely as I want so that would probably be in this case. That would probably be my first plan of attack. And then maybe maybe I would move the the lower merman behind the upper merman. Um, and maybe I can try masking some of that out. It just kind of depends. You have to play with it. And one of the things to keep in mind. I don't like that effect. Um, one of the other things to keep in mind is, um, you know, it's, really just a lot of trial and error, and you never know. Sometimes you have to make a mess before. Like, sometimes when you do something like this distortion effect, it might create another problem somewhere else it might create, depending on those settings that use me. Choose, filter, distort, displaced depending on whether you stretch to fit or tile or rap or repeat those pixels, you might create a little bit of a mess in your document that would require a little bit of cleanup afterwards. But, you know, it's, just like when you bake a cake, you have to break some eggs and you can you know you can. If you can get past that and be prepared to sometimes have to do a little clean up, then you can reap the benefits. So you can you clean it up or you could yeah, you know, you could undo it and try again and try again with some different settings so it really takes a lot of experimentation right um so you just have to be prepared for that when you're when you're working in photo shop in general it's always trial in air and always experimentation and you know it can be time consuming in that sense, but the more that you practice, the better you get at making those guesses so you can come closer to what you're trying to achieve, you know, at the beginning and that that time can get trained down over time we have another question, but I was going to say thus reinforcing the power of layers it works great so quick question from rainy and nancy jean what is the difference between group layer and later cops? Oh, that's a good question. Well, layer comes allows you to it's sort of like the history panel on that you can have sort of like snapshots you can help groups of things that are like here's like one version and here's another versus grouped layers is just literally grouping them together. It is more of an organizational thing whereas coms are more for experimenting and the folders really more for organizing I would say yeah, yeah, ok, yeah on the for you at well you made the map they said something that you can do when you're doing a smart layer how do you mean like um a smart objects can you make the map on dh include that as a layer inside of the smart object um I'm not sure I understand what you're asking so you mean instead of like how we went back and we did all this work and then we went and made the map so for example you brought everything in first and you made them all independently smart objects actually I didn't make them smart objects but you you could yeah I just kind of I didn't say you could do the map on a smart object and include that as a layer inside of the smart object oh I'm not sure on that I guess I would just say if you didn't wanna have to backtrack like how I made the snapshot and then kind of did that you could just make the make the map of the beginning before you did all that stuff and then you wouldn't have to sort of you know make a snapshot in the history panel and then undo all that stuff and then redo it that's one option or you could I mean I haven't saved this this whole thing yet so I could have saved this as you know impossible composite and then just gone back to open the beach image and made the beach image into a map and we wouldn't have had to mess with the history panel or any of that stuff, but you know, a lot of times when you're working with this stuff, I guess I should say when I'm teaching the stuff, I like to also keep it pretty real world in the sense that when you're making these things, you may not realize that you're going to ripple ammerman in your image until you're already here and suddenly you come up with that idea so it's nice to be able to take a snapshot or something and then go do that and come back if it works that you can foresee all of those things ahead of time, that is awesome e I never get to work that way. This snowman right here I was thinking that we could turn him into a hipster snowman because even more impossible than a snowman at the beach would be a hipster snowman, so I thought that might be fun. And guess what? We have this image right here that would make for a pretty awesome hipster snowman, and it looks like a complicated like you might be thinking, keira, how are we going to select that harry mustache? You know, let's, let me go t I don't know what you call that thing, I'm not a hipster, but whatever that is a soul patch oh yes ok so moustache and soul patch you might be thinking how are we going to select that that's going to be all complicated but guess what? We're goingto take advantage of layer blend modes and weaken just not even select it so here's what we're going to d'oh we're just going to take the move tool and I'm going to drag it into our beautiful possible um image yeah and let's look at this so here's reality mean close this out of the way here's reality when you dragged this stuff in right? What what is happening right now? First of all we dragged in our hole hipster soul patch layer and in our layers panel look where it is it's underneath everything so that's why we can see um you know the merman on top of it the snowman on top of it it's like behind everything. So that is clue number one that we need to do some arrangement here and the leaders panel and it's really simple I'm going to click layer one, drag it up to the top and drop it and now people get into a lot of trouble when they rearrange layers because you see a little line when I come up here it's really picky about where you drop stuff so if I drop it right here it's going to go inside the horse stuff folder which wouldn't be the end of the world as fine but I don't really want it there so if I moved mitt up then I get the line right here and if I drop it in there so that nothing happens just kate so you drop it up here there we go and now it's on top okay and it's huge so I'm going to commander control teaching bring up free transform and then I can't see the bars because it's too big so I'm going to press commander control zero not o zero and I'm gonna shift drag to strength us down and so it's like kind of fits his face sort of and we'll just commit that for right now and of course we have this problem of the box being there and this is where a blend modes really show their magic because there happens to be a particular blend mode called multiply and what that blend mode does is it just removes white backgrounds just gone so I'm going to click multiply boom gone now we have this uh facial thing we need to size it a little bit better and that looks pretty good I think he's pretty hip nudge nudge that over all right now you can see that you can kind of see through it in to the backgrounds if I move it like on top of the scarf you see that I don't know how well the monitor shows yeah so you can kind of see that you see through it but in this case because it's really just on his face it's fine um so it wouldn't work if we were trying to like if we didn't wantto remove the background from like one of the wings or something on the horse that wouldn't work because of the where the horses in the image we hear this works on dwi have his little smile here and if we wanted to hide that because it sort of competing with his new hipster look then we can come down to the snowman and I'm actually going to just retouch this out so for a moment let's hide the hipster layer one will call hipster so I'm gonna hide it by a blinking this layer off come down to the snowman layer and I'm going to make a new layer right above it and let's see, I haven't tried this with content aware phil, but maybe we'll get lucky so I'm going to just use the lasso tool and make a who the nose is going to be a tight squeeze I'm going to select um that and actually if we're going to use content where phil, then I'm going to come back down to the snowman layer and we'll just do at it phil and will faii content aware okay uh did a pretty decent job not too bad he has two noses I'll pop up here to that empty layer one that I made because I'm a big fan of the clone stamp in the healing brush and I like to use them let's see let's actually just use the clone stamp I like to use them with sample all layers turned on and we'll take a look at this later in the week but I'm going to grab the clone stamp I wanted to sample all layers and I'm gonna work on a blank layer down here and this allows me to alter or option click and then I can just paint paint that extra little knows right away it's really kind of hard to see with mouse pose a up here I have to say, um and if I'm making a mess, I can switch over to the healing brush and that will actually blend this in so I'm ault hoops and we want all layers I'm all tar option clicking and I'm making a mess what's going on besides that, I can't see there we go, so I'm going to get this kind of cleaned up something like that and then when I turn on the hipster layer he's just truly hip right perfect so that made it really easy with using the blend modes in photo shop so a couple of other things you should know about layers and the layers panel is that the background cannot have transparency right? So if you've ever tried like if you have a logo or something and like j peg form and you're trying to knock out the background to make it transparent um you can't do that with the background layer, so that means if I was to grab my eraser tool over here and try tio erase well let me get on the background layer and try to erase the background what's happening I'm actually getting black paint right? And the black is from where my my background color over here in my foreground background swatch so whatever color you have right here that's what's going to come out if you're trying to erase on the background layer so if for whatever reason if you actually needed transparency down here, you'd have to convert the background layer which is locked that's what this little icon over here means it's locked that's why you also can't move it. So if I tried to get the move tool and with the background layer active if I click and drag photo shops going to yell at me and it says you cannot move that layer because it is locked so um that is what this is all about, but you could unlock it by simply double clicking on it little pop up this command here and it's going to convert the background into a new layer so by default, fighter shop always calls that layer zero, and I never rename that one. I don't know why I just don't, but it's going to call it layer zero, then I can click ok. And now, if I grab my eraser, I can to erase the background. Not that we need that in this image, but if I wanted to, for example, just take this whole sky out or something and put in something else. I guess this is one way you could do it, but that's, what allows you to get through it to get to transparency, all right? Another thing to know about layers is that you cannot save them in a j peg, right? J pegs cannot have transparency, which is a product of layers, because any image that just come straight out of your cameras just going to be flat with a locked background layer. And if you need transparency or you need to keep your layers, you don't want to save it as a j peck. So once we finish this genius masterpiece that we have here, I think even lisa frank would be proud. Um, we need to save this as a psd, so I would have to come up here and choose file, save as and we can put it on the desktop, and we'll just call it amazing on and the format would be photo shopped, and you'll notice that that will include layers so that when I click save it's going to save it with all those layers just for comparison, let's come up here and she saved as and this time let's say, we forgot that we were supposed to save layers as a photoshopped document, and we just get a little punchy and we hit j peg. Now we're going to get this warning right next to layers because photo shop is smart and it knows we have layers. Um, and it knows that I just selected j peg right here, so it's like, hey, lady, you have layers what's going on so it's going to make a copy and it's going to save this as a copy on the hard drive, so hit save we get r j peg options, I'll go ahead and leave it at twelve, and when we look here in this document, we still see our layers because it saved that j peg on the desktop that's not the file that we're actually looking at right now, and if we close this and we go back to and open that j peg off the desktop, don't, uh, flat, no more layers. Right now, if we want to adjust armor man anymore or change the glow on the horse or anything like that, we are stuck because the layers have all been merged together so you can see why they're so important. You have a question say, you work from light room and you did that. You got all your compositing images from light room and he said, send over as make it in photo shop with layers. Now you've made this pretty picture and you want to save it. You want to keep all your stuff together in light room, if you do save as and you keep it as a psd, is it going automatically go backto light room? Or do you have to, like, send it too late? Ah, that's a good question. I think it would depend on the file name if you just save it as whatever it came into photo shop as then white room should be able to recognize it if you use it isn't came is a lot of things at a light room do you know? Because you took a lot of different pictures from my room and then you turned it basically into one picture, right, so but whatever photo it lands in. Then if you keep the same name when you save it out light room should recognize yeah if you opened it as a psd and and saved it is the same name with the psd it should be recognized if you change the name or the format, then light room might get confused so consistency is key when you're going between the two with such as long they say the name it should jump, I would think yeah um so that's something you want to watch out for with when you're saving the stuff is just make sure you've got layers and you need to save them she was psd or other layer friendly format, but psd is probably going toe uh probably would be what I would choose for most of them. All right, let me show you one cool thing that you khun dio with layer with something called quipping mask where's my wedding image well, they're here we go, I'll just tell you this really quick it's kind of fun. I'm going to take this image right here and let's say I want to be able to put something underneath it. I can't do that as long as it's flat with the background layer, so I'm gonna convert it by double clicking I'm goingto make a new layer in the layers panel I'm going to fill it with white at it phil, we'll say with white, I'm going to drag it underneath, I'm gonna make another new layer, and it doesn't matter what color I paint on it with, and we'll grab a cool like let's say, chalky brush, make it kind of big and messy, and I'm going to paint on now. I can't see, because it's underneath, we pull it on top, will paint at one hundred percent, so I'm painting this kind of ah thing, messy little streak, and in the layers panel, I'm going to grab my image on top, and I'm going to clip layer zero to layer to buy option are all clicking in between the layers and look what happens. This image now appears within here so it's, this fun little effect that you can make whips you can make in your layers panel to make your image appear within another layer, another object, a paint scribble like this, and you can move them independently of each other so I can move the image within the paint swatch or I could move the paint swatch and what's happening is this layer is now clipped to this guy so that this layer only ever appears wherever it overlaps with this layer, I call it the preschool glitter christmas card effect, you know when you're in preschool, and you would put glitter on a paper plate or glue on a paper plate and glove dumped glitter on top of it. And then the glitter would stick to the glue. This is your glitter. And this is your little it's, a fun little effect with clipping math.

Class Description

Layers are at the core of what makes Photoshop so darn amazing. You can stack ‘em up, move ‘em, blend ‘em, hide ‘em, flip ‘em—and everything in between. If you’ve ever felt confused or intimidated by the Layers panel, this course will change everything. Mastering the basics of Photoshop’s Layers panel is a breeze with this fun (and eye-opening) exercise.


Software Used: Adobe Photoshop CC 14.2

Reviews

Wendy Garfinkel-Gold
 

I really loved this and found it helpful. She was direct, showed many tips I'd never known. I got a lot out of this class. I appreciated her approach. I have a lot of classes so this was a very good one and I recommend it.

Ken
 

Khara made it all look so easy. Now for me to practice. I found the class really useful, and at a conversational pace that I could follow. I don't understand the mixed reviews below.The three worked examples built up with complexity and were talked thru at a good pace for me to learn.Having the actual transcript is a bonus.Thanks Khara.