Good Work Habits with Dave Cross

 

Good Work Habits in Adobe® Photoshop®

 

Lesson Info

Good Work Habits with Dave Cross

So a couple days ago, I mentioned about having this philosophy of photo shop and really what it is is some thoughts to keep in your mind and and I don't want in any way suggest this one word I'm gonna suggest to you is going to change your life forever, but hopefully it might to some degree because I realized that one of the challenging parts of photo shop is there are so many things that you have to do when you someone just as things I think to paint this now at a stroke of paint well, that means you have to click on the paintbrush and then see what the settings are for the brush and then see if you're on the right layer and then choose your color than chooses eyes the brush there's all these things. So when I started teaching photo shop in my brain, I was constantly using this phrase in my head called checklist, so I would remind myself, even though I wasn't saying it out loud to students what I was doing this, I would go to click on the paintbrush and I would click look in the optio...

ns bar and make sure is on the right layer so I was going through this mental checklist for my own purpose is to make sure that when I went to demonstrate something it would work, but then it suddenly occurred to me I did that every time I was just working for yourself anyway, so the idea of the word checklist is that you need to go through like a little mental checklist before you do thinks because what I realised happened a lot of people is they would just jump into photo shop they say take the paintbrush in they paint a brush stroke and I go why that happened because it remembered that two weeks ago you had some weird brush setting and it stayed that way. So part of this checklist is to me the very first thing you should do once you click on a tool is look at the options bar the options bar are the default settings for whatever tool you're using and they stay that way until you change them again. So for example, it happens here that the last time I use the paintbrush it was set to something called normal mode or passing so it's pretty standard but it could easily have been in some other mold or some different opacity and I want to start using I'm looking just on the image going why does my pink parts look that way? So that's part of the idea of a checklist is to me it should without even thinking you should click on a tool instantly go to the options bar because the options bars where all the settings for that tool and also remember that the setting stay the way you left them. So if you literally last use the clone stamp tool two months ago, it will still look the way you did. You had it two months ago, so going through and saying, ok, one of the settings for the tool, what are the you know, anything you need to do? And we'll talk about ways shortly how you can improve that's you don't always have to be checking as much, but so here's an example, something you may have encountered, I got my paintbrush, I'm looking up here and I got all the options I want. I'm going to choose a nice big brush so I can see it. And all of sudden I get this little symbol see that little symbol floating there? I like to call this the I'm sorry, dave, I can't let you do that symbol. It's only works if your name is dave and you've watched two thousand one space, obviously, but it's telling me I can't paint for some reason what is what is causing me the problem. I've got all the settings up here, but now I looked in the second place I look is my layers panel well, previously I had added a blank layer, and without realizing it, I turned off the visibility well, you can't paint on a layer can't see so that's what that symbol is showing me is you can't now sometimes if you actually click, it will give you a message that explains it. Sometimes the explanation is let's just say, not terribly helpful. S o this case it is because as, oh, the target layer is hidden, so then I say, all right, well, now I want to put that back on. Now, as soon as I see the shape of the brush, I know now that I can do whatever paint stroke I want, so any time you see that little symbol, well, that will cancel symbol or what do you want to call it? The you can't do that symbol? That means something in your checklist is amiss, it could be that you're on the wrong layer or your maybe have, ah, type of layer that you can't work directly on, or maybe you have a selection here's a thing that I used to drive myself crazy with this where I'd be working down in here. So I make a little selection, so I just got a little area selected down here and then as I went toe work, I zoomed in somewhere else, and I'm trying to work and wonder why nothing's happening. Well, because I still have a selection but it's down there and I can't see it so if you ever are working on something and you're wondering why nothing's happening when you're zoomed in, you can see the entire screen. One of first things I check is if I see the word d select, that means I must have a selection somewhere, so if I don't want to restrict myself to only working that selection and I see that we're de select now I know that when I go on to my next step, it's gonna work because I no longer have that selection, so those are just examples of the kind of checklist thing that you should be considering all the time, so in my brain as I'm working away, trying to demonstrate things without saying it out loud, I'm constantly looking options bar layers, you know, making sure everything's ready to go and the reason for doing that is I think if you think checklist, you'll spend more time doing unless time undoing because what happens to people's, they try a tool and go, whoa, don't do that. And by the way, if you didn't already feel this out photo shop is not voice activated, so you can just go no or it stop because that that would help, so we need to undo look at the settings and then try it again so for me that's step number one is before you jump right in use a tool very quickly look at the tool settings now some of them you may not know quite yet what settings to use, but at least part of the habit you're forming is make sure you're checking those settings first as opposed to using the tool and then kind of going well, what that's weird why did that happen? Um another related kind of habit is I like to rely on layers so that I do everything using layers to make the decision. So for example instead of changing the opacity of the brush, what I'm going to do is always paint everything at one hundred percent capacity because here's the difference so let's say I have my paintbrush here and I in the options bar changed the paintbrush to some lower a padded capacity like they fifty something percent because I want the brush to be semisi through like that. Well, that's fine, but the problem is I just set my ceiling at fifty five percent in other words I can't come back on our later and go I wish I'd made that brush less see through because I can't it's at fifty five that's my ceiling so with very few exceptions I generally don't change the opacity in the tool I change it on the layer so I would add a layer paint on the layer and then lower the layer, opacity toe whatever percent I want, so I still end up with the effect that I want. But the difference is, as long as I say this in the appropriate way, which is a photoshopped document, I can always come back later and say, I wish I'd put it at seventy percent. Well, I just put up to seventy percent, and that applies for anything where you have settings like capacity or blend mode. I would say do it in the layer because when you use it with the tool assumes you let go, the tool you're done, you can't unless you undo it right away. You can't come back tomorrow the next day and say, I wish I change that blend mode to a different one. Here you can. So one of my other kind of suggestions of a very good habit to get into is never worked directly on the background layer, with some exception. I use words like never, but I mean, if you see a big speck of dust on the background later, okay? That's, not we're talking about, but generally working. I don't want to work on the background, I want to add a blank layer and work on that. And that's one of the habits that way that gets us back to this idea of being able to change our mind and more flexibility and months from now I can open a document and we use something because it's on its own layer now I'm going to probably say this quite a few times, but I'll say it now to be sure without exception I always save every document working on as a psd file ptsd is photo shops native format now some people could successfully argue that tiff is very much the same which is technically true but I'll tell you my kind of I don't what the word is silly reason for doing it this way it might seem silly, but it actually makes perfect sense to me when I look in a folder and I see files with extensions on the end of the icy dot j peg I know that's my quote unquote final version because you can't save layers as part of a jpeg files if I saw dr tiff there's really no way of me knowing just by looking at that file name whether has layers or not because tiff you could either save with layers or you could not so my philosophy became if I always say the layer documents adopt psd them without exception I know that's my layered version that's my flattened version so that's just my approach some people prefer tiff I just prefer psd for that main reason is it just tells me very quickly, visually. So when I look in a folder, I see a raw file. I see a psd, which I think it was my master working file that I could go back to work on. And then I see the flattened version in that j peg so here's, the other kind of related topic to that everyone has their own approach as to a system when you're working on documents and you want to kind of save progressively what I used to do. And this might seem find it funny to say this, but if I was working on a project id, end up saving all these versions, like bridge one bridge to bridge three and I'm sure none of you have ever done that right, or sometimes you might call it abc, but the problem with that is you end up with these five calls called files called bridge. One, two, three, four, five and then six months later, you go bridge three like, how is that different from five? I don't even know. So now what I do is I have one master file just called bridge dot psd, and within that I have variations and things I can work with. When I'm happy I go save a copy that's my j peg final version I always put final in air quotes because the advantage having your master file is this one is never final really because you've got this master copy you can go back to what any time, so that only works if you save the layers so there is a command in photo shop was going to add some layers here that is an option for you. You might have seen it before. I don't like to even say this out loud because it's such a bad bad thing to do in photo show. In fact, for many years I've been on ly semi jokingly calling this photo shops f word it's bad he should not use it because if you do that what's going to happen is you've thrown away all that flexibility but people's responses but I need to have a j peg or something that's flattened. Well, then you do it this way you do save as because here's what happens in this dialog box? Because there are layers, it assumes photoshopped format and you see there's, a little check box says layers would say yes, I will include your layers so this is how I would save this file as my working copy is something dot psd, then once I decide now I need that final flattened version all I do is change it to j peg and you see when you do it unchecked slayers because technically you can't save a j peg with layers so this way in one dialog box I'm saving a copy I'm flattening that copy under a different file name but that way and keeping those two versions the multi layered version and the flattened version that is going to be the one that is my final that aiken send off to a client but the advantage is that they say oh, we love this but I'm sure you've been counting when clients say can you just change this one thing because they always word the word just because they're thinking going take you five minutes and you're thinking maybe not but if you have the layered version then you say why yes I can for my minimum charge of three thousand dollars I will go to back to my layered version tweet those layers and save another flattened copy but that only works if you have these master copy final version kind of workflow thing happening so it's just a habit to get into how you name your files that's up to you but for me it's worked very easily makes a lot of sense to me just say dot psd is my master file anything else is my flattened copy I never and I don't use this word lightly never just choose flatten because if I do I'm throwing away options and let me quickly add this to the main reason people say well, I felt like I need to flatten it because the file size was getting so big and my responses go buy more storage and I'm on ly not joking about that because it used to be back in the good old days of early versions of photoshopped that you had to be worried about that because you're old hard drive wasn't that big but now that should never be the reason to flatten the file is saying oh it's getting so big save a flattened copy that will make it smaller but keep your master copy with all those layers because that is your work that's like saying that someone we're not going to keep the negatives from my film camera because I'll never use them again this is kind of the same equivalent this is our negatives is having all this layered structure that we can go back to so we'll talk more about that in a second but let's go back to this first concept of checking checking our tool settings all the time generally what people find I think is a lot of the time you use similar kind of function so as you're working you say well when I'm working with this tool I use these kind of settings so instead of every time for example is look at the type tool when I click on the type tool, I have all these settings you know, font style, size, alignment all those kind of things and you might have a particular look that you use on a regular basis instead of every time you go to click on the type tool remembering ok, its impact forty eight left aline and instead of doing that every time you khun do what's called a preset and one of the best things ever invented and photoshopped my pain is anything with the word preset, innit? Preset comes from the latin pre died on the idea, but it means before do all the work before pre working so with for example, a tool preset here's what I would do, I would just add any old tax doesn't matter because at this point I'm just trying to get things like size and look so I'm going to just make this look the way I want to say I want this font I want to be this size and left a line, but I'd like it to be white, whatever it is and then I commit the type to say I'm finished, but instead of moving on because clearly I don't really want that word there I come over here see the vory left hand side of the options bar there's a letter t a lot of people think that's just an indication of what tool you're using that's part of it, but just beside this in a very cleverly hidden adobe thing where they make it really hard to see this little pop up menu is something called tool presets, so I can say I would like to make a presets instead of me trying to remember all those settings. So in adobe interface, anytime you see a little turning page that's the icon for new, so new layer knew what, in this case, new tool preset. So what I want to do is I've already entered in all my size and everything else for my type, I'm goingto click on this and it's going to ask me the name my new tool precept. Now it'll be tries to help us by calling it horizontal type tool blah, blah, blah. Well, my philosophy is the fact that has a big letter t beside it kind of reminds me it's for the type tools, so I don't want to waste all that important space. So personally I normally take out whatever the tool name is and put something in here impact regular one hundred ten I have my own little short form, like I do, like left aligned l a and then white something that I know what it is now there's two different approach you could take here. One would be just to name the pre set the tool settings like this size of font. The other would be what you use it for. So if you're using, this is going to be my, I don't know heading on a page or something like that, that part's up to you, but what happens is when I click ok, now I have that new setting there. So here, if I'm working, let me just go and change to something else. That's clearly very difference. You can see that I've got a very different looking type, what I won't need to do, and this is the word that worth apart pre of pre set comes in is before I start typing. In other words, if you start typing it's too late, it's not pre anymore it's post, you know, that's, not they won't work. So before I started typing instead of coming up here and saying I needed change all these settings, all I do is say, use this preset, it fills in all the blanks, and now I start typing, but it only works if you choose it first, and that applies with all of these tools. Now there are some tool presets that come built in to photo shop, whether you will ever use them or not is how should I say questionable and one of things that you know I have the greatest respect for adobe and what they do but every so often I can't help but make little jokes that there expense like this one because this has been the same for a long time see the bottom of this little pull dimensions current tool on lee that's the way I would normally use it but if I unchecked that I can see what other presets they provide include oh look phil with bubbles pattern what an awesome practical useful precept that is because almost every day I like to fill with bubbles pattern or maybe do a peanut dash and those are two of the process that it will be give to us isn't that nice of them to give us once we will never ever use so as we'll see later you khun thankfully remove those but so there's two different approaches with a tool preset one is access them from here and on ly have it set to current toe on lee that's my suggestion it makes better sense because when you're using the type tool, why would you want to see crop to a pre sentence? However, there is an interesting option that is also available let's assume for the moment I've gone through and made presets for the crop tool and the my lasso to whatever it is all the different tools there is ah, panel called tool presets, and I already have it here, it's showing right here. So this one it's interesting tio actually use this from kind of a workflow standpoint because what this tool preset panel does it lets you switch to the tool and apply that preset. So in other words, instead of going awaiting to crop this, go click on the crop tool, then look at my crop tool presets. Instead, I clicked directly on here. Now, just before I do that, keep in mind I'm on the type tool. I have all those settings as soon as I click on this tool preset look what happens it instantly says, switch to the crop toe with this pre set in mind so it's such a time saver because it means instead of having to go through that checklist to go well, now that I switch tools, I'll have to check all my settings by creating a siri's of these precepts and using this panel as a way of kind of choosing your tool. It almost makes sense, because now you're cutting the chase and saying, don't just choose the tool for me. Choose the tool using this preset so what's going to happen here is this is the part when I first started the introduction saying initially is going to slow you down going to take some time this is where the time comes in because you have to go through and think what kind of options do I need? What kind of presets do I want? The good news is you're going to keep adding them at any time so you don't have to worry and say, oh it's too late now you can if you suddenly realize that's the fourth time today I've used that tool setting then just make it to a preset now presets doesn't just mean tool presets that's just one type of preset if we look under the edit menu under presets now in previous runs the photo shop it was right here but now it's under this little sub menu the preset manager shows you these are all the different types of presets you can have in photoshopped swatches, brushes, grading styles, patterns, contours, custom shapes and tools whatever one's you create show up in this panel but also the preset manager determines what shows up in any panel. So for example, in that tool presets where I saw phil with bubbles, pattern and peanut dash that I'll never, ever use, I would come here and find those and just go delete delete and you're just cleaning up and saying thank you, adobe, forgiving the presets that I will never use. Let me show just the ones that I actually will use and that applies to all of these things. So if you are looking in, I don't know that patterns panel or whatever it is swatches, and you think I'm going to never use these brushes or whatever it is this determines the appearance of the brushes panel. So here I can either change the order of the brushes by dragging them around to say, I love this brush so much it should be up here, or if you don't want the marijuana, I mean the maple leaf brush you, khun just delete that right out of there, it's all up to you so you can customize this in any way that you want. If you make your own presets, then you also have the option of saving them. So at a certain point, let's assume for a moment that I have gone through and made a bunch of tulle presets. So, uh, let's do it. I guess I still show this way. Um, actually use brushes. I think all these years she so let's pretend I haven't yet, but let's, pretend some of these brushes are ones that I made and I want to make sure that I don't lose any of my presets. So this one I'm about to show you applies to any type of pre set that shows up in the precept manager so once you've invested the time to make tool presets or brushes, presets or swatches, or whatever it is, then I would suggest at a certain point you want to say, ok, these ones right here, our mind let's pretend they aren't, but we'll pretend they are, so I just clicked on this one. I shift click on this one and it's selects them all to say, here is my set of brushes, and what I want to do is create a backup, so I don't have to create them over again. So instead of all that, for the time it took me invested to make them, I don't want to do that again, so you just choose save set now when you do, the first thing that happens is photoshopped prompts you to save it in the appropriate folder, so because I'm working on brushes, it prompts me to save it in the photo shop brushes preset folder, which is good, because that means the next time I quit and restart photoshopped, my brushes will actually appear under a list. That I can low when I want them, but also in a second. But what I would do is do this twice the first time I would save in the folder that it prompts you to the second time, I would go back, and I would have made a folder somewhere outside of photos show called my custom presets and say them into their that becomes your backup plan. So you may not be familiar with this, but there's a function that happens sometimes in photo shop called a crash. You may have heard of it sometimes that crashes so horribly bad that all your presets are gone and you have to start over again. So by having this safely stored somewhere away from photoshopped, it means then you could just load them back in again, and one of things they didn't see a six, which is great, and I was so happy because I've been asking this for years is when you install the new, when you have presets and you stall the new version, now ask you, would you like me to migrate your process? The new versions, like hallelujah, yes, because otherwise it was just taking forever to sit there and go ok need to export all these and import them so now, as soon as you launch the newark install the new version of photo shop is going to ask you if you I see all these priests would you like me to move them over? So presets there's two key things I think about one is you can just determine the look of the panels by using this precept manager, but then the other one is you can make your own in almost every case, back to this work habit idea, is it tool? Presets is one thing, because that way you're saying I'm going toe customize because I can decide how I want to have my tools function, not have to always be worrying about going through this kind of check klis thing so that's one kind of habit thing, the other one that I was just I'm a big fan of using layers, and sometimes I think what we need to think about is so we talked earlier on about this idea of of thinking checklist, the other kind of concept that I often throw out to people is think backwards so a lot of people, our thinking like I need to get to this end result and they just started jump in, I liketo start from the end result go what I want to end up with. Because sometimes life can be a little simpler if you do that so I'm going to show you an example here where for some design function I want to end up with a siri's of squares evenly spaced out across the page that's my goal now what I would have done in the past until I really thought about it was just slap a bunch of squares on there and then spur forever with rulers and things trying to make them evenly spaced out which worked but it was kind of the long way so now I take a different approach and I think I want to end up with this so at first it's going to seem like I'm kind of taking on ought approach but you'll see the why I do this in the first place so I made a new layer and I put this one square on this layer now if I just simply copied it and moved it myself now it's up to me to decide the spacing so here's a kn alternate approach most of you I'm sure probably familiar with free transform minds of command that we do things or weaken scale and rotate all that kind of stuff well, there is a little hidden trick if you throw in the option key on the mac are all for windows so instead of just doing free transform your doing either option free transforming the mac are all free transformed you can do it through the keyboard as well. Command option to your control. All t it still looks the same way. But what that op your bulky does is put the phrase to a copy. Meaning whatever I do next, do it to a copy. So for example, in this case, all I really want to do is move it over that much. I have no idea how much that is. I just visually I'm saying that's how much I want then I hit enter to tell free, transform and finished it's created a new layer with that second square that far apart. Now what I want to tell a photo shop is you do it for me. I want you to make more squares that are that far apart so hard to do that use another super secret keyboard shortcut, which is basically the entire left side of your keyboard. T so command option, shifty or control all shifty is a keyboard shortcut for basically whatever you just did do it again. So command option, shifty or control all shifty is going to say repeat that transformation so when I do it, watch what happens, it goes bang bang thing. Each time I press it, it just says, let me put that next square the same distance apart and the only downside to it is I've ended up with whatever it is seven separate layers, but I'm ok with that because eventually aiken take those separate layers and merge them together, but at least at least is letting me do that if this one actually worked out relatively well but let's pretend that my spacing was off so I actually wanted this one to be more like this, but when I do that now all the spacing is off, so in the layers panel I click on the top layer shift click on the bottom layer so they're all selected and then I go up here in the options bar and these little symbols up of the top are either a line or distribute so the ones on the left are allying these ones or distribute so I'm basically just going to say I want to distribute these by their centers and it lines them up for me once I've done all that now I can take all those separate layers and merge them together, so I ended up with what I wanted, which was one layer filled with evenly spaced out squares, but I took a different approach instead of me trying to do it all on one layer and painting myself into a corner so that's what I mean by thinking backwards is take the approach of what I want to end up with and sometimes how you get there seems like a long roundabout way to get there but it's given me more control and more options and part of that is because I use layers twenty time you're doing things with layers, it just means you have more options and more control now just to show you another example of what this function does because it's kind of cool this is just a stock photo of a wine bottle in the whole bottle is there you just can't see it right now because it's too big for the layer but you can see the whole thing is they're so if I do the same thing with this command option or control all tea and I'm going toe, move it over here but then also scale it down little bits and I'm adding a second factor in not just moving I'm moving and scaling so now when I tell a photoshopped do it again, it makes the wine bottles get progressively smaller because I'm saying repeat that same operation so this whole thing you have to think about is not just do another copy it literally means whatever you just did do it again because in this case what I just did was moved and scale little bit it moves it scales that again, you can very quickly do things that that would have taken so much longer before but that's a matter of once you know what this function can do you can start seeing ways where you can put it into into play now another example off this whole kind of thinking backwards thing and this is where layers and a particular type of layers is really, really important adjustment layers most people when they first start using photo shop they say to themselves I want to make this photo brighter or darker so they go to the adjustment menu and they see the seventeen different ways you can do that and most people go to brightness and contrast causes the one that makes sense so let me just quickly add there is one very effective way to use this command and that's to click the cancel button so these air better levels and kurds but the problem is it's still you're doing it directly to the image and it's very global in the words of doing to the whole photograph so for example let me just say the difference between using levels under that command and using an alternate method and I'm gonna overdue it's you can see the point but let's pretend I wanted to adjust this photograph but I've been staring into the beautiful seattle son that comes out sometimes apparently so I macon over adjustment and I click ok and then I save the document I come back the next day and go well that what was I thinking that was really bad well, the problem is if I go back to levels it's already been updated so if you this little thing here is called a history ram you ever see a history graham that looks like this a manager is good luck right up there because if you see that there's nothing to work with so that would be a really bad thing to do. So luckily in this case I can undo it so the much better way would be go to the layers panel at the bottom layers panel is a set of commands that have the same names but the difference is it's an adjustment layer so the adjustment by nature is not permanent, so here it looks like the same thing, right differences it's off to the side so there's two advances first of all levels command sticks a big dialogue box if you have to try and figure out where to put stuff here it's off to the side but if I were to make that same really bad adjustment if you look really closely at this levels panel here you'll see there's one very important thing missing compared to levels and that's okay, you don't ever actually click ok? You just leave it so it's like you're leaving it in preview so this way if I say this document is a psd and came back two days later and went wow, that was a really bad decision, it's ok? Because all the information still there, I can just move it back so the advantage when justin there right away is it's never permanent, you can always try something and then maybe printed and though it didn't quite work, go back to the adjustment as soon as you have any kind of adjustment within, ok button, that means you're making a fairly permanent decision, and my suggestion is from a workflow, a habit standpoint is don't make any perm decisions if you can avoid it, find ways given a choice that, for example, levels or curves adjust mayor, my pain is way better than levels or curves the adjustment because those are much more permanent, here's the other advantage and doing this so here's an interesting example, this is a situation I found myself in some time ago where someone asked me they said, can you just make it look like our product labels on the top of this box? And I'm like, if I could, you know, see the top of the box? Maybe I could, but because it's so overexposed, how do I even know where the edges the box are? So I want to try and make a selection, but I can't really see what I'm doing so here's, where I would use the temporary nature of an adjustment layer is do something really bad to the point where most of the box it's really that, but now I can see where the edges so now I use whatever selection to alicia issues this one because it's, quick and easy, so I'm going to this really quickly just for the sake of demonstration, then here's another example of ending up with something I didn't get the whole thing, but it was easier for me to select too much and then switch to a different tool and get the rest. So now I have the top of the box elected now that I've done that, I don't need this anymore, so because it was temporary, I was able to really overdo it so I could see better what I wanted to do. Once I got that done, then I threw it away so it's kind of back to that same end up with the look that I wanted and I just one layers are brilliant for that let's go back to this photo and throw this away let's say that I wanted to add just a few more little touches of darkening to this photograph. Well, there's again many ways to do that, things like the dodge and burn tools, all that kind of stuff, but they're all quite permanent, so what I would probably suggest and I say probably but I really mean I would definitely suggest is something like this so I want to make ultimate I want to end up with a subtle difference, but one of the problems we will face with is it's hard to be subtle it's hard to know where to paint things where it's too subtle so what I'm going to do here with this curves I mean it's sees you can see the whole thing is I'm going to go way overboard and make everything way too dark so I just pulled down the top of the curve to make it really dark whenever you have an adjustment layer here's the curve adjustment and there's this big box beside which is a layer mask layer mask in this case determines what part of this is visible or not so here because the layer mask is white that curves adjustment is affecting everything well I don't want to affect everything I wanted to affect certain parts of it so I take this mask and I just inverted to fill it with black so what's now happened is I have the curves adjustment but it's completely hidden with black so what I want to do now is take my paintbrush and this is where I go through my checklist I want to make sure I'm one hundred percent capacity I don't need that big a brush though something like this maybe and at first when I paint with white what I'm gonna do is reveal the effects of the curves of just meyer wherever I paint and a first gonna look really over the top and overdone it looks like I'm just painting with black and I'm just gonna do a few spots or just you can see what I'm doing so at first you kind of go over that day that looks awesome I would love to retouch my photos that way because it looks so realistic but that's just so I could easily see where I was painting now that I've done that I come back here and I say what? I really only want to darken it this much so see the difference it's subtle but there is a change made and because it's so subtle I think I went a little too high so it's really a little too subtle to see their ego and it's still a little too much when I'm trying to show that the concept is overdue something so you can see where you're painting on the mask knowing that you can always pull it back to the place you want and I do that with a lot of things like when you're tryingto maybe suddenly changed the color of someone shirt you initially change it to fluorescent orange so you can really see where you're working and then you use hugh saturation put it back to some normal amount so this kind of I think demonstrates to different things one is why in just there's air so important and also that same concept ofthe what I want to end up with I want to end up with a subtle change but instead I've seen people spent twenty minutes painting going I think it's working why you that's working to heart why do that when there's this way where you can make your life easier to see what you're doing and then pull it back now that same approach I think is important in terms of the whole working with flexibility it's actually switched to a different doctor by the way in case you hadn't realized I'm using this thing called many bridge with just a quick way of finding access to much to bridge just within photo shop as a little panels instead of me having to switch applications just quicker all right? So let's say for example in this case a very popular thing people want to do two photographs is a vignette where it has like a dark area around the outside there's plenty of ways of doing that in photo shop one way that people used to do and I'm only showing in this way to show the difference of why it's not necessarily the best way it still works is to make a new layer and then fill it with black then they take their marquee selection tool and they make a selection and then they're faced with using this lovely thing called better now the challenge with for this dialog box the way has not changed since the very first version of photo shop, and it really isn't very helpful because all is saying is put in some number how on earth you know what number to put in you don't most people make it seem like they know, because they go, I'm going to use seventy eight I don't know there's, no preview, so he just arbitrarily picks ana maria, click ok, and it has done something, but I don't really know until I press delete and now I have the vignette look and it's ok, but the problem is everything about this is permanent. If I save this now and come back tomorrow, I can't change anything other than deleting it so I would personally take a different approach, which is going to give me more control and it's gonna let me we use this on other photographs and I do that using again on adjustment layer like curves, so I'm going to take this curve and do the same con thing gonna drag it way down so it effectively looks like black. And this is the only part of this that first is a little kind of tricky this next step because it doesn't have to kind of think about the logic of this that adjusting layer has that layer mass like you saw before because it's white everything is equally looking black so in this case what I need to do and this is the part that kind of throws people off a bit I need to make a selection and fill it with black so it doesn't look black so I'm hiding the adjustment layer at that part so when I fill it with black I get that effect which is ok now the outside edges air black but it still doesn't look very vignette e so the other part of this and this has been the last couple of virgin photoshopped has this wonderful thing I love the mass panel with a command here's feather but the difference is it's live feathering so when I move it see what look what's happening to that black border so I can say I would like it right there once again no ok button so when I leave it I'm just leaving it kind of in preview so I can say this as a psd when I come back and ready to print it I can look at and kind of go it looks a little too dark so I have to do is go to the adjustable air part and make it less dark or darker if I want if I decide the ages to feather, you're not feathery enough I can change this and this is ultimately just a shape. So if I decide the vignette is too big, I use free, transform and aiken scale it down and make it a smaller or think the vignette edge bigger. Now, as long as I say this is a psd there's one other really nice advantage and that is once I've done this once I can take any other photograph let's just use this one and one of the great things about layers is they're very share a ble between documents, so as long as I'm on this layer, I take my move tool and I just drag from one document to the other and now I have the same effect there now it's too small because the photos are different, but again no problem free transform make it bigger. The edge looks a little too hard to me, so I go back to the mass part make it even more feathered, but you see the difference. I'm not having to start from scratch because I'm using the work I already did and I'm just tweaking it so one of the other great advantage of adjustment layers it's very simple to take that adjustment and apply it to a different photograph a lot of people talk and I'll be doing a whole class on this on this whole working non destructively but here to me is part of the reason not on lee is it more flexible in terms of changing your mind it also means you can repurpose and say I like that effect I want to move it to a different photograph just need to adjust it slightly so any time you can reuse and repurpose instead of rebuild everything from scratch that's also a good habit to get into because it's also going to save you time okay so adjustment layers that's one of the key things keep in mind is that that that it's that flexible nature of how it works so I'm going to start closing some of these documents oh, speaking of work habits sorry I have this habit I love keyboard shortcuts keyboard shortcuts is like the lazy man's way to use photo shop the challenges you have to remember keyboard shortcuts how do people here like to use keyboard shortcuts? Awesome and I also saw you kind of do the kind of this like me and kind of do it maybe um I think keyboard shortcuts are awesome because it saves you time the challenges there's so many of them and trying to determine how to remember them so my suggestion is you start off if you don't currently use keyboard shortcuts you start off a little bit of time now, in the next class is going to teach about customizing, photoshopped. Sure, they can even make your own keyboard shortcuts, but here's a simple example that I was doing without even thinking about it. I want to close these documents, so I'm pressing commander control w for close window, and then this dialog box opens up and it says, do you want to say the changes? And I don't, so I'm just pressing d for don't save. So is a habit on this going commando beauty party that just like, I need to say that for some reason so that's just one of those things where at first I'd take my mouse and I click on don't save and then somewhere I read once, or you could president and I was like, wow, that's easier. So it just became a habit, but at first, and this is the key point I want to make. When you're learning keyboard shortcuts, it will slow you down, because the way most people learn keyboard shortcuts is they go toe a menu and go immense size command, okay, so they let go, and then they press it and that's, fine, because that is how you learn, but you just need to be prepared for the fact and accept the fact that at first using the keyboard learning to use the keyboard will slow you down but one of things that I think is really useful if you're not doing this already this khun save you a ton of time is choosing tools most most of us start off by on I want to use this tool so wherever you are on your computer you move all the way over and you click on the tools you go right back to where you were toe work well, every tool and photo shop has a single letter you compress to activate the tool many of them are quite logical like em for marquis l for lasso tea for type c for crop somewhere bit more research like eye for eye dropper or v for move on and then there's others that are just like w for the quick selection tool and you're like what and that's because the quick selection tool shares the same slot as the magic wand tool so this is where it gets tricky so if you're not sure and this is part of the learning process you think oh, that there's a keyboard shortcut for this tool so you look at and you go why for the history brush okay, so then you take your mouth off of that and then you press the letter so at first again it's going to slow you down but think about this for a second. I'm working way over here in the talk and see where my mouse isn't very top right hand corner with my pink with my history brush and I side wrong brush I want the paintbrush instead of going all the way over, clicking on the brush in coming back. I just know it's b for brush and now I'm a different tool if I want to switch to the lasso tool, I press l so each tool has a single letter and said some of them makes sense others are a bit more of a stretch, so I need to share. This is my all time favorite photo shop story I've told this a thousand times at every time ever taught, but it's it's kind of both a funny story thing, but also helps you think of ways to remember tool setting. So many years ago, I was teaching a seminar in atlanta. George and I was talking about how each tool has a single letter and, you know, the same thing I just said about some are easy remember some part, and I said some of them, like the healing brush, is j for the healing brush. I said really j for the healing brush how you ever remember that and I swear to you without missing a beat someone in the room showdown just think jesus on healed and I was like sold so from that day forward I know that it's j for the healing brush because how could you ever forget that so for me now I forget other ones but I'll never ever forget it's j for the healing brush so some of them even the ones that don't make sense at first you can come up with some story or something that helps you remember and the reality is there will be some tools you will not use I like to teach when I'm teaching brand new beginners I actually have a slide that I show this every tool and photo shop and there's like I don't know sixty eight or something and then I gray out the ones they're unlikely using its left with like twelve because on a day to day basis we use a core of tools the other ones are more specialty. So part of the reason people are hesitant to learn keyboard shortcuts for tools is there's so many you'll find that on a daily basis he used brush clone, stamp whatever you know accord that you use those the ones you'll learn now the only kind of little trick to this is here's for example the three lasso tools they're all elves so by default, what happens is if I'm working over here somewhere, I press l and it gets whatever the last lasso tool I just use if I want to cycle through them, I press shift l and then you'll see it's switching between all three lasso tools. So if you pop up a tool by clicking a letter, you realize it's the wrong one by default, it shift and the letter you can change that as a preference that just be the letter. So if you prefer disco, l l l the other thing they started doing in photo shop a while ago, which is kind of interesting, is called spring loaded keys on what that means is normally I would press like b for brush, and then when I'm finished pressed v for moved to go back, but the other option is if I click and hold on the letter b aiken brush mrs, I let go and goes back to the tool I was just on. So instead of switching, clicking and keeping your finger pressed on the key means, use that tool until I let go. And then it switches. Years ago, I was teaching in italy, and the translator told me that the original translator they had didn't use photo shop. So when the instructor said spring loaded keys, the translator said, keys with springs inside of them and people were like what you're talking about, so but that's another one of those things that you just try and if it if it makes sense to you, you start using it. The other related kind of thing we can do here is if you're using any tool and you decide you want to, for example, change your view, zoom in all that kind of stop rather than clicking on the zoom tool on my computer. The zoom tool is all rusted has cobwebs on it because I haven't clicked on it in years because there's no need to because to zoom in, I just hold down commander control on the space bar it temporarily gives me the zoom tool. Now I can zoom in soon as I let go, it goes whatever tool I just had. So instead of switching tools, the same kind of idea you're saying temporarily use this tool until I tell it, I want I'm finished now you could also zoom in by using keyboards, shortcuts for zooming in or the view menu that's all fine, too. I like using this command because the difference is when I, for example, use the keyboard to zoom in, it zooms in dead center of my document and my problem is I want to zoom in over here so set of zooming in and then scrolling over by holy on the shortcut, I can zoom in right where I want and you may notice this has been different. The last two versions of photoshopped. It used to be a draw, kind of a marquis to say zoom into this area photoshopped now uses something called scrubby zoom, which this is an interesting thing that people find. I find this a lot when adobe makes a change is most people hate it and then never use it or grudgingly use it. When I first saw this scrubby zoom thing for the first wild, because we are creatures of habit, it threw me a curve and I couldn't use it at all. But I realize it's so much better because in the previous surgeon photoshopped, you'd have to draw this marquee and kind of guess, wolf, I start up here, it'll zoom in over here somewhere now with this tool, when you position your mouse king saying, I'll put it right there, see right in the corner and then I dry outwards it zooming in whoever I started. And now I can go the other way and say I want to zoom back out against instead of switching tools to zoom in zoom out I'm starting always where I want to be my focal point on either drag into the right to zoom in or dragging the left zoom out same thing goes with scrolling instead of leaving what I'm doing going clicking on the hand tool I press just the space bar and this lets me scroll once I'm finished scrolling, I let go and goes back to whatever tool I just have now the exception for both of those is if you're typing because if you have the type to when you suppress the space part, you'll get a space so you can't do if using the type tool so what you do instead is just use it with any other tool and is that temporary kind of thing now a lot of people look at that and say ok that's great, but how will I ever remember that? Well, here's the great thing about this particular function it's so visual so if you're thinking yourself oh wait, I should use that shortcut for the hand tool what is it? I don't remember try it option no command control, no space paradise because the cursor is changing so nothing will happen if you press the wrong key, I shouldn't say that sometimes requests wronki and smoke will start coming on the sides of a computer, but it's fairly unlikely. So the good thing is, if you're not sure, just press and hold a key and it'll give you that visual feedback say, oh yeah, that's the one I wanted now, aiken, scroll and do whatever I want to do. Okay, so that's just a little bit of of work on keyboard shortcut kind of stuff. How many people here in our studio audience use camera raw with photo shop? Good awesome camera is this wonderful thing that allows us to capture the photo in this raw format and then apply settings and open and photo shop and I don't want to keep advertising other classes, but I will again in another class later on during photo shop with its really talks about this even more detail. But here is that thing with camera is out of the box it's set to a very permanent, non flexible way of working. So you open something into camera software and you say, all right, I'm going toe exposing overdo it again just so you can see him doing something and then down here it says open image. So when I choose it it basically applies those settings but now it just opens in photo shop is a regular layer and if there's something about it I don't like too bad the way cameras set up initially is like a one way street where you open it and photoshopped the end I'd much prefer toe have some interaction with it so instead and this is a case where I think adobe made a slight in my opinion a site error in their interface because there is actually a very important function in this raw window but the way that they suggest you find it is see down wait the bottom here or just says looks like information says like adobe rgb nineteen ninety eight that should be a button that says click me I'm very important but it doesn't and so a lot of people ignore because it just looks like information but it actually when you click on it has all this really important information like color space size resolution for printing all this important stuff. So a lot of people for example say how come my raw files always come in so big? Well, it's because that's what this is set to and if you didn't know it was there you wouldn't know that you could decide to open a smaller version if you wanted to so that's one example but to me the biggest one is this one right here open and photo shop as smart objects this should be flashing and golden the angels should saying, when you click on the link hole because what this does is it changes the rules completely so let's make it really bad this time. Now it says open object instead of open image, so I click on it. It still comes into photo shop, but the difference is now, and I'm going to even make some changes like let's do free transformed so you can see I'm doing some photo shop style stuff to it, but now I look at it go cash it's a little dark and robin saying, oh, well, have to start over again. It's really subtle, but over here in the layer there's a little tiny symbol in the corner of the what used to be the background layer that's the indications this thing called a smart object, and in this case a smart object means if I double click on it, it takes me right back to camera, and now I can say, I wish I had made the exposure more like this, suze, I click ok, it updates back in photo shop, so I've now created a two way street between photo shop and camera raw, and for me personally, I leave that on all the time. Because why wouldn't you want to have the political back and forth now? Let's get out of the way very quickly. There is a downside to it that you have to be prepared for luckily there's an easy solution and that is great. I've got this thing brought in it's the exposure that I want, and I just go to use the clone tamp tool and I get the little sorry you can't do that symbol because the thing is you can't work directly on this because technically it exists over there in camera aw, but the solution is at a new layer and just cling on to that, which is what I do with the clone stamped all anyway, because I prefer to clone and heals up on two separate layers. So that's really the on ly downside and there is one other minor thing well, could be minor, maybe not let's just this is gonna look silly, but I just want to show you some things you can see the difference here so I do some work looks wonderful, but then I decide away they need to adjust camera again to make it a bit darker and we're going to have a bit of a problem because when I use the clone stamp tool, it looked different. The clone layer will not update because it's a separate element so as much as it's nice to have that back and forth thing at a certain point, you still have to kind of make the decision. Well, this is kind of my final version of camera before I progress and do things like cloning and healing and anything of that nature, so if you're using camera, I would highly recommend doing that and again, all it means is the first time you have to make sure that you go down on this and check and you'll see it says open and photo shop as smart objects plural that's, adobe way of saying from now on open all camera as smart objects, which personally, I like I said, I keep it on all the time and if I ever do need to, for some reason doesn't happen that often not open as a smart army, there is a way to do it, but that for me so rarely comes up that I don't really worry about it. So that's for those you using camera that's really nice workflow thing because it means you've got that extra little bit of flexibility that we didn't have before. Okay, I want to show you one last thing here and then we'll have time for some questions so here's a fairly typical scenario I'm working on where I'm want to create something and I'm using a bunch of layers and I'm going to change my display here so it's a little easier for you to see for all y'all to see so you can see I've got a bunch of layers here now what I really want to do is I want to show this to my client with different options so I like to say, well, you could either look like this or it could look like that or you don't give them different options which could be change the order of the three boxes on the side or maybe put a stroke around them or changed the position of her name and in the past that would have meant make five or six or ten separate documents well one of the beautiful things about layers as you have this built in flexibility and there's what I would say is the most underutilized function and photoshopped that I think is brilliant is called layer cops and what it lets you do is capture different combinations of what the layers look like so it's a separate panel and it's called layer camps and at first it doesn't look like much, says last documents state and then there's some buttons at the bottom so it doesn't look like too much so let's say first of all I want to capture this combination just the way it is right now so I click on the same kind of new button in this case it says what do you want to call this layer comp now this is where I would suggest coming up with some name system that you like is calling it layer comp one is not going to be terribly helpful to you later on so I'm going to call this basic look uh sorry it was kenny and spelling basic look all layers and I wanted to include the visibility the layers where they are and any appearance like I had a stroke or uh drop shot or anything like that and you can put comments if you want to put some comment for your own use that says this is the version blah blah blah so we click ok now nothing's gonna happen at first cause all it's doing is recording everything so then I say well let's just do one where there's no name and there's no graphic I think it's boring but they might want that so let's make another layer calm that says no text no graphic and basically all I'm doing is any time it could change in this case let's just take our type player and say what if it was down here instead which again I'm not suggesting I like this but I'm just trying to show different options so text moved and you could imagine that I would continue doing a lot of these and it also means let's do one more just for the sake of argument let's take this top player and wood over here and take this layer and what over there? Okay, so now I've got these different options so it's one document, but I've got different choice, and all I could do is click beside these and say here's option one here's option to here's option three here's option for now in previous to me, that would have been four separate documents called alex one alex to alexi, but they were all would have been replicating the same thing. So what a layer cop does? It basically records the position, the visibility and any appearance like layer style opacity of your current layers. What it won't do and this is important is I couldn't say we'll make one layer cop where the type was in this fought and make a different one words in different font because going change every layer because that's still one type player and this for me moving his position. So if I wanted to different type players for her name, I'd have to make two different type players and in one layer comes show one on one layer come show the other now to me, the beauty of this is when I save this psd it's automatically say this part of it, so every time I open this from now on, I can look through and go, which one do I like? Now, this time when I'm clicking, don't watch the image, watch the layers panel and you'll see it's actually turning layers on and off moving them so instead of me having to go hide, hide, hide, show show show movie moved is doing all that for me. So the on ly a couple of catches two it is again, if you want to have something like a logo in two different sizes, that would be in two different local layers. That's the only really catch to it, but you can do just about anything because one of the options is layer styles and layer styles includes not just drop shot himself at that, but things like capacity. So if I want to make one where her name was partially see through, then I would just make another layer come for that and there's really no limit to how many you can create the on ly other thing that kind of throws a spanner in the works is let's save the cigar. My had a blank layer that I was intending to use for something, and then I made a new layer comp for some purpose. Later on, I went, oh, I don't want you that blank layer as soon as I throw it out a little warning some was going to say, well, hold on a second now you that layer is part of that layer comp so you have to decide a weight should I throw that are in this case it's ok? And I'm just saying don't be surprised if you try to delete layers after the fact that might give you that little warning saying well, hold on now that layer is part of this layer copies that okay? And some of the time it is other times it's a good wine to go wait a better undo that cause I actually do use that but you can do so many things with this and what I love about this is the experimental nature of it. So for example, you decide what would this look like? It was black and white she had on a black from white adjustable air that becomes one of your layer compasses to show the black and white adjustment another one doesn't have it or a third one where the black and white adjustment is semisi through so you're making it kind of attempted color whatever you want, so a lot of the things that I recommend or not just I mean there I guess a lot of them are motivated by speed and efficiency but to me if you can get things done more quickly it opens up more time to be creative so one of the things with layer comp says you could just try things say, what happens if I switch these around and you make that a layer comp because you might think it looks better this way? But you show your client and they go, oh, I love that one and not really but okay, you're the client, so I've already got that now if just as an added bonus let's, pretend these air my layer complain now have whatever it is five for for them and I want to show them to my client and they're not sitting right beside me, so I need to still end up with four separate files. There is actually a command that's called layer cops to files, and it will automatically make a j peg from each one of your layer cops. So then you could post those somewhere, email them to someone say which woman do you want when they say this is the one I want? Then you just come back to your layer document and you click on that layer competent and export out whoever you want. So just about every layer function you could think of could be included in this, and for me it made a my way of working and photoshopped has always been I'd rather air on the side of having too many layers and lots of choices that not enough so layer camps was like I swear they thought look inside my brain when they invented it was like yes that's perfect because now instead of having five separate documents, I have one with all my layers and I use layer camps as my alex one alex to alex three as opposed to five separate documents that after than figure out which one is which so this is one of these things where it may not be an everyday thing because when you're working on some document is open it and work on it but for situations where the circumstances makes sense layer concert awesome and again it's all it is is just looking at this little dialogue box and saying name it something and then when you say the psd it's already built in and included his party or file does anyone in the in studio audience have questions for days when your first learning use photo shop would you advocate the use of a a keyboard screen that shows some of the shortcuts on it? Well, that's a good question I mean, I think that's a personal thing my only concern is for some people that would just make it more overwhelming because they're seeing so many options I usually suggest that when people are first starting out learning shortcuts find a core of maybe eight to ten that you use all the time and once those become more comfortable and accept it in the next class, we'll talk about how you can customize them. So if there's a short cut that you wish was different, you can make it more familiar to you. So that's another option as well. Thanks, sure. Is it possible back in the presets? Is it possible to set up a water mark as a preset to use, like as a brush? Well, you can you condemn fine, anything could be made into a brush and again, I hate to say in the next class we'll do that, but we will and that's so that's technically a kind of pre set meaning it's already there. So then when you go to use that you just click on it and put it on a separate layer and apply it that way. So that's one of the options when with brushes, you can customize brushes, you do everything in photo shop. Would you do anything in light room first and then moved to photo shop after I don't personally use light room? When it first came out, I looked at it, and for my style of work, I'm a little bit different. I think that many people, a lot of people look at photo shop is kind of if I need to fix it and photo shop, I take photos with the intent of doing something to them in photo shop. So, for example, in this case, I took this photo with her standing off to one side because I knew I was going to put something on the other side, so in that case, light room wouldn't have helped me because I wouldn't need to end up in forced off anyway, so I use camera raw and photo shop as I showed you with that smart object is that's the equivalent of what you do in light from the sliders in light room are the same as the sliders in camera, so for me, it made better sense to use kameron photo shop because the interaction between them is much tighter. You can do it from light room to photo shop, but the back and forth is easier. My pain from photoshopped a camera? Yeah, on the layer camps when you were making, like you're moving things around and making layers, how do you go about like, if you change one of those and you want does, does the layer compromise that? Does that automatically adjust? You need to save a new layer comp if you can take a position, it depends a little bit on what you're doing, like if you're if you tweak it, it'll usually you get a warning symbol, and that warning symbol is telling you, you've made some change, and you know if we can see but see, that little middle symbol almost looks like a recycle similar middle that's like update. So if you say I want this to be the new version of my layer copy, hit that button and will update to whatever change you just made, which is usually the easiest way. The biggest challenge said is if you delete a layer or you started lee layer that's actually in use that's going to kind of throw things out of whack because then you have to decide, do I want to really delete it? Or do I want to update it or just cancel? I'm not doing it all. We have some great questions coming in from the internet you're ready for those one is coming from the facebook page actually, dave chi piper who's, a fashion photographer in the u k he asked as a working pro, I would love to be able to have a auto save be a way to save multiple files as a project file similar to how premier pro has project files will these things ever happen? Well, the good news is photoshopped cia six does have an auto safe, it is actually a preference you khun set um where is it now? I think it's so it's set automatically saving the background first all means you can save and keep working which is nice but then save a backup every experience so that auto say thing is in fact in c s six I don't know about the project thing but to some degree I think layer camps offers us the possibility of having the equivalent of semi projects within one document depend on how you structured how you name those layer cops we have a question from art girl forty two does using layer clumps and having all changes in one large file suit on processing time and finish up I mean I guess to a degree because you're going to have a larger file but the term large has become very different than it was say ten years ago where our computers you know, if you had whatever like we should talk about ram in terms of megabytes you know so it's all relative so yes, at some degree it would if you had many, many, many layers there's, some theoretical limit or technical limit I forget what it is but it's some crazy number like ninety nine thousand layers or something I can't imagine anyone ever getting to that point because either their computer or the head would explode one of the other I'm not sure which so so yeah I mean to some degree, but I think it's a balancing act between that and having to balance well I've got five different versions of this document to think which one it is is my latest version is as opposed to a one document with all my versions and edits in that one place great. Another question from our in studio audience one more question for for layer calms if you were to have a layer and let's just say it was ah glamour retouch where, you know, lifted some lines and put on a gosh gambler if you wanted to show have a layer comp that had the ghazi and blurs so it wasn't so apparent and then another and then another version that that did would you need two different layers or could you just save it? Is a layer calm? Well, it it depends how you do it if you there's a wonderful function photo shop called smart filters, which unfortunately are not and I'd like to say currently part of layer calm said my hope that it might that someday be that, but I'm not sure there will so in some cases in that case, it's probably easier to plan for it, so I'm going to make one later that's my causing blur layer that I lowered the opacity and then won without and then just use that as part of your layer comp because the filter itself can't be while a smart filter, you can decide to show it or hide it that's not one of things that will be recorded by the layer comp, so you'd have to structure it in some way yourself and that's a good, good and glad you asked that question because it sometimes it might seem like you're taking a more roundabout way to get to a result, but then it gives you the option of showing someone well, here's two options for you, so it might not be the way you work every day, but if you know the end result is going to show this someone say which one do you like? It gives you more choices by structuring it that way with layer cops? Great. Another question from the internet just came in from maine kidney dan and he says, dave, how many workspaces do you move between if more than one? Um I don't I usually just have one, but one of the nice things about workspaces is that let's say you do a couple of different things and photoshopped one you're designing a mock up of a web page there's certain tools and functions you use and other you restore old photographs, so that might be a very different set of panels, so in that case you might create a couple of work spaces for that I know some people that have five that they switch between because they also do video editing and c s six and they also do so rather than constantly moving panels around so it's a very personal thing, I tend to just have one that has the focus on the layers panel because that's what I use more anything else on dh in this environment here where we're going toe multiple instructors that's also that's the other really good reason for work spaces where more than one person uses the same computer you don't have to use the work of the guy who was left handed, so he put all his tools on the other side of photo shop and we had like panel wars where we were constantly so workspaces was a real godsend in that case because we're just mine yours done excellent. We have one more question using a checklist to make sure your tools or not and an unexpected mode when you start to work, how can you set up in action to reset your workspace each time you restart photoshopped? Well, the challenge is that a work space is more the position of panels and things, not the settings for the tools. So, um well, there's there's, that's a more challenging question than it appears because this is going to sound really odd probably when I say this at first, but so adobe, when cs six came out, they trumpeted the fact that c s six launches way faster than previous versions of photo shop and myself and the other people in the room they were talking to said, I never quit photoshopped, I just keep it running all the time, seriously, because if it's running the time where things goes wrong with photo shop is where we started, so I never quit photoshopped until I need to that way, I don't frankly ever worry about workspaces and tools changing because I just never quit unless it forces me to because it quits on its own. So there is a function of photo shop, which is called that sounds really complicated called script events manager and it's a very fancy way of saying every time I launch photoshopped, make this one thing happen on one of things that you theoretically could do, which is one of my other favorite words lying before shop. What you theoretically do is set up some kind of script that says when I restart, make sure everything goes back the way I want my personal philosophy is I don't have to worry about that because I just don't quit a job just leave it running all the time, this one when it's running smoothly, let it run smoothly don't make take a chance by saying unless you have to. Because you're in a work environment, say, you must shut down your computer every day. But like my laptop, I just close it and put it to sleep. And when I open it the next day, there's photoshopped, working and running just the way I left it.

Class Description


There are many different ways to do things in Adobe® Photoshop®—this session focuses on strategies and techniques that are quicker, easier and more flexible. These methods not only help you get things done more quickly, but can increase your creativity since you can experiment and try different possibilities.


Software Used: Adobe Photoshop CS6

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