Skip to main content

The Digital Studio - A Streamlined Workflow

Lesson 6 from: Graphic Design Essentials

Jack Davis

The Digital Studio - A Streamlined Workflow

Lesson 6 from: Graphic Design Essentials

Jack Davis

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2200+ more >

Lesson Info

6. The Digital Studio - A Streamlined Workflow

Next Lesson: Wrap-Up

Lesson Info

The Digital Studio - A Streamlined Workflow

This is how I like doing my I switched users again. As I mentioned, it was kind of Manning. I don't use the tabs. I like to be able to see everything that I'm working on. And, um and so I used that, um, window Ah, arrange tile. And I've actually said a custom keyboard shortcut, so it automatically would do that. So every single document is visible at one point when you're doing all this because the tabs, I just obviously get confused so I can just go to a specific window tap that f key for full screen I mentioned before that f again is a full screen blackout mode. Great way for showing images to the client tap f again and you're back to where you were. So that's how I like working in terms of work space. So I switched over for that. Some of the things that I have and I also have all my type. So I switched my users. So now my type is back because that was getting just a little bit manning what I thought I would like to do, since I know that our next class is actually gonna be on in desi...

gn and that everybody is gonna have Photoshopped. There's really no reason to not have Photoshopped because especially it does have the vector graphics. It does have the raster graphics. It does have adobe camera raw. It has the bridge. It's got everything that you need. If you're grab a designer, you're obviously also gonna need illustrator and in design, at least those two if you're not doing motion graphics but because the engine for, um, topography is the same in all three applications, I thought it would be fun to show you for those of you doing single image pieces of graphic design clatter material and that's what I've gotten, there's a lot of especially photographers who aren't gonna want to go into and learn a new program like in design or even illustrator. They want to go do graphic design. They're seeing it. They're already doing it right. A lot of people are already doing the business cards you're already being. You know that you're creative. You like doing it. So you're people are giving it to you and your needing to do it for your own work your own at your own clatter. Mature your own identity, so I would stay. Based upon that, I'm gonna do some topography in photo shop because again, the engine is the same. One of projects that I just finished is for a company called Healing Images, which is a wonderful company headed up by Dwight Jones and a number of world renowned photographers whose purpose is to take professional photography and offer it to health care services to use in hospitals and clinics around the world at basically the cost of the photographers photography Tigers don't make any money. It's literally to give back to health care facilities. And if you've ever been into any kind of health care facility, you know they need help. So this is, ah, brochure that talks about their services. So it's all about the photography. So starting back with my interviews of the clients, finding out what is your unique selling proposition? What are you selling and who are you selling to talk about the health care professionals and doing that? And what do you selling the images and being able to do that? And also that this particular brochure it's a what's known as a gatefold at three panel uh four panel threefold. Gatefold. So it has to, Panel says. You're seeing a 2nd 2 panels that fold in, and then it falls again fits into a number 10 business envelope, and that's what it does. It's 8.5 by 14 legal size people, a piece of paper. It's a standard piece of collateral material. So the concept was to focus on the photography that that is the star, that it's not about the photographers. It's not about the as famous as they are Jones, the National Geographic photographer. And, um, it's about the images and also on the inside. As you can see, it's about the hospitals and their testimonials to how wonderful it is to have beautiful healing images up on the wall where they never could thought they could afford it before. So that was the concept on it. In terms of this, I should have brought my thumbnails and different. Ruff's was to do a collage askew, just kind of song, that last one, where the images themselves would be the star and that simply something as simple as healing images was all that was needed on the cover. Um, command zero is the fit to screen if you didn't know that Photoshopped command or control zero fits to screen and what this is here is all the images for the collage. So this and each one of these from Wayne and Wit and Miscellaneous, you'll notice looking at our icons here. They're all those smart objects they were all brought in. I'm using that Dr Brown Services. So all those wonderful original artwork could be brought in at full resolution. So I had the luxury of being able to scale Go down, try it, scale it back up. Wonderful. You're already getting that. You'll also notice that's a little bit big, um, that they have the layer effects which you guys go high. No layer effects went to school together. Um, all these things that are going to allow the dimensionality of one image over another one and you're going to notice that again. You also notice that if we click on an image, it automatically selects that specific one because we've turned on Auto Select. We'll be doing a little review this last time, and we've got in each one of these images things like there's actually a very subtle stroke in here there's a certain percentage stroke, too accentuate each one of the images. There is a slight inner glow because that want the images to pop as because a lot of them have the same basic tonal range. So even a subtle pop of the inner glow is out there you've got. I won't need it, too, because I'm greedy. I wanted to drop shadow and I wanted another drop shadow. I want a one that was really soft, and I want another one that hugged the corners of the image. So I did. I ran out of drop. Shatters is only one drop shadow. The point I wanted to bring up here is that just because something happens to be called outer glow doesn't mean that you can't use it for another drop shadow. And in this case, I'm actually using a soft light blend mode that same one that we use for dodging and burning. So I'm doing a subtle a soft light, one set to black rather than the default glow, which is set to a yellow gold. And that gave me the ability to have not only a drop shadow of but an outer glow of nine so I can control exactly what I want. So it's again something. If you were to do this using a duplicate of the layer delete with black, blurring it, doing a PSA, another duplicate of it, blurring at a different one and combining those your at least a dozen steps to do anything close to something as simple as, um, doing this little situation here, Okay? And I'm not sure which photograph again. I've already moved it, um, and that in combination with the inner glow in the stroke, you just get a huge amount of work. So any time do you spend getting familiar with layer styles, especially as a graphic designer, I think we'll serve you incredibly well. Okay, so that and specifically that just because something is named something like outer glow doesn't mean you can't change the blend mode to something like multiply or overlay or soft light and continue to use it. That's how some of my layer styles have light coming through clear plastic that cast the color of the color of the plastic and a drop shadow. And you get all this wonderful, you know, cool, groovy things, okay. And, um Of course, as I mentioned before, if you save one, you can select number of images and then just click on the styles palette and completely change whatever you have. You know, 50 different images, they can all share the same effect, just like we did in that very opening one on Molokai, where the five photographs in the center we're all unified in one click. You can also, just to put it out here that will go back to our thing. You can, um, right click. And now this. You can, um, on a single one right click and copy those layer styles. So even if you don't wanna save it as a layer style because it's very specific to a certain job, you go. I'm not gonna use it again, but it's very specific, and I want to share it with 50 other layers. You can copy, select right click and then paste those layer styles. But of course, of course, you have to copy them, not just say you're gonna copy them, because even though you're sincere, Photoshopped does not count sincerity as paced layer style. Okay, so copy and paste layer styles just like, um, presets in leg room and even adobe camera raw. You can't copy and paste in adobe camera raw, but that is a nice thing. If you're a light room user, as a lot of you are, you can create the world's most beautiful hike. Eglow CP of and yet a little effect with a little bit of noise and, you know, selected color, command, see or control. See? And they'll say, What would you like to copy? And you say, Well, I want the vignette in the color and this don't do the brightness and contrast cause it'll change on each image. Copy it. Select 50 other images and light room down your filmstrip command V or control V and paste. It's specific to that shoot. You don't need to save a preset because it's specific to that bridesmaids ugly dress, but you can wipe out the entire wedding in one fell swoop. Okay, so remember, copy and paste. The bottom line is anything you can do any time. As I started off the day, Any time you go ooh, wow, Cool. Groovy. You go. I could use that stop for a second and figure out How can I save it so I don't have to do it ever again. Save a preset, save a layer style, save a tool preset. Read an action. OK, we haven't gotten into actions. Probably won't have time to do in action, but or in light room pretty much everything. That's the power of light room over something like Adobe Camera Raw is that pretty much everything can be saved as either a template or a preset. Whether that's a website, a slide show, a book, all those things could be saved. His templates with your own custom watermark. So that's the power over life. And again, that's the class coming up at creativelive dot com. June 17 through 19. Coming to a theater near you. Okay, so we have that. That is how that was put together. We talked about organizing of your layers palette. You'll notice that these are all nice color coded based upon the photographer who did the individual images. We've got a little vignette here, another action that I've given you. We've got the photo collage, the background for it. We've got the logo. You'll notice here that I use that same little technique that we did before. We've got a layer style here. If I turned that off, you'll see that this is the actual logo for the company, which has a mark over here and there, little from healing images dot org's. I didn't need that for the headline. So rather than erase it, I just took the corporate logo, brought it in here and did a little ugly mask to cut it out. So I didn't need to do it. It's a resolution independent vector image, and that was great. And the reason why I could do that is because I knew that I would have the back of the image. And that's where the logo in all its glory comes in with the website. So I did another copy of it, which is, basically is the exact same. Size is the Is the top one flipped. So when it opens up, it's a mirror image, and one just has the killing images in the background. Okay, And of course, all this Presupposes that I've come up here and I've gotten some sort of specs from the printer. So before you do anything, it's always good, especially under a budget to figure out exactly where you're going in this case, the printing company has the templates available for download. Download them. They're Photoshopped templates. In this case, there also have been in designer, illustrator and come up here. And I know you're trim and live area. If you're not familiar, this on Lee has thelancet area in here, but most templates and what you need to know and get from any printer is one the trim size where the blade is gonna come to cut the paper and to where's the live area the recommended within that area where you have to keep your type or important informations and in inside of that, because the potential of that blade shifting in the trimming process So a bleed, size and then alive area are things that are going to be part of your template. So that is the front on it. And again, on any one of these I could click on the image and here's this little girl here. So if I hopes if I want, I can And then, of course, is the background which is flattened. Oh, by the way, you know, it is noticed that I just did multiple Lendus stepped back in time without going into the history palette. Um, a lot of people don't know that in the history palette. If you do command Z, it's a before and after. If you do command option Z or control all to see, you can actually go back in time all the way if you go command. And that would be, of course, on the PC control. But command shift Z allows you to go forward in time without going back to the history palette. Whatever you do, do not do command option shift dizzy. That will create a temporal conundrum. Remember the evil spot with the goatee? That's not what happened. Ha, Long Bay. See, they would really laugh, but they're not allowed to laugh. So if you were wondering why there wasn't outrageous laughter at that incredibly bad joke, it was because of that. OK, so and the but the type there wasn't anything going on. There was a simple one. So back to brochure inside. So we've got first off, um, you're obviously going to have those guidelines, those trim lines for anything that you're going to do. This is the back cover that you just saw. So you just saw this section here now I combined it. That was the comp to get approval with the client. Now I duplicated. So this is how it folds I mentioned. It's what's known as this gatefold. So these ones on the outside fold in, and then those two will fold again into number 10. So these right here are when you open it up. Thes two black panels are what you're going to see. Their the opening spread and they have the guidelines associate it with the folds and the live area. And what I want to mention to you here is I'm gonna turn on the rulers, Commander Control are and Photoshopped turns on the visibility of the rulers. The reason why that is useful information is because that's how you click and drag on the ruler and you bring in your guidelines. That is how guides work. In photo shop, you have to view a ruler and then drag it in. Okay, another tip associated with the rulers that air Cool one there. Maddening. Because if you ever leave them on and then close photo shop, they'll be opened up the next time. Some of you probably have had rulers turned on and you've seen them on images for the last 10 years and you go, why are they still there? And that's because if you ever close photo shop and they're turned on on one image that will stay on, you need to turn them all off close photo shop, and then it remembers the last state. But it will open up every document for the next years with rulers. And unless you turn that on, so one that you put pull it on and you can do it from either the left or right side if you're so inclined. So those are rulers. Those air guides, those air sticky. When you come under here under the view, you can go show. And here are your guides, Okay and snap to has turned on and you can ask it what to I turn on document bounds as well. The thing that's nice about that is even, um, the documents know about each other's existence, and they will snap to each other automatically. They will sense their own position and you'll see them snapping, and they're really great to know if you do it in combination with show smart guides because that will show you whenever, even if you have something overhearing something over here and I'll do it in a second and you move it over, they will not only snap, but they will show you the guy that now they're aligned not only left right, but also center. So again, for those of you who are mathematically disinclined, it's great. And speaking, for those of us who are mathematically disinclined, you're trying to work on some sort of thing, even a photograph. You're just trying to work out a composition for cropping. If you double click on the ruler, it allows you to change the ruler from Inches two pixels, 2% because that means now when you go to percent, you are at 100% at the end. So it's very easy to find the halfway point when you have it set 2% because you don't have to figure out what half of 14 is and 14 inches. Most of you could probably do that. Surfers like myself have a challenge with what's half of 14 but percentages I know pretty well, okay, so changing the unit measure of your ruler is appropriate. I leave it on inches because we talked about P p I and setting up that resolution before you start. Usually those sorts of things are built into the template that you get from the printer. So the printers gonna build in a or whatever for what their typical media printer paper situation is. This, of course, is a totally appropriate and essential for whatever you're going to produce in, whether it's for in design or illustrator or Photoshopped. You better know those specs beforehand. And if it possible, get those from the printer. Same thing goes for color profile for output. Okay, hopefully your printer is gonna give you a custom profile because they know the best setting for their particular printer. A lot of printers have not done that. In fact, they've dumbed down there printers to compensate for everybody in the world printing in SRG because every single camera defaults debts RGB. So that means most printers and most jobs. You don't get anywhere near the color you could get because they've dumbed down there. Printers toe work with us. RGB. A lot of a will work with custom profiles, which means it's the maximum gamut gamut is the reproducible range of colors for a particular device. They've maximized their gamut by coming up with a custom profile. Even places like Costco will give you a custom profile to maximize their printer. So that's another thing to keep in mind. Yes. So if you are going to create, like, a one page ad for, like, Facebook, what dimensions and what parameters would you use? What's Facebook? I I don't Anybody who knows me know how funny that question is, cause I really don't do Facebook. Um, I I will sit on the beach with a smile on my face and God bless you guys. I really don't care what you ate for dinner. You know, uh, I'm sure it was awesome. I'm glad you're having me time right now, but you know, OK, so that's a very good question. The thing in terms of the Web, of course. You know, if you right click on any image, you can download it. So if you find an area that has that find other which are basically copying, so either you can right click on it, you can also, if your Mac the command option three doesn't frame grab a screen grab of everything. What a lot of people don't know is that command Option four gives you cross hairs to select a specific thing. People don't know. Command shift for space bar lets you click on a window, and it just grabs a specific window. Exactly. Remember the temple conundrum. Be careful. So anyway, so you can grab anything from a website and then just bring that in as a Photoshopped document. And there you have your template. So, you know, I do not know the best dimensions for you know what particular area Facebook that you'd be playing with or what device Facebook again on an IPad versus an IPhone versus the Web is all gonna be slightly different. But in terms of a commercial printing job, you're always gonna be able to get from the printer some sort of template, if not certainly the specs. And you're gonna want to make sure what are the dimensions? The bleed, the live area? And in this case, also the fold marks because those are extremely specific. A full mark that's off by 1/16 of an inch can completely ruin a job, and they won't match. They won't line up. Okay, good questions. Just a quick clarification question. We have a few people in the chat rooms asking why you would use photo shopped for sure like this instead of it's a very good question. And that was one, because I know that everybody I won that we're having, like, room covered. And a lot of people don't know one. That light room, that photo shop used the exact same type engine. Normally, you would never use photo shop for a multi page document. In this case, this is the front in the back, so they're basically two documents. So that's not an issue that the collage work that I was doing on here was so much. I started the comp in there and I just finished it in there. Put a shop saves the same sort of PdF document that would save the live type as well as the graphics you'd want. Definitely not. Flatten it and turn your wonderful resolution independent type in tow pixels. But there's no reason you definitely should. That's what in design is made for. Even illustrator, in a sense, would be a better place to do it, because the type by definition wouldn't accidentally be turned into pixels, which you could in photo shop. So I'm using it here. Just because there are, I would probably say the vast majority of photographers and hobbyists are doing their cladding. Collateral material in photo shop doesn't mean that you should, but you are. And so that's exactly excellent question. Do not I don't recommend doing it. I've never written a book and we're done anything. But I know the vast majority of beginners are using, you know, Photoshopped or elements or something like that, because the engine is there is you're going to see in a second. The type is absolutely beautiful. And the way the Kern ing and the justification and the options associated with paragraph type is exactly the same. I chose to do that very, very good question. Yes. And again, even illustrator would be great for it. Um, OK, so that's what I wanted to give you the rulers, because those air essential when doing anything, remember to turn them off so they don't stay with you for the rest of your life in terms of our design going back into it if you can, you have got to re visualize this. This this hadn't come back from the printers yet. So Or else I'd have a printed copy of it here, which I probably could have done in my own printer and give didn't given it to you. But we have the back to cover the back these to flip over like this thes two outsides. So you have to think that this is actually the left hand side and this will actually be the right hand side. And let's actually hide all these guidelines consent. Now they're just annoying Command H or control H is the hide command and photo shop. The first time you use it, it says, Do you want to hide Photoshopped? You want to hide the elements within Photoshopped? So typically you wanted to hide things like highlighting of type. If you've ever highlighted a piece of type and it gives you this wonderful psychedelic inversion of color, Commander Control H will hide that so you can actually see what you're working on. So the command age is good. In this case, it's hiding the, um guidelines. So here, going back to our message is kind of a review turning bland into beautiful going into talking about our unique selling proposition for the before to after. Okay, so there is our concept of what is going on here are type. We've got a little opening drop cap with, known as a drop cap. Actually, drop cap would come into another line. So this is a raised cap, By the way, all the artwork was done in photo shop added on to their Now that you know that free transform, command control T again, there's a perspective. One of the options There was a perspectivas well, which automatically would do You're kind of foreshortening effect. Uh, the other things that I want to mention here and this gets us into back into our typography and it should be here what's gonna be on the inside so we'll just jump over to our inside. But that, and also in terms of are contrast I mentioned before. Our contrast is bright color on the inside. We open it up, we have that black rice paper that I'm giving to you all. So it comes up your black color. We have our images at the bottom which are giving us this feel of galleries. And there's thousands of images that people can choose from, so we're continuing to emphasize that That's one of the main concepts in here. So you open it up and go to the inside and again this would look exactly the same in in design or illustrator in terms of how you would lay it out and the basic features that you have at your disposal. Um, you open it up and it's back to light, so it's now pure white, much more like a wall setting. We've got larger images with a drop shadow. So you're getting more feel. We've got a sample of the website we've got. I mentioned the main thing that they wanted to emphasize was the testimonials about the health care professional. So what healthcare professionals are saying about healing images? And then the last panel is choosing your him and healing images. And this is about the website signing off with their logo again and then breaking up thes somewhat non exciting, Um, quotes from the testimonials with more beautiful images and again giving the feeling that there literally are thousands of images at your disposal with this yes question. Before you design this, did you go through your same creative process that you did before, like making the thumbnails and doing the take your information from that client and join it out first. Yes, it's a little bit different on this versus logo mark or something else like that, but it's still the same thing of emphasizing there was different concepts. Um, possible for how this was being done? Um, that I didn't particularly. So you have to do first what the client says and do it just far enough to either show him that it does work or try and show. Yeah, nice idea. But what about this? And then show them another possible solution to their visual communication challenge, especially if there are puns or that the cute little things that really don't They're not strong. They don't not as potent. They don't get it. You don't get the mileage out of it that you could by taking a deep breath and maybe going into something else. So, again, this is a quick little flyer and nothing award winning about it. But I wouldn't take it as far as, um, it's for more less for May, if I needed words in terms of okay, They're telling me that the emphasis is on the gallery, not on the photographers, it's on the hospitals and the solution of what they're having and people being able to empathize that, and because there's so many 1,000,000 places where you can get images on the Web by them having testimonials by leading hospitals. So it's that, from that standpoint is exactly the same as you better know what they're selling and who you're selling it to, and that's the basis for your solution to the challenge. From that standpoint, I will comp out things like that cover to cover that has the horizontal collage. So I did you know, a dozen different samples of ways of doing that because there's obviously a 1,000,000 ways you could have a bunch of images on there and how much of a big mark I knew. Do it to a headline on there. I rotated 90 degrees and do something this way. So they opened it up and does this. There's no reason why you couldn't do it this way. So, yes, those are all things that would be done at the thumbnail stage to get them out of your mind and then move on to his titles. You need to do so very good questions in this case, the one thing in terms of body copy in again, either in design or illustrator, um, is taking advantage of. And again. Here's our little character and paragraph palette in Photoshopped that we've seen before this incredible engine that Dobie has put together for all their pieces of software. So we've already talked about this character palette here, but there's a few things related to, and here are different styles you can add to it different ligatures that you can dio. It's amazing how far they have pushed, what you have at your disposal in terms of type and the dragging it out if you take a piece of type of just even before we go into this one, and I've got a type that has to be this with because I have my template, you take your type tool, and you can click and drag rather than click and let go Click and Dragon Lee or setting a piece of type that will just go forever. If you click and drag out, you've now just set a block of copy that what that will. Let's go down here. That will wrap. Unless, of course, you hit some brand. Um, certain people shouldn't be allowed to type. Oh, I don't do Facebook, and I don't type. So those two things now you Now you know my secrets. Um, anyway, it will text rap in there. So there you go. Let's do so it'll textract so clicking and dragging out it will automatically take advantage of the guides. It'll snap to it and it'll text. It'll wrap just like it would. And in design or in Illustrator. But what I wanted to show you that a lot of people miss going on the type is this paragraph style. The thing about paragraph style is you have your justifications left centered, right? What it will do if you are justified, justified is in this case on both left and right. Um, what that last line does where the last line justifies left center or right or well, whether the full justified meaning it's gonna take that last line and try and stretch it out all the way. Probably wouldn't be pretty, but you can do it. So you have all those justifications. This is your offsets for either your first line. You're all your lines, the different elements that you may want within the borders that you create. You can come up here and set what you want. Specifically, What that might be is an extra space after a carriage return. Okay, so when you do the carriage return or or usually you don't want to do a full carriage return to jump that much. You just need a little bit of extra leading between the blocks of paragraphs so you can set that up here. Hyphenation is whether you're allowing it to hyphenated word. But this right here, that's kind of hidden up in that upper right. As I mentioned, where everything is in Adobe software is where you gonna find some very cool features. First off Roman hanging punctuation. What it means is that when you have this justified text and you've got a left in the right situation, the punctuation, whether it's an opening hyphen or closing hyphen or quotation marks, that's going to see in a second. There's no reason for visually when you're aligning all your text on the left. If it's a quotation mark over here, what you're going to see in a second to have that being here and the type actually start inside of that quotation mark. Visually, it doesn't look like it's right because you want all the fonts, all the letter forms to line up. The punctuation can hang the same thing with a hyphen on the right hand side. That's a very advanced little thing for it to say. It's not really the line of type I know. That's a punctuation you can hang. You have my permission to take that outside of the block. Very, very cool. It's built into it. You have to turn it on. Um, they also have something called the Every Line composer versus the single line composer. And this, I'm sure, will be talked about in the design class, Single lane composer means as it's trying to figure out this justification. It figures out this line, it says, OK, there's this many characters in this mini space. I can come up here and I can add this much space, but too much space, and it's gonna look really funky. So this is what I'm gonna do, and it does it for every single line. Had the problem with that is then create what's known as rivers of white. As you come up here with all these different word gaps on each line, the mind will start seeing a pattern as of the word breaks because words have you know, a very similar, you know, standard number of characters per most words in the English language. And because of that, you get these rivers of white. Well, what the ever every line composer does is it says, Okay, I'm gonna take into account not only this line and everything in it, but I'm also going to take into account every other line in that paragraph, and I'm gonna make it all look pretty okay, which is incredibly sophisticated bordering on artificial intelligence where it says, I'm gonna look at all this and you're lining up a river of white. This little white gap in this white gap on these two separate lines, it's gonna be a little odd. So I'm going to shift this ever so slightly to make it better. So turning on the every line composer and the Roman hanging punctuation, whether you're in photo shop in designer illustrator is awesome. And this is what we're looking at here If we come over here. This is the hanging punctuation over here of the first quotation on the healing images, which is great. We come over here and take that same a little piece of type here and go back over here and say, Single line composer, You can see that was a very subtle I'm changed. Let's go ahead and make sure it's doing it to the entire block, Okay? So you can just see what it's doing. It's ever so subtle, but that's what the beauty of topography is. It's in subtleties with your hand, Koerting Ah, line or headline or whether you're doing something like this. And of course, if we turn off that hanging Roman punctuation, you can see how now that type no longer lines up. And how much better? Something that is, it's built into it. It's free. You just turn it on. I wanted to make sure that you guys had that in terms of things like colored type. We did kind of like little pull quotes out of here. Pull quote where you pull something out of a blood by the copy toe. Emphasize it in this case, rather than change the font or change the leading or do something else. We simply just change the color to emphasize one portion of a quote. As I mentioned before, if you have something you're gonna have your color picker. Remember, every tool in photo shop over here will always have its options bar, so everything related to these current settings of this type are right up here, including your color. Remember that you can save those color swatches to the library, and you can also copy and paste a number. So once you come up with something, you could even come up in here if you have your color picker and every time you have the brush tool. If you hold down the option key on the macro level key on the PC, it becomes your color picker. You'll notice that I can choose any color from anything. So especially you photographers. No reason why. If you're close to a color, a major color that's in your image, there's no reason why not to match it and just have another unification. Add to that gestalt of the mind, seeing this as a unified peace rather than something where it's close. But not quite. And all your clothes. You're always doing that. Yeah, close, but not quite how you know? Okay, So once you choose that color again, you can come up here and use the Hexi Decimal, or you could choose something from within your PMS. Another thing that I'll mention with the type. And we haven't done into this in terms of tools. Um, throughout, Um, photo shop is every single one of these tools, and all the settings associated with them can be saved as a preset meaning. If I come up here and I go, okay, this piece of body copy right here, I want to copy the font, the style of the font, the orientation of the font, the color of the font, maybe even the image warp of that font. This little area up here and it's for every single tool in photo shop. This is what are known as your tool presets. It's hidden. It almost looks like it's the just a Nikon that tells you that you're in the type tool. It's not this little thing right here. And I'm getting in a piece of type, so it's not gonna let me do there until I get out of that live type is where you can come up here and click and save any setting for any tool. And it saves it permanently into this little menu. Now this is where it gets, um, really need for certain things like, let's say you go to that custom shape and you come over here and you go I love or not I changed users again. So here's my logo jumping on just a little bit. So here's my logo and I love using it in okay, and this is the orientation for my logo, and it's a custom shape right that we've already put in. We talked about how to do that, but you know how I would like to use my logo as I come up here. And there's one. There's one thing that adobe changed in, um, the new CC. The last 100 years, you've been able to apply a layer style to a piece of text or shape and, um, use that layer style in concert with something like a custom shape and save both of those as a tool preset. It was really, really useful, and Adobe ran out of room on the, um, custom shape options bar to add the layer styles palette. So you can't when you come over here, you can't save that. All of these right here. All these custom tool presets associated with the custom shape tool are meant to have layer styles associated with them. And they do with every single version of photo shop. Except for Sisi, because they ran out of room and I cried like a baby. Okay, So anyway, in terms of going back to this layer style And which, by the way, if you right click on anywhere in this case you're absolutely right. There are multiple layers, everything. This is what's underneath my cursor right now. So if something is hidden, if I come up here and there is a shape layer or a some other, here's my shape right there. That is probably gonna be the shape layer I just made. Okay, So the reason I can do it if and Dad, if you're going, there's so many layers and I'm trying to click on it, right click on it will show you everything that's underneath your cursor. In this case, you're absolutely right. It was a block of body copy that went over the photograph. And therefore, I couldn't select this graphic there, which I still can. Okay, so that what I was trying to do was in that layer style his, You know, something like that that was gonna be used for your watermark in the past. You could take your shape, your size, the layer style save that all as a new tool, preset. And that way, you can always go back to it and say, This is my logo. This is the size I want. This is the layer style and everything else. And in CCU cannot save the layer. Style is part of it, which is a shame. You've got your color and every other component of it, but not that. Okay, How did I get onto that subject? Um body copy color, the fonts. Your justification. Your characters. Um you do have paragraph and character styles as well. Now in Photoshopped. I'm gonna let them cover that in in design because it's the same. They basically brought over what was in in design into photo shop, which is great. So you can say everything. Associate. With this paragraph, I can save as a style and then reapply to something else, which is awesome that they have included that in there. Um and let's see what else that I wanted to do on this particular document. You are seeing that I'm using that same sort of thing that we have used before in this case, looking at the background, these down here on the background here is another use of that rice paper. You'll also notice that I've got I wanted the top lighter. I wanted to have a little bit of variation on it. So I use something that I have not used yet and that is a challenge. This is the resolution is I changed the resolution of the monitor. I can't get to the bottom of my layers palette, but trust me, the bottom of the layers palette Remember where we had solid color and pattern filet right next to his Grady int. So this is a Grady int Phil layer. And since you all now know that certain colors and certain blend modes can be used for dodging and burning a great way how to dodge and burn, let's say the bottom and top oven image is we're doing here is I've got a white to transparent, radiant. Okay, white to transparent. That layer is set to softly. I never saw flight an overlay here the dodge and burn blend modes. So by simply doing that, I'm able to lighten up that top, make those headlines pop a little bit more. We look down here at the bottom, you'll notice right down here the bottom. I did the same thing, but the opposite down here, the bottom just to make and the photographs. And we pop a little bit more and framed the page. So I'm taking advantage of things like Grady INTs and blend modes to again. Just kind of fine tune the tonality of this. This case I've got textures and Grady ants to kind of find too. In that background, Yes, a little confused about the logo thing. So whatever you did to that logo, are you saying that you cannot save that? Now, that logo that you added to the No, the embossing that you did. Oh, no, I can I can save it. So actually, that's a very good point. So this going back to this particular shape layer here what? I was mentioning is that when you have a any tool here, all the parameters up here in this options bar. If you come over here to this little icon, this little dog eared page icon here would allow you to make your own custom tool preset, which is the tool and all its parameters in the options bar. Incredibly cool. That's all the brushes, By the way. I'm also giving you guys dozens of brushes, watercolor, pastel oil, dry brush, my firstborn male child every wagon possible give you guys I'm giving you. But that would be an example of a really cool brushes. You'll do the brush tip, but you also want the settings, the opacity, the flow and everything else. So in this case, in the past, it was able to not only save this shape and its current size and scale, but also it's layer style because that was one of the options in the options bar. They ran out of room, so there is no longer any layer style, so I can still save it just like I'm doing here. So I'm gonna call this logo and it will include the color and now this logo. If I went to a different document. That tool right here, if I drag it out, will be my blue look of my yellow logo and it will be set. But in this case, because this one actually has a layer style to it, it's not gonna have that layer style. I can't save it. So where if I come up here and I use something like a wow paintbrush? If I come over here and say, Here's my wow, you know, dry brush large. Not only will it be the brush tip all the settings for the brush tip that will allow you to do this sort of work, all these parameters will be saved. But also every single thing in the options bar, including the Impressionist setting, will be saved as well. That's the great thing about tool presets. The other thing for things like photographers. You can come over here to something like, uh, your crop tool and say I you know, I use a very unique crop. I do a, you know, eight by 11. Okay, so here is a eight by 11 and I'm going to put in a no, I don't say eight by 11 inch by pixel. It's an aspect ratio. So now I have a very specific not 8. by 11 or not eight by 10. It's a very specific thing thing that I do, and I can change other things as well. If I come over here to the, UM, custom tool preset menu over here, I can come up. And, of course, since now that I'm cropping, which I didn't want to dio, I can click on this icon, and now it's going to save the eight by 11 as a custom tool preset. It's the tool and all the parameters in the options bar. It's another thing of if you ever do anything, in this case, even a tool that you use over and over again, Save it is a custom preset, so you never have to do it again and again. The same thing goes for illustrator in design. So does that make sense in terms of how to presets? And it's always up here in the left. You'll notice that as I changed from when toward to another, that icon in the upper left changes Okay, good. Okay, open up, illustrator. Let's do the basic one that I mentioned before of Illustrator and let's use I think we're gonna go with this one. So we've got an AI and Adobe illustrator file here were started off, but we're gonna open it up into Adobe Illustrator, pretend that we started it there and mentioned those options that I said before in terms of starting in, um, illustrator and then going into Photoshopped, this file has already been unified as one set of graphics. The layers palette in illustrator is similar to the layers palette in Photoshopped where you can break into different elements. Um, how you created the logo. It's up to you whether you want to bring them in as separate layers. If you wanted to use each layer as a different color. The one thing with Shea players, if you want to have access to changing the actual vectors of a shape, it's limited to one color. If I take an entire colored logo that said and done, I can bring it in as a smart object. But I can't edit the actual lines. I don't have access to the individual points and lines and curves. Excuse me in photo shop. If I want that I go. That's what I need, cause I'm doing all sorts of cool, groovy stuff in footer shop. Then you will be stuck with one element being one color. So if you want to, you can break apart the different elements and bring them in independently if they all have. If you're one document has got a frame around it, then they'll all come in. They will be the exacting size. They'll all be what's called registration so you can actually do that. Bring in those elements and we could do the same thing with this one right here. Or in this case, if this all my elements aren't touching. It's easy for me just to do this. Come up here, select all the elements. You see all the anchor points associated with them, come up here and say, Copy, it's on the clipboard again. We could place right in photo shop, But the nice thing about this is when we go back into Photoshopped one, when we say knew, it automatically knows what's on the clipboard. So it's automatically going to make something that's appropriate for the size of the graphic that I'm working on. I do paste and it gives me these options, which is really nice. It's not just gonna let me scale it and nail it down or place that a smart object. I've got all sorts of objects, all sorts of items. One smart object that maintains the link to illustrator. As I mentioned then, if it was a smart object, it could be the full color logo. I could still filter it. I could still open to all sorts of stuff to it. Double clicking on the thumbnail takes it back to illustrator where can be edited. That is basically how the links into in design work. You bring something from photo shop into in design if you want to edit it. I mentioned option double click on the image or all double click and windows, and it will send it back to photo shop. Tweak it, close it. It automatically goes back into design. If it came from somewhere else came from a scanner or something else. You can always right click on the image and say Edit original in photo shop so you can always do that as well. Okay, pixels. It's gonna rast, Arise it. It's done like I said, really no reason to do that. Path paths are used for selecting much like channels. So if you wanted to use this to make the marching ants you saw down in that paths panel where you can load path as selection. So for some reason, it was the marching ants you are interested in rather than the actual layer. That's the reason for that. And the shape layer is what I'm gonna do here. The shape layer is gonna allow me to pace that vectors with all that vector information, all the busy a curves and everything else and make it continual, continually be edited. And I can also then save it into my library is a custom shape, so I will always have it with me. This is how you would bring in a logo from illustrator. Just keep in photo shop for all eternity. Okay, Come over here and say Okay, there it is. It's gonna come in with the last color that I used. This right here, in depending on your version of photo shop will look different. Thes shape players now come in with a color with no mask. Basically, it's a fill layer with a vector mask so they're just hiding that. So it looks slightly different in CC than it has in other versions of photo shop. But it's exactly the same. If we come over here to our little portion of the paths palette, here's my direct select, and I can come up here and change any one of the components. Okay, if I the direct select let's again going back and these work the exact same way an illustrator and photo shop. So I think I've spent the time in photo shop here rather than jumping to the different ones because of simplicity. Um, and maybe that at the end of the day may not have been the best thing, but I can come up here with direct select if they're not touching. If they were touching and I wanted to just select certain points and not others, that's the demonstration, the hollow arrow in the left hand side over here, and the solid aero or the white in the dark. Okay, so now when I do a commander control T, I can come up here and low rotate a portion of it if I wanted to, so I can still have access even though it's one shape layer because I brought it in as a shape layer. I still have access to all the different points, even though they're acting as if it's one layer, which is basically what it is. Okay, the nice thing about shape layer, aside from the fact that I can edit it, is it is also resolution independent. Like everything else that is in photo shop. That's vector based meaning that I could scale it up for Take it Down. And if I combine it with other things that are resolution independent, what would be another example of something in Photoshopped that would be procedural and therefore pliable without me worrying about pixels and stuff? Type is certainly procedural, but this is kind of this is almost like live type in the sense that this is made up of vectors, just like type the other things that are procedural at this time of day. I don't expect anybody to be having answers. Like I said, what you should be having is a margarita eyes layer styles. If I apply a layer style to this, I can scale it up. And since the layer styles or just purely mathematical it says I It's okay. I can scale. No problem. The patterns, Phil, if you remember that those were also procedural, I could change those so the patterns would scale with this can be scaled nicely with it. Um, those are probably that the two main ones that you can work with. So first off, let's go ahead and do get a little bit more space in this graphic. Oh, and it's Let's clear that, um so I have my logo. The color on it is irrelevant. It's a vector shape. You can literally just change. Use your swatches or anything else and change it and use any of those. What was the keyboard shortcut for Phil With anything and everything, there was the shift. Early shift. Delete. Um, well, it's telling me not that I don't believe you. Um, I'll cheat. Yeah, I'll show you can't feel shift delete, because shift delete has the ability to use content. Aware is why it's getting a little test state with shape layer. I'll give you some other shortcuts for Phil because they're useful and that is filled with the foreground. Color his option or all delete. Fill with your background color is command or control. Delete command on the minute control on the PC. If you had a normal logo piece of graphic here and you wanted to fill everything but the transparency. If you add this shift, delete it is Phil. But do not change the transparency. In other words, it's really nice. If you had a logo or a piece of type, you want to fill it with a different color than option. Shift delete is feel the foreground color, but do not fill the entire layer. Take into account that something is transparent. Those are all real geeky. And again, at this point, you kind of go, Yeah, I'm not too concerned with that. So we could find tune it. We still have this shape. We can do our image warp. We've already done this exact same thing is what we took to the coffee mug when we started off the day. So we can still do that and of course, we could isolate it. If we did want to, we could isolate the different elements. Since we talked about that and in photo shop here, we could isolate these and pull these under different layers and apply different layer styles and things like that. If we had more time, we would do that as another project. But since we brought it in copy and pasted from illustrator as a shape layer was still have access to everything we can copy and paste this two different layers and continue to work it as, ah, a photo shop document taking advantage. All the cool things like layer styles. Yes, I was just gonna ask, How do you fine tune those points if they're not precisely where you need them to be might be a simple question, but it's a It's a great, great question. These right here you're going again. Probably use that direct Select If you want to do an individual point, what you do is you. Let's go in even tighter. Okay, so you have the anchor points and you have control lines on either side of them as they come in and out. So if you select on an anchor point, as we have here one, you can move the point wherever you'd like, and you notice what's happening is that there's a smooth transition between one point and another based upon the direction of that line. So if we move it, you know, in here, then we have this. If I move the direction line, it changes the orientation of the in and out of those different points. Okay, if you want, you can come over here and hold down your, uh, option. We're gonna move just on that line here. I can't see that point. Make sure we're still in our direct select. Uh, I was here. If you hold down your command key, you'll notice that what I'm doing here is I broke that anchor point. In other words, it's now a hard edge rather than a smooth edge. So by coming up on any of your control points as a default, if you do it, that's actually ISS ankle point. Like there to begin with. Let's find another smooth one. This is kind of odd graphic to do it on. Oh, this is it because the font is constructed a certain way. Okay, so that is an anchor point there. Let's do another curve. There are a few rules to working with the busy a curves. Here we go. So this is a curve. I don't know if it's not me, is this fun, you'll notice as I drag on that has no directional line of it normally on a curve. And these right here there is the anchor point. So, um, by changing this, changing its orientation, it's a corner point here. If you want to shift from a corner point trying to remember my keyboard shortcuts for it will shift it over, not to the dreck select. I think we're definitely have gotten some nice little bugs because normally if you highlight a point, it's going to show you the directional lines in this one. I'm selecting it. It's not giving me. The directional lines have to click on it, and then it's giving me this line, which is obviously confusing me. Um, but if you want to draw it, let's just draw from scratch, because this is what you're gonna do if you can create a logo, so take your pen tool. If you hold down the option or all key, it changes it from a curve to a hard edge. So here are my curve points option are all breaks that line. If you just click without doing any dragging, you get straight edges. Click and drag is it's going to drag out a directional line. So depending on what you're trying to dio, that the typical thing that you're going to do for doing a little practice on how doing the busy a curves is let's start with fresh line is something like the proverbial heart. So creaking out the line. Holding down your option are all key dragging out a new direction, and then we'll just go all the way down here and basically learning How do the curve you go on either side of a curve or your anchor points, And then whether you hold down the option all key to create a corner point or whether you don't and it creates a smooth line, Those are the basic concepts of how the vectors work. The, um, direct select tool is what you can do to zoom in on a specific area, find that point and either move it or use the anchor lines to change it. Holding down the option command or control, Altan PC lets you break a smooth point into a corner point. Okay, you welcome other questions. Ah, handful of people Jack were wondering if you could walk us through how to import those presets into into photo shop so they can start using them and playing around with them tonight. Certainly. Okay, so now back to this user. Let's switch back to Since I did that for the fonts, let's bring back That was the cool thing you saw before switching multiple users. It is pretty darn cool. So if you are have purchased the class, you are going to get everything that we're currently looking at here, which is the Davis 1-click wound presets sampler. And it starts off with this. Read me, read me one click wow sampler And this substantial sample of Jack Davis. One click one, blah, blah, blah, blah, blah. And it comes up here and it says, installing the wild presets many sampler on the Mac Where you're gonna put them is into the application Adobe Photoshopped into the presets folder. So that means that everything that's inside this folder, you can actually just drag the folder into the presets folder within the Applications folder, and you're good to go. If you're a Mac user. Very nice way How to do that as you can come to any application right click on it. Options showing finder and immediately takes you to photo shop. And here's the presets folder right there. Okay. On windows, it's a little bit more complicated. Depending upon what flavor of windows you have. One of the Mac, right? Clicking on anything in the dock gives you the ability to show it and find her. So I would just take this folder, drag it into the presets folder, and I'm done. We start photo shop, and they're all be available. Where they going to be available in that pop out in the upper right hand corner? Okay, so the patterns you're gonna find the libraries of patterns, they won't automatically be opened. You'll have to say that I'd like to use those patterns, your media patterns. So as an example, if we if we do this right now, so there's are the sampler inside their photo shop isn't open. I did this on purpose. Now, where you do want to do a restart on photo shop? So now if I go something like and create a new document and create a pattern Phil, I'm gonna find in that pattern Phil dialog box over here on the right. I'm gonna Wow h T w pattern sampler. How toe? Wow, it's another turn for him. So this pattern is now something that I can load I have available to me. So I click on it and I can upend. Typically don't replace you append. So now the bottom Here are my rock textures and things like that. Depending upon the size, much bigger document. I should have checked the dp I of the file at pp I, um so that is how they're gonna be if you have something like a tool preset. If you go to your paintbrush and come over here to the tool presets you'll find and it's pop out, things like that had allowed tool presets. Sampler will be waiting for you to load it. It won't automatically be there. That's one of the benefits I mentioned. If you just simply select them all into a command or control Oh, it actually not only puts him in the photo shop, but actually loads them. So they're in there. The problem is that photo up crashes. They're not actually in a folder anywhere. They loaded it up into the memory. But typically, I would say it's easier for you to bringing in that way. If I go to my layer styles palette and right click on it, you're gonna find the had a while style sampler and that would be loaded in. So that's the easy way. That's all kind of listed in this, um, read me file right here so that read me file goes through and it tells you to load a library. You know, look up in the upper right, And, you know, probably the other thing that you can do if you, um, go to that. Wow creative arts dot com Not only does it have the 900 presets, my entire life's work and the firstborn male child is previously mentioned, but it also has this 100 page reference book which has samples of all what the styles dio and a reference of every single one of the styles, including glass and chrome and metal and all that. It also comes through. We get to the end. There's all the chrome ones, ones for buttons, um, doing the overlay shapes for using it for type overlays, framing and painting. These air the paint presets. I'm in here. It goes through each one of the brushes samples and what each brush does. So if you look at each one, the page tells you that this painting was done with this preset. And here each one of the brushes and those patterns, those obnoxious patterns and it even goes into the actions. I mentioned things like the glass as well as the display displace. So this would be an example of the glass action, which actually takes any logo or graphic or type. And not only does the cool grow groovy stuff, but it also can imitate the refraction of light. So this is showing you what the 900 presets does and the Grady INTs and the question of And where can people find that again? That's it. Wow, creative arts dot com. And it's actually a little bit, uh, challenging to find it, because it looks like it's under a, um, download link, and it's actually don't have it loaded up. I've gone back and forth so many times and see if it's up here. There it is, so it's under training, so download preset. That sounds like it's one of the freebies, but it's not so you go to download presets and it takes you to this page, and that is where they are available for the incredibly ridiculously stupidest thing I ever did. Sell a piece of software, which should be hundreds of dollars because software as a book, um, for $39. So 39.5. So that's where you can add to the card. That's well, creative arts dot com. You'll find it under training where it says download presets, the training link. Hopefully, the main thing to walk away with is that the fact that you are all visual communicators, no matter what and in terms of the history of the planet telling stories with visuals is what we do. There's nothing greater from my standpoint than being a visual communicator, whether that's a photographer or a illustrator or painter or a graphic designer. Obviously the tools that we have are so mind bendingly powerful. It's also one of the most exciting times to do it just because we have unlimited possibilities of what we can do in the stories that we can tell. Hopefully, what I gave you today was enough big words to shut up your clients, right? Tell them you're the professional. They're not Give me my money. Leave me alone. I'll make you something good, right? That's what we all want for your photographer. Whatever. And the flip side of it is, if you take that extra time to really do your communications from your heart, it's because it is the best you can do. It is a potent story. It's something where you know a person's gonna look at and go. Yeah, they want to spend time with it. It's not just another piece of trash that's going in that will add to your own life beyond just a 9 to 5 job. You will go. I'm making a difference. It's not just gonna end up in the trash like all the stuff I'm gonna throw in the trash as soon as I get home. And that standpoint, I hope that we all carry that into every part of our life. What's our unique selling proposition? What is unique about me? Okay, why am I here? I don't want to be in the recycling bin when I'm done with my life. And that really is what we're talking about. What What is unique? What is potent, what is memorable? What is motivating If you look at your life, you're going You know, I'm not as potent as memorable and his motivating as I could be for those around me or for my own, you know, personal joy. Then hopefully today that thing I've just taken that extra minute, you know, do thumbnails in your life. Now that same concept, what can I do to there's my first right answer? This person place or thing in my life is the first right answer a man that third right answer is so awesome. But you'll never get to it if you go for the first right answer. So whatever that happens to be a so hopefully today, whether it's your photography, your life I hate to get all metaphysical, but whatever it iss, hopefully you know there are There are things that you can walk away with, And I know for me this whole idea of how bitchin it is to be in this field and in this industry, and to be able to have tools like what Adobe is put together for us is awesome. So hopefully that's some of the stuff that you can walk away with the limited amount of time that we had together

Class Materials

bonus material with purchase

3D Transform-Before.psd
Caffein3 fin flat logo.ai
Davis One-Click Wow Preset Sampler 2013.zip
Davis-034Wow-Styles Tutorial 3.psd
Davis-040Color Embossing-After.psd
Davis-Design as Storytelling.pdf
Design Essentials Outline.rtf

Ratings and Reviews

Student Work

RELATED ARTICLES

RELATED ARTICLES