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Habits of Successful Adobe® Photoshop® Users


Habits of Successful Adobe® Photoshop® Users


Lesson Info

Habits of Successful Adobe® Photoshop® Users

I always like to at least mention my social media for people that follow those kind of things that I do have, you know, the standard stuff facebook page and all that stuff, so welcome you to do that there I'm not one of those people that just says, hey, look what I had for lunch unless it's really, really good and then I might, but generally I try toe, keep it to photo shop related things that might actually be of interest to people, so my talk today is a little bit different than a lot of things that we do and photo shop because I'm not going to really show you aa lot of specific techniques. It's mohr this session is called habits of successful photo shop users and it's my interpretation of things that we can do in general, and I wanted to call it like philosophies of photo shop, but that might be pushing a little bit, but it is kind of my philosophy is I'm working on something, and one of the interesting things that I've found happened when I first started teaching photo shop and I t...

alked photoshopped back when it was photoshopped. One in fact, it probably been out for two and a half weeks before I taught it, so that was a really interesting class, but I figured I still knew at least a little more than the students. But along the way, when you're teaching something, you have to kind of figure out approach is they're going to work because the worst thing that could happen is you'd be showing something attacking go oops, sorry, wait that's wrong. So I started developing some habits, and I realized they were not on ly good habits from an instructing standpoint, they were just generally good habits in photo show, so that's kind of the approach we're going take his things you can do to improve your life in photo shop and as I always like to say, spend more time doing and less time undoing because I find a lot of people when I watched them work in photo shop, what often happens is they kind of jump in and do something and then go well, why that happened? And then you kind of work backwards, so my philosophy is instead of thinking, why did that happen? Is try to make sure things happen the way you want, so the first kind of phrase that I use in that regard is the term checklist and what happened to me is instructor I realized that as I was about to start showing some technique in my head I was thinking ok, make sure on the right layer make sure your foregone colors correct so that when I showed my demonstration it would work and then I realized that makes sense just to do all the time not just when you're teaching but when you're working is why wouldn't you want photoshopped operate the way that you want so if you put in your head the word checklist what that means to me is before I just jump in and start doing something I'm going through a little mental checklist so for example I take my paintbrush and just a simple matter of using the brush now aa lot of people right away start painting and then they find that's all going well why why is the paintbrush operating like that? Well, one of the rules of photo shop because very very quickly has a very long memory so if I wasn't paying attention and I started painting and wondering well my color is blue let's make it even maybe he's be a darker blue and it's still acting really oddly why? Well apparently that's because previously if I look up in my options bar I left this tool in overlay mode at seventy percent capacity and photo shop has a very long memory so unless you go and check that that brush will continue from now on that will be its new default settings. So the number one thing on my checklist is click on a tool instantly go and look at the options bar and see what I have set up there, and especially because what usually happens to people is they do some function and they carry on, and then, because you're in the middle of some kind of work flow is some people like, I suppose, getting a habit of always reverting the tools back as soon as they're finished. I personally prefer just to check before I use it. Now I've already broken one of my rules because normally I would never work directly on the background layer if you look up, if there was such a thing, is the photo shop dictionary and you looked up nondestructive, you'd see me going, yes use nondestructive techniques and many of my other classes during photoshopped week really talk about that and even more detail. But as a general rule, I don't want to work directly on the background layer because I want the ability to try things changed my mind experiment, and I can do that by working non destructively, so the second thing in my checklist would usually be, should I add a layer? And the answer is almost always yes. Or if I already have layers which layered oh I want to work on and if I have layers that are already set up I might have to also take that checklist a step further and say is the letter I want to work on visible or not there is there a selection so I'm not in any way suggesting that just by using the word checklist in your head photoshopped gets easier but because the checklist is ever changing so as soon as you switch to a different tool now the things you need to check a little bit different so in this particular case I would be saying all right, well let's put this tool back to kind of normal settings now one little shortcut you could do is if you had some tools have many, many options so if you look up in the options barn you see gosh there's like in type in particular there's like fourteen things that need to be changed over here on the far left you'll see there's a little tool these air tool presets but if I write or control click you can see there's the option to reset the tool so if you find there's twenty seven things that need to be changed it probably never twenty seven but that's just a number if there's a lot of things need to be changed in the options bar and may just be simple to say reset this tool now, I've talked to some people who say, well, I just get a habit of putting reset all tools and the only problem I see with that and I have to choose my words carefully since they top man at adobe is sitting right over there, some of the preset settings that have been provided to us are perhaps not the ones that I would tend to use was that, like, politically correct enough? So that's, my only worry was saying, reset all tools is it puts them back to the photo shop defaults, which in some cases might not appeal to me and the way I like to use photo shop, so I prefer to do it on a tool by tool basis or use something called tool precepts, and I'm going to just barely touch on that in this class, and I have a whole session later on this week on preset so that's another approach to say put it back to my pre set for the tool, as opposed to back to the default settings. So in this particular case, a simple matter of using the paintbrush, I've now checked my options so it's back to kind of normal settings the way I want and the second thing I would then say ok but I don't want to work directly on the background there so I'm going to add a new layer and right away that's going to give me this first step of this whole thing called working non destructively is now when I do a brush stroke I know that it's I've done it on that little sheet of acid tate that's protecting the background layer so aiken move it aiken deleted I can erase that aiken do a lot of things to it just because I've done things on layers now what I see a lot of people do and it frightens me terribly is they do all this work they build up this layer document and then and they go ok and now I'll flatten and safe and I have a heart attack and die each time that happens not literally of course but in fact I remember once being on an airplane and I think about this a lot that the person sitting next to me muster wonder what was happening because I was reading it was a magazine from the u k all about digital artwork and someone did this beginner's tutorial on was a nice little toro how to do if I forget what it was how to do something and photoshopping was like step one to this and it went all the way through and then the last step it said now flattened and save and I was on the plane going and the guy next to me much, I thought I was having a heart attack, which I kind of was, in a sense, because I'm like, how could you tell a beginner to flatten and save that's like the worst possible advice for someone just starting out? Because now they come back a little bit later and say, I want to change that toe oh, where where's that layer with the blue paint on it? I taught a class once, and I was hoping, as I always do, about not flattening and saving, and about a week later, I got an email from one of the students saying, so I flattened and save us a j peg, and when I went back, none of the layers were there, and I was like, that is correct. I'm not sure what he was asked what he was really his email was saying, oh, you go to the edit menu and shoes, unflattering fi and you're all good to go, and he did clearly snooze through the part where I said, don't flatten and safe. I always like to say as a way of helping us remember, I'd like to think of flattened his photo shops, f word, it's bad, and you should not use it now, there's a big difference between this flatten command which is the one that pops up in the layers menu I never use this and I'm not using the word never lightly I'd literally can't remember the last time I ever pull down to this command except to show people why you shouldn't use it because the reason I think people want to flatten is they're thinking well, I need to save it as a j peg and j p can't have layers well the second most important thing that I tell people when they're trying to develop good habits of photo shop is I believe we should always save a master copy which is our layered photoshopped document that preserves everything layers type adjustment layers mass whatever you've done and then you make a copy that is flattened on what I see people do sometimes I know while I suppose this would work is they choose just it almost I have to like force my hand to actually choose flattened oh gosh and then they choose save as well my question is what happens if you're slipped and hit saved by mistake and you just saved ah flatten version so if I undo that this is like monopoly do not pass go go directly to save as because when you go here watch what happens here is my layer document so it's assuming I need to say this in photoshopped format but if I simply come down to this menu and say I actually need to j peg, I shouldn't go back for a second let me show this again see how that little check box says layers right there as soon as I choose j peg, it says we can't have layers, so in one step it's making a new copy, which is flattened in jpeg format. So now in one quick step, I have already saved my psd master file, and I've saved as ah copy, which is j peg now I talked to some people are like, yeah, I am worried, you know, it makes such a big file size when you save is a psd, and my response is very quickly, you know what? Go buy a bigger hard drive because if that's the reason why you're not saving a psd file because it's a big file that would worry me considerably the fact that you're that's that's the reason you're doing it is simply because of it big file size, so let me show you to a different way. I have two versions of this file if I opened if this is all I had on my hard drive and I opened it, I would sob quietly for several minutes because any question that starts with like, if you were, say, working for a client that you've done this for and they say could you just know just answer no, because unless they said like, could you make it smaller? Yes, I can could you convert to black and white? Sure, but some say could you move that? No. Can you make that? No, because all I have is the flattened copy. Now I don't, but I'm saying if this is all you have, that would be a really bad thing. So that's the lesson? Compare that with this, which is granted a much bigger file, and it takes longer to open, but I have all these layers of information that if someone says, especially with the introduction of things like smart filters and smart objects, I have levels of edit ability that even though I've done some blur effect, if I look at it later after I printed, for example and decide quite like the look of that I can go on edit any individual piece because I have full layers with mass with smart filters, all of which I'll talk about later on and other classes but just to show you the comparison between a psd file and a j peg that's why I just strongly recommend no, I insist that you save a master file is a psd and then save a copy in j peg now the question that normally comes up this point is, could you also not save this in tiff format? Ok, that question didn't come up so I won't I'll just assume someone ask that question and that is technically quite correct you could save layered files as tiff and I'll share with you my very simplistic reason why I don't do that is because when I had if I was to show you a folder on my hard drive, you would see a bunch of raw files because I tend to shoot in camera and then you would see a bunch of psd files which are my master files and then you would see usually I have a folder called final although to me final has air quotes around it because it's never really final because I have my master file. The reason I do psd is because a tiff can have layers, but it also might not and my worry is how do I know by at a quick glance without having to open it? Does this file have layers or not? So I'm not so simple reason that's why I do it because my worry would be I would send someone a tiff file and they don't have photo shop and they're like I can't open this because it's some version of it if people think that tip is like vanilla ice cream, you know it's a standard format but going to the grocery store and see how many versions of vanilla ice cream there are on the shelf that's kind of like tiff and that's my worry that people would save a layer tiff and then forget it, send it to their friend who tries to open and they can't or something like that. So even though, like I said it's, a simple reason for doing it to me, it's very efficient because I can just open a folder. I haven't been in years and go master file raw file finished final j peg, and then if someone says, can you just unlike? Sure I can, for my minimum charge one thousand dollars or whatever it is eight hundred canadian. I go in and can edit everything cause I know I can. So I preserve as much edit ability as I possibly can, for many reasons, not the least of which is I want to be able to change my mind. I want to work more accurately, I want to be able to re purpose. There are very many times in photo shop where, at least for me, I've had experiences where you look at something you've done previously, I kind of like that effect, and I want to apply to something else. So let me ask you this rhetorical question, how many of you have ever ever had this happen? Where you're working away in photo shop, where, as we often say, playing, and you're just trying things that you apply this, you try that, and at the end, you save it and all you have is a j peg, and you'll love the way it looks when you come back three months later and go, how on earth that I do that because at that moment in time you were just experimenting, so there's no way to figure it out. I'd rather have that where I can look and go, oh, that layers in multiply mode and it's seventy percent opacity and et cetera, et cetera, because then I can reverse engineer and figure out how I did it, but also I can say, oh, I'd like to use that texture on that other photo and it's already in the right mode, and I just drag it over. So anyone who says, you know, that whole non destructive thing, I think they're missing part of the point, I see people wanting to debate working non destructively, and they say, but I'll never change my mind like it's, not just about changing your mind, teaching the whole class later on cold, I remember, was called creativity through nondestructive creativity, something like that, which talks about how you could be more creative by working nondestructive, because everything and photo shop by nature is very linear, so if you take the paintbrush and go one, two, three, four, five you have to undo five, four, three, two, one if you use layers and smart option our filters, you could say I've done seventeen steps I wanna go back to step three and change that and have it trickle down through everything else. You can only do that if you're taking full advantage of these methods. Well, that's kind of a two part habit. One is making sure you take advantage of all the layered capabilities, but that means nothing unless you save it as a editable psd file. And yes, your file size will get bigger. Oh, well, storage is cheap. Your time isn't so go buy more storage and not have to redo work over and over again. The other kind of philosophy, if you will, that I have is something I just referred to his end up with and let me explain what I mean by that. When I first started teaching photoshopped, one of the things that we used to do back and almost thought by the way in russell would appreciate this. They say, I'm going to tell me what you will appreciate this back when I used to teach photo shop, I just actually show this technique on how to make drop shadow on text and this is in photo shop one where once you type with the text tool it was just there was no edit ability he couldn't you know pick it up and eat it so there was no edit ability at all and to make a drop shadow was like fifteen steps and gosh if you made one mistake along the way was like forget it so very quickly I was always thinking I need to make sure I end up with this effect and how am I going to get there so for example if I had a photograph of a person I used to think to myself I need to select her and I would find myself sticking with one selection to illness until it killed me trying to make a perfect selection the first time that I realized why am I trying to do it in one step is long as I end up with her selected that's all I need to worry about so here's a couple of examples of that of what I mean by that that whole process here of going so all I want to do here is I want to put a siri's of squares as a graphic element evenly spread out across so as you can see here I have one layer where I done that and let me show you and don't take notes on this part because this is the way you shouldn't do it to demonstrate why thinking end up with is better so I'm starting off on the right foot because I'm saying let's, put it on a separate layer, so I take my marquee selection tool, I hold down the shift key and just make a little square and fill it with white, and now I want to make a siri's of these squares. Now the one way I could do it, one of them there's probably no if he was photo shopped for more than seven minutes, there's, as my mother like to say umpteen different ways to do something and to put these squares across, I could just hold down the option all key and drag and hope that somehow I could magically make exactly the same measurements, so that wouldn't be ideal. But here's, what I mean by this end up with ok, so I'm going to use a little command. You sure you're familiar with free transforming? If you hold down the option all key when used free, transform it sends a signal to photo shop to say whatever you do next, do it to a copy instead of transforming this square it's going to make another one, so if I hold down the shift key, I can say I want the next square to be. Approximately there and, of course, I'm just doing this by I saying that looks pretty good. I hit enter now I want to tell a photo shop where every just did do it again and there's a short cut for this, which is the entire left side of your keyboard t so command option, shifty or control all shifty is a shortcut for repeat transformation in whatever you just did do it again. So I told it, make another new square there, whatever there is. So now, if I press all those short because you see, but now the problem is I wanted one mohr and it's off the end of the page because I arbitrarily shows that spacing and it's off a little bit, and the mistake I made is I did all on one layer, so to be ableto select each square and move it over, I could do it, but it would be really difficult, so instead a much better choice would be do almost everything else the same, but think I want to end up with a siri's of squares that are evenly spread out. So as part of my end up with philosophy, you'll find what often happens is initially, it looks more complicated to give you the option to end up with okay, so starts off the same I've got the square on the layer, but here's the one difference that I do in the first example, I d selected it by doing that I'm sorry, I should say there, around the first example, it was selected, which told photoshopped, keep everything on the same layer, so instead, if I d selected that simple thing is going to change the way that this technique works. So now I do the same steps command or control option t I still move it over a certain amount and hit enter, but if you look in the layers panel, you see it put that automatically on a new layer, just by the simple matter of these selecting now, use that same everything short cut, and I suddenly go ok work perfectly, but but let's, pretend it that spacing was really off. Now I have the advantage where I have all these layers, so for example, I could take my move tool, so I really want the last square to finish here. Well, now that I've done that, the spacing is all off, so in the layers panel, the first layer is selected, or the actually the last layer of doesn't matter, hold down the shift key, select the rest of layer, and then I'm with the move to us like that have all these options, including distribute so now distribute by their center so any time I need to change this I could just say let's just move this even closer in select them all and distribute so by doing it that way it's giving me way more control the first scenario I had paint on a layer and even though in my mind they were squares as faras folders officer and was it a bunch of white paint here each of those layers is separate so I contain a move I could scale them now at this point what I I used to do before the advent of these wonderful things called smart objects is I would merge these layers together thinking well, I'm saving space but merging is a very close second of flattening in its badness because if you merge layers you're also throwing away the ability to edit it so I would either put these squares in a group which is like a folder so at very least from an organizational standpoint I choose new groups from new group from layers and call it something so now at least functionally aiken showing high but I still have all the separate layers in the middle that would be one option or the other option which I again we'll have a whole separate class on is converting to a smart object which looks very much like merging but the difference is I still have access to all those separate pieces of information okay, so this end up with a concept appears over and over again and what you're doing and photo shopped at least it should because let's look at just some really simple examples here so I'm just going to add a new layer and use the same concept of let me actually something go back to this wonder so there's something to look at here okay all right so I want to put a semi see through white box on here something that could put some type over the top of it cause type always looks nice when you have a little shade of white box behind it so and I always tend to start these demonstrations with what I used to do was until I realized this was a better idea so in my head I would think I needed semisi through box so I would go to the edit menu and choose phil and again this is I'm first starting with the don't do it this way demonstration and I would tell it okay let's fill this with fifty percent opacity and I click ok and sure enough I have a semi see through white box great I'm done problem is I'm done so if I print this and go gosh, I wish that box wasn't so see through I can't edit it because I set the ceiling at fifty percent by telling it fill with fifty I can't make it sixty now because there is no more that's it that's now it's one hundred percent so instead a better option would be used the phil command and tell it fill one hundred percent capacity then use the layers panel to make it whatever you want because the difference is now I haven't said a stealing I've ended up with a semi see through white box but now after I printed for example and go I wish it wasn't quite so see through I can go back up again because I didn't set my ceiling so any time you're looking at a task that's the thought process I would suggest you go through is think going to end up with this look how can I make my life simpler and that's to me is one of them is always thinking about just in case and maybe it's just because I'm a worrywart I don't know but I'm always thinking what happens if I changed my mind or when I printed I don't like it when I put it save it as a j peg for my website don't really like the look of it I want the ability to go back and put it, put the opacity up or make the font bigger or whatever it is so the enemies of this non destructive or all those merge flatten I actually called him the five forbidden fruits of photoshopped merge flattened a race rast arise, delete you do any of those things you're making permanent changes, so if you can avoid rast arising type by making a smart object, that would be better if you can avoid merging layers by making a smart dog or a group or something. Yes, it makes sure everything the file size bigger, but I believe it gives you more opportunity to change your mind, and I want to show you one other example of this end up with concept, and then we'll see if there's any questions so far. So in this photograph, I'm thinking, I want to changed the color of red in a very subtle way. I like the red bridge, but I want to maybe just adjusted slightly and one of things that I see people do, and I frankly used to be one of them is I would go into an adjustment layer, I'd make the world's most subtle shift in color, and I'd start trying to mask it going can't tell because the change was so subtle that trying to paint on the mask made it really impossible to tell was I'm asking it properly or not. So then when I kicked into that and up with, I thought lying to end up with a slight shift in color, but why don't I make my life easier by second this way, using a hugh saturation adjustment layer but instead of making a subtle shift in color, why don't I make it like fluorescent green? And what I would do is then take this whole mask and inverted to fill it with black, then I take my paintbrush, and this is the not an in depth class on how to use mass if you're not familiar with what's going on, watch my class later. So what I would start doing is painting to see how easy it is to see what I'm doing because I'm not making a subtle change, it's a hugely ridiculous change, and I want to the whole thing, but you get the idea you would zoom in, you would do all this part down here, you would paint if you go a little too far and change her, you switch your color back the other way. So let's pretend for a moment that I did that whole thing, so that whole red bridge and reflection has been looking very green, like I'll do a little more to see see the idea normally, if this was a real project, I'd be zooming in and getting more accurate, but for the purpose of demonstration let's just use are vivid imaginations that I've done the whole thing, so see how much easier that was to do the masking now, because an adjustment layers editable. I simply come back and say, but I didn't really want that big a change life for reset everything back to zero, and I just do a more subtle shift, so you see, when you look at it, it's hardly noticeable, but there is a change there and that's quite often what people want to do, they don't want to make a dramatic change, so they make a subtle change, like I said struggle trying to figure out masking when they're zooming into four thousand percent trying to get every little pixel to me, it makes much better sense to take advantage of the non destructive nature of this and deliberately overdo it, make it dramatically different color, like fluorescent green paint on the mask, and then once you think the math looks pretty good, then pull it back to the way you want, and I use that for a ton of things here's another example, I find that the rocks here in the foreground, I'd like them to be a little lighter, but just a subtle difference. So again, same idea, exactly, I would just go in and add, um, something like, well, just to, uh, stoop curves, and at first I'm going to go way overboard using the same concept invert the mask, so I'm just pressing command control, ida invert, I take my paintbrush and I this is where I'd be obviously much more careful than this zooming in, taking advantage of my tablet and so on. This is to me doing it way too fast, but so you get the idea, so I'm happy with the way it looks, and once I'm happy, same idea I go back to curves, okay, but I just want a more subtle change, and I can't tell you how often I use this for anything where I want to make an adjustment. I've had people send me a photograph where they really nice photo of a little kid, but he's got like his face is got real red blotches everywhere, so they only really want to do is shift that read a little bit, but it would take forever to be painting on his face the same thing, and I hope another parents don't walk in while their faces got green splotches on it, but that's what I do because it's easier because I'm thinking, as long as I end up with that look that's going to ultimately save me time. So one of the advantages of this end up concept is it also helps with accuracy instead of guessing, I think I've got that all mass, but I can't really tell now you can tell because you deliberately overdo everything and the reason this works and this is one of the things you should be looking for as you're developing these good work habits and photo shop is a lot of the time not all the time, but a lot of the time in certain operations, the worst thing in the world is the ok button because when you're clicking okay, you're committing to something and let me show you what I mean by that and then we'll see if there's any questions so let's say for the sake of argument I just I ignored adjustment layers for a moment and used levels so let's pretend that I was head for some reason been staring into the sun for a few minutes. So as I went to adjust, this photograph was like there that's much better and I clicked okay, well, the problem is, look, the background layer has been changed is not on a separate layer and let's further pretend that I close and save this well, the problem is, and if you've ever encountered this, you know the levels dollar bugs all based on history. Graham if you ever open levels to try and fix something and you see history graham that looks like this pretended says good luck right up there in that white space because there's nothing to work with, so how can you adjust something when there's nothing there so in this particular case, one of the really downsides of using that adjustment layer is the fact that it's very permanent if I did exactly the same thing and use levels two important differences, folks, one of them is the levels alec boxes off to the side, not half covering up my photo, I find when people use the commands under the adjustment any other spend half their life moving in on the way to kind of see what they're doing. But more importantly, I think nowhere in here it's not possible to click, ok? You just leave it and that's a huge advantage because it lets you overdo so you can see what you're doing. Have you ever had this situation? I'd somewhere on my machine, I'm sure you have an example of this, but I had a case years ago where someone sent me a photograph and said, I need some help I've trying to select it took a photo of this dentist and I'm tryingto extract him, but I'm having a hard time and he sent me the photograph as basically a white haired man and with a white lab coat standing on an overexposed whitewall, so I'm like, well, no wonder you can't where does he end in the wall begin so my approach was at all levels of justin layer and completely wreck the photograph temporarily so now I could see and so could photo shop and the quick selection to win oh, thank you. Now I see where his coat was soon is the coat was selected, I threw away the adjustment layer and I just made a great selection in a fraction of the time, and I know what he was doing was zooming into six hundred percent going I don't I can't see anything here, so of all the concepts, the two ones we've talked about so far the big ones are that whole checklist idea check before you do, but I got to tell you guys end up with as changed a lot of things for me because it changed my approach where I thought, as long as I can end up with this, I can I end up saving myself time in my one on the other classes later on, I'll show an example of extracting someone do like composing on new background, and she has hair flying in the wind, and I realized how long that would have used to take me because I used to try and do it in one shot. Now I'll cut her into two pieces and extractor ahead and hair on one layer and the rest of her on another layer so much easier. When you look at it, you would never know from the image that I did it in two or three pieces, but in my mind I'm thinking long as it ends up looking realistic that's the important thing okay, well, see if there's any questions so far, all right, dave cross well, this is a great start. I can't tell you how many tweets there are coming through lots of people loving these habits I want to shout out tio at louie's gless photos who said spend time doing and less time undoing yes, a huge takeaway as to what you're talking about so we're talking about best practices and missed family wants to know how important is it to have the tablet that you're working from for best habits? Well, without sounding like a sales pitch for walking tablets, I mean, if someone took my tablet away or said here's twenty thousand dollars, you can use it have let's say, hell yeah, but I'd be disappointed because I mean I take the money, but seriously I everything to me is so much easier and they're shortcuts for everything and photoshopped but I use the pressure sensitivity when I used to go back and forth I was constantly changing the size of my brush using shortcuts now I just changed the intensity of my pressure to say bigger brush saw smaller brush and that one little thing I mean there's tons of things a tablet does, but for me, I find it more accurate and that ability changed. The brush size on the fly is a huge one, so I recommend them. The good news is welcome continues toe play with their product line, and now they're what they consider their introductory product is actually still very, very good and it's still a huge step up from a mouse I will add for anyone out there that decides who hasn't tried to tablet. This is what you have to do, and I'm completely serious about this. Sell your mouse on ebay or put it in a locked safe. We don't know the combination because as soon as you try to go, we'll use the tablet for this and the mouse. Everything else it ain't gonna work. You have to use the tablet for web browsing, typing and word like just make it your replacement for your mouse. It makes it so much easier. If you only think of it as a photoshopped painting tool, then you'll never get used to it. And I one of my friends I made him give him my mouse that's like in those movies where they say I'm gonna lock myself in a room and don't no matter what I say, don't let me out. I was like, no matter what you say, you know, getting your mouse back and he pleaded with me, I'm like, no can't do it. This is the way you learn now we have somebody no studio in his desperate to ask the question, and so we've got to get him in there. Russell brown, go ahead now I have a statement rather than a question the for years I'm a beginner, it finish up for years. I've always wanted to be oh, duplicate things on different layers and kind of going so that's amazing! That was brilliant. Thank you so much. Thank you, actually have another example that I didn't choose to do. But one thing to keep in mind of that repeat transform what makes it cool is it repeats whatever you just did. So all I did was moved. But if I wanted boxes that were evenly spread apart and got smaller, if I moved it and scaled it, it would then repeat that transformation of going moved that far and scaled and rosa, whatever operation or you do that's what makes that keyboard shortcuts so cool it's not just simply moving again, it really means repeat transformation so whatever transformation you did it will repeat it using that shortcut and by putting them on separate layers then you can scale and a line and all those things and then say ok now have ended up with that I'm going to move on to the next step yes bill quickly when I'm doing revisions I save miss psd files but then I've got revision after revision psd file after psd and then you say ms j pigs had to keep track of he reveals I'm not sure how to answer this without and in no way am I sound trying to be facetious but my revisions or my j picks my master file is where I keep everything so when I do a revision I just hide a layer and save as j peg but I don't so I don't tend the techniques I use in photo shop are all revise herbal so I have smart filters and smart ob gyn mass so all those things don't generally require multiple psd so most of the time except for no I'm trying thing I can think of that many reasons now especially with smart objects changed everything for me it really did so that when I used to have is what I used to have happened I'm sure you appreciate this is I would look back in a folder and I just have this great naming sister michael like document one document to document three all said psd and I'm like I have no idea so now it's just one document if it's this one I would say boy dot psd and I know that is it and then anything I need to make a revision I revised what I've got in that layers panel and then say fast the question in the past I've used the history and saved a copy of a picture of what I guess I was currently working on how would that kind of coming to play with maybe ok, well, first of all thank you for asking such a great question that was like a perfect what's that word where segway thank you very much so because of that you win a twenty five dollars gift card this is fun fairly new company for actually aaron services called loom oid I'm sure you've all heard of companies that do len's rentals they rent lens cameras and kids but what they do a little differently has also do try before you buy so if you rent thirty percent of your rental goals towards eventual purchase and you can save up for like a year so twenty five dollars gift card for you there you can take that later on so the question that you just said I just forgot what it was that was such a great segue way so oh yeah history pal here's the problem with history that I I think to me if it was me, if I was the president adobe, I'd be sitting in some cushy office somewhere going russell brown do something important, e I would not be here very likely, but not that this would make any sense. But when people look at the history panel, I really wish it said current history, because the problem to me with a history panel it's only useful while this document is open soon as you close it, histories gone so layers adjusting layers, smart object, smart filters masked those air forever history, you can always come back to any level. The other challenge with history is very linear by nature. So again, if you do seven steps and you try to go change on ly, step to you pretty much have to multiple undo or step backwards to step to sew. My structure is always to try and have, like even this let's say, I've done ten other things in the night aside, I wish I hadn't made this fifty percent I can still change it because it's just one separate little function of going change, the lair opacity. If I try to go to history and go back to where I change in the fifty percent, I would be undoing a whole bunch of other things as well so history is to me is great if I just want to try like say three things and then step back risk okay that didn't work but if I want ongoing history to me that's the structure of your layers panel provides a much better history because here's the thing if you even if you have layers if you save enclose the document the next time you open at all the history palaces is open because that's all it's seen you do so far whereas you will wait I want to go back to that and it's not there anymore so history is a nice little temporary let me go back step backwards a few steps but it's important to note that the history panel is this step backwards which doesn't mean go back to step three but don't affect foreign five it means by four three two one and you have to undo everything in a very linear way there is an option in the history palace says allow non linear history but to me it's never really done what I hoped it would do and it just made life more confusing so I'd much rather to say you know what? My layers are my forever history all right? So the other kind of concept that I would I suggest to you is that I'll just open and different voters so we look something different is I see a lot of people who kind of struggle perhaps a bit because needs will say one of the wonderful fantastic things about photo shop which I love is there's a brazilian choices the downside to that is there's a gazillion choices and quite often I don't know about you but I found that although I think it is wonderful that there are I don't know how many filters and photoshopped there's russell do you know let's just say one hundred you could have picked any number none of us would have known you ninety nine filters I think there's one hundred seven but anyway there's a lot of filters but most people find there are certain filters they use all the time so for example if I were to sharpen a filter I would not use um sharpen or sharpened edges are sharp and more if you didn't already know this here's a little sight tip and photoshopped anytime you see a filter that just has a name without the little ellipse dot dot dot that pretended says auto so when I click sharpened doesn't bring up a dialog box it just sharpens it I don't like any command unless I don't have a choice because they're somewhere there there isn't on option but if there's a choice I would much rather have smart sharpened where it opens a dialogue box and I can choose my own settings aiken preview it in this case I can also save presets which is fantastic over sharpen so why am I seeing those three sharpened filters when I just never used them to me? That's unnecessary information and probably I don't know four or five versions ago when a bunch of us were asked as we often are put in your wish list of things you could do in photo shop I said I'd like a version of far shop where I could choose what appears under menus and someone said or you could just go to the customized menu command I was like, what? And a lot of people miss the fact that way down the bottom here there's keyboard shortcuts and menu so this is how you can customize photo shop too temporarily take away things you never use and that to me is a huge time saver because instead of taking all that time and kind of sorting through which of these do I want, I'm going to cut to the chase and say let's, use that example there are only a few sharpened filters that I use so why am I being distracted by these other ones? So I'll have to do is go to this uh, menus to filter and I dragged the whole way down see there's all these sharpened filters and I'd just go no thank you know thank you know thank you, so removing the eyeballs means instantly as soon as I click ok and now I go back there you will see that all I have now is the filters. Are you simple? Is that so? All it means is you invest a little bit of your time to go through and say, ok, I don't use this very often now for anyone who panics, they're still there, they're not gone, they're just hidden. So you can always say, I decide, I do want to sharpen for some reason, I'm not sure why you would, but you could, but the point is now what you're doing is making photoshopped look and feel the way you want. So you're saying, I why do I have these things when I don't use them? So if it was me and today it is, I would do this because not only can you edit the application menus, you can also edit the panel menus, so on my version of photo shop, this is what I did. I went to layers and way down here I went no, so now I don't have the f word anymore, so I can't even flatten because it's not there anymore, so if I had multiple layers and I went to try and use, gosh, I can't flatten anymore that is correct, I could still merge, which, you know, so not that I would ever suggest doing this, but if you really want to mess someone up on, like april fool's day boy, that could just is just waiting to be, you know, take high things under menus, and the meanest thing I ever saw someone do is they had at an event I was at once, we did actually think called photoshopped pranks, which we realize was a really bad idea assumes were into it because some people would actually do this someone and edit menus and added a whole bunch of things, and they hid edit menus so that no one could figure out a way to get to the ability to put the menus back in, so don't ever do that internet that would be really bad now, by the same token, so that's kind of cool to say I there are certain things in a certain menus I don't want, but by the same token, there are things I do and foolish up all the time, and I'm I'd love using keyboard shortcuts, them that's as an aside. If you don't currently use keyboard shortcuts, you should keyboard shortcuts save you a ton of time, however, I recognize that there's a million of them so start off slow and, for example, here's a perfect example great way to learn keyboard shortcuts, one letter I'm not doing it all the time today cause I'm trying to show you what I'm doing but when I'm working if my mouse is way over here in the top right hand corner and I need to move tool I just pressed because I know he is a shortcut for move easy to remember v for move of so many of the shortcuts makes sense like em for marquis l for lasso tea for type c for crop others are a bit more of a stretch like v for move or w for magic wand are things like that but that's just a single letter so imagine how much time you'd save by going move tool come over here paintbrush come back here so just get in the habit of pressing tools are oppressing the single letter and then over time you start looking at other things and going caution I used this command a lot and it has a keyboard shortcut now what I suggested people is at first learning keyboard shortcuts will actually slow you down because you have to kind of go away a second was that shortcut again and you look at and go ok now I know what it is but to take it a step further here's something I do all the time I love layer bass I'm always adding a layer mask and right now I have to go over and click on the little dude ad that says addle air mask I wish there was a keyboard shortcut for that. So why not make one? Because just like you can edit the menus, you can edit the keyboard shortcuts. It's actually in the same panel so ought to do is go on, look at now that I'll tell you right up front the challenges. This is finding some shortcut combinations that already spoken for because almost every combination of letters you could possibly imagine is already been allocated. The good news is there are just, like, just like there are some presets that have been provided to us by adobe that I wouldn't necessarily choose to use. There are also some keyboard shortcuts oven allocated functions that I equally would probably not be likely to use. So, in my opinion, this is a whole there's a shortcut that aiken therefore use for something I would prefer. So let's say, I want to do a shortcut for layer mass, I think. Ok, what can I use? A shortcut? Why, no commander general ellis levels. How about command shift? L or control shift l and it gives me this warning and says that's already in use and you use it, it will be removed from something called auto tone. And my philosophy is, since I don't even know what auto tone is, I actually do, but I'm just saying I never use it. I'm perfectly fine with that, because I don't use the auto to hunt offset auto tune, I don't use auto tune and focus on why would you? I'm perfectly fine to say, except that so now from now on on my machine, when I want a layer mask, I press that shortcut bang layer mask so much quicker than moving down and clicking on something. So if you start looking through photo shop, you will find, for example, auto color, I don't know I'm not a big fan of functions that say auto anything, because I want to know what it did. So as I start looking through, I found eight or ten short cuts that to me were allocated to something that I just don't see myself using. Now, if you really wanted to, you could take standard keyboard shortcuts for like, cut, copy and paste. I wouldn't recommend that because I will miss you out, but look through and start seeing functions like vanishing point kind of a cool feature, but I don't use it hardly at all enough to justify itself having keyboard shortcut, so I went through and quite literally found I want to say eight fairly and they weren't all like crazy, you know, fourteen keys put your foot on the keyboard kind of shortcuts they were fairly easy that I've since allocated two things that I use okay? And the third part of this is making photoshopped look in the field the way you want is that there's all these panels and everything else I have mind set up in the way that I like now theoretically that's one of my favorite words and talking about technology theoretically every time I quit photo shop and restarted, everything should come back looking just like I left it for reasons we know don't know sometimes that doesn't happen, so one of things I have the ability to do is set up everything the way I want and I use layers so much so I've made layers my main kind of focus here I got a lot of other panels but they're collapsed I have smaller ones here and I say I would like that to be an option for me any time I want so what's called a work space and all I do is choose new work space and I call it something but here's why it's kind of cool is when you create a work space you can choose to include my custom keyboard shortcuts and menus so now if you're really thinking on the ball I could have a retouching workspace that has certain shortcuts and then a different, like, I don't know color toning workspace that has different shortcuts or different menus. So now you're really customizing photo shop, because and I've made so many of these and demonstration, my list is ridiculously long, I don't really use this many, but here's all my shortcut. So as I'm working, I think, ok, I want a portrait retouching layout, so we just re oriented things didn't really change much let's, try a different one like typography that will be provided. So now you see, it's changed the appearance of my panels, so well, I'm working on something that's very type heavy. I use that workspace, and if it may alter my menus, if that's included in the workspace, and then once I'm finished, I just put it back to my work space, and it puts everything back the way it wass so one of things that you may find is that you don't know yet because you're still kind of developing, but that's the beauty of work spaces, you can save one for now, and then later on, you think, oh, I should have added this panel, just edited, updated whatever you want. He started using keyboard shortcuts, you incorporate that, but to me, this concept of making photoshopped kind of look and operate the way I want is a huge plus because it saves me time. I'm not going through long menu should find the two or three items that I use all the time. I'm not doing things like having always go to a menu or a button to add something if I can allocate a keyboard shortcut, which reminds me one little thing, just as an added bonus here, excuse me, I use the color picker aa lot once, one of my favorite ways of choosing color have swatches, but I really liked the color picker, and for the longest time, I always felt again, I wish there was a keyboard shortcut for this because they kept moving all the way over and clicking on it well in photo shop, simpson action, I don't remember what version was I want to say, c s six maybe they added, the option of the option toe to change the tool. Shortcuts has always been there, but what wasn't was the ability to choose the foreground color picker. Now here, it's even more challenging, because now we don't have combinations of control, and alton shift and everything else is just a single letter, so here is the approach that I took, and this is the thought process I'd suggest you have to go through is I thought what would make a good shortcut for the color picker that's not already taken by my main tools like the brush tool? So I thought, how about p p for picker? And it said, well, wait now this shortcut is from is overused by the pen tool, so it said it will be moved from that if accepted so here's I'm not let me pause for a moment and say, I'm not in any way recommending you should make this change I'm suggesting this is the thought process you should go through to decide if you want to make this change. So my thought process with this how many times I asked myself how many times on a regular day do I use the color picker one hundred forty eight? How many times used the pen tool on average take minus ten? I mean, for me, the pen tool has gone way down compared to ten years ago. If you'd asked me that question, I use the pentacle occasionally, but to me I'd much rather have that shortcut allocators something I use every day, then something I use occasionally, so my choice was to say I will accept that so now is I'm working I just go pee color picker so much faster and if ever you want the pentagon, go all the way over here and click on it but because I don't use it that often now there are some people out there they use the pen tool as one of their main tools, so therefore, don't do this take a different one, but that's, the approach I suggest you take is look at the way you work and say, gosh, that's a function I use so much, I'd rather reallocate a short cut that makes sense to me and it speeds things up now when I'm working every so often, I go to teach somewhere where they say, can you just use my machine? And I always forget it go sure, and I'm pressing things going nothing's working because I'm so used now just going pee for picker this for that, you know? So now I bring with me a little thumb drives like, can I put my preferences on there and my shortcuts? Because it will make both of our lives a whole lot simpler. Ok, so this concept of look and feel is not just cosmetic it's time saving because now you're not being distracted by gosh there's so many choices here you're only seeing what you use, and I think the fact you combine that with ah workspace, where you have the ability to say ok, for the next twenty minutes, I'm doing this kind of work, so therefore this workspace makes sense then I do another project later on where it's very type intensive so I might change to a different work space so some people I know have three or four people have twenty I think twenty is probably pushing it a bit, but I also know people who share a machine with someone else or what a great solution jim's workspace, dave's workspace and you just whenever you sit down with the shared machine you switch to your work space you have everything the way you want it when he's ready to do his he goes back to the other way. Okay, now I wantto finish off with one little thing that I'm going to do a whole separate class on what I want to touch on this member right the beginning I said that that first thing in the checklist is looking at the options and the options bar and how we have to put it back to kind of normal let's look at the type tool is example because it probably has one of them biggest list of options in the in the options bar so instead of always thinking but all I gotta put it back to this one of the other options is once you have type looking the way you want you say yeah, that looks pretty good is this little letter t on the far right hand side left hand side of the options bar a lot of people at first thought was just reminding me which tool I'm using, but there's actually little menu beside it and one of them is tool presets so I have previously gone in and saved different combinations of type that I use all the time so now instead of resetting it back to normal, I choose my priest had to sail for this project that font and are that that pre set and see how it's filled in all the blanks it's put in the fought the size of saturn center center? So sometimes the default settings for a tool as I said, aren't perhaps going to serve you the best? So if you made a pre set which is your default for example on some of the tools that have like exposure it said to fifty percent I prefer thirty so instead of setting that back to the default, I said it back to my pre set, which I previously made that's thirty percent now I'm deliberately not showing you how to make presets so that you'll watch my class on presets later on this week. But it's it's kind of one of those other ways where we can take things up a notch is say instead of spending so much time going wait what are those settings again? You just choose from a list of presets do we want to see if it's some more questions absolutely is that is that the last bit for this section? We just have a couple of minutes for questions arberg bill has won I don't know what we're getting the most out of a very quick one about something you just said for the people shortcut to duplicate the layer was it controlled tea and something else they miss that that was home it's not as much as thirty five what it's doing is free transform normally has transformed the object that you have them should be looking over there at the people ask that question by throwing in the option or all key sold could be command option tea on the mat control t for windows says whatever transformation do make a copy of it and either put it on its own layer or stay on the same layer depending whether it's elected or not fantastic thank you oh mel reason to reset the short cut back to its default he just deleted from the one you customized good question no it's it's all comes down to the keyboard shortcut box now this option at the top we'll put everything back to square one or you would have to sort of go the opposite way and say, well, I decided now I wish I hadn't said you'd have to go find the pen tool and now when I typed in p would say we have already done that for the force, you're kind of just reversing it the other way around. So if you've had created a lot of pre of short cuts that you want to put them all back to photo shops, defaults in the quickest way is just tow appear the top. Change it back to the defaults but, as you see, because I hear is see where it says long layers that's, because I made a work space. And in that workspace I checked that box so it's listing one of the sets of shortcuts you have that you could choose from. So even in here you could switch overall global shortcuts between a couple that you've previously created that are tied to your work space. Yeah, friends, one is just is easy to kind of put it back and say, well, I took it away from this tool. Let me put it back to the original one. All right. Fantastic time for one more question because this was huge from rachel. Can you tell us again what? Those five for britain, the five forbidden fruits of photo shop. Okay, merge a race so I delete a race merge rast, arise, flatten.

Class Description

This class will equip you with some good work habits in Adobe® Photoshop® that will (hopefully) help you avoid problems – and know where to look when problems do pop up.

Software Used: Adobe Photoshop CC 14.2