Photoshop® Creativity Through Flexibility
We're so thrilled to welcome back dave cross dave cross has been helping photographers and creative professionals now get most out of their dobie software since nineteen eighty seven, he's told photo shopping store illustrator he's taught in designed to thousands of users around the world. He's one of our favorite creative life instructors, was so pleased to welcome him back. Ladies and gentlemen, dave cross running everybody so thank you for that introduction I was actually going for dapper so that's a very good thing a few years ago, if someone asked me that, why do you dress up when you teach and their two reasons on dh? The schmaltzy version is I feel it's a sign of respect for your students if you show up in more than just a t shirt, but the other the real reason is many years ago I taught it a big photo shop event my very first time and no one knew me from a hole in the ground that point I was brand new on the scene as instructor, and someone wrote on the evaluation form great in...
structor can't member's name it had really cool shoes, I thought, well, that's it I just have to where she was like this at least they'll remember that if nothing else they'll be distracted by the shoes and forget it whether the class is good or not, so um so this session is officially called creativity through flexibility, but it could equally be called how working not destructively will help you be more accurate, more creative, save you time and make you just a general happier person, because one of the things that I always start off with this story because it it's a reminder of the kind of situation we can find yourselves. In many years ago, I was asked by a new organization that I was a part of to design a magazine cover for them. And they sent me ah, whole bunch of photos. And just to put in perspective, how long ago this was which I scanned. So for anyone here under the age of twenty five, a scanner was this device we used to have with the lift now, so I scanned them all in and made this whole collage and losing fifteen layers. And this was back in the days where file size was a bit of a concern. So I was trying to keep everything is officials possible? And it towards the end I s and pass is a really big file. So I was on the phone with him and I said, are you sure it's finished and they said, yes, it's already gone to print, I'm like, ok, good I said will you ever use this again they said definitely not like are you sure I must have asked about five different ways are you actually positive and they said no no so far from me the last time ever years ago I decided in order to save space I would flatten it and save it and just for my own purposes for like a portfolio or whatever and about six months later they said you know what? This has never happened before in our history but that issue was so popular we decide to reprint it and we just like you to make these few changes to which my response was no on they were like no no we just need you to move this and so I had to open the j peg and we use it as a reference and attempt to remember what the heck I did and we created from scratch and from that day forward I said I'm never doing that again because it was the most painful experience to try to re create something that I did six months earlier and remember how I did it and how big that was and what how much see through I could tell well that looks like it's see through but I had no idea how much so it was just a horrible experience luckily today part of that equation is better because when at least don't have to worry about storage space you know, back when that story happened, the part of the motivation was my entire hard drive was eighty megabytes not gigabytes megabytes so when one file was like oh that's huge it's like ten megabytes which today is nothing but that time it was a consideration. So the whole point of doing this non destructive nature a lot of people on ly think of it as well if I work not destructively I can change my mind and to me that's one small part of it it's also being more accurate and the particular focus of this class is to remind us that by working non destructively it means I've got all this flexibility that aiken experiment go down a path and try fifteen steps knowing it anywhere along the way I can come back and kind of changed my mind okay? So that's kind of the approach we're going for in case you're interested I always put this up because some people always ask me this I always forget to do it's always make sure this file is open when I first start so that's my various social media in case you're interested I tend to mostly post well what I would call things of interest not what I had for lunch or anything like that but more here's a tutorial or here's something I found out about also just quickly add this is fairly new I have written a series of three e books with peach pit in the first one is now available in the other one's air, coming short on their heels. These air, just short little books called the photo shop productivity siri's, each with a particular focus on a particular topic. The first one is on customizing, photoshopped, then there's one on working, not destructively, and so on. So let me show you what I mean by talking about the difference between non destructive and not so here's a project that I did some time ago, and when I first opened at the original version I have is the j peg version, so all I can really do is look at that and go that's nice, but if someone said, can you dot dot dot meaning, adjust this change this no, unless it's again a global thing like make a darker make it later turn into black and white? Yes, I can do those, because I'm just doing something to everything. So if if I looked on my hard drive and all I saw was this, I'd be extremely angry at myself and sad, because I know if I need to recreate that, I'd have to go find the original raw file and figure out what I did, and a lot of it would be guesswork, because I can look at this and go well clearly there's some capacity and masking going on and things like that, but I don't really know exactly what it is. Compare that with the psd version of the same file and look over to the right in the layers panel and you'll see from the ground up there's my raw file so I know now that's the file name and also I can access by double clicking the original raw information if I need to adjust anything so I'm already off to a better start on top of that, I made a layer which is to extend the wall that's probably the most quote unquote destructive part of it because if I change something about the background, I'd have to change this manually but that's still at least give me that opportunity and then I created a second copy of the same uh smart object from camera and added some smart filters and we're going to see how to do these things just kind of showing you how I could very quickly analyze this when I'm looking in the layers panel so I can look at the layer mask here's the layer mask thumbnail if you hold down option or halt and click on it and lets you actually view it so now that gives me a better picture of ok so obviously made a selection around the dancers and then over here did something looks to me like it was probably a brush? I actually know what it is because I did this last night but don't tell anyone but let's pretend for a moment I didn't I could look at this and kind of analyze it and that looks to me like something like this and then on top of that I have an adjustment layer that's making these people a little mohr towards black and white and then there's text that I wanted to make it look like it was behind them so the whole point of this is just by looking at the structure my layers panel I can see not only how I did it but also what I can add it so one of the things that I really like about working non destructively is not only the ability to edit but let's say I look at this and go and I want to create something brand new but has this same kind of feel so I can look at and go well, how much did I do a gaussian blur and it tells me seven point two pixels in the past what people would do is something like this I'll just use this image just open actually I won't because it'll be more confusing so hold on let me open a standard image first of all okay, so this is kind of what I would say is thie what I would call the old school way of working and photo shop before all these smart filters and smart objects was I had a back crown layer in order to protect it I would duplicate the background layer commander control jay is thie quick short cut for duplicate easy to remember j ford duplicate some people is the word jump jump into a new layer I don't but I just know because the fact that by letter j is almost worn off my keyboard I know it's commander control j for duplicate so this is what people would do and I used to be one of them before all this smart objects mark filter stuff is I would duplicate the background layer and then I would apply say of gaza and blur of that much and click ok so at first glance that's a better option than applying the filter directly to the background and before smart filtered smart objects that frankly was the only choice but the problem is now if I look at this a month from now I have no idea how much I blurted nor can I edit it because it was final I applied it directly to this layer so any time you make a simple decision like that you've already kind of set the tone to say this is an amount so what I would typically have done is lowered the opacity little bit and then added a layer mask and maybe using a more typical paintbrush this I speak black brush I kind of say let's make the people in the middle not so blurry so kind of a cool effect right? But even here I'm already have done a couple of things that it's going to be hard for me to undo so let me take it a step further again I'm if I did I should have said this before don't write it down this part like don't do it this way I'm showing you the not so efficient way so please don't say oh good I'll do it that way no don't do it this way this is just to show you as as a comparison the difference between taking this approach and the what I would call the newer way so then I would use something like maybe uh let's do uh click on my layer and do black and white adjustment layer that converts it to black and white but I had the ability to do a little tent like that so now I'm getting to an area where I might be happy and let me just do one more things to show you at a new layer and take my custom shaped tool just add something on here so I have I'm just trying to kind of emulate what would happen if I had done a series of steps ok lovely it's a work of art okay it's not but uh I also should pause and say I usually say this somewhere along the way of my classes that during my demonstrations my goal is not to make incredible works of art because that would just distract you away from the important message which is the structure of everything. So this is an example where I would have been a tw this point previously and it's all good it's at least I've preserved the background there but here's where it starts to fall apart a bit if I decide I wish I hadn't blurred that as much my only option would be to throw that layer away duplicated again, blur a slower smaller amount and repaint the layer mask. If I had decided that I wish I hadn't done that black and white adjustment to the image it's in the middle somewhere and some people use write the history panel to be able to say, well, let me go back in time while the problem is the history panel by nature is very linear, so if I try to on ly remove the black and white adjusting layer, I can't because it will also affect the steps I've done after it. So one of the challenges with relying too heavily on the history panel is it's like you went one, two, three, four, five you can't just pull three out without affecting other things so that's why? Although this is ok it's not ideal because at a certain point you're going to run into a problem where you're gonna have to re do something from scratch like in this case I wish I hadn't done those two things on my only real choice would be to throw away that layer and duplicate and trying to remember ok first I did god's ambler and then I did black and white and what were those settings and and so on so while at the time duplicating the background layer was better than the alternative of working directly on the background, it's still by nature is a little limiting and I've said this in one of my earlier classes I'll say it again today most of us who use photo shop I have had this experience where you're working on some project and you do a whole bunch of things and you save it and then you come back months later and look at and go I have no idea how I did that because at that moment in time you are on the fly and experimenting and I'm all for experimenting but I support the idea of experimenting with a way that you're keeping track of everything so that later on you can look back and go how did I do that? How can I maybe can I re use that in a different document? I want to just we analyze what I did so I can make another photo look kind of like this one, whatever it might be, all of those things are more possible by doing this flexible way of working ok, so with that in mind let's start again with the same image that kind of show you a quick overview of the kind of approach that I would take to do almost exactly what I just did but with everything being more flexible and by the way I should have mentioned that at the time the little heart that I drew was a pixel heart. So if I showed it to these this couple later and they said, oh, make the heart bigger be like, no, I'll have to draw it again because I made it this big just I should have added that equation to show you even that is not as flexible so this is a d n g file, which is another form of like raw file so right away when I double click on it, I always start here in camera by nature camera and if you start in light room it's the same thing the beauty of these tools by nature they are non dest directive it's not a choice that's just the way they work, so when you move sliders around to adjust the way on imageworks, you're not applying it in any permanent way, basically what's happening behind the scenes is this keeping track of a series of instructions and applying them when it opens it in photo shop. But it's all editable, as long as you make sure this has turned on. So I did here was, like clicked on this mysterious blue hyperlink looking thing at the bottom, and when I do, it has all kinds of options, including how big it is and things like that. But from my perspective, also equally importantly, this little check box has open and photo shop as smart objects, and what that means is from now on, every time I start in camera raw, whatever settings I apply when I click ok, it's going to open it in photo shop, it's going to keep a link back to this information? So would be the same as opening a photograph and doing a bunch of adjustments in photo shop, but with the ability to edit them that much more quickly and the fact that some things exist in camera raw, that don't exist in photo shop like clarity and things like that. And so the good news is, I think once you check this box it's on for good, so from now on, every time you start in camera, you will create this automatic link. Back and forth between camera on photo shop now let me just pause and say if you start in light room it's a little different because it goes light room open and photo shop is a smart object if you want to edit it, it goes to camera raw and then back the light room so it's effectively the same just takes a little detour, but here the benefit is now that's turned on and I'm going to make a bad adjustment adversity to show you the idea, the button on the bottom says open object so that's automatically creating this link and the on ly kind of subtle indications this little symbol in the corner of the thumbnail no longer says background it has the name of the raw file that is how I know this is camera raw, smart object so I could now do something like scale it and do whatever I want and then decide, oh, I think that's I went a little overboard on making it darker, so I just double click and goes right back to cameras I've created this I haven't created that created I created it is all me now adobe created this beautiful link between camera and photo shop that's now ongoing for as long as I want, so this means that I can do a lot of work and then adjust it come back adjusted there's an ongoing ability to adjust and sometimes people ask me, why wouldn't you just make those same adjustments and photo shop? And the answer is I could but honestly can garages easier think about any time you think yourself I need to make this photograph a little brighter and photoshopped there's like six different ways to do it none of them are that obvious or intuitive here there's a slider that says exposure and you move it to the brighter side like air we go so I tell brand new people such people just starting and photoshopped spend as much time here as you can it's so much easier and intuitive that having to explain the difference between adjustments and adjustment layers and curves where it's just a line that you kind of go yeah I don't know and start dragging on it here everything's much clearer because they're just sliders that go dark on this and light on this and white on this and black on that whatever it is you could move it and as long as you have this smart objects set up turned on it means if you're not sure you can drag a slider over a click ok it goes back to photo shop then you look at in the context of your photo shop project go yeah maybe I need to tweak that or here's the other way that I use this all the time the end of day, what day was that? Tuesday? We did the first panel, I think we were each given their three of us given a challenge, and one of them was replacing the sky well, my first thought was I need to make it easier to see the difference in the trees in the sky, so I basically had something like this where I went way overboard in camera raw, knowing that in photo shop that would make the job of the selection tool easier, and once I was finished, I'd reset it back normal and to me that's a very, very common approach, and I use this term all the time, and my class is to think, end up with I want to end up with a selection of the sky, so if I can make the selection tools job easier by temporarily wrecking the photograph so that the this election tool can go, I can really see what I'm doing now make my selection, then come back here and reset it back to normal. And just so you know, there are times where I'll end up with something like this where I've gone through and moved a whole bunch of sliders trying to get to the point that I want whatever it might be less I just do a whole bunch you can see and I click ok. It updates in photo shops and now I can use my selection tool and I'll just do this so you can see something happening. Not that I would this is what I do this for, but anyway, so you see something, so I've made my selection. The selection will stay there when I double click now it's a little side tip if you have deliberately moved every slider trying to get the result you want, and you want to put this kind of back to square one rather than moving every slider back by hand and I'll use my standard unless you get paid by the hour don't do it that way joke, because that would take a long time. It's much simpler just to choose camera defaults now, cameron defaults means the way I took this photo and any default settings that I might happen to have applied. So this is the quickest way to kind of say, get rid of all those other moving of sliders that I've done and put it back to the way it wass and you'll notice now when I click ok, it brings back the photo but preserves the selection, so once you have a selection there, it will stay there until you do something with it or de selected. So this is a huge benefit because it means now you, khun, deliberately think, ok, I need to end up with a more accurate selection. It's hard to see what I'm doing, so why not make it easier to see why not take advantage of this non destructive nature of kameron photoshopped, working together, too? Push things in a certain direction, whether it's making black and white, or make it really dark or changing color, whatever it might e so you can see what you're doing, and to me, that's a that's become an everyday part of my work low, I would say that's hard to put a percentage, but a great deal of the time. The first time I open a raw file in photo shop isn't the way it's going to end up looking, so I'm opening it initially with the next step in mind. It would be easier if I start in black and white to do this step and then bring the color back after, or vice versa or something and there's no, this is not a recipe that says, do these steps it's a thought process to says that says, how can I make my life easier and often it's deliberately go down one path looking like you're wrecking the photograph, but you're not? The difference is if I did that without the whole camera ross smart object thing with a regular background layer that would not be a good thing because if I went in and did something like black and white or color balance or whatever it is and said let's do this assumes I click ok that's done so if I do any other step I can't just like make a selection and then come back and say now undo the color balance because that was a step ago when I did it in the vory linear non our unedited ble way of working so as soon as you use anything under this menu it's very destructive since you click ok you basically said that's it and I can't easily go back and change my wife occasionally you can and I don't wantto kind of skip over the fact that yes photoshopped has what some people call multiple undoes really it's more stepping backwards meaning if I've done ten steps aiken step backwards through them but a certain point it's still very linear I'd like to be able to say but go back to step for edit that and see what happens to everything else that's attached to that okay so any time you have the choice this approach of saying do things through a method that you khun re edit so in this example open this one this time as my raw file my thought process here might be that the sky is I wanted to be a little darker but if I just go ahead and change the exposure needless to say it's changing it for everything so I don't know if I want to do that because first of all I'm looking at the red in the covered bridge and I want to tweak the color of the red a little bit so it first I'll just think about exposure that will help me see what I'm doing with making a selection so I hit open object and it comes in now I want to be able tell photo shop on ly work on certain parts of this image there's a couple of ways of doing this if it's a very clear easy to select object you're probably best off making a selection first before you add an adjustment later I'll show you both ways but in this case with the quick selection tool I think it will do a decent job of at least getting me started it's not perfect but it's ok and whenever you make start with a selection then if you add an adjustment layer like you saturation it automatically is going to affect the areas that you've selected so that's would be option one now you can see as I get closer here that I missed some pieces in fact let me go back and what I would normally do in a case like this is make it really obvious by going for like fluorescent green, and this is the same concept exactly. I want to end up with a subtle shift in the color of the bridge, but instead of making my job difficult by making that subtle change and then trying toe mask my adjustment here, make it look perfect. I you go with that same concept, end up with I wantto initially pick some bizarro color that's really obvious, so now I can see what I'm doing when it comes time to masking, and I would fix all the mask once I'm finished, then I would put the color back to the way of working so that's one way, and that works really nice later situations where there is an obvious shape that you can select using one of your selection tools. The other choice, it would be a notice in all of these cases again, I'm using adjustment layers, not going up here. It was up to me, these would not be available and in fact, right now, here's, one of the great benefits of starting with a camera smart object is exactly that they aren't available because you can't apply an adjustment directly to a smart object. Some people see that and go, oh no, I can't use these, I'm like, yea, I can't use thes because that's better because you don't want to use them these air all destructive so instead I go to my adjustment layer menu and choose hugh saturation now keep in mind here before I do this we're going for that end up with thought process here okay? Because I didn't make a selection first this time when I shift the colors they all shift in this horribly crazy way so not just the red but everything. So this is another approach to take is to initially change everything to the point where she's like well that's way too much every time you use an adjustment layer, it always comes with a layer mask and if you're not familiar with layer mass, the basic concept is when the mask is white it means everything is equally affected. So right now, everything in this photo is equally being affected by my bizarro hugh saturation just blair, if I take my mask and fill it with black and the easiest way to do that, usually because it's one keyboard shortcut commander control I for invert says take that white layer mass turn into black so now I have a huge saturation adjustment there that's really shifting the colors that you can currently see and if I left it like this, that would be pointless because I'd be like, so I'm gonna add something but then hide it completely, which wouldn't be much point, so what I do instead is I think, ok, well, I same concept I want to end up with so the way a mask works is black is hiding, white is showing, so I just have to go through from my very first class. I talked about this checklist that always go through how big is my brush it's a hundred percent of passing it needs to be white, so I swapped my colors by pressing x, and now as I paint, you'll see my paintbrush in effect doesn't actually say this anywhere, but in effect, it's become the paint with the bizarro hugh saturation adjustment layer brush because that's, what I'm doing and that can be used for that one concept can be used for a ton of different possibilities. Apply a smart filter like a blur, mask it, and then wherever you paint your painting in the blur. So it's a very common concept for me, at least, is to say, I'm going to start off going overboard so I can see what I'm doing here. I'm taking full advantage of my pressure sensitive tablet, so I don't have to be constantly changing the brush size in here. I would normally be a lot more careful about the branches, although actually let me address that for a second, I need to be more conscious of the read within the brush both from the branches, if I was changing it to a dramatically different color, but since ultimately going to end up with just shifting the color a little bit, I'm probably ok would saying, you know what doesn't really matter in this case if I include those branches because the color shift is going to be pretty subtle anyway, so a lot of things you have to think about that now. This was a real project I'd be getting in closer and making sure I didn't miss any red anywhere, but see how much easier it is to spot where you're working because you're going from, like red to fluorescent green, not red to a slightly different red and that's a very common mistake I see people make is they just think I need to make it red, so they paint with a slightly different color red, then they sit there and go, I can't really tell on my response is, well, then, why don't you make it so you can tell, you know, take advantage. This is a built in function of photo shop, why not take advantage of it? So let's assume for a moment that my mask looks perfect now I just have to double click on the adjustment air brings. Be right back to whatever settings I had, and now I I usually just go right backto kind of zero it out at first, so there's, no change now I can say, ok, what if I just make my little subtle shift one way or the other? You can see there's a pretty subtle difference between those two and that's what I wanted, but imagine if I was trying to paint on the mass with that subtle change you'd be like, I can't really tell and what some people solution is, and I would advise against this is this solution? If I zoom in to seven thousand percent, then I can see better what I'm doing now. You don't really I mean, you could but that's just kind of the hard way, I would say make it obvious, whatever they use camera or adjustment layers or anything, push it to the point where you can really see what you're doing and then pull it back once you're finished, and I use that for retouching photographs of people's faces, I use it for a ton of things where I want to end up with ultimately a fairly subtle difference, but I don't want to be subtle while I'm working on it. So as long as you're using methods that are built in the layers panel and based on technology like adjustment, layers and things of that nature, then it's this is kind of the approach that I would take let me show you that this other example here let's, get a little closer here, all right? So let's say I wanted to have an effect where everything was kind of a soft focus blurry effect except for the couple. Well, it's already smart because I started in camera, ross was coming in as a smart object, so as soon as I go to the filter menu, the fact that this is a smart object means that my filters will also be smart, therefore editable. So when I click on it at first it's saying ok, blur everything, I usually take exactly the same approach if I want to really tell what I'm doing, I'm going to blur more than I think I need to for the same reason set of blurring two pixels and go can't really tell that's probably a little much, but we're a little more knowing that you can always pull it back because a smart filter it shows up in the layers panel and there's a couple of ways I can edit it actually there's several ways first of all, I could just remind myself by turning it on and off secondly, and this is a really important difference between that earlier concept. I showed you just duplicating the layer and applying a blur, but not having any idea here. From now on, as long as I say this is a psd file every time I open it, I can look at this and go, oh, yeah, ten point one pixels, because it's just built in so I can get that information and I can edit it over here on the right there's a little symbol which, if I double click it gives me blending options for the blur. This is the equivalent of me duplicating the layer, blurring it and then lower in the opacity or blend mode, but with the added bonus that I can also edit the settings, and I don't have to worry about duplicating layers to do this. So this is where I could say, well, let's, make this a little see through. So I get that kind of soft focus effect that one thing, by the way, used to take like seven steps and photo shopped to make a soft focus effect. Now it's like smart filter, blur lower the opacity done and done in a way that I can come back later on and go, what were those settings? That's, a pretty cool advanced, but we'll do that now when I look at this in the context of the entire photograph, there's the mask for the filter so just like adjustment layers have a filter. Excuse me, have a mask so two filters so same approach applies right now. The filter is applying to the entire photograph because I haven't told it not too. When you look at something, there is often a couple ways to do it, and I don't want oh, someone should have made this into a drinking game. Maybe they did. Every time I say end up with could be like, ok, because I know I say that a lot, but I really that's changed a lot of things for me in the way use photo shop, because in the past I would have said, ok, well, I want to, uh, keep them blurry, but make the background not blurry. I would initially would have painted black on a whole bunch of background area, which is kind of the long way. So if you think you have to look at a photograph and say, how much do I want to hide a little bit or a lot, and then you make the decision? If I just wanted to hide the fact that they were blurry, then I would take my paintbrush and just paint with black on top of them and I'm just doing this really quickly and not very accurately just give me the idea. So then in my layer mask and up with the little tiny black blob, if, on the other hand and not that it makes sense in this case that it was the other way around, I wanted everything to be clear except for one little area that instead of painting, all this area with black could be much easier using the same approach I did before invert the mask so nothing is blurry. Now I take my paintbrush, which might color the white, and now wherever I paint, I've in effect converted my paintbrush to the gaussian blur brush, because wherever I paint, I'm blurring and to me that's a really interesting possibility to do selective filtering attached to your brush, whether you have a tablet or a mouse or whatever it is that ability to blur by painting, in effect, I think is pretty interesting because now and especially in the in the context of this classic is is mostly talking about working crate in a creative way. You don't always want to say I'll just select that exact area and blur it. You want to just I think I want to kind of blur over here. So by attaching it to a brushing motion by nature for most people is a lot more kind of let me experiment see what happens than making a commitment to say going to blur this area now sometimes you may still start that way and I'm going to make a selection of those people apply the blur filler see what it looks like knowing I could still adjust things because it still makes a mask so let me show you that park is that is important to note if you knew going in that you wanted to have a filter applied to a certain area, then you could make a selection first and I almost always these days start with the quick selection tool because even when it doesn't work perfectly it's still really darn could especially compared to the alternative of doing anything manually so it's safe to say argument that was the area to which I wanted to apply a filter then I could now when I go and do the gaussian blur it says how much I click ok and I have a photo that makes perfect sense of a blurry couple sitting on top of a perfectly and focus image but I did that deliberately show you that that's ok because you think wait a minute should be the other way around well then just take the masking inverted now you you're on the path to what you wanted because sometimes a whole lot easier to select the part you don't want the filter apply to, then the opposite, knowing you can just inverted at the end, and in this case, I would probably lower the radius now that I've done that and do that whole opacity maybe even changed the blend mode to get a different effect. Now we're getting something it's looking kind of interesting in just a couple of steps and still subtle, but I start out and looks like a little did. It looked pretty obvious and bad, and the other reason why this is good as biko let me say it another way. The only thing I would say about this kind of way of working is it's not great if you have a client sitting next to you because they might not get the whole end up with thing and you're like blur their face, complete there like I'm so it's better to say, just I'll come back in ten minutes, I'll show you the finished piece because having someone watched this step by step, they be like, you're sure you know what you're doing so, but that this is the kind of approach is now I move on and do something else, and I had a justin layer and I had another filter, whatever it might be along the way, everything is very editable because of the structure of the way I'm working, so everything relies on layers it might be working with masks, it might be working with adjustable layers or any combination usually like in cases like this one it's a whole combination, I have camera smart object, a couple of smart filters, a layer mass that I used some brush that I'll show you shortly. I have type players, the fact that I still see the letter t is very important because that means I can still edit the type, even though it's been blended in to the background in some interesting way like this one here, the word dance it's got this really or something going on, but I can still edit it still type so again, from I could have done twenty seven steps think I'm finished at the very last step saying, I'm not sure about that font, so why not try a different one? Because you can, because this has been built in such a way that I can try something different, okay, so we'll come back to this kind of example and little bit here's another example of an aspect of photo shop that's very interesting for particular situations, so this is a texture I took a photo of and as a little public service civic announcement, when you're walking with your camera, don't just look at the cool landscapes look around you and there are textures everywhere and there's tons of ways and photoshopped we can use texture so we can just grab photos ourselves of anything so metallic stuff peeling paint you know, old clothing anything is a texture you can build into your document in interesting ways, so this is again raw file and as you saw before by default I have this set to open as a smart object that means even when I do some other steps I'll still be able to edit those settings because of that whole camera smart object option as an added bonus by the way, folks, when you make a camera or any smart object for that matter it's not like a regular layer normally when you open a regular file it says background and has a lock symbol beside it noticed there's no lock symbol so right away this is already an unlocked layer that I can move up and down in the structure of my layers, which is a nice little added bonus not having toe unlocking anything so let's say I wanted to do a graphic effect that's taking a word and I want this texture to be inside the word so let's just create some text here and I think I want something a little bigger thicker so you can see it like uh maybe this so I can't help it but throw out random top tips that have nothing to do with this topic. But I do because I see the way people work. I often see that when they're working with type like here, just randomly where I clicked with the type tool it's kind of off to the side in the wrong place. And I want to move it so I can help position. And I see a lot of people who finalized their type, move it and then re edited but notice how the type is still live because you can see it's selected. If you move your mouse away from it, you get the move tool and now I can reposition it while it's still active zone have toe finalize it and then go back again. So this allows me to do things like get in the middle. So now I can decide on size. This is the way that I use type is I look at it and I say, I think I need nine hundred thirty two points. I have no idea and I know some people that can do that and look at something and say, I think it should build eight hundred like, really I use the most greatest invention in history of photo shop, I think, which is called scrubby sliders, which are called trumpy sliders it looks like this any time you see a field like this instead of pulling down a menu that only gives you like x number of choices position your mouse right on top of letter t and just drag you are making whatever size you want that is such a time saver and by the way that shows up anywhere in photo shop where there's an editable field like capacity size anything like that is just so much easier to just I've been looking at it I just started moving my mouth to the right and looking at in the context of of that looks pretty good like that ok, now that I've done that I'm going to commit the type to say ok, now I have a type player normally when I'm working with type one of things I might happen to check is the color of the type in this case however it doesn't matter because what I want to do is I want tohave the texture inside the letters of the type so the color has nothing to do with it unless my thought processes to make the texture somewhat see through so the color is important there so once again let me show you the difference between doing things certain ways so this is the way some people would say I want to make it looked like the type is are the medal is inside the word so if you command or control click on a type player, it loads it as selection again, this is not the ideal way to do it, but it's showing you that this could be an option in some situations but it's not vory nondestructive, so I've made a selection based out of my type now if I click on the texture layer and add a layer mask, I've got the texture inside the letters, which seems like a pretty good concept right in the works pretty well except for the fact this really isn't type it's just a big pixel bunch of letters. So now if someone says anything about change the font size spelling no, you can't so although it works, I would reserve that for situations where you can't do it this other way, which is called a clipping mask clipping mask has one aspect to it that's a little audit first because even though I want the the tax is going to be doing this function called clipping, he almost had to think of it as what I want inside and put it the other way around, so you need to put the photograph layer on top and temporarily hide the text so the structure of your layers panel for this to work has to be photo on top shape or text below once you do that, then to create the single a clipping mask it happens in several ways you can go in here and choose create clipping mascot of the layer menu there's a keyboard shortcut to do the same thing which is command option g or control alton g or the other way which frankly, I still old habits die hard I still do it this way because that's the only way used to be able to do it ten years ago is if you hold down, watch my mouse to see the little pointing hand right between the two layers there. If I hold down the option all key it changes of this little symbol and then it when I click it clips so any time you see this combination where the bottom layer is underlined the name of the bottom layers underline and the layer above is indented that means together those two things make up this thing called a clipping mask and here's why this makes great sense for a lot of things that let me do this so you khun see better what I'm doing and add a new layer below, he said new layer below filled with white just add a drop shadow here's one you see more clearly what's happening here we go okay, so you can see this is still a type player and the letter t always shows I can still edit it, I have the texture layer above it and a layer style attached to it so I can see what I'm doing so now every part of this can be edited. So if I decide I don't have a lot of room to play, but the photograph is still bigger, so I can click and drag on it and decide where I wanted to go until I start seeing purple that tells me I can't go any further, but I kind of like that look of the metal there. This is still a camera. Smart objects. If I look at this and go, I wish this part every overall was a little darker than I just double click on it, go back to camera and say let's, make it a little darker and maybe going in heavily sharpen it to kind make it look even more metallic e and you see, since I do that it's is preparing and updates and now everything else is preserved inside and this is still type, so I can still edit font size, selling whatever I want. Where life gets interesting is when you create a clipping mask, this bottom layer and these air not by the way photoshopped official terms the's air dave's, awed terms that helped me remember it. This is the clipper, this is the clip e so don't look up in photoshopped help like clip because they won't be there, but what's kind of interesting is that you have one clipper and you can have multiple clip ese. So if I decided I wanted to try some effect, I might do this at a new layer and for now, just to make it obvious all add a circle that will fill with red and I might change, we'll just keep it the way it is for now. And you see right now, it's a complete independent layer that if I move it around, it has absolutely no interaction with everything down below. But because it's immediately above this layer, I could do the same thing optional click now it's part of the same clipping mask is, well, so now I could decide where I want a position, and if I start playing around with, you know, capacity and blend modes and things like that, I could start to create some really interesting effects. They're still not finalized because I could still change the color of that circle. I could make a bigger, smaller I could make it smart, apply a filter and that's kind of the recurring theme here is we're trying to build things where we never get to a point of going. Oh, well, I guess I'll have to live with that. I don't want to have to live with anything. I want to be able to keep trying things and see what happens. This is particularly cool because when you add effects to the type player by nature it's going toe affect whatever is inside of it. So for example, if I add I want to make it look a little more like metallic, so I might do something like bevel on boss chisel hard and all of a sudden I started putting a real edge on it. So now it looks much more like punched out metallic tight because it actually has a bevel in boss so without, um beating a dead horse that the expressions last time I said it wrong and people are like what? As long as I say this is a psd file now, I would still save as and make a j peg or a png whatever I need, but I'd preserve this because when I look at this, I want to see the ability and edit the drop shadow the bevel on boss, the tight itself, font size spelling, the photograph or photographs if you have more than one and the layer in fact, the only thing I do differently if this was a real project is I made this using just pixels where I just made a circle and filled it if this was a real project that I might actually do that, then here's the other bit of non destructiveness I would use thehe lips tool set to shape when you just take a selection to fill it with pixels if you start to scale it, you lose a bit of quality, whereas if I do it this way and then go in and change it also to read the difference is now and I could still make that is part of my clipping group, but now I have the added bonus where if later on I look at and say, I wish I had made that an oval instead I can go in and edit the this shape to what it be whatever shape I want question so in this particular case you started off with the photo, which was the the actual texture itself could you do it? The other? Could you make the type first and have that actually be the original layer and then go and later and apply the photo to the type and end? At this point, the words and up with should be ringing through your head because as long as you end up with it the way you want it really doesn't matter where you start in other words, you might start with type and then do ten steps on go hey, maybe I could put a texture in here, so the answer is yes, because of the structure, the layers panel that's up to you as to when you do it. So some people go in knowing I want to have this affect other people would be half a narrative project I want it would look like if I threw a photograph inside so as long as and here's the rules that will make this work a I didn't rast arise the type which is one of my forbidden fruits, because if you do, you're losing the ability edited it would still work is a clipping mask, but you'd lose that ability to edit and b I didn't have any other thing that that meant got in the way, in terms of the wrong order of layers they won challenge with clipping mask is sometimes if you created clipping mass like this and see how right now my lips shape on top is still active. If I had a nun under new layer, it would probably assume it wants to be part of that clipping group as well. So sometimes you have to deliberately say, well, I better start, I'll put something down here first to tell it, don't go inside that clipping mask and then position at accordingly within the order of layers and I'm glad you asked that question fact, here is that you get a little gift card for saying that because I was a really good meeting new thought process. This is a gift card for a company called blue void that basically does rentals of cameras, lenses, et cetera and his twenty five dollars gift card for your first rental. So thank you for that, because, um, even the fact that we're using layers is part of the process because that's a great example it sometimes it makes better sense to initially add a layer down here, even though eventually needs to be up at the top because it's easier to work on, so it doesn't get caught up in that whole clipping mask thing. Now, just to show you where you can go with clipping mass there's, no limit to the number off layers you can you so here I used one type player that has five photographs, so I put photographs inside all of the letters. Now, when I did that, you'll notice there are little blobby things on the side of each photo that's because even though it was clipped inside the letter, some of the photographs are a little too wide, so they started the h started covering up the a, so I had to just add a quick little layer mask. So in this particular case, if I had never seen this before, I could still look at and say, well, I can tell it's a it's a clipping mask because the hawaii layers underline all the restaurants are indented I can also tell that on some of these there must have been a mask and here's a little tip if you're looking and something that either someone else created or you haven't looked at for a while and you're trying to kind of analyze how you did it if you see layer mass and you're going to going what? What is that mask actually four because you can't remember if you hold down the shift key and click on the mask it will temporarily turn off the mask so in this case look at the little bottom corner of the letter a when I turn off this mask it reminds me oh that's right? It was kind of sneaking in there a bit so that's a really nice way to kind of go back and figure out what is that mask actually doing is just temporarily turn it off so you can kind of see its role and then go back and turn it back on again. It's impossible of all these layers as objects, you can still see each of these you get a gift card to because that was an excellent question yes indeed uh and that's, I love your way of thinking because, yeah, exactly anything I can do to increase my ability to experiment. So each of those photos could certainly be a smart object could also have smart filters on them. You get the idea where we're headed here, so that's, the whole point is be ableto give yourself as much of an opportunity to edit everything as you can. So this, frankly, the hardest part of this besides picking which photos to use was trying to think about ok, so I'll put this one in the age. I'll just grab a little piece of the photo to try and make it close to the sites of letter h but then I can I can mask it. This is still a type player once again, so even here I could still go in and say, I want to try a different font now warning advance! I'm not going to do that because these fit very nicely, so if I change the thought, it would all fall apart really quickly. But at least you could because of the way it's construction. It always frightens me when I'm watching someone work or I'm reading a tutorial and they say now, let's rest arise the type, and I'm like, why, why you're doing that? Why you throwing? We have my heart you know why you throwing away on opportunity to edited and people say well because I want a playa filter then make it a smart object when you have type like even here I want a playa filter this now if I try to and do something whatever it might be in some of these will make sense but I'll just do something it's going to give me this warning message saying the type player must be rast arise before proceeding well I don't want to do that because of this line here was always say should be red and underlined and flashing with big arrows its text will no longer be editable why would you want to do that and the past there were a few instances where people say well I have to you don't have to anymore because all you have to do is take that layer and converted that type player converted for smart filters then you can apply filters to type so any reason why people think oh I'll have to rast arise the type I'll tell you the on ly reason to rasa rise the type if you're sending a document to someone and you don't want to steal your thought that's the only reason to restaurants but make sure you keep a copy that's not pasteurized otherwise I can't think of any reason anymore why you'd have to quote unquote restaurants question not a question she may be a statement you're always saying I'm the final results, you know, reminds me of a commercial in the sixties, I think ibm, another driving down the freeway, what if they pull off and color there, buddy? Sounds like what if I do this or what if I do that just yet? Flashback and that's and that's, but that's a really good flashback because I don't want anyone to ever feel like that whole feeling of, well, I guess I'll have to live with that because I can't change it. I want that ability to go. What if I and also that's that's the way I learned the most about photoshopped used to follow instructions in a book? And I would say now filled with black now do this now do that, and at the end of following all of these steps are realized, I was just getting good at following instructions because I'm just doing exactly what they said. So then I started going well, what if I use black and said a white or what? If I use this? Filner said that filter and I was willing to go off an experiment often I would undo it and kind of get back on track, but by allowing yourself to what if all the time it really does mean you can go and say, well, what happens if I do this? And I think that's one of the most fun parts, I mean, sometimes yeah, we have a project in photo shop, we just have to get it done, but other times you have the ability to say, what? What happens if I try this? And I think a good point of this is I talked to some people and I'm always advocating, you know, try it and experiment, see what happens and some people say, well, here's, my problem, I don't have time when I'm at work, I'm on a project got a deadline, I don't have time to experiment so one of things I always recommend is and it's going to sound odd until I explain it experiment for five seconds people seem to have this feeling that in order to experiment had to go down this path for an hour. Well, here's an example of how I would consider experimenting for five five to ten seconds here's another rough texture that I have I'm gonna use this command called place in photo shop just nice quick way of getting it in there once I click ok to camera, it prepares it and it slaps it in there just the right size, so now I want to see what will happen if I blend this photograph into the background now, let's say for the sake of argument that ninety nine percent of the time I've discovered that I really like the blend mall blend mode called multiply so I don't go there directly and I just stopped there so that's my mode of operation as I bring in a texture, I changed go to multiply, I lower the opacity toe eighty percent and I move on well, a very quick example of experiment is go, what happens? What does this one do? What does this one do now I'm going to suggest to you that again unless you're an hourly worker don't actually pull down each one in a row because that's the long way once you have picked a blend mode, if you press shift plus it's going to squeeze it through all the blend mo out so I could go really quickly go through and go once I see one if I see one I like, I know when a minute was that one shift minus goes the other way, so this is a very nice way sometimes we kind of know multiply does this and overlay does that in other circumstances this is all math people it's worth comparing the top photo with photo underneath so sometimes a blend mo that you've never used before like linear light might be awesome for this situation where it wouldn't work at all for a different one so I still today very often do this I'm zipping through really quickly waiting for my eyes to kind of go wait when was that actually that one there what's that over label that happens to be a mode that I use a fair bit but I still zip through really quickly and it took a few seconds it took long today because I was telling you this so if you don't, you know narrate your work, it'll take less time, so but that's an example to me of just what happens if I just bringing a texture? I try a couple of months and now I'm a move on but least I know it's still in overlay at sixty seven percent, so if two days so now I come back go not sure or I'm not really sold on the crack going right through the two people I might want to add a mask and start blending in a bit more something like that. Thanks so never I don't ever want to be to that point of going well that's the end I'm stuck now I want to be able to go and here's the downside that well, let me say it this way the great way the great thing about working this way I think is you're never finished the bad part is you're never finished because you could keep one o and I could try this and all of a sudden it's three am, and you're like, I should probably sleep at some point, but that's the part, you have to discipline yourself, not to just keep going down a path and going well, I could also try this, but at the same time, I think that experiment is a very valuable part of the learning process of photo shop. So then the next time we're kind of project, you kind of go that one time I tried linear light, it didn't really work, but maybe wouldn't this point or in this project, so you kind of each time you're experimenting, you're not only experiment on this particular project, you're also hopefully making a little thought that that's actually kind of cool not for this one, but I'll make note of it to myself or on a piece of paper or something that in other circumstances, this might make sense. I showed this in an earlier class, but it's one of my favorite ways when I want to do some creative exploration but still be nondestructive, so I've just taken this over laid texture, which has reminder, is still smart, so I could still edit it, as you will see. I've put the blend modes back to normal it has no mass so it's really just texture layer on top if I double click off to the side so not on the thumbnail not on the name but over to the right it brings up the layer style dialog box but more importantly in this case these little sliders had say blend if and this layer is the layer I'm on underlying layers whatever layers underneath and you'll see it has black and white triangles that's talking about the brightness values of whatever's in here so if I start with this layer and I start to pull this white triangle eventually you'll start to see any areas that are see how the areas that are brighter than my triangle start to become transparent so instead of having to grab a paint brush on a mask and start painting go I think I want to mask here this is almost another equivalent just saying hey what happens if I drag this I'm going down the option all keys you can split the triangle into two halfs like this and I can start toe pool I can also take the underlying layer and start toe pull them through a little bit and while I'm at it I could still go back and say and let's try overlay mode all of a sudden I've got a different factors not just overlay I didn't change the overall opacity I said change the blend options these blend if sliders so that I can see how to the layers in iraq now keep in mind so we look over here that little symbol on it means that I have done so something this is fairly new in the last couple versions of photo shop in the past blend of sliders have been around forever, but most people didn't find them and there was no way to her there's only indicator to say you'd use them she's had to remember there's one of the most frustrating things if someone sent you a file that they'd start on, you'd look at and go well, how is that working is that you're looking at blend modes and there's nothing because there used to be no symbol here so I've done the blend if options because I chose overlay it's already chosen because this is a camera I can still go on and say, well, you know what happens if I just make it black and white and now change the exposure dramatically one way or the other and maybe the clarity or something see what happens click ok, I don't know I have no idea what's gonna happen here I literally don't and that's why I do it was like, no, I didn't expect that at all interesting hey, maybe you now will change the blend mode to something else now that I've made about now I like over late but that's how you find out is because you try it and see because multiply in a lot of situations is brilliant and others like in that case if you have something it's already dark it's not gonna work as well but you may go back and say, well, maybe I went the wrong way here is let's put it back to the default instead just go really high contrast and pump up the highlights a bit more and try what that looks like and then it will kind of re apply with the blend mo that you have and I've seen people and nothing I all for people being entrepreneurs I've seen people sell collections of textures and actions for dollars and I'm thinking or walk outside around the block with your camera get forty seven textures and no time at all camera raw blend modes blend if sliders and you're off to the races now again to review the whole concept if I saved this right now as you know what a psd I would open it later and go ok, so apparently I have a thousand dollars mark filter here it takes one extra step because all I know is I did something so I can't see it until I double and then I'll go yeah, but even this is non destructive of something as dramatic is blended slides which can often does a really crazy adjustment, it's still that's just the way you left it and what's to me is what's interesting about this is sometimes you move one triangle a tiny bit, and other times you have things like this where you split them in half and even overlap each other and because that's just maybe what it takes can you explain more? Splitting actually does sure basically what's happening is when when you have that, when you move the triangle and saying, take every pixel, bright or dark of this and make it see through the problem doesn't it's not as obvious here, but in some cases you'll see ah, very jagged edge because it's, like this pixel is see through six pixel is not so by splitting the triangle it's almost like creating a transition zone between this picks let's see through picks, piss of pixel is not, and everything in between is my favorite term kind of kind of see through kind of not so that by pulling it further apart, you're saying make it a really gradual blend as opposed to a very cut and dry, and it depends on the situation. Sometimes if you have like a red logo on a white background, you move one triangle, you're done other times like in this because I'm playing, I'm splitting this, I want to really gradual transition this would be another case where sometimes because I want to see what I'm doing I might change it at first back to normal so I can kind of see what effect this is having and then add the blend mode back in again and that's why these methods all worked because nowhere along the way here am I stuck with that all well I'll just say you know, try this try that the question I have a question on clipping man's for tax if we clip the text with the picture, can we use brush toe to clean the part for the picture and shows like effect the techs coming and pictures showing under it? Can we use the brush and cleaning height by? Well, basically that the difference is this a regular mass is based on black, white and gray paint a clipping mask is based entirely on shape, so the text shape assuming the texas nice and clear the edges will be but the photos on top are technically still a photo you can edit in any way you normally would. So if you wanted tio notice that there was you'd had a photograph I don't know of a building and there was a little piece of graffiti you could still clone that out and it would still be clipped inside so that's the beauty of clipping masses they still function like regular layers it has happened to be making them so all they're only visible inside the clipping shape okay, now it's not uncommon at all as you saw in that hawaii example where I had both clipping mask and layer mass to make the function really work the way I wanted to. Okay okay in this photograph here one of things that I did to really turn this into something as I made some interesting brushes. Now this is not a whole class on brushes I think I'll talk about them a little more detail later on today and my preset class but I want to show you one of the ways to even though brushes by nature are not nondestructive there's at least a way you can create brushes that's a little more nondestructive when your experiment ok, so here's the five second brush is one a one so normally if you want to make a brush you say whatever it is let's just make a text so I can actually see it and sure it's black okay, so normally if you want to make something into a brush and photo shop, whatever is black is your brush whatever's white will be see through. So if I took this right now as it is not doing anything else don't have to hide anything I see a lot of people got all sorts of trouble to hide layers you don't have to it's black is one hundred percent opacity white is zero percent capacity when you define the brush till I do is go to edit defined brush preset it gives you the opportunity to name your brush if you wish to which I always do because I always forget to name my brushes and all these brushes called sampled brush forty seven but the good news is you get a little thumbnail so you can tell the number is showing how big the brushes so if I was going to define a brush that I had no idea was going to use it for I'd rather make it really big because it be better to make a big brush and scale it down then the other way around so I click ok now I have a brush that's it now it would mean anything unless I went to another layer this add new layer take my paintbrush and then my brush picker there's the brush that I just made it shows me and that will outline where it isthe so what people uses for often from a day to day standpoint is signature copyright notice anything that you're adding all the times that of doing that over and over again are copying pacing you do it once black text on a white background to finance a brush and now you click you want that brush somewhere just like once and now I have it there it's not type so that layer is just a bunch of paint that was initially made from type so you can't assume will now all change the font because you can't do that, but for things where you've established this is the font I'm using whatever it is it's such an easier way than going, where did I put that document that has my copyright notice? I want a copy and paste this is just easier that's kind of the day to day brush used to me where brushes get really interesting is when you start creating brushes out of anything to do interesting things. So for example, uh, this one is a good example. This was a photo and shot one day just walking, and I just I was kind of cool, you know, it's an old brick wall and you can kind of see painting, and at first I thought that just might make a cool photo or might make a background, but now when my mindset goes toe brushes, I think anything could make a cool brush. Now when you put black text on a white background is very straightforward because you're like one hundred percent capacity juror when you have something like this, imagine this is a gray scale photo there's all kinds of shades, so now you have a brush, which by nature has all these levels of see through this what I usually do is when I wanted to find a brush. I take advantage of the fact this is starting out in camera. So first of all, when you first start making brushes, I would suggest definitely doing this because you have to always imagine the brush as black and white is going to find it that's. The way photoshopped treats it in its color, its going toe treat it as if it's gray scale. So I would suggest, why not make your life easier and convert it to grayscale and that way? And by that, I mean cover grayscale in here, in camera, raw or in photo shop using adjustment here, since we'll see in a second, because now I can see right away there's nothing in that photograph that's. Very black. So right away by nature, this whole brush is going to be pretty see through ish, which might be fine, but I want to be a little more dramatic, so I might say. All right, well, let's. Change that a little bit and start moving some sliders and trying to pull more black areas out of it. Normally in camera off. You see this blue? Overlay that means you're compressing all the shadows so there's no detail which would normally be a bad thing but in this case it's okay because I'm trying to push it more towards black I could also go the other direction say but I still want some parts of the brush that are pretty white and I click open object and now it comes in like this so now if I were to choose define brush preset knows I didn't select anything I didn't do anything I just said make it a brush so that means take this entire thing make it into a brush so now I have a brush out of bed and let's see how big it it's okay, so do it this way as a little tip if you're ever making a new document and you want to make sure it's at least a cz bigas one you've been working on, which is what I wanted to hear you have all these presets but then the bottom of the pre set menu it actually shows you whatever document have opened so this way you can make a new documents the same size as one of your open documents and then it does the math for you so there's my brush you already see kind of this weird outline thing, so if I were to make a new layer and let's just pick some color now one thing that I just realized that that I should point out what just happened there because I made the new document the same size is the existing one it also picked up on the fact that that one was grayscale which I didn't I wasn't paying close enough attention to so I read brush would not work unless I change it too hard to be you know we don't have to do that so when I clicked with this brush and click honestly now I have a red version because that was the brush that I used so see how it's kind of like you're painting a grey scale version of your brush tinted with whatever your four run color is and doing that alone would be kind of odd because there's just like why would I want a red total brush like that where I normally use it is for things like this let's get rid of this for a second okay so here all right so here's this layer let's get rid of these all right so here I have you can see there's ah layer I basically duplicated made it larger but right now they're they're kind of two obvious I want them to be mohr blend in with the background so ultimately I would do a bunch of really specific deliberate masking but just to show you an example of how we could use these cool brushes with monkey shortcut! I want to add a mass to this layer change my four one color to black, it still has the same brush that I had before, and now, when I click on it, you'll see that it's painted this on the mask and member the way a mass works black hide it's white shows gray is somewhere in the middle, so as a result, now I have these background people that are starting to look kind of interesting because it almost looks like they're somehow painted onto the blitz brick wall. Well, also, the thing about brushes is the way brushes work. Is there a cumulative? So if I paint another round of brush on this, maybe make it a bit smaller with my left bracket key and paint again in this case, I'll put it to white, or maybe you can see, just as I'm experimenting just with another, a click of the mouse. I've completely changed the aspect of this now the only downside to this and this, I wish there was I had a better answer for you, but this part of painting with a brush on a mask is about as destructive as I usually go because I wish that mass were smart to, but they're not the ones you put paint on a mask, even though the fact you're painting on a mask is nondestructive painting this kind of paint on a mask is a little harder to edit, but you still could. I mean, you could use levels on it, or you could use the property's past of theirs degrees of added ability, just not as much as everything else. So I usually reserve this for this is where I would probably do a bit of step backwards ing where I've said, paint, paint, paint and undo it and try a different brush, but let's, go back to our brush for a second, so when I defined the brush, it looked like that, but this is where I think the creation of brushes can at least be non destructive because I can go in and say, well, I kind of like the way that brushwork I wanted even more dramatic version, so I double click and go back and adjust my camera settings that make it even darker and then redefine a new brush. Or it might be even easier sometimes and say, you know, I'm going to add a levels adjustment layer on top of this so I can just move sliders and then to find that as a brush and then move sliders and define that as a russian from this one document, I've created three different variations, and if I wanted to, you could even maybe there's a portion where for some project you're thinking it might make better sense if I make a brush just out of one area of this whole thing by nature it's going toe make a brush off the whole thing but I could make a selection say now make a brush out of this part with this adjustment airplane so when I'm making brushes I often experiment turning anything into a brush here's up on old map that was sitting around in my parentshouse and he said, do you want this? And I didn't care about the map of what it was like you look at that old text and cool little graphics and was going brush, brush, brush, brush, brush didn't actually say that out loud because my parents already think I'm odd enough if I was just like saying the word brush over and over again but I want to turn that into a brush well right now it's kind of brownish on kind of beige ish and I want to really make it black and white so and I'm ok with doing it very dramatically because ultimately I'm going to make a brush out of old fashioned the type that's going to be probably over laid some way anyway so I would add a levels adjustment layer now here's a great way if you're just trying to take a photo like this and so I just want to be black and white you take the white eyedropper and click on what you want to be white and you take the black eye dropper and click on what you want to be black and that way it kind of cuts to the chase is now I already know I'm in the realm of black and white when it comes to defining a brush now if this was now you have to make decisions do you want just the type so do you want us to try and paint out some of these lines so that part you know become you have to make that decision but just from and this is I'm only showing you one little piece from this map there was some really you know how maps they often have overall description on the graphic is like two men holding something I mean just kind of neat stuff and I've made like a problem twelve brushes from this one map just by taking my camera and going I like that area I like this area and then doing this and sometimes one of the challenges is you're not exactly sure how far to go in terms of that black white gray so this is exactly what I do levels adjust my layer define a brush then try it in a different document if it didn't work delete that brush come back here to levels tweak it a bit more to find a new brush okay, that was better so quite often during a process I'll make three or four brushes to go that one works best for this particular circumstance now having said that I don't actually delete any brushes ever because you never know brushes could be great all died so unless you end up with like a you know list that takes you seventeen minutes to scroll through then you might want to think about managing your brushes in a different way but he won I say I'll delete that brush I probably don't actually do that because he still might be able to use it for something. The main thing to remember though, is if you're just making say, ah copyright brush where you want to have you no copyright my name and even though you might be thinking I'm going always painted fifty percent see through I would still define it at one hundred percent black because if you define a brush of fifty percent see through that's your ceiling you can't go up so unless it's something like this where by the nature of the texture there's going to be gray in it that's that's okay, but this is a great way to just look att anything from the perspective of adding something creative too it's all just so you really quickly normally I would do a bit more work on it but just to show you uh fine brush gate and now I have all this stuff going on let's bring some of this craziness back again. I did weird things too that didn't I okay, well anyway we'll just show you pierre and layer take my brush just have to find the one I just made it's very small now here's a little kind of hint if you're working with a brush like this normally if this was a copyright brush, I'd be kind of disappointed out had to make my brush bigger because it would lose quality, but because this is like old fashioned e type that I'm gonna overlay and make semisi through, I'm perfectly fine with making it bigger because it kind of adds to the effect of it looking like old fashioned type and ultimately I'm gonna lower the opacity and blended in a mask it out anyway. So as a general rule, if you can, I'd air on the side of making the brush bigger and then scale it down than the other way around. So all of these elements are giving us opportunities to do things here's another example one of my favorite actually did this jury and creative life class here and see how we did it live where it took photographs of the smoke machine to make brushes out of smoke and that was just a black back on with a couple of lights and a smoke machine and take a photo everyone who had no idea was going to happen and I wanted to turn this into a brush this happens to be a j peg, but even if it was a smart object here's a good example right now if I made that into a brush, I'd have inverse brush, right? I'd have a black brush with a hole where the smoke was supposed to be because it's black on white not white on black, so the first thing I'd want to do is invert this to show me well, that's what my brush would actually be like. So right now it would be a really, really subtle brush because the smoke is so gray and you might want that I'm not saying that that's wrong I'm saying that you have to think that way even before you define the brush is what level of grayness do you want? So once I've inverted it, I might also once again ad a levels adjustment areas say I want that brush to be a little or more obvious there we go and then I would make a selection to find as a brush if I didn't like it, I pulled this back a bit and tried again this could be I've seen people take this idea and put like, actually I was jealous that I wish I thought of this I thought it was a brilliant idea the whole set up with smoke machine and like lights, this guy took a fairly large glass and drop milking it got thing and I wish I thought of that that was really cool and I worked like a charm on this particular one leaved up it's the smoke how would you best select this? Well, thank you that's a good question too, because if I just sorta went well, I'll just make a selection that would be very hard as when use the brush you would see that edge and you might want that I mean that's that's there's no right or wrong answer here, but in this case, what I would typically try to do is selected and then use a command called feather and feathered a certain amount and all that does is it means that softens the edge. So when I do define a brush, it won't be quite as a definite hard, especially in this case where it's smoke that doesn't just stop dead it's kind of fading continually. I want to make sure my brush kind of does that too, and the cool thing about brushes is once you create them they're they're so you don't have to do it again. The downside is you have to be careful because not that any of you have ever experiences but some there's this thing called a crash that happens very rarely two people in photo shop and I've had situations people said I had a photo shop just quit and when I restarted the twelve brushes I made aren't there anymore so in my class later today on presets I will talk about how to have a backup plan so you have a because it takes more time than I can say right now but I will say at least this if you define brushes make sure at some point you're not just keep defining him and adding and adding because a certain point something could go amiss and all that work would be gone so there is a way out to show you the condensed version is a thing called the preset manager which shows you all the brush is you have and also gives you opportunities select all these and say save these as a backup plan like I go through the specific steps later on but I did want to make sure we have time for questions this might be too specific er awkward question but I noticed when you're I do a lot of interior works and sometimes I want to match a color and put it on a door and I know you can get crazy colors but how do you get brown well I mean the color picker is is the place and you really want to mix colors and depending on the situation I mean I know some people are actually given percentages of cholera late actually say this brown is, you know, ex combination of cm like air rgb if you're not sure, then the color pickers to me is the place to go because on this right hand side is like kind of the rainbow of choices and you say I want to get in the brown range and then as you move around in here you see as you're moving at, you're getting different intensities and if you get close but want to still shift it, you can still move around so this up here is what you're looking at that's your new color so then you're moving it around now having said that, if you want to do that with like adjustment there's things like that I would still start with that area of picking the color in there and then using see which one is this one here there's an adjustment or called a photo filter? Or then you khun know what that color is so here's a little sight tip one of the most frustrating things and photo shop is once you find the right girl let's pretend that's the one I want I want to use it somewhere else. What I used to do silly me was memorized forty one, sixty, seven hundred forty three and I'd say it over and over again forty one six five and then move over. Now I just realized this little field down here is the hex decimal color, but it's also a fields, and I just go copy like, ok, come over here, paste it's a whole lot easier and trying to memorize, like all these different ways of describing the color, because that number is just a web way of describing that specific color, then I can use that specific color and like photo filters and other adjustment ares, where you're allowed to enter a specific color, and the question usually brush has become big sound or factors. Brushes by nature are pixel based. Now you can make presets that our vector base, but they generally have to start somewhere else that makes vectors like adobe illustrator. Because by nature, photo shop is a pixel program that has some vector capability. I mean, you could you could take your pen tool and photoshopped, but make a path and make it a shape. But the nature of brushes and the fact that there can be used and this is a good point to is I'm using those brushes I made with the paint brush, but I could use it with the clone stamp tool in the healing. I mean, once a brush is made, it can be used with any tool, whereas a up a vector shape is just it's a shape you can apply as a shape player. You can't use it in conjunction with other tools the same way as brushes can be used. I think way the question from online. This is kind of double layered. Linda and darrell s I want to know if he used photoshopped to edit a light room document and use smart objects and filters and then you save them back into light room. Well, the smart objects save into light room. Yes. Ok, um, hold on one second because I have a lovely little graphic that demonstrates that so here's, how it works when you open it from light room as a smart object opens in photo shop. If you need to edit any of the settings, I mean, all that smart filter stuff. Everything is there. You double clicked, open the raw settings. Once you save it, it goes back to light. Won't actually be called. Name of file dash, edit dot psd. So you know that's, the one that contain that's, the photo shop document. It also contains thie. Whatever smart filter, smart objects, layers, etcetera.