Lessons
Day 1
1Course Intro
05:55 2Layer Masks
15:37 3Adjustment Layers
23:47 4Clipping Masks
08:38 5Intro to Groups & Smart Objects
23:44 6Quick Mask
09:18 7Defining & Creating a Brush
14:49Smart Objects & Filters
20:56 9Smart Objects from Adobe Camera Raw & Lightroom
13:23 10'Blend If' Sliders & Blend Mode Shortcuts
09:35 11Photographing & Scanning Textures
28:08 12Scanning Objects
10:23 13Photographing Smoke
30:17 14Building Frames from Illustrator Brushes
16:59 15Using Adobe Brush CC
35:59 16Managing & Saving Brushes
13:13 17Changing the Behavior of Brushes
23:25Day 2
18Type Techniques
17:22 19Type Tool Presets
18:06 20Patterns
33:52 21Overlaying Texture
15:31 22Layer Mask Edges
45:01 23Refining Edges
08:05 24Adding Borders
15:53 25Displace Filter Edges
20:45 26Using Illustrator Elements
15:33 27Creating Reusable Effects
09:27 28The Role of Actions
35:46 29Smart Filter Techniques
30:56 30Basic Painting Tools
05:53 31Turn a Photo into a Painting
19:43 32Oil Painting Filter
18:45Day 3
33Making Color Pop
23:48 34Color Grading
20:10 35Split Toning
08:50 36Luminosity Mask & Feathering
16:57 37Other Artistic Effects
12:22 38Creative Layout Options: Layer Comps
17:26 39Building Basic Templates
23:26 40Creating Smart Object Templates
25:44 41Quick Retouching: Skin
32:49 42Quick Retouching: Teeth
09:04 43Quick Retouching: Hot Spots
08:05 44Quick Retouching: Eyes
08:32 45Quick Retouching: Content Aware Move & Extend Tool
19:41 46Quick Retouching: Glass Glare
03:44 47Adding Finishing Touches to Photographs
19:57 48Displacement Filter
10:21 49Adding Suggested Elements
20:14 50Saving Files
19:20Lesson Info
Quick Retouching: Teeth
moving, ah, to the similar kind of situations. So this guy, his as has come with a lot of people. Even people who in person looked like they've got decent looking teeth photographically often look a little more on the yellow with side. So again, lots of ways to do it. I would tend to do it this way. Make a very rough selection just so I'm in the right ballpark. I don't have to worry about whether it's incredibly accurate yet or not. And use Hue saturation adjustment layer and look at the issue I'm having saying The problem here is I want to lessen the fact of his teeth look yellow. So if I go to the hue saturation Justin layer, go to the yellows and say, Take the saturation just out of the yellow. And just by doing that now, all of a sudden his teeth look better. Now use with caution this next part because people tend to go a little over port. I think now if you go back to the master and move the lightness, you can make his teeth nice and white to the point where it looks like really b...
ad commercial for toothpaste or that episode of friends where Ross did something to his teeth mingling. Remember that some people do. So I would use with caution there. The other thing I would do when I'm doing this kind of work is So let me tell you, ah, story about myself that I used to do without even thinking about it because I could. In Photoshop, I would zoom in really close and I would, Boy, I would fix those teeth. I mean, they were perfect, but that's because on my screen the teeth were this big on the finish photograph. The teeth were this big. So why was I taking so much time for something that only I could see? So to avoid getting caught in that trap, I'll remind you something I showed we're talking about. The painting method is something you might want to consider. I'm gonna close other documents is to save confusion here, and that is this method. I mission before make a second window of the same one. Then you go back and you tile these windows whichever way makes sense for you. And now in one document, you zoom way in. But on the other one, you have it set to kind of the Finnish size is going to actually be printing, and in some cases it might be that big. So now if I'm looking, I could still see something there. Then I look at the other one ago. No, I can't. So we sometimes get fooled into forgetting that unless you're planning on printing this on a billboard And even then people look at the billboard from across the street, not this close. Then I want to put things in perspective. Make sure I'm not obsessing over a little tiny details that the human I can't even see when this thing is finished. So this one of the best ways, I think, to remind yourself until you get in the habit of realizing that's not necessary for me to go that far. Okay, I did that using an adjustment layer because in a lot of things, in photo shop and retouching us certainly in this category. And I don't think this is just me. I've talked. A lot of people feel the same way. If you're working on a project for a period of time, let's say 45 minutes on this at a certain point. The best thing to do is save it, close it and work on something else. Because after a while we become our own worst critics and we're looking. I Mr bit there I missed. That's not very good. But if you leave it and walk away and come back later like that's actually pretty good or the opposite, I think his teeth are a little too white. Eso At that moment, you might say that looks great. That's what I'm doing is adjustment layer because in the context of this photograph, everything else is kind of dark than yes, Remove the yellow. But maybe I shouldn't have lightened quite as much because in this photo it looks a little bit odd. So by doing this adjustment layer, I do have that opportunity to leave it for a while and come back and say, OK, what can I do to try and make this? You know? Now that I'm seeing it was kind of fresh eyes. Do I need to do anything? And there may be hopefully, lots of times we go. No, I'm still happy with it, but I found what I used to do is I would just go too long and I'd be like, That's still not good. That's still not good. So before we go any further, let me mention up other little tips about from the retouching side that come from experience in the bad way. Uh, years ago, when photo shop was still fairly new, I think layers maybe had just come out. A friend of mine asked me to help him out, take a photo and, you know, said Just touch it up was his wording. So I can use it on this brochure I'm printing. So I took a photo with my brand new digital camera, and I think it was like four megapixels or something. Awesome. And I pulled out every trick I could possibly think of to fix his photo, and I got to say it looked good. I mean, it was a good result, and when I looked at the before and after, I'm like I did some good stuff there, so I showed it to him and he said, Wow, he actually said another word. But I'll just say, Wow, that's like the best portrait of me ever. And instead of just going, you're welcome. I said, Yeah, you wouldn't believe how much stuff I had to fix. It was like, what? I mean. I mean, like, you don't want to tell people that because he was like, What do you mean? I'm like my man. It came out that way out of the camera. It was perfect. So don't ever tell point out to people. Yeah, I had a lot of work to do on you is that no one wants to hear that. The other thing is, unless you're in the business of retouching just trying to show off your ability. I'm not a big fan that before and after pictures, especially for the person. Because if you show someone before and you show someone after, you could have the best retouching job ever. But most people are pretty good at spotting the differences and they'll go. Oh, you did that or you fix that. You change that. I don't want someone to know that unless they're really insistent. Even then I'd probably be reluctant, But, I mean, it's all different if I'm teaching a Photoshopped technique. I do want to show the before and after. So my philosophy is this. If someone insists on seeing the before and after that. I showed them the after first because my reasoning is this. If you show someone the after photo that you figure it's finished and they look at me go, what's up with his eye? That's not a good thing. Where have you show the after phone? They just kind of go Oh, and nothing jumps out at them. That to me tells me I did a good job because they're not going, Uh, my left eye, whatever you know, and then if he really wants to be before they're like, Oh, okay, But I'd be really hesitant to do that again. The only exception if you're doing like photo retouching a restoration is a business, and you want to say, Look what I can do that's a little different. But if you're just doing it for someone, especially a friend or family member, you definitely don't want to go down that road of going. Let me show you all the stuff I fixed on your photo. No, not advisable. So let's just do a quick couple things of this guy, since I can hear in part, like he has noticeable lines under his eyes, but I think this is more. In part of the lighting, I deliberately kept this photograph. We took like three other portrait's. It was actually a trade show. We did this. And after the first test, I'm like we need to fix that lighting a little bit so the other ones look better because the lighting was better. So obviously that's on the side if you can do better lighting. But this would be an example where I would do so I mentioned before. Spot healing brush. Let's make sure we've got thinks set a right spot Healing brush sample, all layers, content aware. So I'm gonna go over this area and a couple of these little lines, sometimes with the spot healing. You have to go over areas a couple of times because it picks up from the wrong areas. Now, when you look at it in the Zundel few it might look OK, but I still think it's a little much considering he still has something there, so I might pull it back just a little. I usually think I find myself in the 50 to 70% range because when you compare, it's still there. But it's less obvious. And like I mentioned before, once you have that done, that layer set up that way, then you can go in and make adjustments to other areas pretty quickly. Thank whatever we're doing well, fast and needless to say, this is taking a bit of time. But that's only because I'm narrating. I mean, if I wasn't narrating, would so don't when you're doing it yourself, don't say now I will add a new layer. That would be weird if you did that, but just you know, that way you can avoid any of those problems and work a whole lot faster.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
karlafornia
I like Dave's teaching style: methodical, well-organized, VERY knowledgeable, interesting, relevant, and delivered with a really good sense of humor (he's a very snappy dresser, too!). Most of all, his lessons are most useful in teaching me how to save time processing my photos in a NON-destructive way and with a stream-lined workflow. This particular class is not only versed in technique, but I LOVE how he encourages creativity through experimentation and "playing" and pushing the envelop with the program. that is not as scary as it sounds because Dave is all about working with smart objects, smart filters and other such ways designed to save us from destroying our photos or work that has to be redone or scrapped because we went down a road of no return.
a Creativelive Student
Dave has a brilliant (as well as humorous) way of teaching and I always learn something new from him. I have purchased many of his previous classes and love every one of them! Thank you for another great course!