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
Split Toning
But toning is an idea where you're saying, instead of just having shadows being shades of darkness and light being shades of lightness, we're replacing those with a color so the shadows will have more of a bluish tone, and the highlights will have more of, ah, yellow or whatever it might be. So a couple of ways of doing this the manual way that's just let's have fun and try and see we can do is by telling Photoshopped I want to work on just the highlights for a moment. So I need to select just the highlights. And there's a couple of ways of doing that. One of the most simple ways, because it's visual if you go to the Color Range Command, which is under sorry under select. So it's a way of making a selection color range, and I just go in here and choose highlights. So now this is just a preview, but I'll show you that looks like without any and you can play around with this. I normally just leave it as is and click OK, so now Photoshopped is said. Here's what I find her all the highligh...
ts of this document, then I would add an adjustment layer, and I would tend to use hue saturation. I want to say in the selected areas, Let's change the hue Now what often happens, especially with highlights, is at first it might be a little hard to see. So what I do is take advantage is we talked about before about the way adjustment layers work by temporarily really pushing the saturation. So now, as I move the sliders, I could kind of say, Oh, that's kind of interesting there, but now it's way too intense. But instead of guessing and going, I think that's give me the result that I want. I'm gonna push that saturation pretty high to begin with until I find a look that I think is going down the path I want and then lower that So it's not quite so intense. Scene. It's just in the highlights. There's with a few little bit of color there. So then we can go back to the background layer, select color range and shoes, shadows OK, and then, at another hue, saturation Justin Layer and do the same things. Let's push the saturation. Now let's pick a different color that we want for that one and then pull that back. So once we've done all that, then we can start to see the difference. So this is the I'm going to, but Photoshopped help me make a selection and then adjust accordingly. The result of these, for example, here's the shadow one. So if I look at you can see that's the must. Be the highlight one, because that would look more like shadows there. So this is still a mass has been generated based on that selection, so you could still do a little bit of feathering on you. Couldn't change crane. Change the density you could if you saw some areas where, just like I don't know why that's happening over there at all. I want to paint that so this method is very manual because the only part that's automatic is making the original selections. But beyond that, it's completely up to you as to how the colors are are put into play, and I've seen people who have done this, but they've used a solid color adjustment layer instead of hue, saturation sliders. That's fine, too. I mean, it's another variation on the same theme. Personally, I would do it a different way now only because I want tohave away that I'm a big fan of, among other things, of anything that has the word preset in it. So this is not really a preset, because it's just me adding hue saturation. Just layer is based on a selection, so the other option we have and I'll show it to you a couple of different ways. This is a J peg that I opened in Photoshopped. It's not a raw file, and because of the version of photo shop I have, if I right click on this and shoes convert to Smart Object, one of the filters that came out in recent updates and creative cloud was camera raw as a filter. Now show you a minute. How If you don't have this version photo shop, you can start do the same thing in camera raw but justice. We're here already, so the camera raw filter means it's going. It's camera raw, but you can do it on a layer by layer basis. In this case, only have the one layer. But in other words, I don't have to start with a raw file. I can take have the advantage of doing camera raw type adjustments to any layer in photo shop in a way that's edible because a smart filter So that's kind of cool. And one of things that's built right into camera is split. Tony. I would use the same philosophy, I'd say in the highlights. Let's push the saturation up first and then pick the color that I want for the highlights and then pull the saturation back down and then do the same thing down here. Let's put that up and I want the shadows to be that color and then pull the saturation down. So the nice part about this is it's just a couple of sliders and you're just moving them around when I click. OK, it does the change, and here's the nice little change made and it says right here, camera, raw filter. Now let's just continue with this for one more second here. So I did mention the word presets. So if you really like that look and say I really like the look of that just the split toning nothing else I have done anything else in camera. I could also, you know, adjust other sliders But now all I've done is adjusted the split, Tony. One of things that I could do is say I want toe like that. So much like to make it a preset. So I in camera raw. I mean, the camera off filter. Right now, I go to the very last moment presets and I clicked the standard turning page icon for new. And I'm gonna call it split toning, and I probably would normally make a better description, but you have the option of say, what do you want to include in this case? Technically, I could include everything because the only thing I've actually done is split Tony. But if you want to be more careful, you could go in and Onley pick the appropriate thing for Split Tony. Okay, so now that's in there, I can click. Okay. All right. So that's doing it from within Photoshopped. What's really nice about the way this works? A photo shop at camera on presets is that since I made a preset a moment ago, it's now in camera raw, not just in the camera filter. So if this was a raw file, or even since it's a J peg if I hit command Control are that's gonna open it in camera, raw initially. And now instead of trying remember how I did it? I could just go to my presets and click on that, and it applies it. So all of these air presets that I made for various purposes, some of which were clearly during demonstrations because a preset called new room probably made really good sense at the time that I did that. But right now it's like, Okay, not sure. What does it look like? Okay, so I mean, I could even go through a preset gun. Oh, that's interesting. Not really what I had in mind. Faded colors. Who? That's kind of funky. That's nice, too. So these were presets I made for other purposes, but they're there. So that's, you know, the full benefit of making presets is I might have made I probably made this one. I'm going to guess and say, two years ago for something I was working on, and now it's in there. I'm like, I might as well click on it just to see what it does, because at any time I could go back to the whole reason I did this and then click open object. This time it's not going to come in with saying camera filter because, of course it's built into camera. So this is now a camera smart object made from a J peg. And that's the difference. Is the first time I just said, Open the J Peg, convert to Smart object and apply the camera off filter. That only works if you have the last couple of two updates to create a cloud. If you have Photoshopped CS six or earlier than you'd have to do it this way of just forcing the J peg to open in camera raw and then applying whatever settings within the camera on having it come in as a smart object this way. Okay, that makes sense. So there's always multiple choices for things like split, toning and say, I'm gonna do it completely myself and just play around and see what it is. Or have Photoshopped camera do most of the work for you in a way that's very intuitive and then save a preset now not to blow anyone's mind. But I was playing around the other day and this occurred to me I thought. I wonder if I since this is a camera smart object, could I still apply the camera off filter to it? I was like, Oh, I can I don't know why it ever do that but it's kind of neat. Did you can? So you can apply the camera filter to a camera, A smart object. That's just if you really want someone to go. Well, what just happened there? Think of too many reasons why would actually do that, but it's kind need at the same time.
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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!