Adobe® Photoshop® Presets

Lesson 1 of 1

Adobe® Photoshop® Presets

 

Adobe® Photoshop® Presets

Lesson 1 of 1

Adobe® Photoshop® Presets

 

Lesson Info

Adobe® Photoshop® Presets

He's, a member of the photo shop hall of fame, and we always love having him here. So over to you, dave, thank you so much. It's. Hard to believe it's already the end of photo shop week, although, as jim said, I gotta say, five days seems like nothing after recording thirty days of photo shop. There was a period where I was like, day twenty three going, this is never gonna finish, but the difference there was I was recording it all by myself in my studio in tampa, staring at a remote control camera and didn't have the that great benefit of having an audience to actually interact with so that's a real plus. So this class is on presets, but since this is the last class of photoshopped week, a couple things I want to mention, I always show this social media type thing because some people care about that kind of stuff anymore. Dot com they have this promo code across dot com to save you five dollars off your first order, so that way everyone gets a little gift. So this classes I mentioned ...

is on presets, and I love presets because they save you time, and I'm all about time saving and efficiency and productivity, all those things and one of the ways we can save time is by taking advantage of the fact that there's a ton of places in photo shop where we can make presets. This is the official google definition of preset I always like that pre from the latin before meaning do some of the work before and then it saves times on on going basis. So the bottom line about presets is it's something you khun create and reuse over and over and over again. And my philosophy a pre has this very simple there's almost no downside to creating presets other than if you make many of them and they're in a scrolling menu, it might take you a while to scroll through them all, but we'll talk about ways where you can manage them, but really presets ad very little overhead it's, not like you're, you know, slowing down photo shop because you got a bunch of process. They're really just pre existing options that are available to you that's really? The point of making and using presets is it just saves you time. So let's, look at some examples of that. So a very typical situation of some of you were in one of very first classes I did kick off this week was talking about habits of successful users. And I said one of things, you have to go through this little checklist, so you click on a tool, you look at the options bar and make sure the settings air all the way you want, and quite often with certain tools, there's a lot of settings you have to go through and check and make sure they're set the right way. And as I also mentioned, when adobe created this program for every tool they had to create some preset settings and the first thing I usually say in this kind of way, as I possibly can, just because a tool has defaults doesn't make them good settings. So adobe had to put some setting in there, and unfortunately, some of the choices they made let's just say they would not be my first choice as to how a tool would operate. So one of things I would prefer to do is have a tool go to my default settings. The problem is my default setting changes all the time in some situations, this is a better default. Sometimes this is a better default, so I'd like to very quickly be able to go back and forth between those instead of trying, remember, was that thirty percent, or was at fifty percent. And the answer is usually both and I want to be able to choose them both. So the basic premise looks like this and I was used type as the first example because it's probably the most obvious in terms of all the choices so when I click on the type tool up at the top of the options where you'll see it has font style size alignment all these different options so I'm just going to click in here and add anything at all I don't care what it looks like at this point I'm trying to create ah, look now you probably use you know, real words but doesn't have to be and let's just pick I want to do something really obvious and I wanted to be this big and this color and I could also choose like, alignment everything else once I've finished now let me pause and say you can do this two different ways you can either do what I'm doing just deliberately creating type to make a preset or you've already made typing think, oh, I should make a pre set of that because you realize this is something I could use on a regular basis so either way it doesn't matter once you have created a type player and format the way you want, then you can make a preset from it now if you look up in the very corner here so I got to get over here so you can see right in this corner there is a big letter t there whenever you switch tools that icon changes to whatever tool you're using a lot of people don't realize is this little triangle beside it look at how tiny that thing is they didn't realize this is actually a pop down menu of choices and the choices are your presets, so I've already done this before, but I would like to make this into a preset so every time I'm working on a project where I want my type toe look this way, I don't have to go on remember what was that what I used to do before presets, by the way, as an aside is I have to find that other document I created last year and select the type and go helvetica forty and write everything down because that was really the only way to do it. So now I just come up here to the preset little list these air showing my current presets that I've created for my type tool, this little icon and which is adobe for new so any time you ever are anywhere and photo shop and you see the little kind of page turning icon that's adobes way of saying create a new whatever it is new layer this case new preset now adobe tries to assist us by naming the preset based on the tool and then some other information that's all nice of them to attempt to do that for me but I'm not a big fan of calling just because this is called horizontal type tool first of all I know it's the type tool because it's got a letter t beside it but also I have mind set up so the on ly presets I see are the ones we're related to my tool so personally this whole thing is a waste of space I don't need all of that now naming the preset you name it the way that makes sense to you I typically name ah fought preset helvetica forty seven on this case harrison regular one eighty two a line centered white or whatever name some people name it in a method that's similar more toe like with your using a word document a lot of people call it heading subheading you know that kind of thing so I've seen some people name their pre set you know web headings main tax or something that part's completely up to you the other thing I think is weird has always puts the number one at the end I don't understand that I guess they just in case you have another preset called that it puts a one so I don't know why it does that but anyway I use certain codes in my head like a line centered because I do these enough that I want to remind myself because I want to be able at a glance toe look at this preset and be able to tell what it does so I click ok once I've done that now it's added to my list and I don't need this type player anymore it's only purpose was to help me create that as I said before, if this was a really type player that you're just using the greater precept of course you could continue but the whole point of this now is I have some other completely different settings and I before and this is important before I go to use the type too I think await I should use that pre set and this is really key part of the word pre means click on it first so if I type some text and then try and click on the preset it's not going to help me very much if it works relatively well with the type tool but every other tool you really have to click it first to set the settings so you can see up in my options bar I've got this jellicle whatever three seventy eight all these settings and I go actually I want that one I made before which is this one and instantly it fills in all those settings now I can start typing and it used whatever I did so you can imagine just what this one too with the type will the number of the amount of time I'm saving a because it does fills it in quickly and because I'm not having to go look and go what was that again? Was that forty seven or was it one hundred ten now it fills in those blanks for me so tool presets have actually been around for quite a while and I always questioned why more people didn't use them and I think there's a couple of issues one of them is people didn't know they were there because if you didn't know that little teeny tiny triangle was actually a menu you might miss it but the other thing is by default for many people your tool preset list doesn't have current tool on ly check which means even though I'm on the type tool I'm seeing this big long list of everything under the sun and I have a feeling I already deleted it but let me just check and see I must have deleted in a separate demonstrations why things I usually show to show you that again just because the dhobi created doesn't necessarily make it useful is there used to be well in fact by default there is a tool preset called fill with bubbles pattern still with bubbles batter I mean imagine how many times a day you want to feel something with bubbles pattern I would say often so I went through and as I'll show you later, there is a way we can delete presets, but my suggestion is this when you're using this pull down menu of presets, click current tool on lee that means you'll on ly si the presets of relate to this tool that makes sense because if I go to, for example, the clone stamp tool and look at that, I only have four, so I don't wanna have to dig through that big long list to see the four that I've created. Ok now the other tip I'd give you about tool presets is the most common way of using them is I want to create a tool preset for some different use like I have one that the clone stand tools in darkened mode at eighty percent capacity, but because every so often I still want to get back to quote unquote normal, which would be normal mode one hundred percent capacity. I usually make a tool preset for that because you could technically option or halt three option or all click on here and must be control I'm sorry control area see how it says reset tool or reset all tools that's going to reset it back to adobes settings for their default I would like to be able get back to my default which in some cases of the same but other cases it's not so for a certain tools, I set up a tool preset that I call my default so I know when I click that it defaults back to what I want not what adobe has said is their standard and sometimes with simple as, say, the dodge and burn tools by default they their default setting is fifty percent because it's halfway so they just set at is their default well, most people they find twenty to twenty five to thirty is a better default, so that would be an example of a tool preset. So if you imagine going through every single tool you use all the time and here's, what I think is great about this, you could be going through some function, whatever it might be was pick anything and then do some sides I think you know what? For the next ten minutes in the next half hour, I'm going to use this over and over again why not make a preset instead of always be going back and forth? So there's no rule that says on ly make presets we're going to use this for the next two years sometimes it's just helpful to say I might switch back and forth between these two tools so robin every time have to go it meant was that fifty percent or was it you just switch between two presets and I won't do this right now, but for those real efficiency experts out there, you could even make an action that would automatically pick one or other tool presets to which you could assign a function key shortcut and then just press f one f two to switch within two to three cents sorry that whoever's doing they transposing or whatever of these classes because that was really I said that really fast just deliberately to show you that that even that is an option, okay, so once you've made some tool presets, then this is what I like to do, and this is a case where interesting how one things I love about photo shop is is the more you teach it, the more you learn about it, so I used to say to people, you know, you've got all these tools like the crop tools, another perfect example of creating presets cropping is one of the most surprisingly difficult things to do in photo shop, but you want to do is crop to a five by seven, you have to go crop five seven like type in all this information or create presets and use them okay, so there is also along with this tool pre set menu there's actually a tool preset panel and at first I eat something why would you use the tool priest? That panel? Because I'm clicking on the tool up there what? I want to go all the way down to this panel and I've mentioned that in a workshop I was doing in the student went oh, I I use it to switch between tools really quickly. I was like, what? That's? Brilliant. So here's, what I realize as a result in this panel, I turn off current tool on lee. So right now look at where I met. The crop tool is active as my active tool and now I decide I want to add type and I want to add that type in one of my tool presets option one would be go over, click on the type tool fill in all the blanks or option two would just be click on the tool preset and in the same motion it switched to the type tool and pick my preset. So I was like that's actually really useful because it saves a lot of time. Now I still have presets in this panel that are the default ones that adobe creates to show you how you can edit that. But imagine if you had invested a little bit of time saying here all my presets now when you want to switch tools on the fly instead of going anywhere near the tool panel you just using this tool preset panel two in one motion switch tools and apply whatever pre set you have that could be a huge time saver and it's a perfect example to me of the power of presets as you invest a little bit of time up front creating them and then using this becomes click save time clicks a fine question some of the current tools on the current two is on ly check box in the fly out panel is that independent of the current tools checkbox in the tool yes it is because the pop down menu is one place and this is the panel is a separate one so exact that's exactly how I have this one is not on current will on lee and the little pulled out one with the tool I do have just in case I'm already on the correct tool and I want to switch you can see that it's going toe automat oh yes no take that back apparently they have changed because it used to be independent but not anymore so no they're not independent they work in concert with each other which is a huge then a fit to come up with a reason why that's a benefit because right now it's not but anyway note to self tell adobe put that back okay all right so this is just our first pre set is a tool priest it was another tool preset question just a quick question if you have the tool preset set out and it is set for current tool only and then you go over here to the panel and collect the tool. It automatically just pops in the presets for that particular tool, right? And that's and that's why? I like using it that way is because what I used to always doing was click on a tool, then change the settings this just cuts to the chase and does it in one shot. Okay, so before we talk about other types of presets let's now that you've seen what tool presets do talk a little bit about the fact that there's this wonderful control that controls almost every kind of pre set not all of them but the majority of them and this is what controls what appears in different panels and how you can create kind of backup copies so here's another example of something that's built into photo shop is these things called stiles these air like layer styles but they already do things for you. So for example on my type player I might manually say at a drop shadow at this look at lose air all type style are layer styles. Well these up here are layers style presets when someone has gone through and said I will create and save ah siri's of looks that you khun apply in one click and the benefit of these things is when you click on one of them it automatically is showing you ok this was created using devil in boss grading whatever it is and you could end it all of these and with full apologies to adobe for saying this that's a good thing you can change them because honestly they default presets they've given us for their styles seriously I mean, can you imagine like I want to put this on my business card because it's so lovely and these air that I didn't do anything these are the ones that come built in the photo shop interesting so I'm going to say that they did this so we could reverse engineer and see how easy it is to make your own because the ones that are in here here's the weird part about this and I still haven't quite figured out why this works this way it does these were the ones that air show by default and they're all some of them are let's say they're usability is like not sure in any panel most panels there's a pop up menu and preset panels there's often a list of additional presets you can load into that panel and many of these honestly are fantastic but they're hidden away and all the show you is the kind of let's call them questionable ones so they've got little icons that are there and then all of these are mohr effects that are often very, very good and even the ones that are not quite what you want as you can see in this case I clicked on this built in style and it shows me here's how it was done so if I decide I don't want the stroke or I want to change this grading or whatever it is you can still edit it. So with most presets with a few exceptions you can apply the pre set to get started and then still move from there so it doesn't mean you're kind of tied into well that's the look it's created that's just the pre part is let me start for you and then you can build from there so in this particular case what's appearing in this styles panel and all the other panels for that matter that has thes presets is determined by this thing called the preset manager under edit and then presets if you have an older version of photo shop aii before csx would just go edit presets our preset managers say but there's now a couple of other options so the preset manager does two very important things. The first one is we will talk about for now it determines what shows up in your that particular preset panel so in this case I went to this menu and I pick styles and I said, well, here's all the lovely lovely styles that have been provided for me delete, delete, delete, delete you go through and you take out the ones you don't want or you say I love this one so much I wish it was first and you changed the order so that's the functionality one of the functions of the priest that man's will talk about for now is simply adjusting what you see and how it appears so if there are tool presets you think I'm just never going to use filled with bubbles pattern then you click on it and hit delete it's not gone forever because you can always re set it back to the default, but this way you can kind of make it your own one of things I think people don't think about enough in photo shop is you can customize photoshopped toe look and feel the way you want and I watch a lot of people screw up scroll past stuff they never used to get their to their own stuff and I'm like once you get rid of that other stuff because you can and they're like, well, I don't know I'm like well still round doesn't deleted permanently so you still have a backup just in case but a lot of people were creatures of habit so we just get used to kind of scrolling past the weird stuff and get to the stuff we want that was a lot of stuff in a couple sentences there but uh that's what we want to do is customize this too the way you want so that's for now the function will talk about for the priest that manage I'll show you another function later on once we've actually created some more presets these air the presets that are controlled by the precept manager brushes swatches grady and styles patterns contours custom shapes and tools these are not in order of usability in fact I have no idea why they acquitted or this way because if it was contours would be down here somewhere really really low because contours has a very specific purpose that the seven people in the world that use it love the fact that they can actually edit change that most people like contours so brushes yes watches yes all these other ones use them all the time adjust them change them that's just the way this works the other type the presets that aren't controlled here are adjustment layer presets so if you're saying I want to use levels or curves wearing those adjusting layers and many of those you can create presets they are not controlled here actions not controlled here so these are these specific presets that you're generally creating and or importing there are lots of places in photoshopped land where you khun go on some website and download different types of presets generally brush is probably more than any other if you ever have like three hours just to waste just go into a ghoul and type in free photo shop brushes that'll keep you busy for about three hours of all the stuff that's out there that's mostly free and unbelievable the range of things you confined and then you load it in, it will show up here in the pre set manager and you can decide looking at I want these ones right don't want those ones and so on so there's tons of those resources out there just sitting there there's also once for purchase that might be better quality or more options, but because that you can find lots of stuff just with the ones that are there okay, so anywhere where you see it's not always called presets for example, this one just says styles, but those effectively should be called layer style presets so there's lots of those places where those show up okay now brushes interesting part of photo shop because this is where you can take anything in photo shop put her into a brush and it can be used for artistic use or efficiency. For example, I want the ability to add my signature two photographs, so all I did here was I took a pen and I signed a piece of paper and I took a photograph of it and in retrospect I wish I thought it was a really bright white piece of paper until I photographed it and realized it was cheapo copy paper and you can sort of see other things in it, so that would be point number one is if you're going to do this, I would say, like, use a sharpie on a really nice photographic white paper that will give you less work to do, because when you're defining a brush, turning anything and photo shop into a brush, the best way to do it is black is your brush white is see through. So right now, the fact that this background I know having you tried it before is a little off white means it's not one hundred percent see through the fact that the brush is blue or the type is blue. My signature is blue that when I define that as a brush, that means by default it will never be one hundred percent opaque because it's, not black it's, dark blue and my recommendation is, with some exceptions, with most of the time, especially you're trying to make a signature brush or a copyright bush. I'm like that is define it black on white later on you khun side about making it more see through if you want to, but I would always define it as black on white because, as I've said in other classes during this week, if you say I, this signature was medium gray and I defined as a brush that means I can never go mohr than say fifty percent capacity because that's just the nature of the way the brush was created I'd rather to find the russian black and then use layers to make it fifty percent see through but that way and here's the reason I suggest that you could define a brush of fifty percent but now that's your ceiling my worry is what if you slap your signature on their printed and go oh it's a little too light well, too bad that's the most you can get because you made it at fifty percent see through I'd rather have it one hundred percent bring it down to fifty and if I need to pull it back up again to say, well, maybe I need about seventy three or whatever it is so in this case and I deliberately brought one in because I do have a black sharpie version I want to show you what happens if this is what you got. I need to try and make this as black and white as possible so the first thing I would do is use a levels adjusting player and one of the benefits of could use levels or curves is these little eye droppers here see those little eye droppers right here I take the white eye dropper and I say this should be as white as possible and I'm just kind of clicking around to make sure that I'm clicking on stuff so it's gonna be a cz white? Is it possibly can? Um, this is a site tip that's going to do with this class, but and I was preparing for this class earlier I spent five minutes trying to figure out why a particular tool wouldn't work because it was not affecting this speck of dust on the photo and I realized it was on my monitor. So just as a kind of a side tip, clean your monitor before you start blaming photo shopped for a tool not working properly. I'm like what's wrong awake ah that's! Why it's hiring? Okay, so in this case I'm clicking on trying to make sure it's white and I could even manually also drag so I so I just want to really make sure it's a pse white as possible and then I take the black eye dropper and I click on this and I said, I want this to be black now I have to make some tweaks now it should probably show done black first that's a little better now, if you see like you kind of bits of yellow, this is where I can start to see there are some issues here because of the way that I'm trying to exchange jumping from blue to black in a way that probably isn't terribly efficient so now I might say all right, well let's try and we'll make that will better we're going to use phil white there's this beautiful mode in photo shop called overlay whenever you feel something in normal mode like in this case if I just said fill one hundred percent normal behind a pointless because it would fill the entire thing is ignore what's already there instead if I choose phil and change this to overlay overlay is this kind of magical mode that says when you feel something an overlay with white the only thing I can paint white are things that are slightly darker than me other words white cannot cover up overlay cannot cover up black so right now if I click ok, what should happen is it just cleans up a lot of the stuff that was around there. Now I could kind of re apply this levels because it's going to look a little better once I'm happy with it and uh this case let's change the mode to gray scale I don't have to do that, but sometimes that just helps to get it into the um right kind of so you can sense because you sometimes all it's all about picturing is this what I want now? When I first tried this with this kind of signature, I thought really sure if I like the fact that parts of it are look kind of gray but then I realized that's my signature when I sign like that there are parts that you barely see because I moved the pen so fast so this was this was perfect black it would be ok, but it wouldn't look one hundred percent like my signature so now once I don't have to select anything, I just come under just have to make sure I'm on this bottom layer under the edit menu defined brush preset that's what? And what photo shop is looking at us whatever's black is your brush whatever's white is see through if I have grey in there like I have a little bit here, that means somewhere in the middle kind of see through kind of not so I define brush preset now it's going toe try to name it you can I mean, some people are more worried about naming of resets and I am I don't really care because I can look at the thumbnail the number underneath it tells me the width of this brush and that brings up a good point if I'm going to do this, I'd rather make a brush really big probably bigger than I need because then on individual photo aiken scale it down if I define the brush too small that are really high quality photograph I would go to paint and go that's too small, make it bigger and it wouldn't look very good, so I would always if I had to air on the side of safety at air, make it bigger because you can always scale it down, so I click ok and then on any photo, this is a brush, so by nature brushes are very destructive, so I don't want to paint directly on the background layer so I would add a new layer. I don't. You've noticed this, but photo shop is not voice activated, so you can't just say, add a new layer you must actually successfully click on the button that adds a new layer because I was like, add a new layer and nothing happened. Press b for brush it's showing a previous brush that I had and I look in my set of brushes and the very last one will be the one that I just created and I look at and say that's kind of big let's give me that preview. The left bracket key will make the brush smaller. Even there, I would tend to air on the side of a little bit too big because I can always scale it down a bit more if I need to I also in my checklist have to look at mode is normal opacity is normal do I want a red brush? No, I don't think so I think I want a white brush and then just one click that's it now on any time I want a signature on my photo I just go new layer brush click and if it's a little bit too big I can free transformed I decide to be creative and save my brush should be on on an angle you can because it is a separate layer that allows me to do that as a little sight tip so you don't drive yourself crazy after your views your signature brush switched to a different tool otherwise you see this little it looks like another signature waiting to be put on here which reminds me to say one thing I was teaching something like this recently and someone who was fairly new to photography and sharing photos and heard about people you know, stealing photos and stuff. And they said so if you put your signature like this or a copyright offices that really stopped people from stealing your work and I said no but if you did this it might because to me then they would be much more likely to steal your photograph of you slap your copyright notice all over the place but unfortunately no it doesn't technically stop them but so that's it now I have the signature brush from now on as well talk about little bit later on, however, I still want to make a backup just to make sure I never have to do with go through those steps again okay, so I could also so you know what? On all my photos, I put a copyright, notice my name and address something that I do all the time I could also just do it using type and say I'm going to make a new document that's this big and take my type tool and put whatever it is let's get something that's a little more normal, I should have just used it to a priest that there, but I did not whatever it is, so you just use the type to a black on white and then define brush preset so anything that you want and the main thing that I want youto think about when we're talking specifically about brushes and brush presets is it's anything that you want if you can select it in photoshopped, it could be a brush so it could be type it could be you painting on something and scanning and I've seen people quite literally take like some actual a sketch that they did of some texture and they take a photograph of that and use that as a brush, so anything you want here's a couple other examples I have that I've turned into brushes before an old map that I just had some really cool type on it. So the same thing I look at this I'm like that's not going to make a very good brush right now because it's all brown and darker brown needs to be black on white so I need to think about how do I do that I would use often used the same approach start with levels and then do the same thing say this text should be black up simon a little bit on the level in your structure says oops oops uh take the white eyedropper click on here so that's already pretty good I don't care about the fact that this type looks like it's got some kind of see through areas because it's supposed to be old fashioned type now if this if I had was one worry about it, I would start to go in on this background layer and start to try and paint over these little black line so I had on lee the type that that's up to you if I just simply went to the edit menu and shows defined brush preset everything on there would be part of my brush or I could take it to like my marquee tool and say I really want just this to be a brush, so if you have nothing selected, it will take your entire document and make it into a brush which you might want to do or you have the often saying I would like to be more specific and it could be any selection round oval freeform feathered it doesn't matter whatever is inside that selection if you choose to find brush preset, you'll make that into a brush I've already made one of those so I can show you here new layer brush and it's our kier maybe no that's the music that I scanned in I like making brushes if you didn't already cast this because they're just so cool maybe it's this one there we go and it's still I still have to think about it like a regular brush. How big do I want? What color do I want to but because I'm putting it on a layer, it gives me more options so I can say let's put it on their white and you see the fact if you look really closely see there's, I'm can't point out right this corn this edge here when I define this brush clearly that background wasn't as white as I thought it was because it picked up a little bit in most cases I would probably go back and redefine the brush unless I think we know what I'm going to change it to some blend mode and or lower the opacity anyway where it may not be as noticeable and if it's a real problem, this is still a layer, so I could still add a layer mask and try and get one of those parts that I don't want, so keep reminding yourself that in the world of presets it's still, this is what we're starting with, and then we can do something with it from there once you've created a brush preset gosh, you can use it in so many ways you can use it like this as a just an overlay or some effect you can paint on a layer mask with this beautiful textured brush in my last class when it's like about creativity that's what I did at one point I had, uh just take any old photo here saying and see something this will be the weird words. Well, weirdest combination of two photos um, if I add a layer mask the way layer mass works is if you paint with black, so if I take my paintbrush and have black is my four on color, I would be punching a hole in this type to let the other one show through which in this case with my type brush is okay, but perhaps a little weird so I could go back to my brush panel and see there's all kinds of other brushes that I have, including ones that have all kinds of texture these air some kind of smoky brushes I think that was actually a photograph I took of some feathers that's kind of interesting didn't expect that and that's kind of the point is now my layer mask looks like that so it's got texture and black and white and gray which is what making is making the layers into iraq the way they do so the beautiful thing about these brushes is once they're in there again they could be used in many different ways and it's also important to remember that anything in the brushes picker which is what that little collection is called can also be affected by this brush panel which means I can affect scattering and rotation that's a whole class onto itself and the fact that I use it with any tool I want it's not just the paintbrush I could use it with the clone stamp tool so I want to clone using a feathery word of music in versed brush I don't know although it's all possible because you can't so to me that the benefit of when you see something could make a brush once it's in there it's another piece of a tool in your arsenal of things you can try ok the only thing to keep in mind is that you know me I'm a big proponent of the whole nondestructive way of working and right now even though I'm painting on a mask the mask is not destructive, but the painting on it is not so nondestructive cause once I've painted with that tool, if I paint five or six different brush strokes with different tools on at a certain point, I mean, I just go okay to start again because it's not as easy to edit those as other parts of photo shop, I have a dream that one day layer mass will be non destructive, and I'll be the hal just retire at that point because that'll save my job is done. Everything is not destructive now, because that's about the one thing that you go down a path you're like, yeah, I have to live with the fact that that's fairly destructive in the grand scheme of things, okay, so anything can be made into a brush doesn't matter. Here is one last example. This is a photograph. This is actually one of the creative life classes I talk called photoshopped creativity and actually had a smoke machine and a black wall in a couple of lights, and we just took a whole bunch of photographs of smoke to try and make brushes. Now, right now, if I didn't do anything else and I made that into a brush, I would have a really weird brush. Because remember, the way it works, black is the brush white is nothing, so I'd have a mostly black brush with a little bit of nothing in the middle, so I need this to be opposite, which means invert commander control, I inverts it so that now I'm looking at it going okay, that's closer to tell me what kind of brush I'm going to get by looking at this, I can tell that will be a very, very pale brush, because it's mostly gray with a lot of white that you might want that, but my point is that's part the reese for invert inverting by the way, if you start with a camera raw file, you can't invert it directly, but you could use an adjustment layer called invert, and that would still let you see what's going to look like what I would do in this case is use a level lt's adjustment layer and again try to adjust this to say, let's, make this darker. So this is now I'm saying, ok, I can see there are some parts that are very dark, which means I'm gonna have a brush now, that's a little more interesting, I would probably consider taking my lasso tool at this point and just kind of doing a free form selection and then feathering at this part you have to just kind of gets a little bit, so I'm doing this in a way that at least will give me a chance to try, so I click ok? The reason I'm feathering is I don't want because the smoke doesn't just stop, I don't want the edge of the brushing to stop that so the feather will make it fade out. The challenge with feathering is how much and the answer, like everything else and foolish opposite, depends. I don't really know, so I've got some feathering there. Now I can go and choose define brush preset and before I do that, let me quickly add this is a very common way that I'll do this is take a guess, so I try to feather of thirty let's see what that looks like trying to find a brush and then painted on something to really see if it works if I hate it that I go back to this one and try something different, so I'm gonna keep this active until I've done it a couple times ago. A sample brush, okay, let's, try that and I go to some other document at a new layer take my brush that I just created and kind of big see what this is going to look like. Yeah it's not bad that's hard to see let's make it blacks weaken see so the edge of it to me looks ok but I think I might want a feather just a bit more so that's why I've kept it there so I could go back here readjust the selection and try something different so even though once a brush has been created it's pretty nondestructive I mean excuse me it is fairly destructive because it's made that way during the process of creating the brush at least you can do it in a fairly non destructive way to say ok, let me try this okay? I need mohr levels I need that listen, you're so from this one smoky photo I might well to make six brushes and once it's made then like I said, this very powerful option says I want to take that smoke brush and rotated this way before I use it and adjust it in some other ways. Ok, what would you use a smoky brush for? I don't know you tell me but the hope and I mean that there are lots of ways and they're saying that's kind of the point that this is not a recipe to say if you make us most smoke brush you can do the following its if you make a smoke brush it opens up all kinds of interesting possibilities backgrounds masking you know anything you want in the last class, we talked briefly about the fact that once people saw this kind of option, I saw someone had what I thought was a brilliant idea which I'd come up with is they had a fairly large glass container with water and drop milking it and took photos of that as a brush I thought, I wish I'd thought of that that's a good one, but, you know, and then they were able to just use that same principle of black and white and kind of inverted to end up with very interesting looking droplets is smoking this kind of stuff just by dropping different, you know, densities of material and everything else, you know, color drops of the food coloring anything's possible, and because with today's cameras, you can take a photo within moments you're already to finding a brush and then the next time you take a photo of a drop, you've already learn okay, next time I would do the following to get a better result over here, signing your name on the transparency and then scanning it that way eliminate the whole white background well, I mean, maybe, but I've after I did that when I deliberately showed that one first, but I mean, I have one that I once I realized that I took a piece of my photo quality printer from my printer with a sharpie and it was perfect because it was like white black no question all now there are some documents like that old map where it's harder because the nature of the original paper color it's hard to make it pure white but there are ways to do it if I make a lot of these school brushes and my friends are making them too and we decide we want to share with each other, can we just send each other the files like wi fi? I know they're saved or do they need a reference or you actually that's a good question? I will answer that in a little bit when I talked more about the precept but that's one of the jobs of the precept manager is the ability to create brush sets and swat sets that are very shareable. In fact, when you go to those websites that are like free brushes that's all they've done is they've defined brush is just like I did here and then said here's my twelve brushes let's save those out as a set I can share with my friends and colleagues and whatever and it's a small little file relatively speaking that you just lower right into photo shop okay so brushes like I said that to be a whole topic by itself but the fact that if you think of anything in voter shop if you khun open it! You can make it into a brush. I mean, even here like this example, just this I could decide. I don't know, I could make that into a brush. So then I have this interesting lock part metal thing that I could use as a brush for some purpose. The one the two things I remember about using brushes is when you first start, they are, unless you're painting on the mask. But if you're just painting on a layer, even though this started life as a full color photo, your brush will be whatever you're one four round color is so there's no such thing as a multi colored brush. So if you for some people like, oh, I could make my three color logo into a brush well, you could, but it be now one color because it's saying whatever my four run color is that's, what the brush will use. Ok, so that's the one thing with brushes to keep in mind that it's not a great solution if you're trying to create, like here's, my two color logo or three colors or whatever. So that's the world of the brush is that we have any internet questions before I move along from the world of brushes, you know, dave, we are, you know, with this was always something yeah um you know, this was a question from earlier and I thought it was interesting it comes from mel wanted to know what can you set keyboard shortcuts for tool presets you actually can and it's it's a little beyond the scope of what I want to do today but once you have tool presets created, so if you create the tool preset first, then you can make an action and that all that action says is select this preset and then to the action you can allocate a keyboard shortcuts was kind of a roundabout way, but it can be done so if you're working on a project we thank gosh I'm switching constant between those two tool presets than it might be worth investing the time to go this is f ten this is f eleven and on the fly switch back and forth it doesn't do it by default and you have to do it through actions eight photo also has a question in the chat room they've been so patient they've been hanging with us all week and trying to get their questions and says is it possible to save all the photo shop actions to one file while you have several folders of pre sets in the actions panel, they said they have a hunt hundreds of presets that they've made and bought and they're sorted into dozens of action folders yeah that the challenge with with presets is that the on ly way to really organize them is to put them into folders based on the type of action or a backdate but on the type of preset so for example and we'll see this later on when we start saving our own sets there is for brushes there's a photo shop folder called brushes but if you put it in there you'll have a huge long list of brushes so unfortunately right now there's no simple preset management system I'll show one example the way that I work that takes you have to be careful but to me it makes the best sense for me and you can just call and that is load a set of presets to replace everything else so the only preset you're looking at is the one you're using then you reset it back to default and then the next an hour later you load the next set and we'll look at how to do that later on. But it means you have to be very diligent about always saving any presets you create or else as you goto loaded the existing ones you'll delete the ones you just made so there's ways to do it but it's you have to be used with use with caution is that one thing I'd say ok now the other type of pre set which is interesting but this for most people this is either ones that you purchase or get somewhere or if you have adobe illustrator you can do and that's shape presets so since I happened to have adobe illustrator here's an example of a logo but if I tried to make this put this into photo shop even though an illustrator it's made up of four colors and I'm saying for because I know there's a little thin yellow line around the outside if I go to try and make it a shape in photo shop shapes the only the big between his shape and a brush is a shape is vector but it still takes on your current foreground color so it still doesn't solve the problem of I want to turn this into a three color there's no real easy way to do that other than just import this in as it is so I want to make this into a shape so to make my life simpler, I've just duplicated this and made just everything filled with black doesn't have to be black but it's just easier however always show you the one little potential issue we have so I've just selected this in illustrating the good news is if you're not a pro it illustrator making a shape in photo shop is select copy ok that's like these is part so copy when I go back to photo shop make it a little bigger so we can see what's happening here whenever you go to paste something from illustrator, it gives you all these options smart object pixels, path, shape player unless my goal is to define a new shape in photo shot nine times out of ten I do smart object because that's lying me to create a link between illustrator and photoshopped but in this case my whole purpose is I want to create this thing called a custom shape that lives inside photo shop all the time not to do that I have to make it a shape player now it's too late now, but it happens I lucked out but I'll tell you one of the things that threw me off the first time what happened is when I pasted I base it clicked okay? And I couldn't see anything and the reason was when I afterwards looked at my foreground color it was white so it made a custom shape of white on white background there was a little tip before you go to paste check your foreground color just to save confusion in this case I lucked out that it's black so I click ok and now I have a shape player but notice something missing type isn't there because type in illustrators not considered a shape it's considered type, so if you want the type to be part of your logo which you probably would expect to then that's not going to work so I'd show that deliberately to show that in illustrator you have to one extra step now you would typically do this to a copy of your final logo kes I want to preserve the type and illustrator and that's a command called create outlines that means take these type shapes clean and energy and can convert them into graphic elements. So now every single piece of this is all victory ized so now if I copy again they just make sure it actually copied go back to illustrator and paste as a shape player. Now I have my text now all that's done is it's put these vector shapes into a document now just like before when I said edit and then went define brush now I go to edit and define lipstick mark define custom shape why is it not letting me that's interesting though because it's not sure why that didn't work that's interesting when that happens okay, so normally you would be able to choose define custom shape and then it would be applied I must have miss something along the way I'm not sure what I missed for that to happen that should have worked but let's pretend for a moment that it did and this is what if you if it'd work properly I go with the custom shape tool and then any custom shape that I pace it from illustrator would be appearing in here so, like here's one I did the other day and now it's, like any shape in built into photo shop, if I want to use that, I could either make it a shape layer or pixels pick the color, and so I wanted to be, you know, this color, click and drag while I'm dragging you can see it looks just like an outline and then once I'm holding the ship, keep it, keep it proportional when I let go now, it's my shape, the advantage of using a shape layer is they're very scaleable. If I dragged this in and then realized a week from now, it should have been four times that size I can increase the size of a shape player. I couldn't do that with a brush. If a brush was made this big that I try and make it bigger, you're gonna lose a bit of quality, okay? So that's? Um, yeah, um, apologize don't know sure why thie pasting of that other shape didn't work, but you see that basically the premise behind how it works now I'm not going to go through every preset because, frankly, some of them aren't used that often, but let's go a little more into this preset manager actually, before we do that here's something that's fairly new every time there was a new version of photo shop, I would repost the same tutorial on how do you get presets from one version of photo shop into your new version of photo shop? Because up until very recently, it used to be an extremely manual process of you going export export export, export import import now there's this wonderful thing. In fact, let me take a step back if you install, for example, photo shops, sisi the first time you launch it, a dialog box comes up says, would you like me to import your presets? You're like? Well, yes, I would, and then you're done if you skip that dialog box or he didn't see it, this option called migrate presets will look on your machine and say, you have an older version of yourself if you like me to get all your presets from that and in this case, oddly enough, it does include adjustment, air presets and actions, not just the presets we've been looking at. I keep looking no so I can keep showing this dialog box because I know I already have mine in there. The other way to do it is if you know that you have other process that have been given to you or you've downloaded exports slash import allows you to say here's all your presets you can share with someone else or here's ones that I have confined somewhere I want to import to my version of photo shop thie question is how do I create these like I just defined a couple of brushes how do I make that now something I can export and that's the other role of the preset manager the first one that we talked about briefly was the preset manager determines where things are located this is also how I create my sets of presets and a backup plan so here's how it generally works you go through and say ok I'm going to say that from here to hear I'm clicked once hold down the shift key click again and now all those presets are highlighted I want to create a my set of those brushes and when I first click the save set button usually unless something unusual happens it's going to default to say would you like to save those into photo shops brushes preset folder which is a good place to put it the first time you do this twice because when you do that it means the next time I launch photo shop instead of going looking for my brushes it'll appear in that pull down menu so that's actually a real benefit to go there's my hairbrushes there's my spatter brushes there's my whatever saved in there ok, so the first time that I would do exactly if it's brushes put in the brushes folder, if it's tools put it and so on, so you'll see the list of all the different presets that are available are all the ones we've talked about so far? Okay, so you would the first time I suggest you put it in the folder that it recommends, which is the preset folder, and I'll show you what it looks like in a second, then I would my only concern with doing that is what if I have some kind of horrible crash and burn where everything goes away, including those presets that I say it inside? The photos double, honestly, it's unlikely to happen, but I'd rather have a backup plan, so my backup plan is to hit safe set again. But this time, goto completely outside of photo shop to a folder I've created called my backup presets, and save it in there, and that way I have two versions, one that's kind of embedded right inside the photoshopped folders, and one that somewhere I put it now, I used to suggest doing that so you could copy it from one version of photos up to another, at least that part is unnecessary, but it's still a nice backup plan, and when you want to share it with your friends and colleagues, a lot easier to find it, because you go, oh, there's, my brushes in that folder I created on my desktop and all that is is a little file literally called my brushes dot a br for adobe brushes, and that each one has their own little you know a thing on me, and wherever that extension on the end is called, and then you just send that to someone, and then when they get it, big question people have is how do, why load presets the simplest way? Most of times just double click on it, and it's loads it into photo shop. So now, let's, pretend for a moment that I had actually save these brushes into those brushes that brushes preset folder and restarted, photoshopped what would happen as the next time I went to my brush, it picker and hear all the brush is on the side here is a menu of choices, and you'll see here is one that I made, and then here's other ones figures he hears all my sets of brush is ready to load. If someone sent me brushes like jim apparently did, I could say, I want to use they weren't sorry, jim wasn't that jim, but, um, I can load those in ok, so that's a nice aspect of saving it into that prompted folder is then it does actually show up to have to go looking for them. But I would suggest, just as a safety first gun thing, I personally would still save them out somewhere else, just as a backup. Ok, so this is where the time comes in, because for each type of priest said yes, go ok, first brushes, let me save all of those twice now, tool presets now, whatever sets ones, you've created their custom it's worth going through those two steps. The worst story in the world I hear is when someone said, I made a whole bunch of brushes and I was in the middle of working, and all of a sudden photo shop just sort of went away, and when I re launched it, half of my brushes were gone because that's, that can happen, and I'd rather have a backup plan. So that's why, even though that's unlikely it can happen. So that's why? But the onus is on you. There is no automatic backup of presets, so if you've been working for ongoing cost, I just made twenty seven brush is probably a good time to go in and exporters set out because otherwise I look at as I don't want to create those again, so I'd even done it where I've created one brush it took me twenty five minutes because it was kind of complicated right away say that pre set I won't do that again so to me that's part of the motivation for presets as soon as I make one, I know I just eliminated have to do something over again another type of precept that is probably less used, I think, but depends on the industry. Randall designers use this a lot swatches when you look in this watches panel once again, these are swatches that adobe has said, here you go here's some colors and they're nice colors, but they're not specific and they're not recommended there just colors. So what happens if you say I need this specific color? I'm working with a corporate client and they say our color is, you know, pantone one seventy four, and I want to make sure I always have that color available when I'm doing jobs for that client when you go to the color picker, one of the options is to go to color libraries. This is kind of an odd situation because there actually isn't a little box the type and you just kind of blindly type and go three forty eight and it jumps to that number is important oh, by the way, and we'll get into a whole discussion of color that's not when I click ok it's not a pantone color it's an rgb color that looks a whole lot like a pantone color because you can't actually have pantone built in but it's very very close so when I click ok now that's my foreground color problem is suze I click somewhere else that color's gone so if I move into the swatches panel see the little icon that I had there looks like a little paint bucket that cz that's it you just click and now I've added that color or I will have added that color to my swatches panel so I would call it like pantone three forty eight whatever it is what how you want awarded like client color whatever click ok and now I know that color is in there if I'm not certain when I hover over it just like you can see there see how the name is popping up right there see how that works look at that imagine for a moment a little yellow thing popped up and it would say whatever you labeled it the same rules apply let's say I had a customer that said these are our three corporate colors I would add those three colors into my swatches panel I would go into the preset manager into uh swatches and say there are his three colors save as a set called company abc limited and now I know I have a little set of swatches at any time I do work for that customer I load the colors that I need this is actually really interesting because one of things adobe did which I think is brilliant I don't I often joke it adobes expense but I have a lot of respect when they for a lot of things they do and this is one of them I personally use illustrator photoshopping and design quite often mostly photoshopped but a lot of other stuff especially when I'm doing print and one of the most brilliant things that they've done over here and illustrator for example the way illustrator works is by nature of the fact that I use some colors it already kind of knows that so I could go into my swatches panel here and say select all unused and delete them and all I end up with is the colors that are in this document then I can use a command called save swatch liberia's a s e c stands for adobe swatch exchange which means that little file can be opened in illustrator photoshopped in design and instantly adds to your swatches panel so if you've already done a logo on illustrating already know what your corporate colors are instead of doing all that and photo shop you just exchange this watches from one to the other and it just loads in as a regular set of swatches you know there's the three colors for this custom or whatever x number of colors it is so for people that are very conscious of for our website we must use these colors or whatever it is or as photographer you just like the way these colors look as part of your printing or whatever it is then adobe swatch exchange is a really nice way to do it you can go from illustrated a photo shoot for something any direction you want here's an interesting little sideline see it is going to work right now check this so here's creative cloud and really talk about creative cloud very much at all but one of the benefits to me of creative cloud I have some files that I've uploaded here for safekeeping including presets by the way it's another backup that I like to have partially because it's one thing to to back up presets onto my laptop but what if I go somewhere to teach and my laptop fails then I don't have a backup so I put my presets on great of cloud as well because I can access that from any machine but here's an interesting thing see this file over here? This is an in design document just by clicking on it without even launching in design it says here's the colors you used in there would you like to download those watches that's pretty sweet that way I can go in grab swatches without even having in design open and lo those into photo shop and now continue using the same color scheme in my other software even if you have a, uh photograph for example let me just do this real quick upload a photograph to show you what the photograph looks like so this is a photograph that I took that just I thought had some interesting colors and I thought I'd like to use those colors in something else. Well, I could in photo shop, open it and then sample from a just kind of make it myself but here's an interesting aspect of working with creative cloud is when you upload it to your cloud account just by clicking on it says here you go swatches download so by the time I opened that and photo shop and went sample sample sample sample sample to me that's just a lot quicker to say uploaded as a backup anyway and then it automatically looks and says, well, from what I can gather these air the most common colors in this photograph so that's kind of a nice little added bonus from the standpoint of working with swatches ok, so let's talk about the kind of management of presets we're still have a couple other kinds of talk about I want talk a bit about the kind of management side of things you have to make a decision and that is how do you want to manage all your presets say I'm going to make a whole bunch of brush presets so I want to stick them all in there and have ah thing that scrolls for twenty seven minutes or do I want to just load swatch loads processes I need him so be careful I'm talking to the audience out there if you go with this plan don't come crying to me if you mess up okay I'm telling you right now I like this system some people find it doesn't work for them so keep take that for what it's worth what I used to do was I had for example brushes that would quite literally scroll for thirteen minutes I mean exaggerate a little bit but not that much I go to find a brush I'm like waiting for it to scroll that I know it's down here somewhere and I felt at a certain point that wasn't as efficient so what I did instead was went to the preset manager and I went through and I did all this save as that save assets I created all these sense then I work this way reset brushes means put it back to the default brushes adobe gives you now you only do that after you have saved all your sets of brushes okay so don't this is has a very specific order a lot of things I teach doesn't seem out of the order this one does so export all your sets of brushes to column copyright brushes, custom brushes you know smokey brushes, whatever it is little sets of brushes, then you set this back to this way. So now the only thing that shows up in my brush picker are the default brushes that adobe have decided are the good defaults tohave now I'm working on a project I go ok for the next x minutes, twenty minutes I want to use those cool, smoky brushes I created or whatever it is. So I go to this menu and I find those brushes that I created and I'll just use these ones. Here's the tricky part this is where the big yellow use with caution sign comes in whenever you go to load brushes, it says, you want to replace or upend a pen means add onto I used to always click upend, but that's why my things scrolled for thirteen minutes and I realize I have had some repetitions and they're excited so often so now I click yes, I would like you to replace so now the on ly brushes I have in there are those six one sign finn is using those then I go back and I reset back to the built in brushes, okay, now this onley works if you're very conscientious about always saving sets of russia's if you don't do that, then you're going to lose a few brushes along the way because they go oh yeah replace forgetting that those last three brushes you hadn't stayed them out yet so you have to be really, really diligent about going gosh, I just made eight brushes I should save a copy of those, so for some people I'm going to say don't do it don't do don't work this way because it took me I lost a few brushes along the way before I developed a good habit enoughto work this way so I'm not in any ways suggesting we should all work this way because some of us are not organized enough for would forget like I did often, but for me it solved the problem of I'm taking way too much time looking for brushes I became better at organizing and creating sets that were like just six brushes you know when I first did it I thought was being really clever and I made a center brushes called all my brushes I'm like well that's not really that much better because that I was just loading, you know, four hundred brushes or the default one so that's not really the point the point is get a bunch of sets and then you go ok now that I've done that I can load him as I need him so again, I can't stress enough, though this is not for everyone, some people will find this does not work for them, so just keep in mind the precept manager allows you to create these sets that is up to you, how you incorporate that into your kind of work flow and this applies to everything not just brushes, but to all the presets in the present manager you could function this way. The reason I talk about brushes the most is for on average, I would say most people have way more brush presets and any other kind just because the nature of brushes you, you're going to make twenty seven on the fly and then not as much as, like a tool preset. Ok, ok, any questions about that method before we move along? Ok, excellent. Okay, so all of these presets are the ones that typically start off having some already made in a panel and then you make your own as well. The other option of a similar nature. Let's. Just get rid of some things here are anyone who's ever watched me teach for more than three minutes knows I would rather use adjustment layers than anything else, so I don't like this menu a tall I just I wish it wasn't there oh, by the way that's got nothing to with presets but this came up in a conversation at lunchtime, so I want to mention because when I mentioned in person, someone there like you should say that that everyone is ok, so notice how adobe has put keyboard shortcuts for like, levels and curves, and so they're right there. So as soon as you go to press the shortcut it's applying the not the very destructive adjustment, one of things that I talked about earlier class well, just mention it now is in keyboard shortcuts, you can allocate them, so what I do is I take the keyboard shortcut for levels and apply it to adjustment layer levels. So now when I press that very familiar commander control l, it doesn't add levels adjustment, it adds a level adjustment layer so that's one way to kind of get away from the habit of using the things under that adjustment menu is by customizing the same shortcuts to be the adjusting layer equivalent, and that way it gets you in the habit of even if you're a keyboard shark kind of person, you're pressing a shortcut that will give you an adjustment layer so that's just an aside, but I think an important one, all right, so it's, for example, go to curves, here's the curves adjustment layer box and you see right the top, it says, preset so adobe has given us some that do different things these pre sets are actually very interesting because for example, if I click on one called cross process then it does that and I look at and I kind of go home what actually happened there it did a bunch of stuff well I can look at it and go let me see what it did and all can I let me see it but I can continue tweaking so unlike some priest that's where they're they are way they are these presets are a starting point to say this is what someone has created as a preset that apparently does this function then you can look at and say but I would like to tweak it and you could also tweak it to appoint say now I like it so much going to make it my present so you can start with a pre set or you can make your own either way it doesn't matter so the's ones have something built in let's go back to it's kind of a default for a second which is nothing so let's say for the sake of argument that I have made preset made an adjustment that looks like that right boosted the red alert because that's an effect I want to do for something I'm working on rather than have to remember how far did I move that curve because I want to use this on ten different photographs instead I just go to the little pull down menu over here and choose uh but save curves preset as with other presets it prompts me to save it in the appropriate folder which I do and I call it something noticed my very clever naming like my s curve which is a really, really good name so I would call it something that was descriptive so when I'm looking at that pull down list I know what it's for I won't bother doing in this case, but if I did that, it means from now on every time I open a photograph and I want to emulate this same look I go right to my pre sent if on one photograph I apply that priest in ago it's a little too much that's okay? Because it hasn't made a permanent change. If this was an adjustment under this menu it would have so I would prefer that's why I like this method because a it's give me a good starting point, but b it's still using that adjustment layer concept so I can continue to tweak it. Okay, now when you look through the adjustment layers quite a few have presets some do not, so if your work on our project you're using a particular adjustment there and you look for it pulled a man says save priest that some don't just by the nature of those presets, I don't know the exact of top my head I would say if there's eight adjustment there's probably five have presets and four don't or something like some ratio like that, but even that if you can look at the ones used most commonly and say I would brother have so I can just pick from something under a list and always remember how did I do that? Okay, so the recurring theme here with presets to me is if it gives me the option to save time by saying give me a great start now you might look at a preset and go I'm done that's exactly what I will, but if not, you know that for most of them it's starting and then you can go in and say, but in this case I need toe tweet this curve or just levels or change the black and white whatever it is, whatever justin liar you've done, you can still change it. The other thing that's possible from a preset standpoint, which is kind of interesting is if you happen to work with camera raw and I've talked about this and other classes, I take full advantage of this option to say open and photo shop as smart objects, which creates that link between photoshopping camera so I could go back and forth because of that in here you can also create presets so if I've gone through and adjusted everything and so I wanted to look like this and I want the vibrancy like that and and this is a look that I want to use on other photos I would very quickly be saying let's make that a preset mean in camera raw you click that same familiar new button and it says what would you like to include in your preset and by default very nicely it says everything but you might decide particular particular purpose I really just want white balance and you know whatever it is so you khun decide ah and you name it whatever this was from the shoe dated with emily so now I have this as a preset what that means is if I was in bridge as I am here and I realized I have no other appropriate photos but let's just pretend that uh this monix they hold on one second let me see if I can here I'll just go here's the actual photo shoot with all the photos in it and somewhere in here there's a bunch that are all very similar all these ones here and I decide I'd like to see what all of those look like this is kind of cool because it even doesn't even involve going into photo shopped at this point I just click on the first one shift, click on the last one and then on any one of them I right click and choose, develop settings, and then pick my preset uh, right there and it goes think, think, think, think actually helps. If you make that little sound effect does, it makes you go faster. And now all of those raw files have that setting applied, but because their camera raw by default, it just means well, like it, like another preset it's starting that way. So if I open one of these other ones and look at and say, maybe in this case, I'm not one hundred percent sold on that look, I could just change it. And because this two way street is created between photoshopping illustrator it's, almost like that, preset is kind of built into photoshopped because any time I could just double click on it and go back to camera and access my list of presets and go let's, use this one instead. So even though camera presets technically don't live in photo shopped there very, very close by soon as you double click to go back to camera that she had another option that's available to you. So I really like that I've said this multiple times this week, and I say it every time. I do as much of my work in camera raws I can, because I find it easier and it by default, it's, non destructive and I can move sliders and see the results very quickly. And the fact that I can also add presets to that equation means if I established a like I really look, then david is a preset so that way next time I go well, let's, just start with that. And then I click ok opening photo shop and build from there. One of things that happened fairly recently in photo shop, which is very interesting to me is and this is a creative cloud kind of thing and not only that one of the the fun parts of creative cloud from a teaching standpoint is it's, not just creative cloud it's when was the last time you updated creative cloud? Because if you updated in january that's different than if you didn't because they keep adding new features, which are really cool but it's kind like you have to check and see what version people have one of the more recent changes to the creative cloud version of photo shop and this is my favorite thing. I would get created plot just for this. Seriously because you know by now I think but sometimes I've said camera raw and how much I start they're here I'm already in photoshopped this is just a layer so it's too late for me to use camera or is it used to be but now I can choose convert for smart filters and do camera filter and accesses camera raw on a layer by layer basis wow instead of having to start in camera raw now I could be halfway through a project have seventeen layers and go this one layer I think I'd like to try camera on that that's really nice and happens that still uses the same setting so there's my presets so now in effect, the presets really are inside photos will still not really but effectively they are, but now I'm actus ing camera roll without starting there that has changed a lot of things from my work flow because I just always ok that means make sure I start in camera now I could have like I said, a whole bunch of layers and think I think I want to change the clarity will photo shop doesn't have a clarity function, so for that one layer, how do you change the clarity? Well you opened apply the camera filter that's a pretty nice feature to me question yeah, so I used light room a lot so can we had asked this earlier but can you switch back and forth this the adjustment press presets at least of you know things you were just doing well not the brush ones right? The if you start in light room and open and photo shop as a smart object than you kind of create a similar workflow but it's a little different because with camera raw it goes camera photos off camera back and forth in light room it goes light room photo shop if you want to edit it camera raw and then when you save it backto light room so effectively you do have the only thing you wouldn't have is city of have light room priest that you have to do those at the beginning otherwise you wouldn't have because they wouldn't exist in camera rock because they're one of the other there's a way you khun but it's a manual process it doesn't automatically come over any settings would but presets wouldn't it's it's a lengthy it's not unfortunately it's not a quick you know you have to do it through a few steps so it is possible but it takes a little bit of effort I make that pre set now the good news is like I said once once you applied the preset all the settings like exposure color balance is comes over and you can still edit on camera but you don't have that extra option of saying let me click on a preset that's built in that's great, I did know was layer by layer so I could take one layer exposed for the highlight to take another layer exposed for the shadows. Yeah, and then mask out that's when you're done. Yep. And the other thing that that I throw out there which usually throws a curve it people is doesn't have to be a photo so you could have a multicolored logo on a layer. Think what if I did camera raw on that? Because now I can create almost like interesting color differences. I mean, it literally is whatever's on that layer, you can add it in camera. Let me sure, I never pays his pixels, but I'm going to so you can see what's happening here so let's pretend so here's a pixel based logo because I deliberately did that and I decide I want to try and tweak the colors instead of going let me select the reds, let you select the yellows I could also and I always still make it smart, so convert for smart filters and then camera all filter and you see there it is even see the transparency all that's on that layer, so I could say, what if I went in and changed clarity or vibrance or played with the shadows or start doing some of these sharpening or some of these where you can actually say I want to go in specific colors like take the oranges and shift just that color I mean it's the possibilities are really quite interesting without I'd have to make any selections that's all camera raw but at the same time it's still just a smart filter so at any time you can turn it off or go back or apply a preset, huh? Okay, so the key things to remember is that many presets, like a tool preset has literally you got to start with this first. A lot of other ones are a preset, which means start with this, but then all it's doing is applying something you can still tweet. So that and the fact that the preset manager is the most important thing to learn how to use because it controls everything both the contents of what's inside your various preset panels, but also how to export that load the ones you want to change the order. This is just the order that was provided. If you think the marijuana that may believe should be a pyre, then you just grab it and drag it up higher and it will stay that way until you change it, so if there are particular presets that you think should be somewhere else. That's, the preset manager, controls the order. What appears in there and lets you create copies and backups and all that kind of stuff.

Class Description

Lightroom® isn’t the only place to use presets! See how creating Adobe® Photoshop® presets for tools, brushes, shapes, swatches, adjustment layers (and more) can give your productivity a boost.


Software Used: Adobe Photoshop CC 14.2

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