So, I am an entertainment advertising retoucher and also a product retoucher, and this subject, this subject of fabric and fabric retouching, is one of those things that I find is not quite sexy. It's like building block kind of stuff, and I feel like, in all honesty, as a professional retoucher, a lot of my job is the not very sexy behind the scenes items and things that folks don't notice. So, I'm really really really glad you're here, I'm glad you're here to look at this. I want to be really clear at the beginning about my approach, and here's the thing about my approach, I am not a quick tip teacher, right? So, I'm not gonna say 'Hey, there's a brand new filter, and just do this, and it's got one application.' My entire goal for teaching you guys is to teach you how to run the machine. Do you understand? I want you to know how Photoshop works. So, why I'm telling you this at the beginning is we're gonna be talking about fabric, but I don't want your brain to stop at fabric. I want ...
your mind to go 'oh, if that worked on fabric, would that work on a building or a wall?' You understand? Or, 'would that work on someone's hair? Wait a minute, could the techniques she's talking about actually work on someone's face?' And it's really really really a mission of mine that you guys know how the machine works. I'm not interested in teaching you a single technique that maybe if you happen to be doing a job that looked like that job, you could use that technique. I'm really interested in teaching you the base mechanics of Photoshop. So, that's not simplistic Photoshop, it's actually complicated Photoshop. Do you understand what I'm saying? So, this is my goal, and I want you to know at the onset that that's what I'm here to teach you. You can find me on BeHands, LinkedIn, all sorts of fun places, and firstname.lastname@example.org. And I'm gonna throw something out here, and hear me loud and hear me clear, if you need help, find me. Did I say email@example.com? Well, that's my email. If you need help, if you get stuck... I know I teach complicated stuff, I know it. I'm here, I'm happy to help you. So, please let keep that in mind. Great, who is this class good for? Retouchers, of course, absolutely retouchers. Photographers who hire retouchers because you need to know what's available so when you're shooting... We're doing fabric, right? So, let's say you're on a job and you're doing a catalog shoot and there's some colors that need changing, like let's say this needs to be gray, this isn't gonna be white. Gray, sorry, not white. This doesn't wanna be black, it wants to be gray. These kinds of things. Now, if you're a photographer and you're taking this class, what I'm hoping you'll understand is what's possible. I'm not expecting you to be the hands to do it, but at least you know what's possible so you can get your job done quicker and more efficiently. And photographers, what the hay, if you wanna do your own retouching, I'm game. Let's do it, let's see if we can talk about it. And designers, definitely for designers, again, not so much for you to necessarily do the work, but to know what's you can ask for because how many of you guys have that... Those jobs where folks send it in, they're like 'oh yeah, just fix it in post.' And you're like 'yeah, well that just fix it in post is a four hour job, are you kidding?' Versus sometimes fix it in post is a two minute fix, and do you know the difference? So, it's really really important. So, hang in there with me on that kinda stuff. I am all about production, I am... I want y'all to make money, I want you to have careers, and that sometimes isn't super sexy bling bling stuff, it's production. So, I'm definitely gonna talk to you about real work, real case studies, and real pitfalls. So, I have some samples of some real jobs I did and the requests I got and what I had to do. And then I have a couple samples of some oopsies I did. (chuckles) because we all do, and I'd like to point it out so that when you're starting your process, you get good work habits. Cool, alright. Color manipulation, I've got one, two, three, four part color manipulation that we're gonna cover, multiple methods. And this is where the nuts and bolts of my philosophy are gonna kinda reside, and what do I mean by that? So, if you wanna become a master retoucher and you have to figure out masking and you have to figure out manipulating color, manipulating color is not a single step. So, I often refer you guys, you'll hear me say this all the time, the bag of tricks. So, what I am hoping to show you is that if you get a job and great, I have an assignment and I need to change her shirt color. You immediately know you've got four things to try, four different things you're gonna try, and you try them quick. You don't make them all perfect to try each one, you draw a big old lasso, you try tried that technique, oh, no, next one, lasso. Next one, oh, that one might be it. Let me try the fourth one, and then you go back and do it proper. Do you understand what I'm saying? So, please, while I'm discussing these, keep that in mind. And why I'm saying that is I know a bunch of you, you know what hue saturation is, but I'm gonna talk about it in a couple different ways. It's not just hue saturation, it's what if you change the mode, what if you do targeting? And then I'm gonna talk about gradient map, and many of you know gradient map, but maybe I'm gonna say something a bit different, and I don't wanna lose you. So, bear with me, even for the basic stuff. A very common thing I do is I start super super crazy basic and I get scary hard at the end. So, know that, and if I'm a little over your level at some point, hang on, you just rewatch it again, you'll get there. But I'm trying to encompass a bigger process here, cool? Excellent, so we're gonna talk about camera RAW as a color adjuster because I love camera RAW and channel pulling. I am a channel pulling fool. There's seriously hardly any jobs that go through that I don't use channel pulling. I know it's a bit of a mind stretch for some folks. It's a bit antiquated for other folks, but actually, it's a really solid technique, and I don't know if you guys know this, but a lot of the tools that Photoshop uses, it channel pulls for you. Select the mask, that's all channel pulling, but it's Photoshop doing it for you. I want you to know how to do it so it's not buried, and let's say that plugin doesn't work or that filter's not working or you can't get it right, you're gonna get it right because you understand the base mechanics. Cool, excellent. Rendering and painting fabrics, this is rather a smaller section, but I think it's good to know when you can use some filters and when you can use some really decent third-party plugins. It's not a cheat. I hear this all the time, oh, well, that's cheating. And, well, how's that cheating? If I get the job done in five minutes and my client's happy, that's not a cheat. So, we're gonna talk briefly about that, and there's a little goober in there that I did that I really wanna talk about in terms of production, like a mistake in production. And I really wanna say this is what happens, don't do what I did. Adding detail we're gonna talk about, and my god, is this a channel pulling class. It is, but it's amazing. Again, it's the tricks that the internal computer is gonna do for you that I want you to know how to do on your own, and so you can manipulate it a bit more. Removing detail, now, this is a big thing for me. We're gonna spend a bit of time, we're gonna talk about removing detail. This was adding detail, this is removing detail, and we're gonna do it through frequency separation. Now, frequency separation is all the rage for beauty retouching. It is so not just for beauty retouching. I use frequency separation on every single job I do, and I'm not kidding. And for fabric, it's extraordinary, it's great. So, I'm gonna go through that, go through that process, and then what's gonna happen is I'm gonna show you a crazy crazy gnarly frequency separation. We will not have time to go through the whole demo for how it's done, but I'm trying to open your mind so you know how you could look at a job and go 'oh, frequency separation, oh, I can do that.' It still might be a two-hour job because you're doing frequency separation, but it might not be a two-day job, do you understand? So, we're gonna talk about that, and I look forward to your questions. Shall we rock and roll? Bonus materials, you will get some actions that I'm gonna use in this class that... So, I'm gonna refer to them in this class, and they are available. You don't have to use my actions, you can make your own, but I just wanna let you know that those'll be in there.