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Photoshop Productivity Tips & Tricks with Julieanne Kost | Adobe Creative Cloud

January 25, 2020

(upbeat music) – This will not be a
slow class, I’m hoping. This will be quite a quick class. I do speak quickly. But the good news is if you
don’t wanna write anything down, first of all they’re
recording this session. And secondly, (lips popping)
see that blog up there, that’s my blog, all the content’s free. 2,000 plus blog posts about
Photoshop and Lightroom and everything you wanna know. It is so good I use it all the time. (audience laughs) You laugh, I’m not joking. Sometimes, when I haven’t
spoken on a subject, by the way, I’m Julieanne Kost. I do work for Adobe Systems. I’ve worked there since 1992,
please don’t do the math. Sometimes, I forget things
so I watch my own videos. That’s not the worst part. I see myself say things I’ve never known. (audience laughs) That gets startling. So today we’re gonna talk a lot about tips and tricks from A to Z. So my goal was A to Z, right. I was gonna give you a tip for every letter of the alphabet, right? But I don’t really know the alphabet. I know the Photoshop alphabet. Do you guys know that? ♪ A is for direct slide ♪ ♪ B is for the Brush tool ♪ ♪ C’ll give you cropping ♪ ♪ And D is for your default colors ♪ ♪ E is for the eraser tool ♪ ♪ F is will go to full screen mode ♪ ♪ G is for the gray ♪ ♪ And H is for the Hand tool ♪ ♪ I is for the Eyedropper ♪ ♪ And J is for the Healing brush ♪ ♪ K is for ♪ The new frame tool, come on let’s go. Let’s get with it. No, if you’re not gonna sing
it I’m not gonna keep going. But anyway, so I just
thought with like 75 minutes, that’s not quite enough time
so I’m sticking really close to what I told everyone I would talk about which is really layers and
masking and then Smart Objects and then some automation and
then some library styles, presets and all that stuff. And so it’s a ton of
information and so hold on ’cause we are gonna zip through it. I’m just gonna scoot out
of this slide right here and we are gonna go
into, actually Lightroom, ’cause I’m gonna start there. And sorry, but you all
have to disappear now because it’s either you
or the computer screen. I can see approximately
this far and no further, so if you have a question, raising your hand is not going to help. All right, so sorry guys and
I have to put a little humor in this because seriously
it is five o’clock and it has been a long
day, 5:15 I believe. So, the jokes sometimes are just for me. Don’t feel bad if you don’t laugh. All right so we’ll
start, we’ll start easy. We’ll start like this is like a gym class and we’re just kinda warming up, right. ‘Cause this is advanced
but everything is like, what is advanced? Like someone who never
touches the Type tool, anything type is advanced, right. So we’re just gonna open this up. I just use Command + E to edit this. By the way a little my
biggest tip of the day is when you’re at home working, don’t use a tablecloth as your mousepad because the mouse doesn’t
really like it very much. So this will be Photoshop via
trackpad today, all right. So, very easy. I just need to align a bunch of images and put them with equal spacing. So this was something that
was very difficult to do and I don’t know how you
guys select your layers. Like I know a lot of people, let me just scoot that up there. I know a lot of people select their layers by going to Auto-Select but when you get those
really complex layers and you’ve got like
adjustment layers and stuff and then it selects the wrong thing. And so I usually leave that off and then I just Control-click and then I can select my layers. And see if you name your
layers it’s super helpful. Okay, then you’ll know
exactly I want layer two, right ’cause you know
that that’s layer two and you can move that. And then I’ll go ahead and do that, that must be layer six then. So we’ll select that. All right, so I’m just gonna move those two into position, right. But now, if we look, I’ll just turn off all the ones at the bottom. I have all these other layers here, right. Let’s scoot this up to make sure, oop, well I didn’t mean to do that. Let me show you how to change
the layout of your workspaces. Okay, so I just want this up
a little higher, all right. So we’ve got this water and ice, right. So we’ve got multiple layers here. So I put one on the far
left, one on the far right, using the guides. I select all of the other
layers and then it’s very easy, right, if I just come up here. I can use the Layer menu but
it’s easier to use the dots and then instead of just aligning them, ’cause that’s not gonna do
what you want it to do, right. Because if you have
different shaped objects it’s not gonna put equal
spacing in between them. You need to actually distribute based on spacing which is right there. And then we can just put
them all like top aligned and they’ll all have that
nice even spacing in-between. So that actually was new, I think, in the last version of Photoshop but I don’t think very many
people know it’s there. The thing is whenever
there’s like a little icon that you have to click and
then you have to pick something and it’s an icon, well,
I don’t know if this joke will even work, but I
was like the only one that my VCR still flashed 12. Because those icons, like
they don’t really make sense to me a lot of the times. And I don’t know when they’re
in the depressed state and when they’re in the
anti-depressed state. And so what I do a lot of times is I just assign a keyboard shortcut to it. Or look at, if you have simple things, like you just need to
distribute based on spaces, you can make a little action and then you just put
your action in Button mode and then you can just click
on it and it does it, what? Okay, so look. I’ve got this other layer group. So here is, I don’t
know what layer this is, this is layer eight. That’s logical. We’ll put that there and
then we come over here and that’s layer 13, that’s terrific. And then we just select
all of those layers, right, but now, I can just click
right there in the Layers panel and it would distribute it for me. The top one I can get, so
I’m okay with that one. But those other icons don’t make sense. So how do you do that? Do you guys know actions? How many of you guys are using actions? Okay, you either know them or you don’t. So for those of you who don’t know them, I’m gonna come out of Button mode and this is what your
Actions panel would look like and you can just create sets which are basically just folders. So this would be, you know, New Folder number 295, all right. And then in there, whatever
you do, I’m just gonna do, oh no, I won’t do an undo
’cause I don’t wanna do that. But basically you would
just select your layers and then whatever you pick when
you actually start recording it just captures that command
that you’re doing, right. So you create a new action
and this would be distribute, right and you just say
okay and you’d hit Record and then you would just click
on the Distribute Spacing. Boom, there it is, you’ve recorded it. That’s it, that’s all you have to do. If you wanted to, you
could double-click on this or boom, boom right there and you could actually color-code it. So I could say, all right,
that’s my yellow one and then when you go into this Button Mode right here then there
it is all highlighted and everything for you. And, of course, you don’t have
to have your actions there. Right, if you have two monitors, you can put them on a second monitor. If you wanted to you can bring them down along the bottom here and it
just might be an easier way if you just can’t remember. ‘Cause I know a lot of
you go between Illustrator and Photoshop and InDesign and all those different keyboard shortcuts and sometimes it’s just
like I just want a button. And so that might be a lot easier for you to just go into Button Mode. The only thing you can’t
do in Button Mode is you can’t create the action. You have to exit Button Mode
and then make your actions. Okay, so that was just a little warmup, just a little stretch there
about what we’re gonna do today. Let’s do another little
stretch here with Blend Modes. And just out of curiosity, how many of you guys are designers? Design and then how many
photographers out there? Do we have any photographers? Excellent, right on. Okay, I’m both. Okay I know. How many hate it when the person asks you to raise your hand? (audience laughs) Okay, all right, so this
is just a document I have that I thought we would
just kind of warmup with our little Blend Modes, right. So, we have, this is just an edge, I wanna make this kind of
little edge effect on here. Basically it’s white
paint, painted on black. I want the inverse of that. So we probably all know
that if we select the Layer and we do Command + I it will invert that. Or maybe it was black paint on white. I’m not sure how it started. But we know that we can go
and we can say, all right, well let’s select the Move
tool and then use Shift + Plus and we’ll go down through all
of the Blend Modes, right. Or you can do Shift +
Minus or you can be smart and you can know that if you hold down the Option plus the Shift key and you go N that’ll be Normal and you go S that’ll be Screen and you go M that’ll be Multiply. But, again, I can’t remember all of these. So what I’ve done instead
is I’ve just created little buttons that say, all right, now I don’t have to go down
through all of those ones like Pin Light and Hard Light
and never use me light, right. (audience laughs) And then Difference, I saw that. I used that one the first
week I started with Photoshop, everybody does. It gives those gray-blues
and crazy colors, right. It’s really cool, but everyone goes, I know that Blend Mode, right. So now all I have to do
is just click on these and say, all right, which one do I like? Well, I like Screen on this one. And then we go up and we say, ooh, did you photograph an eclipse? Yes, I did. So let’s go ahead and just
say, well, I want the eclipse but not the rest. So, again, we just hit Screen. But then I go what’s all
this stuff here, right? Well, that’s because on that edge file there was white, black
and shades of gray, right. So if I wanna get rid of that, all I need to do is add
an adjustment layer. And I don’t know what you guys like. I like Curves personally. The nice thing about Curves now, because they’re in the Properties panel, is that little icon right here, that’s your clipping mask. ‘Cause I don’t know about you
guys but the Layers panel’s getting really small for me. Sometimes I’m trying to hit things and there’s a lot of active places, like it depends on where
you right mouse click, you get different stuff. So anytime I see another
icon that’s somewhere else, I’m like, yeah, I like that one. Because right now if I
make a change to this, it’s gonna change all of
the layers underneath, so the edge and the background, right. But as long as I clip it
or I make a clipping group, it’s the same thing as
going here to Layer right and then creating a clipping mask, right. I can just do that by clicking
on this icon right here and then that way I can
either say, all right, well let’s bring over those blacks. So now I’ve made all of this,
I’ve just pushed it to black, so I can’t see it because we know that in Screen mode
black disappears, right. Just like we know in Multiply
mode white disappears, okay. So then if we come up
there and we do some birds. We’re like, okay, we got some birds
silhouetted against the sky. Well, that’s pretty easy. All we need to do is Multiply mode. So if I go to my Actions,
I can just say well, I just want Multiply or I can
use the keyboard shortcut. But a lot of times this happens, right. So now, you’ve got this little
edge going on right here. We do the same thing, in fact, I could just hold down the Option key and drag the Curve up above the birds. That makes a duplicate of it, right. Then I just have to click on the Curve, brings it up in the Properties panel. I clip it and it’s actually
already done it for me. Because all I needed to do was bring, let’s set that back right there. Let’s actually delete
that pin right there. And then I’m just gonna
bring over my white point and see how it gets rid of that corner? ‘Cause it’s pushing
everything, you guys know, everything to the right of
this is gonna go to pure white. So again, with Screen
it’s gonna disappear. All right, and then we’ve got kind of that weirdness over there. So we add our Layer mask
and we grab our brush right. B for brush and then Left
Bracket to get a smaller brush. And what do I need to paint with? We need to paint with black, right. And I come on here and
I go bye-bye, birdie. Huh, huh, huh. (she chuckles) Told you sometimes the
jokes are just for me. (audience laughs) All right, and then we
come right down here. It is software after all. Okay, so great, oh, scary, scary picture. Sorry, it was right
before Halloween, though and I was like, aw, that’d be cute. Okay, then when we start
adding textures and stuff then we probably want to
use these other Blend Modes which most of the time is
going to be what and what? Overlay and Soft Light. All right, so there’s Soft Light. That looks nice. Julieanne, there’s two suns. Yeah, that’s my world. It’s Photoshop. Do not judge, all right. Or we could try Overlay. Mm, that’s a little bit too bright. But we could keep Overlay
and then just tap like six, ’cause that would give us 60%. If we type 66 it’ll give you 66%. But be really careful,
’cause if you do tap 666 it will reformat your hard drive. (audience laughs) Ah, I totally forgot
they were recoding this and that’s probably not gonna go over well in somewhere, okay. (audience laughs) So, let’s grab the Texture layer. I’ll grab that one right there and, again, we’ll just say,
hey, what about Overlay or what about Soft Light. Soft Light looks good. I’m just gonna leave it alone. Okay, I’m disturbed by the moon as well, so we’ll just tap J, that’ll
give us the Healing Brush. And I really like that Control + Option. You know this, what do they call it a HUD, a Heads-up display, right. So I always forget that
on Windows it is what? What’s the shortcut? – [Man] Alt. – Don’t make me go to my blog. Oh, man, you guys. Okay, there’s the blog. In, oops, don’t do that,
increase brush size. Increase the brush size. Okay, 20 Brush and Painting tools. Well, that should be one of them. All right, dun-tah-dun. Okay, da-da-da-da-da-da-da, no. If you’re using the HUD. Where we go on Windows,
Control, I think this is wrong. Control + Alt + right-click. I think there’s too many there. It’s either Control +
Right-click or Alt + right-click. I’ll look into that. I’ll get back to you. It’s one of those. You Windows people you can try it. You’re smart enough, you’ll try it, it doesn’t work you’ll try the other one. It’ll work. Okay, let’s go back to Photoshop. So, I was just going to
get a little bit larger of the Healing Brush and bloop,
bye-bye, it’s gone, okay. Terrific, so that’s just,
all right, are we warm? Are we feeling warm? We’ve done a few laps around, okay. All right, let’s Close that. We don’t need to save it. So, then when we go here to this image and we open it up. Then we need to talk about a
few of the other Blend modes, because a lot of times what’ll happen is we’ll add some other layers. So we can delete these for right now, but I’ll go to the bottom
of the Layers Panel and we’ll just add a
solid color Fill layer. I’m sure you guys have done this and you get the solid color. It could be a gradient,
it could be a solid color, whatever it is, you can’t see through it. And I wanna see through it. So I need to isolate the component hue, saturation, color or luminosity so that it only affects
one of those things and in this case it’s going to be color. So that makes it very easy. That is very ugly. Probably the worse one I’ve ever done. Let’s double-click on
that and change the color. Uh, okay let’s just, I
don’t know about you guys, but that is about as
saturated as I like my colors. Someone told me my color
palette is somewhere right between doom and gloom. I don’t mind. So anyway, the point is, color isolates it so that you only get the color attributes which you see in saturation and you don’t get any of
that luminosity, right. So you probably already knew
that or maybe you knew that because when you usually add
a Curves adjustment layer, ’cause you wanna make a change. Maybe you wanna make this
a little more contrasting, so we add a nice little S Curve there. But a lot of times what
happens when you do that? You’re not just changing
the luminosity values, you’re changing your color
and saturation as well. So in order to isolate that,
if you ever get a color shift ’cause you have to make a
big change in your Curve just change the Blend mode
of that down to luminosity. And now that Curve can only
affect the luminance values and it can’t give you those color shifts which typically increase saturation. So there’s one other example I just wanna show you with this. Let’s delete that. And that is the Black and
White Adjustment layer. Because I’m sure you’re thinking, well, I might not want my image
to go to black and white but I want to manipulate the
color ranges in the image. And this is one of the
ways that you can do this. So, I’m just gonna bring
this down to Luminosity. And you’re gonna think, well,
that doesn’t make any sense, you added a Black and
White Adjustment layer and you’re telling it to only affect the luminosity of your image. Yeah, so I still get my color, but I get all of these
different color ranges that I can shift. So if I grab my on-canvas control, my little Scrubby Slider right here. If I just click in the blues and move left or move right, I can isolate and just move the blues color range, because I’m working with
the luminosity value. It’s as if I’ve changed
it to black and white, but I didn’t because I used
the Luminosity Blend mode so it’s really in color. So I could come over here and say, yeah, I wanna adjust the greens and
make them darker or lighter or I guess evidently I don’t know what green is ’cause green is yellow. That’s the slider that was moving. All right, but you see my point. I can come in here and I can move these underlying color ranges to darken them or lighten them because I’m
using this Adjustment layer. So just something to think about. These Blend modes
they’re pretty darn cool. All right, enough with Blend modes. Let’s keep going. So these two images,
if you’re using Bridge which I’m sure many of you are. I use Bridge for all my
client work, my design work and really I just use Lightroom
for my own photography. But if I were to come
in here and say Edit In. If I wanna edit them in as
pixels then that’s just fine. If I wanna open them as
Smart Objects that’s fine. If I wanna open them
as Layers in Photoshop, now it will open up those two documents into a single image, right. And you’re using Bridge you
would just select them in Bridge and go under Photoshop Tools and then load files into Layers. So now, basically it’s
opened both of the documents but they’re in one layer. So I just brought up this image
’cause I wanted to show you, kind of a, I don’t know
how you guys think. Some people think in Masks and some people think in Blend modes. And so if you think in Blend modes and you just wanted to like apply this, well, I actually wanna invert it. ‘Cause I don’t want dark edges, so again, we’re just gonna do the simple example of, this is just you know,
I got a piece of paper and just tore it up. And then you stick it
on the scanner, right. Anytime you wanna make any edge effect or anything like a deckled
edge just rip the paper, stick it on the scanner
and leave the scanner open. Because then when it scans, the light just falls off to black. So you’ll get the white and black. I have a camera. Okay, or you could just use a camera. (audience laughs) All right, either way is fine. ♪ In my pocket all the time ♪ All right, anyway my point
was here if we go back to Screen for just a minute, that’s absolutely fine but what if you’re working
with multiple layers, right? So I’m gonna go ahead and turn off the background layer here. We’ll go to Lightroom and I’ll
just pick these four images and, again, I’m just gonna right-click and then say Edit In
and then we can go ahead and load these up as layers in Photoshop. Now, unfortunately it’s
not gonna load them into the open document or
maybe that’s fortunate, maybe it’s the future, I’m not sure. But basically it’s gonna load
them into a secondary document which is fine, ’cause that’s
still gonna save me time. Oh, sorry, I have a keyboard shortcut that I really would love if
you’re doing any composite work or you ever have more than one image open, be sure to come into
Window and then Arrange. No, ugh, see this is why I
assign the keyboard shortcut. Window, Arrange and then
Consolidate to Tabs and Tile. I don’t ever wanna go
through that menu structure, because I do this 50 times a day because I always have multiple files open. So you guys know how to
assign a keyboard shortcut? Okay it’s pretty easy, right. You just go, if you
don’t know where it is, it’s right here. You just go to Keyboard Shortcuts and then you would pick like
Applications menus or Tools or whatever and then
you’d just scroll down and you’d go to Window
and you’d come down here and there they are right there. So Consolidate to Tab, you
can pick whatever you want. I just do Shift + Command,
uh yeah, Shift + Command + T to Tile ’cause T for
Tile makes sense to me. It removes it from something I think it’s a free Transform Again command. And then Consolidate All to
Tabs, the Shift + Command + R that’s just because they’re
right next to each other on the keyboard so it’s
super fast for me to go back and forth between them. So once you set that up, it’s
like Command + Shift + R, Command + Shift + T
you see all your files. I say okay great, I need to select all these on the Layers panel. Just drag and drop them in here. You’ll hold the Shift key
down and you’re good to go. Then we can close that other
document, we don’t need it. And let’s get the Move tool
and what do we have here? We’ve got them all selected,
that’s what we’ve got. So, hay, I don’t want the hay. Okay what are the corn row ones. Oh, that will go on the bottom. We’ll put that right down there. And then what’s this one. This is more hay, right there. Let’s see that would be
probably every other one then, ’cause then this one
could go up at the top. No, let’s put that one there. I’m sure you guys are
more decisive than me, but sometimes I’m not so decisive, okay. I’m a Gemini, it’s okay. Everything’s good. All right, so I have multiple images. And, uh, they’re on this
crazy stacking order so I’m gonna may have to change that. But what I wanted to show you
is if I put them in a group, right, so Command + G,
now they go in a group. So these are all my images. I could do one of two things. I can just put this on top of the group. And, okay, so do any of
you ever have this issue where you try to put it on top
of the group and yeah, okay. So you know what you do? You put the group underneath. (audience laughs) Okay, sorry but it is true. ‘Cause I don’t know. I haven’t figured out why it happens. But the other thing that you can do is you can close the group. You know what, that’s a good little tip. If you close the group, ’cause
if you have the group open and you have a layer selected and you click to add a new
layer its gonna go in the group. But if you have the group closed, and you click the layer it’s
always gonna add it on top. Well, that’s because
when you close the group, it selected the group. Well, that could be. So that might not be a great shortcut. That might just be obvious. Hm, all right. Well you guys think about that one. Okay so I’m just gonna tap
the Delete key to delete that and then I’m gonna put the paper above. Ha, success, okay. All right, and then I
could just use a Blend Mode but that’s, I could just use a Blend Mode. But that’s not really
what I wanted to show you. So I’m gonna do a quick
Select All and then copy that and then I’m gonna hide that layer. Because some people don’t
think in Blend modes, they think in Masks. They use Masks all the time,
so it might just be easier, once you’ve got all
these layers in a group is to just add the Mask to the group. Now the problem is when
you hit Paste, Command + V, oh lovely, you’ve just
pasted another layer. You have to be looking at the group. You have to be like,
group, I’m looking at you, I’m looking at the Mask. I am focused on the Mask. Mask I appreciate you. And what I wanna do is I wanna
paste into you, Command + V. Okay, you can’t just have it selected. You have to be engaged with it. (audience laughs) It wants a commitment from you. Or it’s just gonna paste the new layer. It’s like, I don’t really
think you want a mask ’cause I think you need a layer and layers get all the credit, all right. So we can just dump that now. Okay, so what do I have? So now I have a mask. So what is it? It’s exactly the opposite
of what I wanted. So Command + I we just invert that and then we just have to go
and look at our layers again and go Okay. Let’s look, lone tree
should be at the top. And let’s move it up. And we have a selection so
that’s a deselect as well. And then use or little
edge, the little arrow key. That’s cute. And then we go to hay. Oh, we can leave the hay alone. Where’s the, nope, nope
that’s the bottom one. Yeah, let’s just change that
stacking order right there and use the Move tool and toot-toot-toot-toot-toot-toot-toot,
toot, there you go. And then you know Photoshop
does like it when you actually, make sound effects just
in case you’re wondering. Especially when
pre-transforming and stuff, it totally digs that. So anyway, my point is
if you’re doing anything where you need to overlay something, you really have to think about do you want to do
it as just its own layer and change the Screen or the Blend mode or do you wanna actually
paste it into the layer. All right, so we don’t
need that open anymore. Okay, so let’s go to this image. Oh, yeah, we need to talk about
Layer Groups for a minute. Let’s make sure I didn’t
mess anything up here. No, okay, ’cause we got
a lot to get through. So here are some layer groups. Let’s, (she inhales), look. Look at that guide it’s gray. It’s not cyan. (audience laughs) Oh, yeah. I know sometimes, let’s see. Let’s double-click in the
Rulers, can we do that? Yeah, double-clicking the
Rulers brings up Preferences. So we’re almost there and then I go to Grids, Guides and Slices. Light gray, you can pick
whatever color you want. It does not have to be screaming cyan. It is lovely. Ha, color, geez, so hard. All right, so what else do we have here? What do we have? Goodness, we have a lot of layers here. So let’s just go them so
you know what we’re doing. We have a white rectangle,
okay, no big deal. Clipped to that is the photo
on the right-hand side. Then we have a little
ellipse there, that’s cute and then we have a bunch of little layers that go around the
ellipse, those are lovely. And then we have, oh, what are those? Uck, turn those off. Then we have some text. Okay, great. So six reasons to use Layer groups. First one is just organization, right? Like, uh, our Layers panels go crazy. So just select them and then Command + G and that puts them in a group and then you label it type, right. So there’s the difference thing. ‘Cause that then is going
to allow you to do what? Well, if you use the Move
tool and you go Free Transform it’s going to let you transform
them all at once, right. So that’s quite lovely. It would allow you to reposition
them all at once, right. So whenever you wanna work
with multiple layers as a unit, throw them in a group. It’ll also allow you to change the opacity of the group, right. So if I just tap six, let’s see, do I have the group selected? Yes, and 60%, okay, well that wasn’t much. Let’s do three so you
guys can see that, right. So the point being is that all
of the contents in the group, when you change the opacity of the group, take on that opacity, all right. And you can tap zero to get back to 100%. You can tap zero, zero to hide something and then zero again to bring it back. But it’s actually easier
to use Command + Comma. ‘Cause the nice thing
about Command + Comma, is if you had a bunch of, (she chuckles), do we have any art directors out there? I’m sure we do, don’t raise your hand. Never mind, I don’t wanna know. So if you had an art
director who was like, well, I wanna see that image and then can you turn off that one and then maybe turn off that one. You’ll be like yeah. And then they’re like,
okay turn them on again. Your just like, argh. Okay that one and then it was that one and it was that one, right. But you could just select
them, right like this and then use Command +
Comma to turn them off and then Command + Comma
to turn them on again. Right, so it turns them all
on, everything that’s selected, the visibility on and off at once. So that might be a little easy. A little tip for you. Okay, so what was I gonna do? So okay, so organization,
changing opacity. We could change the Blend mode. That’d be three. We could let’s grab these guys and put them all in a group, too. We reposition things in a group. Oh, layer styles. But this one’s tricky. So, this is as designed. I don’t know if you’ve discovered this. So I’m gonna go on a single layer. Which layer is it? It’s the one on the left
side, like 10 o’clock. All right, so then we
go down to the effects and I say let’s do something that’s gonna be super
obvious like a stroke. So I’m gonna add a Stroke and
it’s gonna be a beautiful, red stroke. Uh, why do one pixel when you can do 10. Okay, so we’ve got this
gorgeous stroke, right. And it’s just on one layer, though. And so, yes, I can copy this
and I can paste the effect on all the other layers,
but then if I make a change and they I say, oh, only
want it to be three pixels, then I have to go and
change every single one or you know it’s a hassle. So instead, you would think
just put it on the group. Great, now everything that’s
in that group gets that stroke, terrific, right? Yes, Julieanne, that’s brilliant. Oh, I wanna do that next time. Okay, and then you’re
gonna get your Move tool and you’re gonna reposition
this, aha-aha-aha. It’s a Feature. See, it’s like magic. They merge together. So what’s going on? So when you put items in a group and then you apply something to the group, Photoshop treats them as
if they are merged together and then applies the effect
which can be really cool. But sometimes if you don’t
know that it’s gonna do that it can take you by surprise. All right, so I just
wanted to show you that. So in this case, they’re fine. Nothing’s overlapping. I can add drop shadows,
I can do whatever I want. But the second they overlap,
then you might need to change what you’re doing, copy and paste them all to individual layers instead of adding it to the group, right. The same goes with Blend modes by the way. So if I select these two layers and let’s just see which
one, okay it’s that one. So I’m gonna change this to multiply. Well, that’s not really
gonna do anything is it. I’ll show that to you in a minute. ‘Cause it is cool, but
this is a silly example to show it to you with. Yeah, it is. Okay, so another reason
to use groups would be, (she chuckles) I’m sure
this never happens, does anyone ever change their mind? (audience laughs) So all of a sudden, it’s
like, yeah, you know I really, I like the aerial shot of
the glacier on the right and I like the circles on the left, but can you just maybe put a single photo instead of the circles? Well, sure because I can
toggle on another image, but I know that on Monday
they’re gonna want that again. So I don’t wanna ruin that. I work for art directors. I know, I know. Okay and I’m like, I just
don’t wanna get rid of that. So, what if we just put this here and we say, oh, okay, well you go to lunch and (she sighs) I’ll stay here and work and I’ll fix that for you. And then you just create a clipping group and it just clips it to all
the contents in the group. Right, so now the photo
is only gonna show up where there’s contents in
the group below, all right. And they say, oh, I don’t
really like that photo, I wanted this photo. Okay, well we can just do the same thing. And the great thing about
this is you say, oh, well I didn’t like that,
I can toggle that off. Okay, what about this image? Well, I wanna move it around. Not a problem, ’cause it’s independent from the group of images below. So, yes, I could go and
grab all those masks and copy and paste them to this layer. But this might be easier,
more flexible, just easier and then you can tidy up stuff whenever you make your final decision. Or you just save it as
a multilayer document and you never have to make a decision. Photoshop for all of us who
have a fear of commitment. All right, what else do
you need to know in here? I think probably that’s it. Let’s go ahead and Close
that and let’s move on. So now, what about, what about this? And what about this? Let’s go to here first. I don’t wanna skip over too much stuff. But we should talk a little bit about. Oh, I need to open it in Photoshop. There we go. Edit the original so
it doesn’t flatten it. So what do I have? So I have just a bunch of
shape layers here, right. So one shape, two shape,
three shape, four shape and then I’ve got this brightly, see I’m not good with color, that’s the reality of it. But I kinda like those colors, okay. So I’ve got this bright texture and I want the texture to only appear where those shapes are. And again, this is just a different way of thinking about things. ‘Cause you might be thinking
about using Blending modes or you might be thinking
about pasting into a Mask and you’re gonna get two
very, very different results. So if I select all these, I’ll just put them in a
group to tidy them up. And then I just start using Shift + Plus or Shift + Minus to go down through the different
blend modes, all right. I can find one that I kind of like. Like maybe that one, but let’s clip it so that it only affects
right, those little guys. So what have I got here? Why is it not working? Tap V, da-tah-da-tah, why
are you stuck on Hard Light? Soft Light. You know, (she sighs) don’t
you hate it when you’re like, oh, this program it just doesn’t work. I mean I just don’t
understand, oh, wrong key. Oh wrong key, sorry, sorry,
sorry, sorry Photoshop. So when Photoshop isn’t
working right it might just be ’cause you’re not being sincere. (audience laughs) Just saying. All right, so those are some cool effects. So luminosity I can kinda get that nice little texture over there. But let’s go ahead and dup this. I’m just gonna Option drag it above. No, wah-wah-wah. Okay, come on, I’m gonna
Option drag it right there, whew, yeah, all right. And then I’m gonna move it over. Shoom, over here and, again,
I’m gonna do the same thing. I’m just going to click
on the Bright paper, select all copy. Be sincere, select the
group, add the mask. Say, hi mask, I wanna focus on you. Option-click on the Mask. I’m engaged with you and then hit Paste. And what you get is a very,
very different feeling. So if you’re making any
graphics or anything, instead of using the Blend modes, like if you wanna make a
graphic look more gritty, like you’ve got an
illustration, like a shape layer and you wanna add a little texture to it, you can always try the Blend
modes to overlay the texture. But you might also
wanna paste in the mask. Because, then look, I can select the mask, go into Levels and I can
change how the values, the tonality of the mask. Like, yeah, I can change
that using levels, just like you saw. Needs no other explanation,
you saw it, all right. So we an set basically new
black points and white points and if you’re looking at the
mask, which it really small. Right there though, what we’re doing is we’re changing these to black or white. Okay, whew. Let’s Close that. Don’t need to save it. Keep going. Grid, all right. What about this guy? So this one, let’s do Command + E and edit the original here. Just a little bit more about layers. So, I don’t need the guides
showing, Command + Zero. So a lot of times, I
don’t know about you guys, actually can I get a show of hands. So I’m gonna hide my rulers for a minute, when I do Command + Zero would you rather have Command
+ Zero look like this or like that? Did anyone see the difference? What’s the difference? There’s a little bit of
space around it, isn’t there? How many would like to see a
little bit of space around it? Oh, I love you all. I don’t know if any of the
product managers are here, but why is that? I don’t know why it is. I think it’s because I’m afraid that I’m not seeing the whole image. And so I just need that
little bit of feedback. (hands clapping) (audience laughs) I’m very excited now, okay. All right, ’cause sometimes when you’ve worked here as long as I do, I think sometimes and I’m
like wah-wah-wah-wah-wah. And they’re like, oh, not her again. Oh, what does she want this time? Okay, so let’s talk about
finding stuff, right. So if I wanted to find
something because I wanted to, ’cause I didn’t know where the feature is, I think that’s one of the biggest
differences between people who are growing up with computers. They don’t like go look. Like you would never, you never
see people today going like, oh, I’m gonna go look for that image. I think it’s like in my demo
files, in my Image Vault, in my 2018, in my Iceland folder. They don’t. Like they’re just so much
smarter about it, right. So I if I wanted to find something and I didn’t know where
it was in Photoshop, I could use Command + F. And it’ll be like what
do I wanna look for? Well, how about where’s
that darn Oil Paint filter. Well, there it is. It’s gonna say all right
do you want everything which is Photoshop, Learn,
Stock and Lightroom photos or do you just wanna go to Photoshop? Just Photoshop, Oil Paint, there it is. It’s unavailable. Uh, why? ‘Cause I’m not committed. Because let’s see right. ‘Cause I’m, it’s the type of folder. ‘Cause I’m on a mask, really? All right, anyway, so I
could apply it to a filter. So, point is Command + F brings it up if you want to know where cropping is, you know whatever you want
it will select the tool. If it’s like, oh, you know
what is it Crop and Straighten, or do you actually wanna Reveal All? So it’s gonna give you a
lot of things surrounding what you might be searching for. So that’s pretty cool. You might not even know
there’s (gibberish babbling). It’s getting late. You might not even know that there’s Perspective
Crop tool in Photoshop and now you do. Okay, but there’s another
shortcut for those of you who actually do name your layers. So let’s talk about two things here. I’ll escape out of there. So you don’t have to really
remember a shortcut here, ’cause it’s still the F key but it’s Command + Option + Shift + F. So it’s just everything. So you don’t have to
remember which one it is, it’s all of them. And what that does it automatically takes you to your Layers panel and it highlights the text
field so you could say, hey, I’m looking for the wing layer. And it will just show
you that layer, right. It just finds it. Now, you do have to name your layers. It didn’t really know it’s a wing. We should get Sensei on that,
though, I think, all right? But you can just enter
in whatever you want. So that might be a
little incentive for you to name your layers so
you can just find them. But there’s tons of other ways that you can filter your
Layers panel, right. So if we go back up to
Kind which is the default, I don’t think I have any text layers, no. But I’m pretty sure I’ve
got some Smart Objects. So we can filter on Smart Objects. We can filter on just
our Adjustment layers. But think about that. If you had a design or layout or something that has like 40 layers
that all have text in it, you can just filter on text,
select all those layers, go to the Type tool and
just change your font. It would change it for all
of them, all at once, right. Okay, so let’s turn that off. Another thing though, if your layer panels are
getting super, super complicated and you do like say like I just wanna work on
the wings of this image. So I’m gonna select those layers and then we have this thing
called Isolate Layers. If you go to Select, it’s Isolate Layers and if you use it all the time, just assign a keyboard shortcut to it. If you don’t use it all
the time, you can just, oh, wrong one. You can just come up
here, ah, turn that on. So I’m just toggling it on here, did I select it there? Anyway, no, I should have
gone to Select it, ooh. Okay, I’m not, time out. You all can look into the
light now for a moment. I’m gonna back out of here. All right I’ve got my
wings layer selected. Oh, that’s why ’cause I
messed up my selection. Okay, there we go and then. (woman speaking faintly) Did I chose Isolate Layers? No, but there it is, okay. And it switched it to selected. I don’t know why I
couldn’t access selected there a moment ago, but I’m sure it was, I’m sorry Photoshop I was
doing something wrong. I will learn, I promise and I’ll get back to
you on why I messed up. It’s not you, it’s me. All right, but it only, so all my layers are still in the document, right? It’s just that I can focus on
the ones that I had selected and just work with those in case you’ve just got this ridiculously
complicated Layers panel. Okay, let’s close that up and let’s come to this image right here. How many of you guys use Layer Comps? Yeah, okay, so I don’t
think many people do because they’re complicated. But I’m gonna show them to you
and they’re gonna be so easy, you’re just gonna love them. Oh, these are already, oh
I’ll show you a new feature. So these are already Smart Objects. So I’m just going to
convert them back to layers. Which is a nice little feature because sometimes you make
something into a Smart Object and then you don’t want
it to be a Smart Object. And you don’t wanna rasterize it, ’cause if I rasterized
it, it would flatten those layer effects, right. So what do I have? It’s very simple. I’ve got a stop light
right here, all right. I wanna convert these into Smart Objects and then I’m gonna make Layer Comps inside of the Smart Objects and then I’m gonna be able
to access those layer comps in the parent document. Okay, so I’ve got a
parent document right now. It has three layers; the red,
the yellow and the green. And they all have two layer
effects; a color overlay and an outer glow. So I’m gonna right-click and
say, Convert to Smart Object. I’m gonna take the yellow
one, Convert to Smart Object and a little secret here. It’s very important that
you have all of your glows showing when you do this,
because if they’re not showing and you make it a Smart
Object and then you show them, the glow will be beyond the bounding box of the Smart Object. So make your drop
shadows, your outer glows, make anything that you apply to it visible before you turn it into a
Smart Object, all right. So that’s why I made them visible and we will just convert
those to Smart Objects. Okay, now when I double-click to edit the contents of a Smart Object, not like that, on the
actual layer itself, okay. If I use Command + Shift + T we can see here’s the parent document. This is the contents of the Smart Object. That’s the PSB portion of it, right. So, I’m going to create (tongue clicking) using Layer Comps two
states of this document. So I’ll click the Plus
icon and this is red on. I’m gonna keep track of Visibility,
Position and Appearance. So Appearance is a layer style. I’m actually not gonna change the position or the visibility, but it
doesn’t hurt to leave them on. I’m not going to add the last one. It doesn’t make sense,
it will in a minute. I’ll click okay. So there’s red on and
then I just turn them off. Click another one and off, okay. Save it, Close it, okay. Do the same thing for yellow. Layer Comps, do the first
one on, turn them off. Click it again, off. (lips pop) All right, Save and Close. Go down to the green, same thing. Think you guys are
getting the hang of this? On, right, turn them off. Click the Plus, off. All right, Save and Close. So now the cool thing is when we look at our Properties panel, you will notice that there is a green.psb. And if I go here to red it
says red.psb and yellow. So I can actually access those layer comps from within the Properties
panel in the parent document. So I can say, ooh, I’d like
to turn the red light on. What about if I wanna
save this as a layer comp? Okay, let’s look at our layer comps again. Oops, that’s my libraries, kidding. Layer comps, all right that’s my notes. Layer Comps that’s the one I want. All right so now, oh cheater, looks like I’ve done this before. Throw that away, yes. All right, so what do I do? I’ll click the Plus and
I’ll say this is red light. Visibility, Position and Appearance and Layer Comp Selection
for Smart Object, yes. Click okay. I come down here, I turn,
well let’s turn that off. Red goes off. Come to yellow, yellow goes on. Layer Comp, yellow on. All the boxes checked, turn it off. Go down to green. Green on, right. One more time. I’m getting bored, Julieanne. And Julieanne, Julieanne green, green. What am I doing, green. (audience laughs) My gosh, that was kind of cool. Like sometimes our brains
don’t work exactly the way we think they should, oh that was weird. Okay, green on. (she chuckles) Obviously, I can’t talk and type. All right, so then we
can select all of these and we can just go through them. We’re like, boop, boop, boop. Boop, boop, boop. Okay, so this is a very
simple example, right. But this can get super complex, right? You could do this with buttons. You could do this with
different states of buttons. You can do it the visibility
of different layers. You can move layers around
and save those layer comps. So, it’s kind of a step up
from let’s say, I don’t know, clicking on all the I icons and be like do you like the before or
you do like after, right? So layer comps just save
a state of your document. So if I close this and we
take this one step further, I can come in here and
I can do the same thing and I’ve already done it. Basically, I have three Smart Objects and all of them have
multiple options in them. So here I have a bunch of
different type treatments, okay. Don’t, we don’t need to save that. In the other one I’ve
got a bunch of different foreground elements and
in then in the last one I have two different backgrounds. So I can come in here with my Layer Comps and mix and match and select
all sorts of different options that go together and try these out and then just Save them all within a single document very quickly and it doesn’t take up a lot of space. My file sizes don’t get large ’cause they’re all in
that single document. I’m just showing the
visibility, hiding and showing and moving them around and
applying layer styles, that’s it. Okay, so check out Layer if
that seems like something you’d wanna do in your
workflow, check that out. I already knew all that, (she
sighs) teach me something new. How are you guys doing? Do you guys know all this
or you, is this good? We’re doing okay. ‘Cause people are, I saw people leave and that freaks me out. (audience laughs) It does, there’s nothing worse. I’m like, oh, maybe they just
have to go to the bathroom and they’ll be back, but maybe not. Maybe they’re going to the bar. Well, okay, well they got a free pass. All right, so let’s look at Smart Objects just in case you’re not really
familiar with Smart Objects I wanna give you at least six
reasons to use Smart Objects. So, let’s open up this document first. So, what is this? This is just, yeah, we got a bottle here. Speaking about bottles. We got a Curve. What is that for? That must go with the text. Yep, there’s some text. There’s some water and there’s a border. Okay, so we need a photo. So, I want this photo. I’m gonna right-click on the photo and I’m gonna say would you
please edit this in Photoshop, but open it up as a Smart Object and we know that that’s gonna
take that entire raw document and make a duplicate of it. So it’s gonna make a copy of it. So it doesn’t touch your original and it’s gonna place that into
a Photoshop document, right. But when I do it that way, yeah, it just opened it up, right. It is a Smart Object, but
it’s in its own document. So, sometimes I find it
easier to just do this, which is just dragging
and dropping, right. So we could take this. And that was the, (tongue
clicks) silly girl. All right, go to Lightroom and just drag this over. Just drag this over. Just drag this over. (audience laughs) Just drag this down. (audience laughs) And then, we can just drag
and drop onto an open document because when you drag and
drop onto an open document, what does it do? It places the image, right. It doesn’t embed. Okay, it’s gonna bring Camera Raw. I’m okay with those settings, so we’ll go ahead and
prepare that Smart Object and that’s basically doing
the same thing as file Place but I didn’t have to go find it anywhere. All right and we know with a Smart Object that we can, of course, resize this as many times as we want to. And it doesn’t lose any,
oh, can I just tell you how happy I am with the engineers for that Free Transform thing. So now you can just, I
don’t know if you guys caught that or not at the keynote, but I can just toggle it on. Like now it is locked. Like all my transformations, it doesn’t matter if I
am using the Shape tool, if I’ve got a pixel-based
layer, a Smart Object, it doesn’t matter what kind of layer. A type layer, any type of layer, I will constrain proportions, ah! If I want to toggle it just for one time, I can just hold the Shift
key and it will toggle it. If you’re the opposite and you’re like, no, I never wanna constrain proportions. I’m always doing buttons and I always need to make them different
shapes, great, toggle it off. It’ll be off all the time and
then if you wanna change it hold the Shift key, it’s so easy. All right, ’cause I was like, uh, you know hold the Shift key,
don’t hold the Shift key. I don’t know anymore,
I’ve gotta go to bed. All right, so I’m just gonna
make this a little bit larger. And see if I don’t want it,
I can hold down my Shift key. Wait, why isn’t the Shift key working? Hello, Photoshop, here’s the thing. I’m dragging you. – [Woman] You have the (speaking faintly). – I do but I have the Shift key down. It’s a user error. Hold on, you know it is. Ah, I did this just as a favor for you. If you went and turned on
the Use Legacy Free Transform in previous versions. (audience laughs) Ha-ha, that was almost a rabbit
hole I didn’t get out of. All right, if you have that toggled on then it won’t behave as expected. And I just trashed all my preferences, ’cause that’s what I love to do. (she chuckles) All right, so now, Command
+ T and it’s on, whew, nice. All right, so now yes, yes and Shift, yes. All right, that’s awesome. I can only remember so many things. All right, Shift, yes, there we go. Okay, so the other great thing, I said this was placed as a raw file. So what that means is that I can go ahead and double-click on it and that edits the
contents of the raw file. Which in this case because it’s raw, brings it up in Camera
Raw that’s fantastic. So I can say, hey, that’s
not quite the right color. I want it to be a little
bit more towards blue or maybe I needed the exposure to come up just a little bit right down there. Or maybe, yeah, that looks good. That’s fine. Click Okay, it re-renders
it from the raw data, so I don’t lose any image quality. Just like I don’t lose
anything when I transform it. I don’t lose anything when I go in and change the settings to a raw file because it’s parametric editing. So that’s fabulous. Okay, so the other advantage, of course, of having Smart Objects is that you can select multiple layers and then do things to the
multiple layers at one time. So if I use a, let’s go ahead and use Convert to Smart Object. At one point I had it, I did
a custom keyboard shortcut as Command + S for Smart Object. That is a really stupid one. (audience laughs) Don’t do that. Don’t do that to your friends. Don’t do it to your spouses. Quickest way to a divorce. All right, so they are now
one Smart Object, right. So that means I can
transform them as a unit. So if I wanted to make this smaller so that it would actually
fit on the bottle, not that small there we go. How about there, about there. That will work. All right, maybe a little
bigger, wah-wah-wah, all right. So we can go ahead and transform
it and then I can go in, oh, I didn’t even have to
apply the transformation. I could have gone right to Warp and if you saw the
keynote today, you can see that now we have all these
different grid options and stuff, very cool. I’m gonna actually start with a preset. So we still have those. So in this case I want it to
be a little bit of a bulge. Not that big, so let’s go to maybe, instead of 50, let’s go to five. How’s that, okay. And then you can always
change that, right. You can always say, okay well,
that’s a great starting point but now I’m gonna go to Custom and then we can just pick that up and we can move it around and
do whatever we want, right. So, I’ll bring that up a little and I’ll bring this down a
little, that’ll be great. So we’ve transformed that, but I can still access all
those individual layers, right, by just double-clicking on this thumbnail for the Smart Object, it
brings it up in its own window. And then I say, oh, well
maybe I don’t want water and rock spring there maybe I
wanna move it up a little bit, okay, great. So let’s look at both of the images. I do a Save and there it moves it. And then I go, you know what, I don’t really like the raw file here. Maybe, you know what, let’s
apply that because it’s too, blah, it’s too much. It’s too real, all right. So I’m gonna do Find. I’m gonna go to Oil Paint,
huh, that should be good. Yeah, let’s apply, look now
it’s all like painterly. That’s kinda cool. That is pretty cool. That’s a cool effect. All right, I’ve turned off the Lighting. The Lighting is what
gives it all the contrast and the crinkly little brush strokes, neh, I don’t want that. I’ll turn that off. Just click Okay and because
that was a Smart Object, I automatically got a Smart Filter, right. So totally nondestructive. You can see it’s been
added right down here. Here’s the Oil Paint. I can double-click on that. It brings up the Oil Paint settings. I can go ahead and make
adjustments to them if I want to, whatever you wanna do. You could also change this
little icon right here. This will change the opacity and the Blend mode of the filter itself. So that’s pretty cool. And, of course, this is the mask for it. So I could grab that,
select the Gradient tool. Let’s just right-click, I
don’t know if any of you are educators, and if you find yourself in a work environment or any of you guys, if you’re just working on something and who knows, maybe someone
else was on your computer and then tool isn’t working
the way you think it is. Maybe you’ve set the
Blend mode to something or the opacity or the flow,
just right-click on the icon for any of these tools, and
just say reset tool, all right. And it’ll just reset
that tool to the defaults which is quite lovely. So now I have all the defaults so I can just drag out a gradient here and now we’ve got the
photograph up at the top and then we’ve got the
painting at the bottom. Not sure if I like that, so I’ll undo it, but then I’ll use
Command + S, Command + W, that’ll just Save and Close it. And then what we could do is we could just make a new layer here
and grab our Paint brush. So just tap the B key, the
D key for the default colors and then maybe a little
bit bigger of a brush and maybe 40% or something
and then just go, whew. And then that looks really great and that looks awesome. We’ll just leave it like that. Now we just clipped that, right? We just use our little Clipping mask. So we hold down the Option key and click in-between these and, viola, now that shaded edge is
just on the edges there. It doesn’t go beyond that and
that is way too much still. So we’ll bring the opacity of
the layer down to like 20%. I don’t think it’s quite even at the top, but you guys get the idea. So, Smart Objects they
work great with raw files. Of course, you can transform
them as many times as you want. You can warp them. You can combine them with other layers so that you can transform
and warp them all together. You can edit the contents at any time and make changes to them. And then, you can also,
add your filters to them. But wait, there’s more. That’s right, there’s always more. Okay so, oh, I forgot. I was gonna replace the contents. See, look, see here there’s
this other waterfall. It’s really cool, you
can replace contents. Just pretend I did it. Okay, so let’s open this one. Forgot to do that. Edit the original. Okay, so what’s this,
oh, this is a good one. So here, what I wanna do. (bell rings) (imitates crying) (audience laughs) Okay, I… I failed. I failed. I failed. All right, so Option-click. I’m going to Option-click. If I had a present I would give it to you. (audience laughs) I just wanna be liked. All right, so I’m on Iceland-01. You know if you
Option-click on an artboard, it will zoom to that
artboard which is quite cool. That’s where we got the
shortcut in full Photoshop now. So if you Option-click on a layer it will zoom to the
contents of that layer. We don’t need these guides,
we can turn them off. I was just gonna make a
little rectangle here. So what do I have? Probably not a red stroke and maybe, yeah, let’s do
it six just to make it big. But there’s that I’m
gonna do this, so hold on. It has to do with Smart Objects not with building this little thing. So I’m in a rectangle. Pretty simple, but I wanna put the rectangle in multiple places. So before I start
duplicating the rectangle, let’s convert it to a Smart Object, right. So, right-click, Convert
to Smart Object, excellent. Zoom out, Command + Zero
so we can see them all. I’ll use the Option key with the Move tool and we’ll just drag that over. And I know they’re big and terrible but you’re gonna, trust
me, we’ll need to see them. Okay, so now in the Layers panel, I’ve got them both selected,
hold down the Option key and I just drag them to the next artboard and then I do that again so that I’ve got them
on all those artboards, which is great. But now, of course, we don’t want square, we want rounded edges, right. You’re like, oh man. But here’s the thing,
because it’s a Smart Object and I duped the Smart Object
using the Layers panel, they’re all instances
of the same one, right. So all I need to do is double-click. That brings it up in its own window and here on the Properties panel is probably the easiest way, you can chose whether
you want do all of the, if you wanna link all the corners or not. And then we can just move this up to what? I don’t know, 50? How much is 50? Yeah, okay, that’s fine. Save it, Close it and it will update it throughout the document
’cause they’re all instances of the same Smart Object. Make sense? Okay, all right. Well, you can also do
a lot of template work with Smart Objects. So I don’t know, you know again, it’s hard ’cause there’s a really
diverse group of folks here. But you know I wanted to make a little, it was just a little
postcard ’cause I did a book. And so I just thought well, I’ll just place one of my photos, this was a book on Motion Blur. No, wait, what time are we done? Whew, okay, all right,
panicked there for a moment. I’m back, I’m good. Okay, so all I wanna do
is I just want to swap out the contents of a Smart Object. So basically you make your template and then you just Place your document and then it’s really easy, right. If I wanna replace the
contents of the Smart Object, all I need to do is, no
not double-click on it, is just right-click and
say Replace Contents. And then I can just go navigate to, 2163, see I’m learning. 2163, yeah, I want the name. Huh, look at that, beautiful. Okay, that’s the one I want. Why do I have four named the same thing? Don’t ask, don’t go there. Ooh, that came in quite large. So this obviously wasn’t the
one I’d resized for the demo. But that’s okay, just a learning moment. I’ll use Command + T and here’s the thing when you use Command + T, don’t you hate that like they’re like,
like where are my bleh? So the same shortcut, you know
how you use Command + Zero, ’cause that will fit on screen? When you’re in Free Transform
if you use Command + Zero, it will fit the transformation handles– (audience laughs) Oh, I am so sorry that
you did not know that. Okay, yeah, so hi, have a good day. All right, hold down the Option key and if we need to do ’cause
it depends on if you have, I’m so sorry you didn’t know that. That’s painful. All right, and then you get, huh-huh. (audience laughs) Okay, all right. I’ll just move on quickly, okay. So, this could be very interesting. Do you guys reuse the same
assets over and over again? Are there some, okay. So let me just open this up. I’m just gonna open this, it’s just this really short example. But here I have a bunch of layers, right, that make up this flame
and let’s turn it on. Okay, so we’ve got this
little match with the flame. And I’m going to go to my Libraries panel and I’m gonna add this. And it would probably, I
could put them in a group, but it doesn’t really matter. I’m just gonna drag, uh,
let’s put them in a group, Command + G. So there’s a group and it’s called Flame. Okay, this could be anything. And then I’m gonna drag
this into my library. So now I have this flame twice. Let’s delete this one, ’cause
I don’t wanna get confused. Okay, so I’ve got this. I don’t know if that’s the right one. I’m gonna delete that one, too. Okay, let’s try that again, swish, boom. Right there, there’s my flame, okay. So I can now close this document, right. And then I could just
open another document. Oh, here’s another good one. Ah, did you know that if
you’re in the Home screen, you don’t have to go
like uh-uh-uh-uh-uh-uh, just tap Escape, whew, gone. Huh, mm, let me do it again. In case you didn’t catch it. Escape, whew, gone, all right. ‘Cause you know, you can
actually turn that off. There is a general preference
if you don’t want it. But I actually like that,
’cause a lot of times I go back to the same recently
opened file, so anyway. Um, so what was I gonna do? I was gonna open up a new document. Oh, it’s so fast now. Fantastic, but I don’t want the Clipboard, I want the default Photoshop size. Okay, great and I drag and
drop the flame over there. That’s terrific. And we do Command + T and we
make this a little bit smaller and, you guys, (people talking faintly) I know, I know, I know, I
know well I tried to learn. I tried to learn for six months and now I’m back to relearning. So let’s just do 50 and
50, okay, whew, hah. All right, so I’ve got this open. So what am I trying to teach you? When you drag and drop an
asset into the Libraries panel and then you drag and drop
it from the Libraries panel into an open document, you
get a different icon, right. You get this little create a cloud. So it’s linked to the Cloud,
you get that icon instead. Now, if you hold down the Option key when you drag and drop it won’t do that or the Alt key on Windows. It just places it. In fact, I’ll just do it. Here, watch. Look it, Option drag, it
just came in at the size, so it didn’t resize it
’cause it’s not placing it, it’s just dropping it in there and I have that whole
group of the flame image. So I don’t want that, so I’ll tap Delete. But I’m showing you this
because there’s an instance where it might be a little weird. So I’m just gonna Save this. We can just do a quick Save As and this’ll be Test to the Desktop. All right, so there’s my Test
and then I close the file. And then I hit Escape and
then I come back in here and I double-click on the flame and I turn off one of the layers. Okay, so let’s hide that
orange flame, all right. And then I Save it and I Close it. Well, I don’t know if you noticed or not, but it actually changed the
Asset in the Cloud, right. So when I go and say File
Open and I go to the Desktop and I go to my Test file,
this one doesn’t change, ’cause we don’t wanna do that. Like that would be so uncool, right, to automatically change it. ‘Cause we don’t know
actually at this point, if you want to change it or not. You might not want to. But now there’s a little
exclamation mark right here. See a little warning icon right there. And so I could right-click
there and say, no, don’t right-click on the icon. Right-click over here, all right. And then say, hey, I
wanna modify that content. So I’m gonna update the modified content. So now those two match. But there is one instance that
might be a little confusing because if you have a document open that has a linked create
a cloud Smart Object and then I double-click
on this one to open it and then I make a change,
like I just turned the orange and the red on, but the yellow isn’t, if I save this, watch what happens. Let’s close the library for a minute. I’m gonna Save this. This is the one that’s
in the Cloud, I save it. Because this document is
open, it will update it. It’s a Feature. (audience laughs) ‘Cause you have that document open, but it might not be what you expect, okay. But it is actually a cool feature. All right, let’s Close both of those. Close that. We need to talk a little
bit more about automation. So let’s come in here, okay. This is a project that I just did. I don’t know if any of you guys
have seen it, probably not, but, let’s bring this back up here. So, thank goodness for automation. Let’s go to full screen. So it was kind of interesting
because at one point, let’s just make sure I
know where I am here, okay. So I did this project
and I just was noticing that when I was looking through my images that when I was in certain locations I made much more successful images than when I was in other locations. And so I started comparing the images and then I started noticing that it was the color
palette of those locations that was having an
influence on whether or not I was making what I thought
were more successful images. So I decided to do a little study. So I do these little
projects all the time. And this one, the way I do projects, it’s kind of three steps. So like I have to, I have to
define the project, right. So I write it down and I define it. And then I have to limit the
scope, because otherwise, I’ll go crazy. And then I have to commit to it. So I do that verbally with
a small group of friends. So I defined the scope of the project was I was gonna make 25 of these
panoramas from 25 locations. Photos I’d already shot. Didn’t need to go
anywhere and do anything. Limit the scope, like I
had six weeks to do it. So that means like you know
one night during the week. And then I committed to friends and they didn’t commit me to the hospital, so I figured it was good. So like this one’s Berlin. That one was Berlin and then
this one is I believe, Joshua, no, this one’s Joshua Tree. Argh, I don’t know what that one is. This one is Alaska which is crazy. This one is Yellowstone, yes. Arizona, no, Arizona. Utah, Arizona. White Sands. Shanghai, Tokyo. Anyway, I thought it was fascinating. Oh, Antarctica. So I thought it was really cool. I thought this was a cool project. So the first time I did it, it took me forever to do the first one. But I just wanna show you how
cool actions can be, right. So here’s what I did. I picked 50 images from
each location, right. So here’s my 50 images. And then I ran a Blur on all of them. So, I blurred them all. All right, no big deal. I just went to open them up. I ran an Action that did the Path Blur and it just ran the Path Blur vertically. I did it twice at the maximum amount. Then I cropped a Sliver out of
each one of these, all right. And then I reimported
them in the Lightroom because then you can do a Select all, go to Survey view and
now I could see them all. And then I could go in here,
because I’m in Survey view and I could rearrange them
and put them into the order that I wanted them in
which, just to let you know, there’s a lot of different options. (audience laughs) Yeah, just think about
your license plates. There’s a lot of options with that and there’s only like six
or seven numbers, okay. Tons of options. Then what I did is I
exported them, all right. And then I wrote, I
wrote, I know I didn’t. If there’s any engineers
in here, I’m sorry, I know, I did not write them. I recorded some actions
in Photoshop, right. I didn’t write anything. I just used what you coded and then I just kinda recorded it. (she chuckles) Okay, so let’s get out of
Button mode for a minute and lets just look at these. So this made it infinitely easier. This is my little Colors at Play. So here’s my action for blurring
it twice, for cropping it, for then creating a new
guide, so boom, there it is. Drag and then see I put up a little, I don’t know if you guys know this, you can put up a little
what do we call it? A stop, a Insert Stop and
then you can type something in so if you need to tell someone, ’cause if you’re not gonna be
the one running the action, you can put a little pause in there and then you can either allow
them to continue or not. So if they have to make a selection. You can be like don’t continue or go ahead and continue afterwards whether or not they have to push a button. You can also insert conditionals, right. So, if it’s a horizontal image do this. If it’s a vertical image do this. You can insert menu items. So there are some things
like zoom to fill screen or zoom to 100% that you can’t record when you’re going through the action, even though it says to record. Some menu items won’t be recorded. So if you find one of those,
just say insert menu item and then just go up and say, all right, well which menu item do you want? And you could do like View
and then Fit on Screen and it would insert that
into your action, all right. I have a whole, there’s a
whole bunch of stuff online with actions and stuff. So don’t worry if I’m
talking too fast right now. There’s plenty of resources for that. I just wanna show you what’s possible. So then basically what happened is, let’s go to Lightroom
and let’s go find out where these are on the hard drive. So I’m just gonna say show in Finder which I’m sure you’re seeing and I’m not. Okay, Command Bar, let’s do that. Grid, please, these people,
there’s people watching, okay. All right, so now I just
need to select all of these. So that’s easy and then
let’s go to Photoshop and make that visible. Go to the Finder and then just, we can just drag and drop this down. I don’t know why it’s giving me that icon. I just want, hello. Ugh, sorry it’s my first
day with a computer. (audience laughs) And these things are really foreign to me. Okay, drag and drop it right… Why, why, why you don’t love me right now? I never loved you. (she laughs) Sorry, oh, they’re recording this. (audience laughs) Like I said, sometimes
the jokes are just for me. So, all right. What’s it doing? It’s grabbing all 50 of those images. Oh, here’s the important safety point that I was gonna make was
I went to my Preferences so that it’s not asking me to apply the transformation every
time, you know what I mean? When I go here to Command +
K and we go to Preferences and it says Skip Transform When Placing so it doesn’t bring up the transformation
dialogue box every time. Otherwise, I would have had to hit Enter 50 times right then, okay. Resize Image During Place, yeah. That just resizes if it’s really big and it places it small so it’s gonna be a Smart Object anyway, so you don’t lose anything
if it transforms it down. And then Create Smart
Objects When Placing, yes, I have it do that. Although, I think when I got down to this, I didn’t need the Smart
Object because at this point, I had the exact size I needed. So for this project I turned it off, because it saved me a
ton of time, all right. So then all I do is I’ve got
a little distribute action, right, so I can just hit Play. And basically it goes and it
selects like the bottom layer, the background layer and
then it selects one up and then it moves it over to the left and then it selects the top layer and then it moves it over to the right. And then it just says
distribute and then, whew, whew, it just distributes it. I can see it. It’s thinking. There we go, oh, wrong folder. I’m in the wrong folder of images. So, when I exported these in Lightroom, I know exactly what I did. Ah, what a bummer. But let me show you what I did, ’cause see, you can learn
so much from my mistakes. When I hit Export what
I didn’t do is down here under Image Size what I was
gonna do is was I was gonna say go the long dimension and
make the long, oh sorry, go the long edge and make
it 6,000 pixels, right. 6,000 and if you don’t do that, then some of them I had
cropped and they’re originals and so they didn’t come in the full size. So that’s why that happened,
but you won’t care. You’ll be forgiving. And I’ll come back over here and we’ll pretend like
they’re all the right size. And then all I did was
I had one more action that just said copy/merge
and then I ran a blur on it. Another blur on top of it. And then I had one more that
just made a little border here. I’m not gonna do the copy/merge and blur, ’cause it’ll probably take
like three or four minutes and that’s too much time. So I’ll just do that
and poof we’d be done. And then, that’s kind of cool. And you know, it kind of
makes me wanna do this. Like go to Layer, go to
Image, Canvas Rotation. This is clockwise and
counterclockwise for those of you who have never had a clock
that has hands on it. (audience laughs) So, clockwise, is gonna
go that way, never mind. All right, okay, so I probably
shouldn’t have done that. That’s gonna take a second. All right, can I just talk to you a little bit about Presets. We only have five minutes left, but I really think it’s really important because, I just thought
that looked kind of cool with the top part. Now, it starts, you know that might. Okay, anyway, so that would
be kind of a cool project, something like that. So you guys can do this project. It’s fun, I encourage you to. There’s a movie on my website that tells you exactly how to do it. You can download the actions
and everything, okay. ‘Cause then what I was really thinking was okay if every location has a
color of place and I understand that there’s biases by
the time I was there and what I photographed and
then what images I picked and then where I cut the slivers out of the images and stuff. But then, wouldn’t it be cool
if you could wrap this in with augmented reality. So that if you went to like White Sands or you went to any of the locations and you took a picture it
automatically got uploaded, you could hashtag it or something. And then we could blur it and cut a sliver of it and
it could add it to the left. And then as people added this, you could actually see an
interactive live color palette of the location that you
were in at that time. That would be awesome. Someone do that. (audience laughs) Okay, all right. I can’t I’m busy today. I can’t today. Okay, stop motion, I have a video on that so I’m not worried about that. Okay, let’s talk about this. So I do have this video I
just published today as well. And the reason that I
wanna just spend like, I have four minutes left with you guys. But, here’s the thing, the way that we’ve redone Presets is amazing. All right, but if you don’t know a lot about different types of layers it might be a little bit difficult. So what I just wanna show you here, let me switch my workspace to jk presets. Okay, so now I have my Swatches,
Gradients and Patterns. Right, so it’s really easy if I come here and I just Option-click, right, on my wheat illustration, right. That’s gonna zoom me into that area. That is like a really cool
feature in and of itself. Now, if I wanna change the color of these, I can go ahead and click
on any image, right, or any layer and I could
change the color of it. Or I could drag on top of
the layer in the Layers panel or I could drag, actually, to a layer. So if there was a layer
that wasn’t selected, I can drag to that one as well, all right. And I can do the same thing
with Gradients, right. So I could grab a gradient,
select a gradient. I could select multiple layers and then just click on a Gradient. So that’s because and let
me drag that onto those, boom, whew, drag it on, hello. You, there. Photoshop? Hm, I don’t know what I’m doing wrong. I’m sure I’m doing something wrong. Anyway, that’s the effect I wanted. So, hm, well we’re recording it. I’ll figure out what I did wrong. So that’s great because why? ‘Cause I can also go
over to Patterns, right, and I could go ahead and
I could apply a pattern to one of these as well, by just dragging it on top of it. Okay, because Shapes
understand Fills of Patterns, Gradients and Colors, right. ‘Cause if I just go to my Shape tool, I’ve got Fills of Patterns,
Gradients and Colors. When you get to text, though,
things get a little different. So if we Option-click on the text. Option-click on the text here, all right. I’m gonna zoom out just a little bit. Now, if I go to my Swatches, sure enough, I click on the Swatch and
I drag it (lips popping) it’ll change the color. If I drag it over here,
it’ll drag it to wheat, Wild Wheat Farm. Okay, so text understands
the solid color fill. It doesn’t understand a gradient. So what’s gonna happen when
I drag a gradient over here? It’s gonna add an effect, right. That makes sense once you
start thinking about it, like oh, okay, ’cause you can’t
have a gradient in a text. You can only have an effect. Okay, I get it, that makes sense. Same with the patterns, all right. But here’s the thing that I
don’t want you to get stumped on if I now drag the pattern on
top, I don’t see the pattern. Why not? It’s under the gradient, exactly. So you know about layer affects. You know there’s a stacking order here. So it did change it. And the other thing that I
think that’s gonna happen is you’re gonna say, I’m gonna
change the color of this text and you’ll drag a swatch on it, but the swatches are added as a fill, because text understands fill. So, now if I toggle off the effect. We an see that it’s
blue ’cause of the fill. Okay, now when I go to a pixel layer. Let’s zoom out. I’ve got a pixel layer down here. If I click on a color, it’s just gonna change
my foreground color. But if I drag a swatch, now
I get a color fill layer and it’s gonna clip it and then I can just change
the Blend mode to color, oh, that wasn’t color,
that was luminosity, to color and the cool thing about adding a Gradient fill layer is you get the mask, right. So if I wanted to change
the color of this, I can go ahead and do that, right. So let’s get something
that’s kind of more yellowy. Actually, let’s get a gradient. So if I go to my Gradient, I’m just gonna, oop, bring that down. That’s probably gonna add a, no, it just changed the gradient right there. So now I have a nice gradient. But I could also say, hey, you know what, I don’t really want that. Grab my Gradient tool in
the Mask, reset the tool and then just drag it down. Oh, gosh that’s not very visible, but can you guys see that? Let me just change the
gradient real quick. Oh, this is not gonna be pretty. Okay, hey, not so bad. All right, so I’m just saying
depending on the content of the layer you’re gonna
get something different when you drag and drop from your Swatches and your Gradients and your
Patterns based on whether or not the contents of
the layer can support it. And then one other thing
that might throw you is I’ve got this nice little hen shape. If I drag and drop it into
the image area right now, where is it gonna go
in the stacking order? (person speaking faintly) Yes, it depends. If I drag it over here, it’s
gonna go above the background. Oh, I didn’t want that. So you have to hit Return
and then I’ll hit Delete. If I drag and drop it on the text, then it will add it up
here in the Layers panel. But I couldn’t figure out
why when I was dragging and dropping shapes they
kept going to the background. I was expecting them to land
above the shape I had selected, but then I shoulda just dragged
it on top of that shape. By the way, if you wanna combine shapes, the same keyboard shortcuts work. So if you drag out one shape
and then add the Shift key, it’ll add to the shape. If you hold down the Option key, it’ll subtract it from the shape. And then Shift + Option
will intersect the shape. The same with the Path commands, okay. So now, we can just hit Return or Enter, use the Move tool or V, we’ll
just scoot that right up here. We got our little hen. Oh, this is why I take
pictures and don’t do design. But you’re not judging me. Look, that’s kind of
cute for what I click it. Oh, look, hello, I am from the Wheat Farm, I’m going backwards now. Okay, I love it living here. All right, you guys. It is, oh, it’s 6:32 I’m two minutes over. I’m very sorry to keep you. So have a lovely rest of the MAX and I hope you had great time. I hope you learned something. (audience applauds) (dynamic music)


  • Reply Pametni Telefoni January 24, 2020 at 3:57 pm

    Julieanne you are fantastic! I'm learnig and I'm having fun! <3

  • Reply Eric January 24, 2020 at 6:07 pm


  • Reply AS Images January 24, 2020 at 7:45 pm

    Simply the best, thanks.

  • Reply Photoshop Tutor and Photo Editor January 24, 2020 at 9:03 pm

    Great stuff, Julieanne!

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