fill Archives - Yakthung Samaj

How to remove anything or objects in Photoshop with new content aware

November 30, 2019

Hi This is Manjot from Lenspassions Photography Few days back I have created a video on content aware and I explained all about content aware tools , In October 2018 , Photoshop introduced new content aware fill powered by Adobe Sensei A new, dedicated Content-Aware Fill work-space provides us an interactive editing experience to achieve seamless fill results. We can now choose which source pixels to use
and rotate, scale, and mirror the source pixels thanks to Adobe Sensei technology. Today , you will watch how this tool can amazing job and what is difference between normal content aware and new content aware fill workspace Before watching this video , Kindly support
me by subscribing my channel and click on the bell. So, You will be notified when I will upload
new video. I have selected three photos, First is easy
one , second is little busy and third is busiest. Starting with the first one , I want to remove hand as unwanted object. First , I selecting lasso tool and selecting around the object. After completing the selection , Open the right menu then Fill and select the content-aware then ok You can see the after using old content fill appear it picked default sample area of blue
line that I don’t want to add here. now I undo it and going to edit menu and select
new content aware fill In the Content-Aware Fill workspace, the document
window displays the default sampling area as an overlay mask on the image. You can use the tools provided in the Tools panel at the left of the screen to modify the sampling area
and your initial selection of the fill area. In the Content-Aware Fill panel (at the right
of the screen), Now I am selecting a brush with subtraction and removing the blue line area that I don’t want to add , I subtracted it. You can see live in the right panel , it removed and saved to new layer. See before and after. Now I am selecting the next image , I want to remove a girl in the left side of the picture. Selecting a lasso tool and selecting around the unwanted object. Then open menu by right clicking of the mouse and then Select Fill>Content aware You can see , as I use this tool it took the
sample from girl’s shirt no 5 that I don’t want to add. So again undo it and selecting Edit>Content Aware Fill Here you can specify sampling options, fill settings, and output settings to get the desired fill
result in the image. As you make changes, the Preview panel displays
a live full-resolution preview of the output. selecting brush with subtraction and removing the area that was sampled by painting brush on it. You can also subtract and add selection by selecting tools from option bar. I am modifying the selection according to
the need. After doing the all adjustment , a small part of the object was not removed. Don’t worry! I am taking a snapshot by using CTRL+SHIFT+ALT+E
keys Nothing happened with normal content aware
tool. Now I am selecting again Edit>Content aware
fill As content aware workspace open , you can
see , it took sample of arm of the girl wearing 5 no shirt. As I removing the sample are by painting substation brush , area was filled with white wall sample that I want to fill. It’s great! Just a very little touch up by stamp tool,
that I need to do more in old feature. See before and after Now I am opening a last picture , the image
is same , repeating the same action those I have already edited in first two images I want to show here scale option in workspace The option in the Fill Settings is Scale, which lets Photoshop resize the content in the filled area to better match the perspective
of the surrounding textures. Scale can be useful when replacing objects
in images that were shot on an angle. By default, Scale is turned off I am removing here balloons hanged on the
pillar, with Scale turned off (left), the result looks not good. Photoshop just filled the selection with random
parts of the pillar. But with Scale turned on , the textures are
resized to better align them with the perspective. It’s not perfect, but it does give me a much
better starting point. My selection is rough here, because in short
time I just want to introduce feature, It will be better result with perfect selection. That’s how to remove objects or repair parts
of your image using Content-Aware Fill in Photoshop CC 2019! See all the images before and after Now that’s all for today Don’t forget to comment and also don’t forget to give ideas so i create those videos that you want to watch Thanks for watching

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Photoshop: How to Create the Look of a Custom, Embossed, Silver Foil Stamp

November 20, 2019

Hi. This is Marty from Blue Lightning TV. I’m going to show you how to create an custom
embossed, silver foil stamp of graphics and text. I provided this background that you download,
so you can follow along. Its link is in my video’s description or project files below. Open a black and white graphic that you’d
like to use for this project. For this example, I left enough room under it to add text. To do this, Go to Image and “Canvas Size”. Click the top, center arrow. This will add more space at the bottom of the document. Change the Measurement to “Percent” and for
the Height, type in a percentage you’d like to extend below your document. To fill in the empty area with white, first
check your foreground and background colors. If they’re not black and white respectively,
press “D” on your keyboard. Open your “Rectangular Marquee Tool” and drag
it over the empty area. We’ll fill it with the background color, which
is white, by pressing Ctrl or Cmd + Delete. To deselect it, press Ctrl or Cmd + D. Open
your Type Tool and pick a font. I’m using, “FM College Team Outline Regular”. If you’d like to use it, I provided its link, as well. I’ll make its size 270 points, Crisp and Center Alignment. Its color is irrelevant, since we’ll be filling
it using Layer Styles. Click on your document and type out your text. If you have more than one line of text and
want to adjust the space between the lines, highlight all of your text and either click
the “Character / Paragraph” icon or go to Window and “Character”. Drag the “Leading” icon to the left or right. To adjust the size of a line of text, highlight
that line and drag the Size icon to the right or left. To position all of your text under the graphic,
open your Move Tool and move it. To center it, press Ctrl or Cmd + A to select your canvas and click the “Align Horizontal Centers” icon. Then, deselect it. We’ll make a composite snapshot of the graphic and text by pressing Ctrl + Shift + Alt + E on Windows or Cmd + Shift + Option + E on a Mac. Hide the 2 layers under it and open the Channels panel. If you don’t see it, go to Window and “Channels”. Ctrl-click or Cmd- click the thumbnail to
make a selection of the graphic and text. Press the “Delete” key on your keyboard to
delete the white background. Then, deselect it. Let’s close the character panel now, since
we don’t need it anymore. We’ll convert our image into a Smart Object,
so we can modify it non-destructively and allow us to replace it with a different design
without having to re-do the effects. To do this, click the icon at the upper, right of the Layers panel and click “Convert to Smart Object”. To place your design onto the background,
drag it onto the tab of the background and without releasing your mouse or pen, drag
it down and release. To adjust its size, open your Transform Tool
by pressing Ctrl or Cmd + T. Go to a corner and when you see a diagonal, double-arrow, press and hold Alt or Option + Shift as you drag it in or out. To reposition it, go inside the bounding box and drag it. To change its perspective, go to a corner
and press and hold Ctrl or Cmd. When you see a white arrowhead, drag it to pull that corner that approximates the location of mine. Continue these steps to pull each corner until
it matches the perspective of mine. Then, press Enter or Return. Reduce the Fill to 0%. This make your design invisible, but it’ll
retain the visibility of the layer styles and filters we’ll be adding to it. Make 3 copies of it by pressing Ctrl or Cmd + J three times. Name the top layer, “Bevel”, the second layer,
“Highlights”, the next one, “Midtones” and the original layer, “Shadows”. Make the “Midtones” layer active and double-click an empty area of the layer to open its Layer Style window. Click “Inner Shadow”. The color is white, the Blend Mode is “Color
Dodge” and the Opacity is 80%. Uncheck “Global Light”. The Angle is minus 135 degrees, the Distance is 1 pixel, the Choke is 0% and the Size is 7 pixels. Click “Gradient Overlay”. The Blend Mode is Color Dodge and the Opacity is 70%. Click the Gradient Bar to open the Gradient Editor. Click the “Black, White” thumbnail and click
the lower, left Stop. Click the color box and in the hexadecimal
field, type in the number 9, six times. Then, click OK on both windows. The Style is Linear, the Angle is 80 degrees
and the Scale is 100%. Click “Drop Shadow”. The Blend Mode is “Overlay”, the color is
white and the Opacity is 100%. Global Light is unchecked and the Angle is 60 degrees. The Distance and Size are 4 pixels each and
the Spread is 0%. Go to Filter, Blur and Gaussian Blur. Blur it 1 pixel. Then, click OK or press Enter or Return. Make the “Shadows” layer active and double-click an empty area of the layer to open its Layer Style window. Click “Gradient Overlay”. The Blend Mode is “Color Dodge” and the Opacity is 70%. The Style is “Linear”, the Angle is 80 degrees
and the Scale is 100%. Click the gradient bar and click the “Foreground
to Transparent” thumbnail. Click the lower, right Stop and the color box. In the Brightness field, type is 60. Click the upper, right Stop and change its
Location to 65%. Click “Drop Shadow”. The Blend Mode is “Linear Burn”, the color
is black and the Opacity is 10%. Global Light is unchecked and the Angle is
minus 135 degrees. The Distance is 3 pixels, the Spread is 40%
and the Size is 10 pixels. We’ll blur it and since the last filter we used was “Gaussian Blur”, press Ctrl or Cmd + F to open it. We’ll keep the blur at 1 pixel. Make the “Highlight” layer active and as before,
double-click an empty area of the layer to open its Layer Style window. Click “Bevel & Emboss”. The Style is “Outer Bevel”, the Technique
is Smooth and the Depth is 300%. The Direction is Up and the Size and Soften
are both 5 pixels. The Angle is minus 135 degrees and the Altitude
is 30 degrees. The Highlight Mode is Overlay, the color is
white and the Opacity is 100%. The Shadow Mode is irrelevant because its opacity is 0%. Click “Inner Shadow”. The Blend Mode is “Color Dodge”, the color
is white and the Opacity is 14%. The Angle is minus 135 degrees, the Distance
and Choke are both 0 and the Size is 50 pixels. Click “Gradient Overlay”. The Blend Mode is Color Dodge, the Opacity
is 20% and the Style is Linear. The Angle is minus 3 degrees and the Scale is 100%. Click the Gradient Bar and you can click either the
“Foreground to Background” thumbnail or the Black to White” thumbnail, since they’re the
same. Click the lower, left Stop and the color box. In the Brightness field, type in 66%. Click the small, middle diamond shape and
in its Location field, type in 34. Click the color box and in the Brightness field, type in 88. Then, click OK on both windows. Click “Drop Shadow”. The Blend Mode is “Multiply, the color is
black and the Opacity is 30%. The Angle is minus 90 degrees, the Distance is 6 pixels, the Spread is 0 and the Size is 10 pixels. Open the last filter you used and click OK. Make the “Bevel” layer active and open its
Layer Style window. Click Inner Shadow. The Blend Mode is “Color Dodge”, the color is white, the opacity is 100% and the Angle is minus 135 degrees. The Distance is 4 pixels, the Choke is 0 and
the Size is 7 pixels. The last step is to make a smooth transition
of the bevel highlight to the left of the design, which is less illuminated. Reduce its Opacity to 80% and add the Gaussian Blur. We’ll place the Bevel layer into a folder
by pressing Ctrl or Cmd + G. Notice the Bevel layer slid to the right. This let’s us know that the layer is inside the folder. Name it, “Bevel”. Click the Layer Mask icon to make a layer
mask next to the folder. Open your “Gradient Tool” and make sure the
Linear Gradient icon is active. Click the Gradient bar to open the Gradient Editor. Click the “Black, White” gradient and click OK. Place your cursor approximately here on your
design and drag your gradient tool diagonally down at approximately this angle and this far. Then, release. If you want to re-do the gradient, press “z”
on your keyboard and try it again. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: Create a Polished Marble, Ancient, Roman Bust of Your Face.

November 12, 2019

Hi.This is Marty from Blue Lightning TV. I’m going to show you how to transform a photo
of a face into the look of a polished marble, ancient Roman bust including the name carved into it. This is an update of a tutorial I did many
years ago on a much earlier version of Photoshop. I created this image of a faceless, marble
bust that we’ll use for this project. You can download it from the link is in my video’s description located below the video or in my project files. Open a high-resolution, close-up photo of
a face facing directly forward. I downloaded this one from Shutterstock. The lighting of the face should be preferably
above and in front of the face, which is the way the bust template is lighted. The first step is to place the face onto the template. If your Move Tool isn’t active, press “v”
to open it and drag it onto the tab of the template. Without releasing your mouse or pen, drag
it down and release. Before we resize and reposition it, reduce
its opacity, so we can see the template under it. Open your Transform Tool by pressing Ctrl
or Cmd + T. If you’re using a version earlier than CC 2019, go to a corner and when you
see a diagonal, double-arrow, press and hold Alt or Option + Shift as you drag it in or
out. If you’re using CC 2019 or later, just press
Alt or Option as you drag it. To reposition it, go inside the Transform’s
bounding box and move it. Generally, for most faces, eyes are positioned
approximately halfway from the top of the head to the bottom of the chin. Once it’s sized and positioned, press Enter or Return. Increase the opacity back to 100%. Remove the color from the photo by pressing
Ctrl or Cmd + Shift + U. Next, we’ll make a selection around the head. Open your Quick Selection Tool and make the
radius 10 pixels. Drag your tool over the head, but not the
ears. To remove selections outside the head, press
and hold Alt or Option as you drag over those areas. Click the Layer Mask icon to make a layer
mask of the selection next to the head. The width of any given may be wider or narrower
than the head on the bust. We don’t want to distort our subject’s head, but we can make the head of the bust wider or narrower. There are a few ways to do this, but I think
the best way is to use the Puppet Warp tool found in versions CS5 and later. I did an in-depth tutorial on the Puppet Warp
tool, so if you want to watch it, click the card at the upper, right or the link in my
video’s description below the video. Make the marble bust active. Since we’re going to distort it, let’s make
a copy of it, so we always have the original intact. Press Ctrl or Cmd + J. Go to Edit and “Puppet Warp”. If we check “Show Mesh”, we can see the mesh
that Puppet Warp has created. We’ll be placing pins on the mesh that we’ll
use to warp the marble bust. To better see the image under it, let’s uncheck
“Show Mesh” to hide the mesh. Go to the top of the head and click on it
to place an anchor pin. Continue to place pins along the edge of the marble bust at approximately the same locations as mine. Click on this pin and drag it in or out. Continue to click and drag pins that makes
the marble head and neck fit the width of your subject’s head. Then, click the check-mark at the top. Next, we’ll blend the forehead of the marble
bust with your subject. Click the layer mask to make it active and
open your Brush Tool. Open your Brush Picker and pick a soft, round brush. We’ll adjust its size in a moment. Make its Hardness: 0% and its Opacity and Flow: 100%. To adjust its size, make sure your CapsLock key is off and press the right or left bracket key on your keyboard. Brush over the forehead to reveal the marble
bust through the layer mask. Feel free to reduce the brush’s opacity on
areas that you’d like to finesse. Next, we’ll smooth out and plasticize our
subject’s head. Make your subject’s head active and press
“z” to open your Zoom Tool. Drag the tool across the head to zoom into it. To reposition it on your canvas, press and
hold the Space bar as you drag the image. Open your “Smudge Tool” and pick a hard, round brush. The size of the brush will depend on how large
or small the area of the face we’ll be smudging. The Hardness is 100% and make its “Strength”: 10%. Adjust the brush’s size and drag the tool back and forth over the face in the direction of the contours. To fit the entire document back onto your
canvas, press Ctrl or Cmd + 0. We’ll cut our new marble bust from the background
and copy it to its own layer, so we can continue to finesse our marble bust and ultimately,
add a shininess to it. First, make a composite snapshot by pressing
Alt + Ctrl + Shift + E on Windows or Option + Cmd + Shift + E on a Mac. Open your Quick Selection Tool and drag over
inside of the bust. Then, cut and copy it to its own layer. Open back your Smudge Tool and blend the jaw
and the neck. Next, we’ll carve text into the marble. Open your Horizontal Text Tool. I provided the link to a font called, “Satyr”,
which has an ancient, Roman or Greek look to it. I’ll make its size 58 points, but feel free
to adjust the amount. Click on your image and type out your text. To adjust the space between the characters,
highlight the text and press and hold Alt or Option + the left or right arrow key on your keyboard. To reposition it, open your Move Tool and
move it. Reduce its Fill to 0%. This make your text invisible, but it’ll retain
the visibility of any effects we apply to it. Double-click an empty area of the text layer to open its Layer Style window and click “Bevel & Emboss”. Make the Direction: Down. The Style is “Inner Bevel”, the Depth is 600%
and the Technique is “Smooth”. The Size is 3 pixels and soften it 2 pixels. Make the Angle 120 degrees and the Altitude
is 30 degrees. The Highlight Mode is Screen and its Opacity is 75%. The Shadow Mode is Multiply and its Opacity
is also 75%. Make your text into a Smart Object, so we
can add a blur to it non-destructively. To do this, click the icon at the upper, right
and click “Convert to Smart Object”. Go to Filter, Blur and Gaussian Blur. Make its Radius: 0.5 pixels. We’ll make a Smart Object of our bust with the text, so we can add a shininess to the entire statue. Shift-click the bust to make IT active, as
well, and convert them into one Smart Object. Go to Filter and Filter Gallery. Open the Artistic folder and click “Plastic Wrap”. Make the Highlight Strength: 7, the Detail:
10 and the Smoothness: 15. I’d like to reduce the shininess a bit over
the text and the base, so I’ll make the Smart Filter layer mask active and press “B” to pen my Brush tool. I’ll reduce the opacity: 30% enlarge my brush
size and brush across that area once. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop QUICK Tip: Auto-Blend (CS6 and later)

November 11, 2019

Hi. This is Marty from Blue Lightning TV with another Photoshop quick tip. If you’re using CS6 or later, I’m going to
show you how to automatically stitch or combine images together that have very different brightness,
contrast, color and tone. Auto-Blend doesn’t work with Smart Objects,
video layers, 3D layers, or background layers. For this example, I’m going to stitch the
face from this guy onto her face and use Auto Blend to blend them together. I downloaded both of these photos from Shutterstock. This tutorial is for those who are already
familiar with the basic functions of Photoshop. As I mentioned, I’ll use this photo as the
base. Since the outside corners of her eyebrows
extend pretty far, I’ll remove them, but first I’ll make a copy of the layer by pressing Ctrl or Cmd + J, so I always have the original photo intact. If you have areas in your base image that
you want to remove, open your Patch Tool and draw around the area you want to remove. Drag the selected source area to a destination
area that you want to use to repair it. To deselect it, press Ctrl or Cmd + D. I’ll
repeat this with the other eyebrow. Open your other image. We’ll make a selection around the area that
you want to patch onto your base image. Open the Lasso Tool and make sure “Feather”
is 0 pixels. Draw around the area that you want to place
onto your base image. Open your Move Tool by pressing “v” on your keyboard and drag it onto the tab of your base image. Drag it down and release. To resize and reposition it, open your Transform
Tool by pressing Ctrl or Cmd + T. Position and resize it over the base image. Ctrl-click or Cmd-click the top layer to make
a selection of its shape. Go to Select, Modify and “Contract”. I’ll contract it 10 pixels. Depending on your document’s size and resolution,
you may want to adjust the amount. Make Layer 1 active and press the “Delete”
key to delete inside the contracted selection. Press Ctrl or Cmd + D to deselect it. Shift-click the top layer to make it active,
as well, and go to Edit and “Auto-Blend Layers”. Since we’re blending stacked layers, tick
“Stack Images”. Make sure “Seamless Tones and Colors” is checked
and if you’re using a later version of Photoshop, check “Content Aware Fill Transparent Areas”
just to ensure that all areas will be filled and blended well. If you see this warning, just click OK. Auto-Blend applied layer masks as needed to
each layer to mask out over or underexposed areas, as well as, mask out content differences
to create a relatively seamless composite. Since we have the composite layer, we can
hide the layers with their layer masks. Next, we’ll adjust our image’s brightness
and contrast. Scroll to the top of the Layers panel and
click the Adjustment Layer icon. Click “Levels”. We want the adjustment layer to restrict itself
to affect just the composite layer below it. To do this, click the Clipping Mask icon or
press Alt + Ctrl + G on Windows or Option + Cmd + G on a Mac. You can also go to Layer and “Create Clipping Mask”. For this particular image, I’ll drag the Input
Mid-tone slider to the right to darken the mid-tones, however, feel free to adjust the
input settings for your image. If you want to restore the background or any
other area from your original base image – no problem. Make the Levels layer mask active. We’ll brush in black over it, which will mask
out the areas we brightened or darkened. Open your Brush Tool and make sure your foreground
color is black. Open your Brush picker and pick a soft, round brush. We’ll adjust its size in a moment. Make its Hardness 0% and the Opacity & Flow
both 100%. To make your brush bigger or smaller, make
sure your CapsLock key is off and press the right or left bracket key on your keyboard. Now, brush over the background and any other areas you’d like to restore from the original base photo. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop Tip: How to Create Razor-Sharp Corners of Strokes on Text

November 11, 2019

Hi. This is Marty from Blue Lightning TV with another Photoshop quick tip! If you’ve ever been frustrated with the clumsy
roundness of the strokes placed around your text? Well, fret no more! I’m going to show you how to quickly and easily
make the stroke’s corners sharp as a razor blade! Create a new document by pressing Ctrl or
Cmd + N or by going to File and New. You can make it any size and resolution. I’ll make the background black, so it’ll be
easier on our eyes. Open your Horizontal Type Tool and pick a
font that has sharp corners. We’ll adjust its size in a moment. I’ll make the color white, so I can see it
clearly on the black background. Click on your document and type out your text. To adjust its size, highlight it and drag
the Text’s size icon to the right. Let’s increase the space between characters
to make room for a thick stroke around each character. To do this, press and hold Alt or Option as
you press the right arrow on your keyboard. Open your Move Tool and drag the text to the center. Right-click or secondary-click on the text
layer and click “Convert to Shape”. Open your “Path Selection Tool”. Click the Fill color box and for now, click
the “null” box, which fills our text with no color. Click the Stroke box and pick any color. I’ll increase the stroke to 40 pixels, so
we can easily see it. Open the “Stroke Options” panel. There are 3 choices of strokes from which
to choose – solid, dashes and dots. The “Align” option allows us to choose the
position of the stroke relative to its path. Basically, it can choose to make your stroke be centered over the path, be inside the path or be outside the path. We’ll go over the Caps option in a minute. For the corners, we can make them rounded,
mitered or “Beveled”, which creates squared corners. If you’re using dashes or dots, the Align
and Corners affect them in the same way. The Caps options specify the appearance of
both ends of a path. The “Butt” cap creates squared ends that abut
or stop at the endpoints. The Round cap creates semicircular ends and
the Projecting cap creates squared ends. The same effects apply to the stroke’s corners. The “More Options” allows us to adjust the
dashes and dots lengths and gaps. Have fun experimenting with the dashes and dots and if you want to fill the inside of your text, click the “Fill” box and pick a
color. To hide the work path, just press Ctrl or Cmd + H. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: Warp Speed!!! Create the Look HYPER-DRIVE in Deep Space (CS6+)

November 9, 2019

Hi. This is Marty from Blue Lightning TV. I’m going to show you how to create the awesome
look of hyper-drive in deep space. Before we begin, if you’re not already a subscriber
to my channel, click that small “Subscribe” button at the lower, right corner to let you
know as soon as I upload new Photoshop tutorials. Create a new document by pressing Ctrl or
Cmd + N or by going to File and New. Make its Width: 1920 pixels, its Height: 1080 pixels and its Resolution: 150 pixels per inch. The Color Mode is RGB and 8 bits per Channel. Click the box and pick black. We’ll convert the black background into a
Smart Object, so if we want to, we can adjust the filters that we’ll be adding to it at any time. Click the icon at the upper, right of the
Layers panel and click, “Convert to Smart Object”. Go to Filter, Noise and “Add Noise”. Make the Amount 100%, Uniform and Monochromatic. Go back to Filter, Blur and Gaussian Blur. Blur it point 5 pixels. Open Levels by pressing Ctrl or Cmd + L. In
the Input Shadow field, type in 143 and in the Input Highlight field, type in 150. Go back to Filter and Blur again and this
time, click “Radial Blur”. Make the Amount 15, Zoom and Best. We’ll brighten our image by click the Adjustment
Layer icon and click “Levels”. In the Input Shadow field, type in 8 and in
the Input Highlight field, type in 48. Next, we’ll exaggerate its perspective. Make “Layer 0” active and go to Filter and
Lens Correction. Click the “Custom” tab and drag the “Remove
Distortion” slider to plus 100. Repeat the filter by press Alt + Ctrl + F
on Windows or Option + Cmd + F on a Mac. Click the Custom tab and drag the Remove Distortion
again to plus 100. Click the Adjustment Layer icon and click
“Hue/Saturation”. Check “Colorize”. For the Hue, type in 200 and for the Saturation,
type in 100. Make Layer 0 active. To save space in the Layers panel, let’s collapse
the effects by clicking the small arrow. Click the New Layer icon to make a new layer. Change the empty layer’s Blend Mode to “Color
Dodge”. Open the Brush Tool and Brush Picker. Pick a soft, round brush. Make its size 200 pixels, the Hardness is
0%, the Opacity: 10% & Flow: 100%. Click the foreground color to open the Color
Picker. In the hexadecimal field, type in 227AFF. Then, click OK or press Enter or Return. Place your cursor outside your document approximately
here and press and hold Shift as you drag across your mouse or pen. Holding Shift kept your cursor perfectly horizontal. If you want to redo the line, press Ctrl or
Cmd + z to undo your last step. Release your cursor and place it approximately
here. Brush another line across your document. Convert this layer into a Smart Object, so
we can modify it non-destructively. Go to Filter, Distort and “Polar Coordinates”. Tick, “Rectangular to Polar” and click OK. Go back to Filter, Blur and “Gaussian Blur”. Blur it 100 pixels. We’ll convert our visible image into a Smart
Object by making the top adjustment layer active, scrolling to the bottom and Shift-clicking
the bottom layer to make all the layers active. Then, convert all the layers into one Smart Object. Make a copy of it by pressing Ctrl or Cmd
+ J. Hide the copy and make the bottom layer active. If you’re using versions CS6 or CC, go to
Filter, Blur and Iris Blur. If you’re using CC 2014 or later, go to Filter,
Blur Gallery and Iris Blur. I did an in-depth tutorial of the Iris Blur,
so if you’d like to watch it, its link is in my video’s description below. If you don’t see the Iris Blur shape outline, press Ctrl or Cmd + H. Go just above the top, middle dot. These dots are called “Ellipse Handles”. When you see a curved, double-arrow, drag
it up a bit past the top of your image. Drag one of the sides out as well a bit past
the document. You’ll notice there are 4 inside blue dots. These are called “Feather handles”. Between the Feather Handles and the Ellipse
Handles is where the blur starts and ends. Dragging one of the Feather handles drags
all of them at the same time. Drag it to approximately here. Blur it 10 pixels and in the Effects panel, make the “Light Bokeh”: 50 and the Light Range: 0 and 255. Then, click OK at the top. Make the copy visible and active. Go to Filter, Blur and Gaussian Blur. Blur it 36 pixels. We’ll brighten it by clicking the Adjustment
layer icon and clicking “Levels”. We want the adjustment layer to affect only
the blurred layer below it. To do this, we need to clip it or restrict
it to the blurred layer. Click the “Clipping Mask” icon or press Alt
+ Ctrl +G on Windows or Option + Cmd + G on a Mac. You can also go to Layer and “Create Clipping Mask”. In the Input Highlight field, type in 22. Go to Filter, Render and Clouds. Make the “Levels 1” copy active and click
the Layer Mask icon to make a layer mask next to the active layer. Open your “Elliptical Marquee Tool” and go
to a corner. Drag your cursor to the opposite corner and release. Go to Select, Modify and Feather. Feather it 200 pixels. We want to fill the inside of the selection
with black, which will essentially fill that area of the layer mask with black. Before we do, check your foreground and background colors. If they’re white and black respectively like
mine are, press Ctrl or Cmd + Delete to fill the selection with black. However, if the colors are inverted, press
Alt or Option + Delete. Your layer mask should have a soft, black
elliptical shape inside it. The black area is essentially masking out
the middle of the blurred copy, while the white area is revealing its outer edges. Deselect it by pressing Ctrl or Cmd + D. Next,
we’ll brighten our entire image. Make the top adjustment layer active. Click the Adjustment Layer icon and click
“Levels” again. Since we want to brighten our entire image,
we won’t clip it. In the Input Highlight field, type in 190. Lastly, we’ll enlarge our image to crop off
any bloomed out areas we don’t want. To do this, scroll to the bottom of the Layers
panel and Shift-click the bottom layer to make all the layers active. Open your Transform Tool by pressing Ctrl or Cmd + T. If you see this message, just click OK. If you’re using a version earlier than CC
2019, go to a corner and when you see a diagonal, double-arrow, press and hold Alt or Option
+ Shift as you drag it out until you no longer see the bloomed edges. If you’re using CC 2019 or later, just press
Alt or Option as you drag it. Then, press Enter or Return. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop Tutorial: How to Create a Double-Exposure Image in Photoshop

November 5, 2019

Hi. This is Marty from Blue Lightning TV.
I’m going to show you how to create a double-exposure image from 2 photos. If you’d like to use
this image, I provided its link in my video’s description or project files. For the second
photo, you’ll get the best results if the person you choose has deep shadows on one
side like these examples that I got from Shutterstock.com. It doesn’t matter if they’re color or black
and white. However, if your photo has general lighting like this one, I’ll show you how
to transition it into deep shadows. If you’d like to use this photo, I provided its link.
The first step is to create a selection around your subject. For this example, I’ll use the
Quick Selection Tool. I’ll make the tool’s size 10 pixels and drag over the subject to select it. I can click either the Refine Edge button or go to Select and Refine Edge. I did an in-depth tutorial on Refine Edge, so if you’d like to watch it, I provided that
link, as well. I’ll check Smart Radius and adjust its size to make the brush big enough
to cover the edge of the hair. I’ll output it as a New Layer and click OK. Remove all its color by pressing Ctrl + Shift + U on Windows or Cmd + Shift + U on a Mac. To adjust
its brightness and contrast, open your Levels window by pressing Ctrl or Cmd + L. Drag the white and black Input levels to the point just before where the histogram really starts
to rise and click OK. To make room for the tropical trees, make sure your subject is
positioned to one side of your document. Just press “v” to open your Move Tool and drag
it over. Make a copy of it by pressing Ctrl or Cmd + J. Click the “fx” icon and click “Gradient Overlay”. Change the Blend Mode to “Multiply” and click the gradient bar. Click the “Black, White” gradient and click OK. Make the Angle: minus 180 degrees and
the Scale: 40%. Then, click OK. To restore some of the brightness on her face, click the Layer mask icon to make a layer mask next to the active layer. Open your Brush Tool
and Brush Picker. We’ll adjust the size in a moment. Make the Hardness: 0% and the Opacity
and Flow: 100%. Then, press Enter or Return. To make your brush larger or smaller, press
the right or left bracket keys on your keyboard. Now, brush over your subject in areas where
you’d like to restore its original brightness. Click the bottom layer to make it active and
click the New Layer icon to make a new layer above it. We’ll fill the empty layer with white. To
do this, press Shift + F5 key at the top of your keyboard to open the Fill window. Or,
you can go to Edit and Fill. Open the fly-out menu, click White and click OK. Open the image
you’d like to blend into the person. You can use this one, but feel free to use anything
you want, as long as its bottom is relatively dark and dense and ends somewhere at its top.
Ultimately, we want the top of the image to be pure white. If you’re using image, too,
open your Dodge Tool. If your foreground color isn’t white, press “D” on your keyboard
to make your foreground and background colors black and white respectively, and then, press
“x” to invert them. Make the Range: Highlights and the Exposure: 100%. Adjust the size of
your tool and brush over the sky. To place the trees onto your subject, press “v” to
open your Move Tool and drag it up onto the tab of your subject. Without releasing your
mouse or pen, drag it down onto the image and release. We want to place the trees on top
of the person. To do this, just drag the trees layer to the top of the Layers panel. Go to Edit, Transform and “Rotate 90 degrees Clockwise”. Let’s temporarily reduce its opacity, so we
can see the subject under it. To resize and position it, open your Transform Tool by pressing Ctrl or Cmd + T. Go inside the Transform and position the trees or whatever else your image
is over your subject. You can always reposition and resize it later, if you want. Press Enter
or Return to accept it. Increase its opacity back to 100%. Click the Layer Mask icon to
make a layer mask next to the active layer. Press “B” to open your Brush Tool. Increase
your brush size a bit and brush over the left side of the trees to mask them out. To restore
back areas of the trees, press “x” to invert your foreground and background colors and
adjust the brush size if you need to.Now, brush over those areas of the trees you want
to restore back. Continue to finesse your image brushing in and restoring back areas
until the two images create a double-exposure. This is Marty from Blue Lightning
TV. Thanks for watching!

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Photoshop: How to Transform a Face into JOKER from the 2019 Movie!

November 4, 2019

This is Marty from Blue Lightning TV. I’m going to show you how to transform someone
into Joker from the 2019 movie. Open a well-lit, high resolution photo of
a face that you’d like to use for this project. I downloaded this one from Shutterstock. Make a copy of it by pressing Ctrl or Cmd + J. Name it “Hair”. Temporarily hide the copy and make the bottom
layer active. Click the Adjustment Layer icon and click
“Black & White”. Open the Preset list and click “Maximum White”. Invert the layer mask by pressing Ctrl or Cmd + I. Doing this will allow us to reveal back the black and white effect just over the face. Think of layer masks as stencils. Black hides or masks out the image next to
the layer mask, while white reveals the image. Open your Brush Tool and Brush Picker. Open a soft, round brush. I’ll make its size 175 pixels, but feel free
to use whatever size you’d like based on your image’s size and resolution. Make its hardness: 0% and its Opacity and
Flow: 100%. Make sure your foreground and background colors
are white and black, respectively. Brush over the face to reveal the black and white adjustment layer effect through the layer mask. To feather out the perimeter more, invert
the colors by pressing “x” on your keyboard and decrease the brush’s opacity to 50%. Increase your brush’s size by making sure
the CapsLock is off and pressing the right bracket key on your keyboard. Brush around the perimeter of the face. Next, we’ll darken its midtones. Click the Adjustment Layer icon and click,
“Levels”. We want the Levels adjustment layer to affect
only the face and not the rest of the subject. Since Adjustment Layers affect all of the
layers below them in the Layers panel, we need to clip it or restrict it to the face. To do this, click the Clipping Mask icon or
press Alt + Ctrl + G on Windows or Option + Cmd + G on a Mac. You an also go to Layer and “Create Clipping Mask”. For the Input Mid-tone levels, I’ll type in:
0.65, however, feel free to adjust this amount. If some mid-tones are a bit too dark, you
can restore them to their original levels by inverting your colors, so black is your
foreground color. Brush over the areas you want to lighten. We’ll reveal back the eyes to the original
photo by making the face layer mask active, adjusting the size of your brush and brushing
inside the eyes. Next, we’ll make the hair: green. Make the “Hair” layer visible and active. Open your Quick Selection Tool and drag it
over the hair to select it. Go to Select. If you’re using a Photoshop version earlier
than CC 2015.5, click “Refine Edge”. If you’re using a later version, click “Select and Mask”. If you prefer to use Refine Edge instead of
Select and Mask, Shift-click “Select and Mask”. I did in-depth tutorials on both of these
filters, so if you’d like to watch them, click their respective cards at the upper right
or their links in this video’s description. Check “Smart Radius”. This detects smooth and hard edges. Brush over the overlapping edges between the
hair and the face. Output it to a layer mask. Immediately, a layer mask of the selection
is created next to the face. Click the Adjustment layer icon and click
“Hue/Saturation”. Then, clip it. This will restrict the color to affect only the hair. Check “Colorize” and make the Hue: 100 and
the Saturation: 20. Next, we’ll apply the Joker’s red face paint. Click the Adjustment Layer icon and again,
click “Hue/Saturation”. From now on, we won’t clip the adjustment
layers, since each will have its own layer mask that will affect only the areas revealed
inside each layer mask. Check “Colorize” and make the Saturation:
80 and the Lightness: minus 50. We’ll invert the layer mask to hide the red
color by pressing Ctrl or Cmd + I. We’ll be revealing back the color over selective
areas of the face by brushing white over our image. Make sure your foreground color is white and
open your Brush Tool and Brush Picker. I provided a custom brush named, “Face Paint
Brush” that you can download. Its link is in my video’s description below
the video or in my project files. If you’re not sure how to install brushes,
I did a tutorial showing you how to do it. It’s many years old, but it’s still relevant. If you want to watch it, click the card at
the upper right or the link in my video’s description. Once you install the brush into your Preset
folder within Photoshop, click the gear icon and click, “Import Brushes”. Click, “Face Paint Brush” and click “Load”. Close any brush folders that are open and
open the “Face paint Brush” folder. Click “Kyle’s Real Oils – 01” brush. I’ll make its size 60 pixels, however, feel
free to adjust the amount based on your document’s size and resolution. Brush over the nose to reveal the color through
the layer mask. If you want to reference the Joker’s face
from the movie, there are plenty of images from which to choose on the web. If you want to remove areas of the color,
press “x” to invert your colors, so black is your foreground color. Brush over the color you want to mask out. Brush over the mouth to reveal the color and
again whenever you want to hide the color, press “x” and brush over the color to hide it. Reduce the “Fill” to 87%. Reducing the Fill of certain blend modes results
differently than if you were to reduce their Opacity. In this example, I’d like to make the eyebrows darker. If you want to darken an area of the face
paint on your subject, press Ctrl or Cmd + J to make a copy of the adjustment layer and
change the copy’s blend mode to Linear Burn. Reduce its Fill to 78%. To reveal back the areas you son’t want
darker, like the nose and mouth in this example, open your Rectangular Marquee tool and drag
it over those areas. We’ll fill the selection with black which
will add black to that area of the layer mask. If your foreground and background colors are
white and black respectively, press Ctrl or Cmd + Delete. If your colors are inverted, in which black is your foreground color, press Alt or Option + Delete. Deselect it by pressing Ctrl or Cmd + D. Click
the Adjustment Layer icon and click “Hue/Saturation”. Change the Blend Mode to “Color Burn”. Check, “Colorize”. Make the Hue: 212…The Saturation: 100…
and the Lightness: minus 55. Invert the Layer Mask to hide the blue color. Make sure your foreground color is white and
brush over the top of the eyebrows and below the lower, eyelid revealing and masking out
the color to finesse their shapes. Make a copy of the adjustment layer, change the Blend Mode to “Linear Burn” and reduce the Fill to 33%. Lastly, we’ll change the colors of the clothes. Click the Adjustment Layer icon and click
“Hue/Saturation”. We’ll keep “Normal” for its Blend Mode. Check, “Colorize” and make the Saturation:
100 and drag the Lightness slider to a point where the density of the shirt looks good to you. We can always adjust it later. Invert the layer mask to hide the color. Open your Brush Tool and Brush picker. Open the brushes folder that contains your
normal, round brushes. Click a soft, round brush and make its opacity: 100%. Adjust its size and brush over the outer garment. Click the Adjustment Layer icon again and
click, “Hue/Saturation”. Check, Colorize”. Make the Hue: 144…the Saturation: 100 and
the Lightness: minus 49. Invert the layer mask to hide the color. Then, brush over the inner garment. If you want to adjust the brightness of the
clothing some more, drag the Lightness to the left or right. Click the adjustment layer for the outer garment
to make it active and drag its Lightness, as well. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop Quick Tip: The Curvature Pen Tool (CC 2018 and later)

November 4, 2019

Hi. This is Marty from Blue Lightning TV. Starting in Photoshop CC 2018, Adobe introduced
the Curvature Pen Tool, which allows us to draw shapes simply by clicking controls points
on paths in the shape of the curve, rather than the click-and-drag motion of the traditional pen tool. I provided this image that you can download,
since it contains multiple shapes made with a variety of curves and sharp corners. Its link is in my video’s description of project files. Open the Curvature Pen Tool and choose “Path”. Click the gear icon. You can choose how thick you’d like the work
paths to be, as well as the color. A thicker size may help you to visualize the shape better. The Rubber Band option lets you previsualize
a path based on your cursor’s movement. I’ll show you that in a minute. Click once on the canvas and move the tool
to another area. Click again to draw your first line. Go to another area and click again. As you can see, the path intuitively arced the path. To delete a point, click it to make it active. You know it’s active when the point becomes solid. Then, just press the “Delete” key. To create more points, click on the paths and drag the points – no need to change tools for this. To switch between curves and corners, just
double-click a point to switch smooth points and corner points. A quick tip: Shift-click to constrain your
path to 90° and 45° angles. To delete a path, press the Delete key a couple of times. Let’s check out the “Rubber Band” feature. As soon as you start drawing your paths, it
previsualizes it to allow you to adjust it before committing to it. Before we recreate the fish shapes, I’ll
uncheck rubber band to keep my paths as simple as possible. Click on a corner to make the first point. When you’re at a corner, double-click that
point to draw the next path as a straight line. Continue to draw paths using the steps we
just went over. Next, we’ll add the shape for eye, but since
it’s inside another shape, click the shape interaction icon and click “Exclude Overlapping
Shapes”. Zoom into the eye by pressing “z” on your
keyboard and dragging your Zoom Tool over the eye. Press “p” on your keyboard to open back the
Curvature pen Tool. Click on the perimeter of the left, middle
of the circle to create a start point and click on the top, middle of its perimeter. Click on the right, middle to create a circular arc. Click the bottom, middle and close the path
by clicking back on the left middle point. To fit your document back onto your canvas,
press Ctrl or Cmd + 0. To change your paths into shapes, click the
“Shape” button at the top. To change its color, double-click the shape layer, which opens the Color Picker and pick a color you like. To hide the work paths, press Ctrl or Cmd
+ H or open your Paths panel and click anywhere on an empty area below the paths. Open back your Layers panel. We’ll make a new layer below our shape by
Ctrl-clicking or Cmd-clicking the New layer icon. Press Shift + F5 key at the top of your keyboard
to open the “Fill” window. To keep it simple, let’s fill it with white. To reposition your entire shape, make your shape active and open your “Path Selection Tool”. Drag over the entire shape to select it all. Go to anywhere on the path and drag it. To modify your shapes, open the “Direct Selection Tool”. Click anywhere on your path and drag it. I’ll undo it by pressing Ctrl or Cmd + z. You can modify multiple paths by Shift-clicking
on another point to make both points active and then dragging either point. You can modify the shape of a curve, by dragging
a path handle. I’ll hide the paths by pressing Ctrl or Cmd + H. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: How to Create a Vintage TV Interference GLITCH Portrait

October 29, 2019

Hi. This is Marty from Blue Lightning TV. I’m going to show you how to quickly create
a vintage, black and white, CRT TV interference glitch. This is an update of tutorials I’ve done on
earlier versions of Photoshop. I provided this image of shape of a cathode
ray tube TV screen. its link is in my video’s description
or project files. Before we begin, if you’re not already a subscriber
to my channel, hit that small, Subscriber button at the lower, right corner. If I’ve helped you learn or improve in Photoshop
and you’d like to help support my channel, become a channel member by clicking the “Join”
button below the video or become a patron by clicking the Patreon card at the upper,
right. Either way, you’ll be helping to keep my tutorials
free. Open a photo of someone or something that
you’d like to use for this project. I downloaded this one from Shutterstock. To ensure that the setting amounts that will
have similar results as mine, check your photo’s size and resolution. Go to Image and Image Size. Make its resolution 72 pixels per inch and
its width and height somewhere in this neighborhood. To place the photo onto the TV shape I provided,
make sure your Move Tool is open. If it isn’t, press “v” on your keyboard. Drag the photo onto the tab of the TV shape. Without releasing your mouse or pen, press
and hold “Shift”, drag it down and release. Pressing Shift kept your photo centered. Unlock the TV shape and drag it above your photo. Change its Blend Mode to “Multiply”. If you want to resize your photo inside the
shape, make your photo active and open your Transform Tool by pressing Ctrl or Cmd + T.
Go to a corner and when you see a diagonal, double-arrow, press and hold Alt or Option
+ Shift as you drag it in or out. Then, press Enter or Return. Next, we’ll create scan lines. Make a new layer below the active layer by
Ctrl-clicking or Cmd-clicking the New Layer icon. We’ll fill the empty layer with 50% gray. To do this, press Shift + the F5 key at the
top of your keyboard to open the “Fill” window. Or you can go to Edit and “Fill”. Open the “Contents” list and click “50% grey”. Make sure your foreground and background colors
are black and white respectively. If they’re not, press “D” on your keyboard. Go to Filter and Filter Gallery. Open the “Sketch” folder and click “Halftone Pattern”. The Pattern Type is “Line”, the Size is 1
and the Contrast is 49. Change the Blend Mode to “Soft Light”. Because CRT TV monitors weren’t high-definition,
all the images tended to have a soft blur to them. We’ll blur the scan lines slightly, but before
we do, we’ll convert the scan lines into a Smart Object, so we can affect it non-destructively. To do this, click the icon at the upper, right
of the Layers panel and click, “Convert to Smart Object”. Then, go to Filter, Blur and Gaussian Blur. Blur it 1 pixel. To save space in the Layers panel, let’s collapse
the effect. We’ll convert our photo into Smart Object,
as well, so we can modify it non-destructively and if we decide to replace the photo with
a different one, we won’t have to redo any of the effects. Go back to Filter, Blur and Gaussian Blur. We’ll blur it 2 pixels. Click the Adjustment Layer icon and click
“Black & White”. This removes all the color. Since CRT TV images tend to be a bit a bit
brighter in the center, we’ll give our image a soft, vignette along the edges. Make the photo layer active and go to Filter
and “Lens Correction”. Open the “Custom” tab and drag the “Vignette”
slider all the way to the left. To make the vignette stronger, open the last
filter by pressing Alt + Ctrl + F on Windows or Option + Cmd + F on a Mac. As before, click the “Custom” tab and slide
the Vignette all the way to the left and the “Midpoint” to +25 or you can just type it
in. We’ll convert our photo with all its effects
into a Smart Object. Click the Black and White adjustment layer
and Shift-click the photo to make both active. Then, convert them into one Smart Object. Make two copies of the photo by pressing Ctrl
or Cmd + J twice. We won’t be using the bottom layer from here
on out, but it’s always a good idea to keep one layer unmodified, just in case you want
to use it at a later point. Hide that layer and temporarily hide the top
photo, as well. Make the middle photo active and go to Edit,
Transform and Skew. Go to the top, middle anchor point and drag
it to the right, which skews your photo. Then, press Enter or Return. Make two copies of the skewed layer and then
hide the top copy. Make the middle skewed layer active and change
its Blend Mode to “Soft Light” and its Opacity to 50%. Press and hold Shift as you click the Left
arrow on your keyboard a few times to move the layer to the left. Shift-click the skewed layer under it to make
it active, as well. Press and hold Shift as you drag them to the left. Make the top, skewed layer visible and active. Change its Blend to Soft Light and reduce
its Opacity to 70%. Press and hold Shift as you drag it to the
right. I’d like to get rid of the darker shape over
the face. There may be areas you’d like to eliminate. To do this, click the Layer Mask icon to make
a layer mask. Open your Brush Tool and Brush Picker. We’ll adjust the size in a moment. The Hardness is 0% and I’ll make the Opacity
and Flow: 100%. To adjust the size of your brush, make sure
your CapsLock key is off and press the right or left bracket key on your keyboard. Brush over the unwanted area to mask it out. Make the photo above it visible and active. Make three copies of it and temporarily hide them. Go to Filter, Distort and “Shear”. Drag the middle vertical line at various points
to warp your image. Open your Rectangular Marquee Tool and make
sure the “Add To” icon is active. This will allow you to add multiple rectangular
selections on the same layer. Drag the tool over different areas of your
image to make selections over it.. Click the Layer Mask icon to make a layer
mask of the selections next to the active layer. What’s happening is that the white rectangles
in the layer mask are revealing the sheared image, while the black areas of the layer
mask are being masked out, thereby revealing the layers under it in the Layers panel. Collapse the effect and make the layer above
it visible and active. Go back to Filter, Distort and “Shear”. To reset the Shear filter, press and Ctrl or Cmd. The “Cancel” button instantly changes to “Default”. Keep pressing holding Ctrl or Cmd as you click
the Default button. This resets the Shear filter. Drag the vertical line to various points to
create another sheared effect. We’ll add an inverted layer mask next to the
active layer by Alt-clicking or Option-clicking the Layer Mask icon. This masks out or hides the new sheared layer. We’ll reveal back areas of it, by dragging
your Rectangular Marquee tool across your image. We’ll fill the selection with white and since
your background color is white, press Ctrl or Cmd + Delete. This immediately reveals the new sheared image
though the white areas of your Layer Mask. Deselect it and collapse the effect. Make the layer above it visible and active. Go to Filter, Distort and Wave. Feel free to experiment with the settings,
however, I’ll make the number of generators: 402, the Wavelength: 1 and 2, the Amplitude:
1 and 106 and the Scale both 100%. The Type is “Sine” and the Undefined Areas:
“Repeat Edge Pixels”. Make an inverted layer mask next to the active layer. Drag a vertical, rectangular selection over
your image and fill it with white. Then, deselect it. Make the layer active and go to Filter, Blur
and Gaussian Blur. Blur it 1 pixel. Collapse the effects. Make the top face layer visible and active
and go back to Filter, Distort and Wave. I’ll drag the slider of the number of generators
all the way to the right. For the Wavelength, I’ll type in 798 in the
Minimum field and click the Maximum field. Immediately, the Maximum fills with 799. For the Amplitude, I’ll type in 998 in the
Minimum field and click the Maximum field, which automatically fills it with 999. For the Scale, I’ll type in 1 in the Vertical field. As soon as I click OK, the Vertical scale
changes to 1%. This creates thin, stacked, horizontal lines. This is Marty from Blue Lightning TV. Thanks for watching!

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