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how to create abstract designs in Photoshop – create abstract colorful balls illustration – Effect
December 6, 2019
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AUTOMATICALLY Fix Perspective Distortions in Photoshop – Automatic Upright in Camera RAW Tutorial
December 4, 2019
In this tutorial I’m going to show you how
to remove perspective distortions from your photos. Hey everyone, welcome back to The Photoshop
Training Channel. My name is Jesus Ramirez and you can find
me on Instagram @JRfromPTC. In this tutorial I’m going to show you how
you can use a Camera Raw Filter to remove perspective distortions from your photos. Okay, let’s get started. We’re going to work with this image here. It clearly has some perspective distortions
and we can easily fix them by using the Camera Raw filter. I’m going to right click on the layer and
Convert it into a Smart Object to work non-destructively. Then, I’m going to go into Filter + Camera
Raw Filter. And you can press Shift T on the keyboard
or click on this icon to enable the Transform Tool. This tool works great in photos with crooked
horizons for buildings with verticals and horizontal lines that aren’t straight. This tool has 4 Upright Modes that you can
use to automatically fix perspective. Auto, Level, Vertical, and Full. As you can see they all give you a different
result. In most cases, I like using the Auto because
I think it gives you the best balance when correcting the perspective of your photos. After you apply any one of these adjustments,
you can refine the adjustment by clicking and dragging on these sliders to further enhance
your correction. You can hold Alt /Option on the Mac, and the
Cancel button becomes the Reset button, and you can click on it to reset the tool. You also have the Guided button. This one here. If you select it, you can create two or more
guides to straighten the horizons and vertical lines. So I can click and drag over the image and
follow those vertical lines. I can create a second one, maybe use this
building here on the side and Photoshop will automatically straighten those lines. I could also create a horizontal line to straighten
the horizon. But in this case, it won’t do that good
of a job because following that line would really throw off the perspective. So, again, click on that icon there to select
that line and press the Backspace or Delete key on the Mac to get rid of that line. And, of course, you can come in and adjust
the sliders to further enhance the effect. I think that in this case the Automatic Upright
does the better job. And actually what I’ll do is I’ll just
hold Alt / Option on the Mac + Reset, then hit the Automatic button, and that gives me
a much, much better perspective on my image. I can then press the OK button. And you can see the before and the after. And that’s it for this tutorial. I hope that you enjoyed it. Let me know in the comments below what type
of tutorial you would like to see next. Also, If this is your first time at the Photoshop
Training Channel, don’t forget to click on that subscribe button. And also, click on the notification bell to
get notified when I publish new tutorials. Thank you so much for watching and I will
talk to you again soon.
Articles, Blog
How To Create Comic Action Lines and Halftone Patterns in Photoshop Using Comic Kit
December 3, 2019
Welcome back to another very exciting tutorial here at the PhotoshopTrainingChannel.com. My name is Jesus Ramirez and you can find
me on Twitter @JRfromPTC. In this tutorial, I’m going to show you how
to create comic action lines and halftone patterns in Photoshop. For this tutorial,
we’re going to use a free script called Comic Kit. This add-on was created by Daichi Ito,
who works for Adobe as a User Experience Designer. He also created the Flame Generator and the
Tree Generator, which are now built into Photoshop. I’ve done tutorials for both plug-ins, which
you probably have seen. If not, look at the description below for the links to those tutorials.
If you want to keep up with Daichi and his work, you can follow him on his Behance page
Behance.net/daich, that is D-A-I-C-H. So, the first thing that you need to do for
this tutorial is install the Comic Kit add-on, which allows you to create highly customizable
Screen Patterns, Zoom Lines, and Speed Lines. You can download Comic Kit at this URL or
you can simply click on the link in the description of this video. You will need an Adobe ID to
install this add-on. After you log in, you will need to click on the free button that
will appear in this area. I’ve already installed the add-on, so my button, instead, reads “View
my add-ons.” As a side note, you may also want to download the Cloth Texture Generator,
which allows you to add realistic cloth textures to your designs and illustrations. I don’t
think Daichi coded this add-on, but it was created by someone else at Adobe. In any case,
it’s a great add-on, and one that you should definitely try. Once you’ve installed Comic
Kit, you should be able to follow along with this tutorial. We’re going to use this quick
drawing that I created specifically for this video, and we’re going to get to add some
dramatic Zoom Lines using Comic Kit. You can download this image from my website if you
want to follow along. Okay, let’s get started with the tutorial.
Now, before we continue, make sure that you have the script installed in your version
of Photoshop, that way you can follow along. So, I’m working with two files. I have a background
layer, which is this the white background and this character layer here. And I’m going
to have one more blank layer, and I’m going to put that blank layer in-between the character
and the background, and I’m just going to call this layer “action lines.” Then, I’m
going to click on the Pen Tool and I’m going to create a Path that’s going to help the
Script create the action lines. So the first point that I’m going to create will determine
the center of the action lines and the second point will determine the end. So I’m going
to click here to set the first point which is the center, and then, here, to create the
second point, which is the end. Now make sure that the path is selected. In
my case, it is. And, in case you don’t have your path selected, just click on the Path
Selection Tool, and click on the Path, and now, it’s selected. Then, go into Edit, Fill,
or you can also press Shift Backspace, which is what I will do next time I come in to the
Fill window. And under Contents, select Pattern, and then, check Script, and choose Speed Lines
from the drop down, and press OK. Photoshop is going to bring up the Speed Lines window
and you’re going to have a whole bunch of options, but first, make sure that you select
Default so that you and I are looking at the same thing. Then, I’m simply going to press
OK. We’re going to talk about these options in a moment. So, then, Photoshop automatically
creates those speed lines. Now, you can see how they work. The first point that we set
created the center of the speed lines, and the last point created the end. The lines
are very thin towards the center and very big in the outside. And you can also see that
we set the point, here, and you can sort of imagine this point revolving around this center
point, which is why we don’t have any lines out in the outside. So, I’m simply going to
Undo the last step, so I’m going to go to Edit, Step Backward, and next time, I’ll just
press Ctrl Alt Z, Command Option Z on the Mac, to do multiple Undo’s. And what I’m going
to do now is I’m going to extend this line, so that the speed lines cover the entire canvass
next time I run the script. So, I’m going to select the Direct Selection
Tool, select that point, click and drag it out. Then, I’m going to press Shift Backspace
to bring up the Fill window, and make sure that I have Speed Lines selected under Script
and press OK. Now if I press OK one more time, you’ll see that this time, Photoshop will
cover the entire canvass with the speed lines here at the bottom. And, actually, it looks
like I need to expand that point even further, which I will do, so I’m going to Zoom Out.
Press A on the keyboard to select the Direct Selection Tool, and I’m, actually, going to
Undo the action lines, so I’m going to press Ctrl Alt Z, Command Option Z on the Mac, then
I’m going to click and drag this point out even further. I’m going to press Shift Backspace,
and, now, we’re going to talk about the options in the Speed Lines window. So, the first thing
you need to worry about is the Line Type. Right now, were looking at Zoom. It creates
the Zooming effect. We can, also, create a Speed Effect, which is going to create this
effect here. We’re going to talk about this more in a moment, but for now, we’re going
to focus on Zoom. You, also, have different line widths, and I’m just going to select
just a few here just so you can see how they work. This one is a reverse line width, so
in this particular case, the thicker part of the line is in the inside, and the thinner
part is in the outside. You also have Waves, which create these waves
emitting from the center, and you have Even, which creates even lines, so the thickness
is the same, both in the end and in the beginning. Now, I didn’t go through all of them, but
you can feel free to select the different ones and you’ll see how they work. They’re
very self-explanatory. Now, the reason I chose Even is so that we can see how these options
work. The first thing that I’m going to do is I’m going to decrease the Line Width, and
this will do exactly what you would expect. It decreases the width of the lines that are
created in the Speed Line effect, and I will, actually, reduce it even more; just to .1
just so we can barely see the lines. The next option is the Randomness of the Width, so
you’ll notice that some lines are thicker than others, that’s because we have the randomness
set here. So, I can just bring that back down to zero and all the lines will be the same
width. And, actually, let me increase the width a little bit so we can actually see
the lines. The lines are way too thin, maybe, leave it at .1; okay, that’s a good number
for. Then, we have Spacing. Spacing is the spacing between each of the lines. So, right
now, it’s at 1. I can increase that, and you’ll see it now that we have fewer lines. Also,
this is the randomness of the spacing, so if we bump this up, some lines will be really
close together, and other lines will be really far apart. So, I’m just going to bring this
back down to zero, and, we have the Center Space. The Center Space is how much space we have
in the center circle. So, obviously, a low center space will give us no space here on
the end, and a high center space will create a white image. So, if you bring the Center
Space down, you’ll start to see some of the lines come back. So I’m just going to put
that right about here. Then we have the Randomness of the Center Space. Notice that some of these
lines go into the center more than others. If you set this to zero, we’ll have a perfect
circle. So, I hope that this gives you a good idea of what each of these sliders do. Now,
the Advance Tab has more options. We can set the color of the line, for example, red. Now,
I, probably, wouldn’t change the color here because when you create these lines in a transparent
layer, the color that you’re using will be solid, and then, you’ll have transparent pixels.
So, it’s very easy to give color to it later, so, for now, I’ll just leave this at black. And one of the other options here is the Transparency,
so if I bump this up, you’ll notice that these lines will have different levels of transparency,
which is why some of these lines have different shades of gray. And you have a Vibration Randomness.
This sort of helps you create, maybe, like a pencil sketch effect. So I’m going to go
back into the Basic Tab. Now, we’re going to talk about the Custom Presets. So, I’m
going to just show you a few other custom presets. This is a Speed Line Preset and there’s
several– this one’s called Speed Line Wind, and we also have some presets for Zoom Lines,
so here’s a Zoom Line Even 1, Zoom Line Explode, which is the one that I like. This is a very
classic comic book effect, and Zoom Line Radiation, and the one we’re going to use for this tutorial
Zoom Line Standard Bold number 2, and I’m just going to press OK. Now, the effect is pretty good but I have
one problem. I’m not really getting any Zoom Lines here on top, and I’d like to have some.
So what I’m going to do is I’m going to Undo this, click on this point using the Direct
Selection Tool. Direct that towards the center of his body, maybe, this point here, and run
that effect again. Shift Backspace, and this time, I’m going to make a few changes. I’m
going to increase the width of the lines, maybe, a little bit more, and I’m, also, going
to decrease the Center Space, just a little bit, and increase the Center Space Randomness,
and I’ll press OK. And that looks pretty good. So now I have my character. I have the action
lines. Notice that it’s in a layer with transparency. So that means that I can double click on it,
and I can apply a Color Overlay, for example, so maybe I can select red as the color, or
any other color that I like. I can, also, apply Gradient, for example, so, maybe, select
something that’s a little more noticeable, so, maybe, something like this; you’re going
to really see the gradient there. In this case, I’m just going to not add a color to
it or anything like that. I’m just going to cancel this. And this is the final effect.
I’m going to create a new layer. What I’m going to do is I’m just going to delete this
path, so I’m going to select and click on the Delete key and delete it, and I’m going
to create another path, and this time, the path is going to go across the entire image,
like so. And, what I’m going to do now is I’m just
going to create some Speed Lines. I’m going to hold Shift Backspace and bring up the Fill
window, press OK, and I’m just going to go into Presets, and select Speed Lines Even
number 1, and I can press OK, and, now, my character has some Speed Lines, so you can
sort of see that he’s moving a little bit. And I can take advantage of Photoshop features,
for example, a Layer Mask, and I can come in here, and use the Lasso Tool, and I sort
of bit into this line here, so let me hold Alt, Option on the Mac, and Deselect that.
And I can fill that with black; Ctrl Backspace, Command Backspace on the Mac, to fill with
black on the Layer Mask, so it hides those lines there. Then, I can select these lines
here; fill with black, again, Ctrl Backspace, Command Backspace on the Mac, and I can come
in and hide these lines, here. And you sort of get the idea of what I’m doing. I’m hiding
the lines that I don’t need in order to get this effect. Now, for the rest of the lines,
I’m just going to make the selection with the Marquee Tool, and fill it with black,
fill with black, here, and fill with black there. Now we have some Speed Lines that helps
settle the effect that my character is moving through space over to the right. At this point,
if you want, you can come in and delete that path. But this is not the effect that I wanted
to go for in this image, so I’m just going to go ahead and delete this layer, and enable
the Actions Line, which is what I really wanted. Now that I’m looking at it, I see this thick
line here. If you get something like this that you’re unhappy with, just use something
like a Polygonal Lasso Tool and just paint in something that looks like a triangle, like
so, and fill that with black. This time, black is my foreground color, so I’m going to hold
Alt Backspace, Option Backspace on the Mac; Ctrl D, Command D, to Deselect. I want to create a new layer, and now I’m
going to talk about the Halftone Patterns that you can create. So, I’m going to go into
Edit, Fill. This time I’m going to select Green Pattern, and then, press OK. And this
is going to bring up the Screen Pattern window this one here. And under Presets, I’m going
to go into Default, that way we’re all looking at the same thing. And, as you can see, you
can create a halftone pattern. So this is the Pattern Scale, so notice as I drag this
over, the scale is going to shift. Now, this slider controls the left side. So, notice
how if I bring this up here, this is dark, the pattern scale 2 controls the right side.
So, look at the difference. See that change there? So you can make adjustments to your
patterns here. This one is how many dots you see. So, for example, if I drag this all the
way to the left, you’ll only see one, and the further I drag it to the right, you’ll
start seeing more, and you can just keep making adjustments to these sliders to see how they
work. Now, the one thing on the Advanced Tab that I will talk about is the Pattern Type,
for example. We have Circle. You have Squares — More
like diamonds, really– Stars, Leaves, Hearts, and I’m not going to go through all of them
but you get the idea, so I’m just going to set mine to Circle and I’m going to go back
to the Basic Tab, and talk about the different custom presets. And, again, I’m just going
to click on a few slots one. That’s another one there; another one there. And, as you
can see, there’s a whole bunch of different ones that you can do that you can use for
a lot of different things. In this case, I’m just going to stick with the Default Pattern,
and I’m just going to press OK. And Photoshop goes in and fills in the halftone pattern.
Again, the only pixels that are opaque are the black ones. There’s no real white; the
white is the background. you can double click on this layer and just, as with the other
layer, you can click on Color Overlay and set it to red or whatever other color that
you want to color your halftones. And that’s it for this tutorial. I hope that
you enjoyed it and that you learned something new. If you have any comments or questions,
leave them down below. If you enjoyed the tutorial, don’t forget to click that “Like”
button and share this video with a friend. If you haven’t already, subscribe to the Photoshop
Training Channel now. Thank you for watching and I’ll talk to you again, soon.
Welcome back to another very exciting tutorial
here at the PhotoshopTrainingChannel.com. My name is Jesus Ramirez and you can find
me on Instagram @JRfromPTC. In this video, I’m going to show you how you
can create Brush Presets by using elements from photographs. We’ll start with this image
of clouds in the sky, and we’ll select this cloud here to create a brush. That brush will
help us simulate the effect of fog or smoke. Okay, let’s get started. We’re going to use
this image here that contains clouds. If you want to follow along, you can download this
image from my website. There is a link to it right below in the description. So, the
first thing that we need to do is look at the element that we’re going to use to create
our brush. And I’m really liking this cloud right here, so I’m going to go ahead and select
that by clicking on the Lasso Tool, and just make a selection around that cloud, like so.
Then, I’m going to press Ctrl C, that’s Command C on the Mac, to Copy, and I’m going to put
this in a new document. So I’m going to File, New, then press OK. Then, press Ctrl V, Command
V on the Mac, to Paste. Now we’re going to use the Channels panel to extract the cloud
from the background. So I already know that I want the cloud, of course, so that’s going
to be in white and the cloud is already white, and everything else needs to be black. So what I’m going to do to help me out a little
bit is I’m just going to create a new black solid, click and drag that to the bottom,
then go into the Channels panel, and now we can work with the channels. Look for the channel
that’s got the most contrast between the clouds and the sky. In this case, it’s going to be
the red channel. I’m going to click and drag that channel over to the New Channel icon
to duplicate it and in the red copy, we’re going to make some adjustments. I’m going
to go into Image, Adjustments, Levels, and I’m going to use these sliders to remove anything
that is part of the sky and just keep the clouds. Then I’m going to press OK. I’m going to press Ctrl, Command, and click
on the Channel thumbnail, which is going to load the bright pixels, in this case, the
clouds. Then, I’m going to go back to the Layers panel. I’m going to create a new layer
and I’m going to fill the new layer with black. Black is our foreground color, so I’m going
to hold Alt and Backspace, that’s Option and Backspace on the Mac. With the selection still
active, I’m just going to go into Image and Crop, then, I’m going to go into Edit, Define
Brush Preset and I can call this brush whatever I like, so I’m just going to call it clouds,
and press OK. Now, I’m going to press B on the keyboard
to go into my Brush Tool, and notice that, automatically, Photoshop selects that brush
that we’ve just created. I’m going to go and work on this document that I had created just
before we started this; simply, a document with a black background and an empty layer.
If I paint in with white using the brush tool and the Brush Preset we just created, we get
this result. Obviously, that doesn’t look like clouds, but we can work with the Brush
panel by clicking on this icon here and making some adjustments. First, we’re going to create
on Shape Dynamics and we’re going to adjust the Size Jitter. This randomizes the size
of the brush as we paint. We’re also going to adjust the Angle Jitter, so the angle is
different as we paint, like so. Then we’re going to add a little bit of scattering.
So just separate it just a little bit. And I’m going to undo those paint strokes just
so we can have a little more room to continue painting. Then I’m going to click on Transfer
and adjust the Opacity Jitter and use pen pressure to control the jitter. Now, if you
don’t have a Wacom Tablet, that’s okay, just set it to Normal, but you won’t have the advantage
of painting lightly and just getting very faint clouds, or if you push hard on the tablet
and paint, you’ll get those brighter clouds. This is looking pretty good. It’s already
looking a lot like clouds and smoke, or smog, which is what we’re going for. So that’s how
you would create the brush. Now you can, obviously, make more changes
if you wanted to adjust the brush by adjusting the Size Jitter or any of the other controls,
but I think these are the ones you’re going to find most useful. I’m also going to increase
the Flow Jitter just a little bit as well, and I think that will give us a much nicer
result. Yeah, and I think it does. Notice how it looks more 3-dimensional now than the
one we did here earlier, and I think this is looking pretty good. Now I’m going to show
you how to apply it to an image. In this case it’s a composite. This is something that I
did just for fun. You probably saw it in my Behance account. Behance.net/JRfromPTC. I
actually have an animated gif that shows how this was created. But anyway, you can sort
of see some mist and fog here on the beach and in the water here next to the boat. So
that was created using a similar brush to what I just showed you how to create. So, again, just to show you, I can start painting
lightly here and add just a little more fog into this scene. And if I push harder, the
opacity increases, but I don’t think I need to do that in this case. I can sort of build
on it and that looks a little more realistic. So this is what we had before and this is
after. Now here’s one little trick. If you’re painting with a brush like this using white,
but you want the fog to take a specific color so it fits better within the scene, you can
create a new Hue and Saturation Adjustment Layer. Clip it by clicking on this icon here
or pressing Ctrl Alt G, Command Option G on the Mac, and clicking on Colorize and selecting
the color that you want to use, in this case, maybe a blue color. Increase the Saturation
and Decrease the Brightness. Notice how, now, that fog has color. So, I’ll choose a different
color just so you can see an orange color. And a color like this will be very useful
if you’re trying to simulate a dusk cloud or something like that. And as you can see,
it’s very easy to create these brushes. All you need to do is find the right element from
your photograph, select it, mask it out, and define it as a Brush Preset. And that’s it for this tutorial. I hope that
you enjoyed it and that you learned something new. If you have any comments or questions,
leave them down below. If you enjoyed the tutorial, don’t forget to click that Like
button and share this video with a friend. If you haven’t already, subscribe to the Photoshop
Training Channel now. Thank you for watching and I’ll talk to you again soon.
Articles, Blog
How to Create SNOW in Photoshop – Make REALISTIC Snow – Photoshop Tutorial
November 29, 2019
In this video, I’m going to show you how to
create realistic snow in Photoshop. Hey, everybody. Welcome back to another very exciting tutorial
here at the photoshoptrainingchannel.com. My name is Jesús Ramirez, and you can find
me on Instagram @JRfromPTC. In this video, I’m going to show you how to
create realistic snow in Photoshop. This is going to be a two-part tutorial. I’m first going to show you how to add snow
to a portrait using a stock image. Then I’m going to show you how to create snow
by using just a few simple filters in Photoshop. Okay, let’s get started with the tutorial. We’re going to work with this image here. This is a portrait from Adobe Stock. If you want to follow along, you can use any
image that you like, or you’re welcome to download the free, watermarked version of
this image. I have a link to it down in the description. In this video, I’m going to show you two ways
of adding snow to an image. In the first method, we’re going to use an
actual photo of snow that we’re going to apply to this image, and in the second method, I’m
going to show you how to create snow from scratch. I’m going to open up my Creative Cloud library,
and there’s actually a photo of falling snow that I’ve downloaded, so I’m going to click
and drag that into my portrait, and you can find overlays of snow at Adobe Stock or many
other different websites. I want to hold Shift and Alt, click and drag
on the corner handle, and make that larger so that it fills the image. Then I can go into the blending modes and
select “Screen.” Screen hides dark pixels and reveals bright
pixels. In this case, we’re going to hide the black
background, and now we have an overlay of snow right on top of our image, and I can
click and drag and then place it accordingly. You can do the same thing with any overlay
of snow as long as, of course, the background is black. That was the first technique. We used an overlay to apply the snow to our
photo. What I’m going to do now is show you how to
create snow from scratch. This technique will use filters in Photoshop
to replicate the effect of snow falling. The filters that we’re going to use are in
older versions of Photoshop as well, so if you’re following in CS6 or older, you should
still be able to follow along without any problems. However, at the end of the tutorial, I’m going
to show one feature that it’s only for Adobe Photoshop CC, but that is just an option in
case that you want to use one of the new tools to help us create the snow falling effect. Okay, so now let’s work on the second technique. I’m going to click and drag and delete this
layer, and now I’m going to show you how to create snow from scratch. The first thing that I’m going to do is create
a new blank layer, and I’m just going to call it “Snow.” Then I’m going to fill this layer with white. White is currently our foreground color. To fill with the foreground color, press Alt,
and Backspace. That’s Option-Delete on the Mac. Then I’m going to go into “Filter,” “Noise,”
“Add Noise.” You can just crank that up all the way, to
400%, and press “OK.” Then you can go into “Filter,” “Blur,” “Gaussian
Blur,” and you can add about three pixels of blur, and press “OK.” Then you can go into “Image,” “Adjustments,”
“Threshold,” and you can use this slider to adjust how these specs look. You will want to have roughly the same amount
of specks that I have here, and then press “OK.” This is going to be the snow that’s falling
down, and we pretty much have what we want. The only problem is that we want the opposite. We want the inverse. We want the background to be black and the
foreground to be white. We can press Control-I, Command-I on the Mac,
to invert the colors, in this case just black and white, so now the background is black,
and the foreground is white. I’m going to press Control-J, Command-J, to
duplicate this layer, and I’m just going to rename it and call it “CC,” because the method
that I’m showing you to create the snow works for older versions of Photoshop, but there
is one thing I want to show you that works only with Photoshop CC. I’m going to leave that later, till the end. If you’re on an older version of Photoshop,
you can follow along, and then, at the very end, I’ll show one thing that you can do with
the newer versions of Photoshop. We’re going to work with this “Snow” layer. I’m going to go into “Filter,” “Blur,” “Motion
Blur,” and this is the blur that’s going to make it seem as if the snow’s moving or falling. You can select the angle that you like. In this case, an angle of about maybe negative
50 will work, and I can increase the distance. Don’t go too far, just because your streaks
will look too long, and they’ll look more like rain than snow. Make sure that you still get that snowflake
type of shape, but you also see the motion blur. Something like this, maybe 11 pixels in this
case, and press “OK.” Now we can do what we did earlier, which is
changing the blending mode to Screen, which will, once again, hide black pixels and reveal
bright pixels. This is looking okay, but we have a lot more
work to do. What I’m going to do now is press Control-J,
Command-J on the Mac, and on this “Snow copy” layer, what I’m going to do is, I’m going
to enlarge that. That’s why I’m zooming out. I’m zooming out by holding Alt and scrolling
down on the mouse wheel, that is Option on the Mac, as I scroll down the mouse wheel. Then I’m going to press Control-T, Command-T,
to transform, and I’m going to hold Shift and Alt and make that layer a lot larger. Then I’m going to hit Enter, Return on the
Mac, and zoom back in. Notice now that we have more depth on this
image. We have snowflakes that are near her and closer
to us, so we’re creating that illusion of depth by creating different layers of snow. I can rename this “Snow” layer to “Snow near,”
because it’s near us, and then this regular snow, it’s closer to her, so it’s more in
focus. Then there’s probably going to be snow behind
her, that it’s going to be closer to those trees and those areas behind her. But before we create that, what I’m going
to do is, I’m going to select the “Snow near,” layer and press Control-T, Command-T, to transform. Notice that we can’t see the corner handles
because they’re way, way out here, so here’s a trick for you. When you press Control-T, Command-T, to transform
and you can’t see the corner handles, you can press Control-0, Command-0 on the Mac,
and it zooms out so that you can see the actual handles. Now I can just rotate this, so it has just
slightly different angle than the snow that’s near her because not all the snow is going
to be going at the same angle. The angle’s going to change. I’m going to zoom back in, and I’m going to
select the original snow layer that we created, and actually, I’m going to disable the “Snow
near” layer, just so it’s easier to see. Then I’m going to press Control-J, Command-J
on the Mac, and I’m going to click and drag this one down, and I’ll call it “Snow far,”
and I’m going to press Control-T, Command-T, to transform, hold Shift, and scale it down
about that big. I’m going to hide this layer as well. Then I’m going to hold Alt, Option on the
Mac, with the Move tool selected and click and drag, and it duplicates that layer. I’m going to duplicate that layer three times. There’s a seam going through here that we’re
going to fix in a moment. I’m going to select that layer, “Snow far
copy” number 3, hold Shift and select the “Snow far” layer that’s at the bottom. Then press Control-E, Command-E on the Mac,
to merge those layers into one layer. Then I can worry about the seam, and I’m simply
going to fix this seam by using the Spot Healing Brush tool. You could also use the Clone Stamp tool, or
simply paint with black. It’s up to you. I think that the Spot Healing Brush Tool is
the easiest method since I can just come in and just paint away those seams. You don’t have to be precise at all. It’s hardly going to be noticeable once we
change the blending mode back to Screen. What I’m going to do now is zoom in, just
so that we could see these snowflakes a little bit better. I’m going to go into “Filter,” “Blur,” “Gaussian
Blur,” and we’re going to blur them to try to match the depth of field. If this were a real photo, those snowflakes
that were behind her wouldn’t be as sharp as the ones that are closer to her, so I’m
just trying to make those blurry. Then I’m going to press “OK,” and I’m going
to fit the image to screen. Then I’m going to disable this layer, and
I’m going to make a selection around her. I’m going to use the Quick Selection tool
for that, so I’m just going to quickly click and drag and make a selection around her. I’m going to hold Alt, Option on the Mac,
and click and drag on areas that I want to deselect, like right in between her arms. Once again, you don’t have to be very precise
for this. Once you have a selection that you’re happy
with, you can go into the “Snow far” layer, which is this one, and I’ll just rename it,
just so it reads “Snow far.” “Snow far,” and hold Alt, Option on the Mac,
and click on the Layer Mask icon. That is going to create a layer mask that
subtracts from what you have selected. That means that on this snow layer, the snow
that is furthest away from us is not going to appear in front. That makes things look more realistic. Now, if I enable the other layers that we’ve
been working with, we start getting a much more realistic image. At this point, you can decide to duplicate
the original snow layer by pressing Control-J, Command-J on the Mac, and I’m going to zoom
out a bit. Pressing Control-T, Command-T, to transform,
and I’m going to scale it up just a little bit and rotate it just to add more snow. I’m going to click and select the “Snow near”
layer. Then I’m going to hold Shift and click on
the “Snow far” layer and press Control-G to put all those layers into a group. That is how you would create snow from scratch. Now, we’re going to finish up the tutorial
by talking about one feature that’s available in newer versions of Photoshop so you can
take advantage of that. I’m going to select the “Snow CC” layer, and
I’m going to double-click on the Hand tool to fit it to screen. Then, I’m going to go into “Filter,” “Blur
Gallery,” and select “Path Blur,” and this is going to allow us to create a blur based
on a path. Now, you can click and drag on these points,
and you can see how we created that same motion blur effect, but the advantage of using this
is that we can create new points on that path and click and drag, and notice, now, how we
have a curve on that blur. I can click and drag this one down like so,
and it creates that effect there. I’m just going to adjust these points to make
it seem more like snow falling. It’s not going straight down. It actually has a curve, and that’s going
to help it look more realistic. The speed is too high, so I’m going to bring
that down to maybe right about here, and then press “OK.” Notice now how the snow is not going straight
down. It’s going in different angles, and that’s
exactly what we want to make it look more realistic. Then I can change the blending mode to Screen,
and what I’m going to do now is disable the original “Snow” layer, and I’m going to drag
that one in there. You could use either/or, or both, whatever
you think looks best. That’s it for this tutorial. Let me know in the comments down below what
you thought about this technique. If you decide to create something using this
tutorial, don’t forget to share it on Instagram with the hashtag #ptcvids. Also, if this is your first time at The Photoshop
Training Channel, don’t forget to click on that Subscribe button. Thank you so much for watching, and I will
talk to you again soon.
[Please select the language of CC subtitles] Hello illustrator ETAMA. Today I will draw Ekko from League of Legends. The whole character of True Damage was cool I think Ekko’s style was the most impressive. First, simply specify the task area. Before completing this picture, I would like to proceed after expressing the impression of the person to some extent. This is because it is difficult to imagine the impression that this picture is drawn to the end if there is no facial expression of the character. The bright part was processed by Overlay function and Color Dodge. And the side where Ekko and the jumper color of the profile were separated, and the bag string area separated each layer. If you have a material that has a different attribute, such as a fastener, you can draw it separately. Similarly, since the beginning of the picture, the hair also separated the layer. Plan to avoid bound objects as much as possible. You can create a separate layer for each object you want to draw, The reason I draw this is because of the simple reason why there are so many layers that I can’t manage well. It looks like the area has already been placed to some extent, so it will paint the wrinkles on the coat. I proceed with the picture according to the pose I originally thought, but I am trying to correct the size and silhouette as needed. Ekko’s costume does not stick to the body, so it draws in consideration of volume The chain is separated into layers. So I drew the pants below first. Ekko’s outfits have a slightly different color The point is to express the color change well. The food pattern is also colored in different areas. I want both Ekko’s two color lights to show through I painted the lighting color in advance. Proceed with painting so that the material and thickness of the mantle can be expressed better. There are subtle differences between the picture and the images and images where True Damage was actually released. I most reflected Ekko’s appearance in the game. Pay attention to the color selection so that the point color matches the surrounding clothes. Adjust the shape around the face. The most important part of my progress with Fan Art is the character Even if there is some difference from the original design structurally I did some deformation for the feeling that the silhouette gives. Since the area is roughly arranged, Ekko’s face is expressed again. In the case of patterns on the face, the area was selected first, and the color was changed with the Color property and Overlay. I paints while imagining facial expressions and face shapes. When drawing a picture, it seems to be the smoothest that the first set value continues until the picture is completed. There is certainly peace of mind that a stable progression can bring. However, sometimes it is necessary to look back at the process you have planned and try to make a change. So, even if the image is going as expected, it is good to check if this direction is correct in your head once. The zippers drew one by one, like Ekko’s clothes, so as not to be too new or bulky. Apply light colors carefully so that the zipper does not rise too much from the clothes. The bag’s string was thick, so the shape was adjusted while considering an appropriate size. In Ekko’s costume, clothes with patterns overlap with clothes that do not. And it also includes a little wild feeling Try to express the feeling of getting older or a little. I arranges outline while adding pattern of clothes. Let’s move on to describe the hair before merging the layers. The true image of True Damage doesn’t have a precise Ekko hairstyle I adjusted it so that I didn’t overdo it while checking the feeling by drawing directly. Continue with one hand and adjust the outline line. The hairstyle has a unique shape and I wanted to express each lump well. Such hair draws a simple and collective thickness depending on the work style, You can draw various thicknesses like me, so please refer to it. Organize chain and fastener lines. As you can see, this picture mainly uses one kind of soft brush. When organizing and depicting shapes, it is recommended that you adjust the brush’s Hardness value from time to time. Otherwise, the image can be too blurry and it is difficult to express a sharp alert. Adjust the outline line while putting a pattern on the pants. The more the picture is completed, the better it is to check the area where the surrounding lighting is reflected. Now that Ekko has progressed to some extent, it’s time to apply the groundwork to the feeling I wanted to draw. I wanted to express the feeling of being scattered with paint behind Ekko. If you try League of Legends, you can see how well the True Damage logo design is done. I imagined the battle map of League of Legends. Personally, Sena and Ekko were released with my taste and my eyes were fun. It seems that the solo line is rather poor. The logo was conspicuous, so he chose the color so that it would be well placed with the Ekko color. The true damage Ekko released this time has been perfected everywhere, and the designs are all very attractive. Please check it out if you have time. The motion of True Damage Ekko has the production that Ekko’s alternation appears. So I drew the alternation together. When drawing sketches on different layers, be careful not to put the background color on the sketch. Eko has a lot of dynamic productions, so it draws while imagining the motion. Apply the color to a separate layer in consideration of the color to be reversed. The alternations are made in dark colors, so the reversed colors were adjusted appropriately. Write a comment that could describe True Damage Ekko. True Damage Ekko is in charge of Rap, so there are lots of Rejoinder and Rap comments in the actual game. Organize the parts that are not finished. If you have an iron lump like a chain, you can use a brush or draw using a texture instead of drawing directly like me. I like to work as a doodle no matter what I draw, so when I draw a picture, I mainly compose it to doodle a notebook. Draw and organize the buckle and wide band. It’s not too much for a casual look. Ekko staring at the front is almost complete. Next is the time to draw the profile Ekko. Although the coloring area was slightly different from the front Ekko, which was divided into Lasso tools, the result would be the same. The side of Ekko painted the yellow snow that was published in the True Damage MV. Cut a pixel shape for an image that disappears as it moves. When converting the color of the part where the area overlaps, copy and transform the layer of the part to be converted and arrange it. For the color change, after using Overlay and Color dodge, the Screen property was applied. Ekko’s headphones have a hologram, so they express the light in consideration. Since the picture is finished to some extent, it expresses the background paint. Let’s draw while imagining the feeling that paints are scattered or mixed. The profile will also be outlined and shaped. Create a separate layer and express the outline line as if it were painted. I arranges hairstyle color in a meticulous manner. Let’s express the basic shadow as much as possible even in a dark area. Arrange the colors that are highly saturated and those that are not so well mixed. I wanted to draw the profile of Ekko because it has a more prominent hairstyle. In consideration of the finished image, the skin was slightly matte. We will continue to make fine shapes. The Ekko pattern around the eyes again used the Color attribute and Overlay. It ’s a good idea to set the skin tone before the pattern comes in, It was a little easier to express the finished image after adjusting the skin tone after the colored pattern entered. As the picture is nearing completion, we will continue to arrange and organize the details. If you insert the comment you wanted to put in, it is complete. In this video, I tried working on True Damage Ekko in a fun way, but how were you guys? I hope the video will be useful for your creative activities. (Please feel free to comment on the points you care about at any time.) Thank you for watching my video today. See you in the next video. ( WOAH! )
In this quick tutorial we count the ten most
useful Photoshop keyboard shortcuts. Number ten. With the move tool selected, hold
down shift and press the plus or minus keys to cycle through layer blending modes. This
gives you a lot more freedom to experiment. Perhaps you’ll discover a blending mode you
hadn’t considered using before. Number nine. Hold down the Alt or Option key
while clicking the new mask button, to create an inverted mask. If you’re into compositing
you’ll be using masks all the time. And at least half the time, you’ll want to start
with a black mask, instead of a white one. This is a huge timesaver. Number eight. Hold down the Alt or Option
key, while hovering over the boundary between two layers, and click, to clip the layer above
to the one below it. If you use adjustment layers a lot you’ll be clipping layers all
the time. And this simple shortcut will really speed up your workflow. Number seven. Press Control or Command T to
immediately begin transforming a layer. With this shortcut you can resize and rotate your
layers in a blink of an eye. Great whenever you need to position lots of items onto your
canvas. Number six. Use the bracket keys to resize
your brushes quickly. This one is pretty much essential. To work quickly you can’t keep
constantly going back to the brush tab to make changes. Number five. Hold down the Control or Command
key while pressing the plus or minus keys to zoom in or out quickly. This is a shortcut
you’ll definitely want to know about. Having to repeatedly use the menus, or hand tool,
to zoom is a sure way to break up your workflow. Number four. Toggle the Q letter key to preview
soft selections. Photoshop’s marquee tool is terrible at showing how soft our selection
edges are. Fortunately we have this shortcut, so we can see them properly. Number three. Press Control or Command J to
duplicate a layer. Duplicating layers is something most of us need to do all the time. So it’s
good to know this handy shortcut. Number two. Hold Shift and Control or Command
F to fade a brush stroke. Sometimes it can get frustrating trying to find the right brush
opacity. With this tool we can tweak the opacity of our brush strokes after we do them. Number one. Hold down the Alt or Option key
and click, while using the brush tool, to sample colors directly from your canvas. This
allows you to use the canvas itself as a quick mixing palette for colors. This is really
useful, especially if you’re a freehand artist or retoucher. That’s it for this countdown. If you’ve got
any more useful keyboard shortcuts, please let us know in the comments section below.
And don’t forget to subscribe and hit that like button. And I’ll see you next time.
Articles, Blog
Make iPhone Text imessage Effect Tutorial for Adobe After Effects template CC
November 22, 2019
– [Instructor] Hey guys,
welcome back to Flat Pack FX and in today’s tutorial we’re
going to be making this. (upbeat music) So stick around, you’re
watching Flat Pack FX. (upbeat music) Alright, so lets get started. So, on today’s tutorial I’m
going to be showing you how to make this iPhone text message effect. Before we get started,
you’re going to need to download a file off my Google Drive. Now, I’ve put the link
in the description below. And all you need to do is
download that text bubble image, and then we can get started. Alright, so once you’ve downloaded
that you can right click, import file, and just navigate
to wherever you saved it. And then, just hit open. Next, you’re going to want to right click, new composition, I’m going to call this one text msg, set this one to be 1080 25, and set the duration
to be about 10 seconds, and then hit OK. Alright, next we’re going to
grab our text bubble layer, and just drag it straight
into that composition. Now, you’ll see by the image
I’ve already laid out the text bubbles of where they roughly need to be. So, next we’re going to
come down to the layer and I’m going to navigate
down to the opacity and I’m just going to
drop this down to 85. Now that will come into effect
later when you drop this layer over your footage. It’ll make the bubbles
slightly transparent. Just to help sell the effect. Alright, so next we need to
separate the bubbles that we actually want to use. So, for my first layer I’m
gonna take this top bubble. So, I’m going to hit G on the keyboard, or switch to my pen tool. And I’m just gonna roughly
mask out this top bubble. Next, we’re gonna wanna
actually animate that bubble. So, we want it to actually pop in. Like, we’ve seen in the example. So the way we do this, is firstly we need to
move the anchor point. So, I’m going to hit Y on the keyboard, and I’m gonna drag this anchor point, so it lines up roughly in the
corner of the text bubble. Then I’m gonna go down
to my transform menu, and I’m going to create a
key frame for the scale. I’m gonna move along slightly, and I’m gonna create another key frame. I’m gonna go along slightly
again, create another one. And a little bit further on I’m gonna create another
one there as well. Now, I’m just going to come
back to this middle one here. And I’m going to scale
this up to about 105. And I’m going to come back
to my first key frame, and I’m going to make this zero. Next, I’m going to right
click on this middle one here, I’m gonna go down to key frame assist, and I’m gonna create an easy ease. That’s just going to help soften that out. Now, if I just played through that, you can see we’ve already got the basic animation of the text bubble. So, that looks pretty good, it’s go that little bounce on the end. Alright, so I’m happy with that. Next, I’m gonna right click
and I’m gonna create new text. And I’m going to type out J.Peterson//3:05 PM Now, this is what is gonna appear above each of the text bubbles. So, this you can change
to whatever initial and surname you want. And the time, again, you can change this to whatever you want as well. Now, once you’ve actually typed that out, you’re gonna want to come
over to your character menu, if your character menu is
not there go up to window, and then down to character, and you’re gonna want to
make this Helvetica Neue. And you’re gonna want to make this thin. And I’m just going to scale this down, and I’m just going to position this, just above the text bubble. Slightly justified in from the right. Next, I’m gonna right click new text. And this is going to be
your actual text message. So I’ve just written, “Hey, finished early, lets meet up.” And for the text message,
I’m gonna make this light. So it makes it slightly
bolder than the thin. And I’m just gonna position
this in the speech bubble. I’m also just gonna scale this
up slightly, just to fill. And I’m just gonna reposition this here. Next, with my text layer selected, I’m going to come up
to effects and presets and I’m simply gonna write type. And this is what we want
here, under animate in, we want this typewriter and
I’m just gonna drag this on. Now, if we select that layer
and hit U on the keyboard, you can see its created
these two key frames. So, that’s when the animation starts and when the animation ends. I’m just going to drag this end point in, just to speed it up. And you can see, that’s
how fast you want it to be. So, if you want it slower
or you want it faster, just drag it closer, or further away. Next, we’re just going to
time that text as it comes in. So, as the speech bubble comes up, I’m then just gonna drag
this start point, just in. As you can see we’ve, sort
of, timed right as it pops up. And we’re also gonna
grab our top layer and we’re gonna create a fade in for that one. So, I’m just gonna use my
drop down to go to transform, create a key frame for my opacity. Go along on the timeline, create. And I’m simply just gonna
drag those ones underneath. And just move them slightly
along on the timeline. So, this is what we
should end up with now. So, that’s pretty much it. That’s the basic effect. So, to do the other ones,
is all you need to do is, basically, just duplicate what you’ve got. So, I’m gonna take all of these layers, I’m gonna come up to edit
and then down to duplicate. And I’m simply just gonna
drag those ones underneath. And just move them slightly
along on the timeline. Now, obviously, the speech
bubbles the wrong way. So, what we’re actually gonna do is select that bubble
layer, go down to masks, and we’re just gonna delete the mask. Now, all I need to do is
just go to my pen tool, or G on the keyboard, and all
I need to do is just simply draw a mask around that bubble, as well. Next, we need to move the
anchor point for that layer. So, with my layer selected,
I’m gonna hit Y on the keyboard and we’re going to drag that anchor point down to this corner now. So, that’s gonna animate
in from that side now. And the last thing is just
to grab those two text layers and just move them down,
and reposition them. So, I’m just gonna change this text. So, now that one should
animate in as well. So, again, here you can
change the actual surname, ’cause obviously its
someone else responding. And that’s pretty much it. You can pretty much just
repeat this process, until you’ve typed out
your whole conversation. Now, a few things to know
as I’ve given you a few different sizes of text bubbles, here. But you can actually take these and resize them to what you need. I can actually rescale this, to make it bigger or smaller. The other thing you can do, is you can come up to effect, you can come down to generate, and you can come down to fill, and you can make this
whatever colour you want. So, on the iPhone they
have the green version, as well, so you can make this green. It’s that easy. So, you can easily change
the colours of these and do whatever you want. Now, once you’ve actually
finished your comp like this, and you’ve got your text message laid out, the last step, ’cause
all you need to do is create a new composition,
drag your footage in, position that how you want. And here, I’ve just added
a lens flare for effect, and then all you need to do is drag your text message layer over the top. Now, one last thing I’ve also done, is I’ve actually done a motion track, so that it sticks inside the frame. So, you can see its
actually stuck to the pole, as the camera actually moves up and down. Now, this just adds a
little bit of realism. And the way I’ve done
this is, quite simply, just done a motion track of that pole and then, I’ve just parented
this layer to that pole. Otherwise, you can just
overlay it over the top. It’s up to you. So, there you go guys. There’s a really easy way to
make this text message effect. Take care, thanks for watching guys. And remember Flat Pack FX is
the Flat Pack anyone can build.
(dry swishing noises) (trumpet fanfare)>>(electronic voice)
TipTut.>>Hello, everybody, and
welcome back to TipTut, and welcome back to the finale
of “Intro to Adobe Animate.” Wow, what a journey
we have been on today. Today, we’re just gonna
tidy up this animation, add a few glowy effects,
and things like that, and then we’re gonna
call it a day. So as you can see
at the moment, we’ve got our jump, he
kicks the ball in the air, and we’ve got some
powerful magicky stuff that comes out of his
feet when he jumps and when he kicks. So we’re just gonna add
another layer to this to basically illustrate
the point that, A, you don’t have to
do everything at once, you can go back and
do things on top, and in fact, it is
encouraged to do so because it allows you to get
a greater level of detail, and B, so that we can add
some cool glowing effects using specifically
motion clips as opposed
to graphics, and you’ll see what that means
in a minute when we get to that. So first of all, I’m just
gonna find the frame where our first bit of magic
starts, which is here, and I’ve selected a
slightly lighter blue to show that this is the way,
sort of, fire works. You know, the whiter the
fire is, the hotter it is. Gonna do that sort of
similar effect here with this power that’s
coming out of his feet. I’m just finding the right
brush thickness here. That’ll probably do– one
down from there, that’s nice. And I’m just gonna
do some really small and really intricate
details on this just so that there’s
a bit more variation to his sort of power blast,
if that makes sense. Now, this doesn’t need
to be too accurate because it’s quite small,
so there’s a thing where you can kind of just
go a bit freehand at this, making sure, of course, that
you’re doing all the lines in the right
directions. Zoom out a bit there so
we can see a bit easier. Here, for example,
you can tell where the power’s
sort of shooting out, and where it’s
emanating from. And we’re literally just
adding in a few extra lines as sort of ripples,
if that makes sense, offshoots of this power where
it’s burning up in the air. Now, again, this is all
open to interpretation. If you don’t like
this, don’t do it. You know,
simple. I happen to think
it adds a bit of intricacy to
the animation. Then again, I am just
drawing a stickman jumping into the air.
(chuckling) So you can kinda do
what you want, really. The reason I’m
doing a stickman is because I used to love
watching these things when I was a kid
on Newgrounds, and they’re actually what
got me into animation in the first place,
so I figured, “Hey, why not teach
you guys how to animate “with the thing that
got me into animating?” Seemed to
make sense. So apologies if this
doesn’t appeal to you, but these principles can
be applied to anywhere, to any style
of animation. Not necessarily this
episode so much ’cause we’re just talking
about visuals here for this specific thing,
but the previous episodes certainly can be applied
to any kind of animation– squash and stretch, and
working with frame-by-frame, and motion tweening,
and things like that. That all applies to
every style of animation you could possibly
think of. That’s always
good to know. That’s my brother
logging in. Now, he’s playing a bit
of “Cities: Skylines.” Good for you,
Dan, keep it up. I’m working away on a Sunday,
and he’s playing video games. (chuckling)
Wish I could do that. So just adding a few extra
lines of power to these shapes. Now, the key thing when
you’re doing stuff like this is thinking where the
force is emanating from. At this point, it’s
obviously from his foot, so all the lines
are gonna come in in a circle blowout
around that. So it’s just making sure that
if I was to do a line of power like this, for example,
it’d be quite jarring. It’s just making sure
that all our lines are roughly following the
same power emphasis point, the point
of origin. It doesn’t have to be
too accurate, of course, but it’s good
if it is. It just helps. Down the line,
there you go. That seems okay. So let’s just quickly
hide those guides ’cause you don’t actually
need them anymore. In fact, you might
as well delete them because we’re not gonna
do any more animation with the man’s body,
so we might as well just delete the “guides”
layer for now. Fill the screen. Give us a bit
more breathing room, and see what
that looks like. Bam– okay. So that just adds like
another level of detail, makes it feel a
bit less cartoony. You see the difference between
the big blob of the ball, and the quite intricate
detailing on the magic just emphasizes
it a lot more. Okay, so now then,
what we’re gonna do is I’m gonna show
you how to nest already drawn animation
into a graphic, specifically into
a “motion clip,” as they’re called. So what I’m gonna do is
grab all of the frames that I’ve just drawn,
possibly also the frames of the previous effects
as well, do you think? Is that a
good idea? Let’s just find out
what layer they’re on. On the layer below, and on this layer
as well, I believe. Yes, okay. Right then, let’s
do that then. So I’m gonna grab the frames
from all of these layers here, making sure that there is
something on the first frame. Okay, they can be as small as
you like, it doesn’t matter. Just making sure that
there is something on the first frame. So grab all of
these frames here, and I’m gonna right-click, and
choose “Copy Frames,” okay? Then, zooming out again so I’ve
got a bit of breathing room, I’m just gonna go up to Insert,
and choose “New Symbol.” We’re gonna choose
“Movie Clip.” I keep saying “motion clip”–
I’m sorry about that. If I’ve ever said “motion clip,”
I mean “movie clip.” It’s just I taught
myself ages ago that it was the wrong word,
and I keep doing it. So we’re gonna
make a movie clip, and this is a movie clip
as opposed to a graphic. Now, the eyes were a graphic
that we’ve made before, so that we can see them
blinking within the timeline. However, that does
limit the amount of effects that you
can apply to it. So if you wanted to
work using a graphic so you could see the
animation as it takes place within the timeline,
that’s fine, but then, if you wanted to
apply extra effects to it, you’d have to change
it to a movie clip, which would only then
run its internal timeline when you test the movie
with Control-Enter, or File Test,
anything like that. Otherwise, you won’t
see the animation. So what we’ll do is we’ll
make this as a graphic to start off with, and
we’ll just call it “magic.” Okay, and
we’ll hit “OK,” and that gives us a
little nested timeline where we’re going to
paste these frames. Okay, and now, you can
see why it was important we had something
on the first frame, ’cause if we drop back into
our first scene, like so– oops, sorry, not
into our first scene. Into our timeline here,
scene 5 for me because I’ve got all the other
tutorial assets in here as well, but for you, you’ll probably
only have one scene. If you drop back
into your scene, you just need to
add a new layer now, preferably underneath the
rest of your effects layers, with a keyframe
on the first place where your effects actually
comes into existence, okay? Then, if you go down
to your library, which, if you don’t have,
you can just go to Window and then Library, or Control-L as the
shortcut, to bring it up. And find the symbol
that we just made, okay, and then just drag
that out onto the timeline. Now, as you can see,
when we click this, the center is
way, way off because when we create
a new graphic or symbol from the stage, it creates
it at the size of the stage. So if we were to
position this correctly, that would be
sort of offset. It doesn’t matter,
it doesn’t do anything. It would only affect it
if you were to rotate, but even then, it only affects
the rotation of that frame, so it doesn’t
really matter. It’s just a little quirky
thing that Flash does. Now, if we played
this, for example, you could see now
we have a duplicate of our magic effect,
but it’s nested within its own timeline,
so we can squash, and stretch, and Alpha fade, and
things like that on this. Now, to get
this lined up, we want to keep it
as a graphic for now. So let’s just
zoom right in, okay, and we’ll line
up this first frame with the one
that’s already on. Now, it should
just snap, if you’ve got those sort
of settings applied, but if it doesn’t,
don’t worry too much. You can just do it sort
of– you can eyeball it, sort of pixel
by pixel. Now, if you wanted to be
extra careful about it, you could then go through and
delete these three layers. I’m gonna leave them in just
to see what it looks like. And the way to test it is
to just then play that, hence why we’re leaving
it as a graphic for now. Okay, so now, we can see
that it looks the same because it’s directly
underneath it. (chuckling)
Now, it is gonna loop because the graphic timeline
will loop continuously unless you
close it off. So you want to find
your last frame where there’s
no more magic, and then just hit F7 to
do a blank keyframe. That closes it off, and that
stops it from looping, okay? So now, we’ve got the internal
timeline of this segment here. If I were to
open it up… but I probably zoom in because
I can’t quite click it, like so, if I were to open this up,
you’ll see that these frames, the amount of frames,
which is 28, matches up perfectly with the
28 frames that we have here, and animates perfectly
along it, okay? So now, we know that
it’s matched up and it’s in the
right place. (laughing)
We can “re-visible” those other layers, and we
can change this instance of that graphic away
from being a graphic, and turn it into
a movie clip. Okay, so with that
little graphic selected, you can just go up to
the Properties of it. Now, you do have to have
the graphic selected, and not the layer–
that’s very important. Otherwise, you get a
different set of properties. So for example, you might have
to hide your layers above if you’ve kept them, and
then click your graphic. So you can see here, I’ve
got one set of properties. If I then went to “re-visible”
those layers up there, it turns back to the
layer properties. So that’s if you’re not
seeing the right thing, that’s probably
what you’ve done. So select your graphic,
and then simply change it to a movie clip,
and what this does is this gives you
a lot more control over different filters
that you can apply. For example, I can
now apply a filter which is a Blur filter,
maybe 2 pixels. I can apply a
second filter, which is a Glow,
which I’m gonna make a really
fluorescent blue. And I’m gonna make
this glow quite big, maybe 10 pixels
with a high quality. You can do a Knockout,
which basically removes everything apart
from the glow, and you can do
an Inner glow, which appears inside of whatever
it is that you’ve drawn. Could be useful– not in
this circumstance, however. And then, I’m probably
gonna add one more thing. Maybe we add a
little Adjust Color, and then just bring that
brightness up a bit, like so. Maybe 40, that
seems about right. Okay, 40, yeah,
that’s good. So now, we have
three effects here that we couldn’t have
applied if our movie clip was a graphic rather
than a movie clip, okay? So next, then,
all you want to do is just apply or “re-visible”
those layers on top, and you can see, now, that we
have a nice glowing effect underneath– let’s
drop out of that, just so you can
see that glow, and some hard
ones on top. Now, this does get,
unfortunately, a bit lost because now that it’s a movie
clip, you can’t see it to test. Okay, so the only way
to see it, test this, is to play or
test the movie. I’m just gonna
line up– remove some of
these excess frames so that we know we don’t have
to watch too much dead air when we’re looping, and we’re
just gonna test the film. Bam– that’s our test
one that I did before, and here’s the
one we made now. There you go– nice,
cool, glowing effect. There’s the test
one we did before. And there’s a nice
glowing effect, et cetera. So that basically closes off the
“Intro to Adobe Animate” series. We’ve gone through
frame-by-frame animation. We’ve gone through
motion tweening. We’ve gone through nesting
timelines in graphics. We’ve gone
through motion– uh, movie clips–
sorry, I did it again. We’ve gone through
applying filters. We’ve gone through
combination of frame-by-framing
and motion tweening. That should be enough to get
you started with Animate CC. I’m planning to do a sort
of intermediate series on this software, where we
take a look at cameras, we take a look at motion
paths, and things like that, and creating a bit more of
a complicated animation, maybe lifting
something from one of my previous
channel update videos, which I’ve made in
Flash, possibly. Who knows? But let me know if
that’s something you’d
be interested in. Let me know if you’ve
enjoyed this series, if there’s anything
you want me to change or do better next time,
anything like that, and hopefully,
I’ll see you then for “Intermediate
Adobe Animate.” Who knows?
(chuckling) Thanks for watching, guys, and
I’ll see you all next time. (trumpet fanfare)
>>(electronic voice)
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