Photoshop For Beginners Archives

How to Make Text Box Overlays for Photos in Photoshop

January 11, 2020

– [Instructor] Hello and
welcome to this Design Cuts video tutorial. Today we’re looking at
adding text boxes for text over images in Photoshop. The first effect we’re going
to create is using a quote. So I have a quote here
from Jack Kerouac. What I’ve done is
to highlight in bold the words that I
think are important. So I’m going to enter
this as separate objects. So the first one will be
“there was,” and then “nowhere” and then “to go but.” so let’s see how we’d do that. I’m going to select
the Type tool. I’m gonna click where I’m
going to start typing. I’m going to use all lowercase, so I’m just gonna
type “there was.” and then I’ll press escape because that finishes
that text object but leaves the Type tool intact, so I can just click and
add the next piece of type. Now to save us some time,
I’ve already done this. So here are all my type objects. Let’s just turn the
visibility on on all of them. So every second one of
these objects is a word that I want to highlight. So I’ll just select on
them in the last panel, control + click on
every second item. Now if you find that you get
a stray empty Type box here, just delete it because you
don’t want any strays in here. It’s a little bit too confusing. Now the font I’m going to use
here is called Lemon Tuesday and I’m going to beef that
up to about 500 points on this image. I’m going to leave the
rest as just Myriad Pro. I’m not too concerned about
the fonts that I’m using here. I’m more concerned about
showing you the effects. So now I’m going to select
absolutely everything, but before I do that, let’s
first of all move Jack Kerouac down a little bit, and I also
want to size that right down ’cause I don’t want
that to be big at all. So I’m gonna make it 120 points. But then we’ll select all
of these type objects, and up here, you can
start arranging them. So I’m going to use this one, which is Distribute
Vertical Centres, and that just aligns them
so there’s a nice space between each of these lines
and it’s an even spacing. I also want them to
align on the right here, so I’m just gonna click
here on Align Right, and then I can just
move them out of the way so that they’re
actually in the document a little bit better. Now I need to put
a comma in here. So I’m gonna add a comma, and
doing it at this late stage has meant that this letter E, you’ll see that the letter
E doesn’t actually move, and that’s good because the
E is going to be lined up with these other letters and the punctuation is
going to be slightly out. It can often look
better that way. I’m gonna add a star at the
end of the word “stars.” So I’m going to Brush tool. There are two star brushes here in the Legacy
Brushes Collection. So click the flyout panel
and click Legacy Brushes to add them. But you might want to just
add something that is relevant to the kind of quote
that you’re using. So I’ve got my Star
brush selected. I’m going to need
a new layer for it because you can’t
paint on text layers. So let’s just click
to add a new layer. White paint. Let’s see if we can see
our star, which I can’t. So I’m using the
closed square bracket just to size it up a little bit. And I’m going to click
twice in the same place to get a nice-sized star. Now the text box I want to use is just going to darken
this side of the image, but I don’t want it
to be really obvious. So let’s add a new layer. I’ll select the Selection tool. I’m gonna drag a selection
out over all of the text and I’m going the full
length of the image because that’s going to
help me make this peter out to nothing, and so you
won’t actually notice that it’s there. So I’m going to fill this
shape with a gradient and I want the gradient
based on black. So I’m making black
my foreground colour. When I click Gradients,
the second gradient in is a foreground to
transparent gradient. So we’re going from
black to transparent. The only thing you need
to be aware of is that if you use colour to
transparent gradients, then when they fill,
they fill with the colour and go across to transparency. If you were using
a regular gradient that didn’t have
any transparency, you could just say, “Okay.
Well, I’ve got this around “the wrong way, so
I’m just gonna drag “in the opposite direction.” Well, when you’ve
got transparency that has an additive
effect rather than totally replacing it. So I’m going to undo this,
and now I’m going to put in the gradient the
way I want it to be. So I’m going from
black on this side to transparent over
here, and when I do that, let’s just press control or
command + d to deselect it, you can see that you can’t
actually see the edge of that gradient;
it’s all petered out. So all I need to do is to move
my gradient-filled layer here down to the bottom of the image and now we can see the
next way more clearly. If this is too dark,
you can just back off on the opacity, but
that transparency on
the left-hand side of this shape is helping
the box to just blend in with the image, so we’re not
losing a lot of the image but we are improving
the readability of the type considerably by
having this box behind it. So that’s the first of
our text box effects, the text box that you
don’t actually see. Let’s have a look at something
completely different now. For this next text box,
I have a different quote, and quote is “I put instant
coffee in a microwave oven “and almost went back in time,”
and it’s by Stephen Wright. In this case, I’m gonna
take the entire quote. I’m gonna make it
inside a single box. So I’m going to copy it
out of my Word document. Let’s go to Photoshop. I’m going to the Type tool. I want to work with white,
so let’s just select white as my colour here. And this time, I’m
going to drag out a box into which my type
will be placed. So it’s just gonna
go in as a paragraph. So I’ll click in here and
press control or command + v to paste it in. Now I’ll go and
increase the size of it. So let’s just have a
look at the sort of size. I think about 300
will work here. Now with this type, I want to
highlight some of the words exactly as I did last time, but this time I’m just
going to use bold. I’m using Myriad Pro as
the font and that helps me because I’ve got a lot of
different styles in Myriad Pro. So I can use the bold effect,
which is built into this font. So I’m just going to
set these words to bold. So I like the words
“instant coffee.” I think “microwave”
is important. So I’m going to
select bold for this, and then I’m going to
select “back in time” because these are the words
that I think are important in this quote. If you want to do
an effect like this, it’s best to do
it with a typeface that comes with lots
of different styles so that you can select the style that matches things
really nicely. It’s better than
using say a fake bold. So this piece I want to be
aligned over to the right and I want it to
be much smaller. So I’m gonna set that
probably at about 120 and I think I’ll
just drop that down, so I’ll just press the enter
key before I get there. Now I can realign this type here by selecting inside
the box here, just clicking inside
the box somewhere. And now if I adjust
the size of the box, the type flows round. Now if you do that the other way and try and do it with
the selection tool, nasty things happen
to your type. So just be aware that you need
to go and get the Type tool. Click in here so that you’ve
got something positioned in here with the Type
tool and then you can just size your box to suit. So I want mine to be
pretty much like this. I think my font is not
quite large enough. Now I’ll just move
my box into position and I want it over
the top of the cup. It’s a little bit difficult to
see over the top of the cup, so let’s see how we
would solve that problem. I’ll go to the selection
tool and I’ll drag out a box. Now I’m gonna fill
this with a colour and place it underneath the type and it’s going to
help make the type just a little bit more legible. But before I do that, I want
to apply a narrow stroke using this. So what I’ll do is
create a new layer. I’m going to select a grey
colour, so let’s just go and select a sort
of neutral grey. Mine’s 165, 165, 165. That just tells me it’s grey. Now I’ll go to Edit
and then Stroke, and I’m going to put a
three-pixel-wide stroke in this colour
around this shape, and it’s gonna be on the inside
but it doesn’t matter much where it is. So I’ll just click OK. And so if I move away from here, you can see that’s what
I’ve got, this fine line. I’m just going to undo that. So now I’ll go to
Select and Modify and I’m going to contract this. And I want to contract this
something like 30 pixels. So I’ll just click OK. The selection is now
inside that line. So I’m gonna add a new layer
and I’m gonna fill this with my grey colour. So I’ll do alt + backspace,
option + delete on the Mac. So now I’ve got my grey boxes that are going to help
my type readability. So I’ll grab both of these and move them
underneath the type. And I’m going to adjust
down their opacity. So I’m going to bring
the opacity right down. So they’re only just there, but they are going
to make the type just a little bit brighter and they’re gonna help
its readability a bit. I’m not gonna do quite as
hefty an opacity change on the outer line as
I do on the inner one because I still want
to be able to see it. We can link these layers
by selecting both of them, right-click and
choose Link Layers. And that means if you
need to move these boxes, you can do so. So I’ve got these
selected, they’re linked, and so they’re going
to travel together. So if you need to position
them slightly differently, they will go as a team
’cause you don’t want them to split apart because they’re
integral to each other. So there is a nice simple
text box for placing over the top of an image
with some text in it. For the final example,
we’re going to do a little bit of work with
this particular image. I want to crop it first
to a square shape. So I’ve got a
one-to-one crop here. So I’m just going to crop it. I’m going to place over the
top of it a couple of shapes. I’m using shapes because
they’re going to help me with the effect
I’m trying to get. So I’m gonna make sure that
I have Shape selected here. I’m going to create a
circle first of all. So I’m just going to
drag out a circle, holding down the
shift key as I do, and place it sort of
roughly in position. Now I want my circle to have
a Fill button, no stroke. So I’m going to the Stroke
and I’m going to set that to No Stroke. I’m now going to add
another shape over the top and that’s going to be a square. So I’ll select the
rectangle, hold the shift key as I drag out a square,
and I’m gonna place it sort of roughly in position
where I want it to be because I want my final
shape to be the accumulation of these two shapes. So I don’t want this to
have a stroke either. It’s just going to have a fill. If we have a look
in the Paths panel and let’s just go and get
the Layers panel as well, we can see what’s going on. So this is my rectangle
and this is my ellipse and I can mere them
together into one shape, but before I do that,
I want to make sure that they’re perfectly aligned. So with them selected, I’ll
go to Layer and then Align, and I’ll choose
Vertical Centres, and then Layer>Align
>Horizontal Centres. And that makes sure that
the two shapes are aligned. I’ll right-click the selection
and choose Merge Shapes, and that creates a merged shape. Well, it’s going to in a minute, but it’s not quite merged yet. You can see two
distinct shapes here. To merge them, we’ll
go to this option here and choose Merge
Shape Components. And now we’re going
to get a single shape that is this shape. I want to colour it
with a colour I’m
sampling from the image, so I’ll go to the
eyedropper tool. I’m just gonna sample this
sort of blue colour here and I want to use
that for my rectangle. So I’ll select my rectangle,
go back and select some sort of shape tool. So I get these shape
options up here. Go to Fill, and this is
the colour I want to use. So I’ve got my blue colour, but I also want a sort
of border around here. So what I’ll do is make a
duplicate of this shape. So I’ve got two of them. The topmost one I’m
going to add a border instead of the fill. So we’ll go and select No
Fill, and for this one, we’ll select a stroke
and the stroke’s gonna be the same colour as we’re using. Now the stroke is set to 14. That will probably be enough. I’ll select the
rectangle layer here. I’ll go to the Move
tool, hold the shift key and the alt or option key,
as I just drag this out and that allows me to put
an edge around my shape. So I’m gonna apply
this transformation. So I’ve got these two elements
and offset edge to my shape. I’m going to link these
two together as well because I want them to
move obviously as a pair. I also want to reduce
the opacity of them. And I could also set a
blend mode if I wanted to. So you could experiment
with different blend modes. Hard light’s got
some nice colour. But that’s up to you to see if you can find something
that you particularly like. Over the top of this,
I’m going to add my text. Now I don’t want this to happen. Photoshop wants to attach
this text to something, so let’s just go
and add a new layer. And now it’s prepared to put
the text where I want it to be. I’m working in
Myriad Pro regular. I want to work with
white, so let’s just go and select white and I’m gonna
type IN SEASON in capitals. I want this to be quite small,
so I’ll set it at about 120. And then I’ll type the
word “blueberries.” I want to be well away from
this type when I do that. I’m going to choose
an alternate font. I’ve got one called Alex
Brush that I kind of like, and I’m going to
increase the font size. Let’s try about 400
and see how that looks. So I’ve now got text
layered over a text box. We can always improve the
legibility of text like this by adding a drop shadow. So let me just select
this piece of text. I’m going to the FX icon and
I will select Drop Shadow. And I’ve got set a really,
really small drop shadow. I’ve got a black or sort
of dark blue colour here. I’ve got it set to
Multiply Blend Mode. I’ve got sort of
middling opacity but the distance
here is set to one, the spread is set to two,
and the size is zero. So this is only
just a drop shadow. But it’s enough to improve
the readability of the type. If you turn it on and off, you’ll see a very
slight difference, and it’s just lifting
that type a little bit away from the image. It’s just improving its
readability just a little bit. Now you could increase
this to say two pixels. It’s going to depend on
the image and the typeface that you’re using. But I find it that
that really helps with the text over the image. I hope that you have
enjoyed learning these Photoshop techniques. Let us know what you think
in the comments below and give us a thumbs-up if
you enjoyed this tutorial. Until next time, I’m Helen
Bradley for Design Cuts.

Articles, Blog

Make Layers Simple with “Bounds” in Photoshop

December 28, 2019

Hi there, this is a message from PiXimperfect. And let me ask you a question. How often do we really take the time to name
and organize the layers? We often don’t. Today I have for you a very slick trick to
make it very simple for you to navigate the layers. You can, of course, go to this grid right
there in the Layers panel and go to Panel Options. Now inside of that, of course, you can make
this larger by choosing the thumbnail size to be the largest. Hit OK. While this is clearer, let me show you there’s
one more way around it. And at the end, I’m going to show you one
more feature of Photoshop 2020 that’s going to make it even easier. Click on the grid right there and go back
to the Panel Options and here, in the Thumbnail Contents, just choose Layer Bounds and hit
OK. Have a look at it right now. Only what is contained in the layer will show
up instead of the whole document. So we know that this layer is about the deer
right there and this layer is about the shadow at the back. So, just keep in mind that we can use Layer
Bounds to easily navigate the layers. Also, as a bonus, let me give you one more
last tip. If you’re using Photoshop CC 2020, you can
zoom in to that layer content. So, let’s say, you just want to work on the
deer, you can hold the Alt key or the Option key, click on the deer and it will zoom in
right to it. And if you want to just edit another element,
you don’t have to scroll in and just move in right there. You don’t have to do that. Just hold the Alt key or the Option key, click
on the thumbnail of the layer and it will take you there. It will move you there actually. I hope this tip helped you and if it did,
make sure to give us a like and also don’t forget to subscribe and not just subscribe,
ring the bell so that you, my friend, don’t miss any other future tips, tricks or tutorials. Thank you so much for watching. I’ll see you guys in my next one. Till then stay tuned and make sure that you
keep creating.

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Getting Started – Adobe Photoshop Design Tutorial Series

December 5, 2019

Hey guys, your boy Virtus here and welcome
to my Adobe Photoshop Desgin Series, we’ll learn to use the software to create all kinds
of graphics starting from the very basics to creating websites, promotional material,
logos, photo manipulations or even game textures. My goal with this series is to show you guys
just how simple yet powerful the tool is and just important it is creative professionals
and get you on your way to becoming a designer. We’ve be going over step by step how to use
the software, change the work environment, create shapes and elements, modifying them
and turning them into beautiful graphics. If you want to start creating your first graphic
designs or just brush up on your techniques then this is the course for you. Without further ado, let’s ago ahead and dive
into a quick introduction to the software. So, let’s start off by opening up the software
and creating a new document so we can see just how easy it is use, i’m just going to
set it to 1920×1080 to make it the same size as my monitor for now, ignoring the presets
on the left which we’ll go into in detail later on in the series but for now let’s go
ahead and hit create. Before we go any further, you guys will probably
know the photoshop environment is fully customisable however we need to make sure we’re on the
same page and have the same work environment so you can all follow along. Head over to the window option in the menu
strip, go to workspace and set your layout to essentials (default). So, over on the left we’ve got all of our
tools which we can use to create shapes, draw, write text, make selections and more. We’ll start off by creating a basic shape,
just a rectangle for now. It’s as simple as clicking the rectangle tool
then dragging it onto our scene. For me, it’s just white however if we wanted
to change the color we can do so from the properties panel above. If we wanted to we could even change the height,
width and other properties which we’ll be going over later on. If move over to the text tool, once again
we can put that in there by simply clicking and dragging to create a text box. Inside of here we just type in whatever we
want to write and then change the the appearance such as font, size and color from the properties
panel by clicking and making the change let’s go ahead and set the font size to 72 and the
font to comic sans. Hopefully this is beginning to show you guys
just how simple it is to create objects inside of Photoshop. Next up, i’ll go over a quick introduction
to the layers panel. This panel let’s use organise our content
and arrange the visibility of our items. For example, if I click the selection tool
and move my text over the rectangle you’ll see at the moment it’s being displayed on
top. If I click and move the text to a lower layer
than the box it’ll be hidden behind it. Each of these layers also have a few things
we can do to them such as toggle the visibility on/off, change the opacity or even style them
using the blending options. To get into the blending options, right click
the layer and you’ll find blending options is usually at the top. From here we could change the stroke, add
shadows, overlays, glows and so much more. We’ll dedicate a whole video to this later
on the series as there is a lot to cover. For now we’ll just create a simple glow on
our shape. Hit outer glow, choose a color from the little
selection.. anything you like. A nice blue glue looks good to me. We can also change the strength of this by
increasing the opacity… the higher the opacity the brighter it will be. Then, you can use the size slider to control
the size of the glow. It’s as simple as that, hit okay and we’ll
have this basic shape. Anyway guys, I think this is a great place
to finish up the video, hopefully you guys have a good idea of what photoshop is capable
of. There’s plenty more on the way, just subscribe
to stay up to date and as always guys… stay awesome, keep creating! Your boy Virtus Signing out!

Articles, Blog

Webinar – Adobe Photoshop for Advanced Beginners – 2016-03-10

December 3, 2019

Becky: Welcome everyone to Adobe
Photoshop for Advanced Beginners. My name is Becky Wiegand and I am glad
to be your host for today’s webinar. Thanks so much for joining us. Before we get
started with the webinar I want to make sure that everyone is comfortable using the platform
that we are on today which is ReadyTalk. You can chat into us using the box on the
lower left side of your screen to let us know if you have any technical issues, any audio
problems, if the slides and audio don’t stay in sync, anything like that. Or you can also use
it to chat with us. Let us know from where you are calling and joining today. Let us know
if you have questions for our presenters and we will be capturing those on
the backend throughout the webinar. We’ll keep all lines muted today so we get a
nice clear recording that you will receive later and you can share and watch again at your
convenience. You can share it to your friends and colleagues who may benefit
from this training as well. Your audio is going to play through your
computer speakers and that is how most of you will be listening in today. If you hear an
echo it means you are logged in more than once. You will want to close an instance of
ReadyTalk. If at any time during the webinar the slides and audio don’t stay
in sync we recommend calling into the alternate phone number. It is toll-free. You
can dial in at any time if you have any audio issues and that usually helps correct the problem.
So definitely keep that in your back pocket and we will chat that number
out again so you’ve got it. If you lose your Internet connection go ahead
and click again on that Join Meeting button in the confirmation or reminder email.
If you registered just this morning you would have received the slide deck and
the Q&A from a prior webinar that we did that was on Adobe Basics, in that reminder email
too so you can refer to that in the webinar. If you didn’t get that you will receive it
with the follow-up email in the next day or 2. We do record these webinars and you will
be able to find them on TechSoup’s website along with upcoming and other archived webinars
at TechSoup.org/community/events-webinars. You can also check them out on
our YouTube channel TechSoupVideo, or on our SlideShare where you will be
able to see the slides embedded later today. Again, I mentioned you will get this
email with all the links within a day or 2. If you would like to Tweet us you can
use the hashtags #techsoup or #TechedUp. My name is Becky Wiegand and I am the
Webinar Program Manager here at TechSoup. And I’m really glad to be
your host for today’s event. We are joined by 2 really fun guys here
at TechSoup. You will be hearing mostly from Wes One as I’ve lovingly
called him this morning, Wes Holing who’s a Senior Web Content Developer
here at TechSoup where he spends his days creating content for the web across our site,
about our products, designing content for us. And he really is a hack with a lot of experience
where he has created graphic design content and how-tos like an Intro to
Photoshop for Nonprofits blog series. He’s also run a couple of prior webinars
with us, one that was Adobe for Beginners, and another one that was an Intro to Photoshop.
So we’ll share those links out as well. Today is again, Adobe for Advanced
Beginners. So we don’t expect you to be an advanced Photoshop user for this, but
we do expect you have a little bit of experience using Photoshop already. And we won’t cover
really advanced topics so if you are here for a level 500 course you are not going to be
thrilled that we won’t be covering that stuff. But if you are a dabbler with Photoshop,
this is the right place for you to be because we will cover a bunch of the topics in
our objectives today that will hopefully help you use it more effectively. We will
also hear just briefly from Wes White who is a Program Manager here at TechSoup
and helps manage the relationship with Adobe, one of our donor partners. On the backend
you will see Terry McGrath from Adobe who will be on hand to help answer questions
about the Adobe Creative Cloud suite of applications. And then Wes White, myself
and Susan Hope-Bard here from TechSoup will all be on the back end to grab your
questions and help move us forward to Q&A. Looking at the objectives, I’ll
do a quick introduction to TechSoup and Adobe Creative Cloud here at
TechSoup. Wes’s then going to launch into knowing when to use Photoshop, because
sometimes it’s not the right tool for everything. So we want to make sure you know when there
may be another tool like Adobe InDesign or Illustrator that may be better suited for
a specific tasks. Then he is going to walk us through the interface showing us some key
tools. We are not going to go through every menu and every tool today. But we do have a handy little
legend that you will be able to see in the slide deck and use later. He is going to talk about how
to use layers. Then we are going to look at learning about how to use the magic wand
effectively, how to change a background. We will share some additional learning resources,
talk about where to get Adobe Creative Cloud and Photoshop in particular, and then
we will have time to answer questions. We are using the Adobe Creative Cloud Suite
of applications today. So if you have CS4, or if you are using Adobe Photoshop
Elements some of the things may be applicable to your work. Some of the tools may be
applicable but some may not. So just be aware that that is the platform we are using today.
So TechSoup, we are every place on this map that is blue which is almost the entire world and
I’m proud to be part of it. Go ahead and chat in to let us know where you are on this map
while I talk a little bit about the work that we do here at TechSoup in helping connect
technology donations, resources, and information to nonprofits, libraries and social
do-gooders all around the world. I see lots of people chatting in where they
are joining from. We know you can’t see the chat but if there is anything useful that is shared in
the chat by any of our participants in the webinar, we’ll try and share that back out with you. If
you are joining us from outside the United States where you may also be able to get Adobe
Creative Cloud donations or discounted access, you can join us at TechSoup.Global and choose
your country to find the donation programs and availability for different
products in your own country. We have served the nonprofit and library
sector with $5.2 billion in technology grants and donations largely from our donor partner
companies like Adobe, Microsoft, Intuit, Symantec, and many, many others.
So quickly I’m going to just mention where the Adobe Photoshop access is through
TechSoup, and then Wes White will talk about it later on a little bit more in
depth. But you can go to TechSoup.org/Adobe and you can see Photoshop Elements which
is the installed version that’s available and you can also then see the Adobe
Creative Cloud Photography package which is primarily focused on the photo
suite applications within the Creative Cloud. And then you can look at the All Apps Plan
which is everything Adobe all in one package that you can access. So with that I’d like
to go ahead and introduce our primary speaker Wes Holing who is going to walk us
through our objectives for today. The first one is when to use Photoshop
and most importantly, kind of when not too. So thanks so much for joining us
today Wes. We are glad to have you on. Wes: Great. Thanks so much Becky. And yeah,
let’s get right into it. So the first thing I wanted to talk about is when to use Photoshop
but also importantly, when not to use Photoshop. As it is obvious from the name, Photoshop is
the best tool for creating and editing photos. And that is for use online or in print. Adobe
also provides other really great applications in the Creative Cloud. And that’s
my personal opinion, that’s not just because I work for TechSoup and TechSoup
offers it. These are really powerful tools. Adobe Illustrator is a great option for creating
scalable images like logos and illustrations. So if you need to create a logo for your
nonprofit or for an event or you want something like if you see on our home page we have a lot of
colorful circles and bursts and rings and things, those are all scalable vectors. Basically they
are graphics that you can increase the size of decrease the size of and they don’t lose any of
their resolution, so they look great at any size. InDesign is another great option for
anything that is going to be in print. If you want to make newsletters, ads,
business cards, brochures, anything like that, that is the most powerful tool you can
use to make them. Now that’s not to say that you can only use those
tools for these purposes. Photoshop has tools for making vectors.
Illustrator you can make changes to photos in it. If you need to create a banner ad for example for
your nonprofit that you want to use to advertise something across the web, any of
these tools can be used to make them. They can all create something that’s
graphical, something that is visually exciting, and then you can save it to the same
format across any of these platforms. So this is more just a guide for picking the
right tool for the job. You can use a screwdriver to hammer in a nail, but hammers tend to
work a little bit better. So just a quick note about that before we get started. So let’s
go ahead and meet the Photoshop interface. I’m assuming that a lot of you have at least
opened Photoshop before. And it is very common that the first time you look at it to say, there
is so much here I don’t even know where to begin. So let’s begin. Looking at the interface and
I’ve got a photo within the interface here, the colorful tomatoes. On the left you’ll
see the tools. Based on which tool you choose if you want to select something in the image,
if you want to move something around, crop it, or select a color, whatever tool you’ve chosen on
the left will then provide you with a set of options up at the top. If you want to select something, just
a portion of your image, you can choose a fixed size that you want to choose or a certain ratio. I want to
select in a square that’s 4 by 3 all the way across. You’ll get these options for
getting exactly what you want. And on the right there are a series of panels
that you can show or hide as you need them to do things like change the font in the text that
you are adding to your image, or change the color of the brush that you are using, or to rearrange
layers which is something that we will cover later. So I just wanted to make you
aware first of what these terms are so that when I use them it all kind of makes sense.
Let’s go ahead and dive into the tool bar though. Looking on the left, and I’ve
kind of highlighted these out here. And this is based on some information that
is actually available on Adobe’s website. So apologies to Adobe for lifting your
information. But hopefully this is something that you can even just print out, keep at your
desk next to your computer if it is something that you want to reference and you don’t
quite remember which one is the crop and where the magic wand is for example. And
a lot of these we are not going to cover today just because we only have so much
time. We are going to basically focus on more the selection tool which as you can see in
the first red box there. Up here you’ve got Move, if you want to move a layer around in your
window. The marquis tool which is just a fancy way of saying your selection tool if you want to
select just a part of it which is something if you’ve used a simple program like Microsoft
Paint you might be familiar with selection and other things like that. You can see the
Magic Wand is also on there. The 4th one down is the Quick Selection tool and I will show
you how to get from that to the Magic Wand and other ways of selecting something.
And now to hop over to the panels which is available on the right side. You can
see there are a lot of other options here too. History up at the top is a great way to undo some
changes that you’ve made. And this is probably – I mean, your mileage may vary but I’d
say most common used tool in is the undo just because you’ll try something, not quite
right, undo it, try it again, back and forth, rinse and repeat until you get
exactly what you want with your photo. A lot of other great options here. I tend to
use the character and paragraph tools a lot when I am adding text to it, I want to change the
font, I want it to be a certain type face or size, make it bold, or give it a certain amount of space
in between. That’s something that is available from the paragraph panel. So just a quick intro
to what you can expect from the interface there. Now one thing that we got a lot of
questions on from our last Photoshop webinar was how to work with layers. So let’s
go ahead and switch over to Photoshop and I will start showing you how to work
with layers from those panels on the right. Just bear with me while I flop over to Photoshop.
There we go. I’ll close this out for now. We can come back to it later. And let’s open
up – actually, before we get started on that let’s pop back over to – there we
go. I’m getting ahead of myself. Let me hop back over to my presentation for
a moment to explain what layers actually are. The best way I can explain layers if you have
never used layers in Photoshop or Illustrator or any of these more high-level graphic
programs. If you think about animations though, think about watching a cartoon for example,
you’ve got the background, you’ve got the character in front, and maybe something in between
that the character is interacting with. The way they make cartoons is you will have a
transparent sheet over another transparent sheet over it, and so on, and so on, to see
those things in the foreground moving. So if you think about the background
of a cartoon like this one here and we’ve got maybe some birds in the sky above
that, and then in front of that is a character. Those are all layers on top of the bottom
one. And we can rearrange these as we need to. But of course the background is the thing that is
completely opaque. And if we move that to the top you wouldn’t be able to see the rest. So if we think
about all 3 of these stacked on top of one another it looks like a scene even though these are all
individual elements stacked in a layer format. So now I will flop back over to Photoshop
after that tease to show you this. Now at first this looks like it’s just a photo of
a table with some photographs on it. But in reality, if you look over here on the right
side on the bottom right you’ll see layer 1, layer 5, layer 6 and then some effects underneath
them. These are individual layers because what’s actually going on here is this
is a photograph of a table with a cup on it. That’s one layer. And then each photograph
laying on top of it is a different layer. So to demonstrate what I’m talking about if you’ll
look on the bottom left here where it says layer 1, to the left of that there is an eyeball icon which
the tool tip tells us indicates layer visibility. It just means that if the eyeball is on there
you can see the layer. If the eyeball is gone then you can’t. And you can alternate back and forth
just by clicking it. So if I click it that photo of the tree line disappears and you’ll see
what’s behind it which is the background layer of the table. If I click it back, it reappears. And
I can do this for any of the layers that I’ve added, choosing to show them and hide them. What’s
great too is if you see the tree photo here in the center on the top, it looks like
it’s laying on top of the hummingbird. That is because on the layers palette the
trees, that layer is actually above the one for the hummingbird. So as you can see, layer
5 is the hummingbird. Layer 1 is the trees. And just a quick note on the numbers, those
are just numbers that are assigned by Photoshop for the order in which they were added. So they
don’t actually indicate which order they appear in. It is just the order in which I added
them and wanted to rearrange them. That is why 1 comes before 5 and then 6. You
don’t see the rest because that’s further down. But if I move, if I hold and click on layer 5 and
drag it up above layer 1, now the hummingbird photo is above the tree photo. So I can rearrange
them as I need to. I can move it back. You can see what kind of possibilities
are available there. If you want the layer that is most important for the viewer to
see, you want to bring that to the front, that means it’s going to be up at
the top and so on all the way down. One other thing we heard questions
on before from our last webinar was how to use the Magic Wand. I’m going
to show you a little bit of the wand but also with a caveat that the wand is not always
the best tool for selecting something in an image. So I’ll show you what I’m talking
about here by hopping back to Photoshop and closing out our last image. And I will select something here to
show you. I’m going to drag in this photo I have of a desktop computer. This is
something I work with a lot here at TechSoup for our refurbished computer initiative program.
We have a lot of refurbished and new computers to offer. And we need to make sure that the
photos of the computers are a certain dimension and have a refurbisher partner logo on
them. So they need some minor cleaning before we put them up on the site. So to
do that I may need to remove a background. In this case it’s really easy. The background
is already white. If I needed to remove it for another reason that was the wrong
color, or it’s got something else behind it, a shadow or whatever, then I can select
the background and then remove that. So this is where the magic wand is a
really great tool. And I will show you why. So on the left-hand side it is the 4th one down in
your tools window. If you click and hold on that one you will see there are 2 options. There are
Quick Selection tool and Magic Wand tool. They are very similar but I will show you the
magic wand tool first. So while I am still holding the mouse down if I click and hold on that I let
go under magic wand tool, then I have selected that. As you can see up at the top on your
options you’ve got a lot of options here. I won’t go into all of those, but just to say
for right now the tolerance is probably the one you are going to use the most if you
are going to use the magic wand tool. If you have never opened up Photoshop
before your default value is going to be 32. It goes between zero and 255 I believe.
And then what that number specifies is how much of that color do you want Photoshop
to select for you. If you have a lower number it will be less tolerant. It won’t select more color.
If you have a higher number, so you put it up to 100 or 200 it will select more of that
color. And what I am talking about here, I’ve got it on 33 which is pretty much the default.
If I just click where the white background is, it might give you a moment for that to show
up but hopefully you can see on your screen. Right around the computer there is a
dotted line just kind of moving around. This is a Marquis is what they call it. You can
see there is also one around the edge of the canvas. That means that I have selected
basically everything but the computer. I’ve selected based on its color value, so I
clicked on the white. It’s selected all of the white. And I will deselect that to show you again.
Now if I click on the computer itself, you can see that it has selected pretty much the
top. As you can see the edge goes around the top of the computer because that color is pretty similar
across the board except for the very center there are 4 dots and then a couple of little specks in
the very center. These are colors that are darker than the rest. So based on what I set my tolerance
at I’ve told Photoshop select within a certain range that shade of black but nothing beyond that
range which is those really dark circles. And if I deselect that and I make my tolerance
higher, let’s say I do 250, and I click it again, It selects everything. You can see there
is a tiny Marquis around the entire canvas. That is way too much. I’ll deselect
that and I’ll say let’s go with just 64. That’s double the default value. I’ve got
a little bit more but not quite enough. And then that is something I would need to play
with if I wanted to use the magic wand tool. But again, there are so many different
shades going on with this computer because it is a complex, it is a photograph.
If you look at a simple color logo there might be 2 or 3 colors but in this
there are thousands. So it is a hard thing to get exactly what you need just through one
click. That is where the Quick Selection tool comes in handy. If I go back to the magic
wand tool on the left click and hold, and then choose the quick selection tool, I
have again, different options up at the top. Tolerance is gone. I’ve got a brush here. So it
is set right now at 200 and if I move my mouse down into the canvas you can see it’s a
pretty large brush. What the brush does is you basically paint along your canvas to select
the thing that you want. It is a little large for the object that I am working with here.
So I’m going to bring that down by clicking the down caret. There is a 200 pixels value there.
I am going to change that to 100, cut it in half and press Enter. Now I’ve got a smaller cursor.
This is something I can more easily work with. If I select you can see it’s already grabbing
a bunch of it. I just kind of move along and once the cursor touches a new section
it grabs that too. I can move it along even getting parts that I don’t want. So that’s
pretty good. It’s gone right along the edge of the computer, but it also grabbed
some of the bottom right in the white, and that is not what I want. With the quick
selection tool you can choose to not include something that you have already included. It’s very
easy just by holding down the Alt key. And then if I click down here off of it and just
kind of creep into it, it will start to figure out that the white is not the part that I want. And
I just keep moving along right along the edge and that’s pretty good. Again, these are
not tools that are meant for a quick fix. I mean it is a quick selection tool. And you
can see that I’m moving very quickly with this but I will show you why a little later on
why this is quicker than some other tools that are more precise. If you’ve got
something that has very clear edges around it and you want to grab it quickly this is a great
tool to use. So I’m going to close this one out. Oh, Becky’s got
something. What’s up Becky? Becky: We have a question from Richard
just asking how you are de-selecting when you select something and then you are
de-selecting. What is it that you are pushing? Is it a keystroke or is it
something you are clicking? Wes: Yeah, that’s a really great question.
And thank you for keeping me honest. When I use these tools often it is easy to
take shortcuts and you’ve got to slow me down. So a very good question and it’s something
– with Photoshop there are a million ways to do the same thing. And the longer you use
it the more efficient ways you find to do it. So in this case I’ve still got the computer selected.
If I want to deselect there are a couple of ways to do it. There is a Select menu up at the
top and deselect is the 2nd option on there. You can click that. And if you are like me and
you want to work quick or you are too lazy or both, you can also press Control D and it is
Command D on the Mac in case you are on a Mac. So if I am trying to select something, working
quick you select it and it is not right, quick keystroke it is deselected and you try
it again. And that’s what I was saying earlier about the undo command. It’s super handy in
Photoshop because that’s something I can try, undo, try undo, try undo, try undo. And finally
that 5th try is the one I actually wanted. So in this case, if I don’t click that if
I keep this selected I press Control and D and now there is no selection. And in
fact, that leads me to one other quick tip. In the case of this computer if I go back to my
magic wand and I want to select that background, I click the white a little too much, let me
deselect that. I’ll bring my tolerance down because I selected too much, bring it back
down to the default 32. That looks pretty good. But like I said, I am only selecting the
background. I’m not selecting the object itself. So what you can do there is another great
key command under the same menu for Select, Inverse which will basically do the inverse of
what you selected. If I selected the background and I want to select everything but the background
I can click that. Now it’s a really subtle change but the marquis is gone around the border of the
canvas. It is now just around the object itself which is great because now I can copy
that. I can paste it into another image. I can change the color of it. I can do all sorts of
things. I can manipulate that section of the image by selecting everything that is not that
part of the image. So very handy to do. Yeah Becky, what’s up? Becky: So we had a couple of people notice
that your mouse is staying cursor arrow. Is it showing as a cursor arrow when
you change brush size on your machine? Or could it be something with ReadyTalk not
converting it to the little brush cursor instead? Or we didn’t know if it was something you had in
your settings that you wanted it to stay a cursor. So can you clarify which it is? Wes: Yeah, that’s also really good to
point out. I did not know that. Yeah, for me the cursor looks different with each
tool that I’m selecting [silence] and for each size of my quick
selection tool apparently not the case. So for me it is changing. For you guys
unfortunately, it sounds like it’s just a cursor and I assume that’s
just a ReadyTalk thing. Becky: Yeah, and we are able to see the cursor
so we can follow it when you change the brush size in the settings but it just doesn’t change
the actual size and shape of the cursor. So we know that that looks different. We did
actually test but I guess we just didn’t notice when we tested that it didn’t come through
that way. So thanks for letting us know. But you should still be seeing everything
the way you would with the exception of the cursor changing, but you are able to follow
the cursor and see the settings and selections that Wes is making. So just keep
an eye on where his mouse is moving and you should be able to follow along. Wes: Yeah, thanks for letting me know. That is
stuff I wouldn’t know without you guys tell me. And of course, the other thing that may change
is that any mistakes that I make are purely on your screen. I am not making any
mistakes as we go, so that’s on you guys. Becky: Of course. Wes: So while we are on the subject of selecting
backgrounds, one thing that we heard last time is [inaudible]. And in this
case, this is a great example because we have a solid color background.
I’ll show you how to do something else with a little more complex background
like a picture of a photo, excuse me, not a picture of a photo. A photo of a person
in front of a landscape or something like that. That’s a little more complex but for
right now I’ll just show you this one. So let’s say I will deselect with Control D. I’ll
select my background, but now I’ve got just the white. Now on the bottom right here back to the
layers panel that I showed you before. If you open an image that’s like a jpeg or a
PNG, something that’s just a flat no layer image, any image you see on the web basically is just going
to be a flat image, gif, jpeg that sort of thing. There is one layer to it and Photoshop opens
it with that layer locked. It’s the one layer that the image knows of. When you save
an image that has multiple layers in it, you can save it as a jpeg, but it will
flatten everything so when you reopen it you won’t be able to change those layers.
If you save it as a Photoshop file however, you can go back and save those layers.
So the work flow is that you can open up all sorts of images in Photoshop, create a
Photoshop file, save that with everything in it and then as you need them export them out
into whatever format you need. If you need to, you can create a large image, save it is a
jpeg at a certain size for the web for example, and you will have that instance of it but
the original is still your Photoshop file. So that’s kind of down a little bit of a rabbit hole
of work flow but I wanted to make sure you knew that because that is why this
layer is locked to begin with. You can tell that it’s locked because there is a
little lock icon right next to the word “background” in the layers palette here. It is also italicized
which is another clue that it is locked. And that’s the default for all Photoshop. If
you’ve got CS4, if you’ve got Creative Cloud the latest version, it has always
been that way. The way we can unlock it if we want to manipulate it is I can just double-click
it. I’ll get this window that pops up that asks me to create a new layer because technically it is.
We are creating a new layer from the background. You can name it whatever you want. There
are some options here for color mode and transparency. I’m not going to get into
any of that. But right now I’ll just click OK and everything looks the same, but now I have an
editable layer. I still have the background selected too. I’ve got that marquis going around the
border. I’ve got the marquis going around the object which means that everything but the center
part, everything that’s white is still selected. I can clear that away just by pressing back
space. Now I have this checker pattern behind it which means it’s transparent. I can save it as a
different file format that allows for transparency like a gif. I’m sorry. I say gif, I don’t say jif,
sorry guys. I can save it as a gif or a PNG file, and I can put it up on the web for
example. Anything that is behind it, the background of that page or something else
that is just layered behind it, that will show up behind the computer here. So that’s how you can
just quickly clear away a single color background. And just to show you real quickly how I did
that one more time, I’m going to close this out. I’m going to reopen it, and I will just
walk you through those steps quickly. So I’ve got the computer. I choose my
magic wand, my tolerance up here at 32, seems to be good for just a solid color
where there are clear edges around the object and the background. I can click the background.
Now I’ve got the background selected. I’ll double-click the layer, the background.
It will last me about creating a new layer from the background. So I hit Okay. Backspace
will clear that out, and then Control D or Command D for you Mac users will
give me no selection on an image that has a transparent background
and just the image itself. Now again, this is a simple example
because you can deal with images that have a lot more complex background.
Especially if you are working for example with a picture of a person with hair where
the hair may not be completely straight. There may be frizzies or someone’s got a perm for
example, those are things you really have to work around carefully, and the magic wand just
isn’t intelligent enough to grab those. So speaking of changing backgrounds in complex
situations, let me hop back to the presentation here and move on to some other ways how
you can change or remove a background. As I mentioned, the magic wand is really
handy for images where there is high contrast. And what I mean by high contrast is that
previous example. It was a black or gray computer against a solid white background, very
high contrast between the background and the foreground. Also there is a single
object in this case. I just want to select either the background or the computer. In this
case it was easier to select the background and then just inverse, just swap out what is
selected, not the background, the foreground. Also I showed you earlier the quick selection
tool which does a lot of the same things that the magic wand does just with a little bit
more intelligence. I didn’t go into as much detail with that in the previous examples because
it requires a little bit more finesse when you are using that brush tool because
it depends largely on your brush size how much detail you want to pick up,
and then once you’ve selected something kind of moving along an edge carefully to
deselect anything that may have gotten picked up along the way, or selecting anything
that may have been missed along the way. So they are kind of 2 sides of the same coin.
And that’s why on the Photoshop interface on the left side where the tools are,
the 4th one down, you have both options under the same button. If you click and hold
you will see quick selection and magic wand. Now a quick note about the quick selection,
I believe that was added – sorry Terry if I’m getting this wrong – I believe that was
added in CS6. So if you’ve got a much older version you may not have that option. You
will have the magic wand at least. That’s something that has been a
Photoshop staple for a lot of years. Two other ways that I haven’t shown yet
but I will go ahead and show you next, you can select a color range. So any objects in
the image that match within a certain range of color that you specify you can select. And I’ll
show you that one next as well as the pen tool. Now the pen tool is the scalpel where the
magic wand may be the sword. In a lot of cases it’s quick and dirty. Grab that
background from the computer photo, done. You don’t need something so precise. For
other things like I’ll show you later, the pen tool this is going to take a lot
more experience but it is a lot greater payoff when it comes to the quality of removing
that background. So with all that said, I’m going to hop back over to Photoshop, and I will
close out that photo and bring up something else. Let’s bring up something I’ve prepared. Just
like a good cooking show I’ve got the food and I’ve got it already prepared for you. So this
is obviously just a simple photo with some fruit in the front. The background is a little
more complex. This is not solid white. Someone hasn’t already done the hard
work of removing the background from it. But there are some sharp edges around it. If
you look at the mango up in the upper right you can see clearly where it ends and the
background begins. But there are also some shadows at the bottom. If you look at
the tomato at the bottom there is a shadow coming off the bottom left and the bottom right
of that piece of fruit. So that’s something that can really trick the magic wand because
the color can be similar to both the background and the foreground. It’s the same background
but with a shade over it. So it’s similar and yet it’s also dark like the foreground
so it can be grabbed along the way. If I move up to the Select menu which I showed
you a moment ago, also under this is color range. Now I’ve chosen that and it becomes kind of
like Terminator vision. I can see something not quite the same and it’s a weird
inverse. I’ll move that window over so you can get a better look at it. So right
now it has chosen by default just that red color. And it is selected based on a range that I
can specify how much of that red to pick up. And that is the fuzziness value here. It’s at
200. It is maxed out. Grab as much red as you can. Of course there is not a lot of red in the mango.
And the other fruit I think it was an apple, a green apple so there is not a
lot of red to grab from those 2, but it has grabbed a lot of that tomato. I can scale
that down. I will bring it down to the default of 100. And as I move hopefully you can see this on your
screen, I go down below 100 it’s grabbing less of that tomato. Now it’s at 22. There is almost
nothing there. It is almost like a snowstorm. But if I bring it back up I can grab as much as I
want or as little as I want of that particular color. Now if that is not the color I want if I wanted
for example that mango, I move my cursor over and unfortunately, I assume you guys can’t see
this. If I move the cursor back over to the image itself, my cursor becomes and eyedropper.
That means that I can select the color that I want to base the range off of. So
if I click in there, I’ve clicked the mango. Now the preview has changed completely.
That mango, a lot of it is selected and in fact I grabbed some of the apple
as well. The thing about the color range is it’s not great for removing a background but it
is great for selecting certain colors to change them. That example that I showed you in the beginning of
all the different tomatoes, the different colors, a lot of it was done with tools like color
range where you can keep the object there. You don’t need to remove anything, but you want
to change the hue, the saturation, the brightness, something like that. This is another way to select
something in your image that is not necessarily a discrete object but you do want to change it
based on its color. If I click over the apple, same thing. I get more apple. I get less mango.
I get no tomato. And I can move that slider around to grab more or less of the color has I
need. So again, the color range is important for choosing certain colors but
not necessarily choosing objects. If you want to choose an object my go
to is still the pen tool. The pen tool, I can spend the next hour talking about it but I will
make this a little brief. But we do have a great – I did include a really good video
tutorial in the resources slide so that you can spend a little bit more time
learning how it works and all that. So in the meantime I will quickly show you. The pen tool works like
this. I can create what is called a Bezier curve. I can click points and then manipulate those
points until they wrap around an object. So if I click within the canvas, like where
there is a corner for example, click there. There is a dot and I click where there is another
corner, and another one, and then come back, I made a little triangle. And that is
nice but it is nowhere near accurate. I can add points along the way and move
them along and it begins to create a curve. I can bend those curves as I need
to around any object that I need. And this is where if you are selecting somebody’s
hair for example. They’ve got spiky hair or they’ve got a frizz or something like that,
you can really get down to the nitty-gritty. And this is honestly what a lot of folks in
the magazine industry do. If you’ve got a model on the front page and you want to get
all of her hair blowing in the breeze but you don’t want that background in there,
whatever beach she was on or something like that, that’s how you get to that level of detail.
And to show you what I’m talking about I’ve created a path already. So if I click my path
on the path panel on the right I was on layers, now it’s on paths. Whenever I create a path
with the pen tool this is where it lives. The one that I created a moment ago is listed under
work path. It’s just temporary. I can delete it. It’s not permanent. Path1 is the one I created
and kept from before this webinar started. But as you can see on your screen, there
is a thin line around all of the fruit. I managed to get underneath the tomato but
not include the shadow. If I click on it you can see there’s all those little dots around. And
basically based on the short little demo I just gave, you can see how many dots along the
way and how many curves need to be added to get to that level of specificity. The nice thing
about the path tool is that once I’ve created a path, excuse me, the pen tool. Once I’ve created
a path like this, if I hold down Control and I believe it is Command for the Mac, my
cursor changes and unfortunately you can’t see it. While I hover over the thumbnail of the path
there is a little hand with a marquis symbol on it. If I click that now I’ve got that selection and it
goes exactly where I need it to go, no more, no less. And the really great thing about using the pen tool
is that it creates not really a gradient or a blur, but just a real not a hard edge and not too soft
of an edge either. So that if I copy and paste it into something else it doesn’t look as poorly
Photoshopped as if there is a clean edge on it. So if I use that example, if I’ve selected
this fruit, I do Control C, Command C on a Mac, just like in Word or anything else and I
want to copy that and I create a new image by hitting File>New and then Control V just like
in Word or anything else I want to paste that in. Now you can see I’ve removed the background
from it. There is a little bit of shading on the actual fruit itself that comes from the
rest of the fruit in the image. But around the edge it is clean and it’s smooth and I am not
grabbing some pixels here and a bit of shade there and a bit of background there as
well. This is probably the cleanest way to grab an image but it’s also one that
takes most precision and I’ll be honest, the most experience too. But there are some great
tutorials online that can walk you through that. Like I said, there is one at the end of our
webinar on the resources slide cut from a group called Phlearn, p-h-l-e-a-r-n. They’ve
got a lot of great tools and tutorials. And they’ve got one that’s really useful on how to
use the pen tool in all sorts of different settings like this one or something that is even more
complex. So I’m going to go ahead and close out of Photoshop again. And bring you
back to this, the resources tab. As I mentioned there are some great resources
from Adobe, some other ones that I’ve included from previous Photoshop webinars.
Lifehacker’s got a great Basics of Photoshop that includes things we’ve covered here
and then other ones. Phlearn’s on there with How to Use the Pen Tool because I know
I went quickly over the most complex thing, but hopefully you were able to bear with me.
And take a look at that because if that something you really need to do, if you’ve
got a photo of your CEO and they’ve got a really bad looking background
or a word on a wall that you don’t want in your newsletter and you want to take that
out, that’s the best way to get the whole person and nothing behind them. So that’s
going to wrap it up for my presentation but we’ve got a little bit of time for questions I
think. So I’m going to turn it back over to Becky. Becky: Thank you Wes, really helpful interesting
stuff there, because I always try to cut my tomatoes out of pictures and they look like little alien
heads floating on a green screen when I do it. So I’m learning a lot from this as well.
We will have time for your questions in just a couple of minutes. But first
I want to go ahead and invite Wes White, Wes number 2 today, to the program just to tell
us a little bit about where you can get Adobe if you are on an older version or you
have used Adobe Photoshop but don’t have it on your own machine and want it. We want to
make sure you know where you can access this product through TechSoup. So Wes, can you tell
us a little bit about where we can find it. And then don’t worry, we will get all those
questions in the queue in just a couple of minutes. Do folks hear Wes when he is talking here?
Let’s see, go ahead and try one more time. Let us know if you are hearing him. We are working to get him on the line. Sorry
about that folks, but we are going to get him up in just a second. Thank you for chatting in
to let us know. Wes 2 is coming on the line in just a second here. Wes: Now? All right. Becky: We hear you now. Thank you.
Okay, sorry about that little glitch. We had a phone go dead
apparently. So thank you. Wes: Cool, so thanks Becky. So we have 3
different ways to get Photoshop on TechSoup. The first is just to get to the offers,
you can go to TechSoup.org, to our home page and go to Get Products and Services
at the top left hand of the screen. Go down to Browse Catalog by Partner
or Donor, and then click on Adobe. And it will take you directly to the page.
Or you can go directly to TechSoup.org/Adobe and that will take you to the same place.
On that page we have 3 different offers that you can see now. Two of them
are Photoshop Creative Cloud offers. One is found in the Adobe Creative Cloud
Photoshop, I’m sorry, Photography Plan one year subscription where you can get
access to both Photoshop CC and Lightroom CC. The other offer is the Adobe Creative Cloud All
Apps Plan which includes several different apps from Adobe including Photoshop, Lightroom,
Illustrator, InDesign that Wes mentioned earlier, Premiere Pro, AfterEffects,
Audition, Dreamweaver, and a lot more. Both of those are access to discounted rates
products, so you will pay a $5 admin fee on TechSoup and then it will take you over
to Adobe.com where you will have to pay a discounted price. So for example, with the All
Apps Plan you will get 60% off that retail price for the first year, and then for all subsequent
years after that you’ll get 40% off the retail price which right now comes out to around $239.88
for the whole year or $19.99 monthly. And for the Photography Plan you’ll get
20% off the retail price the first year and for any years after that you’ll
have to pay the full retail price. And that comes out to around $7.99 a month.
Again, that includes Photoshop and Lightroom. We also have Photoshop Elements and
Premier Elements 14 which is available as a donated product for an admin fee of $27.
Now the really exciting thing about these products is that in the past there used to be a
lot of restrictions on the Adobe program around org types or budget sizes that could
receive these products. But now all of that has been lifted and it’s really exciting because
now all organization types, all budget sizes can get any of these products
including the donated offers which also includes Acrobat Pro
11. So feel free to go to TechSoup and pick out these offers. For the Creative Cloud
offers you can also get as many of those products as you want. So there are no restrictions
on the number of products you can get. For the donated offer you can only get
4 products per TechSoup fiscal year. So that will renew again around June
30. That’s all for me. Thanks Becky. Becky: Great, thank you so much Wes. So I
want to go ahead and jump us into questions. So we’ve got a bunch of the queue already.
Let me go ahead and have Wes Holing come back on, Wes one, come back on to talk
a little bit about some of these questions that we’ve gotten that Blair asked
for example, which of the tools when you were going over InDesign v. Photoshop
versus Illustrator, which is really best for putting text on an image if you want to put
a quote or have your meaningful cat in a tree determination poster for your organization,
what do you use to add that to the photo? Wes: That’s a really good question. Personally
I tend to go back and forth between Illustrator and Photoshop. They both handle that task
very well. You can load up a photo in both, add text in pretty much the same way. If you
have ever added text to a photo in Photoshop and someone gave you Illustrator, you
could do it pretty much the same way. I mean it’s a slight difference in the same
way that a language can have a certain dialect. You can still pretty much pick it up.
So I will go ahead and show you how in Photoshop real quick just to show
you how simple it is. I’ll share this and I’ll close my fruit example, go
back to my original fruit example. On the left side there is the T which is your
horizontal type tool which is just a long way of saying is just your type tool. Horizontal of course
goes left to right. You can also type top to bottom but we won’t be doing that in this case. So
if I just click that, I’ve got the T selected. And at the top you can see there are a lot
of options. Just like in Word For example, if you want to choose your font, the weight of
it, if it’s bold or italic, whatever, the size, and then plenty of other options,
color, and justification and all that. So I will just quickly choose regular Arial. So
it’s regular, 48 point, that seems about big enough. And I’ll choose it left justified. And I’ll pick
a color that is let’s say kind of a deep red. And I’ll just click again. This is a cursor, for
me it’s just a pointer it sounds like for you guys. But if I click here and then just choose, wherever I
click I can just add the text and I can just tell it “Eat More Fruit.” Great. I can
change the size after I’ve added it. And then on the right side where those
panels are I’ve got the character panel that I mentioned earlier. If I click that, the
fly out comes out and I can choose all sorts of other options like for example it’s got
it on small caps because I used that before. I can click that that gives [indistinct] a lot
of other options, but it is just that simple. And you of course, on the right side on the layers
panel now you can see there is the background. There is also the text layer for eat more fruit,
more text to add, more layers that get added too. Becky: Great. I like the simplicity of that.
It’s nice and easy, something I could even do which is saying a lot because I can’t do a lot
of this stuff. We had a lot of people commenting that I don’t see the magic wand on my tool bar,
or I don’t see the same thing on the panels. Is there a way to customize what you see? And if
so, can you tell us where people look to do that? Wes: Yes, definitely. So for older
versions of Photoshop, because like I said I am running Creative Cloud right now. I’m running
the latest one right now which is another benefit of having the Creative Cloud is
that as updates come in you get them. You don’t have to buy a new version and
all that. But if you’ve got an older one, if you’ve got a Creative Suite
edition, CS4, CS5, CS6, on the left side there should be the magic wand tool. It
might not look exactly the same as mine. The icon has gone through a little bit of
change over the years, but there should be kind of a 45° angle stick with a little bit of a burst
at the top. In later versions of Creative Cloud there is an option down here at the bottom
to, it’s little 3 dots kind of an ellipsis. To edit the tool bar you can click
that, and make changes to your tool bar. Also under the Edit menu there is a tool bar
option there. And we can customize my tool bar to say okay, I don’t need these lasso tools but
I do want the crop tools. We can manipulate them there too. If you are not seeing that magic
wand tool, and again this can vary based on your version. I hate to just kick it over to
Google, but if you do just search for Photoshop and then the version you are looking
for, Photoshop CS4 magic wand, a lot of older Adobe documents can point you in
the right direction to where that tool is located. Becky: Terrific. And I think everybody should
look at what version they are on and do that search like Wes said. If you are not seeing something
that he has here a lot of times they were there but just hidden or moved someplace else.
We had people asking about transparency and the background again, and how you, what do
you do if the background is really complicated or many colors? And what did you select
to make the background transparent? That was missed by a few people. Wes: Sure. Yeah, that’s totally understandable.
I did move through that pretty quickly. Let me take a step back and
look at that fruit example again. I’m going to remove layer, the text layer that I
added. I’ve got it selected. On the bottom right there is a little trash can icon. I can
click delete layer and it will prompt me is that what I really want to do. Yes. Even
though it’s a good message I need to get rid of it. So I’ve gone back to my image. In the case of this
image I used the pen tool to create a selection around it. Regardless of what tool you use if you
are using the wand or the quick selection tool, or the color range, or even other tools that I haven’t
mentioned here today, like I said with Photoshop there are a million ways to do the same thing
and it all depends on what your purposes are. Once I have selected the thing that I
want, in this case I won’t use the pen tool. I will just do a quick selection tool to just
give you a sense of how much I get compared to the previous version. If I select along, I’ve got
that apple. I’ve got that thing in the background. I’m moving up and over to the mango. I’m
getting that. And I’ve got the tomato. But take a look at the marquis that is
going around the fruit. It looks pretty good. Especially around the mango I’ve got it right
around the edge. If you look at the bottom though, I’ve grabbed the shadow unfortunately. And on the
left side of the apple the marquis kind of cuts into the side of the apple, so it is not
perfect. But this is more to save time and show you about the transparency.
So once I’ve gotten something selected if I want to delete that background I go back to
my layers palette. One thing, and this is something I always end up undoing because I’m working
too fast. I need to turn that background layer into a regular layer so that I can remove
the background. If the layer is locked, the background layer and I try and delete something
it will just fill it in with a solid color, most often white by default. And that may not
be what I want. If I want to take something from that image and then place it over
something else, I don’t want a white background. I want no background. So just to
show you quickly what that looks like, I choose the Select menu and then choose Inverse
so now I’ve got background and not the fruit, and I press delete. It tells you what color
do you want to fill it with and transparency is not an option because it is not
a color. So I’m going to cancel that. I’m going to turn that background into an
actual layer by double-clicking it pressing Okay. I’ve still got the background selected
because I inversed it and I press delete. Now I’ve got that transparent background.
Of course I still have some of the shadow and it did take away some of that piece of
the left side of the fruit so it’s not perfect, but that is the short simple
way to get that transparency. If I go up to my history palette you can see
there are a lot of options here. I can undo that, I can step backwards from that clear by making
a layer. Now that background is there again. I am going to de-select. I am going to move
back to my path. Again, the path that I drew before the webinar is the one I am going to
select. I am going to turn it into a marquis. Now I’ve selected the fruit, much clearer
edge. I will hit Select and Inverse, so I will grab the background instead of the object
that I’ve traced. Do the same thing as I did before, press backspace and now I’ve got
transparency again, and a much cleaner image thanks to the pen tool. And I’ll press deselect
and you can see the edge of the fruit looks great against the transparency. That’s
where transparency comes in. And another quick reminder, once
you’ve got something that is transparent and you want to keep it transparent, use it
for something else, you want to end up placing it over another image later, or you want to
use it on the web, save it as a PNG typically because that is a file format that you
can use to keep that transparency in place even though you can’t
keep layers like before. Becky: Great. That’s good helpful advice. We
are almost out of time but I want to just add a couple of other questions quickly.
Do you recommend the magic wand or the quick select tool? Which one gives
you more control again? We had people confused about which one you think is
best for which circumstances. Wes: Sure. Yeah, and it really kind of
boils down to your personal preference. I know that’s kind of a copout answer. But the
fact is the magic wand is great for quick and dirty selections like with the background of
the computer that I showed you earlier. It was solid white and there was a
hard edge around that foreground object. I just wanted the background. It’s an easy
grab. I just use the magic wand to grab that. Quick selection is also handy if it is still
more contrast that you want to get a finer edge around the thing that you are selecting which
is why you have the different size brushes. It is not based on color range like the
magic wand is. So on that magic wand example it just grabbed all the white, done. With the
quick selection tool you are moving a brush along, and it is grabbing everything that it touches
with some intelligence and selecting that. So again, it depends on the
image that you are working with. In my first example with the computer, the
magic wand was better. That doesn’t always mean the magic wand is better. And in some
cases quick selection is the smarter tool. And it all just comes down to just which one
is working better for you as you are working. You switch back, try this one, undo,
try the next one, that one works better. Becky: Great. Thank you so much for that Wes.
We are going to go ahead and jump out of this because we are almost at the top of the hour.
And we hope you’ve gotten a lot out of it. We know we didn’t get to every question but
we hope we answered many of them for you, and that we’ve shared a lot of resources
that you can continue your learning once you leave this event. We will make sure that
those links are included in the follow-up email. But go ahead and chat in to let us know one
thing that you learned in today’s webinar that you are going to take back and try to
implement, try to use to make your images look better for your collateral, your website,
your materials wherever you are using them. And we would also like for you to tell us that
you are going to share this with your friends and colleagues that may benefit from using
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I want to remind you that if you are jumping out of the room now, be sure to let us know
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continue improving our programs. But before I do that, look at our upcoming
webinars and events and we hope you’ll join us for some of those. Next week we are
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engage families in early learning settings, so for kids 0 to 5, what kind of
technologies are parents and families using. Great if you work in that sector, join us for that.
Then we will be talking specifically for libraries on Digital Literacy Training Tutorials. So if you
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you are newer to TechSoup or have recently registered and want to get a little more hands on with our
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spending some time doing a very similar type of walk-through of Excel for Beginners on the
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events and webinars archived. You can see all of these different categories
that you can search through to find any content that we have done before in webinars so
you can watch those at your convenience. Thank you so much Wes, really appreciate you
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discount and subscription available. I’d also like to thank Terry McGrath on the back
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Articles, Blog

How to Design Your Own T-Shirt – Veterans Motorcycle Ride America

November 17, 2019

Today we’re going to design another
t-shirt on screen for client coming up hey welcome back everybody’s mat with
Mikey designs we’re going to go ahead and show you the process of how we go
about designing a t-shirt on screen this will be for client of ours it is for a
veterans run and I’ll show you what they have provided it is for a motorcycle
club it’s a veteran’s Run and it’s for dogs
for vets pets for vets this is that what the client has provided and this is
something someone else put together for them they want to make some changes but
we’re gonna kind of do our own little style to it mix it up a little bit that
way it’s not the same exact design we are gonna use some elements from this
design let’s go ahead and dive right into that if you are in the market for
Adobe Photoshop Illustrator or just Adobe CC in general be sure to use our
links down in a description by using our link it will help fund our channels that
way we can continue to make tutorials such as these for you guys and it
doesn’t cost you any more than if you were just to go over to Adobe comm and
purchase it from one of their links okay so first thing we’re going to do is I
was able to find this Eagle looks like the previous designer did use this
little bit of clipart here they did like that what they did not like they didn’t
really care for a font and they didn’t like the motorcycle so we’re gonna kind
of come up with something similar but our own little design so to speak so the
first thing I’m going to do I do see there’s some sort of road back here that
is a pretty cool element let me see what we can find as far as some sort of Road
so we’re gonna go to Google Images let’s type in Road and see what we get did kind of like the angle of that I
don’t want anything going back into perspective here and being that it is
Texas you might want to find something that is a little more flat but let’s
take a look let’s go to sighs let’s do large make sure we’re working with a
large image this is kind of cool but I don’t really like the angle of it I wish
I had some more options that weren’t just a straight back perspective look
who knows maybe that might end up working but let’s see what else they got
what else we can find grab this up some imagery from the good
old Google I don’t know that’s kind of cool it’s not the perspective that I
want but we’ll grab that up anyhow you let’s see maybe this will give us some
better options and I’m just gonna keep my mind open I’m not trying to knock off
that design in particular but always keep your mind open to something that
kind of catches your eye that’s kind of cool might be able to make that work
somehow the background probably will end up just being grayscale because we do as
screen printers we have six colors that we are limited to on our press just
trying to find something that’s not just a straight back image it’s just not your
perspective going back like that that’s one of the reasons I kind of like that a
little bit let’s see no it’s too hilly aha that’s not bad this seems something
a little more like you know come to think of it not in Texas they’re
actually in Arizona so I like this shot like how you can just really see the
gravel the the texture of the road so now let me go back and take a look I
probably should have thought about that generally we’re doing designs for
clients that are here in Texas but this is for client out in Arizona so you can
find some that looks a little bit more like it being in Arizona landscape I
don’t know I just really like it when it has that texture to the road I mean
something like this but then again I don’t know I’m not really seeing a
whole lot of options here where it’s not just a straighten back let’s see this
try curvy road Arizona and then a lot of these images just I
don’t know that’s all right it’s kind of cool what’s kind of need to take a look
at this kind of like that even though it is an image that goes straight back I
want to spend too too much time he muted back kind of image that’s in the
background but let’s take a look maybe this might work a good old shutter start
no we’re not gonna use him there we go it’s a wait for it to kind
of load it’s preview here it looks pretty low res that might’ve worked yeah
that’s pretty cool actually I kind of like that I’m gonna take this one as
well see what else we have here let’s take a look and see what we got
this far yeah that’s pretty cool that one will work you might end up using this one or that
one I kind of like the cloudy one the previous design did have some somewhat
cloudy images to it but let’s go back and make a new folder
we’re gonna call it design examples anytime I’m designing something I do
like to see what other people have done take a little bit from this a little bit
from that create my own design really so let’s say motorcycle club t-shirt design
see what pulls up and some of these I mean it’s kind of cool and everything
let um pull this off even though it’s not the look we’re going for do you like
some of the treatments here and some of the halftone dots in the background
let’s see what else we can find let’s see what we can find here hope
everybody is doing well today this is one of the very tedious parts to
actually designing something and you know we’re just scrolling through these
I’m not really seeing anything I’m absolutely just stoked about there’s
some cool stuff but they really do want a very kind of collage looking design so
to speak let’s try something else see you Harley harley t-shirt design something a little more along the lines
of this I’m going to drag this off and maybe use that as some sort of
inspiration that’s kind of cool so I mean we’re
going to try and create something along these lines here although I mean you look at stuff like
this and it what will show you how to kind of get there with that actually
illustrating the artwork were or on a time crunch and not only that we
don’t have time to sit down and actually illustrate something like that they need
it ASAP they need it today so that way when they go to their their club meeting
they will have something to present everybody and that’s kind of cool
however I think that’s what we’re gonna go for them I do you like the cloudy looking sky
there that’s pretty neat neat but I don’t think that’s the direction that
we’re going to go in it’s kind of cool so it’s kind of what I was looking for
is kind of a curvy road all right you have kind of wasted enough time here looking at some of these things all
right let me try curvy desert road see what that gets us see if we can’t find something a little
more what I was looking for I’m gonna take this one here and it looks kind of
cool okay I think that’s about all we’re
going to look for let’s just look up a cloudy sky make sure we’re still enlarged maybe
cloudy horizon saying something like that would be cold
however it’s got a lot of that’s pretty cool I think it’s a little too close to the
ground as far as the perspective goes you that’s pretty neat
let me take that and who knows I might end up just using
that I can’t quickly find something I liked it’s more interesting to me
one of the things about doing it t-shirt designed is just find something that
captures your eye there is no right or wrong way to do
this you just want to make something that looks good and that clients gonna
be happy with okay let’s see let me look at a couple more images see if we can’t
find cloudy horizon see Road I mean some of these were looking at is that to begin with already that looks
cool however I need something free can’t necessarily say that I want to go and
purchase an image for five 10 20 25 bucks whatever the case
may be and I’m not end up liking it and a lot of times you can grab an image
from I stock or Shutterstock use the mock-up image if they happen to like it
then you let the client know this image is not a royalty-free image we do have
to purchase it have them pay for it once they do take the full res images and
then just plunk it right down in place so that way you can get it essentially
get rid of these watermarks okay well free wise I think we can use
what we have here next thing I need to do is find a Harley and maybe parts on road make sure we’re using settings and I’m just trying to find some sort of
perspective then perhaps it’s a little bit more like like that I like that
motorcycle I think they would like that too these are veterans veterans do tend
to ride something that’s a little more Cruiser like like this one here
something a little more comfortable younger cats tend to like these here use
your chick can ride comfortably on the back of that ones so you tend to want to
go with something that’s a little more like that comfy for the long haul I want to worry about falling off the
back of it all time oh that’s a little too comfy there this
is pretty cool although with it being black I don’t
know I mean it’s going to go on a black t-shirt kind of hoping to find something
with a little more color but we may just take that and actually what we’ll keep is an option we’ll see it’s pretty cool-looking bike that’s pretty cool however I think the
photographs to Darden yeah it looks like a one-seater let’s not do that maybe if I knew the model of the Harley
I probably could find something along the lines of what I’m looking for although as I was saying a little
earlier don’t exactly want to keep a particular image stuck in my head be
open to stuff I mean I grabbed that went off that’s kind of cold
ah let’s see okay I think now we’re getting closer it’s where we need to be that’s that’s
pretty cool I like that looks a little more
illustrator like they might end up liking then uh I might be cool might
keep that as an option as well definitely don’t want someone sitting on
it okay well I think I might end up using
that one’s a little too classy look I probably might end up using this one
here you guys tend to lean a little more towards the darker colors let’s see what
else we can find if I had to show more I had a Harley it probably looks
something like that that’s a blow to lowrider ish although very cool I think we’re kind of
wanting something that’s going to appeal to the masses of the club okay so let’s roll with that for now
I’ll see what he thinks about it once it’s put into the composition and then
next thing we’re going to do we’re going to go to a thousand one let’s say
thousand one free fonts let’s do that one and my way of thinking is he really
likes the kind of style of this font here which kind of looks Western to me so let me see what I can find
Western wise Oh a guy that kind of I don’t know
mmm confetti confetti Western I don’t know kind of thought of my work but trying to keep my mind open to some of
these other fonts all right we might need to go 2001 fonts believe they are free 2001 frequency let
me down again here see what it pulls up hopefully we get
something as Lowell closer to what he likes about the jackets that they do
have for the club members you and this is just one of the more tedious
processes of actually getting in and designing something it might just be font hunting just
looking for fonts you that’s kind of cool
no it’s called carnival that they might end up liking something
like that you some of these fonts are a coelom I have
to go back and kind of ream maybe I have that font stuck in my mind alone too
much although I don’t want it to be one of
those situations where like hey can we get something closer to this thank ya
you know sure however you see what we’re doing here is going
through okay all right let’s try this let me go back to the beginning and see
if there’s anything that kind of sticks out that I think looks pretty cool not so much
Shh something similar to what is on their jackets saddlebag now cowboy is a new okay yeah none of these are really
catching my eye except for that one okay you’ll have to excuse me had to sneeze
there for a minute okay where were we at we’re looking for fonts okay I think for
the moment I’m not going to look at fonts anymore I’m going to switch gears
real quick thought for a minute and we’re gonna look for an American flag
eagle see if we can’t find maybe some other interesting image even though that
one is pretty cool so let’s see what other options we do have I mean there’s
there’s that image again that one is pretty low res let me go back make sure
it’s large and you can see that image does show up
quite a bit I do not I like to do like how the flag is in its wings that’s pretty cool-looking might grab
that up and in the process I’m going to organize this a little bit let’s call this American Eagle and find our American Eagle image I’m
gonna toss that in a folder make a folder called Rhodes Rhodes toss that in there see early we’ll toss that in this folder it’s that way when I’m getting to the
point of actually putting this thing together it’ll be a little easier for me
to let’s call this clouds make a little easier for me to go
through and actually figure out essentially what what we’re looking at
here image-wise makes things easier to find
so that way I had to sort through as much okay back to the American Eagle
just going to see if I can’t find something perhaps a little more
interesting that’s kind of cool we just pull that one off image of the Eagle that we had that
dumped it in the wrong folder I thought I’d pulled it off let’s take a look I had pulled the other one off maybe not
all right let’s take this dude and put it here make sure it’s actually showing
up let me go back to the top I think it was this one here
you okay click on that it will give us some other
images to kind of browse through although now it’s getting us back to the
low side of the images and why that one just keeps popping up doesn’t it however let’s see what we can find and do we have this one already and he’s too narrow cool thing about
that image is it composition wise it actually will fit quite nicely even though I’m not a huge fan of having
them flag behind it this looks pretty cool I
might just kind of feather this out that
feather better ba feather the edges of that that might end up being something
pretty cool this is pretty neat you might be able to actually take that and transpose some sort of
flag behind it maybe in some of these areas here that’s pretty cool-looking though I like
that how it looks like an eagle and then it’s the face it’s almost kind of a
two-in-one image so I don’t know
doing a couple options see what they think that’s pretty cool when it a little more kind of let I want to look a little bit more
like it was illustrated by hand I don’t know if we have the image here
we might actually have that when already yeah and that’s pretty cool however I don’t
know that that’s what I’m talking about guys when saying keep your eyes open for
something that might be interesting they might really enjoy what I have in mind
for that what is this here Shutterstock now murica doing it for America the a Mirko let’s see okay let’s yeah that’s kind of I don’t know now
that I look at it seems a little goofy to me so but
have that face I think I will find some sort of American flag image that might
look really cool behind it and that looks pretty cool to me so let’s call this American flag if you
guys are wondering out to create these folders so quickly just hit command
shift in that will create a new folder all right
let’s dump this into the American flag folder you
and that’s not bad-looking however looks like it was meaning tells vector or done
in Photoshop clients just texting away do apologize
let’s see I don’t know that first ones pretty cool let’s see what else we can find here that’s not bad and I’ll grab that you hmmm there that’s pretty neat I might be able to do
something pretty cool with that like how the sunshine is coming – that
might work with our clouds somewhat and I think I might might find just one
more image it’s kind of cool I have to do too much trimming for that
it’s got the looks like the Rocky Mountains in the background although that’s pretty cool in itself I grabbed that up like the kind of grunge kind of
watercolor splatter kind of look to it and ah way to go 1 2 3 RF
man that might have worked let’s see what else we can get that that looks
like that because it’s that’s pretty neat
it kind of has a little bit of that kind of just weathered vintage kind of look
like it’s been around for a while and it looks like I’m out yeah that’s
pretty cool you see here a little bit small of an image course
all the large images are paid for images however let me now that
one looks like it’s Illustrated a little too much let’s say we pulled off this farm that’s
cool let’s need also see this is a part where
we’re just kind of you can just really get creative with it
because I mean that’s pretty cool-looking and I don’t want to do a carbon copy of
what and the previous designer did I’ll tell you one of the things they really
don’t excuse it we are a business and the phone doesn’t ring so let me pause
this real quick okay you’ll have to excuse me so I was calling in I’ve been
getting messages and I had to see what the weather is doing outside and kind of
look outside eating out so let’s see what we got here
American flag wise yeah I did not drag one of these off this is a little low
rest but I really like it I don’t think it will matter to to much since it will
be kind of subdued in the background let’s take yeah it’s got a watermark in it there’s just all kinds of emails coming
and get out of the way let’s see is that the same image is it the same image it
looks like same one meme like that so at this point I’m gonna do
one more image search and we’re just going to look for
lightning cool I don’t know desktop background
something not too too crazy and once again let’s go to size and
large to go and kind of fine and naturally we’re going to have clouds
in there and I may or may not actually put this
in there because the last composition did have a little something like that this looks kind of neat although I
really don’t think this is 19 by 1080 like it’s saying it looks pretty low res
that looks kind of cool okay you know I like that let’s see let’s make a new
folder guess what we’re going to call it lightning lightning case ill
should have been all caps like Aang what looks pretty neat yeah I might grab that up go back and
after a while kind of looking at these images and
grabbing them sometimes going back you almost can have a fresh set of eyes
on it so to speak oh I know what Metallica’s ride the
lightning in the background not although cool album I will say all right
I think this couple images will work with what I have in mind so at this
point I’m gonna hide Safari I’m going to go over the Photoshop let me close that
out I do not need that let’s make a new image accidently hit open Bowman hit
command in or just click create new here I do know our maximum print size is 12
by 15 this will go on the back and I think I’ll do 200 dpi since a lot
of these images are somewhat low res and we’re screen printing it at 45 the LPI
200 is good if you can design it at 300 and your images are so large that you do
need to scale them down that’s ideal we’re going to make the background
transparent RGB because we will end up doing our separations in RGB you do not
want it in CMYK because this is not a process print it’s going to be simulated
or what we call spot process so let’s see what job never recalled this 50 84
pets for vets for pets for vets I might even have this
title wrong but I know what it means let’s go ahead and hit create okay so now at this point let’s go over
to our folder I think first thing we’re going to do is we’re going to create the
background and I think I like that went a little more
so let’s drag that in you know yeah let’s just go ahead and dragged it in I
was going to turn to grayscale but I have a way to get rid of the color
because we will not be using color in the background let’s just go ahead and
hit enter we’ll label this lightning I’m gonna
make a new layer we’re gonna call it background or you can call it black
t-shirt whatever you want to call it let’s actually do that we’ll call that
black t-shirt t-shirt drag that to the bottom hit D on the keyboard make sure
we have our default black option delete now I have ourselves a black background
you can see there is a little bit of a hard line here and with this image okay
so let’s make this grayscale hit command
you we can go to image adjustments hue separate yeah hue saturation what’s
about say hue separation but we’re not separating anything so just pull
saturation all the way back it’ll take all that color out you knowing the hit
okay next thing we’re going to do let’s find our road see which one I think will
look the best that’s pretty cool to flat and I don’t like the angle of it
that’s pretty awesome hmm so it’s either this dude here I’m
going to label it real quick or like that one it looks pretty cool but I
like the lighting of this so it’s this guy or this guy let me know
in the comments which one you like and I’ll show you which one I end up going
with and then kind of toggle back and forth between these two I’m really liking the lighting of this
one I’m gonna go with this one because of the fact that it is kind of a
kind of wanted to look a little stormy so I’m gonna pull that down
sorry about that actually only hit my mouth moved it around call this road aka
row ad you let’s see here Smart Filters mm-hmm
although I did not mean to make that a smart filter however command-u in this I may mmmm might have to back up
a step because maybe I can do something interesting with the cloud set it just
being grayscale because I do like some of the yellowish tones here so I’m gonna
have to think about that maybe I could do something cool with some of the
colors of this background so we might just end up blending these two together
so I just hit command + or just yeah command to select this other one as well
if you wanted to select and you can hold shift to select these but if I didn’t
want this one in the middle just hold command and you can select or control
for you guys on a PC out okay anyhow I might actually go back and
do something with Lightning here with the taking it from that to color
image I don’t know I might turn it to blue yeah let’s do that
get rid of that let’s take go back to this cloud or excuse me the lightning take this one again
it looks pretty cool but I’m going to drop this guy right in
there I’m going to change the color if it’s
that way it’s more of a blue rather than purple and we might just hit colorize flora
saturation up I think that will look a little more interesting because we are
going to need blue for the American flag so let’s change that I’m going to drag
it up and then my the issues I have going on
here so we do have the sky so I think I’m gonna kind of blend this out a
little bit I turn this off I’m gonna make a selection with my marquee tool
here and just the square marquee tool I’m going to go to filter or excuse me
select modify feather and I think I’m a feather that by 150
I’m gonna go to my road in the chair let me rename this one lightning again and let me just collapse this by
clicking that I don’t really need to see the filter
now I’m gonna hit you do a little bit of excuse me shouldn’t hit cancel command
you control you for PC guys and let’s kind of make that look a little more blue again released blue up here feathers out little more let me head
undo undo couple times I think that we’ll get
rid of our feather let’s make this 250 so I want a nice
gradual transition I’ll rename this after the fact after I figure out what
I’m doing here with these clouds okay so they command you again see now we’re
starting to get a little bit more of a fade and I think I might feather it out
just even that much more let’s just go ahead and make that 500 okay you can see this pinch down and
that’s because we got a really huge feather going on here so now let’s
change that see now we’re getting a little bit more of that that sky in the
background going my bump being a saturation bring some color in there and let’s make
it look closer to the other blue that we do have going on and win it so purplish
they bump the saturation all the way up just so we can kind of really see what
we’re working with here from the purples that way I don’t have
to use purple in anything all right so we got that we got this image here May and let’s go ahead and label this lightning
again so I’m going to
but hit command team smart smart filters applied to this layer will be turned off
temporarily while they transform sure wherever you save their so we’re going
to drag this down to the horizon I hit command T to do that just drag it down
and hit enter on the keyboard now I’m going to do a mask got this layer
selected I’m going to click this here go to my paintbrush and I’ll control an
option and you can drag your mouse up and down
like this so you can see the effect that is going on and I’m going to want to
paint this with black hit X on my keyboard and then we can kind of
gradually just blend these I blend that a little bit so I look like
it belongs okay so that looks pretty cool I think
I’m going to take the two of these most like the road in the lighting layer and hit command T
to transform it it’s that way and kind of fill up my canvas
I think I’ll pull this down just a touch because I am going to feather this out a
little bit let me hit undo real quick I think I went a little too far with it don’t want to lose just part of
lightning although I can go around it who knows
I don’t know sometimes I go back and forth with some of these things and just
part of designing things and okay so I think one of the things I’m going to do
I’m going to go to you and should be pulling back to the saturation
here it command D on the keyboard make sure
I’m not looks like I’m affecting the little filter we got going on command-u
I’m trying to pull back the saturation of this thing I went a little darker
you saturation is getting a little crazy
okay let me go to image mode adjustments brightness contrast and as we pull this back let’s see what
we get might want to bump up the contrast a little bit see what using
legacy gets us so I’m kind of wanting to just make it
somewhat dark looking even though these guys are not going to be riding and
weather like this ever you I’m going to make it look dramatic
happens when we hit colorize here obviously it’s going to make well I mean
if you really don’t know what when you do colorize it basically takes all the
tones and makes it almost like a sepia tone so at this point I’m trying to be a
little bit more towards the blue side huh I’m really not taking what it’s doing to
the clouds here and depending on what version you have
it’s you’re not gonna see some of these Smart Filters kick on which I recently
updated I’m not too big of a fan of these Smart Filters because it’s not the
results that I have going on here aren’t exactly
what I’m looking for let’s try this you
so I turned those Smart Filters off real quick
man I’m trying to stay away from those Purple’s okay
that looks kind of cool let’s turn okay all the Smart Filters are on go back to this road we’ll go to
adjustments brightness/contrast see what we get here and pull some of
this stuff back and you can just play around with it
whatever it is you’re creating just keep in mind you can just play around to
stuff and get it to your liking my personal tastes will differ from yours
so just bring this contrast up and I have to go back and ah okay yeah it’s looking kind of cool
all right so with this background I think one of the things I am going to do
well I’m gonna pause the video for one second okay now we’re finished with that
phone call all right um I think one of the things I’m going to do is let’s see
how we can incorporate one of these American Eagles now looking at this it’s
too illustrative that’s kind of cool they originally had that so I think I
might plonk this dude in there is one option so let me take this I’m gonna side drag
it in there and enter and I’m gonna make a folder we’re gonna
call it Eagles and we’re not talking about the band I’ll call this eagle one
and put it in that folder and while we’re at it miles will grab
the other Eagle one should I plan on doing something with
please try and see what we can do with it I’m gonna toss that in there and
immediately I’m going to just erase this thing here see I am not sure why you okay we’re going to use a mask because
I’m dragging dropping things in there rather and opening and copying it over
and I’ll show you what I’m talking about let me just get rid of that real quick
I’m gonna go to open go to my job folder here and click on art American Eagle and
I think this let’s see where’s it at there we are let’s go ahead and open
that up so now that’s open then drag this guy off hold the command option
down I’m gonna hold shift so it plugs right down the middle let me go back to
this window a command W to close it out now I hit command T to transform it make
it bigger see now it’s not linked to anything which that times are are a good
thing if you happen to erase some of your image having a linked image you can
always go back to the the original image as soon as I start
erasing this I mean the contents gone which with this particular these uh this wallpaper art here and I
don’t mind getting rid of this so let’s just get rid of that
okay we’ll call this Eagle two rips forgot to put two in there now and turn that off we got this eagle
here that we are dealing with one of the things I want to do is get rid of the
black background so I’m going to go over here to my magic wand tool I’m just
going to select this let’s hit undo a couple times I didn’t
let’s select that so I’m just gonna hit delete
let’s rasterize this thing that way we can actually and that’s how you get rid
of your linking just right-click and rasterize it but also we’re going to
show you how you can open it and copy it off so I hit delete now do you select
that now I’m going to go over here I think what I’ll end up doing is for this I’ll probably end up drawing
some sort of path and a little bit of white here it looks like someone went
back and toss that in there that take my selection tool here remove
some of these areas I don’t want deleted you use a pin tool to make him a a more
precise path but in this instance I am just trying to get
this done quickly so I’m gonna I’m free handed you get a real event and I’m just
holding option down to get rid of that selection I’m going to delete that get
command D to deselect it so that’s looking we got him in the
composition probably will need to go back and get rid of some of this as well
which I did not really catch to begin with get some of this here and I’m
going to remove some of this hold option down
I had delete there we go no reason were I mean someone’s black
makes up the shadows of this tell feathers and I’m just going to kind of
position this guy a little bit okay so we got our eagles all done I’m gonna
collapse this folder next thing I’m going to do is I’m going to go to my car
lease and it’s pretty cool something tells me they
probably would like that better that one or that one more
let’s see come on get out of there let me know guys what you think down in
the comments which one you like I think I kinda like this cuz it looks a little
more cartoony and a classic looking this is kind of that modern flat black but
yet a classic motorcycle see them quite often on the road you so I think I will go with this one here
the Road Glide I believe is what it’s called because that’s what it’s labeled
who knows maybe that’s not what it is okay let’s go to that window close it
out so in this instance I am going to make a clipping path for this particular
motorcycle let me back up a step I’m gonna hit undo let me reopen that file
and I’m gonna go here it p on the keyboard we’re gonna make a clipping
path let’s think about just a touch and then hit caps locks that way I get my
arrows this is just how I prefer it and if you want to see the pin on yours
that’s absolutely cool a little option down drag that back a little bit the
angle is getting a little too crazy and I’m not gonna spend too – too much time this clipping path I’m gonna try and
make as accurate as I can but I’m gonna try and bang this out as quick as I can
hold option down get rid of that handle I can do something like this you last
and with me saying I’m not gonna spend – too much time and get it to precise
you’re probably thinking wow you’re spending more time I normally would but just trying to do this as quick as I can
I mean some of these details I generally would get take a little more time on
ever being a commercial designer or graphic designer commercial artist
whatever you want to call it I find you’re generally on a time crunch most
of the time well you won’t have a tendency just and really need to bang
these things out come down here make sure our antennas in
there and there goes the Thunder it is about to pour down I don’t know if you
guys can hear that hopefully it doesn’t get too loud don’t want it interrupting the tutorial
/ let me show you how I go about designing stuff and here we go with some
more phone calls let me quit that real quick let’s Shannon get the song okay you can see I’m just going around
clipping this thing out normally doing a just some sort of magic wand selection
won’t work because of the background and I’m quickly gonna try and blow through
this so it’s going around the motorcycle okay
this is definitely as you can tell is a very tedious process you hear Shannon
you’re not familiar with shin in the shop gnome she is she is the lady she is
steam she helps manage things around here
handles clients obviously and she was getting after mom getting after and
learn so you guys had our new to the channel we are a I’d say two and a half
person shop I do the art work I started this business back in 2013 had a
full-time job this is what I do for a living I’ve got
Shannon on board the amount of workload that since Shannon’s come in she’s
really help pick up a lot of the workload so I can get to doing
artwork and a screen printing in she actually helps with the screen printing
by stacking the shirts and it’s really thundering out their eyes that are just
appropriate for this tutorial with the lightning in the background it’s a
little too coincidental maybe so anyhow um yeah so two-and-a-half
person what I mean by two-and-a-half is I am training someone on the the screen
printing end so I can be in the office a little more I helped his name’s Panda
you’re watching panda which I doubt you will because he is a busy guy himself
however he does a lot of the screen prep and training him how to screen print so
let’s just say that business is going well and we didn’t our busiest here this farm it’s
just good it’s probably because of doing stuff like this so I actually got off
the phone with a client lo earlier today before I started this he was a good
buddy I went to high school with and one of the reasons they do keep coming back
to us is because of the artwork I mean they’ve tried other people and they try
and you know spread the work out but they keep coming back to us because of
the essentially artwork that we sent to them I’m really enjoying what we’ve put
together and apparently whatever sends other shops have been putting together
these haven’t been happy with and it is starting to get down out there well just
when we thought the rain was gone you so who was that was that well and which one is which one Shawn okay in the back up here what design was that oh yeah okay I know
she talked about now I’m getting ahead of myself again keep saying it’s a
shadow gotcha okay so we have completed our
path I’m gonna hold command down like this make sure we do have the combined
shapes thingy here no it’s okay I was just talking about our business because
at this point of doing this art is very tedious and there’s not a whole lot to
talk about aside from I’m drawing with it okay so I’m using the subtract from
shape now that we’re going to be cutting our path inside here generally you want
to do the outside first make sure it’s combined shapes and then as soon as you
draw the path on the inside where you want it cut out it will subtract that from the circle
selection and I’ll show you what I’m talking about here once we get this
finish and I’m just going to I mean I’m not going to make this too too detailed
some of these parts like this yeah I read and do it I’ll just make it kind of
square like that’s a part where I’m telling you I don’t want to spend too
much time on it come down here they’re just gonna make simple polygons we’ll make curve it’s pretty important
important part excuse me geez I’ll say one thing about
being a designer I’m not talking what during the day and I’m concentrating on
what I’m doing sometimes I can just stumble all my words so to speak you treyton on the task at hand so I tend to either not say things
properly or just I don’t know sometimes I feel like I sound a little foolish
let’s just put it that way when I’m nuts it’s almost like I’m kind of have a
one-track mind kind of can’t really multitask as much or as
well as I think I can okay I don’t like how that turned out it’s pretty
important that I will adjust okay last thing here at least I believe is this
part here okay I’m just gonna hit command s to save
that I’m gonna go over to my pass double click on that
I caught clipping path hit okay cover here to the right hand side select
clipping path 0.3 flatness if the higher is the number the harder the clipping
path will be in other words it will make it look more like a polygon so 0.3 is
generally my go-to okay now I’ll hold command down over
this you’ll get the little box here and then look at our selection so now you
see because innards are taken out if I hit command J and turn off the
background you’ll see that we got our motorcycle and you really need to put
that on new layer but I just wanted to show you guys that over to our marquee
tool command option shift plunk that bad boy right down in here and it looks like
I did forget to go in here and cut this out
let’s see if we just quickly punch some of the stuff out try not spend too much time on these
details but that’s pretty important so I’m gonna remove that selection and
we’re going to remove this as well three handed best I can you I add some of this I’m just holding the
shift button down and I’m gonna add some of that remove
some of the rim of the motorcycle here remove some of the calipers here add
some of that add this back in actually we want to remove that from the
selection so I almost get rid of that and I’m holding option down who’s
clicking and might be slightly polygon like but I’m just trying to hammer this
job out these guys are waiting on this they need it for their meeting alright
let me add that to the selection this is well that remove that shift an option
will go between the two shift will add option takes away now if you hold if you
hold option down you’ll get minus so I’m dragging dragging here right now I’m
going to let off option holding my mouse down hold option down again
now I’m getting a straight line so I’m gonna click and then hold down my mouse
let that go like or hold the mouse down and let go option you get back to being
able do a free-form tool a couple more pieces hold option down here but actually we need to do shift holding
shift now we hit undo so we’re gonna hit shift I’m gonna hold option down and see
we get that again and I let go the shift button play around with that you might
find that useful and again it’s just hold shift add I’ll start drawing and
then click option let go a shift Wow let’s see yeah you can still hold and shift down
at the same time so it bothers you let go
shift and keep holding it I’m going to remove this here okay alright one more little thing I’m
going to add this remove that add this or excuse me
remove them now we had delete all right now we’re
getting somewhere rotate this just a little bit and you make it a little bit bigger in
the composition man team Tifton option pulls that up let
me go back and see what they did in the last design and I use that as a basis
composition wise okay yes so the motorcycle is
overlapping quite a bit this is a bigger bigger motorcycle looks like a little
bit of an outer glow on the motorcycle mm I was kind of thinking of a drop
shadow however okay so we need to keep some room at the
top for the tags I’m gonna all right let’s call is Harley and then Ingle I think I will size him down a
little bit I think he’s taken up a little too much real estate and pull in
down move the Harley up some along with this Eagle and there’s hold command down to select
those two okay let’s go ahead and save this I don’t think we’ve saved yet and
shame on me when it’s terrible probably cuz I’m finally getting to a
point towards where I’m like okay this is just looking like something but we
got a long way to go okay I’m gonna take a couple minutes to collect my thoughts
figure out where I’m going to go with this next so stay tuned okay and we are
back at a moment to kind of sit back and kind of look at this I think with this
particular evil it is it’s very colorful and then the bike is you know it’s a
flat black so I think I’m gonna drop this down in the composition I like the
flat black bike more however I think it’s a little it’s not colorful enough
we need to bring some more color into design so I’m going to hold on to that
one though because I may see how it ends up looking in the other composition so
let me bring this in real quick this one I am NOT going to cut a path for because
it is on a black background I’m going to plug that dude right in there let me close these other windows out
close this one let’s go ahead and when you get rid of turn the background layer
back on we’ll still have our clipping path we’ll just save that into the JPEG
close it out so let’s go back over to our layers we will just put these guys
I’m going to select both of them put it in a folder we’ll call it Harley’s gonna collapse
this one here open this folder let’s call it red Harley turn this black one
off I’m going to enlarge it and I’m going to
use my magic one however I’m going to bring
the tolerance down quite a bit it’s too much let’s try 15 and a decent
leg come over here and select some of those
other stuff I do however need and there goes the phone again not a big deal I
mean rid of this portion of the selection
telemarketer good old telemarketers now nobody answered
oh my okay so this one may be a bit of problem it is not a very high res image not a big fan of images that are not
high-res so I’m going to do a very crude the selection of some of these parts
here make sure we got this tire and you can
see some of the okay
I’m gonna get rid of this make sure we got that tire and it is starting to pour down out
there I don’t hopefully power doesn’t give out cuz we
got a deadline to meet today here in a few hours so I need them crank this dude
out all right because I’m not sure that I’m
uses motorcycle let’s see let’s go over and type in red Harlem right harley-davidson
see what we get not quite the same motorcycle but you
know they might I like that that motorcycle that is in there I do like
the angle however you man and as long as we get something to
them they tell us they don’t like the motorcycle not a big deal they’re happy
with the font or whatever the case may be they’re generally always will be
changes that will need to be made but we need to get something to them first all
right let me go to filter and let’s see trying to think it’s not a filter I used
too often I’m gonna go to help we’re going to call it it’s called plastic
rap at least it was something looks like they may have gotten rid of it so let’s
go to our filter gallery so used to be called their artistic
and there this plastic wrap my looks stupid at the moment but I’m going to
pull it back this will do is kind of help look a little bit more just a touch more kind of illustrate it I don’t know but I
don’t like how that came out so I’m gonna close my mail app so stuffs
not constantly popping up okay so we’re going to pull this down the
composition a little warm might even size it down just a touch you now
quickly just put an outer glow on it see the outer glow make sure its wine and
I’m spread of it to be be fairly noticeable when I go to
overboard with it night I’m probably gonna have to fix this tire a little bit
because that just looks funky okay mm-hm opacity so you might bring that back a
little bit you and it’s just one of those things being
a designer you’re going to have to play around some of these things I’m gonna
call that good for now and I always go back and adjust it my concern at this
point is this tire let me just take mine you
tool here and kind of make this look a little bit more like a around a tire command ship I’m going to go over to my
race tool I’m gonna hit some of that and it looks like a rounder tire reason it’s
been too much time on this bike just yet as they might not like it so I mean some
of these areas here I mean obviously that kind of looks like Dede and this is a low whereas image I think
I’ll just click on this layer here let me say select modify contract and
contract it by two pixels and then select modify feather and go feather it
by two as well command shift I and I’m gonna head to
lead I hit it one too many times
okay so now our edges look a little better a little feathered out still not
a fan of what’s going on here see if I can draw something out that
looks a little better select feather modify feather to delete
okay that looks a little better I hit command new I think I might change the
hue of it to be a little bit more like the red of the eagle and okay there okay the things I do kind of want to do like what is going on back over here
well that just looks goofy yeah I’m not even know what that is but I’m gonna get
rid of that stuff make sure when I grab this handle select modify feather – okay
I’m hitting enter on the keyboard delete okay that looks better okay now I think one of the things I
might do with this eagle is I’m going to put a mask on it grab my
brush make it fairly large with a really like zero percent hardness make sure my
default color is black D I was hit D on the keyboard and X I’m gonna come over
here and I’m just going to fade him out just a touch I think I might have this
just a little too big let’s pull this back a little bit
it’ll help this motorcycle kind of stand out just a little more next thing I’m
going to do I am going to take this windscreen and I’m
– I’m not even a fan of what’s going on here
they fix that real quick slag – five feather for I’m I’m I’m on my motorcycle layer
right Harley delete that it looks better okay back to
our windscreen I’m going to make a really quick selection here and I got a little sloppy with it
holding option down so we go back to this thing I’m going to pull out some of
these parts here that armed motorcycle handlebars some of these other little accessories
I’m going to pull let me undo that I’m gonna pull this out this does look like
it is metal maybe it’s not and let me get rid of the selection of
this mirror here edit command shift J so that removed that from that layer and
I’m gonna pull it back a little bit that way we can see some of that eagle
showing that are just a touch make it look like it’s in front of it I’ll call
this windscreen okay commander let’s save that now
next trick is let’s take a look and see what we get when we go to brightness and
contrast see what we can’t do make sure it’s kind of balance between
the two and what – too much contrast okay that looks pretty good decent
enough time crunch people time crunch okay so I think with this road I’m gonna
pull back some I’m still kind of not a fan of what’s coming out here but might
not be that big of a deal down the road let me take a look at what
we got going on here Road let’s put this in a folder we’ll call it background you now for this road I think I will pull it
back not so in-your-face but you still get
the idea what’s going on it’s even America all right now I think at this point what
I’m going to do is either feather the edge of what is going on in the
background or I might do some sort of halftone thing so I’m going to save that
real quick I’m actually going to duplicate this background because I have
a feeling that I might want to do something different or the other Eagle image so I’m going to
turn that off because it’s obviously affecting what’s going on changes we
just made and
let’s see trying to think here sometimes part of
the process is thinking so I think with this background I’m just kind of feather
and then the other design I might do something a little more unique so let’s just put a mask on that
background layer I’ll take our brush and size it down a little bit
control an option my feather is out some you you so I do not want those
Edge’s you and I think what I might end up doing
now I got this feathered out here hit X on the keyboard I’m trying to get some
more X again make sure why it’s in the foreground and make sure these
lightning bolts kind of really stand out hit X again to get black back and then
some of these areas between it I’m going to pull that back just a touch whether
this will all bid okay so one of the things I think I’m
going to do is I’m going to right-click go to my brushes here see what we have and see if we can’t
change this you know if change this up since the 2017 version so
you’ll have to excuse me here trying to find the brush I generally like he’s on her special effects brush hmm that’s weird and it’s not weird but where’s uh mm-hmm
man they just keep changing things up restore the default brushes they open
this up see what we get here I’m looking for I mean it’s kind of okay let’s see how this works out for us
I’m going to make this 100% and I’m gonna give it a little bit character here basically is what I’m
trying to do I’m really not liking how this brush is working out was try this out and looks a little to splatter
like not exactly what I was going for that looks like leaves you I know it’s a nice hole as I’m brushing
around lightning here got lightning going out you’re going on in the
background there and so I’m just trying to give this a little bit of a texture and it’s
we’re getting closer to after kind of that grainy splotchy kind of
effect I think I may want to emphasize this
little more with a different brush that’s kind of cool almost looks a
little noisy let’s see what media brush is let’s see
what we get here this may be after I don’t know so I’m gonna play
around with this for a moment so it’s all part of designing stuff you have to
just really go through and because they have changed it I I’m not finding the
brush right away however we are gonna make this work
because we have no choice Kyle’s ultimate ultimate pastel brush
and see what this does NIR not so much drop the ball Kyle don’t
say maybe you I was like I have to really hold it down
that’s not what I’m looking for and some of these things here worked out
okay okay so one of the things I think I’m going to do with this eagle I’m
going to select it and do select modify contract we’re going to do by one
Schlag modify feather let’s do that by – command shift
I’m the inverse it and hit delete let’s see how that worked out I think I
might have to contract it a little more trying to feather the edge a little bit
so he’s not such a hard edge edges looking cut out let’s try it
again select modify contract I may have hit expand that might have been a
problem okay select modify feather do ok inverse
delete ok that’s a little better so now it’s not doesn’t have such a hard edge
and one of the things I may do let me go back to my Harley
but that glow will take that right click cop copy layer style go back to our Eagle right-click paste
layer style let’s see what we get too much of a glow so we’re going to double
click on the filter here let’s pull that back a little bit there we go I like that let’s see the
difference between the two it’s subtle but it works okay so I think we’re getting pretty
close to the where we need the beam I’m going to save this and I may
need to move the eagle up in the composition or I might need to just size
both of them down we’ll figure that out once we bring our text in so we still
have to create that bring that in let me do option two real quick so I’m going to
turn this Eagle off you know what I think I’m going to save these as two
different files so I’m saving this and I’m going to hit command shift s to at okay okay so now we got version two
I think I’m just going to get rid of this Eagle altogether and I think I may
hold on to that bike I’m going to turn this either you go on
let’s see what happens when we hit multiply that looks pretty cool let’s turn the outer glow’ off it’s on
the windscreen yeah so let’s turn it off sped the
windscreen and the Harley that looks pretty cool one of the things I do like about this
is his eyes so I think I am going to make a selection around the eyes go back to that equal
click on that layer hit command J we’ll call it eyes turn the multiply back to normal we’re
getting that white again however what we’ll do this we’ll just use a mask
layer take this brush let me get a normal brush here and I’m just going to come in here and
just want his eyes to stand out cuz I looked pretty cold me back tied up a
couple a hold option command Z you can back it up as many times as you want I’m
gonna make this a little bit more of a feathered brush I don’t want it quite as
big I really liked the the eyes how they just kind of pop off of this you can still tell it’s
American bald eagle and then we’re going to take that flag and we’re going to stick it behind this
and kind of let it sit in the background a little bit so let’s looking pretty cool now let’s take that kind more weathered
looking just really old-looking flag for lack of more creative just vocabulary I
can’t I’ve got a term in my mind but concentration is on what’s going on here
in the background okay so that’s the one let’s take that and whatever reason I mean it looks like
we’re still looking at this but where does this do that there we go god photoshop’s acting out
this is why I have stuck with 2017 for quite some times some of these programs
can be very bugging until they sort things out
all right so let’s call this call of American flag
it is in the Eagles folder let’s get it out of there they’re behind the Eagles folder now I’m
gonna let see what it looks like when we hit multiply now what about overlay still making things too dark our light that’s kind of cool Oh No let me go back
to slag here sometimes when your images are behind
the others you may need to lock it so I’m going to lock those real quick so
and grab this lag and I think one of the things I’m going
to do is I am going to kind of brush that into that original shape here if we
go back to it take a look we’ve got this kind of look in Eagle shape to its face
so let me see what we can do with them and still keep the lightning I’m going
to make a mask and I’m going to take my brush here I might even an option might
even come back to this original image and go select color range yeah why is the American flag showing up
there okay okay let me click on the layer maybe that’s why okay it’s like
color range there we go now we’re talking and we’re just gonna expand this
I’m gonna add some of these other tones in here see what that gets us and they
hit okay option click turn everything back on I have select modify feather okay inverse that X let’s back up now the American flag that’s where we were
at let’s see let me inverse that and delete see what that gets us looks
kind of cool you can still kind of see the American flag back there however for whatever reason I see why okay so
we’re gonna put some more of this slag back behind Eagle D on the keyboard
yeah I do X make sure we got widen and yeah we’re still in black let’s back
that up make sure it’s on the white layer I’m
gonna pull this back to thirteen fifteen percent something like that that’s a
little much back that I make it’s in strata five percent trying to pull in
okay instead of the flow let’s pulled back the opacity and see
what we’re getting now there we go now we’re talking and pulse
I can flag back into the composition @x I don’t like that red overlaying it on top the the lightning because now starting to
make it look purple you okay that is getting somewhere although
I think I may play around with it just a little more try bring some more this American flag
in here so that looks
I did it over here a little bit see what we get
so I’m really kind of wanting some of these dark shades here too
I really do its thing want some of the clouds showing as well all right with some of these clouds showing here
might even increase the background on this one so I think the background let me go ahead and save this
forget too far background wise I think I will increase
the opacity here just a little more that was on the other one and maybe even the the lightning
background okay it looks like we’re at a hundred percent there you
yeah okay and I think that’s looking a little more unique now as far as unique treatments go I
think what we’ll do is create a little bit different of a border so
let me think about that for a second how I’m going to handle that because I do
feel like instead of us being a fade we could do something a little more
interesting I think it works well for the other design but trying to make this
one its own design I mean it’s concept wise it’s similar but it’s different so
let me think about that for one second I’ll be right back
okay now that I have had a moment to think I’m stepping back looking at this
as motorcycle looks way too Bryant looks like it’s out in the Sun our image
obviously looks like it’s on a road and it’s about to storm so I’m gonna go to
filter and make sure we’re on the motorcycle layer first let’s go over to
our red Harley I think I may even duplicate that real quick get the wrong thing let me go over to
this new tab we’ll duplicate that real quick turn the other off I’m going to go
to filter render and we’re gonna head lighting effect and we’re going to change the lighting
of this thing up a bit and this is one of those effects
that really just you just kind of have to play around
with so I’m going to mess around with this
for a little bit and see what we get you dragna stood around a little bit you so we get one
around with some of these you different essentially just the right although I don’t want it to be too
dark and I think one of the things is I want
to emphasize the tank and the headlight here trying to pull it back in the
composition some so it’s not so it’s that way doesn’t stick out so much and one of the things I like to do is go
to my extremes and kind of work backwards from there I kind of like the gloss turned up
yeah talak turned up ambience too much okay I’m gonna come up here and I’m
gonna hit okay I like that that looks better going to save that one of the things I do notice is our
windscreen you
like we can pull that back oh man you okay liking how that looks let me see
how it looked before just trying to get some of the background the show through
that make it look like it’s actually sitting on top of that and then let me save that real quick man
it is pouring down outside hopefully we don’t lose power that wouldn’t be good okay next thing we’re going to do is
we’re going to I’m just going to find something let’s say grunge border and this is something along the lines of
I’m looking for just a matter of
something that I like that looks kind of cool huh see those that one or now know I forgot which one no not that one now it’s not that one hmm forgot which one I just had open
although I know so I’m going to take a look at some of these quickly you make a decision here in a minute okay I mean that doesn’t look too bad
let’s take this drop it in there I’m going to size it up size of our artboard and we’re gonna use part of this to kind
of get a little bit of this kind of a texture border going on let’s go to
filter sharpen unsharp mask and Sony’s edges of all burden levels things okay so now we’ll call this border real quick there’s a few ways you could do this I
mean you can essentially make this a mask and then go to the background let’s
see let’s go to select color range you can select this black I’m gonna pull
this down to about 100 turn that off real quick and let’s go to our background real
quick let me get this out of the Harley folder folder real quick collapse of Harley’s collapse the
collapse the Eagles excuse me background okay like we do not have a folder for those
okay I’m gonna go select save selection call it border hit okay just hit return
command D deselect this is our background for the most part along with
the Eagle American flag okay so I’m gonna take the American flag yeah yeah
we do have okay so in this case I think I’m just going to take this border so
I’m going to take this I’m going to go this channel select here let’s mass that off see what we did
let’s hit multiply okay so now we got a little bit of a border effect going I’m
gonna come back to let’s see let’s come back to this road that looks kind of cool I don’t I don’t
know now that I see it I think I kind of like the feathered thing
maybe I’m just pull this back a little bit have a little bit of both okay yeah I think I like it hold back a
little bit gives a little bit of a texture okay so I’m going to save that
real quick and then one of the things I did notice about this eagle is I think part of it is the nose the
beak really needs to be there so let me figure out some sort of way to wow that
Thunder is crazy right now okay I’m going to figure a way to make this beak
a little more substantial I’m going to clone this off actually listen option okay there it is
option and click on the eyes that’s trying the same I think I’m just I just
really want the the nostrils in this beam to kind of stand out more
so let me clone that really quick we turn the lock off of this and when we
take a look we got going on here okay so let’s turn this in normal and
perhaps maybe color burn let’s try hard light let’s go back to
normal see what the difference is okay so I think I may go to select color
range with it normal I’m gonna grab some of these Gray’s from this beak I’m gonna
hit J now let me pull this back a little bit so now we’re starting to get a
little bit more of the beak in there I’m going to clean all this up however let’s
see what we can do with some of these layer just I’ll stop my head I can’t think of what
it’s called at the moment but it is the the transparency the layer effects
blending the blending mode for the layer there we go
his head so let it sit on top of that for a minute I see I’m gonna call this a
graze pull note in there eagle and I feel like we lost a little something may
have changed something oh let’s go back color Dodge okay
run normal and that might be it might just need to just be the normal one let
me turn that all the way up different exclusion ohm subtract nope provide huh still not quite there
here to that dart known clover no veneer hmm enlighten when I pull some of those back normal and kinda looks like we’re getting a little
bit of the same cause the fact that going on here
just kind of want it to be more obvious that there’s some nostrils a beak okay
let’s try something here let me just change the color of it more of a
Lu you do you think I like the set
I’m pulled back someone let’s see you lightness wise let’s try that and then we’ll mess
around with this a little bit okay I feel like you let’s undo that real quick come and you
back and you do colorize saturation you you okay I don’t know
think that perhaps right there and we’re starting to see more the beaking see the
nostrils I’m just going to take care of some of this around the eyes so I think
I’m going to do a mask and I’m gonna feather some of this ah
feather it but that way we have some of these
really hard edges going on Cassie the mouth of it going happening here so there
okay I like that that’s cool ticking might bring out a
little bit more of the American flag on this side let’s go over here X on a keyboard rip then go back make
sure at the correct spot okay I don’t think that’s what I’m looking
for back up for a second okay so when our mask layer black let’s
say we need to make that whiten there we go now we’re talking let’s pull that back a little bit personally I didn’t want
Oh up those stars and stripes too too much but I really pull some of that back
out you get rid of it some of it here in the
nose you
Oh in brain a touchback there we go going to bad you looks pretty cool now that calls not to cover too much of
it with too much of it up with the text however I think I may have to condense
some of the stuff that text is going to go up here I don’t want to cover too
much of that but we shall see once we bring in Texas
so let’s do that next okay so the next thing I’m going to do
I’m just gonna save this out as a tiff real quick don’t need the Alpha channels or the
layers and I will just save that quickly close this out and bring back my other
design real quick and I might modify this thing a little
bit again I pull back that glow just a touch actually you know what might get rid of it all
together actually I think that looks fine just
about hardly there I think on the windscreen you may just
get rid of it all together going to save that say this dude is a tiff now what we’re
going to do is go ahead and set our text
save that close that out let’s go for it illustrator excuse me
let’s make this by 15
you let’s see what’s the folder called and copy that what’s called Mach for now you design one all this design to and we’ll bring in our command chief P
for place we’ll bring in our designs the the backgrounds that we have created
let’s go ahead and place those will keep them linked now click on the artboard
cut one time at eggs go to the other command V and I’m going to line these to
the artboard Center them up turn that one off do the same thing here going to go ahead and save what work I
have just done and let’s see American pate
let’s just go ahead and paste that in here client provided that’s words that that’s
not it that’s not it there we are double click on that paste
it okay let’s turn the make sure this document is RGB I should have done that
from the get-go this type said American
then Patriots RC our seemed to never MC should be MC I don’t know why it says
are seen as okay well every arm said of MC is RC not that familiar with
motorcycle clubs to tell you what that means you you we’ll do another one
called I’m just holding command and option to copy of that the run 20:18 now let’s go back
our fonts let me change that this real quick okay let’s see what we downloaded and
font wise yeah I think we only downloaded one so let’s install that
real quick just going to double-click on that stall font while we’re at it we’ll paste the other portion of this there now what font did we just install
Carville so let’s use perhaps we’ll make both these at
carnival Wow that’s pretty close they might
be the same font okay so let’s take this and stick this
in here I’m going to clone this off so we don’t lose that command ship zero let’s make it white for now actually
let’s go ahead and do let’s do a gradient get our gradient
going gonna click and hold shift and command H to hide the outline of this thing
now let’s use red top and these blue that the bottom here not
a fan of that blue make that 150 magenta hundred cyan actually let’s put a little
more magenta in there it’s a touch and then we’ll go over it
right again let’s compress this just a little more no let it be two purple looking
let’s try to change this to RGB Merle Clayton
a bit more of that deeper royal blue going on there will compress us again you you
I want too much in there
the red I am not happy with what’s being
a little closer to there okay let’s try that let’s go over to our let’s see graphic
styles let’s make that a graphic style real quick hit undo just a on the keyboard select that I hit
H you can see where my selection is you hmm so felt like that blue can maybe be a
little deeper let me hit undo go back to this blue how deep do we want to go with it
okay I like them now let’s go a command H hide some of
these outlines now we’re gonna go to effect war arc is hit preview but we’re
going to go to arch and we’re going to pull that down some
that’s not too crazy and we may end up importing some of this
into Photoshop as separate low layers okay first thing we’re going to do
let’s go to object expand it copy me I’m seeing command bean paste
in bag and there goes a fraud again actually you know let me fix you back up
a few steps before we converted this thing more ah Oh okay so one of the things you did miss
because I didn’t save things accidentally had the short keyboard
command for in order to revert this and I went back to the last saved part that
was out which was just these two background images so here we are we got
the font with our gradient on it it had to go back and recreate that I’m gonna
go to object expand appearance now I’m going to take this hit command C command
B I’m gonna make it black reason being is if I made it white you wouldn’t put
an outline on it you’ll start to see some of this stuff fill in so do not
want that so let’s do that again copy command be
pacing back you make this fill here none make it black command C command B copy
pacing back and trying to give a little bit of a similar text treatment so what
we got going on here so now I’m going to put a white outline on that and I’m
going to make that round and we are going to bump that up a
little bit now I’m going to hit command C command B
I’m gonna make that outline black I’m going to increase the point size on it you
and then let’s say let’s make this black a little
thicker command C command being one more time
make it white and then we’re gonna increase that and now we’re starting to
get similar effect of what’s going on here I think maybe it’s a little too
thick okay so now I’m going to take all this
groupid and in this case we’re going to bring it
in the Photoshop and we won’t have to put it behind the eagle’s wings I think I’m just going to double click
on this real quick actually let me ungroup it double click again man Jean
want that front layer I’m not quite happy with this red here
thank you I want it a little bit darker there we go maybe even compress that a little more
let’s go back to his red and might actually put a touch a blue in there and
pull this bag yeah let’s go back to where we were at and oh my god that’s
looking it’s trying to not make it look so purple here but it’s part of having a
gradient with red and blue save that so I don’t lose my work and I think one of the things you might
have to go back a step okay does look like there is a little bit but
I extrude here not sure how he got that white back behind it
we shall figure that out okay I’m gonna cut this front layer here
so let’s start this over again that’ll be easier
F paste in front and copy set it in the bag we’re going to make that black here make that black eye
so they need that wine okay so I do see what’s going on let’s
make this stroke go to the outside or hmm oops back that up a stem okay you let’s see here okay let’s take that
stroke off put it
like on it copying sensitive back make that stroke white there we go see how then they got it over here curly then let’s make it two point five the copying command C command B once
again make that black now let’s increase the size of this stroke here and bring that down just a little bit
now it command-c be pacing back and hold shift down and then hit deep down arrow
key once now I select all this – the background
copy command B and I’m going to put a white outline on it and we’ll start
putting stroke in there so we start seeing the white come up from behind
everything I think one of the things we did miss you excuse me my computer is starting to run
a little slow here cancel that you okay let’s delete that real quick let’s
go over here we’ll go over to our stroke let’s round that off I’ll smooth things
out a little bit do that again copy command being sent to the back I’m
going to go to object path outline stroke and I’m going to go over here to my
Pathfinder and I’m gonna unite that so that way I don’t have so many objects
going on it’s kind of slow my computer down a little bit
now let’s just make this Phil wide make our stroke wide and what
a touch you looks like our black maybe could be
thicker we cut that real quick actually you know what let’s go ahead
and make that stroke white excuse me black
Bob sublet that’s mother issues with doing all these copy-and-paste behinds
getting to your stroke that’s towards the back one way of doing it is holding
command down and clicking or you can just right click
select next object below keep doing that next object below select next object
below okay now we have our black make that a little bit bigger but I am seeing a little bit of an issue
going on here so let’s back that up until we get to our wide let’s just delete that real quick so let’s just put these on a separate
layer real quick I’m going to cut this a sit in front
turn that off cut this goes to this layer paste it in back okay turn these dudes off
you cut that one as well but to the next layer off Aling select the lock
let’s lock this back around select these here and these others on
lock them now let’s make that a little big this a
little bigger go again well now
copy those send them to the back object path outline stroke and unite those and
then put my white stroke on the outside you you and almost feel like the white
stroke here could be a little thicker let’s pump that up okay yeah it looks pretty cool okay I am
with that let’s unlock this we’re just going to group these get rid of this layer here it is back on design one and cut s paisans right I’m going to
save this real quick you you and one of the things I might even do
with this come light even take a cousin my
gradient a little bit of a darker blue at the bottom but I’ll condense that a
little more see how that looks okay it looks pretty cool next thing we need to do we’ll do treatment with the Patriot RC let’s see
maybe Spoleto will work let’s see what fonts we got here let’s get rid of that ass you what kind of songs we got Hey look the sun’s coming up okay let’s do type change case let’s
select the font first change case title case make that uppercase and that’s pretty cool font I kind of like
that let’s see let’s go script
let’s see what that gets us see what kind of fine
on here okay I don’t know this may or may not be cool
fun let’s go back to our thousand 1 fonts
doing fine script wise see if we can’t find something cool
something totally cool hopefully that’s not one of the facts that didn’t like but I think it was just the American
thing that other fonts pretty cool and this looks pretty similar so I’m
gonna go with that might choose something else and keep
our eyes open for something catch my eyeball he’s wrapped us up soon so we can get it
to them for their meeting and we’re just about there I mean as
soon as we find this next fun I think we’re just about home free okay I’m gonna roll with that because we
are getting down to the wire let’s go back to our job folder toss this in the fonts real quick I’m going to double click on that and
install it and
spawn is called Aisha okay so let’s I think perhaps it’s 2018 I will use the
same font here carnival we’ll see how that looks okay looks pretty cool let’s put Ayesha versa Asia I don’t know I changed case title case it looks
pretty cool I’ll look at that we are getting closer
to being finished guys I’m going to clone this off command Oh turn to
outlines command G on group I’m gonna take this and that make it a separate
group do you want to make that bigger or Pathfinder and join those
same thing here I’m group join it kind of had hope that would fill some that
and apparently not let’s look at her old design I’m safely and do some wool it
might be fine ok so let’s take this and we’ll grab this here hopefully we can
still see arc want to apply the same thing so to speak
and your object expand appearance you outlines in the black mmm
perhaps I don’t work let’s see what they got going on here okay I got an idea got
an idea so this doesn’t quite look with this blend to change that up a little bit now I’m
looking at it kind of cut the camera there for a
minute and I look back on everything what we have going on space it out just
a touch okay so I think what I’m going to do
with this I’m going to make some sort of mountain range looking kind of deal being this purple brain
I’m gonna quickly draw in some sort of mountain range so this might look a little silly ever I
may look just fine actually that looks a little goofy piqué maybe too much so I’m going to take this and then going
to divide it I’m going to double click on this
get into our grouping looks like we got rid of most stuff let’s get rid of that
this hair as well and we’re going to take these separate
parts here let’s unite those I’m going to take
these you nineties as well cut both of these
select command a select all command F we’re gonna paste that in front now
we’re going to do yes I think we’ll do something a little more YOUnique let’s say let’s flip that
around see what we got going on here
trying to think let’s see
well slip these out of the way back to the way it was originally condense this down you okay next thing we’re going to take this
blue do something a little unique within and at the top of this I do think I
might toss in a little bit of red just a touch bring this and a little
more you arrogance such
heartbreak you you
look a little bit more like a mountain range although I’m not completely happy
I don’t know I might go back to how it was
I’m gonna have to let that sit in for a moment let’s say you got rid of that generally
this works pretty well with similar colors but when you go to two different
colors it might look a little little silly um you alright let’s go over here we’ll select
that and we just might end up making this
side a little darker pull that in I don’t like the fact that it’s pink
here let’s and a little touch a red there and Hine
bring that animal there we go now we’re cooking okay I like them
alright let’s regroup them now let’s go back to the Patriot our
seam bring that to them
front command shift right bracket make that read it to a similar read
that’s what’s going on here so let’s pull that down some that okay so copying so into the bag by outline who’s setup does and copy command B since its back make that
black let’s boost that to about ten and I must do
sixteen do you think I will round this one off one around the stroke off of this well
command F pace that dude in front okay it’s looking pretty cool we do a
few other things in Photoshop Toccata and make this really stand out be its
own and we might even need to reduce this down some actually that looks a little bland to me
let’s take this a little bit of a gradient the feel here let’s go back to our
swatches get our default gradient and let’s make this 90 of
18 let’s join these guys up let’s come over
here do a little bit of this so I’m going to make this red let’s flop that around
I’m going to make this a darker red here give it a little more interest make it a
little more exciting let’s go back and let’s see for red there come back to this one and don’t make it
even that much more of a deep red and it’s just little
things like that that kind of really set things off to an extent okay that looks
a little more interesting than me last but not lease today run I’ll make this one red excuse me white and let’s see what we’ve been doing for
this read here should probably just save a swatch I was saying make a new swash of them well our
G be read that way I got a good basis to start
office huh you submit the swatch foot get
ourselves a gradient which copy command beam when we got to do the stroke that
might make it just a little more interesting my little happy accident
moments and we’ll do a rounded stroke there it’s our gradient tool make sure
I’m gonna hit undo redo alright grab our gradient tool and for hey you know see why our
gradient until didn’t want to work says we’re using this as a stroke okay so
that looks pretty cool I think I may I’m going to put some drop shadows on
each one of these let me go back double-click on my scale
tool skill strokes and effects D on the keyboard size this bad boy down and I don’t want to run in the bike too
much so we might have to adjust a bike a little bit we shall see now there we are
there’s our big 2018 toss this bad boy under here this dude into the composition as well
pull this down let’s center line it to the artwork
so all this can go up a touch and do you like how they kind of have
some of that stuff going around in the background so we might have to modify
ours a little bit because why one of the reasons when you
get into designing something you’re gonna make some adjustments okay
so let’s take this a on the keyboard select that and make a new shit sorry
about that excuse my French command ship G ungroup it select that
man ship cheat and regroup it and let’s try a different text treatment inside
from what they had going on command be pacing back black we went somewhat RGB black being sensitive back command-b now let’s
make that white make this slightly different
let’s round that out a little bit managed to hide in
okay so I’m going to cut that go to this here round it off man F paste it in
front yeah we’re sorry I’m running out of time
I’m not sure abs I’m absolutely in love with how this 2018 looks let’s see how
it looks with this fun yeah I don’t know like that one anyways
we’ll see what they think down to the wire so I’m going to go back to this white
maybe pull it back a little bit or expand it more this you
yeah that’s better I like that okay so let’s save this and then we’re
going to bring it into Photoshop and then fix a few things up here so that
way it’s not just black empty space okay so first thing I’m going to do I’m
gonna copy this American let’s bring our first concept gonna hit command B paste it in there
we’re gonna paste those pixels so we got a new company that moved in
right next to a company so it’s two a/c companies now and he’s pulling in
um Ken his name’s Ken he’s pulling in and he’s probably like oh man there’s an
AC company right next to mine that is let’s call this American but that would be like a screen company
screen printing company graphic design company moving right next to us I would
just kind of like what I don’t know that would be a little strange if you ask me okay mmm
you know now that that is in there okay I see why okay so so let’s paste it
in there looks pretty cool let’s take this little tidbit command C command
bean paste pixels let’s just hit enter on that and bring
it above the Eagle to call POW I don’t know that I like it right on his head
though you just so I might have to make him a
little smaller let’s go back and make our Eagle smaller
I’m gonna save this real quick and you can see how this is starting to
really come together I start look really cool we’ll call this Patriot RC and let me see if I can’t make our layer
paddle a little bit bigger needs more room here okay so Harley so that that’s in Harley’s I turn
that off okay I guess it’s not it’s an eagle layer which is fine
pictured our scene our lease
Patriot Arsene let’s see that’s strange okay it’s any goals as
well got it so I’m going to bring this above Eagles come over to my eagle I’m gonna make him
touch smaller so that way his head isn’t in the font
there in turn it will show off some more of
our background okay Patriot RC
I move that up just a touch now the next thing I’m going to do is
I’m gonna put a little bit of a drop shadow so what it’s these small things
that kind of make the difference really we cancel that real quick a mess with
the global settings okay just 19 let’s increase that
overpass see and see what we get this since you put a touch more distance
spread I think it’s fine sighs we’ll pull the spread in the sides
back a little bit maybe increase the opacity just a touch and it okay right
click copy layer style you go over to American right click paste layer style
so now we got a little bit of a drop shadow making it look like it’s not
popping off there a little bit but I may increase the spread size of this spread and the size maybe even they
opacity a little bit there we go looks pretty cool let’s save that out real quick well last but not least let’s bring in
and I may have to make the motorcycle smaller however let’s bring in our
elements first shall we I think I might just bring this in as a group you in there sure gonna hit return let’s call this
veterans 2018 don’t make it too long and we’re just gonna bring this up the very
top everything outside of that folder learner transform it
scale that down just a touch and hit enter a right-click paste layer style it
looks cool now the Harleen let’s grab its windscreen let’s
link those two together let’s transform it a little bit and you make this bike a
little smaller in the composition bring it up shift it to the left just a
touch okay let’s back that up and see where
we’re at to begin with your thing hmmm I think I might have made it just a
little too small let me just try that again scale it me doesn’t like you know it’ll be fine whatever laughing
they’re assuming what I look like the tire sit on top of the arm one of the things I could have done
which I’m going to go back and do that now I’m going to take this white and I am going to put a gradient on it going to use a little bit of a light
gray I think that will make it just touch more interesting I see small things guys these small
little things okay and we’ll pull this bag just a
touch okay I like that so let’s bring that back into the
composition once again I save that paste it in there so you feel like that
better they hit return on that here then take that in there we’ll make that two
right-click copy layer style go to our new layer paste layer style and I think
I’ll just toss that dude away now are centered
and all sizes down I think that might be a
little too small may get a touch bigger and then we’ll move it down some you
have to excuse me above my mouth there we go I don’t think that’s closer
to where it was begin with I move it up in the compositions more still tell it’s
a motorcycle might put a little bit harder of a drop
shadow on this one there we go okay we are about 95% complete I’m going
to as I’m pointing at my screen which you cannot see we’re going to bring in
some more there’s other stuff here and back down this way so let’s go back to
our background at this point I think we can just hmm as I opened that up we’ll leave that
there I was just about to delete it let’s collapse um of these folders here
collapse the eagle okay so we have our background our road and this is let’s see with our
background okay we did mask our background
okay so let’s go to our background mask bored they just pull some more of this
stuff back in starting to get hard for me to see the sun’s coming in sunshine
is coming out sunshine is coming out mix this here bump this up you what I’m doing here I back that up a
little bit yeah you
EDX I’m just want to make sure there’s no hard edge here okay I’m digging that
now I’m gonna go over to my lighting here there’s some lighting lightning let
me hit option on that yeah so let me go back to this actually
that needs to be white doesn’t now yeah I’ll start and bring some more that back
in and then we’ll just go back and mask it
off let me resize this real quick bring this up hit enter it’s hit command T on
the keyboard we’ve got a little bit of white here what’s up with that you let me back that up a few might have
just been alright yeah I’m not sure well we’re gonna fix it now that’s for sure okay I think I might make American and
patrons it’s a touch smaller so we can get a little bit of light
coming out why tis dude let’s go to window info I don’t waiting smaller than 10 inches
you okay so there we have it getting a
little bit of lightning showing up you all right okay it’s looking great I’m
gonna save that and then I’m gonna get rid of whatever is white here and then
just feather some of this out get rid of my info window there aha
so this lightning I’m gonna go over to this layer get my brush and said Exxon that I’m gonna get rid of
that kind of feather it out just a touch and PAL littéraire we’re done with that
one now I’m gonna get rid of this background
I’m gonna save it as a tiff excuse me I accidentally hit that little pretty
mature Lee let’s see we’ll call it a mock-up we don’t with the layers save
that real quick save transparency so all that should show up in there if I just
put it on a black t-shirt it will look just like that in my mock-up stage let
me save that out real quick now on to this bad boy okay
let’s toss our text in this one like I’ll reopen that other PSD the original
or I would say the kind of mock-up composition number one let’s pull this
dude off what we’re going to do is go we’re gonna grab all of our text from
this one and let’s just hold command down here option click and drag it into
the next one and Buttercup up a bow let’s see okay
obviously we have to rearrange some things let’s pull the veterans up to the
top I have to make the motorcycle a little smaller may even the American
know that a little bit bigger uh you know what it might be funny just where
it said so let me pull that up I’m gonna pull this to the top as well and grab my patriot here let’s move this dude to the top above American mm and pulled it down
just a touch pull America up and it looks kind of cool I don’t think
I might size it up a little bit more on this one even though you don’t want to
size it up should they choose this one I’ll probably just go back and repay
stuff in there guys okay I might yeah I’m gonna size this
Harley down so let’s grab our
Harleen or windscreen we’re going to link those together command team size it
down move it up some might make it just a
touch bigger and I’m not sure what I turn these off where this motorcycle is exactly coming
from that’s a little full weird so return no hardly
huh I’m kind of liking that in the composition I think I’ll just go with
the original red Harley here just mmm not quite understanding where
this one is coming from okay now we’re going to go through some
of our layers here it’s on the Eagle layer you huh okay so
some point I did something a little weird I know it was okay so is when I
did the gray I must have added the Harley portion as
a selection and we might do something I got a little bit of an idea I might even
go back to the the other but I’m gonna mash this off
I’m real quick okay there we go yes don’t want that
yeah don’t want that Harley look like it’s in there let’s turn the Harley back on so is this
dude that one there we go
windscreen if I click on it okay in the composition a little bit maybe
make the Eagles face just a touch smaller or I can just pull this thing
down and maybe make the Eagles face a little smaller Harley’s are eagle as eyes at that
but that as well let’s just link all three of these and let’s size it down or touch and see
what we get yeah that’s not half bad no is to be in there but and I might make this flag stand out a
little more here one more there you still tell us American flag however at this point if I got forgot where I
put it okay turn we got a little bit of a hard edge here we’re going to have to fix that let me
save this real quick we got some sort of weird thing going on with this border
here and guarantee it’s probably on yeah it’s
on the Eagle okay so it’s on the grace take our brush feather that on out got
it the American flag here we go
uh-huh we turn this a normal
I actually kind of like that bitter it looks pretty cool go back and at this wood just a touch of a feather
here on the edge that way we don’t get any kind of box
effect going on really hopefully hadn’t been too quiet I’m just
kind of talking through this and I do feel like there could be more contrast
to this let’s double that up hmm there we go maybe we’ll change the a/c
hardline vivid like to hard live better you
that looks pretty cool I think they’ll like that too okay I’m gonna save this get rid of this
black background you can see that a hard edge there mm-hm okay and I know exactly
where it’s at it saw me American came things it’s not about a eagle biting road nope
where is this thing at okay so we’re going to figure out where this art edges
axe we do not want that showing up in our composition we got our border going on here where is this thing in okay
so let’s turn the background off it’s probably in the Eagle yeah there we go so it’s this layer here
let’s put a little bit of a mask on it take our brush and we’re just going to
smooth that edge out you start our background back on let me
still got a hard edge here I think that’s on the flag yeah but those flags so
feather that on out my feathered it too much on that you okay that looks pretty dope I’m gonna save it get rid of this
background save it as a that’s still saving so you
got a little bit of an error just saved it again
okay command shift s I’m gonna save it as a tiff no layers no alpha channels and what do we call that will call this
mock up to save transparency okay
all good I’m gonna turn this background back on save it now it is mock-up time I
mean you guys want to stick around see me do mock up I’m going to go ahead and
do that real quick show you how to do that for a client we’re going to save
this close it out I am going to go over to my t-shirt
template so in templates and let’s see date modified proof template you we’re going to make these black this
outline gray make it a little bit deeper of a grain
colors I do know that there’s going to be lets lock now we won’t lock it to
shed okay we’ll just call this blue you
and let’s move this on over may
to resize his box a little bit you wider there you go colors I’m gonna say bass red blue yellow-brown I’ll call it Sienna Brown I
was what’s called brown keep it short and graeme make that similar grade to what
we would print down and call this one white or we’ll call it base there we go I go
ahead and save this real quick make sure I don’t lose my work as for vets or is it vets for pets geez now I knew
why it sounded so weird this whole time that’s for pets pets for like pets for
veterinarians vets for pet yeah you know sometimes I get I get things backwards
so when I do send this I’m gonna call this vets for pets we’ll call it proof and now I am going to let’s see so we
have our front art which is yeah dogs for vets that’s why I got it
backwards however whatever that’s what I think about it whatever
okay so one color front here you and then we’ll probably these are
probably gonna be some big guys so we print us that four inches so or by or inches wide by one and a quarter you
and then we’re going to bring in one of our pieces of art we’ll bring in our
first design and plunk that dude right here man that looks cool I’m really happy
with the way this is kind of come out it looks like it’s got a little bit of a
haze thing going on I think that’s because we’re in CMYK yeah there we go we’ll make this a true black true RGB black
there we go now we’re talking and if this is 12 inches wide 12 by 15
obviously that’s how we set things up twelve inches wide by 15 inches high and all right so now we’re going to take
this hit artboards command option shift clone that over take this we’re going to
go to links relink that mock up to and that looks pretty awesome too
okay guys we are finished just gonna save this out okay so we are finally all
finished with this design for those of you that did stick around and watch the
entire session slash tutorial I really appreciate it if you’re in the market
for a dhobi Photoshop or illustrator use our link down in the description it will
take a little bit of our Commission our way set way we can continue to make
tutorials videos such as these if you’re in the market for screen printing
supplies or equipment these are promo code Micha designs down
in the description that way you’ll get five dollars off that to will take a
little bit of a commissioner away so that way we can make these videos until
next time guys we’ll see you later

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How to Use Photoshop CC 2018 For Beginners-Part 3-Photoshop File Formats JPEG, PSD, PNG

November 8, 2019

Before we start creating some files from scratch and doing some photo retouching, I just want to get you familiar with file formats, photo file formats. Let me just show you a few file formats that you need to know about before we go any further. So if you go to file and if you go to save as on any document, so if you have any document open go to file and file save as and this is where you would save a file and in this drop down down here, these are some of the file formats that you could use in Photoshop to save your file and I’m not just gonna list these and go through these just to show you every single one. I’m gonna show you the most important ones that you need to know. So the very first one that you need to know is JPEG. So if you save a file in JPEG, let me just go ahead and save this one. This is the JPEG option that you get. So maximum quality. I usually try to get the maximum quality and this is the file size, so if the file size is too big you could just decrease the quality, but let’s just say for the sake of this video, we’ll go with maximum quality. I usually do that, file size usually doesn’t seem to be a problem unless I save for a website and that’s a whole different thing and I’ll show you that at a different time, so let me just press ok. And I’m just gonna minimize this and go to my desktop here and this is the file that he just saved right here, JPEG. JPEG is the first file I wanted to show you and as you know, most cameras nowadays including your phone take pictures in JPEG. That’s the compression of the image. So it looks like a very sharp good quality image. The compression is very solid and JPEG is most likely the image that you’re gonna come across if you’re taking your picture from a camera or a phone. Another one is raw, which in this case you can just go ahead and save something in RAW, but some cameras take pictures in RAW and raw usually comes in a file format called DNG. Different brands have their own file format like Canon has a different file format and raw allows you to do things with the image that you don’t have in a JPEG format meaning you could change the ISO for example, the color temperature and it gets a lot more complicated than what a JPEG can do and RAW gives you a lot more options, but there are a massive, massive file. A raw file is a massive file. So for now, let’s forget about raw. You’ll most likely be working with a JPEG. Another option is Photoshop. If you save something as a Photoshop, it saves it as a dot PSD. Now a dot PSD is basically a layered Photoshop file, so when you save as a dot PSD, you’ll have all these layers intact. So if I was to open a dot PSD file, it will open with all these layers. If I open a dot PNG file, it’s just one layer, so even if I open this in Photoshop here, I’ll just go ahead and open with Photoshop, and it’ll just open right here in this tab, so this is the PSD file. You have all the layers the PNG file I’m sorry the JPEG file, is just one layer, so you can’t really edit this anymore, so that’s the difference between JPEG and the PSD file. So for most case use, you’ll start with a jpg and finish with a jpg. Another important one is a PNG. Now let me just close this one and go back to this layer. So if I turn all these off, and I just had this logo, and I want to keep this transparent background, so let me just go ahead and select this. I’m gonna press the move tool and move it right in the middle here. So if I was to save this as a JPEG, so if I just save this as a JPEG here, I’ll just rename it so it doesn’t replace the other file. And if I go to my images, it has created a white background, so I can’t put this on top of something else. So if I want this to be transparent just like you see here, these checkerboard this shows transparency, I’ll have to do a save as and I’ll have to do PNG. If I come down here PNG. That’s the other important file format you need to know besides JPEG and the Photoshop layer document, PNG. So if I save as a PNG and I go over here to my desktop where I saved it, this is a PNG file. It has a transparent background. See the difference? This is created a white background for me. This one’s transparent, so if I open this with Photoshop, it’s not a layered document, but it is a transparent document, so what I could do with a PNG file like this one, look if I grab this layer and if I drag it over to one of these and drop it, It’s created that transparency for me. So this layer could be placed on top of a different layer. If I did this with a JPEG, open with Photoshop and if I click this layer and I bring it on top of this one I drop it, you see the white background is there, so if I don’t want this white background, I need to save it as a PNG. Again, save as the three file formats you need to know are Photoshop file for layered documents. This is how you save your project basically, so you could come and edit it. JPEG for exporting it and most of your pictures are gonna be JPEG to start editing with and PNG. That’s the transparent background. Some of the other ones you might come across our TIFF files or GIF files, but just for simplicity, PNG, JPEG and Photoshop files are the three to get you started with file formats in Photoshop. The next video, let’s start doing some photo editing and photo retouching.

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How to Use Photoshop CC 2018-Part9-Using BLEND MODES

November 5, 2019

In this video, I’m gonna show you blend modes and how blend modes work, so we’ll start in the layer panel and I’ll show you blend mode here. You’ll end up seeing blend mode in a lot of the tools that you use throughout Photoshop. But they basically all work the same way that you’ll see in the layers panel so I have two layers here layer one or layer zero is this background here this texture and layer one is this create with a white background and this white background will come in handy Cuz they’ll really show you how the blend mode work to apply a blend mode. You’ll have this drop-down menu over here These are all the different blend modes that you could choose. I have my top layer selected I’m gonna blend that with my bottom layer, so that’s the order that I’m gonna blend things with this layer selected I’m gonna start applying the blend mode. They’re divided into different categories, so here’s a category Here’s a category and so on there’s five different categories here. Let’s pick this one darken what this does is Uses the darker image, and it just shows you the darker image so it gets rid of the lighter parts of the image now the second set of group lighten this will be the inverse of that so the lighter part of the image wins and then you have the overlay which blends the two and you could use the opacity to kind of Change that blend between the two or the fill option to change the blend between the two Those are the three different options? I like to use if I want the darker part of the image to win I’ll go ahead and choose one of these options like multiply I’ll just change the fill to a hundred these are basically almost do the same thing at different levels And if I want the lighter part of the image in this case the top image to win I’ll choose something like screen or lighten and I’ll play with the opacity and if I want a combination of the two I’ll use things like hard light or soft light basically everything under this overlay section So those are the three different options that I like to use often these will give you some different effects also So let me go back to normal I want to show you a quick way to see the blend mode in action So all you gotta do is if you hold shift And you press the plus sign you’ll start going through all the different options for you one at a time so color Dodge Donn’s lighting color overlay Soft light just like that you could just really test this out real quickly with all the different options hue saturation color Luminosity you could see how quickly I could go through this shift – and shift plus will show you these overlay options Very quickly so sometimes it’s better not to be scientific and try to really figure out how much Percentage is showing from this picture to that picture. Just go ahead and choose your top image Go ahead and pick one of these and then started shift + + shift – to see what they’re each doing And when you get closer to that effect that you’re looking for you could basically go here and change the opacity Or change the fill and get the perfect effect with your image. That’s just a quick video over the blend mode There’s so many things you could do with blend modes in Photoshop And I hope this brief overview got you started with understanding blend modes Please give this video a thumbs up and stay tuned for the next video where we’re talking about Smart Objects and using non-destructive editing in Photoshop Thanks for watching this one, and I hope to see you on the next video

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How to Use Photoshop CC 2018 For Beginners-Part 5-Using Filters in Photoshop

November 4, 2019

So in this Photoshop video, I want to show you how you work with filters in Photoshop. So let me go ahead and select this layer, so this image is selected and I want to show you some of these filters, and I’ll show you some of the most commonly used ones. Again, I’m not gonna spend too much time here, but in the last video I showed you all the image adjustments that you could use to really work with your image and changing brightness and contrast and exposure and things like that, image size, but this video, let me show you some of the cool filters that I like using. If you select your layer and if you go to filter, and if you go to artistic, these are some of the really cool things that you’ll have options to play with, so let me just choose the first more color pencil. It’ll take me to this other window where I have some options with actually all the different artistic filters. So this is colored pencil and these are all the adjustments I could make with a colored pencil so pencil width, stroke pressure, and it doesn’t seem like it’s really something that might be handy for this kind of image, but if you go over here, try some of the other ones. Try dry brush, that’s kind of interesting, so now you could bring the detail down and you could take the brush size down and you’ll get kind of artistic look out of there, may be film grain. That’s kind of an interesting look. Again, you could play around with all these settings. Maybe you want to set a one, the highlight area could come up, the intensity could be lowered. Now that kind of gets you an interesting look. Again for a professional retouching, this is not what you want to use, but these are some fun filters and if you use them with just a subtle touch, it could get you some really cool effect. Posterizing edges, play around with some of these see if any of these are to your liking. There’s some really cool options here. So I’m just gonna press cancel. So that’s if you use filter and on artistic. Now one of the things I actually use the most is down here sharpen and this setting sharpened. So sometimes, did you see the difference here? Let me press command Z and let me just press command + to zoom in and if I go again to filter sharpen and sharpen. Just like that is created. Let me just press the move tool so the crop tool is not selected. Just like that, It’s made the image sharper. So if your image is slightly blurry, that’s one way to just make it slightly sharper, just by pressing sharpen and then sharpen here. Another one is actually blurring an image so a lot of times if I want the background to be blurred, if I’m layering a couple of things on top of each other, I’ll go here press blur and then I’ll use Gaussian blur here. Gaussian blur allows you to put an image out of focus so if I wanted to put something in the foreground here for example I’ll just say okay. This if you change the radius, it makes it less or more blurry, so let’s say around the three and then if I wanted to take this, let me just close this one. If I wanted to take this transparent logo, I could just grab it, bring it right on top of this one and drop it and let me just show you this resizing tool that comes in really handy. If you press command T or ctrl T on them on a PC, it gives you an option to freely transform any layer, so I’ll get two layers in a different video, but transforming allows you to grab a corner and just change the size of something and it’s freely letting me do what I want. Now if I press shift, it’s gonna keep the dimensions the same that width and the height are not gonna change and they’re gonna keep together. This way, I’m really gonna distort images, so I usually hold shift when I resize something. So if I wanted this to be smaller I could do that. Again come up here press checkmark, and then I could drag it down here. That’s under edit, transform and this allows you to do the different transforms like scale rotate or free transform, the shortcut I showed you, allows you to do anything you want even lets you rotate things if you grab it by that side, I’m gonna press command Z to undo. It lets you change things from one side or the other side or from the corner, and if you press shift, it keeps it all together, so that’s a way to change a layer in Photoshop. I’m gonna press ENTER here which is gonna click this check mark. I could do the same thing with an image so this image here, I’m pressed and command T and I could go ahead and resize this image, just like that. Again hold shift, so it keeps the height and the width the same and you could resize things just like that. Again press Enter. So those are the main things I use under filter. There’s bunch of other things, there stylizing. There’s sketches. There’s even pixelating things. Let me just show you a pixelation. That’ll give you that kind of effect if I pressed okay. I’m gonna press command Z. So there’s a lot of filters here to play around with. There is even this one liquify. Let me just show you that real quick. So you could just grab something and distort it. Again I’m really exaggerating what’s possible with this, but I’m gonna press command Z. But if you wanted to do subtle retouching in Photoshop like if I wanted to make her face longer, just very very subtle things. Now this is a huge size brush here, if I go over here and reduce the brush size to like a 40, I could do really subtle things you could just make your finger longer things like that with the liquify tool and that’s one of the other options under filter liquify. So a lot of things to play around here if you go to the filter gallery like I showed you before, you could do some of the artistic things here. Some of the brushstrokes on there here and some of the things that you could use to distort the image. A lot of different options that you could play around with here. I’m just gonna cancel. So filter, filter gallery gives you a lot of other options, and you could even go online to see even more options than what comes with Photoshop out of the box. Now in the next video, I want to go over and talk about layers, because layers is where you spend a lot of your time. So far we’ve kind of skipped over layers, but layers have been created as we’re making these videos. But let me just really spend some time in this layer panel just to show you what’s possible in this area of Photoshop. Again, please give this video a thumbs up and stay tuned for the next video. See you there.

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How to Use Photoshop CC 2018-Part10-Working with smart objects in Photoshop

November 3, 2019

In this video, I want to show you what Smart Objects are and why you would want to work with Smart Objects in Photoshop. Now here’s my background layer. This is just the image I just opened in Photoshop, so I’m gonna click the lock icon to make this into a layer. So now I have a layer and if I start transforming this meaning if I reshape this I’m just pressing command T to get to transform tool- I’m holding shift and I’m just gonna make this small and I’ll bring it right into the center of my image and I’ll press ok and if later, I decided I want to make this back to full screen to fill my canvas I could just go ahead and fill the screen with this, and if I press ok look at the image quality I lost a lot of image quality here this image used to be really sharp. Let me just go ahead and step back I’ll just step back a couple of times just to show you see it was much sharper than the image We ended up with because one means free transform Photoshop basically threw away some of that information So in order to save that information we need to change this to a smart object so with this layer selected we want to go to layer smart object and convert to smart object and Now that’s a smart object. We could basically reshape this any way we want to and If we press ok, and then resize it back to normal We don’t lose any quality now this makes your Photoshop file bigger But it gives you the opportunity to really reshape things every which way that you want to and not lose any information Now the one thing is let me pick the brush tool here I can’t use the brush tool here because it’s a smart object And it says do you want to rest erisa smart object you could press ok and do that? But we don’t want to do that in this case because we lose this smart object So I’m gonna step back So what we want to do in order to use the brush tool or the clone tool or the Dodge tool any of the tools? That we often use in an image is by having this selected. We’ll go to layer We’ll go to smart object, and we’ll go edit content This will let us edit the content meaning he opens that in its own individual layer So now we could use the brush tool within that layer And now if we close it and press save in the original image We did not lose our smart object So now we could still go ahead and free transform without losing any information In that image like we did when we weren’t using it as a smart object, so that’s why Smart Objects are important And I recommend using smart objects in your Photoshop. Specially when you’re working with images and multiple layers I hope you found this useful Please give it a thumbs up and subscribe to this channel for a lot more videos like this one And if you like my teaching style, and you want to see a lot more Photoshop tutorials please let me know in the comment and Let me know what you want to see and I’ll try to make it on our next set of videos Thanks for watching, and I hope to see you on the next video

Yakthung Samaj

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