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
it. I’m going to go ahead and invite you to our upcoming webinars but before I do that
I want to remind you that if you are jumping out of the room now, be sure to let us know
how we did today. Give us some feedback in our postevent survey so we can
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
going to be spending some time focusing on the technologies that are being used to
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
are in a library or work on digital literacy training this might be a great event for you to attend. If
you are newer to TechSoup or have recently registered and want to get a little more hands on with our
donation programs, join us for our TechSoup Tour, Tuesday the 29th. And then we will be
spending some time doing a very similar type of walk-through of Excel for Beginners on the
31st. And then beyond that you will be able to find on our webinar page upcoming
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
taking the time to share your expertise today. And thank you also to Wes 2 as I called him
during this webinar, for sharing information about the Adobe Creative Cloud
discount and subscription available. I’d also like to thank Terry McGrath on the back
end from Adobe for helping to answer questions, and Susan Hope-Bard also for doing the same.
We really appreciate you joining us today. Lastly, I’d like to thank ReadyTalk our webinar
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Again, once we close out please take a moment and give us your
feedback on that postevent survey. Thanks so much everyone. Have a terrific day.
And we hope you’ll join us again soon. Bye-bye.

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