[Music] [Julieanne Kost] All right. Well, good morning. My name is Julieanne Kost. Thank you all very much for joining me this morning. I have another 8am tomorrow morning. That should be fun. We'll see how many people get up after the bash. I guess we'll know who the drinkers are and the partiers are, all right, tomorrow morning. So, I have a ton to cover today. I just would love to get started. So let's just go ahead and dive in. So we'll start in Photoshop. This is advanced tips and tricks. So I'm trying to put in a little bit of everything. So yeah, let's get started. So the first thing is, I don't know if you guys know this or not, but the one of the first gasps I ever got was like, "Hey, do you know that you can just hit the Esc key to hide the home screen?" People are like, "What!" So I'm like, "There you go." So, there's your first tip is just the Esc key. But the home key-- The home screen is actually quite cool. You can always access it again by just clicking on this icon right here. Another question that I get frequently, and I'm not sure why, is how do you hide what files you've already been working on? So I imagine that's because they're working on a prototype or something. Right? Yeah. Right? Uh-huh. But you can always go to File, Open Recent, and then Clear the recent file list. And when you clear that, it will also clear everything in your home screen. So you are now safe. You're welcome. Okay. If you really don't like the home screen, you can come in here, and you can turn off in your Preferences or your Settings the Auto show the home screen. That's just in general. But I actually really like it, and it's one of the ways we can get to generative workspace, and we can also get to all of our files, like in the cloud and to the Learn Content and stuff like that. Okay. So I'm going to go ahead and go to Lightroom. That's where I keep my files. You may keep your files in Bridge. It doesn't matter, but let's just go ahead and open this. So I'm just going to edit this in Photoshop. Now the first thing on my description is just talking about customizing the Photoshop workspace. I'm sure that some of you already do this, so I'm going to go through it rather quickly. The first thing that I do is I customize the toolbar, and right now it's super important to me because, for me, after 25 years, when I tap the L key, I think I'm getting the lasso tool. But I'm not, right? Because we've got a new tool right here, and it's the selection brush tool. So the first thing I did was go in and I changed the keyboard shortcut for the selection brush tool, and I unnested it from my lasso tool. In fact, if we go to the Edit menu and I choose Toolbar, and I go and load My Presets, I've got a custom preset. And if you do make edits to this, you do want to save yours out as a preset. But for example, like, I separate the rectangular marquee tool and the elliptical marquee tool because I know it seems silly, but over the course of the day, every time you have to go and click and wait for that tool to pop out to select it because it's nested, or every time you have to think, "Oh, no, that's the wrong lasso, I have to do Shift + L, Shift + L, Shift + L to toggle through them all. It's just taking up time, and for me, it's a distraction. So I separate them out. Look, the elliptical marquee tool looks like an O, right? So I just renamed it with O 'cause why not? I hardly ever use the Dodge, Burn, and Sponge tools, and that's what they're usually assigned to. And I'm just taking all of the other tools that I don't use, and I've just put them over here. Right? Really easy. You just can drag them over, and you can drag them back. The selection brush, I stole the keyboard shortcut from the History Brush, yeah, and the Art History Brush, so I took them off of that. And you just take them off. You can just click right here, and then you can change it to whatever you want, right? So I use that, let's go ahead and do Y there again. So, Y for the selection brush? Because I couldn't think of anything else, so "why" not? I know. Sometimes the jokes are just for me. You don't have to laugh.
I won't be crushed. Then I do have the ruler tool showing, and someone pointed it out, they're like, "Why do you have that showing?" Because if you have a multilayered document, you can use the ruler tool to draw a line to, like, straighten a horizon or straighten a vertical line. And then up in the Options bar, it says straighten layer. Right, as opposed to so many other things, straighten the document. So it's one of those that you can use per layer. So I leave that out too. So anyway, that's just the way that I arrange it. I'm actually going to restore the defaults though because I don't want to freak anybody else out here and get you guys confused because you know where your tools are. Also, I definitely change my panels, right? So, there is a new workspace that's kind of interesting. It's called Core Tools, and it really gives you just minimal panels, so you can always switch to that. But, like, for example, my workspace looks like this. And I know some of you have really large monitors. And you know why I finally broke down and did this was because, I mean, you waste a lot of time just going to select and then finding subject, or going to select and mask, or finding all of these things. And now that we have that contextual taskbar, you know, I really love it, but it moves around a lot, and a lot of times, it's, like, right where I want to be looking, you know? So I don't really actually use it very much, but I went through all of the different variables on it, and if there was anything I thought would be useful, I just made it into an action, right? Because it's always moving around, and you know what else is moving around? You know how the Layers panel has a bunch of hotspots on it, and if you right click, sometimes you get one menu and sometimes you get another menu. And then depending on what kind of layer you get, you get one menu. And then so all of a sudden, like, convert to smart object keeps moving up and down in the flyout, and so there's no time for muscle memory, right? And it's the same with the contextual taskbar. So I just thought, "Well, I'm just going to make a set of actions." It's super easy. Right? If I go out of button mode, none of these do anything besides select subject, selects the subject. Select and mask just goes to the select and mask workspace. Remove background, deselect. Remove background, by the way, is that the one? I think remove background is the only one in the contextual taskbar that doesn't have a dropdown menu. So you got to get yourself into the state of the contextual taskbar where it says remove background, and then you can record an action. And then once you record the action, you just put them in this button mode. I'm sure you guys have all used actions if you're in advanced, so here they all are. Right so if I wanted to select my subject, all of a sudden, my subject is selected. If I want to deselect them, if I want to select it again, and then go into select and mask, or if I need to invert my selection, or contract my selection, or select the sky, or something like that, if I need to convert to a smart object, it's always right there in the same spot. You know what I mean? If I want to edit the contents of the smart object, oh, great. Now I have two documents open. Well, maybe I want to tile all my open documents or I want to consolidate them all the tabs or maybe you know what, I just really want to darken down my background, so I have a curve that darkens it down with just one click. Or maybe I want to do it multiple times, just darken the edges, darken the edges, darken the edges, and then I'm done with my file. So if you have like 20 things that you're using over and over and over again, create an action that does that. Some of my actions do bring up a dialog. Right? So, like, image size, it would bring up the dialog. And you know how in the Action, I'll show you, in the Action, because you can't edit your actions in button mode, but in the Action, where's image size? Right down here. Oh, goodness. If there was just a search in my actions, if there's any engineers in here, I love a search in my actions. So where is that? Dead middle. Oh, it's even the one... It's the one that's selected. Thank you. Thank you very much. Yes. Please help me. I need it. All right.
It stayed selected from my button mode. Yes. Absolutely. You're correct. So right here next to image size, I've turned on the toggle dialog. Right? Otherwise, if I didn't turn this on, it would do the same image size every time, which is great if you need all your files the exact same size. But I want the option to be able to make them different sizes, so I toggle that on and that's what brings up the dialog and then I can enter in whatever I want. Okay. So that's just the little button mode here. I'm going to go ahead and reset this because you guys are like, "Well, I don't work like that, and it's going to be confusing today." So let's go back to Essentials, and that will be just fine. One other thing. So how many of you guys use the shape tools? You guys use the shape tools? Yeah. So I use them all the time because I do callouts and things like that. And so let's go to maybe my rectangle tool, right? I always need to go in here and click the fill and say, yeah, I don't want to fill. And then for my stroke, I need a red stroke or maybe the red isn't even in my recent, so I have to click here. And then I have to go and click only web colors, and I want that color, and I click okay. And now I've set it up. Oh, no, I haven't, because it's five pixels, and I need it to be two pixels. So that's like six or seven clicks. Right? Once you've done that once, if you're going to use that again, create your tool presets. Right? People forget that these even exist. Anything that's in the Options bar can be captured as a tool preset. That is fantastic. "Oh, Julieanne, we totally agree with you." I know. It's amazing. So if I need a four-point red stroke, there it is. A two-point red stroke, there it is. All right? So much, much quicker than those six little steps. Also, if a tool's not working properly, if you right click it, you can reset the tool or reset all your tools. Don't be afraid. It doesn't reset, like, if you've got a custom tool layout. It won't reset that. It's only going to reset all of the options in the Options bar. Okay.
And of course, it's not just for shapes. You can do that with anything. All right, let's talk a little bit about the Move tool. So I'm going to close. Wow, I forgot to do that when I opened it, so I'll do it now. Wow. He looks pretty close, doesn't he? It looks very close. All right. Let's not save that. Let's go to Lightroom, and let's swap to this next image, and we'll open it up. Okay. Let's get the Move tool. So you tap the V key, and you get the Move tool, and we right click, and we reset the tool, and that enables auto-select and Show transform controls. And all of a sudden, like, what is going on? Why am I getting all this flashing over everything? Now for some people, this might be amazing, right? Because if you have auto-select on and you click on that, it will auto select that layer. It could be fantastic, or it could be your worst nightmare. I don't know. So there's one option, and that is when-- Oh, well, I clicked, so it selected it. Okay. So the one time it will go ahead and highlight everything here and you'll notice in my Layers panel over here. Right? Like if I scroll up to the top, this has a lot of layers. Here, let me minimize this. It's also highlighting the layer that I roll over. Right, so there's my text, and there's this, and there's here, and there's here. And if I turn off Show transform controls, then it's a really easy way for me to select those layers. So it can be super helpful when you have a really complex document, right? Then you'll also notice that when I position my cursor over a layer, it's giving me a highlight as well, okay? So this is just a little too much highlighting for me, all right? So where do you control this? Under the gear icon. There's two options. Show layer bounds on hover, that means when I hover, it's going to show me the layer bounds, and then Show hover bounds from layers, which means when I'm on my layer, show me the layer bounds. Okay, so you can have one or the other, or both, or none. All right? Because why would I change that to none? Well, what if I put a texture layer over the entire document? Uh-oh. Right? Because the texture layer, it's like, I got you, I got you texture, I got you covered. Because you're covering everything else in the Layers panel. But if you like that whole idea of auto selecting, you can use your bracket keys to just drill down and select these. So let me put it over something. Actually, let me go to my Preferences because you can go to guides, grids, and slices. And look, we can make this like a different color, like green, and I'll make it four pixels so you guys can see it better. What? Oh, I'll make it three pixels. But did you see what I did there? You see what I did? I read that.
So now I know I can't go more than three pixels. Okay. So now, all I get is still on the outside. But if I use my bracket key and I hover over fruit, and I tap the left bracket, it'll go down below the texture layer so that I can select things. If I do the left bracket key again, it's going to select that blue rectangle that's at the very bottom of the Layers panel. All right, so if you have something like this, I've got my cursor on top of that little spot right there, and I use the left bracket, it's going to say, oh, that's on a layer that has all those little spines. All right and then you can go down to the background. So left and right bracket keys. "Julieanne, my keyboard shortcut doesn't have left and bracket keys." Okay. Then you go here to your shortcuts four. Right? And you go to tools. And you just scroll down all the way to the bottom there, and you can put in your own keyboard shortcuts for that. All right? I kind of forgot to tell you about keyboard shortcuts. You definitely want to do that as well. Okay.
What if you don't have the Move tool selected though, and you still want to see the layer bounds for your layer that you have selected? So for example, I've got this type layer selected right here, the syrup jelly sauce, and I'm going to turn off all of these options. And instead, I would go to View, and then we can come down here to View or Show, and then Layer Edges. So now whatever layer I target, we'll be able to see the edges. Can you see that? Maybe I need to zoom in. Sorry. I'll come over here. Right? So we've got the spines and the arrows. So when I click on this arrow, we'll see that blue line around it. So that might be kind of a happy medium for what you want to see. See, because when I go to my marquee tool, it will stay. Right, those other options were only for the Move tool. When you get off the Move tool, you don't get any of the hovering on any of the layers or on any of the image area. So that's a way to get a preview of the layer bounds for a layer when you're not on the move tool. Okay. I'm going to go to View. And we'll turn that off again. That's just right here under Show and then Layer Edges. And then we can go ahead and zoom out. Okay. Let's talk a little bit about filtering the Layers panel. I don't know how I got into this state, but you should know, especially, you educators, you can use the flyout menu now on the Layers panel to hide your filter options, which I must have inadvertently done and recorded 120 videos.
I don't know how they're going to fix that. I don't think they are. I think I'll do another video. That's video one, how to hide and show the filters on your layers panel. All right? But this is how. So you can hide them, and then you won't see those filters. So let's bring that back. Go here to Filter Options, and show them. So what can the filters help you do? They can help you find your layers really fast based on the content of the layers. Now I know most of you-- I know all of you name your layers, and so you could just do-- Yeah. Uh-huh. You could just go in here and say the name, and then you could type in the name like fruit, and it would just-- Oh, fruit, and then you could find it that way. But in case you don't, instead of name for kind, right, you could say, "Hey, just give me all my pixel layers," or "Give me my adjustment layers," or "Maybe my type layers." Look at this, I mean, if I wanted to change all of my type layers, what a great way to select them all. Maybe I need to change the font. Okay, great. Let's go to the Properties panel. All right, in the Properties panel, we've got a character, and I'll use the dropdown menu here. And you know you can see, like, your little live previews over all the typefaces, that's really nice, and you can filter them by classes and Adobe and all these different options. And you can favorite them and see a recent and see similar. But there's also more fonts. I don't know if you noticed that when it came out. So when I go to more fonts, not only do I have all the classes, I also have all the tags. Well, what do you mean the tags? Where did the tags come from? Well, the tags are something that you can find if you go up to-- Is it type.adobe.com? And look at the entire type library. What do you mean the entire type library? Well, we can now preview the entire type library by just dragging over it. So these are not fonts that are installed, right? These are fonts that are in the cloud, but now we can preview those, and I could say, "Oh, maybe I want to see the Art Deco ones." And then we could say, "Well, why Art Deco with this, Julieanne?" Oh, because I don't know type. That's why. All right. Oh, there probably aren't many if I-- They're also Sans Serif. So anyway, you can look for any of your tags right here. I can say all tags. I can say Sans Serif because I'm very boring. And how about a day without sun? Okay. So I want to use that, so all I need to do is click on that, and it will then download that from the cloud and install it, not only for Photoshop but across all of my applications. So that's pretty cool. I don't know. Twenty years ago, type was not quite so easy. So let's go ahead and get back to filtering. So what else do we have here? We can filter on our shapes, we can also filter on our smart objects. If you really need to drill down on your smart objects though, you can actually go to Smart Object here, and then you could say, all right, what kind of smart object? Is it a cloud smart object? Do you need to modify it? Is it missing if it's a linked smart object and so on. So these filters can be super helpful if you're trying to find some layers, even Effects, Modes, things like that. Then there's one called Selected. The selected one, I'm not going to choose it right now. I'm going to go back to Kind, and I'm going to toggle off Smart Objects. There's an option here under Select, and it's called Isolate Layers. So if you do have a document that has a lot of layers, but you only want to see some of the layers in the Layers panel, you will still see all the layers in the image area, but I only want to work with, say, maybe these images or these layers here. So I'll Shift click and select those. All right? Now I don't need to see all of these other layers. I just want to work with these. And they might not be all next to each other, right? I might need to come down here and say, "Oh, and I also want to work with these as well." So you can either go to Select, and then go to Isolate Layers, in which case now, see, look it, I've got a nice compact Layers panel. I can only select these layers. I don't have to go scrolling down to find them all. Oh, I've got the wrong layer. That's okay. You just use this little icon, this little button right up here, toggle it off, and say, "Oh, I also wanted this layer and this layer," and then toggle it back on, and it will add it to or subtract it from that list that you have created. All right? So you'll notice that when I toggled this on, when I went up to Select and I went to Isolate Layers, it toggled on the selected filter. So you can also just do this right here. You don't have to go to Isolate Layers, but you could add a keyboard shortcut to Isolate Layers if this is something that you use all the time. And it really is quite helpful when you've got a lot of overlapping paths and things like that. All right, I'll switch it back to Kind, and that's it. We're done with page one. We've only got 12 more to go.
Okay. What else? You might have noticed that there's some arrows in here. I'm sure that you guys have all played with the arrows, right? So if I grab the Line tool, which is nested with these guys, we can draw out a line. So it used to be that you had to put the arrowheads on prior to drawing the line. Right, so you draw a line, and then you'd be like, "Oh, I want arrowheads," and you'd be like, "Oops." You'd have to delete the line and then redraw the line. So now, over here in the Properties panel, of course, you can add an arrowhead at the start and at the end, and let's make them much wider, and let's make them much longer, and there they are. And you can add a little bit of concavity. I don't know if that's the way you would say it, but you can go ahead and do that. Now here's the thing. I should probably hide that so you can see what I'm doing. Sorry. So that was-- So that's what the concavity makes it look like that. Concav-ity? Con-cavity? I don't know.
I'll google it later. Okay. So, here's the thing though that will mess you up.
You'll be like, "Cool. I'm going to save that as a tool preset." No, you're not. Because tool presets save what? Everything in the Options bar, not everything in the Properties panel. So if you're going to make a tool preset from this, go and add use the gear, add your arrowheads here, adjust them here, and save those options. And that way, you can save them as your tool presets to reuse them.
That's going to save me so much time. Good. Okay. I think we already know that we can have bullets and numbering, but just in case, if I wanted to add some bullets or numbering over here, I could just start typing flower, and then actually let's do one flower, and then when I go to the next one, what else is here? What are those things called? The paddles. Thank you. Paddles. Hey. It didn't do it. Maybe because I did... Oh, one flower? Well, it doesn't matter. I can still tell it. I can force it. I can force it to have numbers or bullets over here. So, there was something else I was going to tell you about that though. Oh, yes, If you don't want it to do that, like, if you want to have more control over that, you still can go to your Preferences. So Preferences, Command + K. Oh, let's enter in that type, Command K. And then under type, there are a bunch of preferences. So this is the new one, automatic detection. So if you don't want it to automatically detect it, you can go ahead and turn that off. Also, just because I learned this, because I'm as old as dirt, I use the Esc key to commit my text.
So I turn that on. I think it's off by default. But if I hit Esc, like, I want it to go away. I don't want it to commit to the text so that I have just placeholder text sitting there. So this is the way it used to work, so I always turn that off. Okay. What else about this one? Just with type, I think you guys all know if I-- Whoa. Don't save, zoom. That was supposed to be zoom in.
Oh. Uh-oh. Okay.
Did I say quit? Oh, I can't wait to re-watch this one. Okay. Nothing better than watching yourself make mistakes.
All right. We'll just relaunch Photoshop here. Should be relaunching Photoshop. Okay. Let's go down here. Photoshop.
I guess I didn't read that dialog. All right. Let's grab that one again. Just some other things with text, because if you learned Photoshop a long time ago, you guys know you've got your text selected, and if you click too far away, it'll deselect it. But if you just go a little ways away, you know, you get the Move tool, and you can move it around while you're editing the text. Yeah. Yeah. Also, if you hold down the Command key, you can resize it. And I always would say, like, don't do that. Don't do that because it's transforming it. It's not anymore. It's actually you can see it. Like, it will change the point size of the text. So go ahead, feel free, like, hold down the command key, make it larger, make it smaller. If you're like me and really weird, then you have to go over here and round it up or round it down. You can't just have 30.11, you have to enter in 30. Phew, I feel much better now. Anything else with that? Oh, new type layers. So if you're up here, right now I'm over a shape. Right? And I have the type tool. And if I have that shape selected and I want to add type, what's it going to add? It's going to add type in the shape. Right? And I don't want that, so I can always hold down the Shift key. So the Shift key, and then see it switches the icon. And now when I click, it's going to add my text instead of adding it inside that shape and converting the shape to a bounding box. All right, and the same goes if I'm near text, and I want to add some more text really close, then hold down that Shift key, and it will allow you to add that type. Okay.
Okay. Reaching the font browser. Quickly selecting the type tool, I think you guys know this. If you've got the Move tool selected, and you double click on the T icon for a type layer, it will not only select the type layer, but it will also select the type tool for you, so that can be quite handy as well. All right. Let's go ahead and we can close this. Is that all for that file? I think so. Discard, don't save, go back to Lightroom, and let's talk about this a little bit. Let's go Command + E. Open this up. This is cute. I mean, look at that frog. Is that not that cute? Look at his belly. That's the cutest frog ever. All right. And I was not going to move the frog because I don't think that's cool. He was he was free, and I'm not going to handle him. Plus, these things are super spiky, and I'd end up hurting him. But I do want to get rid of this area, and I do want to get rid of this area. Right, so if I go to my Lasso Tool, which I'm going to actually select the... I almost said the real Lasso Tool. L is just a shortcut. You can assign anything you want to it, but I'm just going to come up here. Right? And then I'm just going to say generate. Now, see, I typically have my little action right about there, muscle memory, generative fill. But now I'll go ahead and go to the edit menu, and you know what in the meantime I'm going to do? I'm going to go to keyboard and shortcuts, because I'm going to use this a few times. So I'm going to go to, where is that? Edit, and then I bet there's a generative fill. How about, F for fill? Search. Okay. That's cool. All right. So now we can just use that instead. So Command + F, generative fill. What do I want to do? Nothing. I want you to look at the photo and fill it for me. You do it. You look at it, you fill it. Then I read this. Got feedback? This is actually really important. If you guys-- If you get results that are, you think are wrong or biased or anything like that, please report them. That is the only way that we-- Well, that is one of the ways we can help improve, the product. All right so here are our different options right here. Right? So we can pick whatever one we want. Now before I fill this area back here, what should I do? I should select my frog. Right? I should select my frog and go to the background and, get this, jump him to his own layer.
Command + J or Ctrl + J goes jumping to its own layer. Okay. So that's layer one. This is frog. Oops. You know that if you double-click and you miss, if you just double-click over here, you get your layer style. If you double-click here, then you can rename. So there's our frog. We put the frog on top. Now I'm going to select the generative fill layer because do you guys know that the generative fill only works on the layers below it? It's not looking at any layers above it, only the ones below it. But now I have my frog nice and safe so that when I do grab my Lasso Tool, and I'm going to start at the top, and I'm just going to come down here.
And I'm going to grab a little bit of the frog. Right, I'm going to grab a little bit of the frog, and I'm going to come up here, and then I'm going to let go, and then I'll close the selection, and then I'm going to go to generative fill again. Now, because I'm on generative fill, it's actually right here in my Properties panel. So I can just hit generate, and it's going to create a new generative fill layer, and it'll go ahead and fill this. So it's generating, generating, generating based 100% on the image itself because I did not put a prompt in there. We'll put a prompt in in just a minute. So now it's filled it. There's my three. Okay. I'll go with-- Well, I'll go with that one, but then I'd probably get rid of that. No? Let's just go with that one. No, that one. No, that one. Yeah. All right. That's the problem. And you know what? Hey, you guys, these are just regular layers. I mean, I know it says there are variations and everything, but you can turn them into regular layers. Right? So on the Layers panel, you can just right click and say convert to layers. And what it does is it gives you a group with your original selection, and then it gives you those three layers, and then you could just toggle on and off those layers. So there's nothing really, I mean, those layers are very special, but there's nothing really special about those layers, okay? So then what I would probably do is convert them to smart objects at that point. But right now, I'm going to go-- I'm going to undo. I'm going to undo. I'm going to undo. I'm going to undo. I'm going to undo. I'm going to undo. Undo. Undo. Ugh, I just can't stand that. If you go to the Window menu, and you go to your History panel. Is this correct? History panel, and we use the flyout menu to history options, you can uncheck Make layer visibility changes undoable. So it will not keep your toggle of your eye as a state in history. So let's un-- Oh, yeah. Oh, I got my first-- Oh, that's awesome. Yeah. Yes. I know. Oh, thank you. Thank you, engineers. All right. Let's go ahead and close that. Okay. So, that's looking pretty good, except for if we look at his eye. Right? And that's why I put him on his own layer. That looks better. No. Good frog. Good frog. Right? Like, you might not have even noticed it until you do this, and then you're like, wow. But look what else you notice. Do you notice anything else? Look at the structure, you guys. I mean, okay, at 100%, you know, if I'm zoomed out, you're never going to notice, but I'm a tidy person, man. This stuff bugs me. Right? So you got to match the structure or somebody's going to notice. Now, I could definitely go and-- Oh, well, I can't-- Oh, yeah. I still can do it because I undid. Sorry. So when I told you they were just regular layers, what I should have told you first is if you need to up the resolution, do that before you convert them into layers. All right? So I would do that, but it's still not going to quite-- so it's called enhanced detail. That's the little icon for it. All right. But it's just not there. This is real, like, sharp. So what would I do? Well, I would just go to-- Sorry. I just realized, like, I'm yelling. I'm probably yelling, like they probably had to adjust the microphone so far back there. So anyway, you go to Filter, and then you go to Camera raw as a filter because it has the best grain. So I zoomed into 100% in my image, and now I'm going to zoom in to 100% here. All right? And I'm going to scoot this over. Oh, it just happens to match up. Like really, I'm not that good. All right? And then I would go over here to Grain, and I would start adding in grain. The grain means how much contrast is going to be added, and then the size means, you know, how big or small the grain is, and then the roughness means how like either really rough, like pixelated, sharp edges versus really kind of blotchy. So I would just try to match these, right? So that might be a little bit much there with the size, and maybe bring the roughness down a little bit, and you click Okay, and then it will fill that in with a better structure that matches the original. But, Julieanne, you have another one. That's okay. Command + 0. Yes, I have another one over here, so what do I do? I just Option drag the smart filter onto that layer, so now I have the exact same grain over here in this area. So if we come over here, we can see if we expand this, that's without the grain. Can you see it? Can you see a difference? Okay. Great. All right. So grain? No, grain.
All right. Is that all with the frog? I think that's all with the frog, except, yeah. Okay. So I'm not going to get too carried away with the generative fill stuff because we have a lot of other things. Oh, Smart Objects. Yeah. We should talk about both of these things. Are they both? Yeah. Okay. So let's open these. They're super quick, and I want to talk about this one just because it's just pasting into a layer. It's going to take me one minute.
But it's the most popular blog I've ever done. So if you have, like, a texture or something, like I have this texture layer right here, and you want to paste it into a layer, what's it set? Oh, it's set at a decreased opacity. Let's increase that. Okay. So here's my texture layer. I do a select all, and then I do a copy. It's a copy to the clipboard, and then I go to the shape layer, and then I do a paste. No, that's not going to work. Of course not, because you didn't have a mask. Okay. So great. So I add a mask, and then I do paste. Now, it still is always going to paste it into a new layer, not into the mask, unless you Option click on the mask. Now, I'm viewing the mask. Once I'm viewing the mask, I can paste anything in there that I want to, but I have to be viewing it first. So I said Option, but on Windows, it would be Alt. All right? So now when we look at that, I get the texture just in that shape.
In this example, you could also do it just by using a clipping mask, and then using a blend mode, but I just wanted to point out that you can also paste into a mask. Okay. What's this image about? Let's throw away all the polygons for a minute. I'll just throw them away. So if I grab my shape tool, which is the U key, and we get our little polygon tool, and we come up here to our options, and it's usually set to five, but now it's set to six. So as I drag out, I can hold down the Shift key, Right? That will constrain the proportions. If I hold down the Command key, that's going to enable me to rotate it. So I can rotate this around, and we can get our little polygon. All right. So we probably know that...
So we probably know that if I duplicate this, because maybe I'm trying to create a pattern or something.
If I duplicate it right now, and then I want to change the polygon, I'd have to go back and change every single one of them. I mean, I don't even know if I can select them all and change them all at once. But if I convert this into a Smart Object first, so convert to Smart Object, now, if I make a duplicate by using, say, Command + J again, see it's not as fun when it's not a frog.
And I move this out, and then I say, "Oh, I want to edit the contents of the smart object," we just double click on the thumbnail. Right? That brings it up in its own window, and then we can close this.
And now we can see both of these at one time. So sometimes it's handy to have them both open. And then we can make our changes to this polygon, right? So if I decide, oh, I want to maybe put a 60, well, that's not going to be very much on here. Let's do 600. Oh, that's kind of a lot. But if I save it, we've made our changes there. Right? Okay. And then if I undo that and I save it again, then it makes the changes there. It makes changes to all of them. Right? Because I duplicated it. When you duplicate a Smart Object, it's like you're making an instance of it, and both of the layers are pointing back to the same smart object in the image area. Okay? If, on the other hand-- Let me close that. If I go to Layer and I go to Smart Objects and I say New smart object via copy, that is going to be a copy of that smart object. And when I move that over here and I double-click to edit it, and we look at both of them and I say, "Okay, I want maybe like 300 on here," and I save this, it's only going to save that one.
All right? Because-- I made a new smart object via copy. Any other way you duplicate, they will be pointing to the same instance. It's only when you use this menu item that you create a actual copy of it, so that inside that Photoshop file or that TIFF file, you will have two originals instead of just one with the layers referencing it. Okay. So what can we do with this? Well, let's revert this and go back to all of those other ones because all I did was create a ton of these little polygons, right? So you can see, like, my top layer is just a rectangle so that I didn't have to fill them in. What? I guess I'm missing one. Oh, there it is right there. All right. So I've got all the polygons, and then I just have a background there. So the polygons, they're black with the white stroke. So let's edit the contents of this, and when I come over here, and we go back to Properties, and we add-- Maybe not as much. Maybe I'll just use my scrubby slider, so I can actually see what I'm doing. All right. And then we save that.
Oh, that's kind of cool. All right. What if we change the star to, like, 50? All right. And then we save it. Oh, that's kind of cool. What if we smooth the star indents? Now we got a blob. That's kind of cool. So you see how by looking at both of them up at the same time, you can actually kind of do it a lot more interactively than you usually can. What about 10% here? And no smooth. What do we get there? Wait, I thought I entered 10, 10% and no smooth. Oh. What if we go down even further? What if we go down to, like, 2%, and then transform that and make that larger? Okay. And then save that.
Well, that's pretty cool. Right? So I mean, I could do this all day, but they don't pay me to do this all day.
All right. So smart objects. Okay. But here's something then that gets a little more complicated with Smart Objects. Let's do layer comps first. All right. Because I must do that one, because that was in the description, and I'm going to do everything that's in the description. And I only have 20 more minutes. Do everything that's in the description. Come on. Come on.
Edit the original. Do it. Do it. Okay. So let's go grab them. Layer comps. How many of you guys are using layer comps? Oh, excellent, but not enough. So they're awesome. I mean, I know that I could go like this, and say like, if you've got like your art director or your CEO standing right over there, and you're like, "Well, I have two options, or three options. I've got this option. Right? And then I've got this option." They're like, "No. No. I like the other option." But could you move, I like a different color type. Oh, well, we have this color type. We could do that. Or we could wait. Just look away. Do you like this one or do you like that one? Right? And it's too distracting. So what a layer comp allows you to do-- Well, I think there's two instructors that are trying to-- Whoo. We're not playing. It's going to be like a wave going around the thing.
Okay, focus. All right. So layer comps allow you to save the state of your document, and what do they allow you to save? They allow you to save-- Let's go here. They're going to allow you to save the visibility, the position, and the appearance, as well as this really cool thing that you can do with Smart Objects. So visibility means the visibility toggling the eye on and off. Position means the position of the layers, and appearance means the layer style. So my biggest suggestion for people who are new to layer comps is organize your layers. Organize your layers and have them all kind of done. You can update it if you have to add a layer or something like that, but just get like-- If you know you're going to have three photos that you're going to be choosing from, grab all three photos and put them in the same document. Okay? So this will be Layer Comp 1. This will be the aerial one. All right? So here's my aerial image, and it's got my type on it, and so I've just saved that as a comp, and now I decide, well, maybe this one would be better, but maybe I want this to be this other type color. And the reason that I'm using my layer effects as for the changing of the type color is just to simplify my document. I could, of course, duplicate the type layer, but then that's just more layers and change the color of the one I duplicated, but that's just more layers to deal with. So instead, I just toggle on and off the eye icon here, and then we save a new layer comp. And this one would be the volcano. All right. Visibility, appearance, and a layer style, right? Because that's what I just did right there. Okay. And then, let's do one more where we've got this one. Well, that one's going to look really bad if I put the white type up there, but that's okay. We'll just do it anyway. So I'm going to reposition these, so we can move this up here. Oh, that's so awkward. Okay. Doesn't matter. It's all good. Click the plus icon, and this is the lake. Okay.
So now all I need to do is click on the left side here, and I can toggle through them, and it will toggle through all of those things. So that's what's really cool. And then they go, "No, that one is absolutely horrible. Please move the type." So you say, "Okay, I will move the type back down here," and then you'll notice that the little icon next to it moved back up here to your last document state. So right down here is my lake. So if I wanted to update that, I could just click to update that. So now that is my layer comp. Okay? And if I wanted to, I can do it on a per attribute. So if I only wanted to update like the layer effect or if I only wanted to update the position of it, you can do that as well. Okay? But it even gets better than that. If we close this, and we open this other document, it looks in this document like I only have three layers, right? Like I've got this text layer, and I've got these images. But look at all my layer comps. So what is going on here? Well, these layers are smart objects. If I double-click on the smart object, you can see that I have different layers.
Yeah. Right? Okay. So I'm going to close that because I don't need to see it. All right. And here, I have three different images. Right? So I have this one and this one. By the way, Option clicking will just show that one layer. Right? And also, if I have more than one layer, and I want to toggle the visibility of all of them, it's just command and then comma.
Right? We'll toggle the visibility of that. Okay. So, yeah. So let's just close this without saving. Now, we can go ahead and delete all these, and just throw them in the trash. Yes. Thank you very much. So now if I wanted to capture this state, I could go to the plus icon, and I could say okay, this is my layer comp, and this is just-- whatever you'll type in, something that makes sense to you, but you'll need to do the layer comp selection for smart object. Right? So you click okay, and then look at in my Properties panel, I can come in here and say, "Oh, no, I don't want round peppers." You don't have to go in and edit the contents of the smart object and turn on and off all those layers. I can just say I just want the long peppers. Oh, great. Let's make another smart object. I mean-- Smart object? Let's make another layer comp. And then say, "Oh, you know what? And I want one with the photo, but I don't like the text with that photo." So let's click on my type layer, and let's say I don't want retro, I want industry instead so that we can add our layer comp there. So you can imagine if you had different prices, different names, different languages, and different objects, you can really mix and match quite quickly, create all of your layer comps, and then, of course, you can go to File and then Export, and you can export these. So you can export your layer comps to files, or you can export your layer comps to PDF. Right? So if you go to Files, now you can go to-- oh, well, I just want a flat one. I just need to hand them off, so there's my JPEG. Or, hey. Yeah. I need my layered PSD files, and you can export them all that way. All right? So very cool. Layer comps are very cool. If you haven't played around with them, definitely give them a try. All right. Let's close this, and let's talk about some other tools here.
We'll grab this one, open it up. So here we have some little lemons or limes. They're limes, sorry. Open that in Photoshop. We can close the little layer comps. How about doing some selected stuff? So we know we have this object selection tool. Right? And the object selection tool, if you just roll over anything, it will go ahead and select those things. Right? But don't forget, there's these two modes, the rectangle and the lasso. So the rectangle, both of them, will let you select, like, maybe I don't want to click on this lime and then click on another lime, you know, like Shift click on that one, and then shift click on this one. Right? Instead, I just want to drag the rectangle over it, and it will select them all. And also, when I do select subject, I don't know why, but on furry things, like little foxes and stuff, select subject doesn't get their tail all the time. But if I used object select in Photoshop, it tends to always get the tail. I don't know why. So then I could do whatever it is I want to do to this image. But I just wanted to show you that the rectangle can really help, and it can also help to sample all of your layers. The other thing that we can do in here is...
What's it going to do in here? Oh, yeah. Of course. Let me deselect that. If you go into the Layer menu, you can go to Mask all objects. What is that? It will actually look at a layer and give you a mask for every single object that it finds. So it found all of these different objects. Right? So if we Option click here, we can see, okay, there's one, and then we'll Option click there. There's another one of them. Right? And it's put that mask on a layer group, and why is that? Because if I-- Let's say, is it this one? I think it's this one. Let me Option click. Yeah, it's this guy. If I want to make an adjustment to this, then we can just come down and say, oh, yeah, let's go to hue and saturation or something, and we'll just make that a little bit more-- That looked terrible. Don't eat that one. That one's a bad one to eat. That one's a good one. All right, that's a better one right there. But look at that. So I didn't really have to even make those masks myself. Then I would need to probably delete the masks I don't use, but that should make things quite easy. Okay. Let's talk a little bit about the Remove tool. So let me undo these guys. In fact, I'll just revert this real quick.
Just revert that. So the Remove tool, I think we've already seen the wires and cables. Right? Well, yeah. Okay. So we don't need to do that. If you saw the Keynote, you know now it would remove these wires and cables, which is really tragic because I did a whole project.
Oh, yeah. Like, the reality of the scenes, like, I go to a national park, and I'd be like, everyone's taking this really pretty picture, but if you turn around, it looks like this. I'm like, "Oh, well, now I can just remove those wires and cables, I guess." Okay. All right. If I wanted to remove these guys right here and I went out to select them, well, it's not really going to work, because it didn't get the shadow. Right? So don't use the Remove tool for stuff like that, where it's like a hard edge and you have a shadow. I'm going to deselect, and we're going to switch now to this lovely selection tool. So if I paint over this, it will select automatically everything in the center. We actually call it-- Internally, we call it the Brasso tool, because it's kind of a brush and a lasso because if you circle something, it'll-- Yeah. So it's the Brasso tool. So we have that, and now if I went ahead and said generate, which I assigned to what Command F, generative fill, I'm not going to tell it like blue table and white background. No way. I'm just going to hit Generate. Okay? And it'll go ahead and generate that.
This is when you have a cup of coffee or-- No. This is when you go to your phone. Don't do it.
20 minutes later, you come back. It's not that slow. Okay. So that did a pretty nice job. One, two, and three. Yeah. I could go with that. Probably need to add some noise if I zoomed in, though. All right. So I'm going to zoom out a little bit.
Okay, let's say we want to change the table though. All right. So let's grab this brush, and let's get a bigger brush here, and we're going to paint. Right? I'm just going to paint across here with the Shift key. All right. Now, when I do generate, I'm going to say wooden farmhouse table.
Wooden farmhouse table, and Generate. So it's going to go ahead and generate a wooden farmhouse table. Now, when you make a selection with a selection brush, and you put in a prompt, it's going to look at that prompt 100%. So it is going to make you a wooden farmhouse table. Right? There's one option, there's two options, there's three options. Okay? But look at how different-- Like, look, it's different. Right? If you're selling those bowls, you better have copied them to the table first because they're going to be some returns, because they're not that tall. Okay? So one of the things you can help do it I mean, seriously, if you're doing the bowls, cut the bowls to their own layer. But if you want to do this instead, what you can do is you can change the opacity. That's really what this brush is kind of all about. So we have quick mask mode, which can give you a semi-transparent selection. And what do I mean by that? It's not really opacity. It's like something is half selected. I mean, the whole thing is selected but at 50%. Right? So if I select this and go to 50% here.
All right. Oh, not-- Jeez. 50%.
What is it with typing during demos? Okay. 50%. All right. Then I'm going to click and Shift click over here. Not Shift click, I'm going to Shift drag over there. Now I have a 50% selection. So it is selected, but it's only half selected.
So now, why didn't I copy that? Wooden farmhouse table. Now when I hit Generate, it's going to say, well, I'm going to change the balance here. I'm going to look at your image, and that's going to have 50% of the weight. And then I'm going to look at your prompt, and that's going to have 50% of the weight. So I should get a result that is more similar to my original image.
All right, so-- Aha, you see it's blue. It's not brown. Because I didn't put in a color, but my original was blue. And look at, it's the same height as it. So it's a lot closer to the original because you change that balance. And you could go to 60%, or 30%. You're just saying, how much attention should I pay to your prompt versus the underlying image underneath it? That's why so much of the time when I'm removing something, and Jared told me a funny story today, he had a person in the background, and he selected them, and then he said remove human was his prompt because he wanted the person gone, and he put in a bear.
Thank you for that. So, if you don't want it to put anything in, just leave it blank. And most of the time, when people have some random thing, like a bird will be in there or something, they'll be like, I didn't ask for a bird. Usually, it's because you haven't quite got the whole thing selected. You got to select a little more than what you want, and you've got to select that shadow. Otherwise, it's like, "Well, there's a shadow there. I should put something that would cause there to be a shadow there." You're like, "Oh, see, you're too smart for me. I didn't get rid of that shadow." Okay.
Adjustment brush, adjustment presets. Oh, my heck. Okay. Let's go here, and I only have a few minutes left, so let me just-- I definitely want to cover this one. Let's go to grid. That one's insane. That one's-- Okay. That one's insane, but this one is just like it just does it. It's just crazy. Hello? Hello? There we go. I did remove that. Well, I removed the head because I didn't want him to be known. It actually works better if you leave the head in. I'm just telling you because it knows more as a person, but it gets rid of it, and it's like perfect. But anyway, we can't do that because we don't have time. We have to do this one, and we have to do this one. I have to go to grid and make sure that they're okay. So yes and yes. And we really only have to do this one. No. We'll do them both. Just stop thinking about it and wasting time. Okay. Go. Go. Go. All right. So right here. We'll do the selections matter first. So I'm sure you guys have already seen this been done, I'm going to go ahead and raise this up to 100% again because I want this to completely change it, and get a little smaller of a brush. A little smaller of a brush using those bracket keys. It's funny because when I'm in a hurry, it's like I'll tap the bracket keys, and I'll tap them, like, really fast, really fast. Well, if you just tap and hold, it'll actually go faster than you tapping manically. But I'm like, I'm sure I could tap it faster than a computer. Yeah. Right. Okay. So that'll fill that in. So I get a completely different result. I just want to tell you, if you fill well-- Let's do it. Fill this in. Right? If I wasn't careful, and I went up here and said Command + F and I was like, I don't know, what do we want? A blue denim shirt. All right. I'm going to copy it this time. Copy and hit Generate, and then it'll generate. I should have said, like, pink poncho.
See? You can use it to ideate. All right. So it'll generate it. And, I mean, it's crazy. It's not spot on, but she asked me, yeah, I know. Blue denim shirt, there it is. But her hand and stuff is in a different position. Right? So let's hide that, and let's grab it again. Should've saved the selection. Right here, and then I'm just going to go like, I'm going to try to leave a little gap right there. Let's see if I'm skilled enough to do that. All right. And then come along the hair, and the hair, and the hair. So they asked me to do their Christmas card, and I was like, "Sure." And they're like, "Well, it's our whole family." I was like, extended family, like, 20 people. And they all wore t-shirts. And so just for fun, I put them all in a suit and tie, and it took me, like, 10 minutes. I just select suit and tie, select suit and tie, select all the guys. Suit and tie, suit and tie. Wait. Why didn't you hit Generate? Oh, you didn't say anything. Stop. No. Wait. Come back. Come back. Phew. You know, that reselect, but some it's fickle. It's very fickle, that reselect. Sometimes, mm-mm, not going to do it. Denim skirt. Okay. Got to have that one. Yeah. Suit and tie. It was awesome. The thing is, like, we can do it to them, but they'll know, right? Because it changes, like, body. You know? It does. Like you want a picture of your grandma, not a grandma. Right? So, okay. All right. So here, but look at that. Look at the difference. That's my point here is when you're using that, if you do take the time to make that better selection, it will really help. So the other thing is some of us have large files, like this is 6,000 pixels. I think the original is 8,000 pixels. So what happens if I use the Crop tool and I come over here, and I drag this out? If I drag this out, and then I say, yeah, let's go ahead and do this. Let's do a generative expand, and I hit Return, and then I generate, it has to fill that whole area. Well, the contents that this generative technology is handing back to us is only 2K. Right? So if I've got 6K, it's going to have to interpolate up. And when we zoom in, and I come over here, you'll be able to tell the difference. Right? So here, look at it. If I toggle this on and off, see, like, well, it does look sharper over here, right, than it does over there, and even if I enhance this. So it's really quite easy, right? We'll just undo that, and we'll zoom out. And this time, what I would do is I would actually crop this, and then drag it out however much you want. It doesn't really matter, but the first time I would say-- Okay. So here's the thing. It's not giving me transparency. You know why? Because I'm telling it to delete cropped pixels. If you uncheck that, then you can go to transparency. So I would do transparency. Don't do white or black because it'll think that white or black is part of your picture. All right? And then grab your marquee tool, and either enter in like a fixed size, or just show your rulers and set them to pixels. Right? And then just drag this out, and drag out your little lasso, and then look at your heads up display. And when you get close to 2,000 pixels, then go in here and generate. So Command + F and Generate, and just generate it in chunks. Right? Because if you generate it in chunks, you're going to get a higher resolution. Just make sure that you commit to the variation that you want because when you build the next chunk, it's going to build it based on what you've chosen. Right? So if I come down here and do this again. In fact, I'm going to do it all in one, just for time's sake. If I come down here and do it again, and hit Generate-- I know I have two minutes left, two minutes. Come on. Generate. Generate. Generate. Generate. Generate. All right? What it's going to do is it's going to base it, you know, up here. So you want to make sure like I don't think I want to go back and change. Oh, well, that one worked well, and that one worked well, but it might not if you actually like had a fence there or something. All right? But it's looking pretty good because I did it in smaller chunks. Now what about the bottom? So the bottom, if you do this in smaller chunks, like I want to get rid of this whole foreground area. I want to get rid of all of this. I want my lasso.
Okay. My lasso. I'm like so stubborn, right? Like, I'm not going to change. I'm going to make you change. That works well in relationships. Okay. So what would I do here? I would go ahead and do the generative fill. "Julieanne, you just told us not to do that." I know, but if I do it in chunks here, it's going to try to keep giving me land. Right? It's going to give you land, and land in a chunk, and land in a chunk, and land in a chunk. Now I have all water. It's not the highest resolution water, but I don't care because I can come in here, and say, okay, well, I can tell that like this is the area right here. So I grab a smaller area and hit Generate again. Right? And then it's going to generate a higher res for that area, but it's not going to insert anything unless I'm on stage, in which case it will probably insert like an iceberg or a bird or something else like that. So with that-- Okay, yeah. But see, now I get a better resolution, and I could even enhance that as well. It's a little blurry, so I'm not sure if you can tell on screen, but it is. Can you tell on screen that it's better? It's better than there. Okay. It is exactly on time. Thank you all for getting up at 8 o'clock this morning and joining me here. All right.
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