[Music] [Bria Alexander] How are you feeling, Miami? Hi, everybody. I am so grateful. I am so happy to be with you all today. As aforementioned, my name is Bria. I am going to be your MC for the next hour and a half, which means you'll be seeing me coming in and out of the sessions while we hear what absolutely incredible things Jesús and Magdiel have for us today. But before we get into that, something I like to do whenever I do these things is tell a little bit of a joke, get us loosened up a little bit, so you guys can tell me how good or bad it is when I tell it. Are you ready? Okay. Why did the graphic designer have to go to therapy? Any guesses? Too many layers. You get it? You get it? So whenever the crowd gets a little too quiet, I might have to shake things up a little with a joke, but hopefully that's the last you're hearing of one of those. So before we dive in and I introduce our two outstanding speakers, I want to tell you a little bit more about myself. So I work at Adobe and my job at Adobe is specifically working with our emerging technologies team. So what does that mean? That means AR, MR, ML, XR, all the different acronyms, VR. I'm working with them on a daily basis and trying to think about how Adobe might use these technologies for our wider value proposition. And I got to tell you, we work with governments, we work with schools, and frankly, what we've seen across the board is nobody really knows what to make of this technology. It's exciting, the possibilities are limitless, but where exactly are those limitless possibilities taking us? And graphic designers, we are, and really creatives in general, we are the world's legacy problem solvers. Big problems, small problems, global problems, we are expected to move quickly to be able to help address them. It's a lot, it's annoying, but now in an era where we're expected to be faster and more responsive than ever before, the world is asking us to inform them, for lack of a better word, of what to do with the technology. So what do we do with that? We engage. We invite absolute experts like Magdiel and Jesús to show them how they've been able to use this technology in their workflows. And let me tell you, I've seen their presentations, it's something to behold. But not yet, we're not getting there yet. We're close though. I have a question for you guys. What excites you the most about AI and generative technologies? I know it's kind of counterintuitive, I know there's been a lot of fear, but if anyone want to shout anything out? Something that excites you about Gen AI? [Woman] Ideation. Ideation. Love it. Anyone else? [Woman] Faster processing. Faster processing. We love it. You know, anyone maybe creating story, storytelling, anybody? I mean, if you saw some of the stuff yesterday in the what what's that? [Woman] Innovation. Innovation. We love innovation. Amen. But if you see some of the things, you can create stories with just the press of a button. It's absolutely incredible. I know for me personally, as someone on the inside, it's the possibilities. Circling back to that word again. Really, you can create something by just thinking about it. It's like truly the epitome of imagination meeting reality in real time. But here's the thing about possibility, it can be a double-edged sword. So just because you can do something, does not mean that you should do it, which many of us know from different parts of our lives. And I'm talking about ethics specifically, not whatever things you might have been thinking in the back of your head, but ethics. So you should always be thinking about societal and ethical implications of your work, obviously, but even more important or consequential than ethics that we've observed is empathy. You know, empathy is important, but ethics ensures fairness, while empathy builds connection, that's what I meant to say. Ethics ensures inclusivity on paper while empathy include ensures that everyone feels truly seen and valued. And finally, ethics helps us avoid bias while empathy helps us design for human experiences. Empathy ensures that AI makes us more human, not less human. So you know the question, everyone has seen the meme, since these generative technologies have been created everyone is wondering how can I make more deeper, more meaningful, like, connections with this work? Or I think it was, right, like how can I make Gen AI do my laundry and my writing instead of the other way around so I have more time for art? So the way that we avoid a future where Gen AI is doing all of our art and writing is by ensuring that we are being empathetic in our work. When we lead with empathy, we can leverage these technologies to maximize our creativity, not minimize them. And it's not just about learning how to use them which we will learn in just a moment, it's about shaping the culture around how they are used, which takes me back to why we are here today. Magdiel and Jesús will be speaking to us in just a moment and why we need you the creators to engage in this work. You are the ones that will shape how this generative technology is going to be used and leveraged not just by the creative community, but by the whole world. And here, I've already said a lot, so I'm going to go into my final thing. This is the last thing I have to say before I introduce our speakers. I want, as you experience the super session today, to think about three questions. The first is, how might I include these Gen AI features in my workflow? We work very, very hard on them as a group to make sure that they are fun and engaging for you all. How can I be intentional about the humanity of our work? And the answer to that question is empathy, as I spoke to earlier. And finally, how can we engage at MAX together for the rest of the day to ensure all of our therapists don't have too many layers to unpack as we learn together. Okay? And with that, I am thrilled to announce Magdiel and Jesús. I know their insights will leave you inspired and ready to dive in. You guys ready? Let's do it. All right. Magdiel Lopez is an art director and digital artist, originally from Havana, Cuba, now living in the United States. He specializes in helping clients create compelling visual identities and striking images for his campaigns in the fields of technology, fashion and entertainment. Magdiel's 'A Poster A Day' project earned global recognition, leading to collaborations with renowned brands like Apple, Nike, and Warner Brothers, and many, many more. In addition to his client work, he is a design mentor with Adobe, sharing his experience and passion for innovative design, and he is a lot of fun to hang out with. Let's give an Adobe MAX welcome to Magdiel Lopez.
[Magdiel Lopez] Hello, everybody. I was saying as I was saying, thank you for being here today. I'm excited to share with you. Thank you to the Adobe team for having me. I am so, so excited. My name is Magdiel Lopez like you heard before and I am from Cuba. And before I get started, I want to say hi to my kids because they're watching from home that you sent me a photo of them sitting in front of the TV, Leo, Luca, Losamo. And, thank you. Any parents here? All right. We love our kids. Anyways, don't make me start showing you photos of my kids. Okay? I was born in this little greenhouse between these two bigger buildings in Cuba, and my dream was always to create. When I was a little kid, I was always going around with a pen and just drawing things and taking photos and doing what I can, until my dad got a copy of Photoshop on his computer when I was 13 years old, and I started just creating things that I saw around. I saw books and I tried to replicate them and do things. And, in 2005 when I was 15 years old, we made a transition into the United States. We got on a plane, went to Guatemala, and then crossed the Guatemala, Mexico right here in this exact point that you see on that photo on the left side. And we got caught in Mexico, and we were in prison for three months, and it was a whole experience, a whole thing that happened in my life during that time. But I feel like things that happen in our lives are building blocks to make us the people that we are and bring opportunities and change into our life. And I embrace all these things that happened in my life. In 2005, I landed here in Miami, so I lived here. Anybody from Miami here? Anybody Cuban? Yeah. Okay. And I got immediately a job in a design studio doing album covers, and I was just having fun with that. Obviously, I was really bad at it. But I worked really hard from 2005 to 2016 just working for a lot of different clients, and that was 10 years of my life and 11 or 11 or so years in the computer. That's why I look 40, but I'm 30. And, just kept putting a lot of effort into getting better, honing my craft, improving things, and then, thanks to my friend that's sitting here, Bobby, it's his first time at MAX, he invited me to do A Poster a Day. So I just started doing that and working hard on that, and that blew up, and I was all of a sudden talking to all these peoples to do things on for big brands, like things that you see on the screen. And that was a lot of fun to be able to execute what I was doing as a designer in private for 11 years now for bigger brands, and that was incredible. But I never lost the sense of, like, wondering and wanting to do my own things, right? So I keep exploring, doing my own thing, honing my craft. I was able to do and work with the Warner Bros. Team in creating a few movie posters, and that was a great opportunity and a dream come true for me. And I started my own company, Artist Uprising, where we transform spaces, and we bring humanity into spaces, bring art. So we work with global artists and also with our internal team to create branding and art opportunities for spaces, and we have also our in house company that does more of a typical branding and design services. But today, we're going to be talking about current sounds, and current sounds doesn't exist. It's something that I made up. So, it's a brand that I came up with for this presentation to create something together. You and me today want to be creating something together, and Current Sound is a company that makes sounds inspired by nature. And I made this logo inspired by a brace on a music sheet and also by the ocean currents. And I created a couple collaterals for social media and a few other things that you all know how this works, the branding world, and moved into some colors that I haven't named. So don't blame me for this because they haven't been approved yet, and I don't even have the codes or anything. It's just exploration. And, here's the request that we have for today, and these are the three things that we're going to be making together today. We need a few engaging visuals for a playlist card that reflect natural elements like water, earth, and fire. Using portraits of humans, this will be used to represent soundscapes inspired by those elements in the Current Sound website. So we have to create three engaging images. We're going to jump into Photoshop right now to do so, and we're going to be using some of the AI tools to do that. I got to say, I don't use AI tools to generate complete images from scratch, although you can do that, but I think AI is a great tool to represent my vision of what I want to do. And I've been working hard to, like, use this tool to my advantage, and hopefully what I share with you today is going to be useful for you to do the same.
What I imagine this photo doing is I imagine a hole right here in the face. I imagine smoke coming out of it, almost like a volcano, and like fire behind it. You've seen my brain right now, and we're going to try to generate that right now with the AI. So I'm going to be using the lasso tool, and I'm going to make a selection around here. It's as easy as this. And I'm going to be typing here, smoke and explosion. And let's see what AI gives us. We'll see if AI can read our brains yet.
We'll see. Probably not. I would say that because I've done this a million times at this point.
Okay. So it came up with a few things. Oh, I did it on the wrong layer, harshly. I'm so sorry, guys. Let me go ahead and do it again. You have to be in the top layer to do it.
Pro tip.
Smoke and explosion, right? Yeah. So AI is going to try to grab that, and what it does when you do a 100% selection of this is that it tries to blend the edges into whatever is underneath, giving us results like this that are pretty good, but it's not what I just told you guys about, right? So how do we get to that result that we want and make AI work for us? So you have to give it a little bit of context. You got to give the computer just a tiny bit of insight into what you want. And I'm going to take just a few minutes. Just drawing here that little hole that I was talking about.
And we're going to use color pick here from the darkest point in the photo. And let's add... use a bevel and emboss. There you go. That's just perfect. Look at that. And let's add another thing. Let's create a new layer. And with the brush tool, we're going to be softening that and just drawing some smoke. And you can see, like, you don't need to be...
Devon Rodriguez to do this.
You can just do it just like this. I'm going to be painting what I was telling you guys, and that's it. That took us about 30 seconds, 1 minute, and now we're going to do the same thing. We're going to do it with a brand new tool called the selection brush. This brush allows us to select, but instead of doing selections at a 100%, you can do selections between 0 and a 100%. So I found that a better spot to do this is between 30 and 50. So let's leave it at 34 right now, and I'm going to be selecting the top of the smoke.
And now let's do the same process.
Generate and smoke and explosion.
When we type that in, we should be seeing something a little bit closer to the vision that I had. And as you can see, you don't need to be an expert at Photoshop to get to this point. We'll see what it comes up with. Okay? That's really good. It's getting to a point where it's like, okay, I can work with this.
It's looking a little bit like cigar smoke, and I don't want to give the client that idea. So we can do even something better. Let's go back, couple clicks, and let's click generate. But instead of doing generation with a prompt, let's do a reference image. Earlier today, I went to Firefly, and I generated this image, and this is exactly the kind of image that I'm looking for. The cool thing is that in Firefly you can generate thousands of images until you get to the one that are, like, okay, this is exactly what I want. So this image works really well. I'm going to open it. You don't have to type anything. Just click generate. And when you do so, now this next generation should be even closer to what we're looking for...
and we should be able to be wrapping up this concept pretty soon here. Okay. That's looking really good. Perfect. And for you, for you guys that are a little worried about the quality of the smoke here, the cool thing is when you have something like this, you can keep generating on top of your generation. So if you want to just select some of these areas right here, you'll see that the smaller the area is, the more high quality the generation would be. So I'm going to do the exact same thing. Use that area to generate using the same image reference, and it should give us a little bit better quality here. You'll see that that will happen here in a second. And, you see how there's, like, more quality in this area that I just regenerated. And because I'm using the same structure underneath, it just allows you to keep perfecting your graphic with your vision in mind. You're not delegating vision to AI. You're doing what you have in your brain, and it's coming up great. And the cool thing about this too is that because it's all layers, you can always go because the quality here around the hole here is a little bit low. So I can go into the mask and just this easy, just erase some of those areas just to bring it back to what I had. And as you can see, I've been using really, like, beginner tools to do this.
Cool. So that's looking like what I want to show the client. Let's bring a second aspect to the branding this a little bit of, like wow moment. And let's just bring the same image that we generated. Let's bring it to the back. I'm going to go ahead and just rescale that a little bit.
There it is.
You're seeing it here in real life. It's happening. Okay. And, the final thing that we're going to do, just for the sake of time, I'm going to commit a few sins here, but I'm going to just convert to smart object. Let's go down to blur gallery, and let's just do a path blur.
Remember, this is your thing. You can do whatever you want. You can feel free. And this is a really cool thing. You can combine all the new tools to create a unique look for a client in a matter of minutes. And then all I am going to do now is just erase a little bit on the mask. You guys know how to do this. It's easy stuff. Look at that. It's looking good already. Let's create a new layer, overlay, and just brighten some of those areas. All right. You bring that fire out. There it is. Okay. We have our first concept done just like that.
Hey, we were able to manipulate the AI to follow our vision. Let's see a second example. Let's move into this photography right here. And I want to turn this photo. Let me tell you what's in my brain, and let's see if we can make it happen live. Okay. So this photo, I want to turn it into, like this person is made out of stone, rocks, greenery, things like that happening in the surface of the face. Obviously, that could be really challenging if we were doing it the traditional way, but because we're using AI, it should be a little bit easier. AI interprets the photos in values of black and white, 1 and zeros. So, if you turn the photo into gray, this is what AI is seeing if you input this photo into the AI, which is what we're going to be doing. Instead of bringing Firefly into Photoshop, we're going to be bringing a little bit of our images of Photoshop into Firefly. So all you have to do here is take a screenshot... and just get rid of that for now. And the other thing that I'm going to do is that I'm going to copy this prompt that I made before.
I'm not even going to try to read it because it doesn't make sense. And then, we're going to go to the brand new generated workspace, which allows us to create a bunch of images really quickly. And I'm just going to throw that in...
the prompt right there, and I'm going to click generate. And this should give us some images. The way you got to think about it is, like, it's almost like you're creating a 3D material. So if you think about it in that way, it's like, does this photo has the elements that I'm needing to put on that face that I was talking about before, right? So the way I'm seeing this is that maybe this one right here has what I need. So I'm not even going to even generate more. I'm going to go click on these dots right here and use a reference style, and that's going to bring it automatically and put it right here on my reference style. Now I need a composition style, and I'm sure you've seen this done online with logos and things like that because it became like a trend. But I haven't seen people use it in photos, and I think it needs to be used in photos. So I want to use our photo as the composition reference.
Pretty easy to drop in there. And the strength, bring it all the way up. Now let's click generate, and what this should do is to be applying the style of that rock, thinking about it as a material into the structure of the face. And, we should be getting that right now.
Look at that. That is amazing. And as you can see, it's not the same person that I had on my model, but the cool thing is that everything is going to line up perfectly. So let's click add to, and let's go down to our photo right here, nature. And when we click add, it's going to do its magic and bring it into Photoshop. And as you can see, it's going to line up perfectly with the image underneath. [Woman] Oh, my goodness. Like, everything is going to be in the same place. But you're done, your work is not done yet, obviously, you have to go in and mask it a little bit. And we can use our blending modes to do so a little bit. Maybe we just do one of these. This one's cool. Okay. And then I'm actually going to make a copy of this and do something else here. Let's bring it to normal. So at this point, I'm just using traditional tools to mask this thing. Let's do a select color range and just select some of the whites on the photo.
Okay. I'm going to make a mask with that as well, a mask with this and you can see with just a few clicks, we're turning something that would have taken us so long into something that is working pretty well. Let me erase here. I don't know what's happening. I have two layers here. A lot of stuff going on. There we go. I want to bring the eyes out a little bit more.
Oh, I'm on the eraser, guys. I'm making, like, beginner's mistakes here. This is how you know this is easy. If I can do this, you can do it too. Okay. So I'm brushing this off just to bring the eyes out... a little bit. There we go. And I'm going to have to obviously do A.
I took some more time with this, and I did it right before I got here. So here's the result of that one that I did. I just kind of followed the same steps that it took a little bit more time to do. And throwing our branding on top of this, you can already see how our thing is shaping up a little bit more. I want to give you another quick example of what this looks like. Again, blending some of the tools that we all know and love with the new tools. So we have this photo right here. I'm going to turn it into black and white. And in this case, I went ahead and used the liquefied effect in this photo because I wanted specifically the photo to cut that way and to feel that way, right? The next thing that I did is that I created this image right here, and here's the prompt. Doesn't make sense either. I found that with prompts, the better the more descriptive things that you use in the prompt, better results it will give you. So I use this image with this black and white image to generate this other image right here. And as you can see, I'm just going to turn it into linear and automatically, it's just, like, layering on top of it so well. You just have to spend a few more minutes just bringing those bubbles out, doing some of those things that are, like, the things that we all know how to do. But this saved us just hours and hours and hours of work, just like that. And that's what I'm loving about this whole AI revolution is the aspect of, like, actually taking away from the things that just take time and bridging the gap between the great ideas and the skill, right? We all have worked so much to get the skills. Now let's use the skills with these new tools and be two times as effective as we used to be. Here I have a final example that I want to show you, and it's just thinking a little bit outside of the box. All you know that you need is these values, right? You know you need a black and white values of what you're doing. How do you obtain that? That's the next thing of, like, kind of figuring out. In this case, I went into filter, and then I went to neural filters, and I used the depth right here. But instead of messing with it, I just clicked output depth map, and that gives me that automatically. And I have used this to turn photos of my kids into, like, drawings and things like that because it gets all the values from the photo puts it together, and I can mask it with the other photo. And that gave me something like this. These are the clouds that came out of that. And I can just layer that on top of my photo, and it lands perfectly. Obviously, it's not perfect. As the AI generates better in the future, things will become more realistic. And also as you apply your skills into it, it's just like a huge time saver. So let's go in back into Illustrator and see how that looks like with our branding.
All right. So we put it together. We made it here together. Just putting together now our assets with what we have. It's really simple, really easy, and just add a little bit color, a little bit of text in there, and just all of a sudden with images, it just comes back to life. Like I said, my name is Magdiel Lopez, and I'm very grateful that you guys came to this session.
I would really appreciate if you guys connect with me online and all my social channels and all of that. But I'll be super grateful if you can go in and leave us a high score on this session and so we can come back next year.
Thank you guys so much. Appreciate it.
Now what did I tell you? Absolutely outstanding. Let's give Magdiel another round of applause.
But the fun is not over yet. Are we feeling good? Are we feeling positive? Yeah. We're feeling great? [Woman] Amazing. Do you guys want another joke? - [Woman] Yeah. - Okay. I got you. Why did the UX design team like forks so much? They make great stakeholders. Boom. All right. Let's get back into our regularly scheduled program. It is my joy and pleasure to introduce Jesús Ramirez. Jesús Ramirez is an Adobe community expert, graphic artist and educator specializing in Adobe Photoshop. With over 20 years of professional experience, his clients include Adobe, Microsoft and Condé Nast, most recently he has worked as a finisher with some of the biggest names in entertainment creating film and TV posters for CBS, Discovery, HBO, Hulu and Netflix, the whole set. Jesús has a passion for sharing his experience and knowledge. He's perhaps best known as the founder of the Photoshop Training Channel, a popular YouTube channel with over 2 million subscribers. As a sought after speaker, he has participated in over 40 conferences including some of the largest industry events in Australia, Asia, Latin America and the United States. He needs no introduction. Let's give a warm Adobe MAX welcome to Jesús Ramirez.
Have fun. [Jesús Ramirez] I hug you. I hug you. Thank you so much. Of course.
Hey, everybody. Wow. Incredible. This is my 8th Adobe MAX, and I'm super excited to be here. By the way, I don't have any kids, so hello to Magdiel's kids who are watching.
I don't know their names. So I'm sorry, Magdiel. But yes, my name is Jesús Ramirez. I've been working with Photoshop for over, God, 25 years, and, I'm very lucky now that I get to teach my passion, and I'm very, very excited to be here with you guys. So I'm going to get right to my computer just so we can start looking at some things. Really quick, I'm going to talk about my work. Everything that I'm going to teach you guys in this class is in the context of professional movie making posters. So everything needs to be editable, things need to be done fast, and things needs to be-- They need to be modularized. So that's the context of everything that I'm going to talk about. This is just a couple of the most recent pieces that I worked on. I worked on out of Frasier, the new Poppa's House, which I think is out this week. I've never seen any of these shows, by the way. You might have seen some of these other shows, but anyway, I don't want to spend too much time talking about me because I have a whole lot to show you. And for those of you that have seen me present before, sometimes I could go a little fast, but I'm going to try to slow down. I may throw in a lot of cool keyboard shortcuts and other Photoshop tips and tricks. But everything's going to-- Everything that I'm going to show you relates to an actual project that I worked on and how I use some of these new technologies to help me solve my clients needs. So let's jump right into it. By the way, the first Photoshop tip, if you right click on the tab and you choose reveal an explorer on a Windows machine or reveal in Finder on a Mac, it opens up the folder where that file resides. I'm going to go into the first folder here, and I'm going to open up this file. And this is going to be our first case study to remove imperfections from a photo. I just worked on this poster about a month and a half or so ago, and you wouldn't believe how many revisions I had on how many wrinkles the client wanted on his arm, on the jacket. There was a team of like 10 people on this email thread saying, more wrinkles, less wrinkles, we're fine with that many wrinkles. Why? I don't know. But for those of you who do this type of work, retouching, you know that with a texture like that, it could be very difficult to remove wrinkles or add wrinkles in some cases. So you have to use techniques like frequency separation, a whole bunch of different things, right? Copy and paste, and stretch things, and get things to match. But luckily, with AI, we can-- We have new approaches. We have an approach, where we can easily fix imperfections on images. So this is the image that I'm going to work with, and all I'm going to do is simply create a new layer. Now before I actually go into the demo, I just want to show you how cool generative AI is. I'm sure that a lot of you have already seen all the cool things that it could do. For example, I can paint over his shoulder here. From the taskbar, I can choose Generative Fill, and I can type anything I want. So maybe like a green parrot, right? And obviously, Photoshop is going to generate a green parrot, and if it does a good job, you'll see that the lighting, the texture, in this case, there's not much depth of field, but everything is going to imagine. It looks fantastic, right? Everybody has seen that before. So when I look at a technology like this, what I think in my mind is, okay, great. How can I use that to help me in my workflow and in my real work? I'm never going to add a parrot to any of us shoulder unless maybe the next season of Frasier requires it. But, since I know that it matches texture, it matches lighting, perspective, everything, then I can use it for pretty much anything else that I want. So in this case, in the Frasier poster for example, I needed to paint over these...
wrinkles I'm removing from the jacket. By the way, when I do this, what I like to do is actually keep a lot of the...
details that are going to be very difficult for AI to replicate. So in this case, I want to make sure that the crease remains. By the way, if you hold alt and paint, you'll remove. So I just want to make sure that that crease remains. In this case, maybe the client just doesn't like how wrinkly the jacket is. So I'm just going to paint over it like so, and I think that should work. I'm going to click on Generative Fill. You don't have to type anything in a prompt in this case. It's better as Magdiel said to be descriptive if you're going to put something in, but commands like remove, make, turn this into that don't necessarily work. So I'm going to click on generate.
I'm sorry? [Woman] Were you on the parent layer? I am on the parent layer, but good question. So the question was, am I in the parent layer? Well, I am, but it doesn't matter because Photoshop is just going to look at everything that's underneath. It looks at the composite of the entire image. But as you can see, Photoshop did a fantastic job in removing those wrinkles. So now I can go back to my client, and one of the 12 people in this email thread will say, actually, we like a few wrinkles, so then I have to disable it, and then this is what we end up with. But the point is that I didn't spend hours trying to remove wrinkles from that jacket, using frequency separation, the clone tool, distortion tools, and things like that. So this is how I use Generative Fill often in my workflow. And this is why I like to tell people that I'm not really terrified of AI replacing me. It's just another tool in my toolkit. And I use it whenever I need to. In this case, I needed to remove the wrinkles off a jacket. It does a perfect job. No problem. I'm ready to move on to the next thing. Really, really simple. Another thing that it can do for you is, remove objects. And now in a more complicated task like removing glasses, what I would do is I would just paint over the glasses and the frames, but try to keep as much of the detail as possible. I'm going to go a little quickly here, but you'll see that I'm going to try to keep his eyes because if I actually have, generative AI generate a new set of eyes, it's not going to look like him because it's going to generate eyes, but it really wouldn't be him. So what I'm doing here is just making a selection and trying to just be as precise as I can be...
and keep as much of his original eyebrows and eyes as possible, and we'll see if it does a good job. In some cases, it may add another set of glasses. We'll see if it does it or not in this case, but if it does, we can just keep generating until we get something that works. I'll click on Generative Fill. Generate. Again, leave the prompt blank. No need to add anything, and hopefully, it will remove glasses and not add something else in there. Sometimes it may add glasses back in there, but if it does, that's okay. We'll try it again. And there you go. It does a really, really good job really, really quickly. What I would do at this point is, sort of like what Magdiel was suggesting, using a layer mask to maybe bring back some of the original details. Here's a pro tip. You can reduce the density slider to minimize the intensity of that, their mask. And of course, it's not really working, but that's okay. What I can do is just paint with black on here to bring something back. Obviously, I don't want to bring the frames back, but I would just spend time just really, really getting close in there and just only removing the frames, and then spend time trying to rebuild back some of the original details so that it looks like the person. But the point is that I was very, very quickly able to remove the glasses. I got the skin texture. I got the lighting perfect. And I just got to spend an extra few minutes fixing the imperfections that the Generative Fill created. So really, really fast workflows and it creates amazing results. And, of course, you can always come back and if it made a mistake somewhere, you can use Generative Fill again in a smaller part. Click on Generative Fill. Click on generate and there you go. It should fix that area. So very simple things that you can do and at a high level. So I love it. And added a tattoo. So I'm not sure why it did that, but there we go. Does that say save? But anyway, there we go.
I wonder why that happened.
Cool. Again, talking about retouching. I do a lot of retouching on these movie posters, and especially in posters like that where, there's several characters and you just got to make their faces perfect. That's not the way I like to retouch personally, but you know the client assigned them the check, so sure, you want that wrinkle out of there, I'll get it out. I wouldn't do it.
But, I just want to show you some advanced skills with generative AI and your existing Photoshop skills. I think it's very important to realize that, just because we have AI, it doesn't mean that your previous Photoshop skills are irrelevant. I actually think they make you even more powerful. Having generative AI and your traditional Photoshop skills allow you to do a lot of cool stuff. So let me show you really quickly, one of the things that you can do with Generative AI. If I wanted to remove his wrinkles, one thing that I would do is just start, not remove, but minimize. I would start by making selections over his entire area here where he has the wrinkles. I need to remove them to minimize them and you'll see why. So I'm just going to make a selection. We'll call that good for now and I'm going to click on generate. Leave the prompt blank. In some cases, it may generate wrinkles back in and that's okay. I'll just generate it again if it does. But you'll see that if we get something that's pretty clean, we'll use that. But then you'll see how I'm going to use traditional Photoshop techniques to make this into a very easy retouching job. So there you go. That's pretty good. Let me just look at the other variations to see if there's anything better. I think I like that one better. Actually, they're all pretty good. I could use all of them. So, everything looks fantastic. And obviously, like I said, I don't really like to remove wrinkles from people. I like to minimize them so they're not so obvious. So what can we do? Well, we can reduce the opacity, right? A lot of people would do that. But unfortunately, if you start reducing the opacity, one of the downsides is that you start losing a lot of the skin texture. If you notice, right here, there should be a highlight right there. You can see it, obviously, more clear clearly on the wrinkle above. So one of the old retouching techniques is to use blending modes on the new layer, and the lower layer with older techniques we use spot healing brush tool or the clone tool, whatever tool. The point is that then we would then change the blending mode from normal to lighten. And what does that do? Look at the difference. Normal, lighten. It's a subtle effect, but I think it does a lot into bringing back that realism, and it doesn't look retouch. Really, really quick, not a blending modes class, but what happens with lighten is you have pixels on top, pixels on the bottom. Photoshop looks at the two pixels, and the one that's brighter stays. So that's why the highlight stayed. And at this point, all we need to do is simply just adjust the opacity of the layer. Look, when I set it to 100%, we still have a highlight. So the skin texture is there, and I can just reduce the opacity to bring back the wrinkle and just minimize it, not completely remove it. See the difference? Super, super cool and it looks realistic. You have the highlight. You have the texture. Fantastic. So that's how I like to do it. Old traditional retouching techniques mixed in with new Generative AI. I think it's great. Woo! Yeah.
Also, another thing that I often have to do in those movie posters is fix people's hair. I thought they had makeup artists, but I guess they don't because all the photos that come to me look like this guy's hair. So oftentimes, I need to fix it. So what I do? Use Generative Fill, of course. Just make a selection, click on Generative Fill, and hopefully it fixes his hair. If it doesn't, we can keep generating until it does. And sometimes it gives me great results off the bat. Other times, I have to generate a few times. We'll see what it does now. But there we go. Not as good as I was hoping. That's a little better. That's a little worse. So I can click on generate again, and sometimes after I generate once or twice, and it doesn't give me what I want, I just pick the best one and then paint over the imperfections. So like the second one here, I could have used if I get tired of hitting generate. There we go. That one worked better. So I probably would use that one. And really quickly, I was able to fix his hair super, super fast. And again, for those of you that have done this in the past with older tools, this would have been at least 30 minutes of work, maybe more. So again, Generative AI is not replacing me. It's only enhancing my workflow.
Cool. Let me go and open up the next file here.
And, this is one of my favorite, favorite new features in Photoshop and also a brand new Adobe tool, the Substance 3D Viewer. So I didn't create that poster using this tool. However, I created that poster using 3D images a couple-- I don't know, months ago, maybe over a year ago now with the writer's strike, we couldn't use the actor's faces in the poster, so we had to get creative on the teaser poster for CSI Las Vegas. So, my business partner and I, Lisa Carney, I don't know if Lisa's here. If you're Lisa, say hi. But, we worked on this project together, and we both created composites using nothing but Photoshop and Adobe stock images to create something that looks like that and didn't quite look right. So I told her, you know what? This is very simple. It's a table, dice, and a glass. We can do that in 3D. So we use, Substance 3D stager. So I taught myself how to use Stager in like two days, and that's basically what that looks like just using Adobe Stager. So why am I showing you this? Well, if the tool that came out yesterday was available when we created this poster, I wouldn't have to go into Adobe Stager and learn how to use that application and do all of that. I could have done it in Photoshop. So that's why I'm going to show you how I-- How this brand new tool works, and it's got a lot of incredible generative-- Oops. I accidentally closed the file. I didn't want to do that. I wanted to close the timeline panel. So let me open up the file back up. There it is. So how does this brand new feature work? Well, if you go into-- Oh, that's my YouTube channel, by the way. Subscribe, Photoshop Training Channel. Who here subscribes? All right. So I'm going to get, like, 700 followers today. Amazing. If you go into stock.adobe.com, you'll, of course, get to this website where you can download assets. If you click on the dropdown, you'll see two options, 3D and free. We're going to talk about free in a moment, but under 3D, you can just type in whatever you want, right? Like headphones, for example. Headphones, and there it is. And what we're going to get is 3D models that are headphones and you can download them, right? These are paid assets. So if you're subscribed to Adobe Stock, then you'll waste one of your credits. But, you could always wonder free and choose the 3D option here, and now you can download these assets for free so you can play with it. So you can play with what I'm about to show you for free. You don't need to go and find assets anywhere else.
But anyway, so how does this work? By the way, I should mention that this is in the Photoshop beta, not the Photoshop, 2025 release, but the Photoshop beta released as of yesterday. And what this allows you to do is go into file, choose place embedded, or you can just drag the file in there into the canvas and it will work just fine. And I'm going to choose an OBJ file. OBJ, so that's just the 3D file. That's the file that you need to select. I'm going to click on place and it's going to place a 3D object into Photoshop. And just give it a second here. There it is. It's coming. It's coming. And boom. There it is. The reason we can't see it is because it's below the background layer. Keyboard shortcut, control right bracket key jumps the layer to the top of the layer stack, or actually, what I should have really said is the right bracket key moves it up, the left bracket key moves it down. But if you want to jump something from the very bottom to the very top of your layer stack, control shift right bracket, and it jumps it all the way up. Cool. Everybody knew that shortcut? No? Awesome. Yeah. So when I'm working in, like, the real world, I have different-- I have two monitors. Actually, I have three, but one I rarely use, so I really have two. So then, if I'm working here and I need to jump a layer that's here, I don't want to do the thing, and then move it, and then come back. Anyway, so that's why I remember all these silly shortcuts. So why is this cool? Well, notice, this is a smart object. You can see the little icon here, that means it's a smart object. What happens when you double click on a smart object? You edit the smart object. So what happens when you double click in a smart object, it's a 3D file? Well, it opens up the brand new Substance 3D Viewer. So this is a whole new application. It opens it up and it allows us to do a lot of cool things with the stream model, 3D model. Number one is that the background image or not just the background image, but my entire composite. In this case, I'm only using one layer for the background, but imagine if I had a composite, that background composite will jump to Substance 3D Viewer. In other words, everything underneath the 3D object. And what this allows me to do is work with this 3D object in 3D space, right? So now I can move this thing and place it anywhere I want make making sure that it fits my scene and rotate it. Anything I want to do, right? Another cool thing is that I have access to the ground plane. So I can enable that and notice how there's a shadow there. I can rotate, I get that brighter, rotate the light, it interacts with the table there. Super, super cool. I have these light presets that I can choose and I'll try to match it as best as possible. If not, I can click on that button to select a custom image. And from here and it's not showing up. Oh, this is something I-- Oh, it always gets me. It's set to HDR image files by default, which is probably what you should use if you're working with 3D, but you don't have to. You can just change it to all files, and it will find a JPEG that I already saved up in advance. That JPEG is just that background image just saved on its own. And what that allows me to do now is to use that image as a light so that I automatically color corrects it to match the scene, and I can rotate the light. I can adjust the camera if I need to, and it interacts with the table. But best of all, when I'm done, I can click to Photoshop. That green notice comes up telling me that it's in Photoshop now. When I go back to Photoshop, it updates it and places it in the scene. Super cool, right? Really, really cool.
What that allows me to do then is just treat this like a regular Photoshop layer. I can add a curves adjustment layer, clip it to the layer below, maybe continue fine tuning the smaller details, whatever it is that I want to do. I can drop an overlay on top of it to make the camera flash, whatever. But the point is that I can use, the 3D Viewer, Stager 3D Viewer, Substance 3D Viewer to make my composites. Also, really quick, I don't have a lot of time, but I do want to show you some of the cool features here. You can use generative AI to do text to 3D, so you can generate 3D models from text. Also, you can generate different things in relationship to the 3D models. For example, you can generate a composite. So maybe, I can type in something like, sunny beach, and there you go. I'll just type in sunny beach for now, and hopefully, we get a sunny beach. That should be in the background image. And the composite should interact with lighting and reflections if it had any. I don't think sand is going to have any reflections, but it does it really, really quickly. Also, I can generate 3D materials for my camera. So I can type something like, I don't know. We'll go with brown bricks. Brown bricks. So we have a camera that looks like brown bricks. We'll see what it does. So now I'm generating an image. It's going to be applied as a material to the camera and you'll see what it does. Super, super cool, right? You can select the one that you want. And you know what? That one looks super cool. I'll go back to Photoshop and there it is. Super cool, right? And, of course, again, like I said, regular layer, another keyboard shortcut. Right now, I press control T to transform. I can't see my transformation handle, so grab it from the corner. If that ever happens to you, control 0 on a Windows machine, command 0 on a Mac, and then you'll see all of the eight transformation handles. And then I can just place it into position in my composite if I need to. So that's super, super cool, right? [Woman] Yeah. Awesome.
And, like Magdiel said, please review the class because I want to be back next year. I want to be back for a 9th time, everybody. So that's my time. Thank you so much for attending. It's been amazing. Thank you.
All righty. Wasn't that amazing? I have to thank you all so, so much for coming today. Anyone want one more joke before we leave? - [Woman] Yeah. - Okay. I am not a dad or a parent, but I tell a lot of dad jokes. I am a faux pas, if you will.
And with that, I'm going to leave you all. Thank you so, so much for coming. Check out sneaks tonight. You're not going to want to miss it and review this session if you want more content like this. Until next time, my name is Bria. I will see you guys later.
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