Lessons

Lesson Info

Adding Text in Photoshop

Just grab a bit of text what should I have this say on there it's like one word short word sir for him it looked like a baywatch poster watch it does look like a baywatch um I like california surfer can I come by you know by short woodward event too long words you know all right california I'm gonna make all right let's I'll tell you well one person because in california the other the person said sir for good you know, now I now I can make two people happy you know, working one percent of the time I've just got a few thousand more to go in the chat rooms let's change the we're going to change the weight of our of our california logo here it was that this is by the way, if you do get the opportunity to pick up a like a real fun pack and what I mean by that is I have helvetica knew as a front pack on this computer and what's so nice about that is it comes with a lot of different weights way have all the way from ultra light down here we can choose thin light it's the same fund and it's g...

iving each of the characters more weight and this is very different by the way than just hitting the faux bold this is not a real bold this is like a photo shops version of a of a bold so if you do and I believe with the new adobe it's got the fonts built in and you can either purchase a lot of them come for free but you can definitely purchase packages where you you get all the variations the fonts I'm a big fan of it anyway so anyway a friend of mine who's a graphic designer showed me that and it's like changed my life it's like men like everything I do looks good now like literally no idea what I'm doing but you just make one of them thin and then one of them bold and it's like way go california surfer yeah you're done yeah, there are a lot of people who could be mad at me for saying that but I don't know the difference but to me it's like we'll bring it actually, um very cool, very cool you know what we could bring up probably the bottom a little bit um let's see, I don't know sometimes no I liked it with her legs I liked it with her legs. Yeah, yeah, very cool so you guys can see that really didn't take too much time to do it it's very, very simple we had two pictures of a surfer there and combine them together in a really interesting way through a little bit of type on there and uh yeah, I actually like that. I like that image. I see that it's a on ad for company. We didn't want to spend a lot of money on the net putting all the graphic designers out of work. That's actually a really, really tough job. All right, got a couple questions that are sort of general and he's all had four five votes that they were all kind of bigger topic. First of all, can is there a difference between using refined mask and refined edge when at the selection stage is one better than the other? Okay, that's a great question. It's actually, the same tool refined edge exists when you have a selection active. So if I make a selection this says refined edge appear and if I go to select it says refine edge, keep in mind it's right above the modify. Now if I click on a layer mask, the refine edge button is not available, but I still congar o to refine math, but you can see it's in the same place is same exact tool. They just called a refined mask because we're in a mask instead of the edge of selection. Good question is he one let's go? We have another one this had five votes how does he create the clipping mask without using the menu seem to use a shortcut oh yeah option command g will create a clipping mask really good questions so let's say I wanted to do here on surfer let's see, I will add a let's add a color that's ah, maybe in my in my image so let's that be for the brush tool I'm gonna sample this nice warm red there we go and now I'm going toe make a selection there we are and I'm gonna g for migrating to it we'll just go from the top right down to the bottom notice I can't do this on my text later because it's not rast arise it's a vector layer so if I bring this from the top down just like that would get california surfer it's just visible everywhere now and if I want this to only be visible on sir for all I have to do is I can right click and go do create clipping mask or I can hit option command g which is the keyboard shortcut for create clipping mask and now I can move this grading up and down and I can I can have a lot of fun with it. Yeah, adding a little bit more sometimes having even just a little bit of a great inditex can make it can make it look really nice you know this sort of stuff I would say stay away for from because it it starts to look cheesy pretty quick and yeah money exactly, but if you get something in you like you know what? I kind of like it but it's not there yet a lot of the time what I'll do is I'll hit controller command you, which is my hugh saturation and this way let's just bring this over here this way I can control on just that little grady in't that I made I can control my my saturation I can try out a couple different hughes if I want maybe like a nice blue would wind up going out with the image very well um I can go a little bit lighter with it just like cool it up a little bit so I'll do this a lot of the time because I I won't really know you know we'll have a new idea like, hey, that might look good and then I'll come to come in here and play around a little bit so I don't feel like you ever locked into a color in photo shop is super simple to just go in there and change those things out so I'm actually kind of like the white better, but it was probably a decent you don't yeah you guys like this better you'll say something even cooler I love doing this with type I love making it look like it's chinese I don't know why I haven't obsession with shiny things um so we're gonna grab our grady and tool and then this gravy aunt here so you have your linear you have your radio and then this guy over here I don't even know it's called because I'll just try to call the shiny grady in the reflected great reflect ingredient is really great because it'll it'll push out in two directions at the same time so it's like too linear ingredients stacked on top of one another, so if you paint with white and get yourself like a version of that, I've been hit option command g, which is going to clip that check that out text of shiny no thiss almost never actually works but I always try it like every time I'm doing text because you couldn't even like, you know yeah, um command tio stretch it out yeah so you know, you guys know what my friday nights looked like? No, but that playing with yeah I very fun guy to be rio wait, what do you think? Oh, wait see things clearly he did that on purpose clearly club quick question for five from people on the layers panel what's the difference between opacity and phil ok, now that's a great question that's a great question that I can most definitely answer right over here using this california text so capacity and phil are so, so important when you're using layer effects, so when you're using later effects, those air important, if you're not using layer effects, they don't really play that big of a role, so by default, I don't have any layer effects on my california later, ok, so if I bring my capacity down that's what it looks like and if I bring my film down that's what it looks like a swell, so right now they look like they do the exact same thing, but let's, go ahead and apply a layer effects onto the california, so we're going to double click here and then I'm going to ply. We have a lot of options, let's try the bevel and in boss, we're going to try the bubbling in boston. I'm going to bring that up to the top left there, okay, there we are now, you'll notice here in my blending options inside of my layer style, I also have a new opacity and phil say you khun, you can change capacity and feel why you're still in your later. So so, now that I haven't double in boss on my image, if I live in my capacity, we can see it lowers the capacity of everything it's taking the entire layer down, so this is like the master okay, capacity is controls the visibility of everything now phil does not control the visibility of my layer effects phil on ly controls visibility of my layer so if I bring my layer down to zero, check that out the layer effect is still there, so I've got no phil you can see straight through the layers, but the later effect is there. If I turn this off, he won't say anything, but if I had a drop shadow, check that out now. It's just the drop shot oh that's going to be visible to sometimes you want to do this for like creative effects? Oftentimes if I'm doing, I've had photos before what I wanted to create something that looked like fairy dust, so I'll just paint with like a regular old small brush and spatter the pixels around and then I'll put an outer glow on them and then that outer glow makes it look like they're those air fairy dust and then you khun, you can drop the drop the field so there we go the difference between our capacity and phil phil controls what's actually inside of your image and opacity will control the whole thing, but that does not looks good, but anyway that's what it does and, uh yeah, so get creative with it and have some fun, the other kind of fun thing actually it's kind of fun to paint around when you when you do this if I paint on a layer and then I double click on this and I you know I say like doubling the boss that and it ok and then lower the phil I can then delete whatsoever on the layer and aiken aiken now paint and I'm literally painting with the devil in boss because there's no phil on the layer so everything I paint we'll have that later effect so um kind of makes you feel powerful able to paint that's like you I'm painted with death of my image uh anyway yep getting to know erin really this's great uh do you have any questions from anyone in the room? Not I've got a request and feel free to say we don't have time because we've got other stuff planned but genesis historian three other people were wondering what you could do with photos that don't have silhouettes because so far they've all been images that have like a very dark part of the image toe work with into composite onto you have any do you have any images without so let's and do you have anything you could do it well we were going to be using a cz part of this class we're going to be making an album album cover shortly and that's that's going to be that's going to fall in line with that but I chose his image images that had these silhouettes on purpose because using blending, moz and we said this at the beginning in class, but we said a lot, so it's hard to keep track of it all but using blending modes for the most part, plays on the differences between light and dark. So if you have a light subject on a dark background it's going to be really easy to get those blending most work or a dark subject on a light background. So for simplicity sake, we're definitely sticking with silhouettes for these couple examples later in this class, we're going to get to mitchell where we're where we won't be using silhouetted images. If you would like to use images that you know are not based on sex silhouettes you, khun definitely just cut out your subject. If, for instance, this subject had a really complicated background, you could cut her out, and then you'd be able to use the same type of effect. The reason I would suggest cutting them out is because without being able to select out your subject, the city would just spill out onto the background to it would still create a new effect, but it would be would be a slightly different effect, and I tend to like things when they're a little bit more focused in on the subject.