Creative Sessions recorded at Adobe MAX 2018: There’s no escaping it — whether you’re a photographer, designer, or just love playing around in Photoshop, being able to make accurate selections and cutouts is a necessary skill. But often it’s not as easy or straightforward as you would like. Join Photoshop instructor and MAX Master Glyn Dewis as he gets you up to speed and shows you how to effectively tackle selections. With a little insider knowledge and “outside the box” thinking, Glyn will leave you armed with the skills to master selections with confidence and achieve great results every time. There’s no such thing as a tricky selection — all that’s needed is a different approach!
Attend this session to learn how to:
– Get the best results with tools you already have
– Make easy work of complex selections
– Use layer masks to fake selections and cutouts
– Take advantage of brushes, blend modes, and other tools
Adobe Creative Cloud gives you the world’s best creative apps so you can turn your brightest ideas into your greatest work across your desktop and mobile devices.
thank you for coming along there's many sessions that you could be going into now but you've chosen to come here so I'm very grateful for that it's great to see so many of you here we're going to be going through selections in Photoshop and did you all get that email that I sent out originally to say what do you want me to do okay cool it was it was really interesting the results that or the emails I got back from that most people saying hey can you show us how to cut out hair and it's you know you're not alone believe me because I think everybody struggles cutting out hair but have you noticed and I know we can say this is just between us now right nobody else this is just between us there's nobody from Adobe in here I don't think all right so we're clear have you noticed when you get to see selections being done demonstrations how they're always on a very simple background have you noticed that it's like here's how we can cut out somebody with dark hair off a white background Wow really we could do that years ago we don't need new stuff to do that all right now let's be honest I like on somebody said to me on one of the emails they said could you show us how to cut out somebody who has dark hair off the dark background let me just tell you this now Adobe will be able to show us how to turn water into wine before that ever happens all right we cannot do that but I want to show you some workarounds all right I think when it comes to selections we can get a little bit hung up on getting it perfect on getting all those little fine hairs but does it really matter does it really matter if we get every single fine hair if you're working for a client and they're really happy with what you've done I mean I've never had a client go to me I love it but is there every hair there they've never done that they just really happy with the cuts out so I want to kind of show you some tricks as well but also I want to kind of encourage you just to relax don't get so stressed about your cut outs alright but also don't rush your cut outs take your time what I'm going to go through now when you can watch the video later think of it as eight hundred times slower just take your time all right take your time but before we crack on you'll have seen this slide already I'm sure during you know presentations if you could fill that in positively there have been nice but if you could fill that in that would be great because I mean I get I get to come over from the UK because of you folks this is very much your function places that I sometimes will presenter it's down to the people who are running the presentation as to who comes along but what if they don't resonate with you what if you don't like the way they stalk or the way they show things you're stuck with it but with this you get to decide who comes along if we get a good score there's every chance if not then fair enough but it's what you want and you're paying good money to be here right so there you go so if you can fill that in that'd be great the other thing to let you know about is this slide here we could sit here and go through loads of stuff but the saying I remember years ago hearing the same – no one not to do is not to know if you don't practice this stuff forget it you're not gonna learn it so that URL there you can download the assets that I'm going to use now in this you'll be able to watch the video on Adobe later and I'll also more than likely send you out individual videos for those sections because we may not get through everything so there might be some extras that want to show a share with you and I'll be upfront and honest when you go there I'll ask if your name and email address you'll be part of the email community if you don't want to be unsubscribe just get your assets okay is that fair cool all right so let's crack on how's the audio I cuz I got to drama school so I'm really talking loud now and I'm hoping that benefits but let's have a look alright so the first thing I'm going to open up is a real simple file here and this is my friend Dave whoops now why isn't that showing on the screen Tony all right so what you can see now okay it's my friend Dave what I'm going to do is I'm going to show you some real simple stuff because I don't know the level of people in here beginners intermediate I mean what's intermediate beginners intermediate advanced who knows but just so I know who here is not graphic designer photographer who does this for money I go drag it across all right who here who here does this for money Wow okay so that's quite a lot so who here does it just because they love doing it that should be all of your shouldn't here you should have your hands up you should all be enjoying it yeah there you go brilliant thank you round applause Tony all right okay so now selections whether you're a graphic designer an illustrator or a photographer I think selections are vital because we need to isolate areas we might need to cut things out we might need to replace things so selections are vital okay so for example this is we're going to start simple and build up all right so when I first started I remember about twelve eleven twelve years ago I were I would let's just get that down I would I would buy magazines that would teach me how to do selections in Photoshop how to make somebody's teeth look better alright that's what they would show me so they would spend about 20 minutes showing me how to use something like the pen tool to select the teeth and then I'd show me how to make the teeth look better and that's like 20 minutes I'm like I've got to do the rest of the picture yet how can I do it quicker well thinking of the basics of selections all we're going to do is tell Photoshop look at this ignore everything else just look at this so for example for the teeth I'm not going to use the pen tool all I'm going to do is just get my lasso tool and I'm going to do this those aren't his real teeth by the way they are false teeth just so you know that's what Dave's told me to say so now with that we've got the selection active Photoshop is only looking within that area right so how can I now just very quickly help his teeth to look better I'll just get ways considered a really basic adjustment hue and saturation and I'll go to the yellows and then I'll just brighten them simple all right so there's before and there's after so Photoshop is only looking in that area what is yellow or brighten it that is a real simple effective way of making selections and using selections right real real simple saves him loads and loads of time so moving on from that one of the things I was asked about was to do with making selections based on color lots of different ways we can make selections and actually that's one of the things I want to mention there are so many tools within Photoshop loads of tools are always making things more enhanced and there's always the basics that we've always and always known just think that there's not one tool for everything if there's a we want to select color we have color range that doesn't necessarily mean that is the tool for the job so always kind of think of Photoshop as a tool bag learn lots of techniques that you can put in there because if that technique doesn't work you can bring out another and try that that makes sense cool so for example if I wanted to change the color of this top here I could go to color range so go select and color range and in here for those of you don't know we can actually choose the color we want to select by using that little point sample there to click down and in that dialogue box over here anywhere that's white is what we're selecting all right so if I wanted to select his jumper I could actually say over here we've got this little plus icon on the color sampler I click that down and I'll click and drag over the jumper now there are parts missing so I need to tell Photoshop do me a favor give me some more color and that's what the fuzziness slider I don't know why they call it fuzziness maybe range would have been better I don't know but we'll say fuzziness is the one we need to use and if I now drag that over to the right hand side you'll see that it starts to bring in more color so it's allowing me to select more but if I want to get all the jumper and I bring it across I'm starting to bring in their head and I don't want that so maybe color range isn't the right one for me all right so what else could I do I could turn to a really basic thing in Photoshop something that big you know intermediates would go I wouldn't dream of using that that's really basic but it's how you use these things that can really help us so I'm going to go back to hue and saturation and then what I'm going to do here so you've got these two bars at the bottom and again this is for those of you don't know yet we're going to build up we've got two bars at the bottom two colored bars think of those as the color wheel and it's been stretched out the top one and the bottom one okay there's two there now what you'll notice is when I move the hue or the color if you like look what happens the bottom one moves so the top one is fixed the bottom one when I move the hue is telling you write this color on top if you move the hue the one below is what it will become all right nice and simple really really useful so how can I now use that well let's just bring that back to zero there I'm going to go to the Masters menu here and I choose magentas now I don't know if that's going to be the right color for the jumper so what I can do to select the color is get these four sliders here these little markers we've got two in the middle and two on the outside the two on the middle if you look at those and look directly above them Photoshop is saying this is the color I'm giving you this is your color the two outer ones is where Photoshop is being kind and saying I'll also give you a bit of this alright so how can we now know how do I know that's still correct I don't so what I'm going to do is get one of the outer markers and bunch them all together doesn't matter where they go but they're all bunched together now if I get my color sampler little one in the middle here with the plus icon and I click and drag on the jumper can you see now how they've gone apart so Photoshop is saying right where you click down and moved around this is the colors you need all right so now when I shoot use the hue we can go at least now he's moving a bit of the factor head there then I watch doing let's bring that across just a touch got red in the skin and we there we go so now we can do that we can see that the jumpers changing color but the great thing is we've got a layer mask we can get a brush with a black color and just very quickly take it off the face very quick so now I can just come in and change the color of the jumper all right no selections being made none of that tricky kind of stuff so now let's take it another level I hate that you hear that all the time then you another level GameChanger and all that but let's just take it to another level all right and let's have a look at this let's open this picture here but boom boom boom we've got a Redskin now this is a a picture from my I'm doing a World War 2 project and this is Chris he's he's dad with a dispatch rider during World War 2 and I'm doing this kind of project where I'm photographing all people from the war and people who were children during the war and I'm really really loving it projects absolutely love but when I did this picture of Chris it wasn't that happy about it because of this skin condition he's got he's got red patches on his face and if i zoom in you'll see what I mean see it's still this redness here so I'm thinking right well how can I get rid of this fairly easily what can I do I'm going to have to select it somehow out of all the ways I could I've got to choose the way that's going to work best for me and we don't have to over complicate things let's keep it simple all right I'm going to go back to using hue and saturation I'm not going to make any particular selection here but what I'm going to do is this I am going to choose to hue and saturation and from the Masters Here I am going to choose Reds and again we get those two markers in the middle above which Photoshop is saying this is the red I'm going to give you the two outer ones I'm also going to give you this but how do I know that's the correct red for those patches on Chris's face well one thing I can do is this by zoom out I'll increase the saturation so everywhere now that has been saturated is where that color is that Photoshop says this is what I'm giving you there's red in the jacket which was quite surprising no surprise the rest of his face has got it because skin has red in okay but I want to target just that one area so what I can do is this if we zoom in where we got the markers let's put that there if I put my cursor in the middle here and I move it I can control what Reds I want to have so I'll go for about there that looks like it's covering the area on Chris's face if I turn that before-and-after that's covering the area that I want to work on right right so now that I know that those bars are in the right position I can take the saturation back to a back to zero now think of the color wheel we got the red face how can I now reduce or get rid of that reddening in his face there we've got the color wheel we've got red green and blue right red green and blue on the other side of that the opposite color cyan magenta yellow and obviously then black so if I want to get rid of the red in Chris's face add cyan alright so now that I know that my markers are in the right points I'll get my hue slider if you keep an eye on the face here and I'm gonna add in some cyan learned about there let's say that's going to go so before after before and after so you can see just by moving those we were able to target that particular area without making selections and getting all stressed out all right so even though to consider a basic way of using Photoshop with hue and saturation there are some pretty cool things we can do with it if we just dive into it a little bit more right quite useful all right then now we're gonna start building up all right so all these little things here remember these little things okay right now let's go a little bit deeper I'm going to open up this tree here and we'll double click there okay so I just want to when I want to cut the tree out from the background like to say we're going to build up now we've got a lot more stuff to think about little leaves little branches little twigs that we want to kind of pick up on think of that also that could be hair again not a busy background but we're going to build up that could be hair but little with lots of detail so how can I now cut that out well let's look at two ways we can do it because in our tool box we've got lots of different tools we can use to our advantage all right so what I'm going to do them first of all we've used this one already we could go select and color range and you can see here if I just click around again we know what we're going to select by where we click underneath that Photoshop is saying that's what you want we can come over to the plus color sample here and we can drag across and then we can use that weird slider the fuzziness slider to bring more color in something like that you can see if I go too far we're starting to bring too much in so I'll just back it off just about there and click OK and when we do that Photoshop goes crazy right absolutely crazy you can see it's selecting all these areas here now to cut this out what I'm not going to do is just drag it off onto a new document because that's destructive if I have missed bits I've got to do it all again so I'm going to use the layer mask so I'm just going to click here to get the layer mask like so now here's the thing look at the layer mask itself over here I actually want to have the grass in this but can you see how not all the grass has been selected can you see how on the top right-hand corners a bit gray so that still would be in the selection so I need to tidy that up I'm going to tidy up this because on a layer mask when we're making selections what is white is what we can see what is black is what we can't see right so how can i tidy this up well what I used to do was this I used to just get a brush a normal soft edge round brush black foreground color and would come in and I'd start to paint it away like up here get rid of that gram one of you but the trouble was when I got down to here it would go over it and that's a bit of a nightmare all right so what do I do well what I'm going to do is this I'm gonna use my black brush but when we use a tool in Photoshop at the top of the screen there we've got the options bar and those options are unique to that tool that you're using and I'm going to change the blend mode here from normal to overlay so now what this means is if I paint in black or if I paint in white the brush is only going to cover over gray areas it's only going to cover anything that isn't pure black or pure white I'll show you what I mean so let's say now that I want to get rid of this gray area over here make the black area look good I've got a black foreground color overlay blend mode I'm gonna make my brush really big and I should have paint across do you see how it's not affecting the actual tree in the grass there that's pretty cool now then let's change over to white foreground color I could make the tree more dense look at that and I can cover over the walk in the grass as well now these areas down here they're not right on the edge Thor could just change back to the normal blend mode and just very quickly cover those up like so so now when we go back we can see we are a decent cut out all right so that's one way there that overlay blend mode was a complete lifesaver because I'd be so careful trying to paint around things not to spill over but overlay blend mode massive change let me show you another way let's just revert this back to normal like so another way we could cut it out if that didn't work for you is using something called the blend if sliders and this is brilliant this is absolutely brilliant what I'll do first of all is I'm going to add a layer above let's just go layer new fill layer and solid color I'm only doing this so that can see I've cut it out alright and we'll choose a shooter sky kind of color something like that and click OK and I'm going to drag that underneath so here's what else we could do super fast to the right-hand side of the layers name just here if I double click it'll bring up the layer style dialog box we can also access it from the bottom of the layers panel now if you look in the middle of this here we've got the blend if sliders nice make this a little bit bigger over here to push it there we've got gray red green and blue now the sky is predominantly blue right so let's choose blue and I can now take this one slide over the top here this layer the Far right-hand corner is saying that this is blue if I drag it over to the left hand side you'll see it gets darker so that would kind of hide the blue so let's have a look what it does I'll take that marker and I'll drag it thank you see that it actually gets rid of it like so so now we can see that layer beneath if i zoom in it's not that nice around the edges just there it's a little bit crispy which we don't like so what I can do now is hold down the Alt key or the option key depending if you're on Mac or Windows and we can split this slider just here to feather it off just a touch just to soften it down just a little bit so that's looking all right just there and then we'll click ok let's just double click the hand so it kind of looks good but how good is it really because look at this if you look at the layers panel can you notice that the thing that's different between this one now it's the fact that we can still see the sky in that thumbnail so it's still there so how good is my cutout really let's have a look let's just say that I wanted to darken the tree down almost make it like a silhouette or I could go and get let's say a levels adjustment and I'm going to use this little icon at the bottom here that's called a clipping mask so that what I do now on this level only affects the layer directly below will click on that and then I'll darken the tree down like this but can you see now what's happening I am now starting to see that layer at the very beginning here the original sky so that layer masking isn't very good using the blend if so how can we fix it let's get rid of the actual levels adjustment there now this little trick here was a friend of mine called hey-zeus Ramirez he runs the Photoshop training Channel super super guy if you look at this layer if I convert this layer to a smart object watch what happens to the thumbnail so I'll go to this sir let's go up here go layer smart object convert to smart object look what happens the thumbnail can you see now we've got transparent pixels there so we can use the blend if to get rid of the color now I can check that layer mask because if I hold down my control key now and click on the thumbnail it loads it up as a selection like we would expect to see and if I add a layer mask to it we can see now we've got the cutout but how good is it hold down the option key or the Alt key click on the thumbnail not very good at all so how can we tidy it up we use the brush we'll use a black foreground color we'll use the overlay blend mode make the brush really big to save time and we'll just brush over it really quick make sure the trees nice and dense make sure the grounds nice and dense and go back so now we've got our cutout all right so that's just a couple of ways there that you could probably find that sometimes you have you know little problems you can't tidy and your layer masking up just doing those kind of things can maybe help you alright don't worry about taking it all in if you don't get it there's the video and the assets alright cool right let me show you one of the before we get into the hair all right let's have a look here so this one is a picture here again of my mate Dave just here it doesn't actually look like that I did change it so he looked like that but he wants it to be photographed like the chap ah I think his name is Karl on up photographed him in the studio I just open that picture here we're always so got fringing here this one here this is the original well I say the original he doesn't actually look like that anyway I've kind of manipulated it a little bit in Photoshop that's Dave so quite easy cut out contrast between Dave and the background is massive so should be easy to cut him out okay this is the kind of thing it gets shown in a tutorial how hard could this be well let's have a look I've done my quick selection around him and I've worked on the hair there's no I'm not going to show you that because that is easy right quick selection tool but here's a problem you might encounter let me just get the selection and we can see the marching ants going around Dave and I'll add a layer mask let's put a color beneath him to see how good it is and I'll put let's put black just there now can you see the problem that a really annoying fringe that you get when you're doing cutouts you can spend ages doing cutouts and then you get that and it's like and what I used to do when I had this I'd get a brush really small brush in black and I'd paint all the way around him let's try and get rid of it anybody else done that yeah that's horrible isn't it horrible but let's just show you a quicker way of doing it a really quick way of getting rid of that fringing now all you got to remember is the cutouts on the body is pretty good and I've worked on the hair we can see his hair it's assumed down a little bit his hair is fine cartoon carrots a hair that's absolutely fine so here's how we're going to get rid of the fringing on the body not on the hair on the body let's just zoom out a little bit like so all right now make none of this I'm gonna click on the layer mask you've got to be active on the layer mask when you're doing this all right so thinking back to the start when we did the teeth and we said to photoshop only think about this area here within this selection I'm now gonna get my lasso tool and I'm on the layer mask and I'm going to draw out a rough selection all around Dave except for the hair so Photoshop now is only concentrating on Dave not his hair all right now that I've done that and this is really important to do this next step I'm going to go to the filter menu and go to blur and then Gaussian blur and I'm only going to add in one pixel radius of blur that's all it needs to be and then I'll click OK now that might seem so insignificant but it makes a huge difference it's the small things in Photoshop and retouching that make the big difference right the next step we're going to get rid of the fringing around Dave if I hadn't done that blur when I get rid of that fringing the outline of Dave would be razor sharp it would be so obvious that it's a cutout I know it for cartoon but you get the idea that it is so obvious when I look at you folks in the audience you haven't got razor edges to you you kind of blend into the scene than you and that's what we want here that's why you do that 1 pixel radius of blur now keep the selection active this is the next step we're gonna do this now gets rid of it and I'm going to zoom in so an appropriate area will go to here all right so we've got it all the fringe in there now I'm going to get adjustment I'm going to go to image adjustments and levels now notice I didn't get an adjustment layer I'm getting a done adjustment that's working directly on that layer mask okay so now that we've got that here we've got our histogram if you like we've got the blacks the Grays the whites or the highlights and all I'm going to do now is get the blacks marker here and as I move this watch the halo so we click on it and I start to drag it over to the right a little bit more a little bit more and eventually gone I missed a bit on the original selection there but can you see the difference already so let's go back there's the fringe let's drag it over keep watching keep watching keep watching and eventually it goes like so so that's gone just there then we can click OK and we'll just do that and deselect it so what's actually happened there the layer mask contains black and it contains white the white areas we can see that's Dave the black areas we can't so when I get my levels adjustment and I get my blacks and I drag it across I'm making the layer mask have more black so what's happening is that black area around Dave is growing and as it grows it covers over his outline so it creeps over that fringe so you can no longer see it that's all that's happening so just using a slider we can get rid of it now you might say well there's other ways we can do that with one click in Photoshop and you're right there are but the problem with that is one click might be too much it might not be enough with this we can control it exactly how much we want and also I can control where I want it by using that selection so we can just use it nice and simple and job done easy that's useful stuff right that's kind of useful stuff cool all right so will you just get to the hair glynn let's just get to the hair all right so it's have some water are you with me so far cool alright so I'm gonna show you how to cut out this this hair if the backgrounds not that difficult but then after that I'm going to show you ways you can fake it if you get a busy background so let's just open this file up and we'll go to this one alright now total disclosure here this is a picture I took about eight years ago and I never did anything with it because I couldn't cut her out seriously I just could not cut her out I really struggled with the hair really badly my style of photography what I do now has change completely so I'm never going to do anything with it but it's just good to know that now my time eight years ago wasn't wasted because Here I am in LA using the picture for you so that's kind of useful alright so I am making use my time alright so my workflow and take from that what you will this is how I would approach this we've got two very distinct different areas to work on here I think we've got the hair and we've got the body now the body look at the contrast between the body and the background it's massive right easy Photoshop will have no problem with that whatsoever the hair different story there's lots of stuff going on there now what I found when I used to do it the old way I'd make a selection of it all and then try to sort out the hair but when I use things like refine edge or select and mask if I tried to make the hair better it would then affect the selection on the body so the two were competing against each other so now what I do is I make two selections because it saves me time and heartache alright so here's what I'm going to do and again this is my workflow but it might be useful so the first thing I don't going to do is this I'm going to get my quick selection tool let's just zoom out a little bit and I'm going to make a selection over the body so just drag it around the body like so and you can see Photoshop finds that really really easy no surprises there that should be easy and I'll bring it up to something like that so I don't want to get the hair at this stage let's have a look down here we can see there's a little bit in here I've missed so I need to get rid of it and what sometimes I would do is this I'd hold down my Alt key and I try to get in this small gaps and I try to get it to work and I'd spend ages trying to get the damn things at work but it was a nightmare I think what am i doing just why don't I just come out of that for a second and then use something basic which is really handy which is quick mask if i press Q on the keyboard I can see the selection I've made because it's covered in that red overlay and what I can do now if i zoom in oops let's just move that back five zoom into here and I get a brush in a normal blend mode what I can do rather than trying to struggle to get down that selection and get rid of that area I'll just come in and paint it away quickly change the opposite color and then paint it in like so much quicker than me trying to do that thing holding down the Alt key thinking come on you shouldn't be selecting this just doing that it's really simple really quick and easy all right okay so now that I've got that selection I will go to the Select menu and I'll choose save selection and I'll call this one body and then just click OK so that now is safe if I mess up later on it's not a problem all that work I've just done is there and it's safe as long as I save this file as a PSD a Photoshop file or a tiff file I've got that if I save as a JPEG it goes alright so first off our TIFF that we'll keep that there so let's just deselect I don't need that now there we go that's nice and safe and you can see it just here look body so now then let's do the hair alright let's just bring the flow up on there and I'm going to get my quick selection tool now with all the updates in Photoshop they would expect you I guess to use the latest stuff because that's what they've been working on so you might think now I'm gonna dive into select and mask and we'll start cutting the hair out I don't like to do that and I'll just show you why if I click on select and mask I'll choose the onion skin view which I quite like and I'm going to use my quick selection tool here as I drag around the hair can you see there's a bit of a lag it's quite slow I find that kind of very hard work and intensive on my computer so I don't tend to do that your choice if you want to but I don't what I'll tend to do is this I'll get my quick selection tool and I'll select the hair first of all here see how quick that is there I'll just find it better doing it that particular way for me now here's the trick when you make that selection of the hair you do not want to have any of the background showing through the hair so you can see over on here we can see the background between the hair can't we we do not want now so while I've got the quick selection tool I'm going to hold down the Alt key or option key depending on Mac or Windows and I'm just going to remove the selection where I can see their hair and the background I don't want that at all and I'll just take my time going around getting rid of any where I can see the background coming through the hair like this a little bit up top a little bit on this left-hand side as well let's just take that off and down here as well something like that and obviously we don't want to include this area here so I'll make my brush a little bit smaller and we'll just get rid of that in there and I'll just add that in just like that I can't use the actual quick mask there because this hair and stuff that's just too too detailed for me to use that all right now that I've got that in fact it's a little bit here let's just get rid of that okay now that I've done that now I go into selecting masks show of hands who used to use and loved refine edge that little doll wasn't that good I loved that who here wishes we still had it only between us who yeah I still wish we still had it because it was just quick and easy knit words I love it if you want it back you don't have to go on uninstall and get an older version all right here's a workaround just between us all right when you want to go to select and mask or you want refine edge rather go to the Select menu here select and mask if you hold down your Shift key then click on it refine edge yes so it's there all right but that's just between us all right don't tell him that you're using it so that's there if you prefer it I like that but obviously we're moving on now select and mask there's a lot of stuff in there it's just a bit more intensive on your computer all right so I will go now and use selecting masks and I'll show you how I now use it we've got the transparency I like to go to the onion skin here because there I can either go to a 100% where I can see nothing or I can bring it down a little bit so I can still see a little bit of my subject it's not quite so visible as the area I've already selected what I'll do now is I'll use the refine edge brush and when I find with this that works better some people will tell you make it nice and big and just go round I don't think that works quite as well I make it a little bit smaller and I actually go over the hair rather than just going like that good I think that causes a few issues so what I'll do is this refine edge and I'll just make it a little bit bigger using the left and right bracket key so that that's the left one makes smaller right what makes it bigger and I'll paint over the hair like this I try not to go over too much the hair I've already selected so you can see starting to pick it up like so and the great thing is you'll notice can you see already that it's not bringing in all that gray background which we emitted we said don't want that so now it's just looking for all the hairs that are in the background which is great all right so and we'll go for that there all right that's looking all right we can check how our layer mask is looking by increasing this transparency here that's not looking too bad but look at that horrible all they say that's horrible isn't it this is when you get frustrated and if they are coming bothered I can't get it to work but what have we covered already there's little things we've done already we can go to our black-and-white view here we can get a brush here in the Select and mask and I can actually brush in this area so let me just brush it I'm not using this the quick selection tool I'm just using the brush like so now the only danger with this and this is where I really would like you folks to go onto the Adobe website at some point and make a suggestion of what you'd like to see in Photoshop and that is that you would like to see the brush in select and mask have the overlay blend mode option because at the moment it's just a brush so if I paint up here it goes over that's not as good as using the overlay blend mode so make a suggestion imagine if we had a little tick box now that said overlay that'd be brilliant so maybe that could be something for the future but we'll take it to there something like that that's kind of okay and we'll go back to the onion skin view now we can then start to play around with some of these settings here smart radius and bring up the radius but you've got to be so careful now because if you bring that up too much you're gonna bring some of that background in again all the stuff you don't want so here's what we're going to do at the bottom we should have music shouldn't we just to annoy them right okay all right so at the bottom here it says output to I'm gonna choose layer mask that is your safety net you always use layer masks so go for layer mask and click ok so what can we do now to help this tidy it all up well I could come in and use that blend mode we'll change it from normal to overlay but I if I did this now I wouldn't paint at a hundred percent I would lower the flow down just a little bit so when I paint on the mask it's just gentle as opposed to just going for it alright so let's have a look here very gently just brushing it in bring that flow down just a touch let's just go back a little bit there so nice and gentle like so alright okay tell you what let's put a layer below this now we'll go layer new fill layer solid color just so we can see what we're doing and click that we'll put underneath and we'll choose this color and we'll drag it down make a nice darker one right let's go for something like that and click OK right now this is what I am guessing you've all had look at that horrible that looks terrible doesn't it and no matter how many times now you go back in to selected masks and you try to get it it's like why can't I do this you're not alone we all experienced this now we're gonna fake it alright this is when it's okay to fake it right they said there's a photographer who's here this week this week guy called Joel Grimes other than if you know job is a superb guy and he has a say as saying when he's doing his composites of Celle fake that's all he's doing he's selling the fake you know what you've done does your client does it matter they think it looks great doesn't matter does it have we've got every hair who cares it looks good alright don't get hung up about everything here's what we can do this a bit of a trick all right so now watch this let's just zoom out of touch we're all this horrible stuff here we need to pick up on I'm gonna add a new layer all right add a new layer now I'm then going to use a clipping mask so I hold down my Alt key or my option key depending on Mac or Windows and I put my cursor in between the top layer and the layer of my model and we can see now it changes that little icon when I click down look how that layer moves across that's telling you now you've got a what's called a clipping mask and I posed of you know this bear with me the clipping mask so now what's going to happen is this we're gonna try to fix that horrible hair and I'm going to put the fix on that layer above but I only want the fix to be visible on the hair don't I I don't want the fix and what I do to be all over the background as well so I need to restrict where the fix is going to go that's why I'm using a clipping mask anything now that I do on that top layer will only be visible on the bits you can see of the layer below and that's her with her hair right but the layer underneath is got a layer mask on it that's got a white bit on it the only bit you can see is her hair so anything I do on this layer above is only going to be visible on that alright you with me you get the video you get the assets cool right alright remember you would slow this down by about eight hundred percent if you're doing this so what could we do now let's just make that a bit bigger all right I'm gonna get believe it or not I'm gonna get my clone stamp tool bizarre clone stamp tool now you remember I said when you choose a tool in Photoshop at the top of the screen whenever you choose a tool you get unique options for that particular tool so here we've got the clone stamp tool we're going to change the blend mode to darken so the blend mode of the clone stamp tool goes to darken so what I'm going to do now and you'll follow me on this one I'm going to sample her hair with the clone stamp tool and I'm then going to apply that onto the bits that are looking horrible those bits that look horrible are lighter aren't they they're are they're really bright and light so I only want to darken those down so by me using the blend mode darken wherever I sample on her hair to use it's only going to darken the areas that are brighter than it all right so let's have a look how that works so we've got all this horrible stuff going around here but that's hair we want that I'm going to choose this area here for example to start off with hold down my Alt key or my option key just to sample some of that hair into Photoshop sprain if I let's just put yeah all right so now now that I've sampled it you can see it there I'm going to brush over that hair sample move around sample over there brush it in sample over there brush it in so I'm just making a load of different samples going around and cloning those samples onto those bits we can just about see all right so look at that again just slow this down when you're doing it will you make multiple selections or multiple samples rather with that clone stamp tool to try and make it look as good as you can like so that area here that bit of hair we could come in with a normal brush on the layer mask this have a look at that normal brush white brush normal blend mode let's just try and bring that down just a touch something like that all right so what have we done let's go to here we can lower the opacity of that if you wanted to but just that there it's helping us to pick up some of that hair all right again we are selling the fake do not expect Photoshop no matter how good it gets to pick up everything we're all going to experience challenges but we need to learn techniques that can help us to overcome those challenges right but this one here for me has been just a lifesaver when it comes to faking the look of selecting lots of hairs all right so does that make sense again you've got the video you got the assets but all we're doing is sampling the hair and darkening down all those horrible bits which refine edge yet can't kind of work for us all right so that's one little technique there now what else I'm not going to do we've got the hair looking kind of how I want it like so now then we need to finish off this selection or in fact I didn't go into there did I let's just click on the layer mask and we'll go back into select and mask and I'll just get my there and we'll just brush that in just to pick that up as a touch now it looks awful let's just go back it's just coming to here pick that up like so and we'll click okay bring that out and there we go all right so that's that just there now we made the selection of the body right we're on the layer mask let's now go to the Select menu load selection the one that we saved ages ago to keep it nice and simple by separating what we're doing the channel here the one we called body you'll find click on body and then okay and it loads it now as a selection for us to see the body we on the layer mask the white areas of what we can see so let's just fill that now edit fill and we'll choose white and click OK and then deselect so now we're getting our cut out we were able to work on the hair without affecting the body now what I did to cut all what I would have done eight years ago to finish this off would have been something like this I'd have got my marquee tool my regular my elliptical marquee tool another selection tool there dragged out an ellipse like this let's just move that across just a touch gone to a levels adjustment and I'd have brightened it up a little bit and then feathered that quite a bit like so and we can actually make that a little bit bigger as well let's go for there and bring that down as well something like that so that's the kind of thing I would have done with this in fact the color let's make the color better let's duplicate that color we used for the background and we'll put that at the top and change the blend mode to color and then lower it down a bit like so I just takes the edge off it just a touch that's what I would have done had I known how to do that eight years ago all right but that's a fix for the hair with me so far right now let me show you a real cheat all right now what's this this I learned from an artist a guy who are really would love you to check out because it's amazing how much's graphic designers ilist writers photographers we can learn from what I would call a traditional artist a guy called Aaron blaze he's a friend of mine he works at Disney for 21 years he's got a website called creature art teacher calm fabulous stuff now I've learned loads Maron because being an artist he understands how to composition light shadow but also hair and fur let me show you a couple of pictures he's done and we'll go to here and here so this one here he did this is a drawing is one of my cats okay at home love them to bits all right but look at the hair look at the fur how good is that it's almost kind of like you could touch it right this is that this is just drawing so you got that there we've also got this one here that he's doing so artists they could thank so much we can learn from people who are brilliant at doing this kind of stuff I want to show you a technique I've learnt from Aaron which again has saved me massive let's just close those down and I'll show you what would consider to be a hard cut out and we'll go for here we go alright so I used to do a series of pictures where I was going to zoos and wildlife parks and photographing animals cutting them out and then creating new scenes so it looked like I'd set them free I've never been to Africa I've never been on Safari this was my cheap way of doing it and it felt good all right example being this one just here just there that kind of thing I would do just to try and you know make myself feel good like I was helped in the world that kind of thing but cutting out somebody replied to me that email I sent out somebody sent an email saying could you show us how to do a cut out when it's really low contrast between the foreground that you want to cut out in the background or it's not very sharp how on earth can we do that this is a perfect example I've done the cut out already I'll show you there but look if we zoom in whoops not the best place but you get the idea so you can see how it's not particularly sharp it's not very high detail but I've done a cutout which is that one just there so not bad all right but let me show you a trick how you can do this really quickly all right let's just duplicate this we'll go to image and duplicate and then what we'll do is we'll get rid of that top bit and we'll get rid of this layer mask and I've already made a very quick selection nothing else just use the quick selection tool to go around the fawn the little baby deer when I did it initially went on to this other one so I used quick mask and painted it off that deer all right using the basic stuff so let me just load that one up all right and then we're going to use a layer mask to cut it out but when we zoom in look how bad it is that's not good at all right that just looks awful so then what I did originally was I went to select and mask and I thought I know how to sort this out let's just bring this up here oops let's just go to here I like get more refine edge brush and I brush over the top well that's okay but then when I come down here ah awful just looks absolutely awful so how can I fix that let's cancel that for a second alright this is what we're gonna do step one get a brush with a black foreground color and choose a brush that is round and completely hard so 0% hardness now for time just so yeah I went all the way around the deer when I did this for the final picture I'll show you what I did just on this one part on his backside or her backside just here alright with this black round hard brush all I'm gonna do is whoops let's take that to 100% is paint away the deer so we'll work on that bit there right which kind of weird thing to do first of all so now what am I going to do let's go and look at brushes these are your lifesaver when you're doing selections and cut out these are your lifesaver and in fact I would say in the commercial world these are probably used more than traditional selection and cut out tools brushes all right let's just show you what I mean by using a brush let's just create a new document just here now in your brushes if you've got the latest versions of Photoshop the brushes panel took up a new they kind of updated it so it's really kind of been revamped and kind of they reorganized how the brushes are you might find you can't find your old brushes so what I need you to do is go to your brushes and load in the legacy brushes they're the ones that used to be in Photoshop until I updated it not recently but the time before and in these legacy brushes you can see here says legacy brushes default brushes now there's two in particular here one one two and one three four let me click on one three four now when I first of all use that brush this is what it's going to give me that this was made by Burt Monroy and designed to look like grass all right but we can do stuff with that so let's just get rid of that let's go now to the brush settings this is this is where you can have fun if you've ever been scared of brushes before don't be just get in there and play you can't break it they're great fun at the bottom here we've got a preview of what that brush looks like it looks like grass well let's turn off all the settings so we're left with that so what does that look like at the moment it just looks like that so now let's go to shape dynamics size jitter it's at a hundred percent that basically means whenever I use the brush lift off press down lift off press down or a tablet and push harder it varies the size of the brush head but I want to make this look like fur on that baby deer so that needs to be quite proportionate because the same kind of size right so let's bring down the size jitter the angle jitter if I wanted to make dust and snow and all that I'd probably really crank that up but I don't want the angle to be too different here so I'm going to bring this way down like so then I'm gonna go back to the brush tip shape and look what happens in the preview here as I change the spacing now it's starting to look like fur a little bit and this is what it's giving me okay so what can I do with that now let's go back to the deer that I'm trying desperately to cut out originally I used a black brush to hide the deer now let's use a white brush to bring the deer back put in the shape of the brush so I change it to white bring the size down let's just zoom in a little bit whoops and I'll start painting back like this all right now the problem here is you could paint too high and you could start bringing in some of that background right so how can we stop that well we're using a layer mask if I click on the layer mask and get the properties we have the density slider this is like the onion skinning in selected masks if I bring that down I can start to see the outline of the deer so now I know where to brush and I'll come in like this now look what the problem now is all these little things we've got to think about my brush at the moment is only going there's the top and there's the bottom so no matter how I use that it's always going to be the top bit like this all right if I show you on the brush over here look if I use the brush on here if I go across but then I go down see how it's still the same direction how can I take it to the next level here we are again the next level well here's what I'm gonna do I go to my brush settings shape dynamics and here we've got angle jitter control go down to the bottom of the control menu and you've got direction if I click on that now watch it follows the direction of the brush really handy alright thank you very much thank you so now what I need to do is with the brush just start painting down so you can imagine now I'll to take my time slowing down at eight hundred percent just to get it right take my time so let's have a look at that there and we'll go to there something like that now let's bring back up that density on that layer mask because you can see over here it's gray which means it's kind of translucent we can see through it let's just bring up the density so there but can you see I have actually got a little bit of that great that green in there that's still showing through so how can I fix that remember the one with the hair with the cloning we're gonna do it slightly different I'm gonna add a layer mask sorry I'm gonna patent new labels add a new layer alright then I'm going to do that clipping mask thing clip down so that that layer oh whatever I do on here is only visible on the visible parts of the layer below it then I get a normal round brush let's just go and get a normal round brush and I'll make it a little bit softer like so and what I'm gonna do is change the blend mode of this layer here to color like so and then all I'm gonna do is come in hold down my Alt key when I'm using the brush if I hold down the Alt key can you see how you get the color sampler and when I click on that its samples that color is my foreground color here and I'll just quickly come in and paint it off those green areas like so so there we go so just using that layer there before after before after and we can do the cut out using after look at the layer mask that's all we've done we've brought the the deer has been revealed again in the shape of the brush how much of a time-saver is that and a heartache John I only wish about eight years ago I discovered it I did have four full head of hair but I can't now you know but the brushes I recommend you look at Aaron blazes website creature art teacher he makes brushes for Photoshop I don't get anything off the back of tell you this but I've got his brushes I brought them he sells packs of brushes $5 for 20 brushes there's so much in there loads of hair brushes not just stuff like that but stuff that looks like your hair and your hair he's got it all let me show you I'll just cry let's just cover this layer over here let's get the brush and I'll show just a couple of them I've got in here now here's some of them here so this brush here so we've got that that kind of hair alright we've got this kind of hair so in the brush settings as well you could get it to sample two colors within the hair you're trying to fill in and it will vary between that so it looks much more natural when you're painting it in I did a presentation in Netherlands they're very liberal minded in the Netherlands and I kind of showed them a technique I'll start about these brushes and when I showed them this brush they found it quite funny I have no idea why but they did all right let's just move on all right okay so that's that over here now we've got a few minutes left I want to show you one other little thing that Aaron showed me because this is all about using techniques not one technique but a collection of techniques out of our toolbox that we can put together to kind of get the result we want right so it's never there's never just one technique you're gonna use brilliance it works you might have to bring something else in like we're doing here but let me finish off with one technique I think we've got time to finish off on this didn't show this on Monday so this is a bonus for classes in one and a bonus all right let's have a look here so right close that one down and I'll open up this picture let's have a look here I've got a line that I was cutting out and not that one not that one lion smooch there we go cool thank you so lion smudge this might not a bit bigger okay so I actually not took this picture I've actually already I've removed the the kind of lock that the fencing from on top of the lion so I'm taking the picture I was like I was kind of like through the car window I put the window down I was taking the shot like this and I showed a tutorial how to get rid of the fencing and somebody said to me why didn't you just get out and take the picture hello it's a lion do you know him I guess something didn't giving it this behind me as I'm doing pictures no chance so I did my best to get rid of the fencing now I've done a cutout just here a quick selection tool I've even tried to use refine edge and select and mask let me just put a layer above so you can see what we've got is her layer new fill their solid color let's just choose a bluish kind of color for the sky something like that and let's just put that beneath but when i zoom in look look how bad that is horrible okay horrible so what can I do the in layer mask you'll notice that I've already saved is so this is already nice and safe it doesn't matter what I do now I've already got that there just in case I make a mistake but I will do though not with that brush definite not with that brush we'll use a normal round brush let's just get rid of this horrible stuff here let's just get rid of it alright now let's just show this really quick what I'm gonna do is this I'm going to on the layer mask I'm going to right click and here it says apply layer mask when I click on that it gives me one single layer no layer mask but you can see the result is the transparency around it right doesn't matter about the fun of done that it's not destructive because I've still got the original one nice and safe then what I'll do is I will create a copy of it alright so that's just there now what I'm going to do is smudging and this is what artists will do to create fur another way of creating fur but let me just show you an example of what I mean and how we can create that let's just create another new document and we're gonna get over here we've got this smudge tool so this is much pretty never you you might never use this before the no smudge tool is really really cool now what can it do let me just drag out a shape any old shape and we'll fill that in so what does the smudge tool do let's go to smudge so let's have a look the settings are quite high but this is what it's doing see that and you can control the strength you can do all sorts of stuff but it says that's potential there I think possible potential there but when you use the smudge tool you're going to use a brush so you need to make a brush that you can look like hair so I'll show you how to do that now alright let's just get rid of all that stuff in there oops and what you need to do is this get a round brush a hard-edged round brush and all the way to do on the document here is go one various size two three and maybe a smaller one there alright looks weird right that's your smudge tool then we're going to go to edit define brush preset and we'll call it smudge and click ok so that now you can see the preview of the brush just as I move it around just there that's all I need to do now for my smudge tool now let's go back to the lion and I'll do it on the one that's on the top here just to give you an idea of what we can do let's bring the size right down and there zoom into here let's say so this is something that you need to take your time doing need to practice but combining this with what we've done already you'll get some really cracking results what can I do here whoops not that we're doing that we want the smudge tool smudge tool we're using that brush let's go to the brush we've just made that one just there so the name of it will pop up in a second hopefully it's called smudge blasts all we've just made and now if I make it a tiny bit smaller that's going slow because I think this is all plugged into the HDMI and all that goes what's going on but can you see what I mean now about how we could do this kind of thing vary the size of it drag out some of the hair push it around and whatever just play around like this now I wouldn't do that on the layer above but I have here because once I've done all I will do is in drag it below and you can start to blend it in see what I mean it's just another little thing I've got a video of that on my youtube channel so don't worry about it I'll send you the link to it but it was something extra alright I think you could almost say this rehearse we've got 30 seconds to go how cool is that so before we finish you have got your know hey it is right so your surveys please be kind alright we've added with a bonus here for custom one and a bonus with this smudge if you could get those tornad really pre che ticks I love LA it's great if I'd like to come back but hey you never know but it's your conference you decide don't forget your URL get your assets if you want to be part of my email group my community they not be brilliant if you don't download them unsubscribe I'm really I'm not bothered about that but I'll be sending out you'll get the Adobe website with this on and I'll send you some small extra videos like this smudge and all that kind of stuff and the other thing is that that was launched my new book was launched here at Macs we're nearly finished now Amish so it's probably too late to tell you but it's in the pavilion if they've still got it there but from me thank you very much for coming along and enjoy the rest of Mac's [Applause]