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Bonus: Rothko and Workspace

Lesson 115 from: Adobe Photoshop CC Bootcamp

Blake Rudis

Bonus: Rothko and Workspace

Lesson 115 from: Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

115. Bonus: Rothko and Workspace

Lessons

Class Trailer
1

Bootcamp Introduction

16:22
2

The Bridge Interface

13:33
3

Setting up Bridge

06:55
4

Overview of Bridge

11:29
5

Practical Application of Bridge

27:56
6

Introduction to Raw Editing

11:00
7

Setting up ACR Preferences & Interface

07:39
8

Global Tools Part 1

16:44
9

Global Tools Part 2

20:01
10

Local Tools

22:56
11

Introduction to the Photoshop Interface

07:13
12

Toolbars, Menus and Windows

25:07
13

Setup and Interface

11:48
14

Adobe Libraries

05:57
15

Saving Files

07:39
16

Introduction to Cropping

12:10
17

Cropping for Composition in ACR

04:44
18

Cropping for Composition in Photoshop

12:40
19

Cropping for the Subject in Post

03:25
20

Cropping for Print

07:34
21

Perspective Cropping in Photoshop

07:11
22

Introduction to Layers

08:42
23

Vector & Raster Layers Basics

05:05
24

Adjustment Layers in Photoshop

27:35
25

Organizing and Managing Layers

15:35
26

Introduction to Layer Tools and Blend Modes

21:34
27

Screen and Multiply and Overlay

09:15
28

Soft Light Blend Mode

07:34
29

Color and Luminosity Blend Modes

12:47
30

Color Burn and Color Dodge Blend Modes

07:43
31

Introduction to Layer Styles

11:43
32

Practical Application: Layer Tools

13:06
33

Introduction to Masks and Brushes

04:43
34

Brush Basics

09:22
35

Custom Brushes

04:01
36

Brush Mask: Vignettes

06:58
37

Brush Mask: Curves Dodge & Burn

06:53
38

Brush Mask: Hue & Saturation

07:52
39

Mask Groups

05:52
40

Clipping Masks

04:11
41

Masking in Adobe Camera Raw

07:06
42

Practical Applications: Masks

14:03
43

Introduction to Selections

05:42
44

Basic Selection Tools

17:41
45

The Pen Tool

11:56
46

Masks from Selections

04:22
47

Selecting Subjects and Masking

07:11
48

Color Range Mask

17:35
49

Luminosity Masks Basics

12:00
50

Introduction to Cleanup Tools

07:02
51

Adobe Camera Raw

10:16
52

Healing and Spot Healing Brush

14:56
53

The Clone Stamp Tool

10:20
54

The Patch Tool

06:38
55

Content Aware Move Tool

04:56
56

Content Aware Fill

06:46
57

Custom Cleanup Selections

15:42
58

Introduction to Shapes and Text

13:46
59

Text Basics

15:57
60

Shape Basics

07:00
61

Adding Text to Pictures

09:46
62

Custom Water Marks

14:05
63

Introduction to Smart Objects

04:37
64

Smart Object Basics

09:13
65

Smart Objects and Filters

09:05
66

Smart Objects and Image Transformation

10:57
67

Smart Objects and Album Layouts

11:40
68

Smart Objects and Composites

10:47
69

Introduction to Image Transforming

04:34
70

ACR and Lens Correction

09:45
71

Photoshop and Lens Correction

14:26
72

The Warp Tool

11:16
73

Perspective Transformations

20:33
74

Introduction to Actions in Photoshop

09:27
75

Introduction to the Actions Panel Interface

05:06
76

Making Your First Action

03:49
77

Modifying Actions After You Record Them

11:38
78

Adding Stops to Actions

04:01
79

Conditional Actions

07:36
80

Actions that Communicate

25:26
81

Introduction to Filters

04:38
82

ACR as a Filter

09:20
83

Helpful Artistic Filters

17:08
84

Helpful Practical Filters

07:08
85

Sharpening with Filters

07:32
86

Rendering Trees

08:20
87

The Oil Paint and Add Noise Filters

15:08
88

Introduction to Editing Video

06:20
89

Timeline for Video

08:15
90

Cropping Video

03:34
91

Adjustment Layers and Video

05:25
92

Building Lookup Tables

07:00
93

Layers, Masking Video & Working with Type

15:11
94

ACR to Edit Video

06:10
95

Animated Gifs

11:39
96

Introduction to Creative Effects

06:08
97

Black, White, and Monochrome

18:05
98

Matte and Cinematic Effects

08:23
99

Gradient Maps and Solid Color Grades

12:20
100

Gradients

04:21
101

Glow and Haze

10:23
102

Introduction to Natural Retouching

05:33
103

Brightening Teeth

10:25
104

Clean Up with the Clone Stamp Tool

08:07
105

Cleaning and Brightening Eyes

16:58
106

Advanced Clean Up Techniques

24:47
107

Introduction to Portrait Workflow & Bridge Organization

14:47
108

ACR for Portraits Pre-Edits

21:27
109

Portrait Workflow Techniques

18:46
110

Introduction to Landscape Workflow & Bridge Organization

12:17
111

Landscape Workflow Techniques

37:36
112

Introduction to Compositing & Bridge

06:59
113

Composite Workflow Techniques

34:01
114

Landscape Composite Projects

24:14
115

Bonus: Rothko and Workspace

05:15
116

Bonus: Adding Textures to Photos

07:05
117

Bonus: The Mask (Extras)

05:18
118

Bonus: The Color Range Mask in ACR

04:54

Lesson Info

Bonus: Rothko and Workspace

I got a couple extra tidbits here that either you could probably consider bonus content or maybe, I don't know, maybe I wanted to put it in there and I just glanced over it 'cause we had a hundred lessons to go over and it just slipped my mind. (laughs) Either way you look at it, this bonus content is gonna be some tips and tricks that we kinda just missed along the way that I think are really important, that I don't want to leave you with without getting these things and understanding these things. So let's just go ahead and get started. We're gonna jump into Photoshop, and I'm gonna first set this up with talking about the interface of Photoshop. So, let's go all the way back to Lesson Number Three, where we talked about setting up our interface. Photoshop has three, four, four different interfaces that you can choose from as your background or your backdrop to Photoshop. You have white, you have like a medium white between medium gray, a darker medium gray, and then a dark backgroun...

d. Now, what I wanna point out about that is, if you go up to Edit and you go up to Preferences or, what was that keyboard shortcut, Control K, you're gonna see under Interface, here's where you can select what color you want as your background. Now I'm gonna just trip you up a little bit here with some color theory, okay? So what I've done is I've taken all of the different interfaces that you can have for Photoshop and I've done some color theory kind of studies on this. If you wanna look into a painter that does this kind of stuff, his name is Mark Rothko. He's a color field painter more in the modern era of painting, and what Mark Rothko would do is he would takes these giant swatches of color and put them on, put smaller swatches of color on these giant swatches of color, and we're talking like a canvas that might be 15 feet by 30 feet tall, huge canvases. It would just be one color on another color, and you're sitting there thinking to yourself, like, "This is ridiculous, this is really what we call "modern-day painting?" it's not until you experience it, until you see it, that you can actually appreciate what he was going for there, just looking at it on the computer really doesn't help. But all what the color field painters do is they look at how colors interact with other colors. The thing about this is if we look at these two different colors here, this color fill layer that we have on the top of this, and you can play around with this, 'cause I'll leave this as a .PSD document, just like this, so you can experiment with it. This color fill layer right here is the exact same color. It's not changing, you can see that it's a color fill with the masks. If we were to put this into full screen mode and allow you to see this, look at what's happening with this blue color when it's set to gray and look at what happens when it's set to this darker gray. Here it appears more bright, more vibrant, more intense. Here it appears more dull and actually closer to that gray background. Then if we go and do the lightest and darkest interfaces, look at the extreme difference that we have here. Here this gray-blue swatch almost appears like a white color because it's on this black, whereas this grayish-blue swatch appears much darker. It's a big difference that's happening between this color and this color. Now how does this, where am I going with this is what you might be asking, Blake, right? Well, the whole point of this is that the colors that are surrounding your image or the interface that's surrounding your image will have an effect on what you do with your photographs as you edit them, because you have to think about how our eyes get adjusted to things and what we average as we're looking at that. Our eyes are gonna be calculating the darkness of the interface and the image that we're working on. So, play around with this. Double-click on this color a little bit here, change this color to something like an intense blue and see what happens with that intense blue. With that intense blue, on this lightest and darkest Photoshop interface, when it's on white, it almost doesn't appear quite as intense, does it? It looks like it's kinda just fading into that lighter gray background, but here it looks like a really deep, really intense color that's coming through. So now if you can imagine an entire photograph that you're working on now, very colorful photograph that you're working on now, and you're working on that on a light background, it's not gonna be quite as colorful as you would imagine. Looking at it on a darker background, it's gonna appear a lot more colorful, so you will make different decisions with your images based on the interface that you work with. With that being said, which interface is the best? I don't know if there's necessarily a best interface to work with, it's just the interface that works for you. You can see that throughout this entire course I've been using the, not the darkest gray, but the lighter gray and this, all of this stuff is color theory related, so play with this color swatch, change the color on here to see what happens when you use different colors, different variations of colors, look at that right there, that's an interesting one. On the darkest one it almost appears white. Over there it appears almost like a light magenta. Color theory is really important stuff, it's really powerful stuff, it said this is how colors interact. This is a color field-type of assessment of what happens with the interface background that you choose and the colors that you're gonna use on your image.

Class Materials

Bonus Materials with Purchase

Photoshop Bootcamp Plug-In
Textures
Clouds
Painted Backgrounds
1 – Intro to Photoshop Bootcamp
6 – Intro to Raw Editing.zip
11 – Interface and Setup
16 – Intro to Cropping and Composition.zip
22 – Intro to Layers.zip
26 – Intro to Layer Tools.zip
43 – Intro to Selections.zip
50 – Intro to Cleanup Tools.zip
58 – Intro to Shapes and Text.zip
63 – Intro to Smart Objects.zip
69 – Intro to Image Transforming.zip
74 – Intro to Actions.zip
81 – Filters.zip
88 – Intro to Editing Video.zip
96 – Custom Effects.zip
102 – Natural Retouching.zip
107 – Intro to Portrait Workflow.pdf
110 – Intro to Landscape Workflow.zip
112 – Intro to Compositing.zip
115 – Rothko and Interfaces (Bonus Video).zip
33 – Intro to Masks and Brushes.zip
106 - Frequency Separation.zip

Ratings and Reviews

Robert Andrews
 

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Student Work

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