Photoshop CS5 One-on-One: Advanced

Combining layer effects and type


Photoshop CS5 One-on-One: Advanced

with Deke McClelland

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Video: Combining layer effects and type

I've saved my progress as Figure 365 in Red.psd, and in this exercise we're going to take these large red numbers, and we're going to style them using a series of layer effects that I've created for you in advance. Now, we'll look at layer effects in detail in a future chapter, but for now, I'll give you a sense of how they work, and they are uniquely suited to Photoshop. You'll find layer effects such as Drop Shadows and so forth inside the other Creative Suite applications, but none of them hold a candle to the vast array of options that are provided to you inside of Photoshop.
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  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time

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Watch the Online Video Course Photoshop CS5 One-on-One: Advanced
26h 24m Intermediate Aug 13, 2010 Updated Aug 31, 2010

Viewers: in countries Watching now:

Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Combining layer effects and type

I've saved my progress as Figure 365 in Red.psd, and in this exercise we're going to take these large red numbers, and we're going to style them using a series of layer effects that I've created for you in advance. Now, we'll look at layer effects in detail in a future chapter, but for now, I'll give you a sense of how they work, and they are uniquely suited to Photoshop. You'll find layer effects such as Drop Shadows and so forth inside the other Creative Suite applications, but none of them hold a candle to the vast array of options that are provided to you inside of Photoshop.

Now, you may recall ultimately we want 365 to look like this; this is the final Pout magazine.psd file. We've got shadows and highlights and rounded contours associated with these letters, we've got outlines, we've got these kind of patterns running through the letters; all of that stuff is thanks to layer effects. All right, so I'll switch back to the image in progress, and I'll press Ctrl+Semicolon, Command+Semicolon on the Mac to go ahead and hide those guides, and I'm going to scroll down my Layers panel. And notice down a few layers here from 365 we have this layer called info, and that is the layer that contains my layer effects ready and waiting for you.

But before I spring them on you, I'm going to go ahead and change the stacking order of 365. It shouldn't be on top of Fashion Formulas. It should be right behind it. So, I'm going to go ahead and grab 365 and drag it two items down the list behind Fashion Formulas and Mix and Match Colors, and technically it doesn't have to be that far back. It just has to be behind this layer right there. However, it might as well take it to and back of both those layers and closer to this info layer right there. Now I'm going to turn on info, and what we're seeing right there is a shape layer inside of Photoshop.

This is our first glimpse of shape layers incidentally, or I'm going to go ahead and zoom in a little here until we can see this i at 100%. If you see a gray outline, like so, right here inside of the Image window, then that represents the vector-based outline that was used to trace the body of the i and the dot as well. So this is not a piece of editable text, as much as it might look like one. It's actually a shape that's been drawn by hand. Now I didn't draw it, but I will show you how to create such a layer in the next exercise.

For now, I just want you to go to this layer which contains two items here in the Layers panel; we've got this red thumbnail, this little color swatch here, which indicates that this is a solid color layer. We'll see what that means shortly, and then we also have this gray thumbnail, which indicates a vector mask. So, you have two kinds of masks so you can assign to a layer inside Photoshop, a pixel-based layer mask, which is what we've been seeing so far, and a vector mask, which represents a shape outline. To hide the vector mask so we're not seeing these gray outlines here, which are nonprinting outlines, they're just like the guides we saw a moment ago.

To hide them, you just click on this thumbnail, and the heavy border goes away and so do those gray outlines. We can see that some layer effects have been assigned to this layer by virtue of this fx icon to the right of the layer name, and if you want to see what layer effects have been assigned then you click the down-pointing arrowhead, and that reveals a fairly long list of layer effects. What I'd like you to do is go ahead and from the eyeball in front of Bevel and Emboss, drag down, like so, in order to turn off everything but the Drop Shadow and the effects at large.

If you turn off that eyeball associated with Effects, then you turn off all of the effects. Otherwise you can turn off individual effects by clicking or dragging over their eyeballs as we just did. So, now you can see what we've got is red i - that's all it is - with a Drop Shadow assigned to it, which is one of the most basic layer effects you can apply. I'm now going to drag this fx onto 365. So you can either drag the word Effects over onto 365 or drag the fx icon onto 365.

Here in a PC, if I drag fx, I get a little preview of the fx. On the Mac you don't see that, but here on the PC you do, and then you can drop those fx in the place, like so. I don't want to do that because I just moved the layer fx. So I'll press Ctrl+Z, Command+Z on the Mac. If you want to duplicate the layer fx then press the Alt key or the Option key on the Mac and either drag Effects or the fx icon, and I'll go ahead and Alt+Drag or Option+Drag the fx icon. You can see that I have a Double Arrow Cursor, which shows me that I'm cloning these effects, and that duplicates the effects, keeps them on the info layer right there.

I'll go ahead and collapse that layer so it's taking up less room onscreen, and I'll turn it off. All right, let's go ahead and scroll our way up to 365. It fits in the window here just barely at the 100% view size. I might scoot the panel over just a little bit, so we have a little more room to work. All right, let's see one other effects are available to us here, and I'm just going to run through the list. We're not going to inspect them in detail. If you want to inspect them on your own, you can by double-clicking on any one of these items. So, if you want to see the composition of this Drop Shadow, for example, you can double-click on Drop Shadow.

That's going to bring out the big layer Style dialog box set to Drop Shadow, so Drop Shadow will be selected on the left-hand list, and we can see that the Blend mode is set to Multiply, which is the standard shadow mode by the way and ensures that the shadows darken everything behind them. But the color is not black. Notice that I'm not working with an absolute black color because that tends to make for fairly muddy shadows; instead, I'm using a color drawn from the composition itself which is something of a very deep brown.

There's your Opacity value, there is the direction of the shadow, etcetera. Again, we'll examine those options in detail when we take a look at layer effects in a future chapter. I'm going to cancel out for now. Every one of these layer effects here is available as a separate panel of options inside of that layer Style dialog box just so as you know. All right, so I'm going to turn on Bevel and Emboss, and that creates these Highlight and Shadow effects right there which are fairly intriguing by the way, and create a sense of volume where these letters are concerned.

And in this case I am going to examine the settings just for a moment. I want you to see if I double-click on Bevel and Emboss, this is the most extensive list of options available inside of this dialog box, and we even have two additional panels that we'll dig into later, but for right now, I want you to see what a big difference the Gloss Contour makes. So, in addition to specifying an Inner Bevel, just meaning that the highlights and shadows fall inside the letters, and we're keeping things smooth, and this is our Depth value, and you can actually preview different Depth settings just by dragging this slider triangle around.

Anyway I had it set to 100, and you can adjust the Size, blah, blah, blah, all the way down here to Gloss Contour, notice by default, the Contour is set to Linear, and when you have a Linear Contour, you have a fairly typical Bevel and Emboss, you've got a light edge, you've got a dark edge; end of story. However, you have all these other Contours that you can work with and in my case I've selected Ring, which ends up creating a more interesting reflection pattern, and you can increase the Opacity of that Highlight right there to make it brighter if you want to, you could make the Shadow darker by increasing its Opacity as well.

I don't want to. I'm going to cancel out of here. I'm very happy with what I came up with there. Now, I felt like I wanted to re-invoke the colors at this point, plus I wanted to add a little bit of color variation so that the letters aren't completely flat, and you can per se fill letters with a gradient inside of Photoshop, not straight out. You've just got that solid color like we were seeing earlier when we changed the color up there in the options bar. So, if you want to assign a gradient, one workaround is to add a Gradient Overlay effect as I did here, and notice that the effect of the gradient is compounding the Inner Bevel that I assigned using the Bevel and Emboss effect.

I then decided to add a Stroke. I'll go ahead and select this last item next, and that creates this dark stroke around the letters just to set them off from their background a little bit, and then finally, I went ahead and created this Pattern Overlay. And Photoshop ships with a bunch of different patterns. I'll go ahead and double-click on this Pattern Overlay item, and we can see that I've assigned a pattern that's known as Zebra, and by default it would appear in the Normal Blend mode like this.

That is to say we have the gradient, which is appearing on top of the pattern, but otherwise we're covering up the colors underneath. If I want to get a better mix then I switch to that first and foremost of the contrast modes Overlay, in order to get this effect here. Possibly even more important though are the fact that I went ahead and scaled the pattern. So by default, it appears pretty small. This is the 100% size for this pattern. Not nearly big enough for purposes of this composition, so I increase the Scale to 400% and here is the thing you really need to bear in mind, when you're choosing patterns, a bunch of patterns ship along with Photoshop, and you can define your own incidentally using the Define Pattern command under the Edit menu.

But to get to that long list of patterns that ships with Photoshop, many of which are quite good, you click this down-pointing arrowhead and you look in dismay at the fact that there are only two default patterns inside the entire program. This peculiarity started up a couple of versions ago. I've no idea why they call their list down to these two. So what you do is this: you click this right-pointing arrowhead. You choose some other group of patterns here, and I believe I might have just chosen patterns, and then you're asked whether you want to append them to your current meager list of Patterns.

No, why would I bother, or just click OK in order to load up those patterns, get rid of those two for now. And you're still going to have Tie Dye actually, what am I talking about getting rid of anything, we still have Tie Dye, and we still have Bubbles, but we also have Zebra right there that you can choose along with a bunch of others, and there is all kinds of things available to you here, Artistic Surfaces and Textures and Rock Patterns, check them out. Anyway, I'm going to escape out of this guy because we haven't really done anything of merit.

We've just been turning on a bunch of styles, but I want you to get a sense of just how useful layer styles are when combined with live editable text inside of Photoshop. It's another army of formatting attributes that you just don't have inside of other programs. In the next exercise, I was telling you we've got a custom shape here. That's where I got the layer effects in the first place. I'm going to show you how to create your own custom shapes, stay tuned.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

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Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

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Exercise files video

How to use exercise files.

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Exercise files

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