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Correcting spacing problems

From: Photoshop CS5 One-on-One: Advanced

Video: Correcting spacing problems

I've saved my progress as The integrated logo.psd, and in the next exercise I'm going to show you how to create a little burst coming off of this woman's necklace, and let me show you what that looks like. If we switch to Pout magazine.psd, you can see this tiny little burst right here, and that's a really great Shape tool trick that I want to share with you. But first I want to show you when I was switching back and forth between these two documents bearing in mind that Pout magazine.psd is the version of the cover that I created before I began recording this chapter.

Correcting spacing problems

I've saved my progress as The integrated logo.psd, and in the next exercise I'm going to show you how to create a little burst coming off of this woman's necklace, and let me show you what that looks like. If we switch to Pout magazine.psd, you can see this tiny little burst right here, and that's a really great Shape tool trick that I want to share with you. But first I want to show you when I was switching back and forth between these two documents bearing in mind that Pout magazine.psd is the version of the cover that I created before I began recording this chapter.

I noticed that there were a few changes, and so you'll see a few shifts when I change back to The integrated logo.psd for one thing, the top of my image is more extended inside the progress file, and that's because I exaggerated that stretch a little bit just for demonstrational purposes. That doesn't bother me at all. Also, if I switch to the other document, you'll see that that swash underscore changes a little bit. Well, that's bound to happen, because that was a hand draw. But what's bothering me more is the teaser text, Make Him Love You and New Miracle Diet! is spaced more generously inside of my progress file than it is inside of the final cover, and that's something I'd like to change because I like the tighter spacing better, and also in switching out the Kerning, which is what we're about to do here, I end up revealing something of a flaw, something goes wrong as you'll see, and I want to show you how to accommodate such problems.

So, let's go ahead and switch back to The integrated logo.psd, and I want to select the layers inside this teasers group. However, just clicking on the group is not enough because if I now bring up let's say the Character panel and I try to change the Kerning value, right now it's telling me that it's Optical, which is actually not true. Optical has nothing to do with this group here. Optical is now my default setting. So changing it to some other setting is not going to have any effect on the layers inside the group. What I need to do instead is go ahead and twirl the group open and then select the actual text layer.

So I'll click on one, and I'll Shift+Click on the other, and that ends up selecting that entire range of text layers inside the teaser's group, including the one that's currently turned off, and that doesn't matter. Now, I can change the Kerning setting, and I'll actually modify the kerning of my text here inside of the Image window. Now, I want to be able to see what I'm doing, currently I'm covering up this text on the right-hand side. So, I'll go ahead and scroll over a little bit so that we can see New Miracle Diet!, and notice I want you to keep your eye on this text because the text over here on the left-hand side of the screen is going to shift for the worse in just a moment.

So, watch the text that's going to shift for the better. I'll go ahead and change this setting from Metrics to Optical, and before I do, I have to relate something here. In my conversations with the typeface engineers, the guys who are in-charge of creating the huge library of Adobe fonts, these guys are very, very proud of the fact that they spent so much time on their kerning metrics among other things, but there's a lot of care and attention that goes into the design of these fonts. So these guys resent that there is this Optical setting right here because after all you're taking the Metrics, these kerning pair Metrics that have been designed by real human beings on a character by character basis.

They've spent all kinds of time on this process, and you're replacing it with Optical, which is basically robot kerning. You're just putting Adobe in charge of the entire process. So their take on it is Optical is for non-Adobe fonts. It's for those guys who aren't spending nearly as much time and attention on their fonts as the Adobe team is, so use Optical for non-Adobe fonts if you need it, and then use Metrics for the Adobe fonts, but here is the reason I bring this up, when I choose Optical, I think the spacing gets better. So watch New Miracle Diet! and Learn to Eat Without Swallowing, notice how it changes for the better, in my opinion, that text gets tighter.

It looks great for display purposes because it's nice and big. Anyway, totally up to you of course how you decide to approach it, but I just wanted you to see that Optical can make a positive difference for Adobe fonts as well. Anyway, I'm going to go ahead and close that panel because you can see we've got problems over here on the left side of the image. I'm going to go ahead and zoom in. What happened? I'll go ahead and press Ctrl+Z or Command+Z on the Mac so we can see how things look before. We took Make, which was aligned with New over here on the right side of the magazine cover, and just to confirm that's true, I'm going to press Ctrl+R or Command+R on the Mac to bring in my rulers, and then I'm going to press Ctrl+; or Command+; on the Mac, in order to bring up my guidelines, and I can see that I've got a guide right here at the top of Make and at the top of New as well, but, just for the sake of demonstration here I'm going to bring another guideline in that's aligned to the baseline of New and Make.

So you can see that Make and New are definitely aligned with each other, which is important to me. That's why I want it to work. So I'll press Ctrl+R, Command+R in the Mac to get rid of those rulers again. Now, I'm going to have to reapply that Optical kerning option, so I'm going to bring up my Character panel again. I still have my text layers selected, and I'll change the Kerning value from Metrics to Optical, and notice Make jumps up like crazy, Him is now aligned to New, but that's not what I want. So what in the world's going on? Well, let's go ahead and select just the top layer here, Make Him Love You In Less than 5 Minutes, and you can see now that custom path container, and basically what happened is Make got tight enough to fit in this little top crevice up there.

So we need to get rid of that top crevice somehow, and the easiest way to do it is to grab the white arrow tools. So, switch from the Black Arrow tool AKA Path Selection tool, switch down here to the White Arrow tool which is the Direct Selection tool and the difference between these guys is the Black Arrow tool allows you to select entire path outlines at a time and the White Arrow tool allows you to select individual anchor points and control handles and so on, and that's what we want. So, I'm going to switch to the White Arrow tool. Click right there on that anchor point, and that doesn't quite select it, notice that.

So you have to click again and an anchor point is selected when it's filled like that, it's deselected when it's hollow. Then I want you to drop down to this anchor point and Shift+Click on it, so that we're selecting both the top anchor point, the top-left anchor point and the bottom-left anchor point, and now press Shift+Right Arrow just to move that in, and you can move it in farther if you want to. I can press Shift+Right Arrow three times in a row, which is what I ended up doing, and notice that goes ahead and forces Make down on to the next line, so it is now aligned to New, and you can see that that guideline is tracing just above the very base of the letters on both sides. So that's good.

The other thing is it shouldn't be In Less than 5 Minutes; it should be In Less than 5 Minutes. So let's go ahead and change that. I'm going to drop 5 down to the next line. Now, in another program, you would get rid of the space, just like I did, and then you would enter a Line Return, because you wouldn't want to enter a full Paragraph Return here, because it's all part of the same paragraph after all. You would just want to enter a Line Break and you create a Line Break typically by pressing Shift+Enter here on the PC or Shift+Return on the Mac, and it appears to work, but I have to tell you all Photoshop is done has thrown a standard Paragraph Return.

It's not Line Break savvy, and notice if I quadruple-click in this line right there, one, two, three, four. That's a paragraph. So, that's just something to bear in mind as you might as well just enter a return character if you want to break a couple of lines. All right, well that's it. I have now fixed my text issues, I'm going to go ahead and twirl-close my teasers group, and I'm going to press Ctrl+Semicolon or Command+Semicolon on the Mac in order to get rid of those guides. In the next exercise now, I'll switch back to Pout magazine.psd. I'm going to show you how to create this burst that's coming off of the necklace using, once again, a combination of two shape layers.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32848 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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
      34s
    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
      55s

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