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Editing puppet-warped text

From: Photoshop CS5 One-on-One: Advanced

Video: Editing puppet-warped text

I've saved my progress as Warped letters.psd, found inside the 23_distort folder. Now, you may recall a couple exercises back, I took this live text layer, I placed it inside of a Smart Object, and that allowed me to assign Puppet Warp as a nondestructive editable modification. So, I can come back and make changes all I want. However, that doesn't mean that I'm going to be able to edit my text, and have any success with it. There are pros and cons associated with that, by the way. I'll show you how terribly wrong things can go, and then I'll show you how to exploit that in just a moment.

Editing puppet-warped text

I've saved my progress as Warped letters.psd, found inside the 23_distort folder. Now, you may recall a couple exercises back, I took this live text layer, I placed it inside of a Smart Object, and that allowed me to assign Puppet Warp as a nondestructive editable modification. So, I can come back and make changes all I want. However, that doesn't mean that I'm going to be able to edit my text, and have any success with it. There are pros and cons associated with that, by the way. I'll show you how terribly wrong things can go, and then I'll show you how to exploit that in just a moment.

So, let's start things off. If you're working along with me, go to that Jump, Puppet layer, and I want you to double-click on the Smart Object thumbnail. You'll get this warning that's telling you how to work with Smart Objects. Don't worry about that for now. Just go ahead and click OK in order to open your editable type. We'll see, by the way, what that alert message means in detail when we discuss Smart Objects in the Mastery portion of this series. But for now, I'm going to go ahead and switch to my Type tool by pressing the T key. I'm going to change the word Jump to Leap, let's say. That's it.

Then I'll press the Enter key on the keypad or what have you in order to accept my modifications. I'll close this image file. So, I just click in the Close box. Photoshop will ask me, hey, do you want to save your changes? Yes, I do. Now, I'm not saving to disk. I'm saving back into the Warped letters.psd composition. So, go ahead and click Yes here on the PC. It'd be the Save button on the Mac. It really ought to be called update, because that's what you're doing. In any case, you are going to go ahead and update your text. And look just how tragically wrong things have gone. Why is that? Well, let's switch to a different tool here.

I'll switch to the Rectangular Marquee tool. So, I'm switching away from the Type tool. Then I'll go ahead and double-click on Puppet Warp underneath the Jump, Puppet layer. That takes me back into the Puppet Warp mode, and I'm going to go ahead and zoom in a click here. So I can see what I'm doing. Now, press Ctrl+H or Cmd+H on the Mac in order to show the mesh. Notice even though the word now says Leap, the mesh still says Jump. There's nothing you can do about that. Once you've assigned Puppet Warp, the mesh is memorized, and you can modify the mesh using pins.

However, the mesh shape is set. Even if you go ahead and get rid of all the pins, for a specific layer like if I get rid of all the pins associate with M, the M will remain. I'll see the original M shape instead of the warped version of it. So, you'd actually have to throw away this Puppet Warp effect and start over, if you're going to make big edits to your text. That said, you might have some luck with some small edits. For example, let's go ahead and escape out here. I'll press Ctrl+Alt+Z or Cmd+Option +Z on the Mac in order to restore the original version of my text.

So it says Jump, Puppet in other words. Now, let's go ahead and double-click on the Smart Object thumbnail once again, see the warning, click OK. By the way, that warning has nothing to do with Puppet Warp. I'm going to take this text right here. I'll bring up my Character panel which I can get to by clicking on this A icon in this column of panel icons. If you're not seeing such an icon, then you can go to the Window menu and choose the Character command. In any case, I'm going to change this value right there, the tracking value. I'm going to change it to -20.

Then press the Enter key or the Return key on the Mac. So, I'm just tightening my character spacing ever so slightly just by -20 thousands of an em space. Now, I'll go ahead and hide my Character panel. I'm going to close this window, and then I'll click on the Yes button here on the PC. That would be the Save button on the Mac in order to apply my changes. So, the text has now been tracked in Word. However, the individual characters of Puppet Warp mesh are still in the same place they ever were. To check that out, go ahead and double-click on Puppet Warp once again.

Because I had left my mesh turned on, I can still see it. You'll see that the U mesh doesn't line up with the new U at all, because it's been kerned over slightly to the right. Therefore, it's disappearing inside of this mesh space. But watch this! I'll go ahead and increase the Expansion value to something like, let's try 20 for starters. That makes a big difference. You can see that I've gone ahead and expanded the mesh. So it includes all of the characters in one way or another. Now, if that's not quite enough, and it might not be, I'll go ahead and press Shift+Up Arrow to take that Expansion value up to 30 pixels. Awesome! Now, I'll press the Enter key a couple of times in order to accept my effect.

Notice just how wrong things have gone here where Jump, Puppet is concerned. But actually I kind of like the way things have gone wrong. I think that's heck of an effect. If you were to show this to anybody else, you tell them, you know what, I created this text Jump, Puppet, and then I placed it in the Smart Object, and then I applied Puppet Warp in order to distort each one of these letters. This is what I came up. Somebody who's tried something similar on their own will go, well, how in the world did you get this wacky mess of an effect here? This is great! You'd say, well, what you'd tell them, I did some things.

That's for me to know and you to find out. Anyway, now at this point having created this clever, mostly legible effect, I'm going to replace the black associated with these letters right now with some layer effects. So, with Jump, Puppet selected once again, I'll change the Fill value to 0%. So we're just getting rid of the Fill entirely. Now we'll fill things out, using layer effects by dropping down to the Fx icon, and choosing Bevel and Emboss, and we end up getting this effect right out of the gate, which is actually pretty good.

But I'm going to take the Altitude value up to 70, I think, like so. Then I'll increase the Depth value to 200. Otherwise, I'm accepting the default settings incidentally. I'll raise the Opacity value for the Highlight mode to 100%. I get this effect here, which I quite like. Now, I'll switch over to Color Overlay by clicking on it. Then I'll click this Red color swatch in order to bring up the Color Picker dialog box. And I'll click inside the guy's shirt in order to load this kind of basically almost magenta color right here.

I might click in this lower portion of the shirt right there in order to darken things up. Let's go ahead and take this Hue value down to 340. I'll reduce the Saturation value to 50, and I'll raise the Brightness value to 50 as well. Click OK to accept that modification, and then I'm going to change the Blend mode from Normal to Multiply in order to burn the effect in. Then I'll click OK. Finally, let's say that we need to adjust the text and the placement of this guy's foot, a little bit to compensate here. I want the bottom of the characters to land on the grass in some way, shape, or form.

So with Jump, Puppet, once again, selected, I'm going to go up to the Edit menu, and I'll choose Free Transform or press Ctrl+T, Cmd+T on the Mac, which allows me to stretch the characters downward. At least that's what I'm going to do. Now I'll get this warning that's telling me, hey, you've got some Smart Filters applied. That is Puppet Warp, is my Smart Filter. That's going to be temporarily turned off as long as you're performing the transformation. Well, that's very unfortunate in my estimation, but it can't be helped. So, I'll click OK, and I'll see this text like so without any Puppet Warp assigned to it.

A little difficult to imagine how things are going to look, but I'll drag this bottom handle downward quite a bit until the characters are dipping well into the grass. Then I'll press the Enter key here on the PC or the Return key on a Mac in order to apply my modifications, stretch the characters, and then Photoshop will automatically assign Puppet Warp once again. Now, his foot is diving into the text. I don't like that. So, I'm going to go ahead and click on his jumpist layer in order to make him active. I'll lift them by pressing Ctrl+Shift +Up Arrow a couple times like that.

That would be Cmd+Shift+Up Arrow on the Mac, in order to lift all of his body. That foot is still dipping down, however. So, I'll double-click on Puppet Warp - still a live effect, still modifiable. Let's get rid of that mesh by pressing Ctrl+H or Cmd+H on the Mac. Then I'll drag this pin upward. In order to compensate for the text, press the Enter key or the Return key on the Mac, and the deed is done. Now, I'll go ahead and press Shift+F in order to switch to the Full Screen mode, and this is the final version of my illustration, with Jump, Puppet down at the bottom here, the guy jumping up in the air.

Thanks to the basically never- ending, and sometimes strange powers of Puppet Warp.

Show transcript

This video is part of

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

247 video lessons · 32929 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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