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Photoshop CS5 One-on-One: Advanced

Exploiting global light


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Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Exploiting global light

I'm still working inside Collection.psd. I've gone ahead and selected the dash layer which is the frame, and I've set it to the Overlay Blend mode, the Fill value is set to 50%, and I've turned on all three of the layer effects, and that's where we are so far. Now, in this exercise I'm going to explain how you use Global Light inside of Photoshop in order to maintain a consistent light source for all of your directional effects. Again, the directional effects are Drop Shadow, Inner Shadow, and then this guy Bevel and Emboss.
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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
      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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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
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Exploiting global light

I'm still working inside Collection.psd. I've gone ahead and selected the dash layer which is the frame, and I've set it to the Overlay Blend mode, the Fill value is set to 50%, and I've turned on all three of the layer effects, and that's where we are so far. Now, in this exercise I'm going to explain how you use Global Light inside of Photoshop in order to maintain a consistent light source for all of your directional effects. Again, the directional effects are Drop Shadow, Inner Shadow, and then this guy Bevel and Emboss.

So just so that we can see multiple effects working together across multiple layers I'm going to go ahead and style this spiders layer by clicking on it, and I'm going to reduce the Fill value to 0% so that it totally disappears as you can see, because it's utterly transparent. We have no layer effects assigned to it, at least they're not turned on yet. Now, let's turn on Drop Shadow, and that goes ahead and casts a shadow behind the layers without the layers having any form or substance of their own, which is amazing, and then I'll add the Inner Shadow effect as well.

Now, the other effect I want to add is Bevel and Emboss. And in fact, I just want to take the Bevel and Emboss effect. Now we've already seen, and I want to clone it from this dash layer here, the frame, onto the spiders layer. So I'm going to get that one layer effect right there, Bevel and Emboss. I'm not going to drag the fx in other words, because that would drag over the Drop Shadow and replace my other Drop Shadow which I don't want to see happen. It would also bring over the Gradient Overlay which I don't need. So I'll press and hold the Alt key or the Option key on the Mac and drag that Bevel and Emboss effect on to spiders like so and then drop it in the place.

That clones the Bevel and Emboss effect and mixes it with the previously existing Drop Shadow and Inner Shadow. So we have all three of the directional effects represented on the spiders layer. Next, I'm going to switch over to the frame layer the one called dash, and I'm going to make sure I can see its Vector mask. Then with the Black Arrow tool selected, which is still selected for me, I'm going to click on that frame outline, and I'm going to switch it from a frame effect to a lid by clicking on this Add to shape area icon, like so. And that's it.

Now, the thing you should know is that all of these effects are set to use Global Light. That is the Use Global Light check box is turned on. I'll show you what I mean here. I'll go ahead and click on the Vector mask thumbnail in order to turn off that Vector mask, so we're no longer seeing it that is. Then I'll double-click on Drop Shadow in order to bring up the Drop Shadow for the lid layer there. Notice that Use Global Light is turned on, and as a result we're looking at an Angle value of 135 degrees. Now, you don't necessarily set the Angle value to 135 degrees when you turn on Use Global Light.

It can be any value from 0 to 360 degrees. However, it's going to be the same for every single effect for which Use Global Light is turned on. So if I go to Bevel and Emboss, it's turned on down here as well, and of course the Angle value is 135 degrees as a result. It's also turned on for all the effects assigned to the spiders layer. By the way, Use Global Light is turned on by default, because Photoshop assumes that you want a consistent lighting angle. So how do you go about changing that lighting Angle for multiple effects across multiple layers at a time? Well, there is a few ways to work here.

One is to bring up a representative Bevel and Emboss effect. So I'll double-click on the one assigned to the spiders layer right there. Then I'll move my dialog box over a little bit, so we can see what's happening onscreen. I would go ahead and drag this little plus inside of the sphere in order to change both the Angle value and the Altitude value. So as I drag around this little spot in the middle there, I change the Angle value. As I drag either inward or outward, I'm going to change the Altitude value.

Notice that all of the effects change in kind. So I'm changing the angle of the Inner Shadow and the Drop Shadow and the Highlights from the Bevel and Emboss effect and the Shadows from the Bevel and Emboss effect, everything across the image. That is to say everything except for those shadows that are associated with the top and bottom lines. Those are lines of my very favorite up here at the top and then & Butterflies down here at the bottom. Those are live text layers to which I've assigned that shadow type effect, but you may recall when working with the shadow type effect you set the Distance value to 0, and therefore the Angle no longer matters, because you're not casting the shadow, the shadow is sitting directly under the text.

So these two layers are not affected, but the other two layer spider and of course the lid are affected in kind. So that's one way to change the Global Light. The other is to switch over to either Drop Shadow, or Inner Shadow. You can change the Angle value here as well, or you can move your cursor out into the larger image window, and you can just drag, like so. Notice that that drags the drop shadow around, but that has the effect I want you to look at the layer Style dialog box. So look at the Angle and Distance values right there and notice as I drag both of those values are changing on me.

Because I'm not working with the Bevel and Emboss effect, I'm not changing the Altitude value. I am changing the Angle value as you can see, and I am changing the Distance value, but the latter, that is, the Distance value, is use changing just for Drop Shadow. It's not changing for Inner Shadow or Bevel and Emboss, but Angle is changing for everybody. It's a pretty intuitive approach, because you can just drag the shadow to where you want it to be and all the other effects are going to update to keep up. One other way to work. I'm going to go ahead and click OK to accept my changes.

Then go up to the layer menu and choose Layer Style and notice that reveals a big submenu of options, including Blending Options, right off the bat, which has a keyboard shortcut if you loaded DekeKeys of Ctrl+Shift+O or Cmd+Shift+O on a Mac. Then we've got all 10 of the layer effects. After that you can see that you can Copy effects from one layer and then Paste them on to another. You can Clear out all the layer effects if you like. They're called Layer Style here, because the style By the way, just so as you know is the collection of layer effects working together.

You can actually save styles off if you like as we'll see later. Then we have these commands right there which I will read from the bottom. Scale Effects allows you to scale all the effects at once. So if I choose the Scale Effects command, and I want to double the size of my effects, I would enter a Scale value of 200%, and that's going to scale the effects, all the effects that are assigned to this layer to the selected layer, notice that. The lid remains unmodified. I'll cancel out of there. Also, if I go to the layer menu, choose layer Style, we've got this command Hide All Effects which will hide all of the layer effects inside your image across the entire composition.

It'll then change to show all effects, so you can choose the command again to bring all the effects back. You can Create layers that will convert all the layer effects to independent layers, some of which are going to be clipped inside of the original layer. That is basically your way of rendering out those layer effects so that you can modify them as pixels using things like the Brush tool and other tools inside a Photoshop. Then finally we have Global Light. These options right there are going to effect all layers for which the Use Global Light check box is turned on.

So I'm going to reset my Angle value to 135 degrees, and I'm going to change my Altitude value back to 50 degrees, and that will reset all of my modified options except for the Distance value associated with Drop Shadow. The reason that that's not accommodated for is because I dragged it to a totally different location. So I'll go ahead and click OK to update the directional styles. Then finally to reset the Drop Shadow I'll double-click on the Drop Shadow for the spiders layer, and I'll change that Distance value to what it used to be which was 15 pixels.

Then I'll click OK. And that is how you take advantage of Global Light inside Photoshop.

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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