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Masking eyes


Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Masking eyes

I'm still working inside that image, Big New irises.psd. I've sharpened the irises using the Smart Sharpen Filter, and now we're going to mask them into the eyes. I'm going to start by turning this new irises layer off, and then I'm going to switchover to my Elliptical Marquee tool once again. And I could do that by pressing the M key of course, and I'm going to begin to trace around the eyes inside of the image. Now, I'm using the Spacebar to align the Selection Outline with the eye, and I am entirely interested in just matching pieces of the eye at a time.
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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

Masking eyes

I'm still working inside that image, Big New irises.psd. I've sharpened the irises using the Smart Sharpen Filter, and now we're going to mask them into the eyes. I'm going to start by turning this new irises layer off, and then I'm going to switchover to my Elliptical Marquee tool once again. And I could do that by pressing the M key of course, and I'm going to begin to trace around the eyes inside of the image. Now, I'm using the Spacebar to align the Selection Outline with the eye, and I am entirely interested in just matching pieces of the eye at a time.

Because obviously the eye is not a big circle or a big ellipse or anything like that, it's made of curved arcs however, and we can match those curved arcs using a series of Elliptical Marquee. So I'll go ahead and trace this first one, and I'm going to Spacebar+drag over a little bit, so I'm centering that eye a little better. And then I'm going to press and hold the Shift and Alt keys at the same time. This would be Shift and Option on the Mac, and I'm going to draw an Intersecting Marquee like this and press the Spacebar in order to move it into place, until I get it more or less right.

We don't have to get the exact shape of the eye down, but you should approximate it pretty nicely if you're working along with me. And notice, as soon as I release, that I go ahead and just keep the intersecting area of those two ellipses. Now I'm going to Spacebar+drag down a little bit and I'm going to press the Shift and Alt keys once again, Shift and Option on the Mac, and drag around this area, again, using my Spacebar when necessary for alignment purposes. And I'm going to try to match that lower left edge of the eyelid there, and that looks pretty good.

And then one or two more drags should do me. I'll go ahead and press Shift and Alt or Shift and Option on the Mac, move this over to this location. So you can see I'm trying to be pretty careful about this. That is about right there, and then I'll release and then finally, Shift and Alt, Shift and Option on the Mac, drag, and actually I want this to be quite a bit smaller than this, in order to cut out that fleshy part of the eye. Even though this is well beyond the iris, but I just want to take care and make sure that we've selected the eye properly. Now then, I'm going to go ahead and turn that into a layer mask by turning on the new irises layer.

And then I'll dropdown to the Add layer mask icon, here at the bottom of the Layers panel, and click on it, and there we go. Now I've gone ahead and masked in this iris. You can see I've masked away the other iris, because I haven't drawn an eye around it, and that area is currently black. So we just have this little white area around the left hand eye, her right of course, and I'm seeing that by Alt+clicking or Option+clicking on that layer mask Thumbnail here inside the Layers panel. All right, I'll Alt+click or Option+click once again to come back out.

Now, at this point you might need to do a little bit of refinement, I know, I certainly do. And you can do some of the work if you want to by just selecting a general area, for example, with the Rectangular Marquee tool like this. If I want to increase the size of this mask, which I do, I want to stretch it down a little, because I cut in too much and I'm exposing a white area of that eye there. Then the best approach to take is to transform a copy of this selection. For example, I can go up to the Edit menu and I can choose a Free Transform command.

But then, if I do that and I expose an area in the background, if I make this selection smaller than it is right now, I will expose an area of white, because white is my background color, and that will show parts of the iris potentially. I don't want that to happen. So what we want to do instead is to transform a copy of the selection, and you do that by adding Option or Alt to this keyboard shortcut, so it would be Ctrl+Alt+T on a PC or Command+Option+T on the Mac. So I'm going to Escape out of there, and I'm just going to press that keyboard shortcut, Ctrl+Alt+T, Command+Option+T on the Mac.

It's not going to look any different, it's just going to protect you. And now I'm going to drag this down slightly, like so, in order to stretch that mask. Notice I'm just stretching the mask. See that, that guy is staying in the exact same position there in that reflection. So I'm just moving the mask down. And then if I feel like I need to stretch it up a little bit as well, I can drag this top handle, like so, up ever so slightly, and that's going to do me I think. I'll press the Enter key or the Return key on the Mac to accept that modification. Now, let's go ahead and do the other eye as quickly as we can, so that I can show you how we achieve better transitions here, inside of the eyes.

But first, I've got to select this area. So I'm going to grab the Elliptical Marquee tool once again and I'm going to drag around the top portion of the eye like that. And then I'm going to press the Shift and Alt keys. I'm using the Spacebar for alignment, move this edge down about there, looks pretty good to me. Shift+Alt again, Shift+Option on the Mac in order to get this bottom edge of the eye , like so. Actually, I want it to be a little bigger like that. And then I'm going to press Shift and Alt once again. I keep pressing Shift and Alt or Shift and Option on the Mac, and drag along that edge.

And then Shift+Alt once or twice more, this will work I think right about there, and then another Shift+Alt+drag right at that location. You can see that it's just Shift+ Alt+dragging over and over again. Some eyes are easier than this, but thanks to the fact that we've gone ahead and liquefied this eye, we've made a fair amount of work for ourselves in this Shift+Alt+drag department. There is another one, Shift+Option+drag on the Mac of course. And then finally, I need to take the nose out of the equation, and that might have to be a pretty large marquee, like about so.

Oh, I just invoked a little bit of an Auto Scroll there. This looks pretty good, actually, let's make it even bigger. This will look better I think. All right. So that looks pretty darn good right there. I think that's enough Shift+Alt+drags, Shift+Option+drags for now. And the layer mask is still selected, you can see that by the highlighted layer mask thumbnail here inside the layers Palette. So white is my background color. All I need to do is press the Backspace key or the Delete key on the Mac in order to fill that selected area with white. Now, couple of other things that I want to do.

Notice at this point that we might want to stretch this mask down a little bit as well. So I'll press the M key to switch over to the Rectangle Marquee tool right there, and then I'll select this area , like so. I'll press Ctrl+Alt+T, Command+Option+T on the Mac to make sure that I'm scaling a copy, so that I don't expose any areas of white. Drag that down a little bit, nudge it up. Again, I'm just affecting the layer mask, the iris itself is remaining right there in place. Press the Enter key in order to finish off that transformation, the Return key on the Mac.

Then in order to achieve some smoother transitions, notice that we have these tiny little implied corners, here and there inside the mask. I want to shave those off by going up to the Filter menu. So your layer mask should still be selected. Go up to the Filter menu, choose Noise, and choose Median, or if you loaded dekeKeys, you can press Shift+F8. And the Median command goes ahead and rounds off corners by averaging pixels inside of the layer mask. And I'm going to take this Radius value up to two pixels, and then I'm going to click OK in order accept that modification.

Now, you may not be able to see what's happened here when you're looking at the irises, but if I click down here, let's say, the center, that portion of the mask inside the Preview area, this is before, if I click and hold, and this is after. So it has a slight effect, it's just ever so slightly rounding off some of these transitions. You could go farther with this, you could take it up to like four pixels or something along those lines. The only thing you have to watch for if you go that high is that you may start exposing little areas inside the white of the eye.

Actually though, I think this looks pretty, so I'll take it to 4, click OK. And then I also want to soften the edges just a little bit, and I'm going to do that by going to the Filter menu, choosing Blur, and choosing Gaussian Blur; Shift+F7, if you loaded dekeKeys. And that's going to blur those edges. Right now I'm blurring to the tune of 2 pixels. I think that's a little much. I'm going to take it down to 1 pixel. I just want a little bit of softness. Click OK. Now, if you find that you still have tiny little areas like, let's zoom in on this right-hand either, if you find you have little areas that are exposed of the whites of the eyes, you can fill those in by taking advantage of a tool that's available here in the Blur tool slot.

Click and hold and choose the Smudge tool. And then, I'll increases the size of my cursor, and I'm going to take it up let's say to about something like 40 pixels should do me, Hardness of 0% is fine. And then I'm going to click and drag down just a little bit in order to smear that mask down, and I might smear it up too, to the cover up that area. You don't want to do too much smeary, just tiny, tiny little drags. I'll take this down as well, just a little bit more. Let's see how things look over here.

They actually look pretty darn good. Other little tiny blemishes, we're going to fill in with layer Effects. So you don't have to make it exactly right. You just have to get it approximately right, which my mask is, it looks pretty darn good, so I'll go ahead and zoom out. Those are the scary big irises fit inside of her eyes like super big painful contact lenses. In the next exercise, we'll begin to turn these blobs into credible eyeballs.

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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