Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Masking and finessing the results

From: Photoshop CS5 One-on-One: Advanced

Video: Masking and finessing the results

I've gone ahead and saved out my progress thus far as Phase2.msh. So if you want to load it up here inside the Liquify window, you can click on Load Mesh, and then inside the 23_distort folder you'll find a file called Phase2.msh. Go ahead and open it on up. In this exercise, I'm going to show you how to tilt the head in a fairly quick and dirty way, and then we're going to have to finesse it using the Warp tool. So, there's no such thing as a quick trick that's going to resolve an image entirely, but this will get us something like 30% of the way there.

Masking and finessing the results

I've gone ahead and saved out my progress thus far as Phase2.msh. So if you want to load it up here inside the Liquify window, you can click on Load Mesh, and then inside the 23_distort folder you'll find a file called Phase2.msh. Go ahead and open it on up. In this exercise, I'm going to show you how to tilt the head in a fairly quick and dirty way, and then we're going to have to finesse it using the Warp tool. So, there's no such thing as a quick trick that's going to resolve an image entirely, but this will get us something like 30% of the way there.

But it requires that we use a mask, because what we're going to do is we're going to take this Twirl Clockwise tool, and we're going to apply a really big heaping helping of twirling, and we do want to twirl her head clockwise. So the default behavior of the tool is fine. I'm going to increase the Brush Size, however, all the way to the maximum, which is 1500, and then I'd want to click basically at a fulcrum inside the image. So, for example, her head needs to spin upright, centered on her neck.

We don't want to spin her face like this, for example, because even though that ends up actually looking pretty good where her face is concerned-- That looks awesome where her face is concerned! I haven't tried this before. This is why I'm so psyched about this. I'm going to now grab my Forward Warp tool and I'm going to scoot her over and see what happens there. That's not bad actually. That is pretty interesting. Another way to work, however, for the sake of demonstration here, I'm going to press Ctrl+Z, Ctrl+Alt+Z, Command+Z, Command+Option+Z a couple times on the Mac.

If I want to right her head with respect to the center of her neck, I do this number here. I'd go ahead and click, and Mike, I don't have the right tool selected. That's my problem. I have the Warp tool. Let me switch back to the Twirl Clockwise tool right there, and I click at the base of her neck, and we do this number, and that does twirl her head upright. However, the problem is that it twirls her body the opposite direction and we don't want that. So we need to protect her body, and we're going to apply some protection using a mask. So I'm going to press Ctrl+Z, Command+ Z on the Mac to undo that modification.

I'm going to switch over to my Freeze Mask tool, which makes the mask, whereas your Thaw Mask tool paints the mask away. Anyway, I'm going to switch to Freeze Mask. I've got way too big of a cursor. So I'll just reduce the heck out of the brush, and then I'll paint inside the image. Well, the thing is I need to paint a huge region of the image. I need to basically protect everything but her head and her neck. So that means that it's going be easier for me to go ahead and mask the entire image and then paint a hole in the area that I want to twirl.

So I'll click on the Mask All button over here on the right side of the dialog box in order to mask everything like so, and then I'll switch over to my Thaw Mask tool, and I'll increase the size of my cursor a fair amount by pressing Shift+Right-bracket, and I'm going to click right there at the center of where I want her head to be. Now, that gives me a real soft mask as you can see, and that's a function of that Brush Density option incidentally. If I were to increase it to 100 and click, you'd see that I'll get a much firmer brush out of the deal.

But an even better way to work, I'll go ahead and restore that Brush Density value to 50 because 100 doesn't work with any of the other tools very well. I'll click and hold, and notice that if I just brush back and forth just ever so slightly, then I'll firm up that mask quite a bit. So that looks pretty good. I might want to thaw this area a little bit as well and thaw this region like so until I get kind of a V or a cone coming off of her head here. Then once I get a mask that I'm confident about, I'll switch back to the Twirl tool.

I'll increase the size of that brush once again to 1500, and then I'll click on her neck, and notice that goes ahead and twirls her while at the same time protecting the other details inside the image. Now that's not maybe enough protection because I just stretched her shoulder like crazy. If you want to reconstruct that shoulder, you could grab the Reconstruct tool, but bear in mind that the Reconstruct tool is always going back to the very original version of the image. So it's not going back to the edit that I made right before twirling this area.

It's going all the way back. Which can turn out to be useful sometimes, other times not. Anyway I'll choose Reconstruct, reduce the size of my cursor quite a bit like so, and then I'll go ahead and drag in this area, and that's not really what I'm looking for because her shoulder drops too far down. So, I'll undo that modification and instead I'll just get my Warp tool, and I'll drag this area down, like so. We're getting a very bad edge around that mask, so I need to get rid of the mask, and I'll do that by clicking on the None button over here on the right-hand side of the dialog box, and that unmasks everything.

Now, I can go ahead and warp up the top of the image here because I need to restore the white area so that we don't have that transparency showing through, and then I'll drag some of these details like so in order to restore the less stretched version of the blouse, and this may take quite a few little brushstrokes here, and I'll go ahead and drag this over as well, and drag her shoulder up. Now, if you're having problems getting decent results, you may decide in the end that it's easier just to reconstruct that area.

So I'll go ahead and select the Reconstruct tool just to show you how that might work. I'll increase the size of my brush as you can see, and then I would paint down here around the shoulder details, like so. I have to be a little more careful than that actually. I'm going to undo that modification. I'll reduce the size of my brush quite a bit and then paint right there. See the thing that's bothering me is I've really kind of done a number on this V-neck of her blouse, and it's not looking right anymore. It's looking all weird and stretched. So I need to go ahead and restore some of these details here, and then I would come back with the Warp tool.

Maybe increase the size of my brush just a little bit and go ahead and lift up these details once again to where I had them just a moment ago. So anyway, you know, a fair amount of back and forth thing is required especially for an image that's as challenging as this one. Now then, we come to the element of really righting her head and obviously this is better I would argue, because it's taking us in right direction, but it's not best. Her head still doesn't look natural, and in fact now it has this kind of strange curvature to it that insinuates that her skull somehow is bending.

We don't want that. So what I would suggest we do is take things over with the Warp tool. Now this is not fast work. Once you start getting into this sort of detail, we're not going to be able to twirl anymore. We already did what we could with the Twirl tool. We're not going to be able to take advantage of the automation provided to us by things like Pucker and Bloat. We could use the Bloat tool eventually to increase the size of the eyes if we need to, if we need to match their size because somehow one eye gets squished. However, we're not to that point right now. Where we're at now is the Warp tool manipulation.

So it is going to take a fair amount of work here. You are going to have to apply tiny modifications in certain areas. So you may need to reduce the size of your brush and then turn around and increase the size of your brush, and it really is just a matter of grabbing these details, and moving them around. So tell you what. What I'm going to do, just because watching me perform this entire modification could be a little bit dull after a certain point, but it's basically what you're seeing me do now, just tiny little brushstrokes, and just moving things into better locations over time, I'm going to go ahead and save my mesh so far by clicking on the Save Mesh button, and I'm going to go ahead and call this guy Phase3, because that's where I'm at.

I'm in the third phase of my modification. Click the Save button just in case you want to load that guy up, but here's the one that you're really going to want to work with. Click on the Load Mesh button, and then click on this guy, Head upright.msh. That is the most successful application of Liquify that I came up with. If you hunt around inside the image, I'm sure you'll find a few things that aren't exactly right, and you can tweak those if you so desire. But anyway, click on Head upright, click on Open in order to open that guy up, and this is the final version of the modification. And you can see that I have increased the size of the eyes just a little bit.

I've righted the hair. Her bangs are still a little bit uneven. We've got some tight hair over on her right-hand side, and then we've got some loose hair over on her left-hand side. That's a function of the fact that her head used to be sloping over to left. So gravity was favoring the left side of the hair because that's where it was drifting down. You can work on that a little bit more if you want to. Notice me. I am playing with her shoulders. You can do that as well. And the lines inside of her pants need a little bit of work actually, now that I take a look at them, because we do have a little bit of unnatural bending going on.

This wrist over here on the left-hand side is too narrow. So I went too far with this modification, and it might not be narrow enough to match over here on the right-hand side. So there are some tweaks that you might want to apply. That's the benefit of going ahead and saving your changes because eventually you'll notice some problems with them. In fact, you know what I'm going to do is I'm going to go ahead and save this version of the mesh as Slightly tweaked let's say, and you may think that I'm being totally ridiculously fastidious at this point to save a total of seven meshes associated with this file, but you're never going to regret it, believe me.

All right! I'll go ahead and click the Save button. I'll click OK in order to apply my changes, and just so we can get a sense of what's happened here, this is the before version of the image. Quite frumpy, especially in terms of her posture, and this is the after version. Thanks to the amazing nipping and tucking power of Liquify here inside Photoshop.

Show transcript

This video is part of

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

247 video lessons · 32932 viewers

Deke McClelland

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
    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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.

Exercise files

Exercise files video

How to use exercise files.

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

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

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.

Mark all as unwatched Cancel


You have completed Photoshop CS5 One-on-One: Advanced.

Return to your organization's learning portal to continue training, or close this page.

Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

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

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?


Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.