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Protecting elements with a layer mask

From: Photoshop CS5 One-on-One: Advanced

Video: Protecting elements with a layer mask

I'm still working inside Fire Engine Red.psd, and in this exercise we are going to paint the teeth inside of the layer mask. We are going to paint them black in order to protect them from the effects of the hue/saturation layer. So I am going to go ahead and zoom in on these back teeth here on the right-hand side of the lips, and I am going to get my brush tool. And I, of course, I am going to make sure that my layer mask is selected here on the cherry red layer. And I also want to make sure that I'm painting with black, because if I start painting with white I am going to paint more modifications into the teeth, which is not what I want to do.

Protecting elements with a layer mask

I'm still working inside Fire Engine Red.psd, and in this exercise we are going to paint the teeth inside of the layer mask. We are going to paint them black in order to protect them from the effects of the hue/saturation layer. So I am going to go ahead and zoom in on these back teeth here on the right-hand side of the lips, and I am going to get my brush tool. And I, of course, I am going to make sure that my layer mask is selected here on the cherry red layer. And I also want to make sure that I'm painting with black, because if I start painting with white I am going to paint more modifications into the teeth, which is not what I want to do.

That would be a mistake. So I will go ahead and press Ctrl+Z and Command+Z on a Mac to undo that modification. Drop-down here to little switch view icon and click on it, or I can press the X key to ensure that I have black as my foreground color, also a right-click inside the image window. Notice that my diameter is set to 60 pixels and my hardness is set to 100%. And that's those same settings I wish using inside of the Quick Mask mode in order to paint in the lips that will work for the teeth as well. All right, so I am going to go ahead and Escape out of that panel. And now I will paint inside of the teeth in order to protect them, like so.

And here I am going to take advantage of that shift clicking technique, when I get near the lips, because I don't want to run the risk of painting into lips right there. So I will click and Shift+Click like so, in order to fill in some of these details. And you can decide how meticulous you want to be. It's not really essential that we do that much work inside of the teeth; I just thought you might like the experience of seeing how you can paint away details inside of an adjustment layer or some other layer, and of course, temporarily using a layer mask. All right, so I am going to go ahead and Shift+Click, like so.

May be click along this area. What ends up happening, where these teeth are concerned, is that the shadows in the teeth end up turning red on us. And that's just a function of the fact that we took that saturation value so high. So if I revisit those adjustment layer settings right there by double-clicking on that thumbnail to bring up the adjustments panel, you can see that I am not colorizing anything. I am not adding color where no color existed. I am just exaggerating the heck out of that color by increasing the saturation to +80.

All right, notice I cannot paint inside my image. That's because the layer mask is not active. Well, then I could take advantage of my keyboard shortcut, Ctrl+Backslash or Command+Backslash on the Mac, or I could just click on that thumbnail icon if I preferred. And I will paint away some of the teeth area right there in order to cleanse them and keep them nice and neutral. And this goes back to that thing; I think I mentioned this before, when you are trying to make teeth look nice and bright, it is not really a question of making them light or dark.

It is not a question of, for example, dodging the teeth. It's a question of getting rid of the saturation. So in our case we are trying to make these teeth as neutral as possible, and that keeps them looking very, very bright. All right, now I'm entering this area of tooth right here that looks like a gum or something in the mouth, and I am going to have to reduce the size of my cursor in order to get into this area. So I will click and Shift+Click like so, in order to paint away that region along the top lip, and now I will click and Shift+Click down here in order to paint away this region next to the bottom lip.

And again, be very careful not to paint away the lip, however, if you do, you can always paint it back in by painting with white. So if you don't notice that you made a mistake till later, don't worry too much about it. You can paint that lip back end by hand if you want to. Now then let's view the mask in the panel of the image. By Alt+Clicking on it or Option+Clicking on that layer mask thumbnail there inside Layers panel. And notice now that we have some sort of lumpy stuff going on here where this layer mask is concerned. I am going to increase the size my cursor and paint in some of the details that I might be seeing sort of out here in the mouth region of the image.

And I'm assuming that little bit should go as well. Although this kind of dangerous, making these sorts of assumptions, because I can see the RGB image. So I don't know if I am making a mess of things. I will take advantage of that keyboard trick, tilde backslash, in order to switch back to the full-color image, and sure enough everything is fine. Now press backslash tilde in order to switch back to the layer mask, and that of course can be achieved by Alt+Clicking or Option+Clicking in both directions there on that layer mask thumbnail. All right, but I don't like the lumpiness, and there is a way of smoothing off a mask inside a Photoshop if you so desire.

Before we do that, let's return visibility to the image, and I might just want to go ahead and paint like so inside of that layer mask in order to paint into the dark crevice of the mouth. Now I'm not making any difference where the full-color composite image is concerned. But I am painting some details in and out of this layer mask. So I will go ahead and Alt+Click once again on the layer mask thumbnail - that is an Option+Click in the Mac - in order to see the layer mask independently of the image, and I just wanted to make sure I was filling in some details over there just for the sake of basically gaining an accurate mask.

All right, let's say we want a smooth off our contour, so we don't have these roly-poly, lumpy edges going on. The way to smooth a mask inside of Photoshop, you may recall, if I had a selection outline like this and I were to go up to the select menu and choose the modify command and choose smooth, then I could round off those corners. For example, if I raise that sample corner radius value to 12 pixels, I would apply 12 pixels of rounding to each one of those quarters like we are seeing here, and we would get a round rectangle. And that's basically how smoothing works.

That is how you smooth a selection outline. I am going to click off the selection and de-select it. For everything that you can do to a selection outline, there is an equivalent in the world of masking. So, for example, the equivalent of applying feather to a selection is to apply Gaussian blur to a mask, the equivalent of applying the smoothing function to a selection is to go up to the filter menu, once again it's a filter. We go to noise and we apply medium, and if you loaded DekeKeys, you have got a keyboard shortcut of Shift+F8. And when you choose the median option, notice, if I go ahead and raise this value to 8 pixels, which is what I recommend for this image right here.

We are going to smooth the heck out of the details inside this image. Problem is that not only am I smoothing this stuff I painted right here, and this was before with the lumps, notice that, and this is after, no lumps. But I'm also getting rid of the good detail around the lips, and I worked very hard you may recall to capture that detail using the color range command, and then keep it, when I refined the edge inside the Quick Mass mode. So there is the detail I had before, and I will go and zoom in actually, so we can see this, up close and personal. This is that awesome detail around the lips, and this is what happened when I smooth it, so I don't want that. I will cancel out.

I am going to grab my Lasso tool. And it's very common you use selection tools inside of masks by the way, very useful as well. So you're basically using a selection inside of a different view of the selection outline. That's how powerful masking is. Anyway, I just went ahead and drew a general selection around this interior of the mouth, which contains the teeth, and that's where the roly-poly edges are. Now I will go up to the Filter menu, choose Noise, and choose Medium or press Shift+F8, if I loaded DekeKeys. And now we are just smoothing off the bad lumps, and we are not doing anything to the good edges.

Click OK, and I have now smoothed off that selection, brilliant! Now I could Alt+Click once again on this layer mask thumbnail there or Option+Click on the Mac to view the entire RGB image, my selection outline survives, and I could use it for another purpose if need be, which is again, a really great thing about masking. It's a really great thing about Photoshop in general. Anyway, I don't want this selection; I am going to press Ctrl+D or Command+D on the Mac to get rid of it. We have now done a brilliant job of enhancing the color inside these lips and keeping the teeth nice and neutral.

In the next exercise we will finish off this project by setting the lips against a black background.

Show transcript

This video is part of

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

247 video lessons · 33058 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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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.