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Photoshop CS5 One-on-One: Advanced

Simulating liquid reflections


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Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Simulating liquid reflections

All right, I've gone ahead and restored the original version of Black droplets.psd found inside the 21_layer_FX folder. That is to say, I went ahead and cleared away all the effects and if you been working along with me, and you applied say the water effect right there, then you can clear away the effects inside of your droplets layer by right-clicking in an empty area of the layer and then choosing this command Clear Layer Style, which will clear out all of the layer effects and all of the blend mode settings as well. So step number one is to grab that Fill/ Opacity value and change it to 5%, which you can do either manually if you want to just by changing the value to 5, or If you want to do it from the keyboard without selecting the value, you know that pressing Shift+5 will get you 50%.
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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

Simulating liquid reflections

All right, I've gone ahead and restored the original version of Black droplets.psd found inside the 21_layer_FX folder. That is to say, I went ahead and cleared away all the effects and if you been working along with me, and you applied say the water effect right there, then you can clear away the effects inside of your droplets layer by right-clicking in an empty area of the layer and then choosing this command Clear Layer Style, which will clear out all of the layer effects and all of the blend mode settings as well. So step number one is to grab that Fill/ Opacity value and change it to 5%, which you can do either manually if you want to just by changing the value to 5, or If you want to do it from the keyboard without selecting the value, you know that pressing Shift+5 will get you 50%.

So that doesn't take you all the way down the 5%. You can press Shift+05 if you want to. That works. So you can dial in two numbers in a row with both the Opacity value, and then if you press the Shift key with the Fill value as well and 05 gets you 5%. The lowest therefore you can go without actually selecting the value is 1% by dialing in Shift+01. That's by the way, 05 and 01, sequentially, not right on top of each other. So I can't even see the droplets anymore, because our Fill/Opacity value is so very low.

I want you to drop down to the fx icon here, click on it, and choose Bevel and Emboss, because that's where we''re going to start. That's where the majority of the work occurs. Notice we get something resembling kind of an aqueous effect right off the bat. It doesn't really look like water though. So here are a few settings that I'm going to adjust, and again, these settings happen to work wonders inside of this file. They also happen to work pretty wonderfully on a regular basis, but you can, of course, tweak them, again, given your interest in doing so.

So I am going to take the Depth value up to 120, and we are working from the default settings. So I am going to leave Styles set to Inner Bevel and Techniques set to Smooth. Direction also should be Up. So the only modification I've made so far is to raise the Depth value from 100 to 120. Now I will tab down to the Size value, and I am going to take it up to 15 pixels, just so that we can see the edges a little more clearly, and the water appears to have some surface tension associated with. Soften, leave that set to 0, because we have nothing to soften inside of this effect.

I'll drop down to Angle and Altitude, and you can adjust those if you want to. For me, they're coming up as 135 which is pretty standard by the way, for an angle value. That's basically coming in exactly from the diagonal in the upper left-hand corner. And altitude of 65 degrees works just fine for this effect. So I'm going to leave those settings as it is. I am, however, going to monkey around a little bit with the Highlight mode and the Shadow mode, and here is the reason. Let's start off by clicking in the white swatch and just confirming that it's white.

The reason that we want white this time, we don't want some highlight variation of the color scheme of the image, that is, some very bright orange. Nor do we want a complementary color, because what we're looking for here is specular highlights. That is, brilliant reflections coming off the liquid. These are to be very harsh highlights as well, by the way. That's what's going to convey that liquidy appearance. Anyway, white is what we want. So I will just click OK to accept that. We don't want black though. You're not going to have black shadows inside water, because it's the water that's casting the shadows in the first place and water just doesn't have that kind of density.

So I'll click on the black swatch, and I am going to dial in a color that's fairly indigenous to this image 35, 35, 35. And 35 degrees is a hue value in the orange range which as I say we could easily lift from the image. Then I have a very low Saturation value, 35%, and a very low Brightness value, 35%. And if you were working in an image with a different color scheme, then you might adjust this Hue value, you might change it so that it more or less matches the same, but Saturation and Brightness are well left at 35% apiece or something in that range.

Click OK to accept that color. We've got 75% for the Opacity value for the Highlight mode. However, our highlights aren't nearly brilliant enough. So we are going to switch from Screen to the more intense brightening mode Linear Dodge. You can see that that gives us much brighter, much more intense highlights right off the bat there. 75% is fine for the Opacity value by the way. Next, I'm going to switch to a more intense Shadow mode here. So I will switch from Multiply to Linear Burn, which is the most intense of the them all.

Notice what that does to the shadows in the background. They're too dark now. So let's go ahead and taper them off, but the intensity is exactly right. We need those kinds of sharp shadows. Anyway, I've reduced Opacity value to actually 15%. I am going to take it quite low as we see right there. The remaining issue is the Gloss Contour. This is a great use for Gloss Contour. We want a fairly complex Gloss Contour I am here to tell you; something that waves up and down and has a spike in it, and all sorts of stuff, and I think it has altogether 1, 2, 3, 4, 5, 6, 7, 8, 9 different points in order to draw this curve.

So that might make you think, oh my goodness, I'm not sure I want to do that, Deke. Well, it turns out it's very, very similar to one of the contours that ships along with Photoshop with just a slight modification. So I want you to click the down pointing arrowhead here and choose the guy, Ring. So go ahead and select that and notice you get something of a liquidy effect right off the bat here, but there is a slight problem. A slight adjustment that needs to happen. So click out the pop-up menu in order to hide it and then click right there in the side of the curve in order to bring up the Contour Editor dialog box, and there is our 9 points 1, 2, 3, 4, 5, 6, 7, 8, 9.

Most of them, actually eight of them, are exactly where they need to be. Just one needs to be moved. See this guy right there at the top. What we need to do is add an extra flair of highlight, and remember the top right point represents our highlights, the bottom left point represents our shadows. So we've got to wig things out here considerably so that we are creating highlights right next to shadows and shadows right next to highlights. Both on the light and dark edges of our water droplets. However, in order to exaggerate the highlights and the bright edge I'm going to go ahead and take this right point right there, and I am going to drag it out, so that the input value reads 96%, and the output value reads 100%, just like that.

It's already a corner. You could turn on corner if you want to which ensures that this is a corner point. This is a corner inside the graph, but it's already corner. So you don't need to do that. It doesn't have any effect. Then what I want you to do is let's go ahead and save this off as a preset. So I will click on New, and I'll call this one Liquid like so and then click OK. That's it! Now I'll click OK again in order to accept the effect. You now have a new preset down here right next to Invert, if you've been working along with me, called Liquid. Great! Only one more thing I want you to do.

Turn on the Anti-aliased check box, because otherwise right at that corner you could end up with some harsh even jagged transitions inside of your layer effect, inside your Bevel and Emboss effect, and if you turn on Anti-aliased, that will just ever so slightly soften those transitions. So your highlights will be nice and smooth. And that, my friends, is the end of the Bevel and Emboss effect. No contour, no texture, nothing needed there. All that remains now is Drop Shadow, Inner Shadow, and Color Overlay.

So the tough stuff is over. Everything else is smooth sailing, as you will see in the next exercise.

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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