Start learning with our library of video tutorials taught by experts. Get started

Photoshop CS5 One-on-One: Advanced

Working with clipping-mask layers


From:

Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Working with clipping-mask layers

I have saved my progress as Masked eyes.psd. And so far we've done a terrific job of copying and scaling these irises and masking them inside the eyes. However, it all looks pretty painful at this point. And we don't want it to look like she has got these strange shells in her eyes. We want the real Na'vi eyes, these beautiful, glowing, all-knowing peaceful eyes of the wonderfully superior Na'vi people. I'll switch back here, to the Masked eyes image.
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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
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

Working with clipping-mask layers

I have saved my progress as Masked eyes.psd. And so far we've done a terrific job of copying and scaling these irises and masking them inside the eyes. However, it all looks pretty painful at this point. And we don't want it to look like she has got these strange shells in her eyes. We want the real Na'vi eyes, these beautiful, glowing, all-knowing peaceful eyes of the wonderfully superior Na'vi people. I'll switch back here, to the Masked eyes image.

What we're going to do is build up a series of layers, all of which are very simple to create, but they blend together to create more volumetric eyes that look like they are more at home and more at peace inside the creature. So I am going to scroll down my layers and I am going to turn on the blue group here, so that we have a better sense of where we're going. Then I'll scroll back up so that we can see these layers inside of the eye layers folder. And I am going to turn on this layer right here, overlays, and I am going to click on it to make it active. Now, could not be a sloppier layer as you can see, could not have been easier to create either.

I just went up to the Layers panel menu. I choose the New layer command or pressed Ctrl+Shift and Command+Shift down on the Mac. Called it whatever it was I wanted to call it and then painted it on it. And I painted on this layer using the Brush tool. So I'll go ahead and select the Brush tool. Notice I have already made my foreground color white, you can see that I am painting in white here. I have got a very soft brush at work, so it's pretty big, size of a 150 pixels, Hardness of 0%. The specific settings don't matter that much, I probably changed them half a dozen times as I was working.

I might have painted it at 100% Opacity, sometimes, other times I reduce the Opacity value. You see that Opacity value right there in the Options bar. You can reduce it to anything you like, and you can do that, by the way, from the keyboard when it's not active, just by pressing a number key. So if I pressed 5, I'd get 50% Opacity. Paint away at this low Opacity value. And then, to create these holes, I just painted with the Eraser tool, which you get by pressing the E key. Now, in an earlier Avatar exercise I was telling you, don't erase pixels because that's a destructive modification, you want to use a layer mask instead, which is true, unless you just have a trash layer, like this one.

Because you can always paint things back in if you want to any old time. So it's not like you need to go to all the discipline of layer masking a layer that looks like this. But notice, I can go ahead and enlarge my cursor. So I'll change that size value to something like 50, whatever. Reduce the Hardness down to 0%, and then paint away in order to erase portions of this layer. Then what I did? And this is a more critical thing that makes this layer work for us. I changed the Blend mode from Normal to Overlay. When you paint with white on an overlay layer, you end up getting an effect that's a lot like dodging, with the Dodge tool.

It's not the same thing, but it's very similar. And so we end up creating a layer of brightening, as you can see here. So this is without that layer, this is with that layer. Now, you may say, hey Deke! This layer looks terrible buddy, because you've got this big stripe down this poor Na'vi's nose now, and we've got this white powder puff on the bridge of the nose. What's going on? Well, we want to isolate our changes to just inside of the iris, and you do that by creating what's called a Clipping Mask. So currently, the overlays layer is active.

I am now going to go up to the layer menu and I am going to choose Create Clipping Mask, or I could try out that keyboard shortcut cut, Ctrl+Alt+G, Command+Option+G. And that will go ahead, as you can see here, it will indent that overlays layer, we have got a little arrow to show that. We are only seeing the contents of the overlays layer inside of the masked eyeballs, inside of the new irises layer. Outside, we are not seeing anything, so everything matches perfectly. Now I am going to turn on the Pupil Eliminator, and the Pupil Eliminator does just what it sounds like it does.

It's there just to eliminate those pupils right there. I just wanted to downplay them a little bit. And all I did, this is just terrible work, quite frankly. It just shows you what kind of murder you can get away with inside of Photoshop. I grab the Brush tool, I set it to white. I dabbed at the pupils a couple of times using different kinds of brushes, as you can see here, with a very low Opacity value; I think I was at something like 20% Opacity or something along those lines. And then all I do, I am not even going to change the Blend mode on this guy, I am just going to go ahead and add it to the Clipping Mask.

And I can do that, not only by choosing that command from the layer menu that we saw a moment ago, Create Clipping Mask, I can also, if I like, I can press and hold the Alt Key or the Option key, and I can click on this horizontal line. And notice what happens, if I Alt+Click here on a PC or Option+Click on a Mac, it goes ahead and indents Pupil Eliminator along with overlays and puts it inside of the irises. Now, it's not a perfect match, you can see that I am not absolutely perfectly getting rid of the irises. This is without that layer, this is with that layer.

But it does a pretty good job of downplaying, sort of diffusing those pupils, as well as getting rid of this weird, sort of melanomic spot that's on the iris down here. At least, that's the way it looks now that I have increased the size of the darn thing. All right, we need to add shadows to the iris, and that's done also, quite effectively, as you can see, by a blob of a layer. I am going to go ahead and turn it on and it looks like this, I just painted with green. Why did I paint with green? Complimentary color to the orange that's going on inside the irises currently, that way we are going to get a nicely mixed shadow, but we need to change the Blend mode.

And I am going to change that Blend mode by going up to the Blend mode popup menu here and choosing Multiply , like so. And that will burn in those shadows into those irises, and of course into the flesh at this point. All right! Now, I am going to turn on more shadows, and you might say, hey Deke! Don't you want to clip that? Yes, I do. We'll come back to it in a moment. I am going to turn on More Shadows, go ahead and click on it to make it active. Actually, let's turn off Shadows for a second, so that you can see, this is a low Opacity layer of that same green.

And when I say low Opacity, I mean I painted it with a low Opacity value, using the Brush tool once again. And I am going to change the Blend mode associated with that layer to Multiply as well, so that we are burning that one in. All right! Now I am going to switch back to the Rectangular Marquee tool, just so that I have my cross cursor. And I am going to turn on both of these layers, and I am going to select them both by clicking on one, Shift+clicking on the other. You can add more than one layer to a Clipping Mask at a time by selecting them and then going up to the layer menu and choosing that command, Create Clipping Mask, and that's going to add those guys to the mix.

Now, there is one more Clip layer that I want to add to the stack. You can see though that things are going pretty good at this point in time, not perfect, but they are looking pretty darn good. We'll refine things using some layer effects in a future exercise, but for now, I just want to lighten up the eyes, and I am going to do that by clicking on More Shadows to make it active. I am going to bring up my Adjustments panel, which you can also get by pressing the F10 key, if you loaded dekeKeys. And I am going to press the Alt key or the Option key on the Mac and click on the second button on the top row, which is the Levels button.

Brings up the New layer dialog box of course, since I Alt or Option clicked. And I'll call this new layer lighten. And then, I am going to turn on this check box, Use Previous layer to Create Clipping Mask. So that will add this Adjustment layer to the Clipping Mask stack. And I'll click OK in order to accept that New layer. You may recall I was telling you that Adjustment layers affect all layers below them by default. However, if you include them in a Clipping Mask, they only affect the layers insides that Clipping Mask. All right! I am going to go ahead and increase this first value, the black value, to 20, so anything with the luminance level of 20 or darker becomes black.

And then I'm going to tab over to the white value, so I press the Tab key twice, and I am going to press Shift+Down Arrow three times in a row, to reduce that value to 225. So I am saying anything with the luminance level of 225 or a lighter will become white. And now let's lighten up the Midtones here by pressing Shift+Tab in order to step back to that gamma value, that's that middle value right there. I'll press Shift+Up Arrow three times in a row in order to raise that value to 1.3, which is going to brighten the mid level colors inside the image.

And then I'll hide the Adjustments panel. And this is the difference this layer makes; this is before and this is after. So just brightens things up a little, but does a heck of a job of making these irises look more volumetric. I'll go ahead and turn off all of these Clipped layers. This is the way these irises looked at the beginning of the exercise and this is the way they look now, thanks to a little bit of painting on new layers and a little bit of work with Blend modes, specifically Overlay for the Dodging effect and Multiply for the Shadows, and then of course a Clipped Adjustment layer to brighten the whole thing.

We still have some work to do. We are going to apply some layer Effects in the very next exercise.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced.


Expand all | Collapse all
Please wait...
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."
Share a link to this course
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.
Upgrade now


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.

join now

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

Congratulations

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

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


OK
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
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



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.

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