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The four-point "perspective" distortion

From: Photoshop CS5 One-on-One: Advanced

Video: The four-point "perspective" distortion

So as I was saying, we need to be able to apply some perspective distortion to this text, in order to get it to match the angle of the sign. However, we can't, because one of the rules of Photoshop is thou shall not distort live text. We can skew it if we want to by Ctrl+Dragging one of the handles or Cmd+Dragging on the Mac, but that's hardly the same thing. So what we need to do in convert this text to a different kind of layer and then apply the distortion. So I am going to go ahead and Zoom out a little bit. And I am still working inside Automation boy.psd, and I am going to press the Escape key in order to escape out of the Free Transform mode.

The four-point "perspective" distortion

So as I was saying, we need to be able to apply some perspective distortion to this text, in order to get it to match the angle of the sign. However, we can't, because one of the rules of Photoshop is thou shall not distort live text. We can skew it if we want to by Ctrl+Dragging one of the handles or Cmd+Dragging on the Mac, but that's hardly the same thing. So what we need to do in convert this text to a different kind of layer and then apply the distortion. So I am going to go ahead and Zoom out a little bit. And I am still working inside Automation boy.psd, and I am going to press the Escape key in order to escape out of the Free Transform mode.

Now very briefly, I want to show you something here. Notice with this text selected, I can press Ctrl+T, Cmd+T to re-enter the Free Transform mode, and the reason I'm doing this is I wanted to show you how I can entirely bypass the scaling and the rotation if I want to. If I just start in skewing, I can get the same results I achieved just a moment ago with fewer Drags. For example, check this out. I will go ahead and Ctrl+Drag this side, that would be Cmd+Drag on the Mac, and then Ctrl+Drag this side, so I am essentially scaling, rotating and skewing all in one operation this way with a high degree of control mind you, and now let's say that I get the center right there, that transformation origin where I wanted to be, and now I want to skew with respect to that origin then I would press both the Ctrl and Alt keys.

This would be Cmd and Option on the Mac, and Drag in order to skew with respect to that transformation origin. And then I would just go ahead and Drag this point in a little bit, and I am pretty much there. So far fewer Drags required, if you know that you are going to be skewing or distorting upfront, just start in doing it right from the get-go. All right, anyway, I am going to press the Escape key as I was saying to leave the Free Transform mode. Now, I am going to have to convert the text to a different form and in such a form, the text will no longer be editable.

So If I want to still be able to come back to this text and make modifications later, then I should duplicate it, and I am going to do that by pressing Ctrl+J or Cmd+J on the Mac and then turning off the original underlying layer there. Now we have a new layer called I (love) Automation copy, and by the way, if you want that relationship maintained between the layer name and the text itself then don't get rid of that word copy manually by double-clicking on it here inside the Layers panel and modifying it. Instead do this number here. Switch to the Type tool and just select, let's say a random character and replace it, just enter that exact same character again.

So I replace the O with an O, press the Enter key on the keypad and then notice that Photoshop goes ahead and updates that layer name. Now what we need to do here is convert the text to a more standardized layer, and our options are these. Go ahead and right-click on an empty portion of this text layer, and you will bring up this shortcut menu, and notice that we can go and rasterize the Type, convert it to pixels. We can create a work path. That's going to create a Pen tool style path in the Paths panel that we can use for a variety of different purposes but is basically going to disappear the type while we work on it, because it will no longer have any layers form associated with it, or we can go ahead and Convert to Shape, and that's the money command in our case, because if we rasterize layer then it becomes pixels, and then every time we transform that layer, we have to basically damage it because we have to rewrite the pixels, and it may not be horribly damaged or anything like that, but it's slightly destructive, whereas if we convert to shape, then we're always working with vectors and so at least we protect the vector-based nature of the text.

So that's the way to go. Go ahead and choose the Convert to Shape command, and now notice that we get this typical shape layer meaning that we see a color swatch right here which represents the color of the text. So that's our solid fill layer, and then next-door, we have a vector mask. And the vector mask happens to have taken on the shape of the character outlines. All right, so now at this point here's what I would like you do. If you're working along with me, turn off that Vector Mask or at least so that we are not seeing it any more by clicking on it, and now we no longer see the gray outlines here inside the image window.

Then go up to the Edit menu and choose Free Transform or better yet press Ctrl+T, Cmd+T on the Mac, and now notice that in addition to Ctrl+Dragging or Cmd+Dragging one of the side handles like so, you can also Ctrl+Drag or Cmd+Drag a corner handle in order to distort the type, and I'm going to Ctrl+Drag or Cmd+Drag, that's a Ctrl+Drag on the PC or Cmd+Drag on the Mac, all four of the corner handles, so that basically I am nailing the corners of the sign, like so.

And the other thing you should notice about our Bounding box by the way, is that it's tight to the bottom of the text. We don't have all this extra room for a potential descender because now that it's a shape, Photoshop has no idea that descenders might even exist and because they're not here, the lowest point in this text is the tip of the tip of the bottom of the heart there. We are seeing a very tight and much more useful Bounding box. All right, I am going to go ahead and zoom in, so that we can take this sign in a little more clearly here because I really want to make sure we've nailed those corners.

So I am going to Ctrl+Drag or Cmd+ Drag, so we absolutely have alignment there with each one of those corners. So I am just doing a little bit of adjusting. You cannot nudge these points around. You have to actually physically drag them by the way, and that looks pretty good. Then I'm to go ahead and Alt+Drag or Option+Drag one of these corner handles. I am going to press the Shift key as well. So I'm doing a Shift+Alt+ Drag of the corner handles. Shift+Option+Drag on the Mac, because if I don't press the Shift key, I am going to get this wonky thing right here which totally ruins the skew that I've applied.

So Shift+Alt or Shift+Option+Drag the corner handle, until you make the text a little smaller. We don't want it to be tight to the edges in other words. I just wanted to match the angle there. Now, I want to take that text in a little bit and probably about there is right. Then I'm going to Alt+Drag or Option+ Drag this bottom handle, so the text isn't nearly so tall, because I don't want it to appear quite that stretched. I want it to appear more or less normal. All right a couple of other keyboard tricks that you might want to know about here. If you Ctrl+Alt+Drag or Cmd+Option+ Drag a corner handle, you're going to move both that handle and the opposite handle toward each other or away from each other like so, with respect to that transformation origin.

I will go ahead and Undo that maneuver. Another thing you can do, if you want to change your perspective of the text, is mash your fist. You can press Ctrl+Shift+Alt or Cmd+Shift+Option, all at once and then Drag one of these corner handles, and notice that you're dragging the other corner handle, that is the neighboring corner handle either along the side or at the top depending on the direction of your Drag, and that's going to create a perspective effect. So again, for the full on perspective, it's a Ctrl+Shift+Alt+Drag or Cmd+Shift+Option+Drag on the Mac of the corner handle.

We don't want that because that doesn't match the sign, but still it is available to us if we decide to take advantage of it. I'm actually pretty happy with what I've got here. I think we have a good angle match. I am tempted to monkey with it little more, but I think I've done a good job, like this handle wants to come in just a little bit. So I tell you I have a done a good job, and then I proceed to go ahead and adjust it. Anyway, I am doing a Ctrl+Drag or Cmd+Drag of that one handle, and then I seem to be doing another Ctrl+Drag or another Cmd+Drag, and I might go ahead and tuck this in just little bit by Alt+ Dragging or Option+Dragging that side handle.

Whatever modifications you want to make, ad nauseam of course, have at it, do so, and then once you feel like you're done, once you feel like you have a good match, then go ahead and press the Enter key here on a PC or the Return key on the Mac in order to apply that transformation. And notice that that goes ahead and scales that vector-based shape layer with a higher degree of flexibility than we had when we were working with editable text.

Show transcript

This video is part of

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

247 video lessons · 32797 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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