From the course: Deke's Techniques (2018-2021)
884 Faking a GoPro over-under shot
From the course: Deke's Techniques (2018-2021)
884 Faking a GoPro over-under shot
- Hey, gang, this is Deke McClelland. Welcome to Deke's Techniques. Today I'm standing onboard what was formerly a naval vessel here in beautiful Paradise Bay in Antarctica where I'm learning what it means to scuba dive and snorkel in very, very cold water. What does that have to do with today's technique? Well, in preparation for this trip, I went to a place called Hornby Island in British Columbia where the water was a relatively balmy 37 degrees Fahrenheit as opposed to here where it's what I formerly knew as freezing. In any event, Hornby Island is the perfect place to capture stellar sea lions like these guys right here. Now, this is what's known as an over/under shot, because you can see over and under the water at the same time. I captured this photo using a GoPro Hero 8, which is no small feat, because this thing has a very small lens that's barely larger than the surface area of the water. Plus, the water was very choppy and my friendly, several hundred pound pinnipeds kept bashing into me. Which is why this isn't technically a single photograph. It's actually a combination of four frames from a single movie that I composited to get a, together, that is, inside Photoshop. What? You didn't know I did that? That's what I do. Here, let me show you a rare instance, in which I totally fake the scene using real photographic elements in Photoshop. All right, so here we are in Adobe Bridge, just so we have a chance to see what we have to work with. I'll press Control + A or Command + A on a Mac to select all of these images. And then I'll press the spacebar in order to switch to the full screen preview mode. This is the fake over/under shot, by the way. The four frame composition. And these are some actual frames that I captured using a GoPro Hero 8. So this is actually a fairly authentic over/under shot. We just don't have much over to work with. You may notice we're seeing this guy's eye over here. But this might come in handy for these out of focus highlights. Then we've got another authentic over/under shot. It's just not all that remarkable. But you can see how these sea lions are pretty friendly. They come right at the camera. And then I've got this over shot where they're friendlier still. And then I have the under. And so we're going to combine them all together by first pressing the Escape key and then I'll Shift + Click on this guy so we've got all four of the JPEG images selected. I have not selected the layered PSD file. And then I'll go up to the tools menu, choose Photoshop, and choose this command right here, Load Files into Photoshop Layers. And that's going to automatically combine these images into a single composition. And you can see that Photoshop orders the layers in alphabetical order. And that's why I named them this way. So highlight is at the top, and under is at the bottom. And now what I'm going to do is expand the size of my canvas by going up to the Image menu and choosing the Canvas Size command. And notice, if I turn off the Relative checkbox, and assuming that my unit of measure is set to pixels, that the width value is set to 3840. And so again, these are just frames that I lifted from a GoPro movie. I want this image to be square, so I'll change the height value to 3840 as well. And I'll go ahead and select this top anchor point so that we're going to expand the canvas downward. And I'll click OK. All right, now what we need to do is move these images around a little. Now, I did this just by trial and error, but I came up with some specific settings. And so I'm going to select the under layer right there. And then I'll go up to the Edit menu and choose Free Transform. Or you have that keyboard shortcut of Control + T here on the PC or Command + T on a Mac. And now what you want to do is make sure up here in the Options bar that this check mark is turned on so that you have control over this target right here. And then you want to select the top-left point in this tiny anchor point matrix. And then go ahead and select the Y value. And I actually want to click on the Y to select it. And I'll change that value to 1760 like so, which is going to force that under image downward. Then I'll press the Enter key or the Return key on a Mac a couple of times to accept that change. Now you want to select the lip layer. And I'm going to take advantage of that keyboard shortcut of Control + T or Command + T on a Mac for Free Transform. Select that top-left point in the anchor point matrix and change the Y value this time around to 880, is what I'm looking for. Then I'll press the Enter key or the Return key on a Mac a couple of times to accept that change. And I'll select the highlight layer up here at the top and I will once again press Control + T or Command + T on a Mac in order to invoke Free Transform. And I'll select the top-left reference point once again. And I'll go ahead and select the Y value, and I'll change it this time around to 1155, should work out nicely. And I'll press the Enter key or the Return key on a Mac a couple of times to accept that change. All right, I'm going to turn the highlight layer off for a moment. Then I'll go ahead and select the lip layer. I want you to see, if I turn that layer off, that we've got the over image up above and the under image down below. And so I'll turn the lip layer back on again, make sure it's selected. Then you want to drop down to the Add Layer Mask icon at the bottom of the Layers panel. And instead of clicking on it, which would create a white layer mask, which would show everything, we want to Alt or Option + Click on it, and that will create a black layer mask that hides everything. All right, now what you want to do is select the Brush tool. Which you can get by pressing the B key. And notice, if I right-click inside the image window, that I've cranked my size value up to 500 pixels, my hardness value is 0%. So I want a nice, soft brush stroke. And then for a nice, smooth brush stroke, go up to the Window menu and choose Brush Settings and set the spacing value, this guy right here, to something like 10%, should work out nicely. All right, I'm going to go ahead and hide that panel. And I'll tap the D key to invoke my default foreground and background colors, which, when you're working with the layer mask, are white for the foreground and black for the background. Which means I can now paint in that water line like so. And you can just paint it pretty free form. It's up to you how you want it to look. If we have a little bit of a highlight up at the top, for example. Maybe a little additional shadow down here at the bottom. Now, what you have to be careful about is repeating any of the actual sea lion detail down here below the water line. Which I am doing as you can see here, so I'll press the X key to swap my foreground and background colors, so my foreground color is now black. And I'll just go ahead and paint like so in order to get rid of some of that extra seal flesh. All right, now I still have a little right here. And you want to make sure, more than anything else, that you're not seeing the hard edge between these two layers. Between the over and under layers. And so I'll bring this guy back. Notice that I am seeing a hard edge right there. I do not want that. That's a very big problem. So I'll reduce the size of my cursor a little bit by pressing the left bracket key. I'll press the X key to swap my foreground and background colors, so my foreground color is once again white. And I'll paint away that edge. And we've got a bunch of edge right here, actually. So I'm going to paint all this stuff away. So that is a giveaway. A sharp line between the over and under shots would, I think, imply to even the most casual observer that this is a faked composition. All right, so the big problem here is that I'm seeing this kind of fleshy tone right here. I'm see a little bit of sea lion flesh. And so what I'm going to do in order to cover that up is I'm going to click on the FX icon down here at the bottom of the Layers panel, and I'm going to choose Color Overlay. And notice, I came up with these settings here. So I'll click on the color swatch. Notice that the Hue value is 180 degrees, so cyan. Saturation is 100%, and Brightness is 50%. At which point I'll click OK. Now, you could set the Blend Mode to color, but if you do that, you're going to get some very bright colors as we're seeing right here. So instead, I'll go ahead and change it to Hue, which is going to observe the original saturation values. And then I took the Opacity value down to 77%, just because it's easy to enter two sevens in a row. And I'll click OK to accept that change. All right, now we want to introduce some additional highlights here, so I'll turn on the highlight layer right there. Select it by clicking on it. And then drop down to the Add Layer Mask icon at the bottom of the Layers panel, and Alt or Option + Click on it once again in order to hide the contents of the layer, for starters anyway. And now I'll just go ahead and paint in some of these highlights like so. And you can paint in as much as you like. So you can do whatever looks good to you. I'm going to press Control + 0 or Command + 0 on a Mac to zoom out. You might notice that this looks terrible at this point, which is why I'm going to go over here to the Blend Mode popup menu in the top-left corner of the Layers panel, and change it to Screen in order to produce this effect here. So this is how things look without those highlights. This is how things look with them. And now I'll go ahead and increase the size of my cursor a little bit by pressing the right bracket key. And I'll paint in a few additional details like so, which I think helps to create a more realistic effect. If you feel like you're going too far, you can always just press the X key to swap your foreground and background colors, so that your foreground color is black, and you can paint the offending details away. All right, I'm going to press the X key again, cause I want to paint in some additional details down here just so that this doesn't look like too sharp of an edge. And now I'll press Shift + F in order to switch to the full screen mode. And I'll go ahead and zoom in as well. And that's how you create a dramatic, if entirely fake, over/under composition by assembling a bunch of frames from a GoPro movie here inside Photoshop. Now tell me that wasn't awesome. Makes you want to run out there and engage in all kinds of Photoshop fakery doesn't it? Besides, Deke's Techniques isn't about ethics, people. It's about making cool stuff regardless of the consequences. But whatever you think of it so far, it could be better. Which is why if you're a member of LinkedIn Learning, I have a followup movie in which I show you how to take this image and make it look its absolute best inside Camera Raw. Deke's Techniques each and every week. Keep watching.
Practice while you learn with exercise files
Download the files the instructor uses to teach the course. Follow along and learn by watching, listening and practicing.
- 669_custom_QR.zip
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- 705_dynam_bgnd_1.zip
- 706_dynam_bgnd_2.zip
- 707_quieter_art.zip
- 708_disintegration.zip
- 709_more_flakes.zip
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- 711_flakes_to_ash.zip
- 712_note_tool.zip
- 713_contour_map.zip
- 714_contour_grad.zip
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- 716_contour_riff.zip
- 717_smooth_contour.zip
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- 725_color_hedcut.zip
- 726_ET_moon.zip
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- 728_ET_TRex.zip
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- 732_enhance_portal.zip
- 733_rushing_stars.zip
- 734_AIcc_puppet.zip
- 735_puppet_tricks.zip
- 736_complex_puppet.zip
- 737_puppet_shortcut.zip
- 738_pentagons.zip
- 739_reinhardt.zip
- 740_kershner.zip
- 741_james_pentagon.zip
- 742_rice_pentagons.zip
- 743_stein_pentagon.zip
- 744_15th_pentagon.zip
- 745_tessellate_15.zip
- 746_pentatiles.zip
- 747_mod_pattern.zip
- 748_complement_tiles.zip
- 749_image_pattern.zip
- 750_pattern_fit.zip
- 751_candy_keeper.zip
- 752_keeper_text.zip
- 753_monster_movie.zip
- 754_mono_halftone.zip
- 755_word_haunted.zip
- 756_cheat_letters.zip
- 757_alt_adjust.zip
- 758_scuba_mono.zip
- 759_backscatter.zip
- 760_sample_outside.zip
- 761_Ps_vector_logo.zip
- 762_trans_shapes.zip
- 763_photo_logo.zip
- 764_high_res_snow.zip
- 765_enhance_snow.zip
- 766_snowflake_bokeh.zip
- 767_mandala_ps.zip
- 768_mandala_pattern.zip
- 769_mandala_dots.zip
- 770_mandala_color.zip
- 771_mandala_final.zip
- 772_AI_trim_view.zip
- 773_AI_presentation.zip
- 774_global_edits.zip
- 775_global_control.zip
- 776_freeform_grads.zip
- 777_freeform_lines.zip
- 778_freeform_gotcha.zip
- 779_great_white.zip
- 780_sharper_shark.zip
- 781_vibrance_sat.zip
- 782_vib_sat_sharp.zip
- 783_hedcut_action.zip
- 784_action_actions.zip
- 785_color_lines.zip
- 786_combine_lines.zip
- 787_clip_to_group.zip
- 788_color_outside.zip
- 789_flip_horizontal.zip
- 790_white_walker.zip
- 791_walker_begins.zip
- 792_digital_shave.zip
- 793_deep_wrinkles.zip
- 794_deep_brows.zip
- 795_pale_lips.zip
- 796_glowing_blue.zip
- 797_lifeless_pupils.zip
- 798_cold_gloomy.zip
- 799_brittle_flakes.zip
- 800_trans_shapes.zip
- 801_range_mask.zip
- 802_flip_photo.zip
- 803_actual_dream.zip
- 804_augment_dream.zip
- 805_smart_distortions.zip
- 806_blend_distortions.zip
- 807_star_negative.zip
- 808_star_pattern.zip
- 809_shaded_stars.zip
- 810_grad_pattern.zip
- 811_pattern_fade.zip
- 813_gobstopper.zip
- 814_gobpattern.zip
- 815_galignment.zip
- 816_etched_lines.zip
- 817_blend_pattern.zip
- 818_cubical_holes.zip
- 819_grad_pattern.zip
- 820_iso_arrows.zip
- 821_position_tips.zip
- 822_fill_gaps.zip
- 823_cartoon_teeth.zip
- 824_triangle_eye.zip
- 825_add_windows.zip
- 826_perfect_tessellate.zip
- 827_triangle_tunnels.zip
- 828_triangles_pattern.zip
- 829_colorful_triangles.zip
- 830_recolor_triangles.zip
- 831_rainbow_blends.zip
- 832_pattern_blends.zip
- 833_imposs_trident.zip
- 834_shade_trident.zip
- 835_opposing_grads.zip
- 836_trident_shadows.zip
- 837_impossible_hex.zip
- 838_impossible_lattice.zip
- 839_Joan_Miro.zip
- 840_watercolor_wash.zip
- 841_Miro_signature.zip
- 842_Photoshop_Miro.zip
- 843_enlarge_Miro.zip
- 844_Miro_Peele.zip
- 845_color_Us.zip
- 846_red_rorschach.zip
- 847_finish_Us.zip
- 848_CAF_fails.zip
- 849_turkey_2019.zip
- 850_trace_hand.zip
- 851_articulated_hand.zip
- 852_colorful_hand.zip
- 853_paint_fingernails.zip
- 854_paint_turkey.zip
- 855_turkey_feathers.zip
- 856_drop_shadow.zip
- 857_Ps_iPad_1.zip
- 858_Ps_iPad_2.zip
- 859_Ps_iPad_3.zip
- 860_iPad_Sidecar.zip
- 861_Adobe_Fresco.zip
- 862_Fresco_halftones.zip
- 863_live_brushes.zip
- 864_oil_paint.zip
- 865_Fresco_masks.zip
- 866_repurpose_mask.zip
- 867_vector_brush.zip
- 868_fresco_ps.zip
- 869_auto_color.zip
- 870_ACR_pano.zip
- 871_correct_pano.zip
- 872_diffusion.zip
- 873_simplify_2020.zip
- 874_fill_gaps.zip
- 875_posterize.zip
- 876_paint_bucket.zip
- 877_nonD_poster.zip
- 878_dynamic_poster.zip
- 879_filmstrip.zip
- 880_awful_awesome.zip
- 881_rembrandt.zip
- 882_recolor_freeform.zip
- 883_recolor_group.zip
- 884_over_under.zip
- 885_dev_over_under.zip
- 886_3D_metal_star.zip
- 887_heavy_metal.zip
- 888_wonder_poster.zip
- 889_wonder_displace.zip
- 890_wonder_woman.zip
- 891_metadata_template.zip
- 892_edit_metadata.zip
- 893_quilt_warp.zip
- 894_warp_object.zip
- 895_gopro_images.zip
- 896_content_aware.zip
- 897_gopro_combo.zip
- 898_blend_vignette.zip
- 899_photo_painting.zip
- 900_cue_ball.zip
- 901_pool_ball.zip
- 902_stripe_ball.zip
- 903_transform_each.zip
- 904_recolor_pool.zip
- 905_pool_cues.zip
- 906_rotate_cues.zip
- 907_repeat_face.zip
- 908_rainbow_faces.zip
- 909_mask_lips.zip
- 910_single_many.zip
- 911_symmetrical_mask.zip
- 912_colorize_grads.zip
- 913_mask_grads.zip
- 914_lantern_type1.zip
- 915_lantern_type2.zip
- 916_lantern_type3.zip
- 917_blend_steps.zip
- 918_blended_blends.zip
- 919_reverse_order.zip
- 920_pattern_colors.zip
- 921_blend_pattern.zip
- 922_polygons.zip
- 923_equil_triangle.zip
- 924_mercedes.zip
- 925_star_ring.zip
- 926_perfect_star.zip
- 927_lets_review.zip
- 928_basic_shapes.zip
- 929_triangle_man.zip
- 930_paint_grads.zip
- 931_adv_grads.zip
- 932_trans_vectors.zip
- 933_free_distort.zip
- 934_dynamic_fx.zip
- 935_cats_eye.zip
- 936_cat_iris.zip
- 937_primitives.zip
- 938_zig_zag.zip
- 939_dynamic_hilight.zip
- 940_reptile_scales.zip
- 941_shade_eye.zip
- 942_variable_shade.zip
- 943_dragon_eye.zip
- 945_single_thumbnail.zip
- 946_ai_home.zip
- 947_unlock_object.zip
- 948_unlock_icon.zip
- 949_line_tool.zip
- 950_broken_candy.zip
- 951_candy_rhino.zip
- 952_wrap_pattern.zip
- 953_ice_shadows.zip
- 954_illustrator_ipad.zip
- 955_pencil_points.zip
- 956_ipad_blob.zip
- 957_ipad_pen.zip
- 958_grads_repeats.zip
- 959_color_grading.zip
- 960_grading_tricks.zip
- 961_blend_balance.zip
- 962_font_height.zip
- 963_camera_profile.zip
- 964_JPEG_raw.zip
- 965_match_detail.zip
- 966_Ps_line_tool.zip
- 967_troubleshoot_line.zip
- 968_blend_vectors.zip
- 969_curve_line.zip
- 970_point_glyphs.zip
- 971_area_glyphs.zip
- 972_snap_glyphs.zip
- 973_snap_letterform.zip
- 974_glyph_shape.zip
- 975_glyph_pen.zip
- 976_playing_cards.zip
- 977_scale_shape.zip
- 978_card_suits.zip
- 979_enhance_path.zip
- 980_power_symbol.zip
- 981_huge_artboard.zip
- 982_new_artboard.zip
- 983_triceratops.zip
- 984_pen_tricks.zip
- 985_round_corner.zip
- 986_draw_round.zip
- 987_reshape_round.zip
- 988_AI_brushed.zip
- 989_AI_rivets.zip
- 990_blend_grad.zip
- 991_binoculars.zip
- 992_blue_halo.zip
- 993_bi_aberrations.zip
- 994_hide_shapes.zip
- 995_subwoofer.zip
- 996_deep_cone.zip
- 997_gradient_frame.zip
- 998_hex_screws.zip
- 999_thats_all.zip
Contents
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860 Using an iPad as a Sidecar drawing tablet11m 37s
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861 Introducing Adobe Fresco for the iPad15m 27s
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862 Adobe Fresco paints halftone patterns9m 37s
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863 Live brushes in Adobe Fresco9m 36s
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864 Using oil brushes in Adobe Fresco5m 54s
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865 Masking layers in Adobe Fresco9m 47s
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866 Repurposing and inverting masks5m 25s
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867 Vector brushes in Adobe Fresco9m 7s
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868 Opening Fresco art in Photoshop8m 32s
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869 Customizing the Auto Color command6m 51s
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870 Camera Raw 12: Panoramas with fill edges9m 38s
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871 Developing your panorama in Camera Raw5m 53s
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872 Healing with Clone Source plus Diffusion8m 8s
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873 The improved Simplify command in Illustrator 20207m 25s
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874 Filling in any post-Simplify gaps4m 27s
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875 Posterizing colors, in the style of "Hair"11m 54s
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876 Recoloring art with the Paint Bucket tool5m 34s
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878 Adjusting your poster art dynamically6m 15s
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877 Posterizing colors nondestructively9m 8s
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879 Hiding the Filmstrip in Camera Raw4m 35s
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880 Making an awful photograph awesome10m 14s
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881 What if Rembrandt had painted sea lions?4m 43s
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882 Recolor a freeform gradient in Illustrator4m 58s
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883 Recoloring a gradient using a color group3m 24s
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884 Faking a GoPro over-under shot10m 20s
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885 Developing your over-under in Camera Raw4m 41s
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886 Drawing a 3D metal star in Illustrator14m 25s
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887 Rendering the 3D star in heavy metal5m 51s
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888 Creating a Wonder Woman 1984 poster effect9m 5s
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889 Creating the Wonder Woman displacement map15m 5s
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890 Masking your Wonder Woman11m 39s
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891 Creating a metadata template in Bridge9m 24s
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892 Streamlining a multi-use metadata template9m 29s
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893 The Photoshop 2020 freeform Warp enhancements12m 32s
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894 Applying a freeform Warp to a Smart Object7m 54s
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895 Rescuing a frame from a GoPro movie7m 49s
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896 Filling gaps with Content-Aware Fill7m 5s
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897 Two images are better than one13m 8s
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898 Blending images with a hand-drawn vignette4m 44s
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899 Creating a photographic painting12m 37s
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900 Drawing a gradient sphere as a 2D shape9m 49s
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901 Turning a sphere into a colorful pool ball7m 51s
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902 Changing a pool ball from solid to stripes8m 22s
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903 Rotate versus Transform Each in Illustrator9m 36s
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904 Recoloring your pool balls8m 20s
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905 Drawing a pool cue in Illustrator15m 43s
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906 Rotating with precision accuracy7m 28s
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907 Repeating a face so it shares a common eye11m 20s
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908 Continuous rainbow faces in Photoshop5m 42s
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909 Masking in the natural colors of the lips6m 8s
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910 Flipping a face to create new identities9m 8s
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911 Hand painting a symmetrical layer mask4m 18s
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912 Two ways to colorize with gradients6m 9s
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913 Two ways to mask gradient effects6m 40s
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914 Lantern tile: Type 1, onion7m 53s
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915 Lantern tile: Type 2, traditional6m 33s
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916 Lantern tile: Type 3, scallop4m 30s
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917 Quickly change the number of steps in Illustrator8m 22s
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918 Creating a blend inside a blend7m 44s
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919 Reversing the stacking order in Illustrator4m 32s
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920 Turning a blend into a repeating pattern12m 16s
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921 Recoloring a blended pattern5m 8s
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922 Precisely sizing any polygon in Illustrator9m 19s
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923 Creating a beveled, equilateral triangle11m 46s
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924 Turning a triangle into a Mercedes star9m 7s
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925 Adding a ring around the Mercedes star7m 57s
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926 Precisely sizing stars in Illustrator10m 20s
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927 Let's review that star technique5m 25s
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928 Creating real artwork with basic shapes9m 55s
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929 Making a face of triangles in Illustrator10m 18s
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930 Painting with gradients and translucency10m 34s
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931 More advanced gradients in Illustrator6m 52s
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932 Combining translucent vectors with a photo5m 30s
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933 Using the dynamic Free Distort filter9m 3s
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934 Combining dynamic effects in Illustrator6m 4s
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935 Creating a Halloween cat’s eye in Illustrator14m 35s
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936 Combining multiple gradient fills and effects8m 28s
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937 Tracing a photo with primitives in Illustrator11m 31s
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938 Halftone pattern and Zig Zag in Illustrator13m 5s
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939 Adding dynamic highlights to your cat’s eye10m 29s
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940 Blending reptile-like scales in Illustrator13m 42s
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941 Shading to your cat’s eye in Illustrator10m 53s
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942 Shading with variable-width strokes9m 10s
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943 Turning your cat’s eye into a dragon’s eye10m 40s
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944 Clearing the Photoshop Home screen5m 5s
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945 Hiding a single Home screen thumbnail3m 29s
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946 Clearing the Illustrator Home screen4m 4s
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947 A new way to unlock stuff in Illustrator5m
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948 Another way to unlock stuff in Illustrator2m 47s
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949 The new Line tool in Photoshop 202110m 43s
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950 Fixing a broken candy cane pattern4m 58s
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951 Creating a candy cane rhinoceros in Photoshop10m 4s
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952 Warping a pattern around an object4m 2s
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953 Adding some rippling, reflective ice shadows8m 35s
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