*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Tim Möbest:
Today, just before we get started. No, I'm not David, but Alex is with me, so that's good because unfortunately David has some internet issues and that's how he knows life. So I'm here deal with it. And today I'm joined by the one and only Alex Lazaris. Alex, how are you?
Alex Lazaris:
I'm great, man. How are you doing today?
Tim Möbest:
I'm doing really great because we have fantastic stream planned.
Alex Lazaris:
I'm actually really excited about these. These are my favorite kinds of streams, where it's going to be super interactive with chat. Chat. I see a bunch of you guys already in there. Wade Anika, Clever.
Tim Möbest:
Cody, bear.
Alex Lazaris:
What's up, Gus? Hello, friends.
Tim Möbest:
That's actually a good point because if you're watching anywhere button behance you're doing it wrong. Just kidding. No, you have to come on over to behance net slash Adobe Live, because today we will need your help for this stream. Can't do it without you. So come on over to Adobe Live to join the chat and say hi to the lovely people such like Cody and Gus and Marsha and Natalie and Sam and Fairy and Carol and Stephen. And they're all saying hi. That's so lovely.
Alex Lazaris:
Hello. Good to see you guys again.
Tim Möbest:
Yeah.
Alex Lazaris:
So I'm really excited about this. You want to tee it up or? I can tee it up.
Tim Möbest:
How do you want to do yeah, you can do it. You can explain it better than me.
Alex Lazaris:
So what we're going to do is almost like Voodoo Val's design off, but a little bit different. We are going to be leveraging the free Adobe stock today and Tim and I are going to need your help to give us ideas. I think you want to do every let's do every ten minutes, a new word from chat and we'll see if we can grab something from the free stock on Adobe and then incorporate that into our designs.
Tim Möbest:
How's that sound exactly? Yeah, whatever works. I don't think we have to do like, a timer or anything, but I love it.
Alex Lazaris:
Keeps things going.
Tim Möbest:
Can't get too much.
Alex Lazaris:
Exactly.
Tim Möbest:
If you think you can give me another one, then we can just call it and so, yeah, like Alex said, we will need your help and I think perhaps we can pick the first one so we can give the chat a bit of time to get ready.
Alex Lazaris:
That's a great idea.
Tim Möbest:
I'll let you I was thinking have your first pick something with a space. What do you think?
Alex Lazaris:
Oh, I'm a big fan. All right. Are we doing a planet? Are we doing solar systems? What are you thinking? Or anything? Space.
Tim Möbest:
We'll just use space. Let's keep the first one easy one because this one basically decides how this whole piece will turn out. So let's do space and we both will be working at the same time. So on the stream, you will sometimes see my screen and sometimes see Alex's stream screen and yeah, we'll just keep it light and keep it fun. If you have any suggestions, put them into the chat on slash Adobe Life. And I suppose we'll just dive straight in. Okay, so space, right? Let's go to Adobe stock and type in space in the free collection, by the way, where Adobe has, like, tons and tons and tons of free images for you to download. So if you want, you could participate at home on your Photoshop installation, even on the iPad if you want.
Alex Lazaris:
There's some good ones on images, no? Yeah, there's some really good ones, though.
Tim Möbest:
It's also some very interesting ones because this technically has some space in it, but not, like, space for some text. So, first of all, this is in German. Oh, that's unfortunate. I will pick horizontal. I will translate live there. We are horizontal because I want to have horizontal composition. That's obvious, right? Okay. And, I mean, there are some great ones in there already. Like, yeah, this totally realistic one. Wow, that's giving me ideas already. Gosh. What are you thinking of? What are you looking for?
Alex Lazaris:
So I found a really interesting kind of, like, solar asteroid type thing. So what I'm thinking about doing is I love making skateboard graphics. I think they work really well for compositing type graphics or things where you're mashing up a bunch of different ideas. I think skateboards are really forgiving for that. So I want to make a skateboard graphic with it. So I'm doing a very long, horizontal kind of graphic. And so I want to have points of interest on both sides. And so this original graphic that I got from Adobe stock right here oh, no, it's disappearing. Here we go. I'm clicking it's.
Tim Möbest:
Opening images exactly.
Alex Lazaris:
Has a lot of really kind of interesting foreground options. And then that solar burst in the corner I think might give me enough room to play with. So that's what I'm kind of leveraging right now to start, and we'll see how it all kind of comes together. But right now, it looks a little too 3D.
Tim Möbest:
Let's see what the chat says. Space cakes. Oh, interesting. There's no horizontal or vertical in space. Yeah, that's true. Where's up? Where's down? I don't know. On Mars, they are called Earth bars. Oh, thanks. Noor. Space headspace. Space rays. Oh, yeah. Cool. Skateboard. Yes. Alex, you're into skateboards, right?
Alex Lazaris:
I am into skateboards, yeah. I used to be a professional longboarder.
Tim Möbest:
Really?
Alex Lazaris:
Yeah, I used to travel around the world and go race and compete against people. Super fun. That's awesome. Now I just get the design skateboards for fun.
Tim Möbest:
Really? Cool. Okay. So I think I will go a slightly different route, and I will use the magic of Adobe stock because I don't have to download the image. I can just save it to my demo library, which just happens automatically. And by the way, I switched to English. You're welcome. Hopefully, now if I go to my photoshop now I of course start a new document, file new and pick a custom size. And I don't think we have agreed on a size. Right?
Alex Lazaris:
No, I think however you want to lay it out is totally fine.
Tim Möbest:
Default sounds great. Right?
Alex Lazaris:
Okay.
Tim Möbest:
Create. And now hopefully if I open my libraries, they are right here. I'm taking a second to open. There they are. Let's make that a bit bigger. There it is. So I can pick that image and I can drag and drop it right into Photoshop. But now you say tim. Well, if your name is Tim tim. This image still has a watermark. That's quite right. But that's not an issue because it just so happens to be that inside of the library panel, you can license an image right away. But maybe this would be a paid image. Maybe. I'm not sure yet. I don't know if I really want this one. So I will save that licensing for later and just continue my work with this image without licensing it at the moment. I will do that later. Okay. So I was thinking that I would isolate this foreground and have this person looking into a cool landscape.
Alex Lazaris:
Wow.
Tim Möbest:
So I'm cheating? Slightly. This is not technically space. It is space, but not space.
Alex Lazaris:
It reminds me of the did you ever play like Mass Effect?
Tim Möbest:
Of course game.
Alex Lazaris:
Okay.
Tim Möbest:
Yeah, I have played all the mass effects. Other more than one.
Alex Lazaris:
Anyways, there's like a guy who sits in front of this whole galaxy constellation thing, and that image and idea I think, kind of remind me of that a little bit.
Tim Möbest:
Look at that. I'm using select focus, which I have never really done, to select the subject that's in focus, because hopefully the background will look like it's not in focus. And Photoshop will help me with that. And turns out, yes, it does not cancel. Great. And then I will click cancel to do that one more time. So let's try it again. Focus area. Wait for it. Click. OK. And there we are selected without me doing anything magic or some person would say Adobe Ghidorah. Okay.
Alex Lazaris:
Cody Bear says, my husband's favorite game series is Mass Effect. So there you go. At least we got some fans in Chat.
Tim Möbest:
Oh, Cody. There you go. Tim plays know that's not too far away from the truth. To be honest, I do play quite a lot of artifacts. And I just noticed that this watermark actually interferes with my selection process. So I will license it just right now. And this will take a second. It opens my you can't see it. It was on the other monitor. But now I have licensed it without leaving Photoshop one time. Isn't that great? Now I can select it again. All right, what are you up to? Wow, you're already quite far. I haven't done anything. And you're like, yep, image, image.
Alex Lazaris:
I'm over here just cheating. I'm just trying to get as many variations of space as I can because I might want to change it later. I'm just trying to grab because they're free. I'm clicking and downloading and licensing them all. They're all free.
Tim Möbest:
It's great.
Alex Lazaris:
And I'm just trying to see what might stick, especially because these are going to be kind of a graphic element that I want to leverage either as a background, probably, or as a focal point. Also, this one's really interesting. This one that I just grabbed on Adobe stock is already composited. You see, like, the space, the clouds, everything was added in onto this image for you already. So if we are trying to do kind of this composition type of thing, I have a huge kind of jump start into my project just with this one asset, and I can add anything else I want into that. I think I'm ready for more words I don't know about you.
Tim Möbest:
What?
Alex Lazaris:
More words?
Tim Möbest:
Sure. Me, too. So tell you what, why don't you have a look at the chat and see if people can come up with some words, and I, in the meantime, can show something really cool because I have an issue with my Photoshop document. I have this very straight line, which can be sometimes an issue cutting that out. With the selection tool, you can get jagged edges, and that's not great. So I'm hoping that if I go to my preferences into the technology previews that's my monitor. Here we are. I should see yes, there we are. The enable content wear tracing tool So hopefully if I enable that now, I don't have to restart Photoshop. Please. No. Come on. It should appear somewhere.
Alex Lazaris:
So, Chat, while we're waiting for his Photoshop to work, I need your help with another name, another word. Give me anything you can for the next addition to our graphics, just give us any words. Be picking one hopefully at random in just, like, two minutes.
Tim Möbest:
Oh, no. I think I have to restart Photoshop for that.
Alex Lazaris:
Oh, no.
Tim Möbest:
But that's okay. Quickly distract him with some great imagery.
Alex Lazaris:
Okay, look. All right, so I'm just changing the colors. So all I'm doing right here to make some interesting things is I'm trying to see, if I change the opacity, the blend levels on the image, what might happen. And just by me changing the blend, you start to see that really interesting thing happen where the background and the foreground are meshing really nicely in an interesting way. Maybe it's a little bit too kind of what's it called. Maybe it's a little bit too background heavy right now or foreground heavy. And I might just mask it out, grab my brush tool with b, and then I'm going to fatten up the brush with my open brackets or the right bracket. And I can paint things in and out if I really want just to see how things might lay out. But maybe that's not that as cool as I originally thought it might be.
Tim Möbest:
So I'm going to just remove don't say that. It's amazing.
Alex Lazaris:
We're not ready.
Tim Möbest:
See. You're working wonders, alex. And you're so handsome. How do you do it?
Alex Lazaris:
Thank you. I just try to emulate you as much as possible, Tim. So our next word for this is cats. Chat wants cats.
Tim Möbest:
Cats, cats.
Alex Lazaris:
Work on everything.
Tim Möbest:
Space cats. Come on, give me something difficult. What's next? Lasers? Come on.
Alex Lazaris:
Exactly. I might try to try to spice it up with using, like, a lion or a tiger or something. Maybe not, I don't know.
Tim Möbest:
So I'm not sure what's happening, but I can't seem to find that amazing tool. It's supposed to be somewhere I've used before. Maybe I'm just overlooking it, I don't know. Anyway, it's supposed to do one thing where you can cut out a vector path in some sort, and it will do that automatically for you. But I can't seem to find it. But that's no problem because I not only have one way to select an object, I have many. And one of them, of course, is my favorite, the Path tool. Well, look at that. Look what I found. Content Aware tracing tool. I just misremembered the icon so I can use it. Okay, here we go. Let's go here. Click once and hopefully this will create a path. Come on. There we are. I may have to get more details in so it actually knows which line to expect. And there we go. And now you can see this fun blue line appearing if I hover over these edges. And now I click once and there we go. Now I have a path, which, of course, I can modify in any way I see fit. So I can go over here and close that path, perhaps even using the normal path tool. There we go. And now I have selected my very usually difficult selection. You have to get the curve right, and that takes so much longer than just clicking once, twice, closing a path. Done. And now, of course, I can do everything I want with this path. I can create mask shape or even the selection. I will go for the selection. And yeah, feathering one or two pixels, perhaps. And now I can go back to my mask and fill that with black. And there we have it. And now I can do the same thing if I actually show this to you, I can see this other edge, which I didn't use, where I didn't use the Content Trace tool. Super jagged. This one, however, is not. And that's why I really, really like this path tool. So I guess since I want to bring in the next image, this one down here, I mean, that's fine. We could use however, let's do that. Let's use the Refine edge tool because I've seen many people who don't know the difference between all the different sliders on the right corner here. I see smooth, I see feather. What's the difference? I will tell you right now. Smoothing will get rid of any jagged edges. So if I zoom in there we go. So you can see what's going on. Have a look at that before and after. Notice how it doesn't blur the edge. It just smooths. It is super round and nice and neat. That's smoothing feathering, however, check that out. It actually blurs the edge. This is great for hair or any other soft edges, but not the thing I want for this. So let's stick with smoothing. And there we are. Easy. Okay, so what was the second image? You said it's cats. Cats, cats. Of course.
Alex Lazaris:
Paco is lulling at my whatever Alex is making thing. I've got cat eyes going. I'm trying a cat galaxy. I don't know, it may or may not work.
Tim Möbest:
Cat galaxy. Okay, so Adobe stock no, not in German, please increase. Let's see what Adobe has to offer. Or even better, space cats. Let's see if it has anything for that space cat.
Alex Lazaris:
I feel like that's cheating.
Tim Möbest:
Space cats.
Alex Lazaris:
No, I'm going to look. I'm going to look fine. Maybe there's a great little astronaut costume.
Tim Möbest:
No, it's okay.
Alex Lazaris:
No, you can do it.
Tim Möbest:
I can cheat in a different way. I do need your 50 points because I happen to know that somewhere I can check the checkbox isolated only, with a bit of luck, there are some isolated cats. And there we go. They are already isolated for me, so I don't have to select them from a busy background. Isn't that nice?
Alex Lazaris:
There's a Santa Claus cat that I think I need to put in here, because why not?
Tim Möbest:
Of course. Yeah. So now I just have to pick a nice cat. I mean, they're all very nice, obviously, they're cats, but I think yeah, this one is speaking to me.
Alex Lazaris:
And use the object selection tool to try to mask out this cat real quick.
Tim Möbest:
Yep, that's that's going to be my plan, too. Catstronaut cat.
Alex Lazaris:
Perfect. Nailed it.
Tim Möbest:
Nailed it.
Alex Lazaris:
The world from the eyes of cats.
Tim Möbest:
Yeah.
Alex Lazaris:
Anika. Got it. That's what I was trying to know, that's what cats see is just galaxies. Because if you have a cat, you probably know that your cat's an alien.
Tim Möbest:
I missed some sort of vital part of this conversation. Like.
Alex Lazaris:
I'm just making up my own cat.
Tim Möbest:
Okay? Oh, right.
Alex Lazaris:
I think that's allowed.
Tim Möbest:
Sure. Of course.
Alex Lazaris:
What I love about streaming with you, Tim, is that this just feels like Photoshop ASMR right now, and I love it.
Tim Möbest:
I can do that. And now we will take the direct.
Alex Lazaris:
Selection tool and get working.
Tim Möbest:
This background perfect. Going to stop now. Otherwise Paco will send me very angry, slack messages. Could you stop that? Okay. And I should license up. And again.
Alex Lazaris:
Where'S the merch?
Tim Möbest:
And once again, if you are watching this and wondering, who are we chatting to? Why are we reading chat messages that you can't see? The reason is we are looking at the chat on Behance. So if you're not on Behance at this very moment, do come on over to Adobe Life. Once again. That's be net. Adobe Life. Join the chat, say hi, and give us your weirdest suggestions for Adobe Stock. And we have to integrate them. Yes.
Alex Lazaris:
I love it. And I think I'm going to actually try to mask out the I'm going to do a really rough masking out of this cat, but I think I like its outfit so much that I can't just have its tail in it's.
Tim Möbest:
Outfit. Okay. It's outfit. And then it looks over and yes. Okay. It's outfit. Fair enough. Okay. So I'm using, once again the select and Mask workspace to refine the edge of the fur. And I'm using the I think it's called the Detail no refine edge brush Tool or keyboard shortcut R to get rid of the fur. Which is exactly the same thing as you did, right?
Alex Lazaris:
Yes, I did object those things.
Tim Möbest:
Totally didn't use the magic one tool.
Alex Lazaris:
No, I use the object selection tool. And then I did the what's it called? The Quick Selection tool to kind of get a little bit more finessed in there.
Tim Möbest:
Yeah, in the middle.
Alex Lazaris:
Trying to remove his belly or its belly. I don't know why. I don't think the cat I assume cat genders.
Tim Möbest:
Okay. I was thinking that removing a white background would be easy, but I didn't think that cats do often have white fur, and that actually makes it much harder. And also, I can't cheat because my background won't be white, so I can't just leave it in. Dang it. So I have to do the manual work. Oh, no.
Alex Lazaris:
Sean goes, tim's teaching. Alex is doing get roasted.
Tim Möbest:
Yeah. Good enough, right? That's so funny.
Alex Lazaris:
I think I have, like, an army of little Christmas cats. I didn't realize that today would on the bingo card would be Christmas cats, but it is now.
Tim Möbest:
I'm doing low key animation. Watch this.
Alex Lazaris:
I see your After Effects training has brought you.
Tim Möbest:
Yeah, I will have my own show very soon.
Alex Lazaris:
I love it.
Tim Möbest:
They call me the Evan Abrams of Germany. All right, cats. Did we have another one already or are we still on Space and cats?
Alex Lazaris:
I'm ready for another one. Are you?
Tim Möbest:
Of course. Do we have suggestions in the chat? Yeah.
Alex Lazaris:
Chat. What did you got for us? Come on. It'll be a thing.
Tim Möbest:
Wow, look at that selection. That's amazing. Yeah.
Alex Lazaris:
I'm trying to see if I'm scrolled back. Actually, we just need new words. Chat, give us your thoughts and feels about what we can incorporate next. I have plenty that I need to touch up on this cat eventually.
Tim Möbest:
I mean, we can do some touch ups when we have more images. When it all comes together, that makes it much easier when we actually know where we're going. That's why I'm not doing any color editing at the moment, because I have no idea where we're going with it.
Alex Lazaris:
No, I know. It's very actually, the first thing that I read that really caught my eye was Megan saying cheese. And I think throwing some cheese in this board is going to be so I don't know how I feel about it, Tim, but I think cheese is a great one.
Tim Möbest:
Okay, sure. Cheese it is. That's quite easy. Cheese. Any special cheese in mind?
Alex Lazaris:
I think we're going to leave it up to you. You can get some feta in there for my people, or you can do some cheddar goo.
Tim Möbest:
Is there some kind of pun with cheese and cats?
Alex Lazaris:
Well, I think if we're doing space, didn't people say, like, the moon was made out of cheese? Or maybe that was just like the Wallace and Grummet episode.
Tim Möbest:
Okay, cheese. I'm going to make a cheese moon. All right.
Alex Lazaris:
Why not?
Tim Möbest:
Of course. First thing that came to mind, nico's.
Alex Lazaris:
Like cheese on the charcuterie board. That's actually a great idea. Dang it. Now I need to do that. I'm going to make a board skateboard one day.
Tim Möbest:
And just as a reminder, we are using the free asset collection of adobe stock. So if you would like to, you could actually join us and make your very own. Yes, actually, we would love to see that interesting composition. And if you like, you can post it in the discord, and the mods will hopefully very kindly write, cody, please put in the for once, I don't have to put it in myself. Isn't that amazing? If you like, you can post it to the discord in the photoshop discord, and perhaps I'm not sure if we have time to review them or if it's even enough time for you to submit in that in 2 hours, but, yeah, I will definitely have a look at that after the stream, if I find some. All right. Cheese. I mean, there's a lot of cheese on adobe stock, but not really round cheese, so I may have to warp or melt the cheese.
Alex Lazaris:
I know it's tough.
Tim Möbest:
This nice one almost looks like moon if I cut out the edges. Yeah, let's do it.
Alex Lazaris:
This little child is going to give this cat cheese.
Tim Möbest:
Thanks, Cody. What in the world?
Alex Lazaris:
Things I, again, did not expect to be said today was, this child will give these cats cheese.
Tim Möbest:
Cheese wheel. That's a good point, Sean. That's too late now. And also, I'm looking over at your screen, and you have, like, 200 layers already, and I just have oh, and.
Alex Lazaris:
The best part is, I'm not going to label any of them. Everybody can re at me. Feel free to slide into my behance DMs and tell me how I should be labeling things.
Tim Möbest:
How dare you?
Alex Lazaris:
I did a stream with Claudia the other day, and I promised that I would clean up my workspace names. And I haven't done that for photoshop yet.
Tim Möbest:
I always say layer one is a name two. So is untitled. One My document is still called Untitled One. Deal with it. Okay, so now I could Liquefy the cheese, or I could puppet warp it if you just joined. Yeah, I will puppet warp the cheese. What's going on? Let's do Liquefy, because that's more fun.
Alex Lazaris:
Oh, no. It's a paid asset. No good stuff. All right.
Tim Möbest:
Oh, at the very bottom? Yes. If you scroll all the way to the bottom on the free collection, it will show you a selection of the paid assets just in case you want to know, like, hey, what else is in Adobe stock? Yep.
Alex Lazaris:
Well, the only cheese wheel I have available to me right now is this camber cheese. Isolated black slate cheese.
Tim Möbest:
That's good enough. That's round. It's cheese. It's white. It's moldy. That's almost like a moon.
Alex Lazaris:
Exactly. It's perfect. I'm going to adjust the opacity just so I can see it and I can place it over the other the kids Moon moon cheese is what's going to happen here.
Tim Möbest:
All right. Now, I'm going to use very underrated tool of the Liquefy filter selection tool thingy. You know what I mean? People often use the forward warp tool, which just means you take the pixels and you just move them in one direction. That's great if you want to move some subtle things. But perhaps maybe you want to move an edge like this one. And then you go ahead and you just do this. Do it one by one, slowly, very slowly. And you end up most of the time with, like, this jagged edge, especially if you have super small brush size. And that's not great to deal with, especially if you have face retouching or anything going on where neat edges are very important. Otherwise, your skin will look wavy. So instead of using the forward warp tool, I will use the push left tool. This sort of works like a snow plow. You just go into one direction, and it moves all the pixels to the left like this. See that? Now you can imagine how easy it is to keep this edge super clean and not warp too many pixels. So my idea is let's just undo that. Or I could use the what is it called, this reconstruct tool for that if I don't want to undo. And now my idea is to take a very large brush and sort of move this into a sphere of some sort. Hopefully. Let us know in the chat if you have used the push to the left tool before, let me know. I'd love to know. All right. What are you up to?
Alex Lazaris:
I'm masking out the kid's hand so that he is holding a gigantic piece of cheese. I don't know why I'm still keeping the child in this. Now, now that he's not holding the Moon but at least I'll know that there was a moon here before.
Tim Möbest:
When did you have the child?
Alex Lazaris:
I've been busy, man.
Tim Möbest:
What happened? Hang on. What? Well, I mean, I was announcing at least when I was cheating. You just cheated?
Alex Lazaris:
What do you mean I cheated? I'm not grabbing can I not add words that are not added by no.
Tim Möbest:
That'S the whole point.
Alex Lazaris:
Oh, no.
Tim Möbest:
Well, then it's easy. Of course. I would just like very tiny in the corner.
Alex Lazaris:
Yeah, okay, you're right. I apologize. I'm sorry. Chat, you can I own that. That was my bad.
Tim Möbest:
If I can also add a child, then that's okay. It's amazing.
Alex Lazaris:
All right, I will delete my child. Goodbye, child. Not need it anymore.
Tim Möbest:
Virtual child, please.
Alex Lazaris:
Virtual child. Yes, of course. Let me just remove his handprints from my cheese. He scuffed it while he was busy. All right, well now this wheel of cheese isn't doing anything for me.
Tim Möbest:
You can keep that, Leia. That's fine.
Alex Lazaris:
I just said neither one of them made sense. I know this wasn't approved by Chat.
Tim Möbest:
Okay, you're right.
Alex Lazaris:
All right, I've got just regular cheese now. I have a very sad cheese board.
Tim Möbest:
So, Tim, what do you do for a living? Yeah, I Photoshop Cheese live and people are watching me.
Alex Lazaris:
It's amazing Pakistan keep the child. Too bad it's gone forever. I don't know.
Tim Möbest:
My Quick Select Tool is not liking me today, so I have to use a different one. That's better.
Alex Lazaris:
Chat, what's your favorite cheese? I want to get to know. All right, let's see here. So I got my masking. It's a little bit difficult to mask white cheese from a white background.
Tim Möbest:
Undo. What? What happened?
Alex Lazaris:
They were trying to get me to bring back the child, but he has been thanos snapped out of reality.
Tim Möbest:
Wow. I hope people not just tuning in right now and without context, not knowing what's happening. By the way, I'm going to just put in a placeholder background of some very rough brush strokes so I just can just get the color at least somewhat close to space before I look for any Adobe stock images.
Alex Lazaris:
That's a good idea. I'm trying to make a mountain of cheese now. This is how I've devolved. Now I'm just trying to make a mountain of cheese.
Tim Möbest:
You say that it's a bad thing.
Alex Lazaris:
It's not a bad thing. I guess we should put a warning if people have lactose allergies, I do. Well, welcome to this stream.
Tim Möbest:
Hang on by my pants.
Alex Lazaris:
Exactly. Perfect.
Tim Möbest:
Not even a joke. But luckily most cheeses fun fact are lactose free. I didn't know. Only like the super fresh ones. They have some in it. Welcome to useless facts on Adobe Live today. Your host is get a Wheel of Palmer. Sounds like a game show. Wheel of Parmesan. Okay, I'm going to use some filters. I think.
Alex Lazaris:
I'm just going to take this Swiss cheese and just kind of duplicate. It all the way across the bottom of the board for some reason.
Tim Möbest:
Okay.
Alex Lazaris:
Might as well.
Tim Möbest:
Sure.
Alex Lazaris:
I don't like how it looks so symmetrical, though. So I'm going to just flip horizontal a couple of times to make it feel but then the lighting is off. Oh, goodness.
Tim Möbest:
We can deal with that later, right? True, but I think it's about no, it's only 50 minutes, so no need for a new word yet. Quite yet. But Chad can already think of one, perhaps so he can send us them immediately when we need one.
Alex Lazaris:
Carol says I have a mind like fine Swiss cheese. It's true. It's beautiful.
Tim Möbest:
And here I am masking it out by hand, even though I spent so much time saying, no need to mask up by hand. That's unnecessary. You're Photoshop. No need to take out your safety scissors and cut it out by hand.
Alex Lazaris:
Transform, flip horizontal. And then I'm going to diagonally move.
Tim Möbest:
It just so it OOH, getting fancy.
Alex Lazaris:
Oh, yeah, I got that rotate going. Now I'm unstoppable.
Tim Möbest:
Okay, so I really like the composition. Maybe that's a bit larger. Yes, I know.
Alex Lazaris:
Would this be a charcuterie board or would you still call it a charcuterie board? Too soon?
Tim Möbest:
No comment. Okay, so I'm hoping Chat will give us a nice suggestion that can somehow allow me to link the cat's eyes with the cheese. Moon, planet, star, whatever it is. I don't know yet. And lasers could be easy. I mean, I do happen to have a demo library of cool assets, which I can always use. I can just put in this, but I don't think that's allowed. That would be considered cheating, right, Alex?
Alex Lazaris:
If you're just throwing random elements into.
Tim Möbest:
No, no, I won't do that. I won't do that. It's okay. Right. Lighting, I said.
Alex Lazaris:
Lasers are one of those things so time consuming to make. Lasers.
Tim Möbest:
You think it is?
Alex Lazaris:
I think it takes me too long to make a good looking laser in Photoshop.
Tim Möbest:
Let's give it a try. Because we don't need hey, if I don't need a stock asset for lasers, I can use it, right?
Alex Lazaris:
Exactly.
Tim Möbest:
I'm going to make a laser. Laser.
Alex Lazaris:
Fire the laser. I got to throw some.
Tim Möbest:
Chat can pick the color. How about that?
Alex Lazaris:
That's a great idea.
Tim Möbest:
Right? Laser.
Alex Lazaris:
Someone in Chat asked, what did I miss? If you're just tuning in now, we are doing essentially photocompositing compositing, but using Adobe free, adobe stock's free library. So all the assets that Chat is giving us, random words for about every ten to 15 minutes, we are bringing that into our designs. I'm going to be making a skateboard. Tim is making a presentation.
Tim Möbest:
No idea.
Alex Lazaris:
We're just making cool things. And we're using Chat's brains to help us make it as crazy and fun as possible.
Tim Möbest:
Exactly. Okay, so I've heard that a good laser is made up of multiple glows, and that makes it look realistic because you can actually, if you have a look at the where is it supposed to be there. You can supposed to add a plus. Can't see it. You're supposed to be able to add multiple auto glows. Can't you do that? I was so sure you could. Or was it after effects? Oh, no. But you can at least add multiple drop shadows. And you know what a drop shadow is just a glow with different blend mode. But don't tell anyone.
Alex Lazaris:
Don't tell anybody.
Tim Möbest:
That's a secret because you can just set the blend mode of the drop shadow to something that actually makes it brighter and it just behaves like a glow. Yeah.
Alex Lazaris:
There you go. All right, I think I'm ready for another word.
Tim Möbest:
Okay.
Alex Lazaris:
I've got so many cheeses on my board now.
Tim Möbest:
That sounds okay.
Alex Lazaris:
Let's see. Maybe there's a better graphic in the background I can use. That's probably a little bit more fun.
Tim Möbest:
Have we decided on a color yet? I don't think so. Right. Chat, give me a color, please.
Alex Lazaris:
Yeah, I think it's open to interpretation. When I accidentally turned on all my blend layers, I've got this cat eyes in the background with the space looking. It's a lot. It's kind of crazy looking. Let's see here. A laser line of mice from the kitty's eyes to the cheese is what Candice says. Amazing. Well, Sean, thank you so much for hanging out, man. Appreciate it. Sean's going to catch the rest on replay because he's got to walk away.
Tim Möbest:
Well, that's all right.
Alex Lazaris:
Which is great.
Tim Möbest:
That's why we have the.
Alex Lazaris:
Also, just I might steal the blend opacity from my space layer and see if I can just overlay that on top of the cheese a little bit, make it a little bit more colorful or spacey. I don't know. I really want to get this printed and then do a Photoshop with it or Photoshoot with it because I was able to do that with the boats and goats board I made with Val a long time ago. It was super fun there. I don't think it's going to work. All right, Chat, are you ready? Tim, another word?
Tim Möbest:
No. But yes. Great. Yeah.
Alex Lazaris:
Great. We're ready. All right, Chat, we need your help. Figure out another word to add to our images. Would love to hear what you got in store. Let's see how this mockup in the meantime would look on our little skateboard mockup do.
Tim Möbest:
In the meantime. I'm still slightly struggling with my laser because apparently I have to pick a different color because purple doesn't really appear on purple on a purple background. Who knew? So let's do a nice energy ray and it's with an orange one light beam.
Alex Lazaris:
Oh, my goodness. It's so long.
Tim Möbest:
There we go.
Alex Lazaris:
I'm trying to get it to match my dimensions real quick.
Tim Möbest:
Chocolate Bruce Willis. I don't think we will find Bruce Willis in the free collection. That would maybe be in the editorial. We don't we're not doing that today because you can't edit them. At least not the way we do it. That's not allowed. All right, let's see.
Alex Lazaris:
Just a work in progress. Let me zoom in. It's going to be just a second while photoshop thinks.
Tim Möbest:
All right, cool.
Alex Lazaris:
Let's do it.
Tim Möbest:
All right, I think it's time for a new word, isn't it?
Alex Lazaris:
I think it's a great time for a new word. If you want to see my mockup right now, Tim, it is on my screen. Look at that beauty. You know, cats, skateboards, cheese, some feta cheese, and some planets. Not looking bad. Not looking bad so far.
Tim Möbest:
That is so much better than mine. Hang on. Where did you get the mockup again?
Alex Lazaris:
I don't remember where I got the mockup. I think I might have gotten it from creative market a long time ago. Or maybe even on Adobe stock a long time ago.
Tim Möbest:
I'm just using this once again.
Alex Lazaris:
Oh, my God. This is not even a cheap. I'm using it as visual reference. The graphic is right here. Mockups are a free game.
Tim Möbest:
Okay, all right, fair enough.
Alex Lazaris:
To help sell your concept. All right, let's see here. What is the words I'm seeing? Chocolate paint splatters or grunge rainbow. Thanks, Tim. Coffee and cheese. Bruce Banner. Then the green guy. Catnip limbs flare. Lemon. Fine.
Tim Möbest:
Mockup.
Alex Lazaris:
Thank you. Clever. Yeah, paco whipped that up that motion graphic immediately. It was awesome. I see lemon. You want to do a lemon? Great.
Tim Möbest:
Apparently what you learn.
Alex Lazaris:
No, I can repeat the words for.
Tim Möbest:
You if you want.
Alex Lazaris:
I'll let you choose. Sure.
Tim Möbest:
I'm a pro. I can do that.
Alex Lazaris:
That's what Chat wanted. Give chat what they crave. All right, so I see this lemon. I like it a lot. I'm going to see if I can grab it and then put the stem on a planet. That will be pretty cool. I think need to turn down the curve a little bit.
Tim Möbest:
And I need to bring in a background, so maybe hmm. I was thinking if I could find, like, an isolated lemon like this one, I could use it as stars in the background. Lemon stars for some reason. Don't ask.
Alex Lazaris:
I think we're both in the same kind of headspace.
Tim Möbest:
I think we're way past that point where we would question mine.
Alex Lazaris:
Think alike.
Tim Möbest:
Oh, this is perfect.
Alex Lazaris:
Do I have to use the whole lemon or can I just use the stem?
Tim Möbest:
No, as long as some part of that image makes it in there.
Alex Lazaris:
Okay.
Tim Möbest:
That's okay.
Alex Lazaris:
I agree. Just wanted to make sure. I've already cheated enough. Apparently.
Tim Möbest:
It'S fine. Umbrella. Oh, dear. We will ask for another word very soon. Very soon. Don't worry. But not yet. We have to implement those so lemons. Okay, I think I will use a really cool trick. How I could get those lemons into how I can duplicate them without having to command J like 20,000 times. Because it takes ages. So first of all, let's license that one. Adobe stock says yes. No problem, Tim. Here you go. And if this was a paid image, it would ask me like, hey, you have so many credits left. Would you like to license this one for one credit? Yes. Okay. So there are actually two ways to bring in those lemons and duplicate them. I think I will go with the mixer brush. I think that's what I'm what I'm doing. That's a good idea. Maybe I could also define a brush preset and use this with scatter. Or I could define a pattern and use a pattern fill script to fill the background. What do you think? Which is more fun?
Alex Lazaris:
Do the pattern.
Tim Möbest:
Pattern. Great choice. Okay, we'll do all three because we have so much time left. No, we don't. Okay, so for this, I have to select lemon first via the power of Adobe Sensei. But no shadow, please. There we are. I just use the object selection tool. I will create this one new layer. Let's solo this and clean it up using the eraser. People say you can never use the eraser tool. I say that's wrong.
Alex Lazaris:
I agree. That is wrong.
Tim Möbest:
You can totally use it. Nobody cares. Now, how do I do this correctly? Let's see if I can remember. I select this. I say edit, define pattern. There we are. Call that one lemon. It's a very important pattern. And now I think I create a new layer, fill that one with black, perhaps, and go to edit fill contents using a pattern and script using random fill. And of course, I will select the pattern and it should appear right at the bottom. There it is. And hopefully that should launch preserve transparency. Maybe that should launch a window. There we are. And now I have random lemons. Of course, way too many. So let's crank down the density. Minimum scale factor, bring that down max distance. I don't know. We don't have a path. If we would have a path, I could place them along a path, but I don't. We could make the color a bit more random. That's nice brightness a bit more random. Sure, why not? I could save this as a preset if I wanted to do more patterns like bananas, strawberries. But I think that's okay. So let's click OK. And that pattern might have been a bit large. That's why I only have three lemons. Great tip, Tim. You saved so much work with this. Okay, let's try again. Fill pattern. Let's see if we can bring that down even further. And let's see again. Nope. Maybe. Yeah, I think the original pattern is just too big. So I will just do one thing. I will scale it actually down, repeat the same step and come back to you. And I think in the meantime, we could have a look at Alex Alex's screen while I do this.
Alex Lazaris:
Yeah, so what I'm trying to do is I'm trying to get the stem to be less yellow, obviously, because I'm trying to make my planet the almond. So I'm just trying to get the little topper to sit on it nicely. Obviously, there's a lot of little cropping issues or masking issues that I can adjust with it later on. But right now, I'm just trying to blend the two together a little bit more. I've got this little hue saturation that I'm using to color swap it, and I'm just trying to see how close I can get it without losing parts of it. So I might need to actually what's it called? Yeah. There we go. It's starting to get a little bit more black. I think that's actually the correct move for that stem, even though you kind of miss out the fact that it's connected. But whatever, it's working.
Tim Möbest:
Alex?
Alex Lazaris:
Yes?
Tim Möbest:
Do you know why I only had, like, three lemons?
Alex Lazaris:
Why?
Tim Möbest:
It would help if I increased the density to bit more. Then I will get more lemons. Who would have thought? Crazy. Wow. So many lemon sims. Yeah, it was the first slider, and I missed it.
Alex Lazaris:
Well, it happens.
Tim Möbest:
That's how you know it's live. Exactly.
Alex Lazaris:
No scripted here, folks.
Tim Möbest:
All right. Wait, we're not scripted? Alex, you are such a nice person, and you smell nice, and you have nice hair.
Alex Lazaris:
You are contractually obligated to say that, though, right?
Tim Möbest:
No. Can you send me the money for that?
Alex Lazaris:
Yeah, I got you. Oh, it's cheap. I'll get you to say it three more times.
Tim Möbest:
This stream, the placing of that lemon just happens to be overset. And I think now that I have.
Alex Lazaris:
To do that now I like, your guy's limit head is amazing.
Tim Möbest:
That was an accident. I didn't intend to do that, but now that's the way it is.
Alex Lazaris:
No, I like it. That's great. I'm ready. I think I'm ready for more.
Tim Möbest:
Wait, what? Okay, so, Chad, apparently it's time for you. Word.
Alex Lazaris:
I can wait for you. I'll let you catch up real quick. No, it's okay. I got a really interesting photo I.
Tim Möbest:
Might.
Alex Lazaris:
See if they can fit.
Tim Möbest:
I mean, they have to use they probably take some time to guess of a new word anyway.
Alex Lazaris:
That's true. That's a good point. Look at this image. It's a delight.
Tim Möbest:
New word. Wow. Nice.
Alex Lazaris:
Graphic. Yeah. New word. So scripted. I'd love to see unscripted sudden wade. That's funny.
Tim Möbest:
You know that song, right? A whole new word.
Alex Lazaris:
A whole new word. Get DMCA strike now.
Tim Möbest:
Oh, no, we said word.
Alex Lazaris:
Yeah, word. It's different.
Tim Möbest:
That's how that works.
Alex Lazaris:
All right, this division is putting it.
Tim Möbest:
For me, lemon is either the best or the worst Eddie ever, and I'm not sure which one it is.
Alex Lazaris:
Yeah, this is getting tough now. All right, chat new.
Tim Möbest:
Awesome.
Alex Lazaris:
Let's see here. I see umbrella from Paco. Umbrella would be a really good one.
Tim Möbest:
Yeah, we did have that one.
Alex Lazaris:
That was from earlier. Let's do umbrella. That's a great chat if you have words and we're not getting to them. Definitely use them again next time or in just a couple of minutes, and we'll try to get to them.
Tim Möbest:
Okay, so because I was super clever, I filled this layer of the lemons with black first and then added my scattered lemons on top. So I can't really get rid of the background unless I do some Adobe Photoshop Magic, and I could use a blending mode, or I could have just used a blank layer and filled it then and there. But now that I have a black layer, how do I get rid of that black background? I could use a blend mode, like I said, like one of the lightened ones, and that would work. But this would also mean that if I, for example, use the screen mode, that some lemons will become slightly transparent. And maybe I don't want that. Maybe I don't want transparent lemons. Who wants that, right? I want my lemons to be fully opaque. I hope that's not something weird to say. So instead of using a blend mode, I will go to the blending options, and I will use the blend if feature where I can get rid of. Let's see if that comes through. Oh, yes, it does. Okay. I can use this layer. There's a slider for the underlying layer and this layer slider. So I will use this layer and say, if there's anything that's darker than this color, make it transparent. Now, there's a reason why we have this black fringe around, because I can not only move this slider, but I can also hold on the auto option key to split this one and watch what happens, hopefully to this black edge around the lemons. It should go away magically. There we are. And now I have a transparent background of lemons with my super great painted space background placeholder thing. Okay, so which one did we have? Umbrella.
Alex Lazaris:
Umbrella.
Tim Möbest:
Right. Umbrella. Let's see what we get. OOH, that's moody.
Alex Lazaris:
You've seen some good moody ones.
Tim Möbest:
Yeah, but I still need a background, and I was hoping that I could somehow get a background from here, but no luck. How are you planning on implementing the umbrella?
Alex Lazaris:
So I found a great image of this guy that has literally every variation of a guy with an umbrella. So I'm going to try to incorporate several different versions of the same guy, maybe fighting these Santa Claus cats on this pile of cheese. So I'm going to just do some quick masking in and out, see if, you know, have these Godzilla Santa Claus cats in this frame. And I don't know. I don't know how my frame works.
Tim Möbest:
But there seems to be a theme, and the theme is I don't know. Yeah, I can only share that theme exactly. Like, how am I supposed to know exactly?
Alex Lazaris:
All right, so I got this guy. I'm just going to crop him out.
Tim Möbest:
MMM.
Alex Lazaris:
Shift I to change my inversion. And then I'm going to press G and X to just remove all the other people really quickly. Now I've got a mask with just one character.
Tim Möbest:
Okay, I think I found my umbrella image. Going to cheat slightly. It has umbrellas in it, but I will crop them out because I am really interested in this ocean water thingy. And I will use that hopefully to create my background. That's the idea.
Alex Lazaris:
I need to get this guy up and live there. The non plus cat face with the umbrella.
Tim Möbest:
Yeah, exactly.
Alex Lazaris:
I don't think the cat is very entertained.
Tim Möbest:
Are cats ever entertained?
Alex Lazaris:
That's true. Only when they're doing things that are naughty. Let me see if I can get this.
Tim Möbest:
All right.
Alex Lazaris:
I might move my Santa Claus cats really quickly just so that they stack a little bit nicer in the.
Tim Möbest:
Mean. Those are very interested cats, and I feel like asking, what are they up to? What are they hiding? I feel like they know more than we do somehow.
Alex Lazaris:
It's true. It's very true. Cats, have you ever seen the Cadbury cream? I think it's cadbury.
Tim Möbest:
Cadbury cream.
Alex Lazaris:
Yeah. They did the whole, like if cats had thumbs campaign back in the day. It was really good.
Tim Möbest:
Okay.
Alex Lazaris:
Very good. Talking about how they would take over the world and steal all the milk, but the only thing holding them back is the fact that they don't have thumbs.
Tim Möbest:
And most cats are lactose intolerant full circle. Didn't expect that.
Alex Lazaris:
I had no idea.
Tim Möbest:
You're not supposed to feed them milk if they are an adult cat.
Alex Lazaris:
Oh, wow.
Tim Möbest:
Their stomach wouldn't like it. Okay, fun fact. Now, it was an issue. I like this water background, but it has people in it. I want to paint that out, but I don't want to lose this great cloud symbol because that means it's a link. It's a smart object. So how could I do that? Well, I will just create a new layer and I will use one of my favorite tools, the Spot Healing Brush tool. And I will check the Magic checkbox, sample all layers. So hopefully I can now paint on that blank layer. And yes, indeed, I have removed that person even though the original layer is still in text. So if I were to solo this, you can see it's just this small patch of pixels on top of these other unharmed image. And of course, now I could either make this a smart object, I could group it or do anything else with it I desire, but first, I will remove all the other people in it. Non destructive editing. Yay.
Alex Lazaris:
Narush says, except for Santa cats, they expect the glass of milk. So I think that's completely true.
Tim Möbest:
Thank you. Fair point. There we are. Good enough. Another theme of the stream today. Good enough. At least on mine, then.
Alex Lazaris:
Exactly.
Tim Möbest:
Of course not. On your photo. That's pristine. It's perfect. It's amazing. I would print it. Thank you. Hang it on my wall or on my skateboard, which I don't have yet.
Alex Lazaris:
No, we need to well, this will be a print worthy graphic afterwards.
Tim Möbest:
I could, however, print it out and put it on my ukulele. And then I have a sick ukulele skin.
Alex Lazaris:
There you go. Sickest ukulele skin.
Tim Möbest:
How cool would that be? I would be the coolest kid in the town. Wow. He has a ukulele skin. Wow. That's amazing. And he also has flames on his T shirt. Why? So cool.
Alex Lazaris:
Yes, indeed.
Tim Möbest:
Wait, you're telling me that that's not cool?
Alex Lazaris:
No, it's very cool. I like it. I'm a big fan of thanks. The flaming Ukulele.
Tim Möbest:
Thanks.
Alex Lazaris:
Actually, that's a great band name for ukulele.
Tim Möbest:
Flaming Ukulele is now on. It will be live. This is actually our first gig. You don't know it yet.
Alex Lazaris:
Yeah. You were going to perform later. That was beautiful.
Tim Möbest:
Thank you. That'll be 560 for the ticket.
Alex Lazaris:
And this is getting expensive for me. All the compliments.
Tim Möbest:
I lost track. Yes. Cut up.
Alex Lazaris:
You can really get lost in masking things out. I think this asset is probably one of the smallest ones and the one that I probably spent the most time on.
Tim Möbest:
I think I will use a gradient map to color grade the background, because Sam Sam Peterson, one of the moderators, actually just made a really cool TikTok where he showed how you can draw magic spells using just black and white paint in Photoshop. Wow. Using gradient maps where you turn that into color and it looks really, really great. Of course, I can't and I won't draw a magic spell, but I could have used that to color in the laser if I wanted to. So I would have made black and white laser, black background, white laser. Use gradient map to color that in, and that would make it super easy and super fun to change. Also, the color theme. And one cool trick is if you have a lot of gradients, which, by the way, if you don't have all these gradients, which I do have here, you can go to window, you can go to gradients, click on the hamburger icon and bring in the legacy gradients. This will add more than the ones which are already here. And if you don't like this whole folder structure, you can always click on this, select them all and just drag them up and do the same thing for all the other ones. And then you have one huge list of gradients without the need to constantly go into the groups and select every single one of them. Because who wants to do that? That work. Okay. I don't want to use a gradient fill. I want to use a gradient map. Come on, photoshop. Oh, yes. And I wanted to say, if you don't like this gradient, you can always try blending modes, because the contrast blending modes, which are in the fourth category, always have a real nice effect if you just scroll through and see which one you like most, or maybe even some of the other ones. And today, I think I will go with actually multiply or even color burn because I really want a dark background. And I will even go further with this and color grade it so it actually looks a bit like a very distant texture. I don't really want too much of that because we will add more in front of that, like the lemons. It's supposed to be, like, really blurred out in the background. Okay. Any news from the chat? Anything important?
Alex Lazaris:
They were very impressed with your ukulele skills.
Tim Möbest:
Oh, thank you. Yeah, I have a band. We play every Monday morning on Sunrise.
Alex Lazaris:
Really?
Tim Möbest:
No. Well, almost. We do have the European streams where I sometimes join as a host or guest and we are actually working on an album.
Alex Lazaris:
Oh, that's amazing.
Tim Möbest:
Yeah, with great songs like Give You an Inch and You Take 1.61 give you an Inch and you take 1.61 km.
Alex Lazaris:
Yeah, I can see how that would just catch on like wildfire.
Tim Möbest:
And also other songs like Oranges Are Frustrating, the Rabbits No More, and Wall on the Floor and other great sounds like that. And it's going to be super fun when we release it.
Alex Lazaris:
Put me on the email list, please. I'd love to be there. Okay, Liquefy, I'm just trying to make some shadows for this guy.
Tim Möbest:
Oh, gosh. If you actually want to listen to it, we already have some songs out. Shameless self promotion. Watch the Adobe Live Europe streams and you will hear it. Beautiful. Okay.
Alex Lazaris:
I are you ready for a new word or I'm going to keep adding more umbrella.
Tim Möbest:
Guys, do you think it's time? It's time for your call. New word.
Alex Lazaris:
Your call.
Tim Möbest:
Okay, let's do it. New word and help, please. I need help. Right? Where's my cheese? There you go. Need to color grade that, too. MMM. Color grading is actually super fun if you use the Curves layer, because you can not only change the brightness of all the channels, but you can change the brightness of the individual channels, like the red, green, and blue one. That makes it super helpful to tune in or out. Any, if you create a clipping mask first. Thanks, Tim. If you first create a clipping mask and you can actually tweak the colors however you see fit. And I think this one definitely has too much red in it. Need more blue. So I will take out some of the red, more contrast and bit more green. There we go. And now, of course, if I want to bring back some of the highlights, I will just take a brush, the black color and low opacity or low flow, and paint in some highlights, maybe a bit more opacity. So we can actually see what's going on. There we are. So I could paint in some highlights where the laser hits, perhaps. And if I take another adjustment layer curves, one with a clipping mask, and then make this one really, really dark like this. By the way, if you don't like having the saturation adjusted when you change the brightness, like see, this is very desaturated, but when I make it darker, it's super saturated. If you don't like that, change the blend mode to luminosity. Now watch what happens. It's dark, but it's not saturated. Learned that tip from Jesus Ramirez.
Alex Lazaris:
Oh, that's awesome.
Tim Möbest:
Yes. Right now I invert that and using white brush this time. Sorry. Clipping the mic. Sorry about that. I can paint in some shadows very carefully. Of course. It there we are. All right, so what are you up to?
Alex Lazaris:
I am over here. I'm trying to add this little bit of little guy here. I might move him over, but I'm probably going to have him petting the cat's face. I'll fix that in a second. But yeah, we want to have him pet the cat. So I'm going to move my Swiss cheese over really quickly, just ever so slightly. Oops, wrong cheeses. Don't you just hate when you click on the wrong cheeses?
Tim Möbest:
Gosh, I hate that.
Alex Lazaris:
If only I labeled every layers.
Tim Möbest:
Well, if you don't like naming your layers, maybe you will like coloring them in. That's more fun. You just right click the layer and say and specify a color. Yeah, no need to name them. And that's also great. If you have a client project and you want to make sure the client doesn't touch a layer, you can just say only touch the yellow layers. Whatever. Right.
Alex Lazaris:
Ingenious.
Tim Möbest:
All right, so we got think we have enough words? Can you pick one?
Alex Lazaris:
We have so oh, man, there's some really good ones, too. All right, we got swords. Cody says vintage radio. Narush says toothbrush. Maru seal says boxes. Cody says peanut butter popcorn. Plane gribble, smacks. A new word by Wade. Thank you. Wade, spoon, eiffel Tower, hats, bowl. These are all old words, though. Okay. Patty says scuba diver hats.
Tim Möbest:
Yes. A scuba diver could be awesome.
Alex Lazaris:
I think scuba diver would be pretty amazing. Let's do a scuba diver then, because.
Tim Möbest:
Maybe I won't do a space scene. Maybe I will do an underwater scene. And this would actually go well with the whole background, so I don't have to get rid of that texture.
Alex Lazaris:
You still have to incorporate the space scene somehow.
Tim Möbest:
It is in the foreground.
Alex Lazaris:
Yeah, I think it'll be fine.
Tim Möbest:
That's clearly a spaceship just happens to be underwater.
Alex Lazaris:
Yeah.
Tim Möbest:
I, too, can cheat like Alex slowly getting really no, I love it.
Alex Lazaris:
It's brilliant. Yeah, I've just got it's. Not really.
Tim Möbest:
Oh, that's perfect. Well done. Double stock. That's actually really good.
Alex Lazaris:
Are you getting some really good ones?
Tim Möbest:
Yeah.
Alex Lazaris:
That's awesome.
Tim Möbest:
They are free, too. I. Don't take this for granted. Like getting these amazing shots just for free.
Alex Lazaris:
Yeah, absolutely.
Tim Möbest:
That must have cost a lot. Anyway, yes. Scuba diver. Which one? I think I'll go with this one, because then I can get this cool. These sunflares, which, I mean, to be quite honest, I'm pretty sure someone added these. No, I know this.
Alex Lazaris:
Because you have the same flares.
Tim Möbest:
No, the original image has white blown out highlights, and they just made them darker and added new ones. I'm pretty sure those are not the real sunflares, but that's okay. I will take them anyway because they happen to look good. I like them.
Alex Lazaris:
Who would have thought?
Tim Möbest:
Yeah. Photoshop, detectives. Yeah.
Alex Lazaris:
Oh, man. That's a great idea for a show.
Tim Möbest:
We would need an intro sound for that.
Alex Lazaris:
I think it should be a ukulele, obviously.
Tim Möbest:
No, I have to do it.
Alex Lazaris:
Does this guy count as a scuba diver? If it comes up in the search results. What do you think, Chat? Does this count?
Tim Möbest:
Of course. Yeah. Let Chat decide. But yes, I think so.
Alex Lazaris:
I love that he's got some incredible tattoos as well.
Tim Möbest:
Whatever works for you. Great.
Alex Lazaris:
I'm going to try to figure out how I can incorporate this guy in here somehow. Not really sure yet how I'm going to do it. As we're learning today, all this stuff can be freestyled. I love these as, like, a little wake up, have some coffee, do a creative exercise. How can you incorporate these things? God.
Tim Möbest:
I mean, if that isn't the winner by the end of the day, I don't know what hit.
Alex Lazaris:
Amazing. Tuck him behind some cheeses.
Tim Möbest:
I hope that I can actually get more than just one asset out of this image. I hope that I can isolate the scuba diver. I hope that I can use this foreground and hopefully this light in the background as three images instead of just one. So I get three images for the price of one, which is still free. What a dream, right? Okay. How do I do that? Going to duplicate it twice?
Alex Lazaris:
Do we have any Overwatch fans in here? Because I feel like this guy's stomach reminds me of, like, the roadhog in Overwatch. The way he's standing. It's like the end game. Never mind.
Tim Möbest:
I'm so sorry. I'm the completely wrong person.
Alex Lazaris:
Oh, my goodness.
Tim Möbest:
Tim like I know minecraft. And factorio. Okay.
Alex Lazaris:
Factorial is great.
Tim Möbest:
That's it. I spend so much time on that. When I'm not streaming, you can bet that I'm playing at least this game, which I'm not going to mention again, because this is not a brand deal. Okay.
Alex Lazaris:
I want to get my levels correct.
Tim Möbest:
It it. Think it's time for some puppet warp.
Alex Lazaris:
Getting fancy over there with your tricks and tips. I like it.
Tim Möbest:
I like the diver. Right. But I'm not quite happy with a pose. I wish his legs would be a bit more curved. So I think Puppet Warp will be my best idea for this. And now, because I don't want to deal with this huge layer because I just masked out the background, I will be naughty and I will rasterize the layer. Oh, no, he did. And, yes, he did. Okay. And also, I will right click on the mask, and I will apply the layer mask. So I just have a normal transparent layer. Of course, I will lose some nondestructive editing techniques with this. I can no longer bring back some of your background, but that's okay, because I know what I'm doing. He says, totally lying. All right, so let's go to Edit and go to Puppet Warp. And now we get this funky grid, which is super nice, but not what I want, because I actually like to add some points. So essentially, what you're doing, you say to Photoshop, please keep these points where they are right now. Just pin them here. Once you did that, you can take these points and you can move them around. And pro tip, if you don't want that, you can actually hold down the option key, hover somewhere around those points, and you can rotate them. There we are. And there are way more options. You can change the density of that grid. You can work with this rotate, which automatically rotates or fixes them. So now you see, it no longer rotates. If I set it to auto, it slightly rotates. Okay, that's fine. All right. And now I have Puppet warped the diver. Of course, I have to color grade them, but that's for later.
Alex Lazaris:
Cody has a great stream idea. It's teach Tim how to play more games.
Tim Möbest:
Yeah, sounds like Adobe Live would be the perfect place to play game. Yeah, I agree.
Alex Lazaris:
Great idea. Thank you, Cody.
Tim Möbest:
Stop the stream. We're going to play insert game here. Well, we actually did play the Mia streams. We did have the game show not too not unlike the game show that Val did earlier this week. But we had slightly different games. Super fun. That's fun all around. Photoshop, right? Okay. One of them was like, you opened Fresco on the iPad and you set the filter of the screen. You can set the iPad to, like, a colorblind filter, so you can only see black and white. But we in the stream could still see the color.
Alex Lazaris:
Oh, my gosh.
Tim Möbest:
And then they had to draw something in full.
