Hi, welcome back to the
Photoshop Training Channel. I'm Jesus Ramirez. In this video, I'm going to show you all the
new features of Adobe Photoshop CC 2019. This will be a comprehensive guide with a
ton of information, so make sure that you stick around to the end of the tutorial so
that you don't miss a thing. Make sure that you let me know in the comments
which was your favorite new feature. Also, if this is your first time at the Photoshop
Training Channel, don't forget to click on that Subscribe and Notification buttons. Before we get started, I want to mention that
I have time codes for each of the features in the description. If you're watching this video on YouTube,
then you can click on the time code to jump to that section in the video. Also, check out the links below. I've created a written version of this tutorial. You can find it on my website. And I want to point out that I'm working on
a pre release version of Photoshop CC 2019. That means that I recorded this video before
the public release, which means that there's a slight possibility that some things may
be a little different on my version. So I just wanted to throw that out there just
in case. Okay, let's get started. One of the first things that you will notice
in the new Photoshop CC 2019 is the new home screen. This is what it looks like. Let's start by looking at the Tour. If you're not familiar with Photoshop, you
might wanna take a tour. You can click on Take Tour. This will open up this file and the Tour in
the Learn panel. You can see the Learn panel here on the right. And you can read the instructions and then
click on the next button. And Photoshop will highlight different panels
and tell you what they do. You can also click on All Projects, hit No,
and in the Learn panel you will see different tutorials that you can follow along with. When you open up a tutorial, you can follow
all the steps. Once you complete the steps, you can actually
upload your own image and redo the tutorial with your own images. That way you better understand the concepts. So that's one of the new features in Photoshop
CC 2019 inside of the Learn panel. Also, this home button in the Options bar,
you can click on the home button and go back into the home screen even though
a document is open. I also want to point out the Learn tab here
on the left hand side. When you click on that, you'll also have access
to all these tutorials. And if you click on Go To Adobe.com, you will
come up to the Photoshop Tutorials page on Adobe's website and you can watch more tutorials. Also, I wanna point out that if you go into
the Light Room CC Tutorial page, you will see a course that I made, and you can watch
that for free. It's on the Light Room CC Tutorials page on
the Adobe website. I'll place a link down below on the description,
but this is the course, Beginner photo editing course. So you can just click on a video, watch it,
or follow the written instructions, and you can also download the sample files to follow along. So check them all out. But anyway, back to Photoshop. On the left hand side you also have the LR
Photos. These are actually the Light Room photos that
you have stored on the cloud. So I'm gonna go into the home screen, and
I want to point out that if you want to disable the home screen, you can do so by pressing
Control K, Command K on the Mac, to bring up the Preferences panel, and then click on
Disable the Home Screen. I like the home screen, so I'll just uncheck
it and press Okay. Photoshop CC has a lot of new features, but
it also changes a lot of the user experience. So I'm gonna spend some time now showing you
the new user experience improvements. That way you're aware of them before you actually
start working on your projects. We're gonna start with the Modern Undo. So I'll create a new adjustment layer, and
I'll just make a few quick adjustments. Now, you can simply press Control Z to undo
changes. And Control, Shift, Z to redo. There is no longer the Step Backward option
under the Edit menu. Now, Control, Alt, Z, which was the old Undo
keyboard shortcut, simply toggles the last date. And the menu now reads Undo and the name of
the command that you're undoing. Or, Redo and the name of the command that
you're redoing. So you no longer have to press Control, Alt,
Z to undo. You can simply press Control Z. One of my favorite new features in Photoshop
CC 2019 is the Blending Mode Preview. So I have two layers, a dog and this graphic. And now, you can click on the dropdown menu
to select a blending mode and simply scroll down through the blending modes to get a live
preview. So this will make it much faster for you to
find the right blending mode for your project. Another change in user experience comes with
a transformation. If you press Control T, Command T, to transform,
you will notice that now, you don't have the pivot point or the reference point, as it's
also known. If you want to enable the reference point,
you have to click on this check box in the Options bar. And there it is. You can of course click and drag it to place
it somewhere else. Or you can use these boxes to snap the reference
point to a particular area. For example, the bottom right corner. Here it is. Now I can rotate from that reference point. One of my favorite user experience enhancements
in Photoshop CC 2019 is the ability to auto commit changes by simply clicking outside
of object boundaries or anywhere else in the UI, when you're working with the crop tool,
transformations, place, or text entries. Let me show you what I mean by that. I'm going to select the Text tool. And I can click on Commit. And I can add the word "Auto." And then I'm gonna create a blind break, and
I can auto commit this adjustment without clicking on the checkbox by simply clicking
outside of that text area. Notice how now that committed to change. I can press the V key on the keyboard to select
the Move tool and move that text around. You also have this auto commit ability with
transformations. Control T, Command T to transform. And if I transform the text, I can click outside
of that transformation area to commit the change. Same thing is true for the crop tool. Click right outside and it commits the change. And you could also do this with placing objects. So I'm gonna click and drag an image from
the Libraries panel onto my canvas and click right off to the side of that image and it
commits the changes. So you no longer have to press Enter, or Return
on the Mac, to commit changes. One of the biggest changes in Photoshop CC
2019 that you will notice if you've been using Photoshop for a while is the Proportional
Transform. And it can be confusing since it works differently
on pixel, text layers, compared to vector layers. So let me show you what I mean. With a regular image layer selected, you could
press Control T, Command T, to transform. To scale the image you can click on a corner
handle, and notice how I can simply scale proportionately without holding the Shift
key. In previous versions of Photoshop, you had
to hold the Shift key to scale proportionately. Now, if I hold Shift and click and drag on
a corner handle, I can do a free scale without scaling proportionately. So that's the biggest change. Now you no longer have to hold the Shift key
to scale in proportion. The same thing is true when you're working
with a text layer. If I press Control T, Command T, to transform,
I can click and drag on a corner handle and I scale the image in. If I hold Alt, Option on the Mac, as I'm scaling
I scale in and out of the reference point. The reference point is currently in the center. So I go in and out from that reference point
right here. Another confusing part is that when you're
working with a vector layer, it works differently. If you press Control T, Command T, to transform,
and you click and drag on a corner handle, I'm not scaling in proportion. If I want to scale in proportion with a vector
layer, I have to hold the Shift, then scale in proportion. So I think that this is where the confusing
part will come into play, since scaling in proportion works differently with different
layers, whereas before, it worked the same on all layers. So keep this in mind in case the layers are
not transforming the way that you're expecting them to. Photoshop CC 2019 now truncates long layer
names differently. I have some long layer names in this image,
and if I click and drag the panels, you will see that the layer names are truncated. Now they truncate from the middle so that
you can see the beginning of the layer name and the ending. In old versions of Photoshop, the truncation
happened at the end, so you could only see the beginning part of the layer. If the beginning part of all your layers was
the same, it was difficult to tell which layer was which. But now, you can see the ending of the layer
name as well. In Photoshop CC 2019, the Text tool gives
you a new feature. When you select the Type tool, you can click
to Type, and in this new version, you will see dummy text appear immediately. This is to give you a preview of the size
of the text, and you can of course come in and adjust the size, and the font if you wish. And when you're ready you could start typing
anything that you like. Once again, you can commit the changes by
clicking outside of the text, and there it is. Also since we're talking about text, another
new feature in Photoshop CC 2019 is that with the Move tool selected, you can double click
on a piece of text and you can enter the edit mode and adjust the text if you need to. So those were some of the user experience
enhancements in Photoshop CC 2019. Now, let's focus on the new features. We'll start with the small ones and we'll
end with the biggest features. So stick around to the end. Photoshop CC 2019 has a great new feature
for those of you who are compositing and retouching in Photoshop. So I have a composite that I made here, and
sometimes when you're working on a composite or retouching, you need to look at an image
in a different way so that you can spot mistakes. Before, you could go into Image, Image Rotation,
and flip the canvas horizontally. And this would actually transform the pixels
and flip them horizontally. As you saw, there was a render bar so it took
some time for Photoshop to generate the transformation. And that was an actual transformation. I actually transformed the pixels. I'm going to undo that. In Photoshop CC 2019 you do not have to transform
the pixels. All you have to do is go into View and select
Flip Horizontal, and this flips the image horizontally, but it's only a preview. I didn't actually change the pixels. If I were to close the file, save it, and
open it again, you will notice that the file has not been rotated. It was just a preview rotation. And it happens much faster than actually flipping
the image horizontally. So take advantage of that if you're compositing
or retouching images in Photoshop. Photoshop CC 2019 has a new capability for
distributing objects across your canvas. Now, distributing objects is not a new feature. What's new is the spacing. Let me show you what I mean by that. I have four objects on my canvas and I can
select them all by clicking on the top one, holding Shift, and clicking on the bottom
one and that selects them all. With the Move tool selected, I can then click
on the distribute icons which are found here. New to this version of Photoshop is two icons. This icon, which is Distribute spacing vertically
and Distribute spacing horizontally, and this three dot icon that shows you all the buttons. So, what was in the old version of Photoshop
was that you can click on this icon to distribute the objects in between the two objects on
the far end. Now, if I select the cat, then hold Control,
Command on the Mac, in hover over the phone, you will see that that the distance between
the cat and the phone is 169 pixels. The distance between the cat and the star
is 154 pixels. So the spacing is not the same. If I select the star and then select the paw,
you will see that the spacing between those two is 108 pixels. Even though the objects are distributed in
between the two layers, the spacing is not the same. So that's where this new tool comes in. If I select the top layer, hold Shift, click
on the bottom one, and then go into this icon, I can select Distribute spacing horizontally,
which is the same as this icon here. So I can click on that, the icons shift, and
if I select the cat, hold Control, Command on the Mac, you will see that the space in
between the cat and the phone is now 144 pixels. So the objects were distributed equally amongst
themselves. And of course the same thing will be true
if I were to use the vertical alignment, and this option selects what you're aligning to
the selection or the canvas. Photoshop CC 2019 now allows you to do basic
math in input boxes. This is on all input boxes. Let me show you what I mean by that. I can select any input box like the opacity
input box and I can do a mathematical equation. So I can do 100 minus 38, hit Enter, and that
gives me the result which is 62%. If I press Control T, Command T to transform,
and go up into the scale input boxes in the Options bar, I can do a mathematical equation. For example, 100 times .27, hit Enter, and
that gives me 27%. Obviously this feature becomes more useful
with different numbers, not 100, because that's really easy to do in your head. But you can see the power of being able to
do mathematical equations on input boxes. You could add, subtract, divide, and multiply. In Photoshop CC 2019 you get a useful new
feature, the ability to lock workspaces. You might accidentally click and drag panel
away, and it could be confusing or time consuming to bring it back into place. In order to prevent panels from moving, you
can go into Window, Work Space, and at the very bottom of the list click on Lock Workspace. This will prevent panels from moving, but
you can still resize the panels if you need to. A great new feature in Photoshop CC 2019 for
selecting color is the Color Wheel color picker. If you go into Window, Color, you get the
Color panel. Clicking on the fly out menu will now give
you access to a Color Wheel. You can click on it and you can use this Color
Wheel to select a color. Clicking around the wheel selects the hue. Moving up and down on the triangle controls
the brightness. And moving left to right on the triangle controls
the saturation. Using the Color Wheel helps you select complementary
colors much easier. For example, if I have blue selected, I can
look at the opposite side of the wheel and see what colors are complementary to blue. So yellow, and orange of course. Photoshop CC 2018 introduced a symmetry tool
as a technology preview, but it is now a full feature in Adobe Photoshop CC 2019. If you select the brush tool in the Options
bar, you will see the symmetry icon. Clicking on it will show you a dropdown, where
you can select a symmetry. If I click on Vertical, it'll create a vertical
symmetry. And what that means is that I have this line
here and I'm gonna paint on this blank layer. Symmetry allows you to paint in a mirror,
like so, to create very interesting designs. And you have a lot of options of how you wanna
create those designs. For example, you can use a spiral. And simply paint in on that spiral. I'm gonna undo that. One of my favorites is the radial. You can select a number of segments. We'll start with five and press Okay. And I can simply start painting and creating
really interesting designs, like so. And of course you can spend a lot of time
with these designs. They're really fun. So I'm gonna press the V key just so that
we can hide the overlay. And that's my design. I'm gonna undo that, and I'm now gonna try
a different symmetry. So I'm gonna select a brush tool, and I'm
gonna try the mandala. And I'll increase the segments to eight, press
Okay, and I can paint inside of that. And you start creating these really cool designs
really quickly using the symmetry tool. So it's now a full feature. You do not need to enable it in the technology
preview. In Photoshop CC 2019, you now have ex In Photoshop CC 2019, you now have extra features
in the keyboard shortcuts menu. As you may know, you can apply your own keyboard
shortcuts to all the tools and menus inside of Photoshop, but now you can also add keyboard
shortcuts to your task spaces. That includes the "select and mask" and the
new Content-Aware fill. I'll talk about the new Content-Aware fill
tool next, but I'm just letting you know in advance that you can assign your own keyboard
shortcuts to the tools inside of that task space. Photoshop CC's 2019 biggest and best feature
is perhaps the new Content-Aware fill. The previous version of Content-Aware fill
didn't give you many options besides a layer mask hack that you probably saw in one of
my older tutorials. And this new version of Photoshop gives you
complete control over how Content-Aware fill works, and it allows you to work non disruptively. Let me first show you how the old Content-Aware
fill used to work. It's still available in Photoshop CC 2019
in case you want to use it. So the way it worked is that you would create
a selection, I'm using the lasso tool for that. Then you would go into the edit menu, select
"fill," and under contents you would select " Content-Aware" and check on the box. Press "OK," and Photoshop would analyze the
pixels surrounding the selection and use those pixels to fill it in. So I'm gonna zoom in so that you can see. It was a pretty good fill, but it's not perfect,
as you can see. Also, you notice that we had no options. The only way that we were able to alter what
Photoshop was sampling was by using a layer mask. Now, in the new version of Photoshop, you
have complete control over the Content-Aware fill. So what I'm going to do is simply press control
Z to undo. Then I'm gonna go into "edit," " Content-Aware
fill." This is a new feature in Photoshop CC 2019. You'll notice that it's a complete workspace
that gives us a toolbar, the working document, a preview of what we're doing, and options
for the Content-Aware fill. Just to make sure that we're all on the same
page, I'm going to reset the options, and I'm just going to collapse these panels, just
so that we're all looking at the same thing and there's nothing else distracting us. We're gonna start with the toolbar. On the left hand side you have different tools. The ones that you probably know how to use
are the hand tool, which allows you to click and pan on the image. And the zoom tool, which allows you to zoom
in or zoom out. You can zoom out by holding alt, option on
the Mac, and clicking. You could also click and drag for the scrubby
zoom. Just make sure that this box is checked. Otherwise, when you click and drag, you would
create a box that will zoom in to that area. If you click on scrubby zoom and click and
drag, you zoom in and out. So use the feature that best works for you. You then, of course, have the "100% view,"
"fit screen," and "fill screen" buttons. But in most cases you'll probably just use
the zoom tool. I like to use the spacebar, so hold the spacebar
and click and drag to use the pan tool. The next tools in this panel help you control
what Photoshop is sampling. So the first tool, the "sampling brush" tool,
allows you to remove the areas that Photoshop is going to sample from. Notice that when I do that, Photoshop automatically
updates the preview. You will notice a rotating circle, that means
that Photoshop is generating the preview. You will also notice a warning icon. That means that you're looking at a low resolution
preview, but once Photoshop generates the high resolution preview, that warning will
go away, and that's what you're gonna be seeing in the preview window. So watch what happens. I'm going to paint, release the mouse button,
Photoshop will analyze the image, once the warning icon is gone, then that's when you're
looking at the full resolution preview. By the way, just to be clear, anything that
is in green is what Photoshop is using to analyze this image. When I paint, I remove from those areas that
Photoshop is analyzing from. Also notice that currently the subtraction
button is enabled. If I hold alt, option on the Mac, it switches
over into the "add" mode, so I can add to the sampling area. If I had the "add" enabled when I paint, I
add, and when I hold alt, option on the Mac, I subtract. So pay attention to the buttons that you have
selected, and then just realize that holding the alt key will select the opposite. When you release, it will return to the selected
one. And of course you can control the size of
the brush with this drop down. Then we have the lasso tool and polygonal
lasso tool. Notice that when we select either of these
tools, we get more options in the options bar. This tool allows us to add to the fill area,
and notice that the preview generates automatically. Or we can subtract from it by holding alt
and option on the Mac. So something that I would recommend is making
your initial selection, once you're inside of the Content-Aware workspace, just refine
it. So I always like to keep as much of the original
pixels as possible, so I'm refining the selection like so. You don't have to be very precise, but just
make adjustments to the selection so that it works on your image. You also have this feather option. Right now I have a feather set to two pixels,
that simply means that the edge is not sharp, it's gonna be blurry by two pixels. I like having just a slight feather, just
so that there are no sharp lines when I'm filling. So my feather's set to two, but you can change
it to whatever works in your case. Then we have these buttons that I actually
wish I could see outside of this tool, because I really like them. We have the expand and contract. Expand simply means that the selection is
going to expand, and contract means we're going to make it smaller. Notice how that changed that area here, so
I can just come in and just fill that in, and hold alt, option on the Mac, and subtract. And by the way, we're expanding and contracting
by three pixels because that is the number on this drop down. Also, something I want to point is that if
I were to paint with the brush tool, like for example remove the sampling area from
the top there, and I expanded my selection, then contracted my selection, notice how the
green comes back. So keep an eye out for that. But anyway, now that you know how the tools
work, let's look at the image, see the preview, and see how we can improve it with the options
available. So what I'm gonna do first is just click on
the zoom tool, fit the image on screen, and I'm just going to paint the areas away that
I don't want Photoshop to sample. And I'm gonna zoom in a little bit and keep
an eye out for the changes that occur here. I don't want Photoshop to waste time looking
at pixels that it shouldn't use for the fill, so I'm just going to subtract the sky, because
I really don't want much of the sky to be used. And I accidentally deleted too much from the
water. I actually do want part of the water, because
as you can see, he's running and we can see the horizon line and a little bit of the sky. So I can always add in case I make a mistake
like I just did there. So I'm just adding these pixels in. Also, I don't want these reflections, so I'm
gonna subtract all this from the sampling area. And it looks like I accidentally zoomed in,
so let me just set that back to 100%, and maybe then zoom out just a little bit further. Sorry about that, I accidentally zoomed in,
but anyway, here we are. And it's looking much better. So what I'm gonna do now is explain what all
these options do. "Show sampling area" simply means show the
green area, so what we're sampling. That's all that does. Then we have the sampling options. In the sampling options, you can reduce the
opacity of that green. I like 50%, so that's where I'll leave it. You could also change the color to something
else, so maybe red, yellow, whatever works for your image. The default green works great in this example. And then what it indicates. In this case it's indicating what Photoshop
is sampling to generate the fill. You could also select "excluded areas." So the areas that Photoshop is not analyzing. In this case, "sampling areas" works, so that's
what I'll select. Then we have the fill settings, and this is
where the real power of the new Content-Aware fill comes in. Let's start with color adaptation. Color adaptation allows contrast and brightness
to adapt for a better match. Good for filling contents with gradual color
or texture changes. So you can just click on the drop down and
select the different settings. Notice that when I select a setting, it automatically
changes the preview. And I can just click on these and see if any
of these give me a better result. For an image like this, I think that the default
setting is perhaps the best, but you can switch them around in your image to see what works
better. Also, we have rotation adaptation. Rotation adaptation allows the content to
rotate for a better match. It's good for filling content with rotated
curves or patterns. In this case, it can actually help us align
these lines that you see there. So I can just select something like "medium,"
and see how that adjusts the rotation. That might be too much, so maybe bring it
back down to "low" and see how that works. It's really doing a lot of damage here in
the horizon, so maybe leaving it at "none" is probably best. And I can then use the other options, for
example, "scale." Scale allows the content to resize for a better
match. It's good for filling content with repeating
patterns of different sizes or under perspective. So if I click on that, notice how it matches
the lines much better. We also have the mirror option, which simply
allows the horizontal flip of content for a better match. So I can click on that and see if it makes
any change. And it does, but I'm not happy with it, so
I'll return back to mirror. Now that I've made all these adjustments,
I can actually come back and see if color adaptation gives me better results by using
"high" or "very high." And I actually kind of like that, so I'll
leave it at very high. Now that I've made all these changes, I can
select the output settings. How do I want to output this adjustment? On a duplicate layer, meaning I'll duplicate
the original and apply the change? Or I can simply create a new layer and fill
those pixels in that have changed on that layer, or on the current layer. I like working non disruptively, so I'll select
either "new layer" or "duplicate layer." In this case, new layer will work, so I'll
select that, then I'll press "OK." Notice that a new layer was created with that
pixel information. And I'll zoom in so that you could see it. There it is, and you can see the result. I'm going to press control D, command D to
deselect. The great thing about using a layer is that
you can also create a layer mask and then paint with black in areas to reveal some of
the original pixels in case you need to. In this case, we don't need to, but that option
is there. Now, I know that that was sort of a long winded
explanation of how the tool works, but now I want to show you the real power of this
tool by showing you a few more examples. So I'm gonna go into this image here, which
will really show the power of this tool. So I'm going to zoom into this area here. And if I wanted to remove this van from the
image, I would need to make a selection around it, of course. I already have a premade selection, just to
save time, so I'm going to go into "select," "load selection," and I'll select the selection
title "van," and press "OK." It's just a selection, that's all that is. I just made a selection before I started the
tutorial to save some time. And if I were to select the background layer,
use the keyword shortcut shift and backspace to bring up the fill window, and select " Content-Aware." You will see that the original Content-Aware
fill wouldn't work, because it's sampling all these pixels from different areas. And again, there was a masking hack that you
can use to force Photoshop to use certain pixels, but now we don't have to worry about
that. So I'm gonna undo that fill, and then just
go into "edit," " Content-Aware fill," and I'm gonna find that van. There it is, and I'm just gonna make a couple
changes to the selection. So I'm gonna select the lasso tool, and I'm
just going to remove some pixels that I want to keep. Something like that. Maybe I'll remove some of these, so I'll click
and drag to remove some of these pixels as well. There it is. Now, if I click on the "reset" button on all
these, I can zoom in and find that area. Here it is. So Photoshop is not doing that good of a job,
of course, because I'm selecting all these different pixels that really don't have anything
to do with the background that I'm trying to replace. So I'm going to zoom out and I'm just gonna
paint with this brush, and I'm just gonna subtract all the pixels that are not necessary
to sample from. So all these pixels here are really not necessary
for the sample. And notice that as I'm doing that, the preview's
updating, and it's already giving me much better results. And continue to paint areas away that don't
work for the sample source, like these areas here. And also I'm gonna zoom in so that you could
see what I'm doing. So I'm just trying to keep the pixels that
look a lot like the areas that will be under that van. And if you see any problem areas, then try
to find them in the pixels that Photoshop is sampling, and then just simply paint those
out. So I think that's already pretty good. And then, of course I can use all these different
settings, like maybe try scale and see how that works. That looks pretty good. Maybe mirror, flip things around and see if
that gives us any better result. If they don't, then uncheck them and continue
fine tuning the different settings to get a good result. I don't think I need to rotate pixels in this
case, so I'll just bring it back to "none." And what I'll do is I'll just keep looking
for the best areas to sample pixels from. Maybe I'll remove some of these pixels. And I think that something like this could
work, so I can just press "OK," and notice now how that's a much better fill than what
Photoshop gave me with the old Content-Aware fill. And of course, it's on its own layer. And you can always come in and fine tune it
if you need to. I'm gonna show you another quick example,
just to show you different ways that this tool works. So if I wanted to keep this pattern as a design,
but I wanted to remove this person's hand, let me show you how you could do that. I could simply make a quick selection using
the lasso tool around that area like so, and actually maybe even fine tune it a little
bit before we go into the Content-Aware fill. Let me show you what the old Content-Aware
fill looks like. So I'm gonna hold shift and backspace to bring
it up. And I already have it selected, so I'll press
"OK." And you can see that it didn't do that good
of a job. So now I'm going to undo that, and I'm gonna
go into "edit," " Content-Aware fill," and you'll see the results there. I'll zoom in so that you could better see
the results. And I can start telling Photoshop what not
to sample. I don't want any of this center area to be
sampled, I obviously don't want his hand to be sampled, so I'm just painting those away. Just so that we work with the areas that we
really want. Then I can start fine tuning the image. I know that I want scale enable, because I
want Photoshop to be able to resize some of those pixels so that it fits better. I know that maybe mirroring could work, so
I'll check "mirror." And notice that by doing that, the image is
starting to look much, much better. See that? And then I can adjust color adaptation, rotation
adaptation, and see if that works. I'll leave color adaptation to default for
now, and I'll start changing the rotation adaptation settings to see if it gives me
a better result. And even though this is not perfect, it's
still looking pretty good. So I'll just keep adjusting the settings and
see if they make any more positive changes. Setting it to high is pretty good. Looking at this area here, and I'm not liking
what's going on there. So what I'll do is I'll adjust the selection,
so maybe I'll subtract from this area and see if it improves it. And it's much better. It's not perfect, but I think it's better. And I just want to make it clear that you'll
probably never get a perfect fill with a complicated pattern like this, but you can already see
the power of Content-Aware, because I can press "OK," I get a new layer, and then I
can start working on the finer details. So one of the things that I could do is maybe
make an elliptical marquee selection, hold the spacebar so that I can move the selection
as I'm creating it, and I can right click on it and select "transform selection." That's something that a lot of people don't
know. It allows me to transform the selection as
I'm creating it, and I can distort it and also use the warp to warp it so that it fits
the area that I'm trying to select. So I'm just trying to select around these
golden circles. And again, it's not important to get a perfect
selection on this example, so I'll just ... that important to get a perfect selection
on this example, so I'll just stop it here, and just create a layer mask, and then clip
this fill layer to it, control alt G command option, G on the Mac, and there it is. All you would need to now is simply come in
and fine tune the finer details to make sure that areas like this are fixed, which is a
lot easier than filling the rest. And if you're wondering how to do that, there's
a lot of ways. You can clone, for example, so I can take
from that area and start cloning things away, and just fine tune it as best as you can. Also I'm gonna delete this layer, and I just
want to show you one other thing. If you have a layer mask active and you use
the Content-Aware fill, then those areas will not be visible and you will not be able to
use them as the source in the fill. So I'm not really looking for settings that
work, I just wanted to show you that you could also make a fill when you have a layer mask
active and how that feature reacts to it. Photoshop CC 2019 introduces the brand new
frame tool. It's the newest addition to the toolbar. You can see it here, this is a frame tool. You can select it by clicking on it or pressing
K on the keyboard. The frame tool allows you to create placeholder
images, and you can easily replace the contents in the future. If you've ever used a frame tool in Adobe
InDesign, then you're probably already familiar with the function. In this tutorial, I'm going to show you two
examples so that you understand why you would want to use this tool. But before we get into that, I'm just gonna
start with a very basic example so that you understand how the tool works, then we'll
worry about why you want to use it. In this image I have a blank layer, a fill
layer for a background so I can change the color if I want to, and then a pixel layer
and a smart object. So I'm going to disable all the layers and
then just work with my background and this blank layer. Then with the frame tool selected, you can
look at the options bar and decide if you're going to create a rectangular frame or an
elliptical frame. Let's start with a rectangular frame. So I'll select that. Then I'm just going to click and drag in the
canvas. Notice that in the layers panel, now I have
a new layer type. This is a frame layer. I can tell that it's a frame layer because
I can see this icon here on the bottom right that indicates that this is a frame. It's simply a square with an X on it, which
looks a lot like the frame that I have here. So this frame is an image placeholder, and
what that means is that I can go into my libraries panel and I can click and drag any image I
want onto it. Notice that the image was automatically resized
to fit the heighth of the frame. Notice the layers panel. There's this white focus, this white outline,
that is really important when working with a frame layer, because you can either affect
the frame, the content inside of the frame, or, if I hold shift and click on both, I can
adjust both at the same time. So first I'm just going to select the content,
the image. If I press control T, command T to transform,
I can of course move it and transform it. If I click outside the bounding box, I commit
the changes, you can see the outline of the image here. If I wanted to fit the image onto the frame
again, I cannot do it automatically, I have to do it by hand. So I would have to press control T, command
T to transform and try to match it. Also, I can click on the frame. Notice the white outline on the frame. Then I can click and drag on the corner handles
to adjust the shape of the frame. If I hold shift and click on the frame and
then the content, the image, and press control T, command T to transform, I can scale both
at the same time. Frames were designed to be used with images
and smart objects. Currently the content is a smart object, but
it's actually linked to the cloud, which is why you see this icon here. I'm going to delete this frame. Then I'm going to select the elliptical frame,
click and drag to create one, and notice that we now have a circle. If I disable the background, enable this pixel
layer, I can click and drag it onto the frame, and notice that it gets placed inside of it. Also notice that this time it was not automatically
resized, because we brought it in from the layers panel. If I were to bring it from an external source,
like the libraries panel or a file in my computer, it would resize it accordingly. So just note the difference. Also notice another thing that happened. This became a smart object, which means that
we can transform it non disruptively, so I can scale it way down if I want to, and then
scale it up again, and I will not get any pixelation, because smart objects allow me
to work non disruptively. That also means that I can double click on
this smart object and it opens up in a new tab, and I can make an adjustment layer, like
a gradient map adjustment layer, and I would change it to a different color just so you
could see. And I can close it, save it, and it gets applied
onto my frame. I can also, of course, use a filter, so maybe
filter, stylized, find edges. And here it is, here's my find edges filter. And of course I can click and drag it into
the trash icon to delete it. So I'm just making it clear that it's a regular
smart object inside of that frame now. Also, you can work with a smart object directly. So I have this smart object here. If I double click on it, you can see what
it looks like. I have an adjustment layer, I have this layer,
and the background. Another way of creating a frame is by simply
clicking and dragging over an image or a smart object, and that creates the frame. So frames only work with images, smart objects,
not vectors, not text layers or any other kind of layer. Also, if you don't have a frame selected and
you have the frame tool selected, you can click once to select the frame, double click
to select the contents. Notice the white outline, the focus. When I double clicked on it, it moved over
onto the content. When the content is selected, if I double
click on it again, it selects both the content and the frame. And I can adjust them accordingly. Also, if I have the content selected, I can
select the frame by clicking once on the outline, and that selects the frame, and I can adjust
the frame if I need to. So this is just a basic example of how the
frame tool works. So what I'm gonna do now is show you a couple
projects that will demonstrate how this tool works. So I'm gonna go into this example, and in
the old days, if you were designing a website or any type of design, sometimes the images
would not be ready in time. So you might be waiting for a photographer,
for a designer or somebody to create an image. So what you would do is just create a placeholder
image. So in this case I have these images as placeholders. And what you would do is delete these images
and replace them with the final images when they came in. So what I'll do now is just delete this group,
because we don't need it. And what the frame tool is designed to do
is to create those placeholder images, but then make them smart so that you could easily
update the content. So I'm going to click on the rectangular option,
and I'm going to click and drag to make my frame. There it is. I can give it a name if I want to, and I'm
just going to create all these frames, and that's all I need to do. Now, instead of deleting the frames and replace
it with the final content, I can actually drag and drop the final content onto the frames. So as you saw, I can go into a libraries panel
and I can click and drag an image onto a frame and adjust it accordingly. I could also, from the properties panel, select
a frame and use the "insert image" command to find an image to place onto that frame. I can select "find an Adobe stock," which
opens up a browser on the Adobe stock website, and you can find images there. You can select "open libraries," which simply
opens the libraries panel. You could also place from local disk, either
as an embedded file or linked. Embedded file simply means that the file will
be embedded into your working Photoshop document. Linked means that Photoshop will reference
an external file. So it will not be embedded into the working
Photoshop document. So I'll select the embedded option for this
example. And in this folder I have an image of me that
I can select and click on "place," and of course I can click and drag it and adjust
it accordingly, but I'm not gonna waste any time for that in this example because it's
not necessary. I do want to point out the other options inside
of the properties panel. I also have the ability to add a stroke. So I can just select the color for my stroke,
then select a width, and then select a placement. So either inside, center, or outside. Then we have layer comps. These are very powerful, so I'll come back
to those in just a second. I'll explain commands first. Command gives us two buttons, "edit contents"
and "convert to linked." If I click onto "edit contents," it just opens
up my smart object and I can edit it if I need to. That's the same thing as double clicking on
the smart object. " Convert to linked" will open this "save
as" window, so that we can save this embedded object as an external file. So to do that I will have to give it a name,
so I can just call it "Image," the name is not important. Save it, notice that the icon changes from
smart object to a little chain icon, which means that this is now a linked object. So when I double click on it and open it,
I'm opening up that external file. And now that this is a linked smart object,
I have a button that reads "embedded," so if I click on it, it now converts it into
a smart object inside of this document. So that's what those buttons do. So we're now gonna talk about the layer comp,
which is a really powerful feature. So what I'm gonna do is go into "file," "new,"
and just click on "create," and I have a document. And I'm just going to place several images
onto this document. The images are really not that important,
I just want to have three different images so that you can see how this works. So I have three images and they're covering
the entire document. And again, the content is really not that
important. So with these three images selected, I'm gonna
go into "window," "layer comps." Layer comps allow you to basically create
a screenshot of your layers panel. You can control the visibility of the layer,
the position, and layer styles, which includes blending modes. In this case, to make things very simple,
we're gonna create layer comps that simply control the visibility of the layers. So what I'm gonna do is click on this new
icon, and the new layer comp window will come up. And I can choose what to say, visibility,
position, or appearance. In this case we're only gonna worry about
visibility, so I'll call this layer comp "alley." I'll disable the alley image and enable the
image below. This next layer comp I will call "cracks,"
and this final layer comp I will call "beach." Then I can save this image, "file," "save
as," and I can just call it "Main Graphic." So I'm gonna close it, go back into my working
design, and I can click on the frame for this main graphic here. Then I can go into the properties panel and
click on "place from local disk," "embed," and I can open that Main Graphics.psd file
I just created, and click on "place," and there it is. If I click on this frame, then go into the
properties panel, you can see that in the layer comp section, I have this drop down,
and I can select the alley, cracks, and beach. So I can select "alley," and it changes to
the photo of the alley. I can select "cracks," and it changes into
the photo of the cracks, and I can select "beach," and it changes into the photo of
the beach, obviously. So it's a very powerful feature that you can
use with frames, layer comps, and smart objects. In this next example I'm going to show you
how you can create frames from text and shape layers. So I have this shape layer here. If I select the direct selection tool, you
can see that it's simply a shape. And if I disable this pixel layer and right
click on that shape, I can select "convert to frame." Give it a name if you want to and press "OK,"
and that shape is now a frame. That means that I can go into a libraries
panel and simply click and drag an image onto that frame and place that image on that frame. You can do the same thing with a text layer. So with this text layer selected, I can right
click and select " convert to frame," give it a name if you want to, and press "OK." And that is now a frame as well. So I can select a different image, drag and
drop it onto that frame. Now, to be frank with you, I probably wouldn't
use the text feature, simply because I like flexibility and I like to work non disruptively. I can't change the text if I made a typo or
if my client wants me to change the text, so it'll create more work. So I'll show you what I like to do instead. I'm going to press control Z several times
to undo those changes, and I'm simply gonna drag that same image and drop it right above
that layer. Then I'm simply gonna press control alt G,
command option G on the Mac, to create a clipping mask. And that gives me exactly the same effect. The advantage is that I can double click on
the layer and change the word to something else. And I can resize it as well, of course. So you have a little more flexibility when
you're working with clipping masks and text. But using the frame feature is yet another
option that Photoshop gives you to work with text and images. And there it is, I hope that all these Photoshop
CC 2019 tutorials helped you understand the new features. Let me know in the comments down below which
one was your favorite. Also, if this is your first time at the Photoshop
Training Channel, then don't forget to click on that "subscribe" and "notification" buttons. Thank you so much for watching, and I will
see you at the next tutorial.
