Cornell’s Jenny Sabin turns AI into art

Cornell’s Jenny Sabin turns AI into art


JENNY SABIN: It’s not just
about producing and designing a beautiful, interactive
form, but to think about that as a live experiment. [MUSIC PLAYING] So Ada features two surfaces– an inner surface that’s soft,
which is what you’ll inhabit when you’re on the inside,
and then an outer surface that is semi-rigid. Connecting those two surfaces
will be these knitted cones, which actually– when they’re in full tension– will actually springs. And then running on the
outside, as I mentioned, will be hundreds of these 3D
printed nodes, each one having a fiberglass reinforced rod
connecting to its neighbors. So we have individually
addressable LEDs. And that network of LEDs will
then be activated in real time with people’s sentiment
and their interaction with these cameras. So when we want to read
the collective sentiment across the atriums, the whole
project will be activated. So the name Ada comes from the
name of a famous mathematician, Ada Lovelace, who,
in many ways, was an early predictor
of the computer age and, like many
women from her time, was not given her
sort of due credit. And the project, in many ways,
celebrates similar themes. Early on, just going
back to the topic of artificial
intelligence, we were interested in how
the project perhaps could smile back at you, right? That there could be a
personal engagement with Ada. So my hope is that
it, at the very least, opens up new questions,
but that it ultimately presents a kind of positive
nature to this type of research and how we, as
humans, are really the ones kind of pushing
it forward and probing the possibilities of it. You know, the relationships,
the materials, the systems that we’ve
set up could easily translate into
larger applications. You know, Ada could be a
building facade, for example. I think there will be multiple
lives of her location.

How Disney’s Tower of Terror Works

How Disney’s Tower of Terror Works


This video is brought to you by NordVPN. Keep yourself protected online by going to
NordVPN.com/ArtofEngineering to get 75% off a 3-year plan. Link below. The Twilight Zone Tower of Terror at Disney’s
Hollywood Studios is often regarded as the best thrill ride to ever come out of Disney
Imagineering. The attraction seamlessly combines a 13-storey
drop tower with immersive dark ride elements, all tied together with detailed storytelling. The ride was considered to be an engineering
marvel when it opened in the summer of 1994, and although it may not have some of the advanced
technologies that are common on rides built more recently, it is still an impressive achievement
even by today’s standards. The Tower of Terror was such a success for
Disney that it was replicated on three separate occasions, at California Adventure in 2004,
Tokyo DisneySea in 2006, and Walt Disney Studios Park in Paris in 2007. The Tokyo version utilized a different theme
and storyline compared to the other 3 towers, and I personally find it to be the most aesthetically
pleasing of the 4 attractions. In 2017, the California version was re-themed
to the Guardians of the Galaxy film series, which included the addition of animatronics
and large screens for the show scenes, however the overall mechanics of the ride remained
unchanged. The first Tower of Terror in Orlando and the
most recent installation at Disneyland Paris both maintain the Twilight Zone theme which
is based on the classic tv series that aired from 1958 to 1964. The four Tower of Terror attractions are all
similar in concept, however the original Hollywood Studios version features a unique ride system
that is far more complex than the others, and it offers an experience that can’t be
found anywhere else. The tower portion of the ride building is
60.7 m in height, and it houses two 48 m tall elevator shafts where the drop sequences take
place, along with a large mechanical room above the shafts for the elevator motors. The rear portion of the building is about
half of the overall height at 32.0 m tall, and it contains the dark ride component of
the attraction along with the queue, load and unload areas, maintenance and control
rooms, and the gift shop. There are 4 elevator shafts located at the
back of the ride, and these connect to the main drop shafts through horizontal passageways
at the 1st and 5th show floors. After guests go through the hotel lobby, library
pre-show, and boiler room scene, they then board one of the 4 rear elevators at the second
floor. At this point, it appears that the elevator
car is the ride vehicle itself, but guests are actually boarding a semi-autonomous vehicle
that is positioned inside the elevator car. The ride vehicles are loaded onto the elevators
on the 1st floor below the passenger loading area, and they are held in place by a locking
mechanism on the floor of the elevator car so they don’t shift as the elevator moves. Once the passengers have boarded, the ride
starts by lifting the elevator to the first show scene. For the two inner shafts, the show scene is
located on the 3rd floor, and for the two outer shafts, the scene is located on the
4th floor. All four show scenes are identical, but they
are offset like this to conserve floor space. When the elevator doors open, the passengers
see a long corridor where 5 hotel guests seemingly appear out of thin air. The figures then disappear in a burst of electricity
as the hallway goes dark to reveal a single window in a field of stars. This scene is accomplished with two primary
techniques that Disney uses quite often: forced perspective and an optical illusion known
as Pepper’s ghost. The opening of the corridor is life-size,
but the walls, floor, and ceiling all slope inwards so that the height at the very end
is only about 1.2 m. This makes it appear much longer than it really
is when viewed from the inside. The wall at the end of the corridor is a rear-projection
screen with a projector placed on the opposite side. At the beginning of the scene, a normal wall
with a window is projected onto the screen, but the wall fades out of the image as the
lights go out to give the illusion of a window floating in space. At the front of the corridor just behind the
first arch, there is a large pane of glass oriented at a 45-degree angle that spans the
entire width and height of the hallway. This aligns with a second perpendicular hallway
where another rear-projection screen is hidden out of view. The 5 hotel guests are projected onto this
screen, and the image is reflected in the pane of glass making them appear in the middle
of the corridor. This illusion is known as Pepper’s ghost,
and it is the same effect that was famously used for the ballroom scene in the Haunted
Mansion. After the ghostly figures disappear, the projection
screen slides out of the hallway to reveal fiber optic cables that are used to create
the star field. Many of the walls in the corridor are scrims
made out of fabric, and fiber optic cables are actually hidden all over the show scene
behind the walls, as well as inside the elevator car. When the set goes dark, the light from the
cables shines through the scrims, and the cables in the perpendicular hallway are reflected
in the glass to make the star field appear three-dimensional. After the corridor scene is complete, the
elevator is then lifted to the 5th floor where the ride vehicle exits into the 5th dimension
show scene. This scene features a number of visual effects,
including a second star field that is achieved by two large mirrors with fiber optic cables
hidden behind them. The mirrors are oriented at an angle to each
other in a v-shape, and as the ride vehicle approaches, they slide apart to allow it to
pass through. Although there are 4 loading elevators and
4 corridor show scenes in the ride building, there are only two 5th dimension scenes on
the 5th floor. The four loading elevators are arranged in
pairs, and each pair connects to one of the main drop shafts through a single show scene. The horizontal motion for this part of the
ride uses a trackless system where the semi-autonomous ride vehicles navigate across the 5th floor
from one elevator shaft to the other. The vehicles are known as wire-guided AGV’s,
or automated guided vehicles, and they are equipped with sensors that ride close to the
floor surface. There are wires installed in the floor that
are used to transmit radio signals to the vehicle, and the vehicle is programmed to
follow the wires in a similar fashion to a line-following robot. The signals can also be used to control the
speed, direction, and orientation of the ride vehicle as it travels along the pre-determined
path. If the ride loses power and the radio signals
are cut off, or if something falls onto the floor and covers a wire, then the vehicle
will come to a stop automatically. The wire guidance system can be quite sensitive,
and it is one of the primary causes of downtime for the ride. Once the ride vehicle exits the 5th dimension
scene, it then boards an elevator car in the drop shaft for the main drop sequence. The elevator cars here are similar to the
ones used in the 4 loading shafts, and they also have a locking mechanism to secure the
ride vehicles in place. The ride has 4 pre-programmed drop sequences
that it can execute, and the computer selects one at random for each ride. Each sequence consists of a number of varying
drops and launches up the tower, with one full drop from a height of 39.6 m, or about
13 storeys. At the top of the ride, elevator doors on
the front of the tower are opened, giving guests a birds-eye view of Hollywood Studios. The two drop shafts actually extend about
8 m above this point inside the tower, but the top portion is not utilized during the
drop sequences. A certain distance is also required to safely
bring the elevator car and ride vehicle to a stop at the bottom of the tower, and so
the maximum drop height that passengers experience before braking is only about 27.4 m. The ride system that is used for the drop
sequences is based on the traditional traction elevator, and it is not that different from
an elevator that you might find in a normal high-rise building. The system was designed by the Otis Elevator
Company, and it uses two giant induction motors to accelerate riders up and down, reaching
a maximum speed of about 63 km/h. One motor is positioned above each elevator
shaft in a mechanical room at the top of the tower, and each one weighs nearly 60 metric
tonnes and can generate 2,000 HP. Each motor is connected to two cable drums
in series, and there is 1 solenoid brake on the end of each drum for a total of 4 brakes
per elevator. Two steel cables are wound onto the first
drum, and these extend down through the floor where they connect to the top of the elevator
car, which travels along rails that are fixed to the walls of the shaft. A single cable is more than strong enough
to support the full weight of a car along with a fully loaded vehicle, but two cables
are used for redundancy. Two additional steel cables are wound onto
the second drum in the opposite direction, and they are attached to a counterweight that
is used to offset the weight of the elevator car. The counterweight travels along its own set
of rails inside the shaft, and it weighs about as much as a single elevator car with an empty
ride vehicle so that the motor only needs to supply enough power to raise and lower
the weight of the passengers. Two more cables extend off the bottom of the
counterweight, and they run around a compensation pulley at the bottom of the shaft before connecting
to the bottom of the elevator car. This closed loop allows the motor to pull
the elevator car downwards, resulting in acceleration that is faster than a freefall. When the motor spins in one direction, the
car is pulled up from above, and when it spins in the opposite direction, the car is pulled
down from below. The result is an intense experience unlike
any other elevator where riders experience complete weightlessness one moment and are
pushed into their seats the next. But just like any regular elevator, the Tower
of Terror features a number of redundant safety systems that keep guests safe. First, there are the 4 solenoid brakes on
the cable drums that are used to control the speed of the elevator. Each brake has 2 arms with friction pads that
are clamped against the drum by a pre-loaded spring. There is a solenoid at the top of the brake,
and when electricity flows through it, the resulting electromagnetic force pushes a plunger
outward which separates the pads from the drum. When the flow of electricity is cut off, the
electromagnetic force is stopped, and the spring pushes the pads back against the drum. The friction between the drum and the pads
slows the drum down and brings the elevator car to a stop. This design is fail-safe because the brakes
are always active in their default state when the solenoid is powered off, and they will
stop the ride automatically in the event of a power failure. If the brakes were to fail, then a mechanical
speed governing system on the elevator car would activate emergency friction brakes that
clamp onto the elevator guide rails. There is a similar speed governing system
on the counterweight as well, so both the counterweight and the elevator car can be
brought to a stop by the emergency brakes. In the unlikely event that both steel cables
supporting the elevator car were to snap, this would also activate a set of emergency
brakes to prevent the car from falling down the shaft. If all of these safety mechanisms were to
fail simultaneously, which is extraordinarily unlikely, then the falling elevator car would
create a cushion of compressed air in the bottom of the shaft which would help to slow
the fall. There are shock absorbers installed at the
bottom of each shaft that would help to break the fall as well, however these are not designed
to catch an elevator car in a freefall. Fortunately, this has never occurred on any
of the Tower of Terror attractions, thanks to an over-engineered design and redundant
safety systems. While we’re on the topic of safety, I want
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more importantly, it helps to keep you and your data safe online. Thanks for listening, and now let’s jump
back into Tower of Terror. After the ride has completed its drop sequence
in the drop shaft, the elevator then moves to the first floor where the ride vehicle
reverses out of the elevator. The vehicle moves backwards to the unloading
area, and it rotates 90 degrees for the guests to exit onto the unloading platform. While the vehicle is in this position, an
inductive charging system in the floor is used to charge the onboard battery in the
same way that you might charge a cell phone on a wireless charging pad. This is the only time during the entire ride
cycle when the vehicle is stationary on the ground, and so its also the only time when
the battery can be charged. The battery provides the vehicle with just
enough power for its self-driving and communication functions, and this is one of the reasons
why there is no audio or lighting onboard any of the ride vehicles. Instead, all of the ride’s audio and lighting
systems are located within the show scenes and inside the elevator cars. Once all of the guests have unloaded, the
ride vehicle then moves to the rear of the building where it boards one of the 2 loading
elevators on its half of the ride, and it is lifted up to the loading platform for the
next group of passengers. Since there are 2 loading elevators paired
with each drop shaft, each half of the ride can accommodate 4 ride vehicles operating
at any given time: 1 at the loading platform, 1 in the show scenes, 1 in the drop shaft,
and 1 at the unloading platform. This means that a total of 8 vehicles can
be cycling through the attraction at once, giving a total ride capacity of nearly 2,000
guests per hour. And since the two halves of the ride are independent
from each other, one side can often operate by itself when attendance is low or when the
other side is down for maintenance. This ride system makes the Tower of Terror
very efficient, however Disney decided to make changes to the design for the California,
Tokyo, and Paris versions to increase the capacity further and reduce downtime. Since the wire-guided AGV’s were a common
source of reliability issues, they eliminated the need for self-driving vehicles by removing
the 5th dimension scene and the 4 loading elevators. The corridor scenes that were previously attached
to the loading elevators were moved over to the drop shafts, and a second show scene was
added at the 5th floor. The scenes vary quite a bit between attractions,
especially with the recent conversion of the California tower to Mission: Breakout, however
they all originally featured similar effects like forced perspective and Pepper’s ghost,
as well as other mirror tricks. Since the new ride layout does not utilize
AGV’s, the loading platforms had to be relocated to the drop shafts, but here the ride vehicles
are loaded and unloaded outside of the elevators. Once passengers have boarded a vehicle, it
is pushed into the elevator car by a mechanical grab that travels along a track, and after
the ride is finished, the grab pulls the vehicle back out of the elevator for unloading. A second loading area was also added one level
below the first, which allows one vehicle to be loaded while a second one is going through
the ride cycle. The elevator system itself is essentially
identical to the original one used in Orlando, but here it is used for the main drop sequence
as well as moving between the show scenes. Since each drop shaft can only accommodate
2 ride vehicles in this configuration, a third shaft was added so that a total of 6 vehicles
can cycle through the attraction at a time. This greatly increased the overall capacity
of the ride, and it also allows two shafts to remain open when one is down for maintenance. There’s no arguing that the second iteration
of Disney’s Tower of Terror is a far more optimized design compared to the original
Hollywood Studios version, however it doesn’t quite offer the same immersive experience
that you can only find in Orlando. While Tokyo may have the best aesthetics,
and California may have the most engaging storyline, there’s still something special
about the journey through the Hollywood Tower Hotel and crossing over into the 5th dimension
that Imagineers simply haven’t been able to reproduce. Hey everyone, I hope you enjoyed today’s
video about Disney’s Tower of Terror. Let me know what your favourite Disney attraction
is in the comments, and I’ll try to make a future video about the engineering behind
it. Please subscribe if you want to see more content
from this channel, and don’t forget to hit the bell to get notified as soon as new video
comes out. Thanks for watching, and I’ll see you in
the next one.

How the Inventor of the Rubik’s Cube Cracked His Own Code

How the Inventor of the Rubik’s Cube Cracked His Own Code


(uptempo music) – [Narrator] There are 43
quintillion possible combinations. Now imagine you have no websites, no books and no one to show you how to solve it, because you invented it. But you didn’t invent the Rubik’s Cube. (enchanting music) This guy did. It was 1974. Thirty-year-old Erno Rubik was just beginning his career in academia. Once the physical cube was put together, Erno began hunting for its secrets. Erno racked his brain for a strategy, twisting and turning the cube in his hands and his head to unlock his creation. And after a month, he cracked the code. (turning cube) But the story doesn’t end there. In 1980, Erno would finally bring his cube to the world. And from there, it took off, becoming one of the best selling toys of all time. And after almost 40 years, Rubik’s Cube has seen a comeback, with hundreds of competitions every year across the world. For Erno, the cube that bears his name is more than just a toy: it’s a reminder to never give up.

JOKER | Sight & Sound | Crafting the Character

JOKER | Sight & Sound | Crafting the Character


I love close-ups in IMAX because the expressions of the actors and the nuance just comes out better in IMAX. Joaquin and I spend a ton of time together just talking about Arthur and Joker and where the laugh comes from and what Arthur looks like and how Arthur walks and talks and obviously things you talk about with actors in general. But with Joaquin, it always seems to go a little bit deeper. I’ve never really met an actor like Joaquin. He made the process uniquely thrilling. [Laughter] [Music] You’re not immune sitting at the desk you’re in it. and you feel the character you feel the emotion and you feel what he’s doing. I used to think that my life was a tragedy but now I realize it’s a comedy. As the dialogue mixer, there’s a lot that I will do from a mixing standpoint to push some of the intimacy moments with him and things where I can actually make it feel like you are closer to him maybe closer to him than you want to be at times. I love the way the Gotham looks in this movie. The sirens sound different they don’t sound like New York sirens and that was another tall order that Todd wanted. We weren’t supposed to make Hill Street Blues quote unquote we were supposed to make Gotham. The character of Arthur is a slow burn turning into Joker so part of the magic of Joaquin is that ability to kind of tweak the performance so that transformation happens so slowly. We had to sonically take the ride with Arthur from where you saw him to where he ends up. Playing with that was a lot of fun but it’s a very delicate tricky thing. As he transforms the lighting gets a bit darker camera gets a bit lower he becomes a bit more grand. I’ve been fortunate enough to six movies with Todd. On this movie more than any we’ve ever done before we would just constantly remind ourselves there’s no compromise here. This has to be the best thing we’ve ever done. You know, pressure makes diamonds. It is unlike any other DC movie you have ever seen. I think that a lot of people are gonna be surprised by Joker. You’re gonna walk away questioning some things. It’s a good ride that’s for sure. Seeing it in IMAX is just gonna heighten that experience. It’s just the experience you can’t get anywhere else.

PARTIE 28 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h48)

PARTIE 28 Maitriser INDESIGN en 48h chrono Mise en page ADOBE niveau pro à la portée de tous (0h48)


the page palette is divided in two parts on to the part below that are the pages of the document there is the on the top are the models of the pages some of its page templates especially the from the 1st the f and the game were made from pages of documents so that’s a little bit of logic that has was set up here we created the document pages by starting templates b and c that are templates that contain a a little bit of a modular grid we could call it the pages of the document were created from these templates b and c and then to a certain so we thought, well, it would be nice that some pages of the itself comes from the template pages and that’s why we find pages here that contain images of course the idea is that when I see used it’s this double page for example at games reuse it in the document I’m going to remove the images that are there the text will the title will change the text We’re going to change that’s actually the idea. is that this is just a model see the same thing there when I use in the document this double page hum hum is so I’ll put it in the document. I’ll go. remove images the title will change the text is also only a model same for the f the g here it was the same thing too. except that we emptied before using the template in the document to create this page template we have emptied into the template the images were taken out on texts was released here well, let’s try to create from the template I had to model pages I have let’s try to create a new page so you will simply activate both template pages upper-case click click both pages are activated and you go to the document and move them by example at the end of the document so you take after activating the two pages with upper-case tik clicks you take one of the pages and move it and at the end of the document, that’s the one. Fine, yes, that must be it, the end there is. not la noria la pala here you go, you insert you have you see a vertical line that tells you that you will insert and Here you have the template. Here they are not wearing the right number aa I’m in the process of marking that the template g carries the letter f that’s a problem because I spend time in time of the French version had to the English version of indesign and there is sometimes little problems like that. can happen or it’s because he’s using the template is forfeit yes they use jumpers I’ll check, do nothing, check. Right here, yes, no, it’s fine, so it’s fine. they are wearing the right letter g Besides, that’s what we see here is the template I have the pages are based on The template I’m good, he thinks we had to template parenting here the template g uses the template f He uses the b himself, it’s not very much. important here is the percentage of size but it’s not very serious Well, here you have moved the template. I have the two pages there you have normally from pages 22-23 you have this who use the double jay template click on page 22 for example double-click and check that you have well double-click normally at the bottom to On the left of the document window it is indicated that you are currently seeing On page 22 if it’s still indicated I have it is that You screwed up. You didn’t double it. click and you just clicked on clicking is not good so I’m going to ask you to save the document regularly making files saved under you save it in the folder of assembly is in the folder of assembly of which contains the document on which you started you are going to register you have changed the name regularly for example here at the document pass 50 I will call it 51 so it’s always a good idea to record regularly these documents under a different name so that the structure is arranged. xml of the indesign document it will avoid that they plant and that they are unusable to regenerate the structure xml but also if you make a mistake creative you will at least have the version pre-season documents so don’t do not the beginner’s mistake of work for days and days on the same indesign document It’s really screwed up. It takes a minimum strategy at the level of the computer management of these documents otherwise you’re unreliable and it doesn’t no reliable is really more annoying even more than not being very good at it. we can get away with computer graphics by not being very very gifted and evolving little by little, however, someone who is unreliable because when you asks to do a job for three days then she may become the one who finds the boss saying I lost everything is the server’s fault but no it’s not the surprise of the server that crashed you should have saved and should have have a backup strategy for documents is therefore very important what that this tells you is valid for all courses obviously for all computer graphics professions you don’t need to must be reliable ok the palette of tools here I’ll put it in half columns it will be easier to see all the tools you have the ability to use double arrow there to pass will pass help him or shoot him or colonna the isi if you have skin but the range of tools because you clicked on the cross you go to the tools window menu and you’re going to make it reappear so the tool palette so we have text blocks here that we can select so yes when you try with the black arrow to click on things nothing is selected because it comes from the template, you must first release the template elements so let’s go It’s normal that comes from the template. is not directly manipulable on the pages you notice that only when you try with the black arrow of click on the elements nothing to be select are well between a job on page 23 here at last here in any case in the document it is not indicated I have you don’t work on this template. It’s important we didn’t use we is not here to repopulate the template with images and texts we have used the template to create a model to create a page in the document two pages by the way, and we’re going to now in the document fill this out with text and images so you’re now going to the pallet page and we’re worth two pages there that are activated capital click tic you asked to release the elements of the template it is therefore in the palette menu page you are going to ask to release the elements of the template at best in the middle of the menu the palette page you have released the elements of the template and therefore normally now when you click with the black arrow you have the elements that are accessible So these are text blocks, these are text blocks. this is what if these text blocks are what that you see the line when you click on one of the text blocks yes the line that connects the text block here with the one on the right page you see it this thick line or not yes if you don’t see her crazy and first in the bada pallet of tools it is necessary to be in normal display to see the document constructions then if you still don’t see this line. while you’re in the process of work on text blocks with the black arrow you have to go to the display menu extra is asked to show the chaining of text these are three text blocks that are chesnais, which means that when I put some text in the first block that’s cool. the other second one plus it flows into the next, so it’s perfect. it’s a way of making the implementation page we are not obliged to do it with text chaining if you have the opportunity to look at the other pages of documents at a certain time you will see that some pages have unlocks text that each contains their text and if there is no system of chaining but here there are some then when you paste text into a block like this and it flows by following more by next and if it doesn’t have enough space the normal behaviour of in design is to create pages on your own and it will create pages by itself and will add pages so that the text that does not appear or is visible see if I the text in there and there’s no doesn’t have enough space to show everything the text in design created pages is rather boring and normally in this document has been disabled it has been disabled this function of automatic page creation because otherwise it’s confusing, especially for the beginners we’ll check them out that it’s always well deactivated so we go to the preferences editing menu when you are on a PC but when you’re on a pimp we go to the indesign preference menu and we go to that text line so the preferences concerning the text and we checks that the option that creates automatically pages and via disable because otherwise it will so it’s here that these intelligent redistribution of text this must be disabled, it is the case it was the case with you perfect so obviously when we paste text that doesn’t have enough places in the blocks we will see appearing at this place so high bottom right of the block at this point we will see a small red cross appear which indicates that there is excess text and that it will obviously be necessary to do something thing was going to put it somewhere else on our pages to select it to the put elsewhere we’re going to test 120.6 so we’re dealing with here to images that unlock images of image blocks that are ready to be adjusted so that when you bring in an image in e the image resize well I resize you watch quickly but doesn’t do it is when I select one of the blocks I will see in the objects menu adjustments block adjustment option adjustment option This is where it’s preset to fill. the block proportionally the image is resize to fill the most great possible blog feel overwhelmed in one way or another, it’s perfect so we’re still going to change a little the configuration here of things here You’re going to change things. We’re going to change things. do this together for example I think I’m holding the block of the page on the right here I will delete the selected text block on with the black arrow is pressed down the delete key it is no longer there we have so only two text blocks on the left page here there are more blocks text at this place we will go the create image blocks because we’re going to actually put two images there then here’s the first thing I need to tell you. if you make the mistake of taking the text tool and click on a block images you turn it into a text block and therefore it will no longer be able to contain of image except and especially if you put text in it if you have typed some text like that in it he won’t be able to anymore contain image it contains text to convert it again, I explain to you so it never happens to you and we don’t never knows an untimely little click with the text tool on a block the image It’s so fast, you’ll have to put it on. cursor in the text block do how to do it you have on the mac control ensures the pc for all selected keys delete here there are more texts in the block it will be necessary to select it with the black arrow the block and reconvert it by object object content it will be necessary to say that it is not a text block, it’s an image block and as a result the diagonals come back it became a blockage again. so here I am going to create two blocks images here one that will use three rows of the modular grid since it’s a document based on a grid that that still allows you to have a graphic consistency in the document on can have from one page to water pages which are quite different in terms of the look of the positioning division of the images titles titles text blocks and despite everything, we feel that a structure Behind that’s the idea, that’s the way it is. that magazines are made with a so grid from one page to another is varied is good, but at the same time It’s not just anything there’s a grid behind then first way to create the block you will do this with the arrow black you will fly over any which of the three blocks here and with the alt key you will move it you will move it release the alt key, release the alt key Smile button is a copy I’m going to be able to place and hold it and normally it’s going to lock itself on there in the column the track there and you will grow up the handle there in the middle since we wanted a block that faced pretty much yes we’re going to make two image blocks like this All right, that’s the first way. you use an empty image block and duplicate it with the alt key when you move or we can copy and paste from one page to another so of course now here it is a block that when I bring an image in It’s going to resize, we’re going to test it. we’ll test you will select the block here is how you indicate a design you want specifically to lead an image in there you’re going to in the imported file menu we import an image you to navigate to your assembly file in which you are in working there’s on your desk you have it neither somewhere and in the file of assembly among all the things here you have a folder that contains the images a links folder you enter indoors you may display by icons the contents of the links folder like this you see the images and you will choose to import one of the images so for example, I’ll bring the bug. here choose any image it is you who see and you click on open there in the image import box that swears open is normally Here comes the bug. It’s here. It’s here. the image filled in as large as possible block so we had an image horizontal finally I had an image horizontal there and the block is rather vertical but it doesn’t matter we’re going to right and that, so when you handle a block image well you handle it well either the container and its contents is what happens that you take the black arrow and you click on the block it appears there with blue vectors and that’s good. the block and its content that is being handled if you try to move it you will see that you can move it ah Here it went behind the other one. boring or you’re acting like z commands to cancel until to get him back in place so that’s the block and its content now it is the block it is good there it is it is well in Place it right, that’s how I wanted it on the page but the content must be moved adjusted you will click with the black arrow on the central reticle here and you see one see a brown frame that appeared the image is the content of the block you are moving the content of the blog without moving blocks itself You can go like that now. with the arrow from where I repositioned if you keep a little bit depressed you’re going to see the whole picture that appears that you allows mud I may have a little bit more easily of course don’t do this that you have the image that does not fill not completely block you still have to position it from so that it fills the block with them the black arrow always so you want you’re going to be able to take a handful of the points and pushed them down alt and capital letters stop and capital letters on the keyboard are confronted while I’m moving around the corner wrists see what happens passes it resizes the image in its block that you don’t of course do since the block is not completely filled with stops and capital letters I take a handful of the point I grew up, I let go of the smile button. from the keys on the keyboard and then I reposition image of course that’s it. it’s reframing in indesign very interesting it is absolutely necessary to master the manipulation of images in the blocks so I erika nuggets with the black arrow I click next to it right next to the page nothing is activated it’s a habit at to be taken in a design to deliver to zero selections black arrow on click next to the page then when I just don’t click double-click and I click on the block I can move it eventually I can put it there we’ll eventually Here’s that, too. Put it down. move you down, we don’t have nothing has been able to move me the whole time. container and its contents now if with the black arrow I click it central reticle is the same thing than to double-click on the block at the we have the frame of the image that appears and by taking a handful of the corner with the alt key and upper case on can resize here we are repositioning, it is necessary to reposition to take the image there on the altimeter block capitalize well but still pretty awesome Well, they say that for an impression on I have therefore it is necessary that the density of the pixels which is used to create the image on the papers over a distance of one inch 2.54 cm pixel density and when we print in inkjet must be 150 pixels 150 pixels of the image must be used over a distance of one inch when you learn in inkjet when you print at a printer’s Le Havre printers who use a offset press you have to go up to 300 pixels per inch but the printer will tell you all about it. way depending on the paper you are using use and the screening it will tell you what the pixel density should be of the images the resolution is called that the reason the resolution what is the resolution of my image here is not by opening it in photoshop and by going to see in photoshop in the images menu size of the image that I’m going to know what the image resolution I’m talking about the image resolution such as that it is there in the indesign document at 7 to self-expansion there, well. we’re going to go see his small link window go to the menu window link window I detach the palette of links because it is when even nicer when it’s fuzzy weather I grew up, that’s the palette. links I select with the arrow black the blog in question here I am shows holds the image it’s there it’s there this image there it can grow even bigger if you want, that’s the image that comes out. can be found at different places in the document and it is on page 6 we are working on page 23 it is also located in the template f well, it doesn’t matter, but in any case that’s why the image of doors bull who has two others who wears the same name is because it’s in different parts of the document but this one at stadium is of this sizing, what is its resolution its pixel density and well to find out, you’re going to deploy if necessary here the information concerning this image there and you will see in the bottom of the pallet link then we see that it is an image if I miss in photoshop and look at in the image menu image size of the image at photoshop will indicate that the resolution of the image and 72 pixels per inch but this doesn’t matter that she’s there. image resolution in photoshop savall importance in the 90s it was necessary to prepare images for use in a layout software and we said that generally they should be put on at 300 pixels per inch it’s been since the 2000s that no longer has any reason to exist even if I know that in schools again in 2018 2019 students are told that they must put their image at 300 pixels per inch to use them in the setting in page but that’s nonsense. is no longer necessary because in design does it very well resizing images and you see this image here at this dimension there in my layout at I have a density of 284 pixels, that’s its resolution we are very close to 300 pixels per Inch, we can say it’s okay. It’s okay. it is not only printable on an inkjet printer without any problem since it would have had to be or 150 pixels per inch for the young person ink or more is for a printer it is it must be 300 pixels per inch or more but I have a margin I can accept that 284 is okay. when we export the pdf for the printer I do it here does it here no file exported print here and we records it at a certain place when we will export the pdf for the printer it would have to be in the box here. request compression it will be necessary to request sampling at 300 pixels by for images that are at the above 300 pixels per inch that means say that all the images in the pdf this is the document we give to the printer they will be 300 pixels away per inch so the images are at 800 pixels per inch in indesign there are some some of them are even at 1000 pixels per inch if it is images that have a lot of pixels and I put them small on the page the pixel density is large and also the images that play below 300 pixels per inches will be reduced to 300 in the pdf It’s perfect. We’ll have to have I also indicate that I convert the green colors a standard a huge one of Fogra printing so huge of printing cmjn so my images that are all rvb there in indesign it makes still for fifteen years that adobe says that you have to use rvb images in the design my rvb images are converted to the good cmjn in the pdf Yes, because most people who says who scrambles who told you if you have moved to secondary school graphic they told you it is necessary that your images in cmjn here it falls they are not even aware of the steam annoys there are some full that exists full of different so That’s also a stupid thing they say. in secondary schools graphic design of put the images in cmjn if it is for the pressure has been on for fifteen years now that adobe says it must be in rvb and if at the time you export the pdf that you turn everything into cmjn than what or the color blocks of in design that are rvb the decorations you made the vectorial file and fatou here it is in Anyway, that’s it for the question of the resolution and even also we talked about the rvb images you are keeping up to date used images rvb regardless of the resolution of the image that can be found in photoshop what matters is the resolution effective in indesign so you’re telling me that in his effective resolution it displays two dimensions a bit like this what Kind of like this is good, that’s when we make the mistake and then I cancel alone fear gene I went back to one effective resolution dimension it’s because when you have this dimension of the image with the black arrow in taking the corner handle with stops capital letter you did this you actually have released the keys before releasing the mouse button is there so the keys that are supposed to constrain the proportions so that they are kept bell have been of no use since you dropped them before the button smiled. That’s why it’s not very serious here. you can leave it like that but finally That’s where it actually comes from. That’s what I told you, I think they’re keys or the years you want you release the keys after the button of the mouse I may not have said I may have forgotten but here it is, it’s a touch. of constraints is how it works then we still have a place where we have no image but we’re going to do the other one. way to create image blocks you just go here and get the tool to creation of rectangular blocks so I’m still going to check into the pale and shifty calaisis also small layer window check that we are well sure the right call there are several calculations in this image there is a call only for the images and text that are put one next to each other on the pages for do the layout It’s of course suliac I’m in the process of work it is highlighted it is selected and in addition it is not not locked we have another layer dressing that is for images that Get dressed, we’ll talk about it later. we have another call for the blindfolds. onel navigation are things that we puts on the edge of the pages there is one at some places here it is on page 3 we abandoned navigation which is when we turn the pages of the magazine to each other to locate but it is not mandatory well sure we have a special layer for the numbering we have special layers for the landmarks anyway, here we are, we’re fine. landed on the right image calculation and texts it’s perfect and I’m going to create a new block here from which you take the tool for creating graphic blocks so blocks that are supposed to contain images and you can draw the block starting there and finishing the right one. otherwise released control z can also be used do it like that and then after you do it resize with the black arrow you go from m tip top to margins it’s important because by putting the blocks that stick to the markers and margins when we’re going to eventually modify the the orientation of the document or a little bit of the dimension of documents in design va working for us indesign will work for us it will repositioning the blocks won’t work that sticks to it unparalleled and at the margins Here we have an image block so this block images we might not do it I shows you we could go to the menu objects adjustments option block adjustment and pre-set adjustment so that the image resizes everything alone when I bring it in bulk but I I’m not going to do it here. I’m going straight to lead an image inside so the block is well selected it means that the image I’m going to give them search will fall directly into it I make imported files go ahead and go look for an image it is inside that’s it and then it doesn’t appear in complete if I click on the central reticle I should see an arm block I don’t see What’s going on there’s a hell of a lot going on that are not worth 1 toilet but in fact it is if you or but in back you will see the brown block it is there the image is in immense celebration it overflows the boundaries so that’s because the block unlike the one used on the pink block that were provided in the document this block there was not near set to resize the image so it doesn’t matter I don’t select first I’ll click next to everything which is not easy to disable. games that flow into it with the black arrow next to all of them and then I’ll select click block here it is already selected the block does not pass its content and now we’re going to manually ask that the image on immersion alone go when you’re sure you have select the object block carefully adjustments fill in the block proportional to send all this was grey and before we put images in block but necessarily since he didn’t have of image to resize we just had access to the block pre-settings but here adjustment objects fill the block proportionally and here is the picture oversized it may be overflowing with unfortunate yes, it’s still unfortunate that the lighthouse in my case here to be cut by the bench on Sunday is It doesn’t matter the same as for the lou I stitches on the reticle and then with the black arrow always I will move the image I can press the key capital letters to move on the axis here I release the button to smile then the shift key and that’s it. the image is good so you can see the two things use preset blocks or do the manual setting to each block objects adjustments fill in the blocks proportionally do not forget not to save document I registered again under a name in the assembly folder that I provided you with That’s fine, so you go with the black arrow that next to the page nothing and select and we will import 4 images in the blocks that remain there note that I do not select before you bring the images, that’s why that I tell you to click with the arrow black next to the page nothing and select you go to the menu imported file and you will selected with the key as hordes of the mac or pc control you will selected four images so I wanted to choose the images that you want here are four images that will be quite good I have activated four images with the command key of the mac or control of the PC open it is in the box there you have four images that are in the cursor you can review with the left arrows and right on the keyboard and decide which you put first by example I’ll decide hold this one I’m going to put it on their big blocks pink there I will click on an area pink of this block on the right page but not on a margin not on the edge of the block really on the block there is there is normally it was worth it in all only here she goes, I’ll do the same for the other click blocks click click click and here you have placed a lot of images all of a sudden, it sometimes takes them repositioning of course always the same central crosshairs thing capital key I’m moving Here’s okay, this is good, this is good, too. let’s say at the bottom right to recall tools the preview box allows you to see what that it’s going to result in This will be your document my tip here when you need to make documents that have a professional look is made at the fetal wing and images up to page edge is fine when you do that from the images to the edge pages because a photocopier colors a printer does not know in general printed to the edge of the pages but a printer knows how to do it right in some cut copy services if they know how to do it too so here there has been need to do nothing since the block hilali overflow the page and it’s what we call a system of funds lost in printing it overflows a few edges of the page make it the most the idea is that the printer of the award-winning wines pages on larger sheets as necessary and then he’ll bend them leaves the dolls and that makes a magazine that’s the idea that’s why that we print beyond the edge of the page is what we call the bleed is for that reason the block d overflows from the band of the border the page here and therefore to see the previewing the document is to preview it at the bottom of the tool palette is the icon on the right here you can work in design by being in overview of these facts a genetic problem, for example on the central reticle here I play my back to be able to handle easily with the black arrow at capital letter I enlarge a little bit, that’s because that I think it’s more fun like That so there’s a good trick it is a good layout tip to do go to the edge of the pages it gives a different professional look thing even in your images in your images that are not up to the edge of the pages made in so that the entire object is not not visible That’s what I did here for the lou down there why drop because that’s what ensures that the image looks a little like a window that shows the reality a little bit you’re in a house you see the windows there are things on the outside you couldn’t see not necessarily all of the objects that are on the outside, so that’s it. if I click on it and ask again adjustment objects fill in the blocks proportionally veils and the wolf here that’s going to be seen in a bigger way is not necessarily great like it is. page see it looks a little like a box in which even if it protrudes there It’s true he’s overtaking, but it’s not awesome it is better to reframe not everything showcase well we’ll finish with the text so here I take the text tool and indicate that I work in the text block of the agreement with all this text I click in the text block we see the cursor that flashes you can go paste something that comes from the web but I will fill in with false text in waiting to get the real text so I’m going to right-click alesi right-click fill with the text of substitution so it’s fake Latin. that happen and even fill something up for the title here you can click right-click fill with the text of substitution and you have a false title so if the right click doesn’t work on your mice you will do robert the old the first mice on the mac didn’t have a clip so you’re going to make a click control which corresponds to call the right click of the mouse Well, we still have to take care of the image that dresses because it has it it There’s a block. it wasn’t unlocked there when we asked earlier, release all of them the elements of the template this block images there kiabi was not unlocked because it was on a copy and which was itself locked so the function does not a not is not to unlock this block that is on a separate layer on a call that called dressing, we’ll take care of it. of that text packaging is really something great in indesign that’s really what’s going to make the difference also with a layout that comes that was made in word by report to world make the dressing of texts with a design that reflects an image that pushes the text back is still not bad at all in passing if you have to make a word document one day if you requires you to make a word document you can do it in the design and then convert it into world the trick I’m not giving it to you until time to do here it is necessary to export the document and design in pdf you have to open the pdf in acrobat pro which is the software to manipulate the pdf once it is opened in acrobat pro you have files saved under and you have a lot of format in which you can save your pdf especially at the world so you will have a word document made in indesign in fact because sometimes you are required to make a month in some for some things don’t has imposed itself so we’re going to use a images that are there to make a routing in photoshop so by example you can go to page 20 and you have the image of this wolf does not looks pretty good on page 20 to you. go to the image of the wolf here you go in the links palette and this is of an image in the format Here it is jpeg. Okay, we’ll ask you to open it in photoshop All right, you have that image there on on page 22 saw that patients numbered of course it is there you go to the menu of the links in the menu of the links you will request modified with modified with and and you choose photoshop and normally it should be open in photoshop which will launch itself if it doesn’t work, you can start photoshop and you try to open the image that is in the links folder and who carries this name there but there it seems to be suffering in anyhow, at my place in photoshop here it opened in photoshop and That’s when you drive photoshop. maybe got a message on the profiles color I don’t have time for you explain the color profiles here then if you have a message you can possibly choose preferred profile incorporated and click on ok here it is good is an srgb image but the color profiles is another one storytelling then touch f I pass the image in full screen on the mac like that with the bar spacing does that too I rdpc that you will be on a PC the f5 key you allows with the space bar to move the image as you wish in the window so we’re gonna do a I didn’t see the whole image is missing the legs of the wolf but finally we’re going to deal with it It can be modified, it can be recreated. the legs if really necessary underneath the wolf, but so here’s where we’re gonna do it. a gradient can also be done okay so you see that in a design I hadn’t seen the bottom of the image so I-I thought the legs were visible and we’re going to make a detour on the wolf but it’s not very serious we’re going get away with it all, so here you are. go to the layer palette of photoshop menu window layer menu so you’re going to add a mask of merge on the layer so you click on the merge mask icon here on mask is framed so it is of course you’re working on him, you are going to take a brush the whole brush you check that in the above it is well indicated that fashion of application is normal and that 100% opacity you are drawing in black if not, click on the icon to reset and to override the icon here to reverse they gather there read reverse read there is that we are well into term and on the mask that we added the ones he’s the one who is framed it’s not the picture next to it I don’t want to lead peaks and black on the wolf I want to bring peaks and black on the fusion mask I added from in order to hide the green decor of the wolf then here you have control alt and you can click with the button left of the mac with control alt when you move from left to right right is the size of the brush from top to bottom is the hardness of the control brush alti left click on the pimp mouse when you move from left to right it’s the dimension from top to bottom is the hardness to do the same thing on a PC we’ll have to do control alt but this time it will be the right click on the pc to to modify the brush and of course it’s on quantum image when you wants to do this so there are plenty of ways of approaching the problem but here I’m going to do it from the outside, that’s it. so take a good look, it’s very simple. takes a bronze shape that is not too much a form of bronze that is not too big although for the blur of the hairs there I could still go anyway so you can see I’m changing the dimension labrosse as you go along that I turn around the bug I don’t hesitate to zoom in, it’s a brush with blurry edge that’s it, you don’t see what that the animal and it overflowed blurry it is of fire obviously here it’s a selection fast so the goal is that when I use this image in indesign I only sees the bug appear and it sounds grass scenery there is not going to appear space bar to move the image in fact you’ve already had a course of photoshop or not yes so it’s fine then it’s finger in the nose good for the ears I take a small brush do it quickly we don’t have too much time to do to do this in addition It may wake up a little later on. we don’t have to do this anyhow. first two moves since this image photoshop anyway the calq and goes stay we will save it in the format photoshop and it is a jpeg image in that we opened but we’re going to save it in photoshop format and so the layer will remain with its mask on. of fusion so we’re going to be able to rework the mask afterwards the lou has green reflections because he was in the green grass That too can be corrected once that it’s done, you take the brush and you turn on the rest of the set don’t hesitate to take a big one. brush does not ask you to clean the toothbrush toilets is only not the army here so don’t take a tiny brush to go around the bug when I’m very close to the bug of course the brush one little one here but then I’m gonna take a big bigger to finish if ever you overflowed onto the bug you should not have been and of course you draw in white you know the principle of the fusion mask which is white in the mask it is what makes what is black is what masks Here’s a big brush seeing it goes. quickly and here it is, so it’s a little screwed up. because the bottom of the pasta is not there. but we’re going to be able to find it quickly. a tip to either search for wolves’ legs elsewhere and we do it. adds it’s something that can doing it is called photomontage or we’ll do a little gradation to make the glass paste go to the worm the vacuum a new mask with a degraded teeth in any case recorded the image in photoshop format there’s no choice, that’s what you offers anyway registered there in the links folder in the link folder here it can keep the same name but the extension is different so she’s going to go stand next to the jpeg version and you have a version ps of a photoshop version

PS – Apprendre Photoshop comme un pro en seulement 8 heures, par Thierry Dambermont

PS – Apprendre Photoshop comme un pro en seulement 8 heures, par Thierry Dambermont


well me what I propose to you for to begin is to leave photo ch don’t want photoshop to be launched and we will reset it to zero to recover it with its sinn settings like that. will be easier because it is possible that you have to modify it on behavior of photoshop tools when you worked with previously and therefore on a mac for reset photoshop it will be necessary to pressed three keys on the keyboard the cmd key, so what is called the key commands the alt key and the capital key you will have to press his three keys together right after that. have clicked on the launch icon of photoshop so you see the icon of the gold you see the launch icon of photoshop I will do here I click on the photoshop launch icon and and then right after that I push in some cmd keys capitalize halt and I do them Keep it dark, it’s not just pushed in. briefly it is necessary to keep them pressed and it shows the delivery message to zero photoshop here we are and we answer yes of course we wants to delete the file parameters that is to say, all the tool settings that we have made beforehand they’re going to be forgotten, we’re recovering. photoshop a machined setting between quotation marks and it solved a lot of problems already good so on the pimp is what you see that you have photoshop with a window floating like these has no interest that when you work on several screens to be able to pass the the entire application on our screen but if you have only one screen Down there, you have to get out of this, you have to go. in the windows menu and in the menu window you will unchecked frame of the application like this you will pass with photoshop planned for a single screen see we often see people who work in photoshop we are on guard and photoshop in window floating while working on a single screen and it’s not great, actually it allows not to use the screen in a way optimal so at the interface level we’re going to modify the appearance of the interface you go to the shock photo menu since we’re on a menu maquis that does not exist on the PC it is the menu photoshop that we’re going to go to the preferably in the photoshop menu obviously on the PC it will be in the edit menu there is not much that changes our pc and mac picture there’s just the fact that there’s a menu there it’s typical of the maquis to a menu for each application so photoshop menu interface preference and there you have the choice to have an interface of different brightness I’m going to to go from this one which is a little dark I think I’m going to go to 7 6 and that’s will in my opinion be clearer for the demonstration No, you choose what you want. here’s in this in this panel of the preferences there was a lot of things that we could of course fix, including including something that allows to optimize the performance of photoshop it is indicated discs of work if you connect to the computer an empty hard disk you will be able to indicate that photoshop can use it to speed up the calculations we’re not going to do it here, but by the way since we’re talking about the startup in photoshop is due modification of the ification sail of the application behavior it’s one of the things that can be done All right, let’s listen, let’s go check it out. not do it, but you’ll see where it goes. is located go to the photoshop preference menu performance this time if you are still in the box you can well sure to move from one to the other by the left here here here here you have yes in done in this version if you separate and now the two things so in the performance Yes, you have a first thing about to the RAM available on your computer how much what photoshop can do used if you plan to use photoshop with other applications that are working at the same time, you’re going to have to manage this and make sure that they do not use a maximum of available memory see that here we have what number of megabytes available in the circuits of the RAM and photoshop we use 70%. Well, I’ll leave it like that here. since initially we use photoshop alone we’re not going to use it in parallel with other software, which means that is very interesting if you have so much you make layouts in indesign you can use in parallel photoshop you modify a image in your in photoshop and a half a second after that is updated in indesign same thing for illustrator if you modify an image in photoshop if it is used in a file illustrator it is updated directly so it’s planned that way, actually God. That’s why it’s called the creative suite the creative cloud is to use the software in parallel a soap opera but no, here we are, we don’t have than photoshop currently open and so what I was telling you about are the working discs so as soon as you connect a additional hard disk to the computer it will appear in the list here and you will be able to indicate that you use it as a working disk so in case the low circuits are a little short on very big ones. images they won’t be enough, but there will be a kind of memory simulation on the hard drive, so what we call virtual memory so these are things to know from the very beginning. that you feel that it’s starting to start a little row in photoshop two-wheeled in the software products you have to start thinking about it is one of the first things to do is possibly increase the RAM we can say that we need a minimum of two wigigigs right now I’ve got 16 May and you probably have more information about your computer but a minimum of 8 it’s not bad because you have to think that the system uses memory also you need a good graphic card because there are graphic cards recommended by adobe which accelerates the work fast enough and pretty well enough that’s it. and extra working disks so so optimized if you think it’s a good idea a lot of you is a long time when you work in software it is necessary to think about optimizing the hardware okay then we’ll see new documents file ok do you have a box when you go to the new file menu document you have a creation box new documents that look like These are typical of the last one. version of the latest versions of the adobe software in 2010 is in fact they have changed the way the box is used new document appears good there is possibility in preferences and there I close the box by the little ball by top left in the general preferences there are possibility to go check this use this check mark the interface inherited new document is like that when I’m a new guy. document game I see a game box to appear and it is the usual box of adobe software as we know it for over ten years, so that would be not bad to go into the preferences of photoshop prefers to the general echo at these it will be easier for us to be all with the box like this the usual box for creating new documents so you have nothing to do because you’re in management 2015 and automatically the new box of creation of your documents did not exist still it’s the old box that like that’s a lot of it. Well, so making a new document is when you want to create ex nihilo so from scratch but it’s quite unusual in photoshop in general in photoshop or restart always of existing images that we have taken with a camera or scanner or from 3d software or others so one of the things we’re going to see what we’re going to understand today is the important notion of a resolution that is not well understood by the graphic designers in general and brings a to disasters because they are able to do good work and then in the final stages of finalization of the work it becomes blurry because they didn’t really understand what that this resolution so we’re going to go to talk about this, so you see we have here. in the new document box something that you have that I here it is indicated cm possibility to define one to define the dimensions in cm and there is the resolution which is the number of pixels on a distance of one centimeter how many pixels of the image how many elements components of the pixel image That’s what a pixel means. means elements of the pictures margins element but how many are used on a distance of one centimeter when I have a bonus on paper but good for our when you make pictures it’s like not only for paper and therefore the photoshop misleads us a little bit with this new documents box in offering to make a document with centimeters, so in fact what count and we’re going to do that’s what we’re going to do. here we sell what matters is the number of pixels in the document instead of centimeters put rather pixels it’s much better to think like That’s because the images you make they will be used for a website for print a tarpaulin to print in addition small in 9.7 on paper for a smartphone application actually for a lot of things so the measure the more universal in fact it is the pixel that’s it. and the number of pixels and which compose the image is what we call the definition and that’s what a lot of people are wrong and think that in fact it’s the resolution but the number of pixels that make up an image is the definition then for example try a few these put 2000 pixels in width and 2006 and their authors so that It’s already a pretty good picture a good one. definition but all this is not yet what we want to do with it, so it’s a image that will contain how many pixels and how many risks” and pixels of course how many image elements how many wave pixels will be found in this image only when I create when I’ll leave on us on okay everything to by the hour not forty thousand 40 miles these lowercase as the number of pixels for an image absolutely not that in the resolution does not intervene so I you tell you if I create the 2000 image pixels out of 2000 there are 4 million pixels pixels in the image so that’s what we call an image it’s what we call an image 4 megapixels because the mega pixels it’s the million pixels so when you you can see on your smartphone by example that your camera is able to take pictures yes megapixels but it means that it creates photos with we million pixels in there is good so that’s not it. pain obviously if I put 4 miles out of 4000 it’s going to give me an image of how many of pixels so 16 million pixels and that’s it. so it’s about the same as photo sensors that we currently have on input cameras from cd sensor range 16 megapixels the best Currently we are for the devices studio around 80 megapixels but will be talking about devices that cost several thousand euros and in 2018 there are devices at 150 million pixels that arrives at 150 megapixels this announcement is now in the case of of a camera the number of pixels this is only one of the measures of the quality it is also necessary to see the quality of the optics the quality of the treatment of the the image in the camera that’s why the professionals at the photo by sometimes prefer work with cameras that will be sensor-based with less media pixels but which will give an image finally better than you see so the number of megapixels and only one camera makes it is only one of the image quality measurements produced by the camera sometimes an 8 megapixel camera will take pictures better than a camera 20 megapixels on the iphone 7 12 megapixels is huge and bread and not at the same time it had retrospectively when we look at it in several years we’ll find it’s not much then when I create an image in photoshop the number of those the resolution has no doesn’t matter because in fact the resolution is what it is a indication of the number of pixels that is used when I learned about myself Yes, that’s the default value that is actually 300 pixels per inch in reality the resolution we are talking about resolution by generally pushing yes that It’s a wii we can change. it’s a habit and 300 pixels per inch the pixel density required when you send an image to a printer of 7 if you send an image with less than pixels per inch one inch and 2.54 cm in does if you send an image that use fewer pixels than 300 at the may have blurred images in the first ones for more impressions top of the range up to 450 so we’re talking about linear thumbs here. it’s over a distance of an inch 300 pixels of the image are used on a distance of one inch to reproduce the image on paper but what is needed to understand is that it has no importance what you put here and that it’s sometimes difficult to understand. because you put one pixel per inch or 500 or 2500 regardless of whether in fact it would change me into a number of pixels total that will be in the image it will be always 4000 by 4000 the resolution the resolution will only be when we wants to print when you want to print it will influence the image dimension good bah listens and put 300 here anyway so you can have here the color creation mode of the image means that the colors here will be created by mixing three base colours red, green and blue of the red lights and a blue one when the mixture of green and blue so the g and the b at ba makes a another type of blue called the cyan blue when you mix red and green is yellow because we’re a mixture of red and white light Blue is magenta, it’s a kind of magenta. of particular pink we know the creation it’s the way to create places the colors in the image so then the you will often hear from people who will say yes if you do a job for printing you have to do a cmjn image in photoshop same thing in the strator eu you do a work for the pressure you have to do it to do in cmjn that is what corresponds to the four inks that are used when you print cyan magenta yellow yellow black but it’s been 15 years since that’s not true. for 15 years adobe has been recommending to do all these images in rvb and the images that are not intended for smartphones to the screens we will convert them to cmjn because this is what happens to your images will be used for several purposes and the cmj nbc is a mode of creation colors that is directly adapted to printing at the printer’s on paper but a printing on papers is quite poor in terms of color rendering we can’t repress all the colors we want all the time color that a screen capable of displaying we can’t take them out on paper. so if you say you’re holding one of my friends output device it is the impression is so I’m going to do my images in cmjn but that means that for all other devices on which you will broadcast your images leaves by the smartphone screens the websites etc. you’re going to have poor colors you see while if you work in rvb but there’s a lot more colors here. available and who can do the most can do the minus one you will generate a version your image for the printer and that will be cmjn you understand the logic All right, that’s very important. understand that because really if you work in cmjn from the beginning on your creations you’re not going to be able to put all the colors you want In it’s a shame it’s going to be dull. so you say it’s more convenient if you works for the printing of working in the 6th grade come directly from but actually no because it’s fine. correct colors on a cmjn image it’s much more complicated than on rvb and then you tell me that the conversion from rvb to symbian is not always correct, but actually it’s when you masters color profiles precisely It works well because you have to have a caliber screen and therefore it is necessary to know which is the profile of the screen it is necessary make images that work in a certain profiles that are intended for a some rgb equipment and when they are converted to the cmjn that the first wishes it is necessary to ask the printer hold which cmjn you use because that’s also something we’re doesn’t know is that there are plenty of cmjn the offset press of the printer if I put paper on paper willing to those who absorb a lot of the year constituted of the film paper and who with whom on which the anchor remains on the surface the rendering of the images is not the same and Actually, it’s two press profits. different if depending on the type of paper already first depending on the type of printing techniques you use then depending on the type of paper you use put in these printing devices you always have the right profile know and who uses when you converted the rvb to cmj and there it is walks you really have on the pressure something that is very close to what you had on the screen but his request not to do anything stupid, you can see it. profiles Well, we can click on ok and you. so have an image that contains in this in this case 16 million pixels we don’t see them all on the screen because that in fact the image is displayed a some percentage here we go pretty fast passed to real images and it’ll be a little more meaningful, so I’ll proposes to close this image 6 years save them and we’re going to do a little google tour and you’re going to discover that you may already know that on the net there are a lot of of image that you have the right to use even for work which brings you revenue from money this is what we call the images of the public domain no there are millions more images in addition regularly we see it appearing in the news specialized graphics that you have access if you are on groups specialized on linkedin or facebook or on blogs we tell you stand there combine it with the library intel comes deliberately three million image in the public domain then yes, the pictures you put on even on facebook so that people can use they must have his authorization there possibilities to search for the auto theft photos to you to you to them search on the web there are some possibilities by google images or then by cutting them in photoshop with a invisible watermark can be found its own images on the web and see if they are not used even if they are have been reduced in number of pixels mistrust and they’ve been reframed that works one the watermarks it allows to retrieve the images and people don’t have no right to use the right to use images that you have spread the problem is that often they are sometimes at the end of the world and it’s not worth it start procedures for the years so we can threaten them. but it’s hard for it to end up something else you know that on facebook everything you put on facebook has the right to use also for personal business purposes finally for the facebook network but that’s in the contracts, okay, so I’m going to google on google. [Music] and I’m going to look for a 2d-hour image in this case because I’m going to have need a desert setting and by the then we’ll put one or two animals inside and it will be an opportunity to make the photomontage is to learn a lot of things so I’m going to type for hours here’s what if I want to find images that I’m allowed to use, but there’s two solutions there are two solutions but already I will now go to the images part of google sees the pelade desert images but there are certainly plenty of them that are copyrighted but not the right to use well there are also some that do part of image banks there I can buy them and the price goes from 8pm to 8pm vary according to the size at which I will use the image of the number of people who will be affected by my product that also uses image so prices are not fixed in the image boxes I saw the banks images the specialized sites that sell images for photographers themselves even an amateur is a source of income that can be interesting from put your own images in some yesterday’s image banks sell good then here I’m going to go to tools and you have the rights to the uses you have tools that appear in the filters and you can filter the results per right of use and you can ask to show only the images that can be reused and even modified so it’s reuse and modification allowed is what we do calls creative commons creative how it is in fact this is it. well there is another way to do it and now I’m going to put back in pictures no filtered by license so again all the images even those that I’m not allowed to use appear and I’ll use the other one way to find images that I have right to use you must type between public quotation marks reprography field so then google shows some images of the public domain, i. e. images whose authors have waived rights for several cases of figure or from the beginning the author offers the image to humanity and declares it in the public domain everyone can use it even for purposes of commercial or from a a number of years after the death of the author the image falls into the domain public and the number of years varies depending on the country and and then strangely enough, but it’s not weird at all the number of years regularly increases to give us back the time it takes for an image to fall out in the public domain, but that’s because that people are living more and more long also on wikipedia do not go there No, I’m showing you right here on French wikipedia there are some of the graphs that show you that the increased number of years that it is related to the life expectancy in fact you have in blue here life expectancy is in right the duration of the copyright, so we sees that we regularly increase brutally the number of years it is required for an image to be in the public domain and is based on the life expectancy of the life expectancy of the people it makes sense Okay, so public diomede in quotation marks get in the best way or he’ll look for me. all images that concern the public and the domain I really want pictures of the public domain attention results that google shows are not necessarily in the public domain because some of them smart guys put pictures on me copyright on the web by indicating in metadata notes a domain audience so not in the public domain and of course google stock market or these images there so it is necessary always go and check that they are well in public domain then if they come from wikipedia they are necessarily in the public domain, that’s for sure. so he could see that the source was wikimedia so wikimedia wikimedia wikipedia is necessarily in the public domain but for from other sources it is still necessary go and check Here’s where I’m going to go back to the tools and I’m going to ask that it indicates the size of the images, so carved into it here, excuse me in more tools display sizes more tools to display the sizes and then on each icon you now have the pixel dimensions that are indicated see this one for example who comes from wikipedia it is necessarily from public domain I don’t need to digging my head in to see if I have the right to use the answer is yes so you want us to have images with different qualities in terms of number of pixels smaller than canvas larger All right, so we have pictures here. for example a 2 megapixel image when I multiply 1923 1079 it’s been a little while almost two million we have images at about about 12 megapixels here so there’s different qualities you can filter also by size so if you have need for an image that still has a lot of definition because that’s what we’re talking about calls for the definition and not the resolution you can filter you can’t request google docs shows that the sizes larger than my larger than 4 megapixels and for example here we are all the images too small have disappeared Okay. Okay. so we sell one to download and we’re going to open it in photoshop so technically it is possible to copy and paste directly from the browser and photoshop but I’ll let you always advise to put this on a file instead then you know the control system click on the pc how you click on the pimp rather than leaving your results you will simply do cm ticks on an image and you that you opens a new tab so you don’t have to do not leave your results page you just see the image in a new one ok tab then the images that I’m interested, well, listen to me, I’ll go, I’ll will take a picture or that shows even if the ground is flat enough because we’re actually going to go put some things on it Yeah, so I think that this image is so You see it, it might be nice then. obviously don’t download this image that is there that we see that in the life spoilers because it is a preview which is sometimes enough low definition the real image you want go see it that you will click on display the image That’s the real image with everyone. these pixels and a little missed one that you allows you to zoom in because in fact the screen is too small to show all the pixels that are in this image All right, well, we’re going to download it from which right click save image as and you certainly have office bond recorded it on the desktop when I got created a small folder to put it in it but because you have to have a little order so typically there I went there search for an image on the web we are went to look for an image on the web is jpeg are output formats that are not ideal for working in photoshop is what we do calls a spell an output format final the jpeg but it’s a picture of free desert the alternative is for me to go to a image bank that I download a image in a more serious format than the jpeg the tiff for example and or while I’ll take a picture of myself at the same place. you know the raw format to what the camera produces better all the details in the images were captured and put into this file the open air at w but good all It costs a lot more than going on the web take an image in 3 minutes Okay, so we’ll open up the margins by photoshop you’re going to open it in photoshop so files open a question you are asking quite often it is held in photoshop do I have to import files imported do I not have to create some a new image is imported into it by doing like this for example files new hockey and then files files imported or did they put his wii imported files jb no actually the rule is that imported we use it in software when you want to import things that the software does not produce itself here I am in photoshop it’s a software that produces pixels if I want to open an image in photoshop get it back I don’t do imported file file I make files open on the other hand if I’m in illustrator and I have a pixel image there yes I do imported files essilor photoshop I will bring vectors d’illustrator I make imported files See, that’s the rule. We think about it. what does the software produce as material and what it produces but in this case of pixels so these files open import it will be to bring other than pixels it will be for provide vectors in four photoshop because it can reduce the quality when it matters because your documents that is used to receive what we are brings it has certain characteristics that can reduce image quality that we bring here, so it’s good. files open here is an image that is displayed on the 25% scale so that means I don’t see all the pixels that make up this image how much what I see of pixels I see and that make up this image but one pixel on 16 in fact I only see one sixteenth of the pixels well yes when you are to 25% display if you think in terms of low surface terms it’s been 1 it’s been not one because it’s a sixteenth by the way. so we only see one-sixteenth of the pixels and you may sometimes have the impression that the images are of poor quality because it makes month ray it’s bad for really view the images correctly it you need the posters and 100% and then good trick the shortcut to display 100% is going through the magnifying glass here. so do you have your box tools not in my opinion you have in your toolbox like this by makes the game offers you to put it in two columns by clicking here if it will be clearer to be there and I’m thinking here’s the old-fashioned way in photoshop it’s been enough like that long month of tools in two columns tools can be used retrieve via the tool window menu if we never accidentally closed box 1. so we have to go to the magnifying glass and double click and there the image is displayed at on a 100% scale and therefore it means that each pixel of the image is displayed on a screen shot we made a match really the frame of the image and the frame of the screen and then from there you can use the hand to make travel the image through its window but we is going to take the right one pretty quickly. used to call him by the hand to call him by the keyboard shortcut I’m telling you one a little further because it’s not used to something was going to activate the tool to fact and there you can make travel the image in its window you get your hands on the image and you click and drag yes so it you didn’t have to double click on the hand but it’s interesting to know what system also a double click on the hand is what it means to make it appear the largest possible image on the screen and therefore in my case according to the number of points I have on my screen there it is displayed at 31 2%. so there’s about one pixel out of nine which is visible so it’s the double click on the hand I re double click on the magnifying glass it is displayed at 100% scale I click once on the hand and I move I can move the image in its window you have a palette of navigation that is available go to a little in the navigation window menu here is menu window navigation window has been sorted alphabetically in fact we is there you have you see what you see are the red rectangle indicates that you’re looking at the image as its name indicates it is a palette that allows you to navigate the red rectangle can also be modified directly in the palette click and drag navigation see this navigation palette it can expand when working with several screens connected to the PC it can be enlarged by large on one of the screens so she’s can be much larger than what that we see it their future okay so double click on the hand to see the most important image great possible in its entirety but good since my screen is only 1928 1080i if it is this image that is very large I don’t know how to have it on a 100% scale in on the screen if there are some screens that are really now very very large with many pixels of the screen called the 4-case screens where five cases that are not bad for you talk about all this, actually that’s things I installed on my pimp heart does these are things that have not nothing to do with photoshop did that. That’s my recording software. it’s the google drive social dropbox This is software to calibrate the screens is what we call colombo who this is software to optimize the space on the mast that cleans the Things that’s my creative claude. it’s the claude creative management so update of adobe files that’s the screen setting that’s aquafadas it’s a plugin for indesign that allows to make tablet applications and smartphones that’s what it’s all about. plugin that allows to connect to the mac one tablet is to have a second one screen and who knows the tablet that’s evernote I think so, yes, these are the ones things that have nothing to do with Photoshop fraudsters so it’s been but it’s very useful. Okay, so at what size is it? this image is printable to what dimension to what it is printable for use on a website or a smartphone is necessarily usable because she’s been seen to behave already a lot of pixels in fact but by against in terms of printing It’s a question that may arise. Well, we’re gonna see them, so you’re gonna in the image size menu of the image image menu image size of the image not the work area because that’s for add area around the image to increase the dimension add of the area but so here it is good it is bought me some pictures, so here you are. set in pixels instead of centimeters and you have here the number of pixels that composed of images m face we could see it already here by the way, so it’s an image of 4600 yes pixels wide 2592 height so it’s about 12 megapixels. 12 million pixels in this image Well, we’ll come back in cm because the the question we’re asking is, is it about how many in what dimensions can we use print it and well is it indicated as at home 162 centimeters over 90 and 1 so it’s very big except it’s going to be blurred because the pixel density of the pixels number of pixels that is used on a distance of one inch is insufficient so you should know that when you inkjet printing requires a resolution with a pixel density of 250 pixels so what we’re gonna do here is we’re gonna will uncheck this which is actually a photoshop system that allows you to modify the number of pixels in the images 1 so it’s a bit like the engine of multiplication or division of the number of pixels in the pictures and that I’m going to uncheck it so from there I can’t do it anymore. modify the number of pixels in the image that’s for sure it re to 4608 out of 2592 and I’ll be able to do some small tests here hold hold for a jet print of ink game but 150 instead of 72 I see that it can be printed at 78 cm out of 43 agree with a printer of 7 he’s going to want me to give him some images with a pixel density of 300 it will be printable at a maximum of 39 cm on 21 If the printer tells me, do you hold on uses high quality paper you need a resolution of 400 pixels per inch depends on the number of tram lines that and not I’m not talking about of the tram lines in brussels I’m talking about trams, small points that serve to be printed the tram killer paragraph for 400 pixels per inch decent age at 29 cm by 16 cm Yeah, but that doesn’t mean that. that’s the maximum doesn’t mean we owe it to this dimension of course we can print it more with a dimension less but that’s the maximum we can will be able to print this image in usual printing at the printer’s 300 pixels per inch it will be 30 cm on 21 maximum beyond that if I had the most she’ll start to get blurry when she grows up. Well, it’s already a serious image. but if you have images with less of pixels – resolution you have retrieved this on google images with – definition you will see that sometimes we are obliged to limit a little and do not don’t print these things too big or else It’s not great, so you have understood the resolution in fact it’s really something that influences when we print it is when we print so the idea is actually to work is the age to sample check mark is to work on these images with the number of pixels as large as possible in fact it is necessary to start images that have as much as possible as many pixels as possible and then you’re ready for all the output including printing in large enough format then of course with some computers a little weak if you start working with images with many pixels and that you start multiplying the shims that in photoshop and special effects It’s going to get a little slow, so that’s it. At the limit it is necessary to work with images that the more pixels the greater the number of pixels possible so good images photograph with the camera well set so that it outputs a maximum of pixels and to forgive moment it becomes a little slow in the computer than that. becomes painful sometimes you have to sacrifice a little bit of the definition and reduce the number of pixels in the images because it count anyway that it avoids for the work ok I click on cancelled and we is going to look for another image that we of an animal that we’re going to put them in this decor and you’ll see that there are plenty things to learn also at the level of technique of mistakes not to be made so keep this image open in photoshop and we go back to google so I’m going to look for the image of a elephant so I type elephants I will type public domain between nîmes and the big domain we say here I go in the images part Okay. Okay. so I’m going to take an elephant that’s seen from the side Well, I’ll eventually take the one There you see it, I didn’t filter here. I didn’t say I wanted pictures. only 4 megapixels and but finally it This one is quite good at the elephant is exactly what it is to me. so I’ll see if I can get this so how do you click on the icon and then ask to display the image Well, I’m supposed to go now. check the page also to see if I have the right to use which ones are the conditions of use made man Well, then he indicates all the photos used on this site are under creative commons or public domain m that’s it. so when I click, I confess to large in right click save the image underneath and that’s it and then I had in photoshop and from photoshop I’m going to open it. I don’t impose it in the desert at the final I will put the reforms in the desert but first I’m going to the work is next to the desert images it will be easier yes because it can be imported one image in another in photoshop even that one a little in contradiction with what you said earlier, but you don’t even need to know that it’s possible to do it because that you can also open it next door and then open it move in then you are a message that appears we’ll see if I have the same one it’s certainly a message about the colors here is so I didn’t get the message on colors because my photoshop is set to a certain level method then yes it’s deleting the profile incorporated yes so it means we have an image that contains pixels and its peaks and they will produce colors a little different according to the school material we’re going to look at them if I look at it on a certain screen if I change computers and I have a screen of a different brand but perhaps that the elephant will appear with colors a little bit different we are a little different okay because each screen has its own characteristics but overall the elephant he’s not going to come to what he’s will always be one but it may be a different bit on the screen I have here in front of us and on another screen so that’s a bit of a problem, is that each output device interprets a in his own way somehow he has its characteristics that make them display things differently and this is where color management comes in. it is rhine it is used to correct what the makes that when you pass an image of a material to another it changes color so a little trick here actually if the image comes from the web there are many chance that she’s in a space colors called srgb le and a baby because in general when I get pictures. for the web have made it possible for her is adapted to the equipment of the Internet users and the equipment they use Internet users is manufactured according to the srgb standards is the great material low-end audience Actually, it falls, so it makes sense when I put an image on the web I may have a great screen at home. which cost me 800 euros but most of it people who surf the web they have of the screens that rather costs them 50 euros so it’s low-end displays built according to srgb standards which means that is not the case with my 800 screen euros at home so the idea when I tell you when I publish an image on the web I of course want people to see the images as close as possible to what I saw them so when I saw them publishes an image on the web I had it I convert them to srgb material is therefore sealed likely that the image that were retrieved there on the web the the person who put it on the web did the same thing she put an image intended for materials and bottom of srgb range and in photoshop you will be able to indicate photoshop that it is srgb material that this image is intended for materials and materials and the greenhouse gb and photoshop should help you show the colours as they are would be on low-end equipment who we’re going to if you follow reasoning we will indicate a photoshop holds this image it comes from the web so it comes from the web there’s a good chance she’s designed for low-end equipment so it’s done by going to the menu edit assign a profile choose not convert to a profile is when we want to adapt an image for a certain equipment here I want to tell photoshop that she is intended for a certain material I’m talking about adapting it for a certain material I mean indicated photoshop it is intended for a certain subject he therefore his editions assign a profile is in the list here here here you go be able to indicate srgb Do you see that the colors change this will not always be the case it’s at the top of the list actually the srgb device manufacturing standards low-end consumer a standard set developed by hp and microsoft for stop the huge problems we’re having had a certain moment that when you was buying a scanner from a certain marks a screen of another brand a printer of our brand and well at the color level, the offsets and is huge because there was no control over the manufacture of devices now they’re all devices are all to standards serves gb the low devices of range for the general public and at the of the colors that we have less offset See, you saw the difference. Well, then click on ok. and made recorded files to put updates the file on the hard disk Oh, yeah, okay, yeah, it’s the jpeg options. so the jpeg format format final output but since I didn’t have time to go in a zoo photographing an elephant It’s not bad and it didn’t cost me anything. on the web so it was telling you it’s that jp that it’s a great way to start a job but since it’s free and that there are a lot of them on the web and that it gives me a lot of low choices. it’s still not bad to go search for images on the web so you’re on a pimp and so we’re going to pass the photo of the elephant by full screen you have noticed that there are from the tabs you can switch from one to the other the other one there are also shortcuts when you have full of images opened there are some shortcuts to directly pass from them to review but it doesn’t make sense if I show you this now by Anyway, here I am working, I have the image. of the elephant and I’m going to ask for displayed full screen and that’s the f key on the keyboard you have the f6 key press it twice enter the customer presentation mode so it makes all the tools disappear. of photoshop again all leader we are in a floating window so we can move through its bar of title and key f but that’s what I’m actually looking for. this is the good full screen mode if you are on windows you will see that it works a little differently is still the f key but let’s say that in windows the image is automatically shown full screen but you still have to press down on any chef if you want to be able to do this move it with your hand, for example, and that it’s still nice to be able to move. freely as we want the image so on windows a little vicious we have the impression that we are in full screen canton louvre but in fact it is necessary when even if you press the f1 key and you have the impression that nothing has changed but to from there with your hand you can move so we’re going to play differently that with the magnifying glass you press the key alt you have a roulette wheel on your mouse an alto wheels see that we can zoom in and out that’s the 3d functions of the computer and photoshop that are actually used It wasn’t always that way. easy as that to zoom in quickly like Did you see that it works? stop at the wheels although you can see when you zoom in you see the different pixels l ag I released the alt key and I’m always with the hand of the pallet of the tools I can move so we see the tools different pixels that make up the different pixels that each have a different only color of course those who compose the image the pixels are separated by small white lines and that’s interesting when you do web because when you do the web it’s at the pixel by pixel when you do of the image retouching of the photomontage That’s more annoying than a few things. so we’re going to disable this line white you go to the menu display menu display up to the line displaying and there you have in the sub-menu some something called the pixel grid and you can unchecked toasted pixels is so you have the pixels that appear but without these lines that so separate them like we don’t do the web here it’s not interesting to have this pixels separated by bleached lines Okay, it’s not bad, ben azzouz, but in back so that you can see everything the elephant or double click on the hand icon in the palette from the tools we saw that it’s the same thing is the shortcut to what we calls screen size see image in on the screen so we need to makes a detour on this image but we’re going to do it smartly, we have to towers and the elephant and not hijacked as I was once told These are the planes and it’s only when you hijack planes when you hijack them hijack if you want, but they’re tricks. and so the routing is full of ways of doing clipping in photoshop i. e. take out the element of its decor forget the original decor for their place is in another setting stadium and tower just takes elephants Yes, it’s according to the picture a lot of ways of doing things when dealing with an object that is on board net like a car a vacuum cleaner we’re going to use the feather technique for towers and vector advertising this which was the same as the one we were will find illustrator when we’re dealing with to fuzzy objects first blurred on will use the system ranges of colours the color range system or what is called layer clipping which is a super happy system when we’re working on the wedges that there are sliders to clip can also be used yes finally according to the real case each time of figure there are solutions for solutions for tricks and if I want tricks is something very complex like hair or a tree I’ll rather work on an alpha layer and improve it with more density tools in six witnesses, that’s what we’re talking about. call the detour so do I also recalls the selection to be made of selections selected the elephant is to get out of its decor that of the towers and put and make a selection it’s a huge chapter in photoshop that’s more than a third of what it takes know in photoshop so if you consider that for learn photoshop it takes 40 days and good for learning tricks and tricks objects it’s going to take about fifteen days minimum what because it is really the basis managed to take objects out of their decor is what’s complex, but it’s that in function of the photo according to the subject decreases each time something decreases of different a different technique that you’re gonna have to use there’s no a technique that is suitable for all then the technique I’m using for you proposes here since the elephant is brown and that he’s on a fund that’s not brown there is no need but we can assume that photoshop will to be able to distinguish between the elephant and the bottom back if they had brand behind it would have to be manually make the selection but now we can ask a little bit assistance to photoshop and we’re going to actually use a tool you may know the magic wand of photoshop which is an old tool that we no longer use except for the web and possibly if it is hidden by the way there behind that tool if you keep it mouse button pressed down on this tool if you have the magic wand that he the problem with the magic wand is that she makes selections with bounds is not able to do things very subtle so there is the evolution of the magic wand that is better suited for the photos are what we call the quick selection tool Yes, the magic wand you will use it for united funds typically it’s when you’re doing web now if you see someone who say photoshop etc. use the wand magic for on photos it is someone who hasn’t really studied photoshop in fact because we only use the more the magic wand tool of quick selection then you have the quick selection tools a brush that hervé gay with its diameter which is indicated you see it then do you see it You have something like that you have more inside the circle hold on but it should be fine. it may be a display problem also is on the other hand Here’s if you have a salt cross it’s that the tools are in precise mode there the diameter of a brush is not visible in to a cross and that’s when you make it. caps lock key which is pressed on the keyboard That’s one of the most important questions posted on the forums about photoshop for beginners my form of brush is gone I have a cross at the how it works and what’s more, the No one specific yes sometimes it comes back and sometimes it goes away, yes, but it’s simply the lock button capital letters on a keyboard that is pushed or not the capes lock so here we are is crazy to disengage the noc heading to see the diameter of the brush and then if you pass over your elephants you will see that there are areas that are created as they are created there was the little sign because he has had as soon as we start using it in not what it means that each time I click on a place of the elephant adds to the fact that I agree. Well, so that’s a selection we’re making. what we’re doing here is an automatic selection yes it is necessary guide anyway good then I tell you right away it won’t be perfect. but I want to explain to you the logic behind this then this selection she’s not going to do things actually. trying to get through like that on the on the on the also cheats here I haven’t changed the diameter here beyond the brush can be I’ll show after the word how modify humpback diameter on the other hand I shows you what if I made a selection on the trunk and there are some things that have been selected as trolls but people do it alt touches the little ones plus signs turns into minus signs and I can remove from the selection for try to recreate the holes, that’s when see that the form of the troop is not not respected here it doesn’t matter it’s what is called a tool a tool of quick selection so it’s the alt key to remove and so don’t worry if it’s screwed up the selection because it’s a quick selection tool and we’re going to to improve then then in fact the logic I will first explain to you this tool will allow us to do the following About the selection on the elephant of to transport the green elephant on and see if it is suitable for the level of elephant casting is that that it’s really the elephant that’s is fine for doing what I want and if it is appropriate I will improve the selection Okay, so it’s pretty hard to get there. to make the holes correctly here but don’t fall into the trap. to try to do something perfect is pretty much we have to be pretty much the elephant that is selected like that pretty much like that see that this approximate but it was quick. try to get the legs anyway. even if it is even if it’s enough approximate and if to the material that remains completely between two legs It’s okay, huh, if you can’t get to make the hole here is no big deal. will still allow us to test see if the elephant is correct to do this that we want to do there’s a lot of things that aren’t in the selection at my place here is where nepad in the defense here is not in it but it doesn’t matter, so it’s okay. there was a tool in photoshop cs3 but it has disappeared a tool that made it possible to make selections a little better it is now available it must be purchased in fact they can be bought and added to it in photoshop it’s not adobe who raised it. but so if you’re looking for a tool where we used a kind of marker and that we were going around the elephant with a marker is that it no longer exists in photoshop since 16 3 it’s not very serious because in fact these software that tells you that it’s very easy to cut in reality It works well with the pictures they take. propose but with your own photos this works a little less well, that’s it. automatisms if there is no miracle is okay you have that so this selection you have painfully when same development because you are beginner and it’s not easy you go if you close the image and you reopen it again, the selection will not be more to the point, you have it unless you have it. Backup is good is what we’re going to do do here we’re going to memorize the then selects the selections it selects store in a pallet that we calls the layer palette made appear palate of the layers on the way in the layer window menu then the layer palette and then you maybe you see it as your home. tied up a little like that like that. attached to others you can attach it detach it will be easier by taking his tab here click and drag here we do one floating pallet you can enlarge the pallet with your small box at the bottom right we position at the bottom right we have a double arrow click-drag here you are have the right layer palette so it There’s a lot of things I could do for you. to say about apple and diapers that we can grow and thumbnails to better see in fact this are the constituent layers of the image red green blue indicates the quantities of red light red green blue blue light that make up this good image since the elephant is rather reddish a little bit down it is the red label that is the most clear in fact tom ceases this image is composed of a lot of red enemies and not too much blue light this Finnish guy from the sky, by the way, it’s okay, you see there. palate of the layers good drop down the palace of the layers contains the layers constituting the image therefore red and blue, but that’s also where we stores the northern selections to be stored our selection you go to the menu selection and you ask to save the selection you are not that I gave a name is the statement it is when you have a lot of selections but here there are some there will be only one so you do okay and you see what we’re doing. to appear that we call a layer alpha is a selection layer alpha layer That’s right, that means that if we saves the document now alesi saved saved files opens the box registered under this is the case for you too yes it’s because jpeg images don’t may not contain halfaweed layers they can’t contain layers alpha jpeg images and therefore it can not save it as a jpeg file it can contain vector tracing but not an alpha layer so it’s for which they automatically offer you which is called the native format of photoshop so the format that allows really to integrate as much as possible everything that photoshop can do maybe saved in form in the format photoshop so register this time in photoshop format it’s no longer gip excess of the psd keep the extension there it should not be deleted and therefore the jpeg image on the hard disk we forget it for now we’re going to continue to work on the version psd then I’ll do but the image closed files yes yes yes files closed here so in at the bottom of the window menu you have the list of images currently open in photoshop is good there are more that only one of them is usually the desert. at the bottom of the window menu it’s like this in all adobe software in the at the bottom of the window menu you have the list documents that are currently open yes as a proposed site to record when you close you Register yes well, well, we’re going to now. reopen it and then we’ll see if our selection with operable then files Open recent files, that’s not wrong a file menu open the files recent and now you have the psd version of the elephant is what interests me and here is the selection in dotted the year then there but we can to get it back because the alpha layer It therefore has the hall layer facing save selection with pixels black and white what is black is what that they don’t select what is white is what they select it is may also be grey for select halfway so you see your alpha layer to recall layers then you press the key commands on the keyboard and you will on the thumbnail here and you have nikon of tomorrow with a poitiers that appears you click and you have retrieved the good selection it’s the same as if we had made menu selection recover the selection except that you will see for the rest that it’s much more interesting to use shortcuts keyboard because it can be combined with what are called Bollène operations combinations of alpha 2 layers for Digging added only remember the intersection and that’s what will be much easier with the keyboard shortcuts Well, that’s already very important. not have to start the job because that it is actually stored in the file well then we will press the f2 key so that you can return with a floating window like this so the f key on the keyboard once twice times you have a floating window and you have two images in the same window in does a good it will be easier to to have two windows one window per window image to do this two solutions you take one of the tabs and you do one click and drag and you have a second window if you put it back on the first one they get back together in the Photoshop preferences can be decided that it doesn’t work like that like that. can be superimposed as you wish images in on the interface the go superimposed as you wish on the ls clearly together so I’m telling you that if it bothers you that when we approaches one image from another when the tone overlays them they put themselves together it can be disabled in the preferences Okay, but now I’m detaching the tab. click and drag so I have a window with an elephant we can move the pallets if we want Anyway, here’s the thing. We’re going to move. the green elephant the desert and for move to defend them but be careful it there are two solutions either you use a selection tool It can be the quick release tool. the selection rectangle the lasso bombassei with a subdivision selection tool threshold this fast because we worked you do not position the tool of Quick selection won’t work. selection rectangle instead take the selection rectangle yes click one only once on it anyway when we are several times and do nothing and you position yourself in the area selected you should see that it is different than when she’s asleep and you click and drag and you move somewhere on the image of the desert is in fact its move the selection what can to be very interesting in fact so that’s what moves only the selection but in It’s because we want it, we wanted it. move the elephant’s pixels so in this case we go from the selected ones there selection that is there in the desert menu selection of selected or check commands from the on the mac so there’s no more selection. Besides, the proof is that the menus selection now only offers selected has grayed out inaccessible and so I’m going back to the image of the elephant and I’ll take this this time the tool that allows you to move the content of the selections, i. e. it’s this tool, it’s the tool for displacement in fact same principle I do it positions somewhere in the area when we’re out there he’s different. when we’re in it, it’s a pair of scissors I’m going to click and drag and that’s it. and in fact what we just created is a layer then often beginners confuse layers and layers it understands that we don’t take too much of what it means serves well first look at your palate of the layers your alpha layer it is not there anymore because in fact it appears only when you’re in the other one. image it is in the other image for the moment I’m on the image of the so it’s normal for her and the layers it is therefore the layers image components more than selections but the shims that these differences are levels of construction and by moving the peaks and there in the desert I created automatically a call that we will go to them see the d kalck palette window menu layer menu window layer layer here we have a layer here that contains the elephant then we can’t see very well, so it would be maybe still the opportunity to enlarge the thumbnails in this pallets the vines and small as That’s convenient when you have pictures. complex assemblies with many to copy but here we don’t have many of them of water so we go to the menu you have here a menu for each pallet and you have at the bottom the panel options and there you have the choice of the biggest ones hockey stickers and there you have the broad lines and see a little bit of it better so you have an elephant that is surrounded by transparency on the on its mimics transparency in photoshop it is symbolized by the checkerboard because it can’t be white. since white is a color in photoshop so it’s an elephant surrounded by transparency that appears above a which contains peaks and we Yes, it’s magical. so a layer that has been created I can switch back to full screen mode for this image there only on the question being discussed to work any chef here she is in full screen and therefore with the alt wheels I zoom and with the bar spacing is the shortcut to the so I don’t have to leave the tool I currently have what a moving tool I’m not. forced to change tools must speak of the tools the shortcut halle of the hand it’s the space bar and you have obviously the alt wheels to zoom in it is one of the four ways to zoom in and out the others don’t see the point of it talk, we’re not here to study. all the ways of doing things in photoshop is therefore the tool for displacement still allows displaced people to be displaced the elephant in the scenery we have lines brushes that appear on these lines of alignment marks is the tool good move then the elephant bay has a lot of problems at this elephant because there are missing things are missing the tail is missing the good defenses the selection is not clean but the idea is first to see Here, I’ll put it in the set and that’s it. what is it that is right this elephant or do I have to change and take another one because because that’s the idea. is that you don’t have to spend fifteen minutes to make a clean selection on the elephant then the lice he led only in the scenery and go Considering that holding is not good. I do another one again so shrink the elephant make it smaller but yes it is possible so let’s go to the size images menu No, excuse me, editing menu because it’s not the image you want to change. it’s just the layer that’s currently active and wii edition manual transformation shortened commented commented in fact check your on the PC and commenting on the pimp is one of the the most common things in photoshop is to be able to resized so here we are. resize have validated with the small v and age and actually resizing without pressed the shift key and therefore the proportions have not been kept, so I’m going to edit the editions naked go backwards until I get my elephant back. correct and I start again to comment on it the manual transformation but this time when I take a handful of the corner I press the key at the same time capitalize not the caps lock key not the capital lock and that’s the shift key I release the mouse button and then the mouse button touches the keyboards and here comes the elephant is dimensioned I validate the resizing with small v so this time it’s the proportions have been kept by the key capitalization Well, it’s not bad like that, so right now. we started a photomontage a few days ago two major errors in this photomontage and we’re going to we’ll explain how to do it better, okay? so press the f key once twice so that you can see the two images and then we’ll ask you to put them side by side these two images To compare a little bit, wait a little bit. to really enjoy our screen the pallets on the right are will make them temporarily disappear see all these pallets that are on on the right they will disappear for so we can enjoy our screen you will press the shift key and you keep it out of the way. lock capitalizes the key capital letter you keep it down you press it briefly press the tab key and it makes the others disappear. pallets not the tool pallet but the tool pallet the other pallets disappear and we can bring them back by the same principle m capitalization tabulation that works like this in all adobe software and it’s convenient when we only have one screen to enjoy his screen to work on the images ok then we’ll ask photoshop to put these two images side by side we’re dealing with two images floating they are well separated the each other you go to the menu reorganize window and ask you two vertical window thumbnails reorganize vertical thumbnails and Here we went two images side by side so I’ll I’ll show you that he There are two major mistakes in this island in this image my first mistake we’ve already talked about. is that there are some things to the elephant there in the desert that don’t have not been transported he has a defense there that he hasn’t been transported there is in this case here a and to make them reappear ben it’s ruined because they’re not there. in the desert this is the first one. mistake that we’re going to correct later second error we reduced the size of the elephant in the desert and in fact, it would have been necessary to do the opposite. the size of the deserted because what we did in reducing the size of the elephant is that we have reduced the number of pixels that composed of elephant it is to this dimension there as it is that it is to us it we need to go into the desert but we need to is always composed of as many pixels That’s what’s subtle, you’ll see. we may reduce it to a third of its height and width means that he is composed of nine times fewer pixels if you thought in terms of area one-third of the height and width is nine times less than new surfaces or less pixels Try these a little zooming in on the eye of the elephant, so I’m going to do it again. something I did all over them. display displayed I will unchecked pixel grid the displayed display I take off crisis pixels see that I get rid of the small white line that separates the piss and here you zoom in on the eye of the elephant in the desert and you’re going do the same for the image original of the elephant and you will to see that we really have lost in quality It’s obvious, I think we have an elephant. who was reduced there in the desert that is composed of less pixels it is less precise and therefore the solution and that it’s really a beginner’s mistake. in photoshop we find that the elephant we found that the elephant was too much small given too big in the desert it was too big, we reduced it but by made it necessary to think differently it was rather the desert that was too much too small compared to the elephant yes, it was necessary to increase the size of the desert is how you can start of image quality and then finally gets recover with less good images because in fact often the decoration the decoration the decoration is the link weak in fact it is neither the scenery is the weak link it is composed of passing pixels but that’s what we’re going to do here We’re going to stop. We’re going to solve the problem. work on the image on the left on desert went into the palette of layers and window menus layer me I could have capitalized tabulation to make it reappear, but we can also restarted the window manual copy the layer here we’re going to throw it to the basket you position the pointer on the thumbnail you click and slide it into the small basket at the bottom of the pallet d kalck here we have deleted the layer that contains the elephant by agreement and then I now go to the banks of the desert multiply the pixels of the image of the desert you go to the images menu size of the image no I am still on the left image to the image of the hours they menu images image size of the image you have here the engine of multiplication of pixels that is Engaged it’s perfect that’s what it is. we have to and we’re going to put ourselves here in % and we’ll will say, here, here, here, here, here, here. I’ll put 16. times more pixels in this image Well, of course, you need computers. that manages to follow because this is still a big one. we move on to an image of 18000 pixels on 10000 pixels that makes 180 280 mega of 180 megapixels the resolution doesn’t matter on doesn’t care about the resolution, which is what matters. That we’ll take care of when we do output and print what matters is that they have a lot of pixels in my image and that the items remained net Okay, so that makes an image that will make 546 my guys as you can see instead of 34 It’s okay, the computers are able to to endure this our time without any problem Okay, so photoshop multiplies the pixels. then there are several methods of multiple pixel multiplication there are has one that is particularly well suited to when we have objects like cars or household items but I’m not going to engage here, so Here I have a desert that shocked the photos did not invent the retailer made but it has multiplied the number of pixels this which means that now when I move my elephant who is there on the right I reactivates the work on the image of right is still my selection yes I do take my final trip and I’ll moves but when I invested the funds it’s going to be what, but four times more Well, yes, he’s four times more little logic it is four times more little in the desert because the desert has four times more pixels than both passed when I moved them and when I zoom in on the elephant’s eye but there’s always net because there’s no not been reduced here when I compare the elephant origins and to the right and the new on the left there is no problem with the color a little changed because the profile of the image on the left is probably not srg well it is I just need to apply the srgb on the image on the left and I’ll find the colors of the image on the right edition assigns a profile you remember but we said he would. images that come from the web they are necessarily in srgb most of the time here’s hockey profile srgb edition attributes a profit and so here is the problem of color differences is set or srgb because it’s images that come from the web and so it is likely that it is the profile that is more appropriate than that actually means that they were made they have been designed for equipment and that’s by telling photoshop that it is images for images for low-end materials that I see the the most accurate colors in fact the colors what I’m supposed to see when I visualize these images that’s the principle 1 it is necessary to indicate to photoshop for which equipment it is intended the image and it is from there that normally we see the colors initially planned by the creator of the picture okay so we have a ben elephant you’re going to say it may be too much little yes, but we can grow it because that growing up is not a problem I can edit manual transformation manual transformation so commenting I can with the key would take a handful of the corner and enlarge it is not a Problem of enlarging the elephant is not good. lose detail it’s the shrinking that makes details disappear. you have a big one that keeps you from going Higher up, okay, try to go to the display menu displayed and you will uncheck the commented markers on the display displayed you pick up landmarks comment comment the pink lines the markers commented that are supposed to help us align objects in relation to each other as in indesign disappears so it’s Now you’re more free normally that’s it. that’s it. and I validate the transformation and that multiplies the peaks and elephant perfect and when I zoom in and out compare and come we could even have a rather particular phenomenon is that the enlarged image of the elephant is going to have a better quality than the image original ah ah ah when I compare it well yes because I have started from an elephant that was composed of of this number of pixels is the image of right and by enlarging photoshop alice and has multiplied the spades is normally they don’t reinvent the detail but he can high school when you multiplies the pixels and don’t know if you see that the image on the left and a better quality than the image on the right offered at pixel number level 2 so this is something that can so that’s what we just saw. here it’s super important not to think about that what I bring into a setting is too big and reduce it not in fact it’s the set that’s too small it’s too small must multiply the decor the pixels of the decor it supposes to have a machine that makes it possible to hold on to level 2 of the images that are still quite strong of man we still have an image of half a giga does that on a computer who came out at the beginning of the beginning of the udm early 2000s it’s not going to hold the All right, it’s going to take you. It’s going to take you. to eat ten minutes before it’s going to be the calculation and it will even spit out we works with the machines we have now in 2017 as okay but we have still another problem is the fact that all pixels are not moved see well ah yes that there Brightness that doesn’t match that. It’s fine. correcting yourself after that is great too significant we’ll see the technique of to specifically modify the contrast and brightness and color on the elephant do the same thing on the decor to do the same thing there especially in fact to unify for the queer them into the same universe some Except so that’s the stu like you. want to integrate an element into a decor it is necessary to work on the wall unit level the contrast color and the luminosity then worked on the set and then work on both at the same time time but we’re gonna do this without any problem. Well, listen and now work on the right elephant because we’re going solve the problem that the defense that’s where they’re not being transferred. That’s okay, so you had a problem. You had two elephants. You want it. You’re here. had moved 1 of them probably in pressing the alt key makes a copy well so we got away with it. editing going backwards it shortened commented halt z then we can go back 50 times. in photoshop but you can modify the preference to go up to 1000 times backwards is what we call historical a thousand times that seems a lot or 53 it seems a lot, but in fact he it should be noted that each brushstroke that we do when we exceed the increase is an action and so it goes very fast for create actions in photoshop and Here’s okay, so we moved the content of the selection but now we’re going to do something better you’re going to do what you have to do first. was waiting a little while, I’ll see if in your version we can directly the make you always have a selection that is active man you go into the call menu only at the top of the screen so be careful because for all the following information I will say layer menu at the top of the screen and it you shouldn’t start looking for them where It’s in there in the menu announced it. the layer menu at the top of the screen and now I’m going into a fusion mask do you have the options accessible, in particular an option that is called making the selection appear ok formerly in photoshop for that it appeared it was necessary first of all to double click on the background layer to convert it to layer 0 but in the latest version is the one you have it is more necessary so we can directly yes because a background layer is locked in fact we can’t put transparency on louis normally, but now it’s going to work manually. call that hides the merge do the selection appears and therefore we have something that has been added to the is based on this level of construction in photoshop on to the selection that has been transformed into a fusion mask, so it’s a kind of memorization of selection as they sleep alpha except that it doesn’t take to call back backstage a vertex on the layer that can be temporarily disabled with the shift key when you click on it it is disabled you see the decor that repairs and shift key yes capital key yes yes yes it is the even touches a capital lock is the shift key and click on the mask is in the on the thumbnail temporary mask deactivation for see yours but what are the pixels that are hidden in time that I’m here because of the decals made beware of these do not switch on and off by mistake it is the d kalck filtering that is, when you have a lot of layers in the d kalck palette for complex photo montages we have the possibility of not making them. appear that some do when you click there too that’s it, you see. that you have the impression that you have no more call and shift layers minority is that it’s just that I have asked to display two types of layers here only the adjustment layers and text layers and since I have no good at all, the pixel layers for their part Yes, I didn’t ask for them to appear. See, that’s the principle, so you deactivating through the airlock is a new feature of photoshop asks to be able to ask to show only some of them layer types vector layers dynamic object layers the some high peaks inevitably it appears there because it is a layer pixels so here’s the trick if you know you have voice what this father says who differed 10 Parisian by the decal you wonder why, but it’s certainly that little thing there the d kalck filtering reduce the display of calling cards is d kalck for display only certain types of layers Okay, I’m back to the mask now, the mask. you have the possibility to click on it with the alt key and what is the then pass then well you see the mask that appears in large in the window This is your selection of everything at the time that was transformed into a mask that was put on the layer is the Alt key. It can be convenient. So okay, here you go, you saw it. capital letter to disable hiding temporarily and stop to see it in complete Okay, so what’s going to happen here is that we’re actually going to move the whole thing of the image of the elephant in the desert since there’s a mask and there will be that the elephant that will appear on the vegetation will not appear then to move it you have two possibilities with the displacement tool you get on top of the elephant there and to move around or you can just take the thumbnail and you move it anyway in any case, it is absolutely not necessary to of dotted selection when you do This is no longer the selection system. practically by sight just now we have here we are dealing with a layer that has a mask merger if you ever had a selection poitiers you would have a bad surprise it wouldn’t be all of them would actually move Okay, so right now, for example, I’m taking the vignette and I move it to the desert and that’s it and then I get second copy it with the mask it Well, the first call we get from him is the first call we get. the more it’s not good, the more it can be thrown away. I’m only going to keep the second one, the one who’s serious, okay, I’m working on the image on the left so the desert I works specifically on the call that right now and we’re going to do a transformation manual to make a larger elephant so comment here’s cmd touch me take a handful of the corner with the shift key I release the mouse button and then the mouse button shift key then maybe you could have the impression that quality is not good that you’re doing this, but actually when you go validated you will see that quality will improve when you have validated with the little v here is the quality is improving Yes, because while we’re transforming it’s a project a preview babin and finish here you can even bigger if you want the little one tip if you want when you take the corner point with the key capital letter and you saw that it allows to keep the proportions so high time you press the alt sa key Keep the center where it is. See that. can be interesting I release the button smiled and then the keyboard key yes it is the key alt alt No, it’s not about the center of the old hymn to know that it has to do with the center of the object that she showed by the small target again mentioned in manual transformation with capital letters and panting lower to resize through the center and sometimes it can be interesting we validate by the small v must not forget because if you stay here you will don’t know how to do anything else all the time. menus are actually grayed out, huh, because you are in manual transformation photoshop expects you to say yes I leave the manual transformation or so I validate it good instead of these you have also the escape key and the keyboard entry that can be used it’s not always the little icons here but when you start it can be well the icons here is the image of On the right I can say it, but in fact when I switch to the image on the right the background is no longer visible at the palette of tranquilizers always what concerns the currently active image and That’s if I reactivate the desert, I see. the background it is locked but only for transparency in the background okay I passes over the image on the right the elephant original I will do it but I will update if necessary yes I can record Okay, you have a company called maximize compatibility is to just to make sure that the file photoshop are compatible with dances and a photoshop version otherwise you won’t be able to open it in a version cc 2014 etc. you ask me to display more so it’s going to make a file a little more big but I advise you to always Doing that is fine. Maximize it. compatibility the file will be more large only if it is compatible with old versions of photoshop but It’s always better, okay, why is that? that I did, but the right elephant because in fact the entire image is in fact of the elephant and in the desert now agree and I will continue the work on it actually means I can switch to full screen f key I remind you of the space bar for move in the window here we go and we’ll improve the contour of the elephant, therefore the space bar it’s the shortcut of the hand for move, that’s it. so I decide to hold the elephant there is well suited for this game to do there is perfect shouldn’t be looking for another one. on google and so I have to improve the outline what the selection made by the quick sections tool all at their fingertips beautiful is a failure but it was like its name indicates a quick selection now I have to do a real selection I need to improve I have to make some of the vegetation here I have to do reappear the defense the tail ok so here’s the technique you used to disable the merge mask with the capital key and by the way we would do to save the file because that if it crashes, we’ll lose everything by does whatever it takes in the last few years versions of photoshop there are still a possibility of two to recover by does there is an automatic backup in the last one I don’t think that in the 2015 version not sure when there is when same possibility to recover here and there This is a new feature in photoshop which was only possible because the computers evolve disk spaces they evolve enormously the power of the computers are evolving so they have finally put the registration of the automatic data every ten years minutes but well, that being said and that’s danger on the reference files to this office engaged that said, I’ll still do it anyway. save the file well we are not never too careful with recorded files in a photoshop format necessarily I can no longer be saved in jpeg format since there is a layer and now there is there is that photoshop that can there is that the photoshop format which may include layers so here it is, it’s registered security. you have disabled the merge mask you see the whole elephant scenery that appears you’re going to now we must talk about the manual window layers layer in the layer palette if that you kick you you can also in the menu of the led layer palette in option panels to have layers the bigger the better. and then what interests me is okay, we’re going to come back a little bit in paul and shift because that I forgot to disable the mask I forgot that I had to click on him, I forgot I had to that I click on him to make him framed so just go ahead and click on the mask to recall d kalck it is boxed because when a layer has a fusion mask, it is necessary to decide if we’re working on the part color or on the mask and it is the small frame that indicates what I am works on the mask I clicked on he is framed I’m capitalizing type because I wanted to disable it is what it is and now I have to click on the small box in front of the vignette of the mask in the layer palette so three operations Yes yes yes three operations I start again first operation on the sticker of the I need to have sites that are what I’m working on on the part color or on the mask but actually I works on the mask, then I prick you have to disable mask to make them no longer work and only the decor and seemed like that’s the capital key. and it is click on the mask and last operation in the palette of layers I click on the small box empty in front of the mask thumbnail yes because it is the vignette of the the fusion mask appears as a vignette in the palace of the layers like that Oh, yeah, it’s a It’s a little gymnastics, but in done once once you have the system is fine, so that’s what’s happening. is that the black pixels of the mask appear in transparent red and this will allow me to rework the finally select the mask in fact tom with the brush by drawing in black and in white in the mask even if it is not displayed even if at the contract red cross will work we’ll be able to work on him by deciding with a brush in black and white on the mask we’ll be able to improve it but before I do that, I have to shows you that you have the opportunity to change the color here photoshop automatically you say hold the canton display an alpha layer or mask in addition to the diapers rvb his daughter the black is displayed in red but not for some images it’s not going to work if you have a margin full of red objects you’re not going to see the difference between the red mask and the objects red which is why it is planned to be able double click here if in the pallet of alesi layers and choose the color with which you display the black of the mask we click on the word on here on the sample and there you can choose the color you have the colors of the rainbow here is a chromatic wheel that goes from zero degree See this year here 0 it goes from 0 degree to 0 through 359 finally so 360 degrees is a chromatic wheel here, for example, I choose instead of glass in the reach in fact this which is called an attack on the wheel chromatic Yes, I can choose to have glass one a little less loudly I could choose Blue also yes yes here is blue ok Okay, and here I am now, I have the slow-motion. beyond the mask that appears in blue transparent see the good trick in double-clicking see that you have also the possibility to choose the transparency is therefore this game agrees to do this is just the way whose black is displayed but it is always black and therefore to work the mask I have to work with a black and white brush for improve ok now you have done That we’re really going to work with a brush. you will activate the passo in the tool palace the right brush because that there are lots of brushes and if you have the jig brush here on super jig brush is not a big deal. all this that we’re going to work on, what they’re doing. are super interesting only man I say It’s a jig, but don’t keep it. It’s just me messing around here, huh? so I’m going to take the brush. normal here is the brush completely normal then first with the brush it will have to choose its diameter to choose the diameter of the brush we will use a keyboard shortcut is that you see the cross of the past all you will be pressed on the keyboard that you be on a mac os x on a pc is the same control and stop keys you press control alt on the keyboard wanted to keep it depressed and then on the ass on the if you’re on a pimp this which is the case right now you’re stuck the left mouse button you the keep pressed and move to the left on the right and you see you can determine the diameter of the brush so touch control alt and left click of the mak mouse and move from left to right for the diameter then the trick is that on a pc to do this will require using the right mouse button so if you move up and down is the hardness of ploughing because you see that the brush is there a blur but you can reduce the blur of the brush while moving from hong then this brush will allow us to go drawn in black where there is things to make disappear and by white where there are things to be done to appear and so you will have to regularly modify the diameter good considering it’s an elephant that doesn’t have of down there are rather bounds is I advises you to make a brush with a 100% hardness like that rather than a brush with a fuzzy edge for fuzzy objects on board such as animals with down with long hair for the opacity to go in a 100% way is indicate here in the options of the passo 100% is fine and normal, you need to review it. always check when you use not what you are in mode of normal application means covering and opacity 100% no no no no no That’s not the solution. That’s not the solution. click on alt to make it disappear we check first, hold on. are the colors that have that we have in the tool palette do you have any black and white perfect does a little test click on the sample there you see appearing the color selector and you can choose any color if in fact the color with which we draw but since we’re dragging our feet, we’re works on a single layer that has no no possibility of having anything else. than black, white and grey, but each time a color is chosen it is grey that is the logical place well, but in fact once black and white white so you have those that allow to quickly bring back black and white in the tool palette It’s that little icon you have there. black and white perfect another interesting thing is the double arrow icon 6 which allows to reverse the boxes to get because than the color with which we draw the brushes, she’s the one who is in the foreground, see, she’s the one overflows into the other and sometimes you will have to draw blank in the case of this exercise sometimes you will see black signs yes except who has keyboard shortcut to do this is the key x when you press the key x on the keyboard you don’t even have need to go on this little icon to reverse is reversed so if you like john travolta you can keep the x key pressed and you have disco appearing but yes good will not feel anything done’ is obviously All right, so I’m drawing on the passo in normal 100% with black well, I’m going to zoom in and draw them on the vegetation here and what are we Well, it appears in blue. transparent because I asked that the mask thumbnail appears in transparent blue but it’s really black that I put in it so don’t too perfectionist either and then you will see regular use of the space bar to move in the window the stop wheels to zoom in us but not too close either is no longer in the 1990s when we did work pixel by pixel so don’t get too close where I am, yes, that’s right. click and we move or who we move so obviously the best thing is to have a tablet with a stylus to make That mouse is not great. you can change the diameter I’ll give you recalls that these controls panting click left on the PC no excuse me left roadworthiness test on the mac here and then on the computer it would have been control alt and right click but here I’m on a pimp, so it’s control the left thekil So we’re supposed to go clean up. all errors in the selection tool quick then his request for habit when you’re a beginner it can make you take a long time it can take take ten minutes to do this and when you’re a little more professional in two minutes it’s done. Well, that’s the principle, you see. It’s not difficult and it’s thanks to to what you’re even going to be able to do age deviations on very pictures difficult to do in a way that is impossible to do automatic in photoshop we’ll see that later on we’ll make a brown animal on a brown background you’ll see that it’s possible to do Okay, so here people do it. Touch x. so I work with white is supposed to make things reappear I will therefore reappear here by example the defense there was there was something else to make appear there is had there only here here but then what is great with this system is that I I don’t have to do it now. In fact, I can go on with everything. the rest of my work in photoshop with this elephant and at the end when I have put the text – when I put others elements in the desert there I can very well in the end was going to clean the every fusion mask in fact so there too you can make room for creativity is first placed the elements together in relation to others to do your composition and then cleaned at the end so for the stoves here it was difficult may require a little bit of provisions take a small brush all started drawing them and possibly something that looks like hair It can be done better than that. control paso and say that at the end of the it gets finer but we don’t is not here here is the discovery of photoshop touch x I can go draw in black too so if you have a lot of objects to be hijacked, it is important to know that there is online services that do this to you for not too expensive in fact between between 2 and wii dollars per image according to the complexity You can have that, so I don’t. mention here but you have to know that it kills the job a little bit too since it’s relocate to asia These are things that are done remotely. That’s in China and other countries. Asian otherwise it would cost a lot more expensive of course to make the photo clipping in banks of image you have some banks which automatically proposes to you images of the towers is also then to from time to time if you want to can remove the eye in front of the mask in the layer palette to see the meaningless picture the overcoat thing the man without the blue color on top so you can understand what you have to do so when you do a job like That’s something to think about and say to yourself the final image it will be seen at which dimension because good if it’s for to both reduce the image to a very small size because you print it in a very small size bathing means that the detail here doesn’t not much, by the way. on the other hand if it’s going to be very big that the detail will be visible but it is necessary do something clean, so don’t miss a beat. invest time for something that finally will be reduced Okay, well, that’s not really Bad anyway, it’s correctable. then I update the file this disk hard files recorded then when It’s over, well, you have to take your eye out. face of the mask in the palette of layers, the mask must be reactivated with by simply clicking on it capital picou click on it that take off the red cross and there you have it. an elephant that is cleaner for the level of its routing a mask can also work directly with me means if you have if it is framed on the layer there and you drew in black and white it also allows you to work directly on him, well, that’s it. a lot of tail like that despite the fact that I I did this with a brush, a green part. that remain but it can be removed so I told you about the services in line that make it possible to make the routing for a fee you will find it quite easily by typing this actually in google by typing clipping paf service it means it means services of paf routing path has been traced services etc. and ping has diverted and Well, you’re going to find a lot of names. it’s about people who get paid for do that and since it’s in Asia and since the wages are lower low they’re not too poorly paid but for It’s not expensive for us, it’s the principle is the relocation of the service when same is good there are different different different prices but different but different companies that propose are here we are starts at 29 cents of dollars but here and according to the complexity you have the premiums that can increase to yes dollars in general Oh, here’s for the hair. It’s starting. from 1 dollar 50 men I don’t think it exists in Europe. because it would be too expensive, by the way. if it takes 15 minutes to make a work in europe it should be charged at least 20 euros but I’m not saying it doesn’t Don’t aim, I see there. Oh, yeah, we can even send them two free images for him to test us on this. Well, it’s the middle of the day. show some of them but I can’t guarantee that these are the right ones if that makes you interested it is necessary to know if you have a catalogue to be made with objects on provides you with 300 objects photographs and make a catalogue of objects here you are, you don’t have the time to detour you can do call Well, that being said, for objects we can also photograph them on a background white there are solutions that will go avoid the need for routing see at the time of the shooting do also to think about perhaps avoiding have to do some trimming afterwards photographs on a white background with special boxes for liveboxes so I was telling you if at the time shooting you use a livebox here I just type in google livebox photo and you see light boxes who can put me in a manufactured factory. for less than one euro at home in Actually, it’s you have a lot of sites that explains how to make your own lightbox to photograph your objects and that means a lot when you do of e-commerce of course and if you make your objects appear on a background white I saw that they are on a background white at the time of the photograph there is more than enough canvases needed, that’s it. That’s the beauty of the story, all right. obviously we’re not talking about faking here. photo so we’re just talking about selling objects for photo faking it is necessary tricks and then I’ll talk to you too. image banks that offer images with already included clipping there I just type image bank alpha bank chanel and I fall on benches the image is full of them, especially here its stock shoppers but there are plenty others image banks with different prices and we see that it offers images including here images of images of smoke with a layer alpha which will allow to put the smoke with transparency because see that the alpha layer has a grid this which is not the case of the layer each times we’ve done so far she’s had not much grey this game a little bit the edge of the brush with two a little grey but we don’t really have any transparency necessary for the elephant but for stories like fire or hair, of course, they have to have grey that will make the transparency so we have an overflow of images that propose obviously images with directly vectorial plots or layers alpha It’s going to be enough. interesting to avoid having to do additional jobs yourself but it obviously costs money, it pays off. banks the image is a service chargeable so you’re going to backup files registered so we updated the file on hard disk we will also record under another name because I’m telling you really advises to regularly save your files under a name so this time I’m going to in files saved under and at the end of the name he tells me it’s impossible because it is currently being recorded in background yes, since adobe software now saves in the background which means you can continue to work in the software while It records so he was still in recording my own the first picture now I’m making files saved under aaaa but finally he’s still recording a background means that it’s the file got a little big. good so you ask the question, do we can record on a USB flash drive there are two answers no and yes it is to say check in directly at the start of photoshop on a USB flash drive No, you absolutely must not. You must. never use a USB flash drive as a space of work on which you put the images that you’re working in photoshop once it’s on the desk you can transfer to the flash drive after Of course, but this is a big foot I’m wearing. USB sticks are not work devices an external hard drive works, but punk usb key Okay, files saved under it work. I’m going here. registered under another name, I’m going to simply add at the end of the name here an approval I will indicate 0.2 here is and why I’m doing this but not what I’m going to do some small tests and I’m going to would not want to lose the first version so I recommend designing in illustrator photoshop indesign de always do that with every major change that you are about to make make in the saved file the sudan new name so you keep the previous versions if you ever see you and completely at least you will still have the version before of course the control z Cancellation exists but security first of all so don’t lose the work we’ve done and then here we’re going do a little test I’ll show you that the position of the elephant trunk pies for the position it differently this is called the puppet it means that when you make even pictures of characters if the no one has a hand arm position or people position as you wish rather than to have to do a photoshoot again, to have to start a photo session again you can modify the position of members through the puppet I’m going to do the first step puppet in a way that is not ideal but then I wanted to show you that we can do better and then we will make color corrections and even the shadow, if any, of the shadow projected on the ground for the elephant or of the diffuse shadow finally there’s plenty of it. a lot to learn we’ll also see that this elephant that in the desert we can very well to transport very quickly to a other image a street image for example a view photographed in a city and if all the work we’ve done here is will be perfect of course then you have your layer of the elephant that is currently active and you have no selection, that’s what that it is necessary to select the menu selection of selected does not offer any selected of which there is no selection and we’re going to go to the editing menu of the puppet training here is the edition of the trainings the puppet and then you have your elephants that are surrounded by a net now just because he’s going to go out on Saturday nights to do a strip tease or something. crap no it’s so you can deform it to the so you’re going to be able to possibly not display the net you uncheck the box displayed son is there at the on top or right-click and you ask to hide the net so the net is still there but we see it the more in fact we are then the principle is that you’re going to have to put bedbugs on main parts of the the elephant by clicking on one of these thumbtack If you want to remove it, you have to come back. above is pressed the alt key and click on it it goes away so I put a bug on my butt from elephant legs to one on the head I put one on each piece of dough so I showed you how to put one by clicking and how remove it with the alt key by clicking on the wing sail ah well, it’s used to move after once it’s done without press any key I can take the bug and move obviously there is of the limits that’s it, for example, we can go and move. the elephant’s limbs is what I was telling you, we’re actually repositioning things to correct a little bit then be careful something you’re not. showed that they use I told you with the alt key when you go clicking on the pin doesn’t remove it, but when you’re next to the pizza. alt key you can rotate here then it also exists in video in after effects and it’s even another a little better in this reflex but here we are so there are some who use this as a tool for pins for the deformation of the puppets who have them and use them to modify the size of the things to thicken or slim down and also to make people smile by putting bedbugs on their faces we can change facial expression it’s one of the solutions, so here’s the the same possibility of course to do in so that the elephant is standing upright Well, I may have to delete First of all, bedbugs or it’s too much. complicated it is necessary that from the beginning I have chosen to be standing well so what am I going to do and fine here I may take part in it. like this and here you go, you can even to have an elephant walking on his hind legs not all delusions possible useful to make the advertisement we can go even further if before to do that, we detach the legs from the body for example it’s going to be it’s going to be it’s going to be give more possibilities you will be able to send a tab on a layer have several layers that create the elephant here we’re with only one call that’s good is doing things, but not much yet but we can do even more if we take out the legs of this calculation has and we send them on a other calculation we can also go to look for elements that come up other elephants other elephants other photographs of the elephant and to modify so it allows you to mix well too. safely invisibly we will have the impression that we have an elephant but by in fact it will be composed of parties that come from other elephants, it’s not you can’t go out and do a little bit of faking. like that Okay, so that’s the hockey puppet. didn’t spend too much time doing that. because we’re going to have to start again then you will validate the puppet with the little one seen and the elephant will go away put as you chose then the problem here is that all the little ones that I was the master of bedbugs that’s what they call the corners in Photoshop down they’re not there anymore actually they disappeared the net disappeared if I want to remodify I go back to the edition of the puppet training courses but I can’t find the bedbugs. they’re no longer there, so it’s not the best method the one we have we’re going to do the same thing but by the better I’m going to ask you if you turned the puppet over, you go out of the puppet with the escape key or the small direction sign forbids them to the icon and we’ll go back made control alt z comments alzette on the mac cmd stop that you keep depressed and you press the z key, it allows you to to go back is what corresponds to editing go to The back yes you also have to go backwards and forwards you also have the history palette window menu history it’s a palette that shows you all steps have a historical window play there tasks and the big one see there That’s all the steps we’ve taken. the last 50 Portuguese states is here you also have the possibility to reset the puppet or to go back so the higher you go, the more you go up and then it’s something that’s old in makes one and the more you go down then it’s new Okay, so somehow I’m I cancel the deformation by meriem by puppets because we’re gonna do better, we’re gonna do better. a puppet distortion but we is going to make it possible for us to find the bedbugs we put on and to do that you have to convert the traced to a species of a kind of super layer it’s called a layer of dynamic objects then dynamic and in computer graphics means modifiable when we talk about something that is dynamic as we are in illustrator photoshop it means that once you have modified but we can come back to remodify and to have the layer transformed into dynamic objects first of all you did cancel the puppet. you have your normal elephants good good you right clicked on it with the right click to the right of the name of the calq and there you have the option to convert into dynamic objects so what it does is it puts the layer in a special object a layer special that we call a dynamic object dance is a little slow because we have still a lot of pixels here we don’t forget that I have on a laptop and you’re not on cell phones. at last and that I have recording video at the same time and that It slows down quite a bit if so, so you have a special layer here and we see that it is a dynamic object with grace to the little icon here so be careful one dynamic object you can’t modify with the brush the content of a dynamic object try if you take the brush and you click on the dynamic object photoshop you but the message you must pixelize this dynamic object before to continue and the content will be more modifiable you must obviously never answer okay to this question That’s why I’m talking about it now. it’s because you’re bound to have a certain moment to want to draw at the brush on a dock to a dynamic object who it’s going to put this message to you on message is ambiguous because it indicates you have to do it but not at all I’m cancelling so you have to know that we don’t does not pixelate a dynamic object because that it will become a normal layer again and the fusion mask we made all over the time it’s actually inside and I may still need it, he. may not be perfect, I want to to modify it again we’ll see later how to get in. in the dynamic object and change the merge mask in the limit object but we’re going to do the puppet show now on this dynamic object you go to the editing menu of the puppet training they’ll be able to start over the same something that just now m from the bedbugs and modified but it’s not necessarily a lot and sometimes it’s just change the position of the demos a little bit incomes that’s it. there I modified a little bit the limb position I have an elephant in the impression that they’re rearing up a little seems to be on the dough for the ngo Here it will be better this way and maybe that’s what I want as my point. kate possibly to do a little more or and not even Okay, and I validate with the little view and so we feel like we have the same thing that we did earlier, we did a puppet except watching what’s going on now in the palette d kalck la puppet appears you have the possibility to disable it the captitale reactivate it you have the possibility or to modify it by double-clicking on the names of the formations the puppet reopens its reopening the edition of puppets there modification of the marinette and you can will modify the bedbugs you use have done are still here so it’s a dynamic puppet actually all of them filters including training courses the puppet when you put them on a dynamic object it remains editable it should be noted that all filters in the filter palette if you put them on a dynamic object they appear in the palette of wedges that can still be modified Well, then, assuming you wanted to. change the merge mask from everything to the time to modify the silhouette by example you find that this small blistering there, you have to remove it I don’t know what else you have. forgotten to make something appear you want the elephant to be thinner we’ll be able to change that for him, but he’s going to you have to enter the dynamic object by double-click on it at that place then you have a box that appears It may take time because here the content was still quite strong and we’ll give you a sentence enough incomprehensible bomb and click on ok and what’s actually happening is that it’s opens in a new window it opens the content of a friend’s object what content is what to lower the totality of the elephant image with a mask you have the other window that is still there actually one in the bottom from the window menu you have the possibility to to go back to the image of the desert actually you have the possibility to put the two images side by side f key for switch to window mode and then detached layer 2 which opened the content from the layer two points psb detach it That’s the dynamic object. then be careful at no time you don’t must backup and this on the disk hard or it won’t work anymore. next window reorganize thumbnails vertical if you want to, in fact, we don’t should not do so to put them side by side is just to the demonstration I will show you that starts to work you have so the left desert with the elephant and the content of the layer that opened in a new window here on the right in the palette of shims you find your fusion mask you must indicate that you are working on it so it’s click on him to frame it and with the brush in working in black or white you’ll be able to modify that’s it. especially here I’m going to be able to change the form Here’s how to delete it. I’ll be able to do it. so that the elephant becomes also thinner like that for example that’s it. Well, maybe it’s a man. anatomically an elephant that is not Okay, but here it is different. and I told you that you should never recorded on hard disk has risen this window that opened because that otherwise the system will work because we’re making a link there’s a link there. link between this window and the window left-wing photomontage which means that when you’re on the window there and you’re have finished your modification you will be able to request files registered it’s not saving as on the disk. and its files saved for send it where it comes from and it’s there that you will see that in the image of the photomontage it will change It takes a little time. That’s how it works. the update of dynamic objects is appeared and there it was one day, so I an elephant on the left with one of at least and the small piece of paula who was hanging is gone so that’s it. we modify the content of dynamic objects sometimes when we make changes to these standards and that we have put a puppet on death is the puppet no longer works, it is necessary sometimes the jetty at that time at the basket of the shim pallet that contains it give a new one but good here the modification was not huge and therefore Apparently it works. It held up well. Well, yes, what I mean if we completely changes the silhouette of the the elephant, of course, the puppet that we a mise it will no longer work, it will have to be in handing over a thug once you may have needed to modify the object dynamic you will close the window of the dynamic object quite simply with his little red cross his little red ball here he is and there he is so it’s modifying the content of a dynamic object it is also possible to add shims that in a dynamic object We’ll test it, we’ll reopen the content of dynamic objects and we will add shims that are therefore double click again on the call that from the dynamic object here we could add a new layer by clicking on the leaf blog but we can also search for elements by example I’ll go look on the web of stars went to pose on the elephant to make an elephant of circus for example I don’t know, we’re going to Go get that, we’ll look for them on the web in google an image of the paintings in the public domain so of course I always type in English because it’s more of results I could do the stars of an illustrator also yes yes we can test if you want it could being something you do in chandelier wrongly good well I think they are where there are on the web of full of images of the paintings of the domain so I’m going to be able to use this the stars stylized like that, okay, what’s What we have here, the Wii has been having fun for years. take anything as a star that is on a white background the problem is that you will sometimes come across images that already have transparency like this one where sometimes images that don’t have it good, well, listen, you know. when we take the same picture we’re going to take the same image each is what when you type public star domain star agree public star domain between quotes do you have these two friendly little stars that appear we could feel you there she is you see them o’keeffe is at the controls click on it These are stars that are on a white background is not transparency It shows it’s not the checkerboard there because that google shows you in the navigator if it is images already on a background transparent because the png and 24 can have transparency or gif also in the psg 8 or 6 of helium so the gip and that the jpeg will never have fine transparency except the last ones jp generations that no one uses but the png is a format that has some transparency but clearly this is not the case. It’s not png, so I’m gonna ask to display the image Here it is, I’m going to save it. It’s from jpeg so no transparency but I will have to be anchored in photoshop so I save images in jpeg format and I louvre in photoshop so I open the stars in photoshop country happens to be in fact they are recorded in a video format because that there are what are called pixels carey & rectangular pixel It’s a little something here she’s unchecked in a file, you must uncheck the simulation correction of the format of peaks and but in your country it has not actually done m you tell me that your stars name appeared correct like that perfect, so maybe it’s actually because I’m in a more recent south in 2010 is one here that is a fairly recent version that Apparently does that. Okay, beautiful, so a little bit. no matter how much you’ve woken up to see the stars there we’re going to make sure that the white background become transparent there are a lot of ways to do it but we’re going to to see one here is the double click on the call only in the palace of kalck for that the layer is no longer a layer background with transparency locked but a layer 0 in fact we can change the transparency is what that you need a layer that is no longer a copy with transparency locked so it’s the double click on the layer and converted to a few 0’s and then you’re going to go back double click on the thumbnail some voice there and you have the styles of calculation that appear thing that one also gets when you go to the menu layer style layer style layer options merge and there you have cursors clipping that make it possible to make transparent parts of the images according to their brightness there are two cursors and a cursor that says we’re going to take into account the pixels 2 is traced and another cursor that says we’re going to take in counts the pixels of the balcony all this one but except that he doesn’t have this one in everything. so it has to be the cursor on it. that we use in fact the cursor below here we uses very little so it’s the cursor from above which in the merge options in the layer styles options of merger and you will take here the small white indicator and move it on the left if you see that the white becomes transparent everything that everything which is brighter than the grey which is right there on top of everything that’s more luminous becomes transparent these holy principles and that’s great. powerful as a technique and we’re going to reuse because, for example, if you also you have a picture of fire of artifice on a black background or a photo a flame or explosion on a black background you’ll be able to get her out of here. the fireworks on its black background and the put where you want on any melts thanks to this technique a little more complex as what you see These are drawings here, so that’s it. goes pretty fast Okay, I click on okay, then I’ll go crop which means I’m going to take the tool of reframing because there is only one of the stars that interest me I take the cropping tool and there you have wrists that appear if you go to be able to encompass the canvases that you interested these are the pixels and are outside from this area will disappear unless we untick this but we’re not going to do it. now but it can be very interesting when you reframe photos to make sure that the pixels that no longer appear beautiful is always beautiful there it allows you to modify the reframing afterwards but you are busy none of that right now, but I’ll tell you what. Just say we’re going to click, we’re going to validate and the stars there the small ones on the side will disappear completely not only are they more visible in addition pixels do not really exist the more we can’t get them back and then we’re going to draw white on the stars the little ones we’re not interested in. either so I take the brush and I draws in normal white 100% so the normal brush in normal mode 100% normal mode It’s white, but here’s the thing about layer there is a clipping that takes place on cursor down everything he says or does which is white transparent dia so good that chopra so we’re going to maybe I’ll record it. this image files saved under the format photo shock therefore the image of the star in photo shock format I am obliged to save them in a format photoshop I can no longer record the recorder jpeg jpeg jpeg cannot have a transparency is so I recorded my star in photoshop format I had it saved as, but if I had it recorded, it’ll go back to the even that would offer me registered under because I put in this image some cps dg midi elements in this image elements that cannot be put in place in a fip and so photoshop forces me saved in photoshop format and so I’m going to move with the movements this star I wanted to to move towards the elephant that unfortunately open see the two-point psb layer you have it so you’re going to create a traced into a dynamic object in fact that’s it. so we moved the paintings and where I’m gonna have to do a little manual transformation because it is a video format recorder and the proportions are not kept yes manual transformation therefore command t annual transformation edition and then I move on a handful there to enlarge it like that Here’s the deal. I still have the option. Well, here I am in the dynamic object. traced two psb points I created a layer with two clipping I can double click again to go to change the position of the cursor if it you need the little trick if you have more white pixels that appear there on the edge you can split the clipping in two here with the alt key and it should fix a little bit. the problem good there’s possibility with we could have also used other techniques to to take out the canvases but here we are Okay, it’s not bad. It’s okay. We can. possibly put a drop shadow under this star to give the impression she has that she is detach a little from the elephant, yes, of course. the poo that we’re going to put on the menu. style copy of some options of merge or double-click and as my Here’s the deal on the layer on the right man and among all styles to copy ben you have the drop shadow that you can set it in motion, okay, and then you have sliders to set the drop shadow Does it work for you? so I repeat, I have the star that’s there. on a layer I double click it brings me back to the merger options but merger options are not that some of the layer styles I will now in addition to having options to merge blanks that are made transparent I’m going to activate the drop shadow is set the opacity of the shadow the distance the size and the emails sent that we have a problem is that normally the shade should be under the canvases and it is celebrated under the image of the star you understand it’s because that in fact it is necessary to know that the the special drop shadow effect does not see that there’s tracking the bodies have been made transparent in click on a and I’m going to show you the great tricks don’t apply the drop shadow we’re going to do this we’re going to make sure that the pixels and that are made invisible by the clipping and well they are really unfortunately erased the shadow cast would work because currently this that I have it’s an image an image an image of the canvases on a white background like that you see and it turns out that through the layer styles I made invisible the white one, but it has to be is more than just a visible one, they must disappear and white pixels so that I can now carry many under the shape of the star and the trick it is this above the call that the star you will create a new one layer by clicking on this icon of sheet blocks this new call that it’s empty but we will request to merge it with the copies that all have it we’re going to merge both copying done and to do that we make monuc alc fused with the lower layer so the calculation underneath it is this the quick copy I created and merge with the layer that was just right when ulysses returns the star results the pixels that were and are being created been deleted and when I double click now to put my name reporter it goes under the canvases directly under the canvases so you saw how to make the white to visible pixels but you have seeing also how to erase them quite a bit that the possibilities yes we can also add some bevel but we’re not going to to do here It’s going to complicate things, that’s all. Okay. Okay. holding on to the elephant the light comes from top right in fact m see them at the shadow under there under the ear so maybe I’d better do so that the angle of the drop shadows reflects its you have here the effects which appears on the layer so you can double-click on the word shadow scope its reopening in fact falls and we can change the angle here we can modify the angle of the shadow so that it more in line with reality of course this star is also placed enlarge it commented commented commented commented don kelly manual processing with stops and capital letters I take the wrist of the corner I can enlarge the canvases There you go, and then they ask me, you ask me. asked if we could duplicate it. of course as in any adobe software when you move an object by pressing the alt key so once I have validated the manual transformation when you moves an object by pressing the alt and bessat le of the peak and here it is a second limestone here and now to make it less monotonous of course this second object this second layer that is active and I will be commented again I will to be able to turn it, well, yes, because when you put the pointer out of the annual transformation framework that allows you to rotate I can also modify the size of the wrist of the corner with stops capital letter validated again of the ké folds manual processing etc. that’s it. so to turn it is a manual transformation with commentary I put the pointer outside the frame I have the arrow spinning. that’s funny. what’s interesting are the layers and all eat at any time I’ll be able to come 1st and delete 1 It’s not a problem. Okay, so an elephant that’s well adjusted. their vouchers and what am I going to do do I will now register the content of the dynamic object so the image traced two points psb I don’t record on the disc Hard we can get it back, we did the error is recoverable but it’s better to do files registered because we have them in that’s where it comes from, which is in the editing by making recorded files after a while it’s going to look like this elephant world that suffers the puppet over there during the winter of health so here I close the image some 2 psb points and I can register the photomontage yes and I am not obliged to register them under a new name because we’re doing everything I’ve done it is on wedges that are actually separated what we’re doing here is what we call of non-destructive and that’s what you absolutely have to do in software it is necessary to do in so that when I bring an element when I modify ben I can return to rear It’s non-destructive, you saw that the stars deform with the puppet they’re always in the same place on the elephant but it deforms according to the deformations I put on the legs is not bad that way

Jarrett J. Krosoczka: How a boy became an artist

Jarrett J. Krosoczka: How a boy became an artist


Translator: Thu-Huong Ha
Reviewer: Morton Bast Hello. My name is Jarrett Krosoczka, and I write and illustrate books for children for a living. So I use my imagination as my full-time job. But well before my imagination was my vocation, my imagination saved my life. When I was a kid, I loved to draw, and the most talented artist I knew was my mother, but my mother was addicted to heroin. And when your parent is a drug addict, it’s kind of like Charlie Brown trying to kick the football, because as much as you want to love on that person, as much as you want to receive love from that person, every time you open your heart, you end up on your back. So throughout my childhood, my mother was incarcerated and I didn’t have my father because I didn’t even learn his first name until I was in the sixth grade. But I had my grandparents, my maternal grandparents Joseph and Shirley, who adopted me just before my third birthday and took me in as their own, after they had already raised five children. So two people who grew up in the Great Depression, there in the very, very early ’80s took on a new kid. I was the Cousin Oliver of the sitcom of the Krosoczka family, the new kid who came out of nowhere. And I would like to say that life was totally easy with them. They each smoked two packs a day, each, nonfiltered, and by the time I was six, I could order a Southern Comfort Manhattan, dry with a twist, rocks on the side, the ice on the side so you could fit more liquor in the drink. But they loved the hell out of me. They loved me so much. And they supported my creative efforts, because my grandfather was a self-made man. He ran and worked in a factory. My grandmother was a homemaker. But here was this kid who loved Transformers and Snoopy and the Ninja Turtles, and the characters that I read about, I fell in love with, and they became my friends. So my best friends in life were the characters I read about in books. I went to Gates Lane Elementary School in Worcester, Massachusetts, and I had wonderful teachers there, most notably in first grade Mrs. Alisch. And I just, I can just remember the love that she offered us as her students. When I was in the third grade, a monumental event happened. An author visited our school, Jack Gantos. A published author of books came to talk to us about what he did for a living. And afterwards, we all went back to our classrooms and we drew our own renditions of his main character, Rotten Ralph. And suddenly the author appeared in our doorway, and I remember him sort of sauntering down the aisles, going from kid to kid looking at the desks, not saying a word. But he stopped next to my desk, and he tapped on my desk, and he said, “Nice cat.” (Laughter) And he wandered away. Two words that made a colossal difference in my life. When I was in the third grade, I wrote a book for the first time, “The Owl Who Thought He Was The Best Flyer.” (Laughter) We had to write our own Greek myth, our own creation story, so I wrote a story about an owl who challenged Hermes to a flying race, and the owl cheated, and Hermes, being a Greek god, grew angry and bitter, and turned the owl into a moon, so the owl had to live the rest of his life as a moon while he watched his family and friends play at night. Yeah. (Laughter) My book had a title page. I was clearly worried about my intellectual property when I was eight. (Laughter) And it was a story that was told with words and pictures, exactly what I do now for a living, and I sometimes let the words have the stage on their own, and sometimes I allowed the pictures to work on their own to tell the story. My favorite page is the “About the author” page. (Laughter) So I learned to write about myself in third person at a young age. So I love that last sentence: “He liked making this book.” And I liked making that book because I loved using my imagination, and that’s what writing is. Writing is using your imagination on paper, and I do get so scared because I travel to so many schools now and that seems like such a foreign concept to kids, that writing would be using your imagination on paper, if they’re allowed to even write now within the school hours. So I loved writing so much that I’d come home from school, and I would take out pieces of paper, and I would staple them together, and I would fill those blank pages with words and pictures just because I loved using my imagination. And so these characters would become my friends. There was an egg, a tomato, a head of lettuce and a pumpkin, and they all lived in this refrigerator city, and in one of their adventures they went to a haunted house that was filled with so many dangers like an evil blender who tried to chop them up, an evil toaster who tried to kidnap the bread couple, and an evil microwave who tried to melt their friend who was a stick of butter. (Laughter) And I’d make my own comics too, and this was another way for me to tell stories, through words and through pictures. Now when I was in sixth grade, the public funding all but eliminated the arts budgets in the Worcester public school system. I went from having art once a week to twice a month to once a month to not at all. And my grandfather, he was a wise man, and he saw that as a problem, because he knew that was, like, the one thing I had. I didn’t play sports. I had art. So he walked into my room one evening, and he sat on the edge of my bed, and he said, “Jarrett, it’s up to you, but if you’d like to, we’d like to send you to the classes at the Worcester Art Museum.” And I was so thrilled. So from sixth through 12th grade, once, twice, sometimes three times a week, I would take classes at the art museum, and I was surrounded by other kids who loved to draw, other kids who shared a similar passion. Now my publishing career began when I designed the cover for my eighth grade yearbook, and if you’re wondering about the style of dress I put our mascot in, I was really into Bell Biv DeVoe and MC Hammer and Vanilla Ice at the time. (Laughter) And to this day, I still can do karaoke to “Ice, Ice Baby” without looking at the screen. Don’t tempt me, because I will do it. So I get shipped off to private school, K through eight, public schools, but for some reason my grandfather was upset that somebody at the local high school had been stabbed and killed, so he didn’t want me to go there. He wanted me to go to a private school, and he gave me an option. You can go to Holy Name, which is coed, or St. John’s, which is all boys. Very wise man, because he knew I would, I felt like I was making the decision on my own, and he knew I wouldn’t choose St. John’s, so I went to Holy Name High School, which was a tough transition because, like I said, I didn’t play sports, and it was very focused on sports, but I took solace in Mr. Shilale’s art room. And I just flourished here. I just couldn’t wait to get to that classroom every day. So how did I make friends? I drew funny pictures of my teachers — (Laughter) — and I passed them around. Well, in English class, in ninth grade, my friend John, who was sitting next to me, laughed a little bit too hard. Mr. Greenwood was not pleased. (Laughter) He instantly saw that I was the cause of the commotion, and for the first time in my life, I was sent to the hall, and I thought, “Oh no, I’m doomed. My grandfather’s just going to kill me.” And he came out to the hallway and he said, “Let me see the paper.” And I thought, “Oh no. He thinks it’s a note.” And so I took this picture, and I handed it to him. And we sat in silence for that brief moment, and he said to me, “You’re really talented.” (Laughter) “You’re really good. You know, the school newspaper needs a new cartoonist, and you should be the cartoonist. Just stop drawing in my class.” So my parents never found out about it. I didn’t get in trouble. I was introduced to Mrs. Casey, who ran the school newspaper, and I was for three and a half years the cartoonist for my school paper, handling such heavy issues as, seniors are mean, freshmen are nerds, the prom bill is so expensive. I can’t believe how much it costs to go to the prom. And I took the headmaster to task and then I also wrote an ongoing story about a boy named Wesley who was unlucky in love, and I just swore up and down that this wasn’t about me, but all these years later it was totally me. But it was so cool because I could write these stories, I could come up with these ideas, and they’d be published in the school paper, and people who I didn’t know could read them. And I loved that thought, of being able to share my ideas through the printed page. On my 14th birthday, my grandfather and my grandmother gave me the best birthday present ever: a drafting table that I have worked on ever since. Here I am, 20 years later, and I still work on this table every day. On the evening of my 14th birthday, I was given this table, and we had Chinese food. And this was my fortune: “You will be successful in your work.” I taped it to the top left hand of my table, and as you can see, it’s still there. Now I never really asked my grandparents for anything. Well, two things: Rusty, who was a great hamster and lived a great long life when I was in fourth grade. (Laughter) And a video camera. I just wanted a video camera. And after begging and pleading for Christmas, I got a second-hand video camera, and I instantly started making my own animations on my own, and all throughout high school I made my own animations. I convinced my 10th grade English teacher to allow me to do my book report on Stephen King’s “Misery” as an animated short. (Laughter) And I kept making comics. I kept making comics, and at the Worcester Art Museum, I was given the greatest piece of advice by any educator I was ever given. Mark Lynch, he’s an amazing teacher and he’s still a dear friend of mine, and I was 14 or 15, and I walked into his comic book class halfway through the course, and I was so excited, I was beaming. I had this book that was how to draw comics in the Marvel way, and it taught me how to draw superheroes, how to draw a woman, how to draw muscles just the way they were supposed to be if I were to ever draw for X-Men or Spiderman. And all the color just drained from his face, and he looked at me, and he said, “Forget everything you learned.” And I didn’t understand. He said, “You have a great style. Celebrate your own style. Don’t draw the way you’re being told to draw. Draw the way you’re drawing and keep at it, because you’re really good.” Now when I was a teenager, I was angsty as any teenager was, but after 17 years of having a mother who was in and out of my life like a yo-yo and a father who was faceless, I was angry. And when I was 17, I met my father for the first time, upon which I learned I had a brother and sister I had never known about. And on the day I met my father for the first time, I was rejected from the Rhode Island School of Design, my one and only choice for college. But it was around this time I went to Camp Sunshine to volunteer a week and working with the most amazing kids, kids with leukemia, and this kid Eric changed my life. Eric didn’t live to see his sixth birthday, and Eric lives with me every day. So after this experience, my art teacher, Mr. Shilale, he brought in these picture books, and I thought, “Picture books for kids!” and I started writing books for young readers when I was a senior in high school. Well, I eventually got to the Rhode Island School of Design. I transferred to RISD as a sophomore, and it was there that I took every course that I could on writing, and it was there that I wrote a story about a giant orange slug who wanted to be friends with this kid. The kid had no patience for him. And I sent this book out to a dozen publishers and it was rejected every single time, but I was also involved with the Hole in the Wall Gang Camp, an amazing camp for kids with all sorts of critical illnesses, and it’s those kids at the camp that read my stories, and I read to them, and I saw that they responded to my work. I graduated from RISD. My grandparents were very proud, and I moved to Boston, and I set up shop. I set up a studio and I tried to get published. I would send out my books. I would send out hundreds of postcards to editors and art directors, but they would go unanswered. And my grandfather would call me every week, and he would say, “Jarrett, how’s it going? Do you have a job yet?” Because he had just invested a significant amount of money in my college education. And I said, “Yes, I have a job. I write and illustrate children’s books.” And he said, “Well, who pays you for that?” And I said, “No one, no one, no one just yet. But I know it’s going to happen.” Now, I used to work the weekends at the Hole in the Wall off-season programming to make some extra money as I was trying to get my feet off the ground, and this kid who was just this really hyper kid, I started calling him “Monkey Boy,” and I went home and wrote a book called “Good Night, Monkey Boy.” And I sent out one last batch of postcards. And I received an email from an editor at Random House with a subject line, “Nice work!” Exclamation point. “Dear Jarrett, I received your postcard. I liked your art, so I went to your website and I’m wondering if you ever tried writing any of your own stories, because I really like your art and it looks like there are some stories that go with them. Please let me know if you’re ever in New York City.” And this was from an editor at Random House Children’s Books. So the next week I “happened” to be in New York. (Laughter) And I met with this editor, and I left New York for a contract for my first book, “Good Night, Monkey Boy,” which was published on June 12, 2001. And my local paper celebrated the news. The local bookstore made a big deal of it. They sold out of all of their books. My friend described it as a wake, but happy, because everyone I ever knew was there in line to see me, but I wasn’t dead. I was just signing books. My grandparents, they were in the middle of it. They were so happy. They couldn’t have been more proud. Mrs. Alisch was there. Mr. Shilale was there. Mrs. Casey was there. Mrs. Alisch cut in front of the line and said, “I taught him how to read.” (Laughter) And then something happened that changed my life. I got my first piece of significant fan mail, where this kid loved Monkey Boy so much that he wanted to have a Monkey Boy birthday cake. For a two-year-old, that is like a tattoo. (Laughter) You know? You only get one birthday per year. And for him, it’s only his second. And I got this picture, and I thought, “This picture is going to live within his consciousness for his entire life. He will forever have this photo in his family photo albums.” So that photo, since that moment, is framed in front of me while I’ve worked on all of my books. I have 10 picture books out. “Punk Farm,” “Baghead,” “Ollie the Purple Elephant.” I just finished the ninth book in the “Lunch Lady” series, which is a graphic novel series about a lunch lady who fights crime. I’m expecting the release of a chapter book called “Platypus Police Squad: The Frog Who Croaked.” And I travel the country visiting countless schools, letting lots of kids know that they draw great cats. And I meet Bagheads. Lunch ladies treat me really well. And I got to see my name in lights because kids put my name in lights. Twice now, the “Lunch Lady” series has won the Children’s Choice Book of the Year in the third or fourth grade category, and those winners were displayed on a jumbotron screen in Times Square. “Punk Farm” and “Lunch Lady” are in development to be movies, so I am a movie producer and I really do think, thanks to that video camera I was given in ninth grade. I’ve seen people have “Punk Farm” birthday parties, people have dressed up as “Punk Farm” for Halloween, a “Punk Farm” baby room, which makes me a little nervous for the child’s well-being in the long term. And I get the most amazing fan mail, and I get the most amazing projects, and the biggest moment for me came last Halloween. The doorbell rang and it was a trick-or-treater dressed as my character. It was so cool. Now my grandparents are no longer living, so to honor them, I started a scholarship at the Worcester Art Museum for kids who are in difficult situations but whose caretakers can’t afford the classes. And it displayed the work from my first 10 years of publishing, and you know who was there to celebrate? Mrs. Alisch. I said, “Mrs. Alisch, how are you?” And she responded with, “I’m here.” (Laughter) That’s true. You are alive, and that’s pretty good right now. So the biggest moment for me, though, my most important job now is I am a dad myself, and I have two beautiful daughters, and my goal is to surround them by inspiration, by the books that are in every single room of our house to the murals I painted in their rooms to the moments for creativity where you find, in quiet times, by making faces on the patio to letting her sit in the very desk that I’ve sat in for the past 20 years. Thank you. (Applause)

How I survived as professor on the runway and model in the classroom | Pietro Boselli | TEDxLUISS

How I survived as professor on the runway and model in the classroom | Pietro Boselli | TEDxLUISS


Translator: Maurício Kakuei Tanaka
Reviewer: Leonardo Silva Good evening. My name is Pietro Boselli. And… I’m an engineer, and a model. So, you know, this is my life. It’s been like both of them. Some of my colleagues in academia
think that I’ve completely lost my mind, but this is what I do. In the course of my life,
I focused on three things mainly. One is academia, my engineering studies, and my PhD. Fitness is another big thing in my life. You know, I’m a fitness model,
and a fashion model. So fashion is another big thing. Despite the diversity, I managed
to survive pretty well, I think. From my life experience, I could definitely support
the thesis that there exists an interdisciplinary approach to life, that anything that you learn
from one instance can add value to something
apparently distant. For example, I could argue that the confidence
in science helps you with modeling. Or that the training regime
of the fitness athlete can give consistency
to your scientific studies, or that mechanics
can be applied to your body. But I want to be more generic. I want to say that if you focus
on something very specific in your life, that doesn’t mean that you can’t excel
as something completely different. The human intellect operates
organically as a whole, with creativity and rationality
being subsets of his ability. And this is what I’m here to prove today. I dedicated eight years
of my life to engineering. So I’m going to start from this area. In engineering, an interdisciplinary approach is one that
results from different branches of science in order to tackle
a specific design problem. Could we apply concepts
of natural evolution to, say, the design of a jet engine? Of course, we can. This is what computer scientists
and engineers have realized, that natural evolution
is a very effective optimization process. So when we look for a solution
to a design problem, instead of just looking for it, we can apply a genetic algorithm,
and evolve this solution. My question here is, “Can we apply this concept to our life
in order to find our optimum?” And I say, “Why not?” But before I proceed any further, let me elaborate a bit more on that,
a couple of concepts from genetics, especially to genetic operators
of mutation and crossover. Of course, I could give the classic example
of the poor giraffe. One day, she just found herself
with an unnaturally long neck, because of a genetic mutation. And despite the bullying
during her early life, from the other calves, she suddenly realized
that she had an advantage, and confidence kicked in, and her mates soon realized
that maybe it was a good idea to pass on that freaky genetic trait
to other generations, if you know what I mean. But the nature of my talk allows me to reinvent, completely,
the way genetics is taught in schools. So, picture a child… If you can’t picture, there she is. She’s given a magic box of colors
for the very first time. Her taste in picking a color from the box
resembles natural selection. You know, it’s an expression
of fitness of a color. Because of her young age, her taste is untainted
by empirical or rational items. The colors are magic, so they can mix between themselves. Two colors can mix to create a third and, you know, be
as promiscuous as they want, in this immoral reproductive frenzy. And two colors that are very similar,
when mixed together, don’t create something
that is of interest to the child. For example, when blue
and a slightly diferent tone of blue are mixed together. Not much interest. But if blue and yellow
are mixed together, “How amazing! Green is created.” That will definitely be picked
as a new favorite by the child. But what would happen if colors,
instead of just mixing between themselves, suddenly decided to… change radically, like dry more rapidly or slowly, change texture, become sparkly, fluorescent, matte? And then, who knows, the child might absolutely love sparkles,
and hate the matte finish. And the new love for sparkles
will surpass all. So a new sparkly green
will be chosen over the old green. And maybe she will paint
a longneck giraffe. So… in our life, like the child slowly creates
the painting that she’s happy with, every decision we take, every course of action, every opinion we form, slowly goes to evolve our life to what it will ultimately be, and to what we’ll ultimately
be happy with. In our life, I like to compare
the mixing of the colors to crossovers. And crossover in our life is learning, how we take all the information
from every different aspect of our life, how we put all our memories together,
and create our line of thought. Mutation, on the other hand,
is more radical. It carries an element
of innovation, of revolution. And mutation is… I would like to compare it,
in our life, to creativity. So, crossover is learning;
mutation is creativity. How do we take something
that, in our life, we always learned to be correct, to be successful, and we completely reinvent the status quo? So the exhortation here
is to learn as much as you can, and to be a visionary,
to think outside of the box. So how do we achieve this versatility? The first step is to realize the analogies between all different
extents of human endeavor. The inventor and the artist used to be
one and the same in the past, right? They used to be ingenious
and creative figures, just like the philosopher
and the physicist. They were analyzers, investigators, one single figure, and now these figures have been detached,
and categories have been created. But we need these categories. Isn’t modern physics truly metaphysics? The artist and the engineer
are both creators. One creates using paint,
rhymes, and music. The other uses mathematical modeling
and physics as tools for creation. Both individuals can visualize
the end product in their head, and then materialize it through a set
of physical and intellectual constraints. For example, we don’t need a fridge; we need coldness. We don’t need a heater; we need warmth. The final shape and form of the object
are contingent, not necessary. We don’t need a CD player;
we need to play music. So when we invented MP3… Well, suddenly the CD player is obsolete,
but the need for music remains. We don’t need a plane, or a car –
we definitely don’t need the car; we need transportation, alright? So what we physically create, as artists, or engineers, is the result of this set of constraints, and our knowledge, in order to turn a concept into reality. So the engineer needs to provide
heat, speed, stability. And the poet, the artist, they need to provide awe, inspiration,
passion, wrath, infatuation. The final art piece is the result
of the constraints that we have. So we have to put the layers
of paint down, one by one. And only the painter
can visualize the end product. The infinite sentiment of the poet can only be materialized
in the consciousness of someone else through the vessel of language. If this artist could transmit
these emotions, this vision to the next person directly –
say, by telepathy – they wouldn’t be needed
to master the use of colors, or the use of rhymes. Just like we don’t need a CD player if I can play the music
in my phone right now. In a similar way, the final form of the engineering design is dictated by the constraints
and the knowledge that we have in order to go from the function
through to the form. And, for example, architecture
is a very clear example of how the balance between
function and form becomes a solid link. Architecture doesn’t provide
just a simple practical need, but also it provides for us
a spiritual need. It gives us identity as a society,
or a family in our home, and it pushes the boundaries of technology
whilst heavily relying on them. In a similar way, all forms of art rely on technology. Imagine when photography
or cinematography were invented. New forms of art were born. In a similar way, the new digital era has expanded the possibilities for creativeness. For example, I’ve been called
a YouTube creator… How amazing!… after years that I spent
designing steam turbines. It is also true, however, that modern economies
rely heavily on specialization, and this complexity has increased the gap
between creativity and functionality. The civil engineer and the architect
are separate figures, but it doesn’t need to be that way. I’d like to give a message
to you all today, and that is, do not place boundaries in yourself. And I want to quote Michelangelo. I love this quote. He said that, “The greatest danger for [most] of us [lies] not [in] setting our aim
too high and falling short; but [in] setting our aim too low,
and achieving our mark.” And whilst – His masterpieces are clear examples
of setting your aim high. And I think that setting your aim high means also expanding your horizons,
and venturing out there. And explore all your capabilities, or your talents, even if it’s completely different
from what you always have done. We all have heard the saying, “Jack of all trades,
master of none,” right? And while admittedly very persuasive, its subtle and elusive negativity
is also very dangerous. I always wondered what would have been Leonardo da Vinci’s
reaction to this saying, “Be careful, Leo! Jack of all trades, master of none.” (Laughter) And… I am 27 years old. In my limited life experience, I have not achieved
anything too remarkable. However, I had my fair share of naysayers. I heard too many times that I couldn’t be a model
and a mechanical engineer; that I couldn’t have
a high fitness regime and focus on my studies; that I was working out
way too much for fashion. And more generally,
moving on from my personal life, too often people dismiss the ability of the mathematician,
or the computer scientist, to appreciate art. The accuracy and meticulousness
of the performing artists are always overlooked
by the academic community. The politicians smile at the diplomatic ability
of the economists, and the fashion choices
of, say, the construction worker are frowned upon. But perhaps, somewhere out there,
someone is pushing these boundaries away; someone is precipitating these stereotypes
into unavoidable sinking. In this clay-footed statue,
I have made a small dent myself. I’ve surpassed all awkwardness,
and many awkward moments in my life, like when I had to explain
to a fellow model that the book I was reading
was on mathematics, despite only letters appearing in it, and elucidating fellow engineers that a runway show is not an activist protest
on a plan airport expansion. Or again that success in fashion
comes at the price of hard work, just as much as in engineering. I will never now or again
hide my talents, as none of us should. And we all have more than one. Being a visionary is simply a simultaneous expression
of all talents within ourselves. Thank you. (Applause)

Miracle of Modernism: Paul Rudolph’s New York Apartment

Miracle of Modernism: Paul Rudolph’s New York Apartment


I’m Sandra Timpson Motto. I’m Vice-Chair of The Center for Architecture
Sarasota. And today we have Richard Geary, known as
Dick to many of his friends, who’s here to talk to us about a very special project that
he did concerning Paul Rudolph and the Paul Rudolph apartment that existed for some years
on Beekman Place in New York City. So please meet Richard Geary. Dick, tell us a little bit about yourself
and how you managed to get yourself inside the apartment and actually do an entire documentation
of the furniture in the apartment. Well, I’m admittedly an architecture junkie. And I saw an article in Nest magazine in the
spring of 1999 and I called the editor of the magazine up, because I’d seen these pictures
of this apartment many times, and I said I really need to see this. Because it said that Paul Rudolph had died
and the apartment was for sale. And this was in what year? This was about ’99. And I called him up and I said, “Can you give
me any kind of contact for me to get in this place and take a look at it before it’s gone?” And he said, “Sure, I’d be happy to.” And he gave me the name of Ernst Wagner, who
lived in the apartment, was still living in the apartment. And I called Ernst on the phone and I said,
“Is there any way I can come and look at this place?” And he said, “Sure, by all means.” And I came up with my wife and my daughter,
and we took a walk through. And I said, “What’s going to happen to this?” And he said, “Well, it’s been willed to The
Library of Congress, and The Library of Congress is going to sell it, and so in essence, it’ll
be gone fairly soon.” And I said, “Has anybody documented this beyond
the glamour shots of photography that I’ve seen in various magazines?” And he said, “No, not really.” And I said, “Would you mind if I came with
a photographer – I’ll bring him up from Florida and document this place before it’s gone.” And he said, “By all means.” So we had this wonderful relationship that
began, and a few weeks later I came up with a photographer, and the two of us spent three
days in the apartment. And Ernst basically just handed us the keys. And we lit fires in the fireplace and we were
there when the sun came up in the morning and we were there when the sun went down in
the evening, and we shot every inch. Because we knew that it was likely going disappear
in its existing condition. And ultimately, that’s the story. I came back and we processed the film, and
I was in touch with Ernst, who was the executor of the estate at that time, and I said, “Ernst,
I’d like to give you these photographs for the Paul Rudolph Foundation to do with what
you will.” Because at the time I gave talks to various
other architectural groups to see if we could send enough letters to The Library of Congress
to see if we could make a foundation. Ultimately, that didn’t happen. But a collector of modern furniture bought
the apartment and began to strip the apartment of all of its transparency and reflectivity,
which is really what the place was about in the first place. Did he buy it with the furniture in it, or
was the furniture taken out? Well, what you have to understand about the
furniture is, with Paul, furniture was part of the architecture. So there was a great deal of it that was built
in. There were only a few mobile pieces of furniture
in the unit, one of which will be displayed here at The Center for Architecture – it’s
come down from New York by Ernst’s generosity for us to see. Everything was just kind of left, and the
personal items in the library and everything were taken out. And there was a Paul Rudolph Foundation? They’re in with the Paul Rudolph Heritage
Foundation now. So when you got in there, obviously you started
to think about Paul Rudolph’s life and his creativity. Did it give you a sense that you got to know
the man a little bit? I’d love to hear… Well, I think the thing I found most fascinating
about it was the fact that this was a really intellectual space. It was a space that was way beyond the decorative. And it really was about transparency, it was
about light, it was about the industrial forms that Paul Rudolph liked to use so much. It was really kind of an interesting intellectual
exercise which can only be done with the time or the funds, or both – of someone who’s really
interested in exploring space and exploring light and its manipulation. And so I was fascinated by this an interior
designer, because I wanted to know how he did it. And for me, it was a great excuse to be able
to spend time with the space and to begin to really understand it, because it’s incredibly
complicated. Because in some places you can see the space
from four stories all the way down. And in some places the ceilings are reflective,
so you can see the space reflected. So it continues to even go further. So in any case, for me it was a dream come
true to be able to explore a space like that. Why don’t you explain the drawings behind
you – those are the four stories of the Rudolph Beekman Place apartment. Well, he rented an apartment on the fourth
floor. This is a prewar building – it’s almost kind
of Victorian in nature from the street. The main facade, the original facade on the
East River is on a very small street that’s sandwiched between 49th Street and 51st, just
north of the U.N. And he rented an apartment on the fourth floor
and had it for many years, even while he was still teaching at Yale. What year would that be that he moved in here? Well, I’m thinking he moved in the apartment
about 1961. He was still the Chairman of Architecture
at Yale until about 1966, when he left. And then he opened up his own practice in
Manhattan. And he had other offices at that point in
time. But then later on, in the early ’70’s when
New York real estate hit a real downturn, because of the oil crisis, in ’72 he had the
opportunity to buy the building. And so he bought the entire building. And so the first six floors of it were rented
out into other small apartments. And he decided to add on to the upper portion
of the building, and have it overlook the river. Well he was an architect, after all… After all… Of course he had to make his mark on the building! And I had the extraordinary experience in
trying to research this, being in a bookstore in the upper east side of New York, asking
the proprietor if she knew where I could find books on Paul Rudolph. And she said, “Well, there are very, very
few.” And the gentleman who was the only other person
in the store standing next to me said, “Why are you interested?” And that became a very long friendship, because
he was the guy who actually worked for Paul and helped Paul build the apartment. So I got the back story on how all of this
was put together, and how he fought with the Building Department and how he manipulated
The City into allowing him to build this extension of this building out over the river and out
over the sidewalk and out over the scope of the building, based on his knowledge of building
codes! Amazing… And it became a very, very fascinating part
of the story for me. There is a chair in this exhibit here at The
Center for Architecture this weekend, and you can see through it.Talk about that chair. Well, the disassembly of furniture really
began with Rietveld, back in about 1918. And Rietveld, for me, from the De Stijl movement,
was probably one of the most revolutionary guys, because you know, all furniture was
overstuffed and was very formal and was using all the symbols of wealth and power – the
hand carving and everything at that period of time. And he actually created a chair that was very
skeletal, and it was because of his background as a cabinet maker before he became an architect
that he could experiment with these methods of joinery. Tell me his name again… Gerrit Rietveld. And this chair is really built on those same
principles of abstraction. And what Paul used was a system that was a
display system called “Abstracta.” And so all of the tubes and the connectors
of this were from this Abstracta system. And he just arranged them in such a way that
they would support a person. And then he used the same Plexiglass planes
instead of solids to, and very much from the same concept, from Rietveld – except that
it was transparent, which went with his entire idea about transparency and light. You have a maquette behind you that I would
love to hear the story about. Well, the maquette – I asked Ernst about it,
and I said, “Tell me about this.” And he said, “Well, at one point in time,
Paul had entertained the idea of creating a building for The University of Florida. And there was some conversation about entering
a competition for that. And also, Paul thought that perhaps he could
enlist Picasso to create a sculpture or that there would be a sculptural machette that
was already in existence that might be applicable. Did he already know Picasso? You know, I don’t know the answer to that
question, exactly. I know that he ultimately knew him, but whether
he just reached out to him or not, there’s so little written that I can’t really answer
the question. All I know is that once the project fell through,
Rudolph asked Picasso if he could make a copy of the machette before he sent it back. And apparently Picasso gave permission for
this, and Paul made not one, but five… And one always sat in the apartment. And I only discovered later that there were
several others that were still in The Foundation. And they were gracious enough to give me one
of these when I gave them all the photographs from the photo shoot. And I’ve had this in my house ever since… So it’s kind of a Picasso twice removed. Well, it certainly looks like Picasso. Yeah, exactly.

Theaster Gates: How to revive a neighborhood: with imagination, beauty and art

Theaster Gates: How to revive a neighborhood: with imagination, beauty and art


I’m a potter, which seems like a fairly humble vocation. I know a lot about pots. I’ve spent about 15 years making them. One of the things that really
excites me in my artistic practice and being trained as a potter is that you very quickly learn
how to make great things out of nothing; that I spent a lot of time at my wheel
with mounds of clay trying stuff; and that the limitations
of my capacity, my ability, was based on my hands and my imagination; that if I wanted to make
a really nice bowl and I didn’t know how to make a foot yet, I would have to learn how to make a foot; that that process of learning
has been very, very helpful to my life. I feel like, as a potter, you also start to learn
how to shape the world. There have been times
in my artistic capacity that I wanted to reflect on other really important moments in the history of the U.S.,
the history of the world where tough things happened, but how do you talk about tough ideas without separating people
from that content? Could I use art like these old,
discontinued firehoses from Alabama, to talk about the complexities of a moment
of civil rights in the ’60s? Is it possible to talk about my father
and I doing labor projects? My dad was a roofer, construction guy,
he owned small businesses, and at 80, he was ready to retire
and his tar kettle was my inheritance. Now, a tar kettle doesn’t sound
like much of an inheritance. It wasn’t. It was stinky and it took up
a lot of space in my studio, but I asked my dad if he would be willing
to make some art with me, if we could reimagine this kind
of nothing material as something very special. And by elevating the material
and my dad’s skill, could we start to think about tar
just like clay, in a new way, shaping it differently,
helping us to imagine what was possible? After clay, I was then kind of turned on
to lots of different kinds of materials, and my studio grew a lot
because I thought, well, it’s not really about the material,
it’s about our capacity to shape things. I became more and more interested in ideas and more and more things that
were happening just outside my studio. Just to give you a little bit of context,
I live in Chicago. I live on the South Side now.
I’m a West Sider. For those of you who are not Chicagoans,
that won’t mean anything, but if I didn’t mention
that I was a West Sider, there would be a lot of people
in the city that would be very upset. The neighborhood that I live in
is Grand Crossing. It’s a neighborhood
that has seen better days. It is not a gated community by far. There is lots of abandonment
in my neighborhood, and while I was kind of busy
making pots and busy making art and having a good art career, there was all of this stuff
that was happening just outside my studio. All of us know about
failing housing markets and the challenges of blight, and I feel like we talk about it
with some of our cities more than others, but I think a lot of our
U.S. cities and beyond have the challenge of blight, abandoned buildings that people
no longer know what to do anything with. And so I thought, is there a way
that I could start to think about these buildings as an extension
or an expansion of my artistic practice? And that if I was thinking
along with other creatives — architects, engineers,
real estate finance people — that us together might be able
to kind of think in more complicated ways
about the reshaping of cities. And so I bought a building. The building was really affordable. We tricked it out. We made it as beautiful as we could
to try to just get some activity happening on my block. Once I bought the building
for about 18,000 dollars, I didn’t have any money left. So I started sweeping the building
as a kind of performance. This is performance art,
and people would come over, and I would start sweeping. Because the broom was free
and sweeping was free. It worked out. (Laughter) But we would use the building, then,
to stage exhibitions, small dinners, and we found that that building
on my block, Dorchester — we now referred to the block
as Dorchester projects — that in a way that building
became a kind of gathering site for lots of different kinds of activity. We turned the building into
what we called now the Archive House. The Archive House would do
all of these amazing things. Very significant people
in the city and beyond would find themselves
in the middle of the hood. And that’s when I felt like maybe there was a relationship
between my history with clay and this new thing that was
starting to develop, that we were slowly starting to reshape how people imagined
the South Side of the city. One house turned into a few houses, and we always tried to suggest that not only is creating
a beautiful vessel important, but the contents of what happens
in those buildings is also very important. So we were not only thinking
about development, but we were thinking about the program, thinking about the kind of connections
that could happen between one house and another,
between one neighbor and another. This building became what we call
the Listening House, and it has a collection of discarded books from the Johnson Publishing Corporation, and other books from an old bookstore
that was going out of business. I was actually just wanting to activate
these buildings as much as I could with whatever and whoever would join me. In Chicago, there’s
amazing building stock. This building, which had been
the former crack house on the block, and when the building became abandoned, it became a great opportunity to really
imagine what else could happen there. So this space we converted into
what we call Black Cinema House. Black Cinema House was an opportunity
in the hood to screen films that were important and relevant
to the folk who lived around me, that if we wanted to show
an old Melvin Van Peebles film, we could. If we wanted to show “Car Wash,” we could. That would be awesome. The building we soon outgrew, and we had to move to a larger space. Black Cinema House, which was made
from just a small piece of clay, had to grow into a much larger
piece of clay, which is now my studio. What I realized was that
for those of you who are zoning junkies, that some of the things that I was doing in these buildings
that had been left behind, they were not the uses by which
the buildings were built, and that there are city policies that say, “Hey, a house that is residential
needs to stay residential.” But what do you do in neighborhoods when
ain’t nobody interested in living there? That the people who have
the means to leave have already left? What do we do with
these abandoned buildings? And so I was trying
to wake them up using culture. We found that that
was so exciting for folk, and people were so responsive to the work,
that we had to then find bigger buildings. By the time we found bigger buildings, there was, in part, the resources
necessary to think about those things. In this bank that we called the Arts Bank,
it was in pretty bad shape. There was about six feet
of standing water. It was a difficult project to finance, because banks weren’t interested
in the neighborhood because people weren’t interested
in the neighborhood because nothing had happened there. It was dirt. It was nothing.
It was nowhere. And so we just started imagining,
what else could happen in this building? (Applause) And so now that the rumor
of my block has spread, and lots of people are starting to visit, we’ve found that the bank
can now be a center for exhibition, archives,
music performance, and that there are people
who are now interested in being adjacent to those buildings
because we brought some heat, that we kind of made a fire. One of the archives that we’ll have there
is this Johnson Publishing Corporation. We’ve also started to collect
memorabilia from American history, from people who live
or have lived in that neighborhood. Some of these images
are degraded images of black people, kind of histories
of very challenging content, and where better than a neighborhood with young people who are constantly
asking themselves about their identity to talk about some of the complexities of race and class? In some ways, the bank represents a hub, that we’re trying to create a pretty
hardcore node of cultural activity, and that if we could start
to make multiple hubs and connect some cool
green stuff around there, that the buildings that we’ve
purchased and rehabbed, which is now around 60 or 70 units, that if we could land
miniature Versailles on top of that, and connect these buildings
by a beautiful greenbelt — (Applause) — that this place where people
never wanted to be would become an important destination for folk from all over
the country and world. In some ways, it feels
very much like I’m a potter, that we tackle the things
that are at our wheel, we try with the skill that we have to think about this next bowl
that I want to make. And it went from a bowl to a singular
house to a block to a neighborhood to a cultural district
to thinking about the city, and at every point, there were things
that I didn’t know that I had to learn. I’ve never learned so much
about zoning law in my life. I never thought I’d have to. But as a result of that, I’m finding
that there’s not just room for my own artistic practice, there’s room for a lot of other
artistic practices. So people started asking us, “Well, Theaster, how are you
going to go to scale?” and, “What’s your sustainability plan?” (Laughter) (Applause) And what I found was that
I couldn’t export myself, that what seems necessary
in cities like Akron, Ohio, and Detroit, Michigan, and Gary, Indiana, is that there are people in those places
who already believe in those places, that are already dying
to make those places beautiful, and that often, those people
who are passionate about a place are disconnected from the resources
necessary to make cool things happen, or disconnected from
a contingency of people that could help make things happen. So now, we’re starting to give advice
around the country on how to start with what you got, how to start with the things
that are in front of you, how to make something out of nothing, how to reshape your world
at a wheel or at your block or at the scale of the city. Thank you so much. (Applause) June Cohen: Thank you. So I think
many people watching this will be asking themselves
the question you just raised at the end: How can they do this in their own city? You can’t export yourself. Give us a few pages out of your playbook
about what someone who is inspired about their city can do
to take on projects like yours? Theaster Gates: One of the things
I’ve found that’s really important is giving thought to not just
the kind of individual project, like an old house, but what’s the relationship
between an old house, a local school, a small bodega, and is there some kind of synergy
between those things? Can you get those folk talking? I’ve found that in cases
where neighborhoods have failed, they still often have a pulse. How do you identify the pulse
in that place, the passionate people, and then how do you get folk
who have been fighting, slogging for 20 years, reenergized
about the place that they live? And so someone has to do that work. If I were a traditional developer,
I would be talking about buildings alone, and then putting
a “For Lease” sign in the window. I think that you actually
have to curate more than that, that there’s a way in which
you have to be mindful about, what are the businesses
that I want to grow here? And then, are there people
who live in this place who want to grow those businesses with me? Because I think it’s not just
a cultural space or housing; there has to be the recreation
of an economic core. So thinking about those things
together feels right. JC: It’s hard to get people
to create the spark again when people have been
slogging for 20 years. Are there any methods you’ve found
that have helped break through? TG: Yeah, I think that now
there are lots of examples of folk who are doing amazing work, but those methods are sometimes like,
when the media is constantly saying that only violent things
happen in a place, then based on your skill set
and the particular context, what are the things that you can do
in your neighborhood to kind of fight some of that? So I’ve found that
if you’re a theater person, you have outdoor street theater festivals. In some cases, we don’t have
the resources in certain neighborhoods to do things that are
a certain kind of splashy, but if we can then find ways
of making sure that people who are local to a place, plus people who could be supportive
of the things that are happening locally, when those people get together, I think really amazing things can happen. JC: So interesting. And how can you make sure
that the projects you’re creating are actually for the disadvantaged and not just for the sort of
vegetarian indie movie crowd that might move in
to take advantage of them. TG: Right on. So I think this is where
it starts to get into the thick weeds. JC: Let’s go there.
TG: Right now, Grand Crossing is 99 percent black, or at least living, and we know that maybe
who owns property in a place is different from who walks
the streets every day. So it’s reasonable to say
that Grand Crossing is already in the process of being something
different than it is today. But are there ways to think about
housing trusts or land trusts or a mission-based development that starts to protect
some of the space that happens, because when you have
7,500 empty lots in a city, you want something to happen there, but you need entities that are not
just interested in the development piece, but entities that are interested
in the stabilization piece, and I feel like often the developer piece
is really motivated, but the other work of a kind
of neighborhood consciousness, that part doesn’t live anymore. So how do you start to grow up
important watchdogs that ensure that the resources
that are made available to new folk that are coming in are also distributed to folk
who have lived in a place for a long time. JC: That makes so much sense.
One more question: You make such a compelling case for beauty
and the importance of beauty and the arts. There would be others who would argue
that funds would be better spent on basic services for the disadvantaged. How do you combat that viewpoint,
or come against it? TG: I believe that beauty
is a basic service. (Applause) Often what I have found is that
when there are resources that have not been made available
to certain under-resourced cities or neighborhoods or communities, that sometimes culture is the thing
that helps to ignite, and that I can’t do everything, but I think that there’s a way in which
if you can start with culture and get people kind of
reinvested in their place, other kinds of adjacent
amenities start to grow, and then people can make a demand
that’s a poetic demand, and the political demands that
are necessary to wake up our cities, they also become very poetic. JC: It makes perfect sense to me. Theaster, thank you so much
for being here with us today. Thank you. Theaster Gates. (Applause)