Everybody forced here up in 2021 optic basketball retail 5 box number 28 random team style check the results here at any time Thanks for joining everybody. Good luck My water bottle be right back. We'll get started. We'll get uh The purple parallels are not numbered you can get numbered cards in here though Um, you can hit autos are not guaranteed though. I'm pretty sure they're they're not pretty sure All good shad appreciate you man. My house purple Tatum celtics If there's any autos Purple rated rookie Raptors Malachi Flynn Tops holiday boxes. Yeah, it's just like tops flyship over like Winter designs Yeah, I usually grab like just my favorite players basically halla Burton rated rookie hallo yokich So I usually rip a couple of those nest myth warra purple brook lopez bucks Yep christmas tree bed. Yeah, there's variations like that.  That's cool purple luke adage mavericks T-minus So those are the fun variations and stuff or sometimes I'll just be wearing like a santa hat or whatever may be right Bunch of different ones. I think it changes every year Chua so these are all stuck purple eric pascal warriors Splash purple stef curry warriors Yeah, paul. That's that's such a fun break. I'm gonna have to watch that for sure While I'm watching The quarterfinal the first quarterfinal I should say manual quickly rated rookie Purple jammer and grizzly is gonna be just a good day tomorrow all around. I think all menagged personals A good group breaks daytime wiseman rated rookie hollow rated rookie kenny martin jr. Rockets hookah sevsky rated rookie a hollow interstates dork nevitsky purple boganovich jazz My house purple jimmy butler heat Are you in the break paul or are you just gonna admire? Cole anthony rated rookie mania and purple pascal siacum raptors So we just have football tonight everybody Some pyt origins with the teams on sale a coro Hollow rated rookie elibi blazers. I'm gonna send a box wrapper with us. There's like That might come off. I don't that looks like it's on the card though Desmond bain rated rookie Winner stays stef curry warriors hollow purple westbrook wizards I feel you paul. That's awesome though, man. That's a good order Purple t-minus jimmy butler heat was your world cup prison ripped already See if you're tilman Tell them a purple eric blood so pelicans La mella rated rookie purple splash bradley biel wizards landmarks pretty good even if it is One of the less probably leases are less desirable ones. I would think hollow jamal murray t-minus Nick richer is a purple coal anthony rated rookie magic. I'll be topping hollow jimmy butler heat Forgot how these packs just like fall apart from last year and purple gorgon draga sheet 13 teams left on that first origins half case everybody That's the first football break of the night Excuse me. Edwards t-wolves rated rookie purple rated rookie winston wizards hollow caruso lakers The caruso as a steward Sabin lee express lane hollow luke adage mavericks Kong will got purple tim hardaway jr mavericks purple express lane john stockton jazz Yep, life is next maxi rated rookie sixers Nope, not at all vaughn Pretty terrible actually So I got purple wiggins warriors express lane purple trey young hawks my house hollow bam out of bio heat precious a chuwa On the rookie signature series there you go heat with an auto Non-numbered purple signature series purple blade griffin pistons Uh thinking of football games tonight Um, I feel like we don't have prime on the tv here. I feel like I'm not missing much Rated rookie hollow pistons asia steward probably feel better not Checker after sadeek bay a checker window carter jr. Bulls These are non-numbered, but these are pretty darn short printed Also, not sure if it's called straight up checker. I don't know if it's just that or what Yeah, I'm not gonna watch it on the the monitors here though purple nikoli yokich nuggets and the tv's not a smart tv so Uh winter stays purple siakum raptors. Yeah, that's how I feel paul Yeah, I could put it on one of the monitors I like having both my monitors for work stuff, obviously box number four tail mallet on purple ricky ruby ot wolves Take out the phone and wash it. I'm I'm good. I'm good not watching this one honestly I'd like I said I don't feel like I'm missing much Hollow raptors pascal siakum shawls vapor.  Oh trash Big time right anthony anberge's rated rookie. Oh, yeah, I'd much rather watch clippers heat We don't get to be a tv here though. I'd for sure watch that over the over the of the football game purple deandre hunter hawks Stuart purple express lane dammy little dammy little blazers Savantly winter stays d wade. Nope. Not yet Kong woo winter stays hollow ben Wallace Purple rated rookie james wiseman warriors. There's stuff base cards here purple step curry t minus I mean if I was at home, I'd probably watch hockey over all of those things But it depends on it depends on the hockey matchups. I guess this is not a lot because it's thursday anyway Clippers heats probably probably the best option for tonight Tyree's haliburton rated rookie kings purple rated rookie grant riller hornets Nessmith hollow anthy davis lakers another checker coming up For the magic erin gordon Two in a break. I think it's more than you normally get with five boxes Patrick williams hollow devon booker t minus Flynn you got a purple marcus smart celtics It's a debate rated rookie. We've got a purple winter stays david robbins and spurs The admiral jameus ramsey and last one coming up another checker.  I promise Teams on sale for origins guys just get those half cases filled up Lamello rated rookie purple yokich nuggets purple express lane john stockton I mean, we didn't have one of the first box and usually I mean, I guess it depends on what you're opening But I thought they were rarer than that Winner stays holler durk nevitsky, and he doesn't do odds. Do they Do have odds here purple caches winston wizards Doesn't say odds on the checkerboards As he thinks it's a hot park slash case Hot case maybe I mean that that That could be it hollow.  We usually you don't see this many in a break and like a five box of retail Okay, so they aren't this common right? All right. Yeah, they're not like insanely rare. It's not like oh my god But if you had like a decent name, it's like oh Three card pack Unless you're gonna get like a one-of-one in this it's probably the parallel to get rated rookie Anthony Edwards Hollow Joe Ingalls jazz and a purple ready rookie Devon Dotson for the bulls Stewart Hollow LeBron James t-minus Lakers Savin Lee purple mccalbridge's son's color match piece of paper on this mccallum Purple Winner stays siacum raptors Paper on the kawaii Leonard. Okay, then Sorry maxi rated rookie sixers My house luca And signature series sterling brown Rockets It's Non-numbered purple auto rocket sterling brown And a purple plate griffin That'll do for the break things again everybody More basketball coming up


I moved back to Columbia, South Carolina two years ago to do my master's at the Dollarmore School of Business. And I was living in Portland, Oregon, and I traveled. I was a former military, so I traveled around the world a few places.  And I had heard about, some of my family members had told me about the Love Columbia SC Challenge. And I think that Columbia is sort of searching for culture right now, especially in the time of coronavirus, and trying to develop culture. And this is one of those cultural programs where we can sort of look at Columbia and say, what culture, what does Columbia have around that is artistic and is beautiful and that we can share with each other and celebrate. And so I spend a lot of time down by that, the Riverwalk or the Columbia Canal. And I just love walking there. It's just, I think a lot of people find it to be one of one of the real items that we're very proud of in Columbia. And so you can walk that and you can go on little journeys there and there's different paths you can take around it. But that particular area is an area where the highway comes over the canal and the river. And it's interesting because if you walk all the way down to the end, what you have is the old lock system that is used to bring boats into the canal. And what I love about it is that when they built that, you know, over 100 years ago, when they built that, they probably weren't thinking, hey, we're going to, years from now, we're going to build these massive roads that will take us to, you know, these places with trucks in an hour or two, that would take us, you know, days to get down on the river. And it's really sort of this juxtaposition between this, here's the canal right there, this old motor transportation, which was vital to Columbia. And then here's this new aspect of Columbia, which is this massive highway over it. And there's symmetry in that. And they work well together. So it goes over the river. And you can see the symmetry of the highway over this river that was again, at one point, this great mode of transportation for people and travel and trade and everything. So what you went up with is, I don't know, I like the symmetry of that. I think a lot of people like the symmetry of that. I've seen a lot of pictures of it. I'm glad that mine got picked. But it is definitely one of those images when you walk by it, you generally stop and you're kind of like, wow, that is, that's a cool picture that we have of, you know, from Columbia leading out to the rest of the United States. So the reason why I chose to participate was actually due to a friend that I'm friends with on Facebook. We actually are coworkers. And he knows that photography is a hobby of mine. I'm definitely not a professional at all.  So he had shared the link with me. And I said, when I actually read, you know, what was involved or what was, you know, required, I said, this is simple. I said, you know, I can still participate and enjoy doing what I always like doing before. So the pictures that I chose were ones that I again, I have already gone on trips around town. I know that I chose the old hospital that was on Bull Street, because the recently had just burned. So I wanted to share that along with some that were from Elmwood Cemetery. So again, these are ones that I've just chosen that I wanted to actually share. You know, again, my love and my hobby with others within the town to hopefully maybe promote some of those locations that other people had never really considered on visiting. I've been living in Colombia since 1983. And I love the city. I raised my kids here, I graduated here, got married here. So I have a lot of cherished memories. And lately, I've taken up photography, actually, in 2020. And I've taken a lot of beautiful pictures at the Riverfront Park. And when I saw the announcement for the contest, I knew I had to enter, I actually entered several of my favorite photos, including the one that one, which is the butterfly. I chose, well, I chose several of them, but this one in particular, was really neat. The contrast between the butterfly and the bench that it was on. I remember exactly where I took it. It was at the Riverfront Park facing the water. And I love the colors of the butterfly. And apparently other others liked it too. I've lived in Colombia for almost 18 years. And when I saw the hashtag Love Colombia SC contest, I immediately wanted to join and participate because I indeed do love my city. Colombia has been very good to me. This is now home. I am an upstate native from Greenville, South Carolina, originally. But after almost 18 years, Colombia is home now. So I really have enjoyed living here. It's a very diverse city, lots of things to do. I wake up on a Saturday morning, I might decide to go to the State Museum, the Art Museum, go to a Greek festival, an international festival, or just walk along the Casey River Walk. There's just a plethora of things to enjoy to do in this great city. So I'm proud to be a resident of Colombia. And like I said, indeed, I do love Colombia SC.


I just want to order some pizzas for pick up please. Pick up?  Sure thing, what are you after? Well, besides a new wife. Hey, I'll have a large barbecue meat lovers. Wife has left me an order here. She's probably off seeing that guy she swore. It says here she wants a Hawaiian, mate. Yeah, hopefully she'll be back soon. Sorry to sort of lay this on you, but yeah, she sort of just started being quite distant a few months ago. And like, she started getting real close to this massive guy, Paul.  But like, what am I doing here? You know, half our mortgage and a couple of kids. So it's like, what do you reckon? Yeah, no, I don't know. I'm kind of going to have a name. Yeah, mate, sure. So my name's Marty. So I'm just going to swing by the office. And if she is with Paul, do I confront him? I don't know whether I should talk to him or just pick up my wife and just come and get the pizzas. I don't eat the c**k though.


I guess we can start. OK. Welcome, everyone. This session is about PHP Unit Initiative yearly report. My name is Daniel, and he's Jibran. So yeah, so let's start now. First of all, thank you for coming in. We will discuss brief history, how initiative started, what's the progress we've made, and then we go from there. Discuss future possibilities and how we can improve things and how we can deprecate and remove old stuff. So let's get started then. OK. First of all, we have to discuss the history, like how testing started. We started doing testing in Drupal. In Drupal 6, we have a contributed module, SimpleTest, which was using open source library at that time. In the 2x branch of that module in Drupal 6, we moved that contributed open source solution to that module and started doing our starting, updating that, and moving stuff to the module itself to that module. And after a little while, in Drupal 7, we moved SimpleTest to core, and that module was also brought forward in Drupal 8 as well. But at that time, we have PHP unit evolving in the open source community, and we wanted to use that. Yeah, right. So the main reason why we want to use PHP unit, or there are probably several reasons, is we don't have to maintain that code. It turns out, writing code is super easy, compared to maintaining it. Like, another huge advantage is that PHP unit has a huge ecosystem. Like, if you use PHPStorm, you can run tests from there. There's like a PHP unit UI. There's a parallel test runner. There's code coverage, all these things. And on top of that, there are just so many people out there which know PHP unit compared to SimpleTest. So it's the same argument as with JS Frameworks as in, it's good to teach people general tools so they can use it in other places and not just Drupal. Yeah, and we are moving in a kind of similar direction as a Drupal community, where we have test cases based on SimpleTest, which was unit test cases, which was ridiculous. You are creating unit test based on whole functional and installing Drupal from scratch, where you only want to test one class for that matter. So we, first of all, introduced PHP unit test case in Drupal. And we converted all the unit test cases from SimpleTest to PHP unit. And after that, this whole thing speed up, kind of, because we saw the benefit of that. And we already have kind of a system, kernel test base, another base class, which was installing partial Drupal and using more functionality as per the whole installation and functionality of Drupal. So you can test one subsystem in kernel test, and we started converting that to PHP unit. And that got hold up. And then we introduced to symphony functional test base. So we introduced Mink there. And we, I think, round about Drupal Amsterdam that came into being a proper patch, and it was a big patch. And I think after Drupal Amsterdam that got committed, but it was no way or form was a replacement of web test base in features or in compatibility as well. So we, at that point, kernel test base was already using PHP unit base. And we were converting stuff. And we learned some important stuff there. And that thing kick into a PHP initiative which we think after like last year, which we formally presented to core committers during a core conversation that we should introduce PHP initiative. And what was the purpose of that? Yeah, let me quickly point out that it's not us doing the work. There was Clousey doing a lot of work. There's Mikko and Lendu doing a lot of work. There are a lot of people involved, which is really nice. It's an actual community initiative coming from the community, which is kind of nice, I think. So the lesson we learned from kernel test base that the compatibility should be there. The conversion should be seamless. So to speed up the conversion process. And you have to give good documentation. And meanwhile, you have to improve API in such a way that you are not breaking existing tests and you are adding new feature as well. So that's all we had at that point. During that, we also wanted to extract all the things we have been doing in separate test bases, which are kind of similar things, like installing the Drupal, setting up subsites for simple tests to run functional tests. So we did that and extract the similar code separately. And other than that, I think we also want to use PHP to our advantage, like code coverage, which is, like in my had PHP unit test, who is specifically testing a class, it makes sense. But for functional and kernel test, it doesn't board well for me.  So you simply shouldn't care which code is executed. Yeah, yeah. So now let's talk about some progress we made during last year, especially. Thank you for all these contributors, which Daniel mentioned. So in core, we have converted unit tests to already PHP unit test. Kernel tests are already converted and all classes deprecated. It's still there till Drupal 9 and once we'll open Drupal 9, we can just remove that class and core is, there is no other thing we have to do with core. So kudos for that. With web test, this is still in progress.  We are still figuring out some backward compatibility issues. We have made a lot of progress during past year in which we have improved our backwards compatibility. We made feature parity as well. Another thing we have done is improve the documentation, how to convert the documentation around that. We had made a lot of progress to help people understand how they can convert their existing bench test to functional test. Similarly, we have converted some upgrade part test as well, which was a big functionality because testing upgrade parts were all this difficult. And now at this point, we have 262 web tests in head and there are issues they have been constantly worked on. And I think it's quite real to say that we will have next release, before next release, we'll have all the web test removed from converted. There's some interesting thing we can see in the graph which is you see this at around, I don't know, March or February of 2017. There's this spike, like Clousy and I and others came up with this idea to have the most simplest conversion as possible, which is like moving the file, renaming the file, no, moving the file, changing the namespace. Yeah, you know, so probably everything. We're kind of doing that in kernel test base as well, right, so. Yeah, and we did that with like as many tests as possible and we basically excluded the ones which didn't work. So we managed to convert like a third, I think, by just doing that. And then we continuously like iterated here. I think though that was the easiest way to do it. And then over time, we convert more and more things, but I think it will be really hard to convert really special tests like this, this module installed, uninstalled test, installs every module and uninstalls every module. There's migrate, import, migrate, something all, it migrates an entire site from Drupal 6 to Drupal 8. And like these tests that cover a lot of edge cases, you otherwise wouldn't be able to like find, but that also means that like it uncovers like a lot of edge cases inside the testing infrastructure. So I think it will be more exponentially harder to convert the tests over time. But yeah, maybe we'll get there, hopefully. So let's talk about some stuff which is already in pipeline and been worked on. So as we discussed, we have been converting all the unit work test base to functional test or where it necessary to functional JavaScript test. Then after once that's done, and the aim is to remove all the usage of deprecated code and remove the deprecated code in the appropriate code version, maybe Drupal 9 or in some minor releases, then there is another thing we want to do which is really important to update PSP unit test and its dependencies because PSP unit has its own release cycle and it's quite different from Drupal core and we always run into some edge cases and backward compatibility issues with that. Yeah, so we are currently using PSP unit four and the current state version is six. And the problem is we can't update to five right now because five requires PSP 5.6 and PSP unit six requires PSP seven. Maybe it's not, yeah, I'm not sure 100% correct, but basically that's a problem. There's also an API change inside PSP unit five point something or deprecation bother. So we have this small, simple idea that we provide forward compatibility as in we try to back part the APIs from PSP unit five to PSP unit four so we can already use them and then if we convert there was no problem with that. So generically it's a big problem with all the components we are depending on but with testing especially and we have to make sure that we were testing our all, you know, test suites on all, you know, minimum PSP version because that's the only way we can find out those edge cases which has been happening and I think lately in 5.59, PSP 5.5.9 we had discovered some really weird edge cases and this is only possible because we are relying on that PSP unit version. So it's important to make a decision how to move forward with this upgrade part. I wanna give a quick shot out to the people behind Tupacier, it's mostly like wine from the DA that they are able, they are allowing us for example to one test in multiple PSP versions in parallel and stuff like that, it's just a huge saver for everyone who is contributing to Tupacier, I think. And last thing we want to drop simple test as well from core but as we know we can't remove that before Tupacier 9 but we want to go to find that sweet spot where we can just as soon as 9x branch is open we can just, you know, get RM simple test. So that's the goal about dropping simple test here. So let's hope that will happen soon. Let's discuss about a wish list, things we want to become a part of Drupal. They have been, like people have been working on these things in the background. Some of the things are already in issue queue, some are still table discussions. We need a lot of opinions from your people to understand and how to move forward with those. One thing is, we had like testing. So Daniel? Yeah, we had in this issue, you see there's a lot of, there was a discussion started like around Drupal DevTaste Dublin, so like 2014 or even earlier probably around the idea to use Behat for our testing. And I think we all agreed on that like Behat is not the right tool for that. Yeah, and so right now what we are doing in that issue specifically that we are not installing new site from scratch. We are running tests against existing site which Behat actually doing in Contrape for us in Drupal 7. So that's why we use Behat like testing, it's functional test as a core, but instead of installing a new site from scratch, we are using the existing site. It has like core contributors has some reservations around that at my workplace at previous next we have been using that for a year and a half now. What we do there is we spin up a new instance for every pull request and test existing DB and settings against, you know, functional test class which is really handy like we have reduced our test run time for 20 minutes, 30 minutes to just like five, 10 minutes, which is only beneficial because installing Drupal takes like eight to 10 minutes, eight to 10s, how much time? Depend, I don't know, depends on the computer and stuff. Yeah, so installing Drupal takes a lot of time and running test is quite easier. Another thing is we want to deprecate or remove run test.sh, it's a custom script, it's doing a lot of things and it's untestable at this point. We can do kind of a couple of things with that. First we can convert it to a symphony command because symphony console is part of core now so that it's unit testable, it's maintainable, but in the long run we just want to remove the dependency of running test because we can essentially use a PHP unit binary and a PHP unit configuration to set up all the Drupal variable and environment set and environment variables and settings. Yeah, it's tricky because one test of this age also has like all kind of stuff like parallel test running involved, like error checking, it's like Web's PHP unit to catch some errors PHP unit doesn't catch or it didn't catch in the past. It has some integration with the test port. It's like, yeah, it's tricky. So it's tricky and in next slide we'll discuss it in more detail. Another thing we want to do is front end regression testing. That is something really important for the front end community to automate this because sometimes we'll have visual regression after committing the patch, someone report those issues and the reason behind that is those front end changes are really untestable and only visual regression can be tested and there are still some tools around the PHP unit which we can leverage in core as well. So that's an open discussion. We want your ideas around this and we want to discuss it in more detail. And then finally this is Daniel's favorite zero setup test. Yeah, I mean it's just, I would like Drupal to be like one command thing that you can just download it and like run a command and be done and have a Drupal installation but also have like no setup test, no setup needed for running tests on your local machine as in like it somehow is it uses SQLite automatically, it sets up a web server so you just don't need to do anything. I think it's a small thing but like small things met as well. So let's discuss about the improvements. We want to improve this system because there's a lot, there's still a gap between simple test and test running on PHP unit. So first of all, the UI is important thing. Now this is some discussion which is, which people have really strong opinion about because as a developer working on these conversions we don't really think we need a elaborative simple test UI kind of thing because it's difficult to maintain the whole subsystem on top, built on top of testing system and we have test, we UI test with that separately. Yeah, there's a proposed load there which is like keeping the existing UI but instead of like running the test inside a batch process inside Drupal which calls out to PHP unit which does the testing to basically provide like a UI which tells you which command line you should use to run a specific test, which a command line tool you should like copy and paste. Yeah, maybe that's a solution but people care. So yeah, maybe we need to keep it around or switch to some external solution or I don't know. So it's a hard blocker for removing simple test because every time we discuss this with core committers we don't have particular replacement for simple test UI. Yeah, and another thing we would like to have on the test board is code coverage. I don't think, I mean it is tricky because like if you want any kind of code coverage detection like your tests low down but it's just for the unit tests so maybe it's a price which is okay to pay but then you need to communicate that somehow back to like Drupal.org or like have some page in between which shows you all the reports. Yeah, and what to do with that? Like do we just show the number or actually like warn people if the number goes down too much or I don't know. So another thing is that with PHP unit you can run most of the tests parallel because they are not independent for a lot of, if you are not running functional test you don't need to set up a new website and even if for functional test you can run them in parallel because you can install multiple subsides during test run but that's whole new set of kind of worms right there. So it's tricky but we do want to leverage that and bring down the test run time for core which is almost near about 30, 40 minutes, right? And a final thing we would like to do is better JavaScript testing. Right now we have some JavaScript testing. I mean, Duice talked about JavaScript and it's Duice node and many people are super aware of JavaScript in one, two things. But like our JavaScript test coverage tool is currently based upon like PHP unit which calls out to PhantomJS to do a testing. There are several problems. A, it's PhantomJS which is unmaintained software at this point and we want to replace that with Chrome headless or Firefox headless or something. Selenium or web driver, yeah, that's the same thing. Then there's the other problem that is we're using PHP for testing and I've heard from many people which want to get involved which are already involved in core in the JS side that they don't want to write their tests in PHP. But they want to write it in JavaScript which is I think a fair point. There are a lot of tools out there which provide support for that. There's Mocha, Mocha is a JS testing framework. What is that? Chest, that's chest and the one is night watch because yeah, that makes sense. So right now in core we have several issue, one issue worked on by JS maintainer is using Mocha, one issue created by Daniel and he worked on that is using night watch. So we definitely need a consensus on that from JS community as well. It's quite difficult honestly to write a PHP code for drag and drop in functional test, functional JavaScript test. It would be easier to write that in JS. Even as a PHP developer I think it's hard to write that drag and drop stuff. And like as always same argument we want to teach people stuff. And I don't think that the industry is using PHP to test JavaScript. Yeah, so at this point we want to open the floor for questioning and suggestions like at your workplace which different framework are you using and how do you think we can move them to core and improve that setup. One thing which we want to do in JavaScript testing is to run JavaScript test against the installed site. We want to have kind of analogous unit test suites in JS where we can test unit test JS as well and functional test JavaScript as well. So if you have any suggestions, any opinions around that feel free to jump to the mic and share with us. Yeah, yeah, yeah, please get involved, talk with us, anyone here that's like to contribute in ISE, Slack channel, probably something PHP unit maybe. And there are the sprints on Friday where I've heard that Sebastian Bergman, the inventor of PHP unit will also be there, which is nice, hopefully. But yeah, yeah, get involved. Here are some questions you could like think about. Some, if you want to help on a conversion, there are like two issues you can jump on and like help out maybe. But yeah, yeah, that's it, yes. Brian. Awesome stuff. I think it's one thing to have tests that work really, really well in core. But it's another thing to really sort of tell people about this excellent framework that we have and make it easy for sites in the wild and organizations who deploy sites all the time to make it really easy to write tests for them. Because we have such a good testing framework in core. But when I look at sites that are being deployed out in the wild, test coverage is so bad. And documentation, like we need to make it super easy and super clear for site builders and developers to write tests for sites out in the wild. Like there's a lot of good stuff we can leverage here, right? So very good question and suggestions. I think there's a session at 345, Sam Baker is presenting a session all about testing. You will know all four test suites, how you can use them in the live site. I think we need to have more sessions like that and we need a proper place for documentation. Yeah, we need some kind of resource place that we can point vendors and developers to, like... Definitely. Yeah, and that's where the zero setup thing will come handy, right? If you can run your test just by installing Drupal and you don't have to configure so many things right now, you are making changes to PHP unit configuration, changing global variables. So these things will help in future as well. So very good question. So you can get involved and help us by converting your contrib modules. You can help out and issue queue and you can also jump in Slack channel, ask for help, IRC channel, that's there. Do you have any idea regarding JavaScript functional tests? You cannot install Drupal from JavaScript, right? So you need to run some kind of PHP which installs Drupal for you. So the current patch which is out there, which is like really just an experiment, what it provides, command line utility to install, like to install a testing instance of Drupal, just like browser test base installs Drupal. Like allows you to basically do that with a command line and because the tests like Nightwatch, for example, once inside node, you can execute like any kind of binary or any kind of executable and then we can install via that in the setup. Yeah, make sense. Yes. Hi, it's Ali. You could also install through JavaScript Nightwatch, let's see you abstract away things into commands so you could just like have dot install Drupal, the problem with it, it would be really slow. But yeah, but it still wouldn't be awful to have some kind of test for that kind of install. I think the other thing for things like Nightwatch tests is they're really well used, they're like any of the Selenium and web driver testing stuff. So I think site builders might be more comfortable writing tests in that format personally. I don't know what you think about that. Yeah, I think, yeah, I just agree. Let's use tools people can also use in the day to day. So be brave about it, nobody get fired writing test. So thank you, everyone. Thank you. Thank you.


Welcome everyone to Adobe Photoshop for Advanced Beginners. My name is Becky Wiegand, and I'm glad to be your host for today's webinar. Thanks so much for joining us. Before we get started with the webinar I want to make sure that everyone is comfortable using the platform we are on today which is ReadyTalk. You can chat into us using the box on the lower left side of your screen to let us know if you have any technical issues, any audio problems, if the slides and the audio don't stay in sync, anything like that. Or you can also use it to chat with us. Let us know from where you are calling and joining today. Let us know if you have questions for our presenters, and we will be capturing those on the back end throughout the webinar. We will keep all lines muted today so we get a nice clear recording that you will receive later and you can share and watch again at your convenience. You can share it to your friends and colleagues who may benefit from this training as well. Your audio is going to play through your computer speakers, and that's how most of you will be listening in today. If you hear an echo it means you are logged in more than once and you will want to close an instance of ReadyTalk. If at any time during the webinar the slides and the audio don't stay in sync, we recommend calling into the alternate phone number. It's toll free. You can dial in at any time if you have any audio issues, and that usually helps correct the problem. So definitely keep that in your back pocket and we will chat that number out again so you have got it. If you lose your internet connection go ahead and click again on that Join Meeting button in the confirmation or reminder email. If you registered just this morning you would have received the slide deck and a Q&A from a prior webinar we did that was on Adobe Basics in that reminder email too so you can refer to that in the webinar. If you didn't get that you will receive it with the follow-up email in the next day or two. We do record these webinars and you will be able to find them on TechSoup's website along with upcoming and other archived webinars at TechSoup.org slash community slash event slash webinars. You can also check them out on our YouTube channel, TechSoup video, or on our slideshare where you will be able to see the slides embedded later today. Again I mentioned you will get this email with all the links within a day or two. If you would like to tweet us you can use the hashtag TechSoup or TechDep. My name is Becky Wiegand and I am the webinar program manager here at TechSoup and I am really glad to be your host for today's event. We are joined by two really fun guys here at TechSoup. You will be hearing mostly from Wes One as I lovingly called him this morning Wes Hohling who is a Senior Web Content Developer here at TechSoup where he spends his days creating content for the web across our site about our products, designing content for us, and he really is a hack with a lot of experience where he has created graphic design content and how to like an intro to Photoshop for nonprofits blog series. He has also run a couple of prior webinars with us, one that was Adobe for Beginners and another one that was an intro to Photoshop. So we will share those links out as well. Today is again Adobe for Advanced Beginners. So we don't expect you to be an advanced Photoshop user for this but we do expect that you have a little bit of experience using Photoshop already and we won't cover really advanced topics. So if you are here for a level 500 course you are not going to be thrilled that we won't be covering that stuff.  We will also hear just briefly from Wes White who is a program manager here at TechSoup and helps manage the relationship with Adobe, one of our donor partners. On the back end you will see Terry McGrath from Adobe who will be on hand to help answer questions about the Adobe Creative Cloud suite of applications. And then Wes White, myself, and Susan Hope Bard here from TechSoup will all be on the back end to grab your questions and help move us forward to Q&A. Looking at the objectives, I will do a quick introduction to TechSoup and Adobe Creative Cloud here at TechSoup. Wes is then going to launch into knowing when to use Photoshop because sometimes it is not the right tool for everything so we want to make sure you know when there may be another tool like Adobe InDesign or Illustrator that may be better suited for a specific task. Then he is going to walk us through the interface showing us some key tools. We are not going to go through every menu and every tool today, but we do have a handy little legend that you will be able to see in the slide deck and use later. He is going to talk about how to use layers. Then we are going to look at learning how to use the magic wand effectively, how to change a background. We will share some additional learning resources, talk about where to get Adobe Creative Cloud and Photoshop in particular, and then we will have time to answer questions. We are using the Adobe Creative Cloud Suite applications today. So if you have CS4 or if you are using Adobe Photoshop elements, some of the things may be applicable to your work. Some of the tools may be applicable, but some may not. So just be aware that that is the platform we are using today. So TechSoup, we are every place on this map that is blue which is almost the entire world, and I am proud to be part of it. Go ahead and chat in to let us know where you are on this map while I talk a little bit about the work that we do here at TechSoup in helping connect technology, donations, resources, and information to nonprofits, libraries, and social do-gooders all around the world. I see lots of people chatting in where they are joining from. We know you can't see the chat, but if there is anything useful that is shared in the chat by any of our participants in the webinar, we will try and share that back out with you. If you are joining us from outside the United States where you may also be able to get Adobe Creative Cloud donations or discounted access, you can join us at TechSoup.global and choose your country to find the donation programs and availability for different products in your own country. We have served in the nonprofit and library sector with $5.2 billion in technology grants and donations, largely from our donor partner companies like Adobe, Microsoft, Intuit, Symantec, and many, many others. So quickly I'm going to just mention where the Adobe Photoshop accesses through TechSoup, and then Wes White will talk about it later on a little bit more in depth, but you can go to TechSoup.org slash Adobe. And you can see Photoshop Elements, which is the installed version that's available. And you can also then see the Adobe Creative Cloud photography package which is primarily focused on the PhotoSuite applications within the Creative Cloud. And then you can look at the All Apps Plan, which is everything Adobe, all in one package that you can access. So with that I'd like to go ahead and introduce our primary speaker, Wes Hollings, who's going to walk us through our objectives for today. The first one is when to use Photoshop and most importantly kind of when not to. So thanks so much for joining us today, Wes. We're glad to have you on. Wes, thanks so much Becky. And yeah, let's get right into it. So the first thing I wanted to talk about is when to use Photoshop and also importantly when not to use Photoshop. So as it's obvious from the name, Photoshop is the best tool for creating and editing photos. And that's for use online or in print. Adobe also provides other really great applications in the Creative Cloud. And that's my personal opinion, that's not just because I work for TechSoup and TechSoup offers. I mean these are really powerful tools. Adobe Illustrator is a great option for creating scalable images like logos and illustrations. So if you need to create a logo for your nonprofit or for an event or if you want something that like you see on our homepage, we have a lot of colorful circles and bursts and rings and things. Those are all scalable vectors, what they call them. Basically they're graphics that you can increase the size of, decrease the size of and they don't lose any of their resolutions. So they look great at any size. InDesign is another great option for anything that's going to be in print. If you want to make newsletters, ads, business cards, brochures, anything like that, that is the most powerful tool you can use to make them. Now that's not to say that you can only use these tools for those purposes. Photoshop has tools for making vectors. Illustrator you can make changes to photos in it. If you need to create a banner ad for example for your nonprofit that you want to use to advertise something across the web, any of these tools can be used to make them. They can all create something that's graphical, something that's visually exciting, and then you can save it to the same format across any of these platforms. So this is more just a guide for picking the right tool for the job. You can use a screwdriver to hammer and nail, but hammers tend to work a little better. So just a quick note about that before we get started. So let's go ahead and meet the Photoshop interface. I'm assuming that a lot of you have at least opened Photoshop before, and it's very common the first time you look at it to say there is so much here. I don't even know where to begin. So let's begin. Looking at the interface, and I've got a photo within the interface here, the colorful tomatoes, on the left you'll see the tools based on which tool you choose if you want to select something in the image, if you want to move something around or crop it or select a color, whatever tool you've chosen on the left will then provide you with a set of options up at the top. If you want to select something, just a portion of your image, you can choose a fixed size that you want to choose or a certain ratio I want to select in a square that's 4 by 3 all the way across. You'll get these options for getting exactly what you want. And on the right there are a series of panels that you can show and hide as you need them to do things like change the font in the text that you're adding to your image or to change the color of the brush that you're using or to rearrange layers which is something that we'll cover later. So I just wanted to make you aware first of what these terms are so that when I use them it all kind of makes sense. Let's go ahead and dive into the toolbar though. Looking on the left and I've kind of highlighted these out here. And this is based on some information that's actually available on Adobe's website. So apologies to Adobe for lifting your information. But hopefully this is something that you can even just print out, keep at your desk next to your computer if it's something you want to reference. You don't quite remember which one's the crop and where the magic wand is for example. And a lot of these we're not going to cover today just because we only have so much time. We're going to basically focus on more of the selection tools which as you can see in the first red box there. Up here you've got Move. If you want to move a layer around in your window. The Marquee tool which is just a fancy way of saying your selection tool if you want to select just a part of it which is something if you've used a simpler program like Microsoft Paint you might be familiar with selection. And other things like that you can see the magic wand is also on there. The fourth one down is the Quick Selection tool. And I'll show you how to get from that to the magic wand and other ways of selecting something. And now to hop over to the panel which is available on the right side. You can see there's a lot of other options here too. History up at the top is a great way to undo some changes that you've made. And this is probably, I mean your mileage may vary but I'd say most common use tool in Photoshop is the undo just because you'll try something not quite right, undo it, try it again, back and forth, rinse and repeat until you get exactly what you want with your photo. A lot of other great options here. I tend to use the Character and Paragraph tools a lot when I'm adding text to it. I want to change the font. I want it to be a certain type face, a certain size, make it bold, or give it a certain amount of space in between. That's something that's available from the Paragraph panel. So just a quick intro to what you can expect from the interface there. Now one thing that we got a lot of questions on from our last Photoshop webinar was how to work with layers. So let's go ahead and switch over to Photoshop and I'll start showing you how to work with layers from those panels on the right. Those bear with me while I swap over to Photoshop. There we go. I'll close this out for now. We can come back to it later. And let's open up. Actually before we get started on that let me hop back over to, let me hop back over to, there we go, getting ahead of myself. Let me hop back over to my presentation for a moment to explain what layers actually are. The best way I can explain layers, if you've never used layers in Photoshop or Illustrator or any of these kind of higher level graphics programs, if you think about animation cells, if you think about watching like a cartoon for example, you've got the background, you've got the character in front, and maybe something in between that the character is interacting with. The way they make cartoons is you'll have a transparent sheet over another transparent sheet over and over and so on and so on, to see those things in the foreground moving. So if you think about the background of a cartoon like this one here, and we've got maybe some birds in the sky above that, and then in front of that is a character. Those are all layers on top of the bottom one, and we can rearrange these as we need to. Of course the background is the thing that's completely opaque, and if we move that to the top you wouldn't be able to see the rest. So if we think about all three of these stacked on top of one another, it looks like a scene even though these are all individual elements stacked in layer format. So now I will swap back over to Photoshop after that tease to show you this. Now at first this looks like it's just a photo of a table with some photographs on it. But in reality if you look over here on the right side, on the bottom right you'll see layer 1, layer 5, layer 6, and then some effects underneath them. These are individual layers because what's actually going on here, this is a photograph of a table with a cup on it. That's one layer. And then each photograph laying on top of it is a different layer. So to demonstrate what I'm talking about, if you look on the bottom left here where it says layer 1, to the left of that there's an eyeball icon which the tooltip tells us indicates layer visibility. It just means that if the eyeball is on there you can see the layer. If the eyeball is gone then you can't. And you can alternate back and forth just by clicking it. So if I click it, that photo of the tree line disappears and you see what's behind it which is the background layer of the table.  And I can do this for any of the layers that I've added. Choosing to show them and hide them. What's great too is if you see the tree photo here in the center on the top, it looks like it's laying on top of the hummingbird. That's because in the layers palette the trees are, that layer is actually above the one for the hummingbird. So as you can see, layer 5 is the hummingbird. Layer 1 is the trees. And just a quick note on the numbers. Those are just numbers that are assigned by Photoshop at the order in which they were added. So they don't actually indicate which order they appear in. It's just the order in which I added them and wanted to rearrange them. So that's why if 1 comes before 5 and then 6 you don't see the rest because that's farther down. But if I move, if I hold and click on layer 5 and drag it up above layer 1 now the hummingbird photo is above the tree photo. So I can rearrange them as I need to if they move it back. You can see what kind of possibilities are available there. If you want the layer that is the most important for the viewer to see you want to bring that to the front. That means it's going to be up at the top and so on all the way down. One of the things we heard questions on before from our last webinar was how to use the magic wand. I'm going to show you a little bit of the wand but also with a caveat that the wand is not always the best tool for selecting something in an image. So I'll show you what I'm talking about here by hopping back to Photoshop and closing out our last image. And I'll select something here to show you. Now I'm going to drag in this photo I have of a desktop computer. This is something that I end up using a lot. I work with a lot here at TechSoup for our refurbished computer initiative program. We have a lot of refurbished and new computers to offer and we need to make sure that the photos of the computers are a certain dimension and have a refurbisher partner logo on it. So they just need some minor cleaning before we put them up on the site. And so to do that I may need to remove a background. In this case it's really easy. The background is already white. If I needed to remove it for another reason it was the wrong color or it's got something else behind it, a shadow, whatever, then I can select a background and then remove that. So this is where the magic wand is a really great tool and I'll show you why. So on the left hand side, the fourth one down in your tools palette, excuse me, tools window, if you click and hold on that one you'll see there are two options. There are Quick Selection Tool and Magic Wand Tool. They're very similar but I'll show you the Magic Wand Tool first. While I'm still holding the mask then if I click and hold on that I let go under Magic Wand Tool then I've selected that. As you can see up at the top on your options you've got a lot of options here and I won't go into all of those but just to say for right now the Tolerance is probably the one that you're going to use the most if you're going to use the Magic Wand Tool. If you've never opened up Photoshop before your default value is going to be 32. It goes between 0 and 255 I believe. And then what that number specifies is how much of that color do you want Photoshop to select for you? If you have a lower number it'll be less tolerant. It won't select more color. If you have a higher number say you put up to 100 or 200 it'll select more of that color. And what I'm talking about here, so I've got it on 33. It's pretty much the default.  And hopefully you can see on your screen right around the computer there's a dotted line just kind of moving around. This is a marquee that they call it. You can see there's also one around the edge of the canvas. That means that I've selected basically everything but the computer. I've selected based on its color values. So I clicked on the white, it's selected all the white. And I'll deselect that to show you again. Now if I click on the computer itself you can see that it's selected pretty much the top. You can see the edge goes around the top of the computer because that color is pretty similar across the board except for the very center there's four dots and then a couple of little specks in the very center. These are colors that are darker than the rest. So based on what I've set my tolerance at I've told Photoshop, select within a certain range that shade of black but nothing beyond that range which is those really dark circles. And if I deselect that, if I make my tolerance higher let's say I'm going to do 250 and I click it again it selects everything. You can see there's a tiny marquee around the entire canvas. That's way too much. I'll deselect that and I'll say let's go with just 64. That's double the default value. I've got a little bit more but not quite enough. And then that's something I would need to play with if I wanted to use the Magic Wand tool. But again there's so many different shades going on with this computer because it's a complex, it's a photograph. There's less than, you know, if you look at a simple color logo there might be two or three colors but in this there's thousands. So it's a hard thing to get exactly what you need just through one click. And that's where the Quick Selection tool comes in handy. If I go back to the Magic Wand tool on the left, click and hold and then choose the Quick Selection tool. Again, different options up at the top. Tolerance is gone. I've got a brush here. So it's set right now at 200 and if I move my mouse down into the canvas you can see it's a pretty large brush. And what the brush does is you basically paint along your canvas to select the thing that you want. It's a little large for the object that I'm working with here. So I'm going to bring that down by clicking the down carrot. See there's a 200 pixel in value there. I'm going to change that to 100. Cut it in half and press Enter. Now I've got a smaller cursor. This is something I can more easily work with.  I just kind of move along. And once the cursor touches a new section it grabs that too. I can move it along. Even getting parts that I don't want. So that's pretty good. It's got right along the edge of the computer but it also grabs some of the bottom right and the white. And that's not what I want. With the Quick Selection tool you can choose to not include something you've already included. And it's very easy just by holding down the Alt key and then if I click down here off of it and then just kind of creep into it it'll start to figure out that the white is not the part that I want and I just keep moving along right along the edge. And that's pretty good. Again these are not tools that are meant for a Quick Fix. I mean there's a Quick Selection tool and you can see I'm moving very quickly with this but I'll show you why a little later on. Why this is quicker than some other tools that are more precise. If you've got something that's got very clear edges around it you want to grab it quickly. This is a great tool to use. I'm going to close this one out. Oh Becky's got something. Yeah, what's up Becky? We have a question from Richard just asking how you're deselecting. When you select something and then you're deselecting what is it that you're pushing? Is it a key stroke or is it something you're clicking? Yeah that's a really great question. And thank you for keeping me honest when I use these tools often it's easy to take shortcuts. You got to slow me down. So a very good question and it's something with Photoshop there are a million ways to do the same thing and the longer you use it the more efficient ways you find to do it. So in this case I've still got the computer selected. If I want to deselect here's a couple of ways to do it. There's a select menu up at the top and deselect is the second option on there. You can click that and if you're like me and you want to work quick or you're too lazy or both you can also press Ctrl D and it's Command D on the Mac in case you're on a Mac. So if I'm trying to select something, working quick you select it and it's not right. Quick key stroke it's deselected. You try it again. That's what I was saying earlier about the undo command. It's super handy in Photoshop because that's something I can try, undo, try, undo, try, undo, and try. And then finally that fifth try is the one that I actually wanted. So in this case if I don't click that, if I keep this selected I press Ctrl and D, now there's no selection. And in fact that leads me to one other quick tip. In the case of this computer if I go back to my Magic Wand and I want to select that background I click the white a little too much. Let me deselect that. They bring my tolerance down because I selected too much. Bring back down to the default 32. That looks pretty good. But like I said, I'm only selecting the background. I'm not selecting the object itself. So what you can do, there's another great key command under the same menu for Select Inverse which will basically do the inverse of what you've selected. If I've selected the background I want to select everything but the background. I can click that. Now it's a really subtle change but the Marquee is gone around the border of the canvas. It's now just around the object itself which is great because now I can copy that. I can paste it into another image. I can change the color of it. I can do all sorts of things. I can manipulate that section of the image by selecting everything that's not that part of the image. So very handy to do. Yeah, Becky, what's up? Becky So we had a couple of people notice that your mouse is staying a cursor arrow. Is it showing up as a cursor arrow when you change like brush size on your machine or is it because it could be something with ReadyTalk not converting it to the little brush cursor instead? Or we didn't know if it was something you had in your settings that you wanted it to stay a cursor. So can you clarify which it is? Yeah, that's also really good to point out. I did not know that. Yeah, for me the cursor looks different with each tool that I'm selecting. And for each size of my Quick Selection tool apparently not the case. So yeah, for me it's changing. For you guys unfortunately it sounds like it's just a cursor and I assume that's a ReadyTalk thing. Yeah, and we are able to see the cursor. So we can follow it when you change the brush size in the settings, but it just doesn't change the actual size and shape of the cursor. So we know that that looks different. We did actually test, but I guess we just didn't notice when we tested that it didn't come through that way. So thanks for letting us know. But you should still be seeing everything the way you would with the exception of the cursor changing. But you are able to follow the cursor and see the settings and selections that Wes is making. So just keep an eye on where his mouse is moving and you should be able to follow along. Yeah, thanks for letting me know that stuff. I wouldn't know that you guys are telling me. And of course the other thing that may change is that any mistakes I make are purely on your screen. I'm not making any mistakes as we go. So that's on you guys. Of course. Yeah, of course. So while we are on the subject of selecting backgrounds one thing that we heard last time is the background. And in this case, this is a great example because we have a solid color background. I'll show you how to do something with a little more complex background like a picture of a photo of a person in front of a landscape or something like that. That's a little more complex. But for right now I'll just show you this one. So let's say I'll deselect with Ctrl-D. I'll select my background. So now I've got just the white. Now on the bottom right here back to the Layers panel that I showed you before, if you open an image that's like a JPEG or a PNG, something that's just a flat no layer image. If any image you see on the web basically is going to be a flat image. GIFs, JPEGs, that sort of thing. There's only one layer to it and Photoshop opens it with that layer locked. It's the one layer that the image knows of. When you save an image that has multiple layers in it, you can save it as a JPEG but it will flatten everything. So when you reopen it you won't be able to change those layers. If you save it as a Photoshop file however, you can go back and save those later. So the workflow is that you can open up all sorts of images in Photoshop, create a Photoshop file, save that with everything in it, and then as you need them export them out into whatever format you need. You can create a large image, save it as a JPEG at a certain size for the web for example, and then you'll have that instance of it but the original is still your Photoshop file. So that's kind of down a little bit of a rabbit hole of workflow but I wanted to make sure you knew that because that's why this layer is locked to begin with. And you can tell that it's locked because there's a little lock icon right next to the word background in the layers palette here. It's also italicized which is another clue that it's locked and that's the default for all Photoshop. If you've got CS4, if you've got Creative Cloud, the latest version has always been that way. So the way we can unlock it though if we want to manipulate it, I can just double click it. I'll get this window that pops up that asks me to create a new layer because technically it is. We're creating a new layer from the background. You can name it whatever you want. There's some options here for color mode and transparency. I'm not going to get into any of that. Right now I'll just click OK and everything looks the same. But now I have an editable layer. I still have the background selected too. I've got that marquee going around the border. I've got the marquee going around the object which means that everything but the center part, everything that's white is still selected. I can clear that away just by pressing Backspace. Now I have this checker pattern behind it which means it's transparent. I can save it as a different file format that allows for transparency like a GIF. I say GIF, I don't say GIF, sorry guys. I can save it as a GIF or a PNG file and I can put it up on the web for example. Anything that's behind it, the background of that page or something else that's just layered behind it, that will show up behind the computer here. So that's how you can just quickly clear away a single color background. And just to show you real quickly how I did that one more time, I'm going to close this out. I'm going to reopen it and I'll just walk you through those steps quickly. So I've got this computer. I choose my Magic Wand. My Tolerance up here at 32 seems about good for just a solid color where there are clear edges around the object and the background. I can click the background. Now I've got the background selected. I'll double click the layer for background. It will ask me about creating a new layer from the background so I hit OK. Backspace will clear that out. And then Handy Control D or Command D for UMAC users will give me no selection on an image that has a transparent background and just the image itself. Now again, this is a simple example because you can deal with images that have a lot more complex backgrounds, especially if you're working with, for example, a picture of a person with hair where the hair may not be completely straight. There may be frizzies or someone's got a perm, for example.  So speaking of changing backgrounds in complex situations, let me hop back to the presentation here and move along to some other ways you can change or remove a background. So as I mentioned, the Magic Wand is really handy for images where there is high contrast. And what I mean by high contrast is that previous example, it was a black or gray computer against a solid white background, very high contrast between the background and then the foreground. Also, there's a single object in this case. I just wanted to select either the background or the computer. In this case, it was easier to select the background and then just inverse, just swap out what's selected, not the background's foreground. Also, I showed you earlier the Quick Selection Tool which does a lot of the same things that the Magic Wand does just with a higher, which is with a little bit more intelligence. I didn't go into as much detail with that one in the previous example just because it requires a little bit more finesse when you're using that brush tool because it depends largely on your brush size, how much detail you want to pick up. And then once you've selected something, kind of moving along an edge carefully to deselect anything that may have gotten picked up along the way, or selecting anything that may have been missed along the way. So they're kind of two sides of the same coin and that's why on the Photoshop interface on the left side where the tools are, fourth one down, you have both options under the same button. If you click and hold, you'll see Quick Selection and Magic Wand. Now, a quick note about the Quick Selection, I believe that was added. Sorry, Terry, if I'm getting this wrong, I think that was added in CS6. So if you've got a much older version, you may not have that as an option. You will have the Magic Wand at least and that's something that's been, you know, a Photoshop staple for a lot of years. Two other ways that I haven't shown yet that I'll go ahead and show you next. You can select a color range. So any objects in the image that match within a certain range of color that you specify, you can select. And I'll show you that one next, as well as the Pen Tool. Now the Pen Tool is the scalpel where the Magic Wand may be the sword. And in a lot of cases, it's quick and dirty. Grab that background from the computer photo, done. Don't need something so precise. For other things, like I'll show you later, the Pen Tool is, this is going to take a lot more experience, but it's a lot greater payoff when it comes to the quality of removing that background. So with all that said, I'm going to hop back over to Photoshop and I'll close out that photo and bring up something else. Let's bring up something I've prepared just like a good cooking show. I've got the food and I've got it already prepared for you. So this is obviously just a simple photo with some fruit in the front. The background is a little more complex though. This is not solid white. Someone hasn't already done the hard work of removing the background from it. But there are some sharp edges around them. If you look at the mango on the upper right, you can see clearly where it ends and the background begins. But there are also some shadows at the bottom. If you look at the tomato at the bottom, there's a shadow coming off the bottom left and the bottom right of that piece of fruit. So that's something that can really trick the Magic Wand because the color can be similar to both the background and the foreground. It's the same background but with a shade over it. So it's similar and yet it's also dark like the foreground. So it can be grabbed along the way. If I move up to the Select menu, which I showed you a moment ago, also under this is Color Range. Now I've chosen that and it becomes kind of like Terminator Vision. I can see something not quite the same and it's a weird inverse. I move that window over so you can get a better look at it. So right now it's chosen by default just that red color. And it's selected based on a range that I can specify how much of that red to pick up. And that's the fuzziness value here. It's at 200. It's maxed out. Grab as much red as you can. Of course, there's not a lot of red in the mango. I'm beginning with the other fruit. I think it was an apple, a green apple. So there's not a lot of red to grab from those too. But it's grabbed a lot of that tomato. I can scale that down. I'll bring it down to the default of 100. And as I move, hopefully you can see this on your screen. I go down below 100. It's grabbing less of that tomato. Now it's at 22. There's almost nothing there. It's like a snowstorm.  Now, if that's not the color I want, if I want, for example, that mango, I move my cursor over. And unfortunately, I assume you guys can't see this. If I move the cursor back over to the image itself, my cursor becomes an eyedropper. That means that I can select the color that I want to grab that range, to base the range off of. So if I click in there and click the mango, now the preview has changed completely. That mango, a lot of it is selected. In fact, I've grabbed some of the apple as well. The thing about the color range is it's not great for removing a background, but it's great for selecting certain colors to change them. That example that I showed you in the beginning of all the different tomatoes of different colors, a lot of it was done with tools like Color Range where you can keep the object there. You don't need to remove anything, but you want to change the hue, the saturation, the brightness, something like that. So this is another way to select something in your image that's not necessarily a discrete object, but you do want to change it based on its color. If I click over to the apple, same thing. I get more apple. I get less mango. I get no tomato. And I can move that slider around to grab more or less of that color as I need to. So again, the color range is important for choosing certain colors, but not necessarily choosing objects. If you want to choose an object, my go-to is still the Pen tool. The Pen tool is a – I could spend the next hour talking about it, but I'll make this a little brief. But we do have a great – I did include a really good video tutorial in a resources slide so that you can spend a little more time learning how it works and all that. So in the meantime, I'll quickly show you. The Pen tool works like this. I can create what's called a Bezier curve. I can click points and then manipulate those points until they wrap around an object. So if I click within the canvas, like where there's a corner, for example, click there, there's a dot. And I click where there's another corner, another one, and then come back, I've made a little triangle. And that's nice, but it's nowhere near accurate. I can add points along the way and move them along. And it begins to create a curve. I can bend those curves as I need to around any object that I need. And this is where if you're selecting somebody's hair, for example, they've got spiky hair, they've got a frizz or something like that, you can really get down to the nitty-gritty. And this is honestly what a lot of folks in the magazine industry do if you've got a model on the front page. You want to get all of her hair blowing in the breeze, but you don't want that background in there of whatever beach she was on or something like that. That's how you get to that, that level of detail. And to show you what I'm talking about, I've created a path already. So if I click my path on the path panel on the right, I was on layers, now it's on paths. Whenever I create a path with a pen tool, this is where it lives. The one that I created a moment ago is listed under Work Path. It's just temporary. If I can delete it, it's not permanent. The path one is the one that I created and kept from before this webinar started. But if you can see on your screen, there's a thin line around all of the fruit. I managed to get underneath the tomato but not include the shadow.  And basically, based on the short little demo I just gave, you can see how many dots along the way and how many curves need to be added to get to that level of specificity. The nice thing about the path tool is that once I've created a pen tool, once I've created a path like this, if I hold down Ctrl and I believe it's Command for the Mac, my cursor changes, unfortunately you can't see it. While I hover over the thumbnail of the path, there's a little hand with a marquee symbol on it. If I click that, now I've got that selection. And it goes exactly where I need it to go, no more, no less. And the really great thing about using the pen tool is that it creates not really a gradient or a blur, but just a real, not a hard edge and not too soft of an edge either so that if I copy it and paste it into something else, it doesn't look as poorly photoshopped as if there's a clean edge on it. So if I use that example, if I've selected this fruit, I do Ctrl C, Command C on the Mac, just like in Word, anything else, I want to copy that. And I create a new image by hitting File, New, and then Ctrl V just like again, like in Word or anything else, I want to paste that in. Now you can see I've removed the background from it. There's a little bit of shading on the actual fruit itself that comes from the rest of the fruit in the image, but around the edge it's clean and it's smooth, and I'm not grabbing some pixels here and a bit of shade there and a bit of background there as well. This is probably the cleanest way to grab an image, but it's also one that takes the most precision, and I'll be honest, the most experience too. But there are some really great tutorials online that can walk you through that. Like I said, there's one at the end of our webinar on the resources slide cut from a group called FLIRN, P-H-L-E-A-R-N. They've got a lot of great tools and tutorials, and they've got one that's really useful on how to use the Pen tool in all sorts of different settings like this one, or something even more complex. So I'm going to go ahead and close out of Photoshop again, and bringing back to this, our Resources tab as I mentioned, there are some great resources from Adobe. Some other ones that I've included from previous Photoshop webinars, Lifehackers got a great basics of Photoshop, including things we've covered here and then other ones. FLIRN is on there with how to use the Pen tool because I know I kind of went quickly over the most complex thing, but hopefully you're able to bear with me, and take a look at that because if that's something you really need to do, if you've got a photo of your CEO and they've got a really bad looking background or a word on a wall that you don't want in your newsletter and you want to take that out, that's the best way to get the whole person and nothing behind them. So that's going to wrap it up for my presentation, but we've got a little bit of time for questions. I think I'm going to turn it back over to Becky. Becky- Thank you, Wes. Really helpful, interesting stuff there because I always try to cut my tomatoes out of pictures and they look like little alien heads floating on a green screen when I do it. So I'm learning a lot from this as well. We will have time for your questions in just a couple of minutes, but first I want to go ahead and invite Wes White, West Number 2 today, to the program just to tell us a little bit about where you can get Adobe if you are on an older version or you have used Adobe Photoshop but don't have it on your own machine and want it. We want to make sure you know where you can access this product through TechSoup. So Wes, can you tell us a little bit about where we can find it and then don't worry, we'll get to all those questions in the queue in just a couple of minutes. Do folks hear Wes when he's talking here? Let's see. Go ahead and try one more time. Let us know if you're hearing him. We're going to get him on the line. Sorry about that folks, but we're going to get him up in just a second. Thank you for chatting in to let us know. Wes, who is coming on the line in just a second here. We hear you now. Thank you. Okay, sorry about that little glitch. We had a phone go dead apparently, so thank you. Cool, thanks Becky. So we have three different ways to get Photoshop on TechSoup. The first is just to get to the offers, you can go to TechSoup.org to our homepage and go to get products and services at the top left hand of the screen. Go down to Browse Catalog, by partner and donor, and then click on Adobe. It will take you directly to the page. Or you can go directly to TechSoup.org slash Adobe and that will take you to the same place. On that page we have three different offers which you can see now. Two of them are Photoshop Creative Cloud offers. One is found in the Adobe Creative Cloud Photoshop I'm sorry, Photography Plan, one year subscription, where you can get access to both Photoshop TC and Lightroom CC. The other offer is the Adobe Creative Cloud All Apps Plan which includes several different apps from Adobe including Photoshop, Lightroom, Illustrator, InDesign which Wes mentioned earlier, Premiere Pro, After Effects, Audition, Dreamweaver, and a lot more. Both of those are access to discounted rates products. So you will pay a $5 Admin fee on TechSoup and then it will take you over to Adobe.com where you will have to pay a discounted price. So for example with the All Apps Plan you will get 60% off that retail price. And for the first year and then for all subsequent years after that you will get 40% off the retail price which right now comes out to around $239.88 for the whole year or 1999 monthly. And for the Photography Plan you will get 20% off the retail price for the first year and then for any years after that you will have to pay the full retail price. And that comes out to around $7.99 a month. Again that includes Photoshop and Lightroom. We also have Photoshop Elements and Premiere Elements 14 which is available as a donated product for an Admin fee of $27. Now the really exciting thing about these products is that in the past there used to be a lot of restrictions on the Adobe program around org types or budget sizes that could receive these products. But now all of that has been lifted and it's really exciting because now all organization types, all budget sizes can get any of these products including the donated offers which also includes Acrobat Pro 11. So feel free to go to TechSoup and take out these offers. For the Creative Cloud offers you can also get as many of those products as you want. So there are no restrictions on the number of products you can get. For the donated offers you can only get four products per TechSoup fiscal year so that will be new again around June 30th. That's all from me. Thanks Becky. Great. Thank you so much Wes. So I want to go ahead and jump us into questions. So we've got a bunch in the queue already. Let me go ahead and have Wes Holden come back on, Wes One come on back on to talk a little bit about some of these questions that we've gotten that Blair asked for example which of the tools when you were going over InDesign versus Photoshop versus Illustrator which one is really best for putting text on an image? If you want to put a quote or have your meaningful cat in a tree determination poster for your organization what do you use to add that to the photo? That's a really good question. Personally I tend to go back and forth between Illustrator and Photoshop. They both handle that task very well. You can load up a photo in both, add text in pretty much the same way. If you've ever added text to a photo in Photoshop and someone gave you Illustrator you could do it pretty much the same way. It's a slight difference in the same way that a language can have a certain little dialect and you still pretty much pick it up. So I'll go ahead and show you how in Photoshop real quick just to show you how simple it is. I'll share this and I'll close my fruit example. Go back to my original fruit example. On the left side there's the T which is your horizontal type tool which is just a long way of saying it's just your type tool. Horizontal of course it goes left to right. You can also type top to bottom but we won't be doing that in this case. So if I just click that I've got the T selected and at the top you can see there's a lot of options just like in Word for example you want to choose your font, the weight of it, if it's bold or italic whatever, the size and then plenty of other options including color and justification and all that. So I'll just quickly choose regular aerial. You can see it's regular. It's 48 point that seems about big enough. I'll choose it left justified and I'll pick a color that's let's say kind of a deep red and I'll just click again. This is a cursor for me. It's just a pointer for it. It sounds like for you guys. So if I click here and then just choose and then wherever I click I can just add the text and I can just tell it eat more fruit. Great. I can change the size after I've added it and then on the right side where the panels are I've got the character panel that I mentioned earlier. I can click that. The fly out comes out and I can choose all sorts of other options like for example it's got it on small caps because I've used that before. I can click that. That gets disabled a lot of other options but it's just that simple and of course on the right side on the layers panel you can see there's the background. There's also the text layer for eat more fruit more text to add, more layers to get added to. Great. I like the simplicity of that. It's nice and easy, something that I could even do which is saying a lot because I can't do a lot of this stuff. We had a lot of people asking or commenting that gee I don't see the magic wand on my toolbar or I don't see the same thing on the panels. Is there a way to customize what you see? And if so can you tell us where people can look to do that? Yeah definitely. So for older versions of Photoshop like I said I'm running Creative Cloud right now. I'm running the latest one which is another benefit of having the Creative Cloud is that as updates come in you get them. You don't have to buy a new version and all that. But if you've got an older one, if you've got a Creative Suite edition for example CS4, CS5, CS6, on the left side there should be the magic wand tool. It might not look exactly the same as mine. The icon has gone through a little bit of change over the years but there should be kind of a 45 degree angle stick with a little bit of a burst at the top. In later versions of Creative Cloud there's an option down here at the bottom to the little three dots kind of an ellipsis to edit the toolbar. You can click that and make changes to your toolbar also under the edit menu. There's a toolbar option there and we can customize my toolbar to say okay I don't need these lasso tools but I do want the crop tools. We can manipulate them there too. If you're not seeing a magic wand tool and again this can vary based on your version. I hate to just kick it over to Google but if you do just search for Photoshop and then the version you're looking for Photoshop, CS4, Magic Wand, a lot of older Adobe documents can point you in the right direction on where that tool is located. Terrific. I think everybody should look at what version they're on and do that search like Wes said if you're not seeing something that he has here. A lot of times they were there but just hidden or moved someplace else. We had people asking about transparency and the background again and how you, what do you do if the background is really complicated or many colors and what did you select to make the background transparent? That was missed by a few people. Sure, yeah. I'm totally understandable. I did move through that pretty quickly. Let me take a step back and look at the fruit example again. So I'm going to remove my layer, the text layer that I added. I've got it selected on the bottom right. There's a little trash can icon. I can click delete layer. It'll prompt me. Is that what I really want to do? Yes, even though it's a good message I need to get rid of it. So I've gone back to my image. In the case of this image I used the pen tool to create a selection around it. Regardless of what tool you use if you're using the wand or the quick selection tool or the color range or even other tools that I haven't mentioned here today because like I said with Photoshop there's a million ways to do the same thing and it all depends on what your purposes are. Once I've selected the thing that I want in this case I won't use the pen tool. I'll just do a quick selection tool just to give you a sense of how much I get compared to the previous version. If I select along I've got that apple. I've got that thing in the background. I'm moving up over to the mango. I'm getting that and I've got the tomato. If you take a look at the marquee that's going around the fruit it looks pretty good especially around the mango. I've got right around the edge. If you look at the bottom though I've grabbed the shadow unfortunately and on the left side of the apple the marquee kind of cuts into the side of the apple so it's not perfect but this is just more to save time and show you about the transparency. Once I've gotten something selected if I want to delete that background I go back to my layers palette. This is something I always end up undoing because I'm working too fast. I need to turn that background layer into a regular layer so that I can remove the background. If the layer is locked to the background layer and I try and delete something it will just fill it in with a solid color, most often white by default. That may not be what I want.  I want no background. Just to show you quickly what that looks like if I choose the Select menu and then click Inverse so now I've got the background and not the fruit and I press Delete it tells me what color do you want to fill it with. Transparency is not an option because it's not a color. So I'm going to cancel that. I'm going to turn that background into an actual layer. I double-clicking it, pressing OK. I still got the background selected because I Inversed it and I pressed Delete. Now I've got that transparent background. Of course I still have some of the shadow and it did take away some of that piece of the left side of the fruit so it's not perfect but that's the short, simple way to get that transparency. If I go up to my History palette you can see there's a lot of options here. I can step backwards from that clear by making a layer. Now that background is there again. I'm going to deselect.  I'm going to turn it into a marquee. Now I've selected the fruit. Much clearer edge. I will hit Select and Inverse. So I'll grab the background instead of the object that I've traced. Do the same thing as I did before. Press Backspace. Now I've got transparency again and a much cleaner image because of the Thanks to the Pen tool. And I'll press Deselect and you can see the edge of the fruit looks great against the transparency. So that's where transparency comes in. And another quick reminder, once you've gotten something that's transparent and you want to keep it transparent use it for something else. You want to end up placing it over another image later or you want to use it on the web. Save it as a PNG typically because that's a file format you can use to keep that transparency in place even though you can't keep layers like before. Great. That's good helpful advice. We are almost out of time but I want to just add a couple of other questions quickly. Do you recommend the Magic Wand or the Quick Select tool? Which one gives you more control again? We had people confused about which one you think is best for which circumstances. Sure. It really kind of boils down to your personal preference. I mean I know that's kind of a cop-out answer but the fact is the Magic Wand is great for quick and dirty selections like with the background of the computer that I showed you earlier. It was solid white. There was a hard edge around that foreground object. I just wanted the background. It was an easy grab. I just used the Magic Wand to grab that. Quick selection is also handy if it's still more contrast that you want to get a finer edge around the thing that you're selecting which is why you have the different sized brushes. It's not based on color range like the Magic Wand is so in the Magic Wand example just grabbed all the white, done. With the Quick Selection tool you're moving a brush along and it's grabbing everything that it touches with some intelligence and selecting that. So again it depends on the image that you're working with. In my first example with the computer Magic Wand was better. That doesn't always mean Magic Wand is better. And in some cases Quick Selection is the smarter tool and it all comes down to just which one is working better for you as you're working. You switch back, try this one, undo, try the next one, that one works better. Great. Thank you so much for that Wes. We are going to go ahead and jump out of this because we are almost at the top of the hour. We hope you've gotten a lot out of it. We know we didn't get to every question but we hope we answered many of them for you and that we've shared a lot of resources that you can continue your learning once you leave this event. We'll make sure that those links are included in the follow-up email. But go ahead and chat in to let us know one thing you learned during today's webinar that you're going to take back and try to implement, try to use to make your images look better for your collateral, your website, your materials, wherever they're using them. And we'd also like for you to tell us that you're going to share this with your friends and colleagues who may benefit from using it. I'm going to go ahead and invite you to our upcoming webinars. But before I do that I want to remind you that if you're jumping out of the room now be sure to let us know how we did today. Give us some feedback in our post-event survey so we can continue improving our program. But before I do that look at our upcoming webinars and events and we hope you'll join us for some of those. Next week we're going to be spending some time focusing on the technologies that are being used to engage families in early learning settings. So for kids 0-5, what kind of technologies are parents and families using? Great if you work in that sector. Join us for that. Then we'll be talking specifically for libraries on digital literacy training tutorials. So if you're in a library or work on digital literacy training this might be a great event for you to attend. If you're newer to TechSoup or have recently registered and want to get a little bit more hands-on with our donation programs join us for our TechSoup Tour Tuesday on the 29th. And then we'll be spending some time doing a very similar type of walkthrough of Excel for beginners on the 31st. And then beyond that you'll be able to find on our webinar page, upcoming events, and webinars archived. You can see all of these different categories. You can search through to find any content that we've done before in webinars so you can watch those at your convenience. Thank you so much Wes. I really appreciate you taking the time to share your expertise today. And thank you also to Wes too as I called him during this webinar for sharing information about the Adobe Creative Cloud Discount and Subscriptions available. I'd also like to thank Terry McGrath on the back end from Adobe for helping answer questions, and Susan Hope Bard also for doing the same. We really appreciate you joining us today. Lastly, I'd like to thank ReadyTalk, our webinar sponsor for providing the use of this platform so we can conduct these webinars for you on a regular basis. If you'd like to know more about this tool and where you can find it, if you need to run webinars of your own, you can check out techsoup.org slash readytalk. Again, once we close out, please take a moment and give us your feedback on that post-event survey. Thanks so much everyone. Have a terrific day and we hope you'll join us again soon. Bye-bye.


Prioritizing genetic variants is a major challenge in genome-wide association studies. Here, the authors develop FUMA, a web-based bioinformatics tool that uses a combination of positional, EQTL and chromatin interaction mapping to prioritize likely causal variants and genes. This article was authored by Kiyoko Watanabe, Erdogan Tascassin, I.M. Van Bochaven and others.


Subluxation or hypermobility of the temporomandibular joint is the result of a relaxation of the ligaments of the joint following the loss of tissue tone or following a traumatic episode. Prolonged chronic trauma may also produce this condition. The joint of the mandibular condyles is actually a partial dislocation, which in the majority of instances is self-reducing. If this hypermobility is not corrected, the range of movement may progress until complete dislocation results requiring manual reduction. Hypermobility may also produce an acute inflammatory reaction in the region of the tissues of the temporomandibular joint. Therefore, it is considered advisable in many instances to correct the hypermobility before these complications occur. A simple means of treatment is to produce a sclerosis of the tissues of the joint which results in a limitation of joint movements. This film demonstrates a method of treatment of subluxation. The patient was first seen with an acute painful temporomandibular joint. This acute phase was managed by rest, heat, diathermy, and limited diet, with definitive treatment being withheld until complete resolution of the inflammatory reaction. A functional analysis of the occlusion was then carried out to detect any occlusal disharmonies which may affect the function of the temporomandibular joint. A prematurity in centric relationship is detected, causing the mandible to slide forward and slightly to one side as it seeks maximum intercuspation. The hypermobility and the patient's ability to reduce the partial dislocation are quite obvious. After occlusal equilibration has been accomplished, the sliding movement of the mandible has been eliminated, and centric occlusion and centric relationship now coincide. The excursive movements are now also checked, and any gross disharmony is corrected. The occlusion is again analyzed functionally, and the opening and closing movements are studied. The armamentarium for producing a sclerosis of this tissue consists of an aspirating syringe, a sclerosing solution, and a local anesthetic. Several sclerosing solutions, such as silnesol or unicane in oil, may be used. In this instance, silnesol is being used. The injection site is thoroughly cleansed with a suitable detergent and a sterile field maintained throughout the procedure. The articular fossa is located by palpation, while the patient is opening the mouth to its maximum extent. Local anesthetic solution is injected into the region. Aspiration is an important feature of this technique, for it is inadvisable to inject the anesthetic solution or sclerosing agent directly into the bloodstream. If blood is aspirated, such as you see here, the needle is withdrawn and reinserted in a slightly different direction. Approximately one cc of the anesthetic solution is deposited in the articular fossa. Without withdrawing the needle, the syringe containing the anesthetic solution is detached, and another syringe containing the sclerosing solution is attached. One half cc of silnesol is deposited directly into the articular fossa. The same procedure is repeated on the opposite side. A moderate to severe soft tissue reaction manifested by swelling, pain, and limitation of movement of the jaw is to be expected as the result of the injection. This reaction is self-limiting in nature and usually resolves in 10 to 14 days. The desired amount of sclerosing solution is often not obtained from one injection, and it is frequently necessary to re-inject the sclerosing solution from two to four times. If repeated injections are necessary, a minimum of two weeks should elapse between the injections. The rent genograms show the abnormal position of the condyles that existed before treatment, and the improved position that resulted from the described therapy. The top view shows the condyle positions before treatment and the lower after treatment. The condyle positions on the opposite side are shown in a similar manner. The patient is seen here several weeks after the second injection, and the movements permitted, studied, and the occlusion checked. No further injections were deemed necessary as the desired limitation of movement has now been attained.