Welcome to Favorite Photoshop Tips for Nonprofits and Libraries. My name is Becky Wiegand, and I'm the Webinar Program Manager here at TechSoup. I've been with the organization for 7 years, and I'm happy to be your host today because I was once upon a time the accidental techie at 3 small nonprofits in Washington, D.C. and in Oakland, California, where I often had to just figure out how to design stuff and make tech decisions without any tech training or expertise. And I imagine many of you may be in that same position. Our primary presenter today is Wes Holing, who is a Senior Web Content Developer here at TechSoup. He writes about Adobe for us and contributes to our design team. So he is a hacker-come-pro with experience, and he creates graphic design content and how-tos like our recent Intro to Photoshop for Nonprofits blog series that took us through designing from start to finish every step to create your own poster. We'll be linking to that resource in the webinar as well. So we're glad to have him. You'll also see on the back end, Sun Park and Allie Bezdikian, who will be helping answer your chat questions and flagging them throughout the webinar. We're here in TechSoup's headquarters office in San Francisco. Feel free to chat in to let us know where you're joining from today. And while you do that, I'll do a quick overview of our agenda. I'll do an introduction to TechSoup. We'll have a couple of poll questions asking about your experience with Photoshop. And then we'll do a brief introduction to the new Adobe Creative Cloud offer and the Adobe Donation Program through TechSoup. Then Wes will take us through 10 Photoshop tips and he'll demo each of those live. So thanks for joining us for that, and we'll have time for Q&A at the end and maybe a bit throughout as well. So TechSoup Global is a global network of 63 partner NGOs working in 120-plus countries around the world. We are working to serve you with your technology needs. And we are a nonprofit as well. We have served more than 615,000 NGOs around the world.  We've served nonprofits with technology donations, grants, and products to the tune of nearly $5 billion. So I'm proud to be not only a TechSoup employee but having been a beneficiary of the programs of those small nonprofits I worked for before. You can learn more about our products and donations at our website at TechSoup.org. But before we launch into more about the new Adobe Creative Cloud offer, I'd like to get a little bit of an understanding of what your use is. Have you used Photoshop before, whether it be the installed Creative Suite or individual product on your desktop or as Creative Cloud? Go ahead and let us know where you fit on this spectrum of experience. And if there's something on here that I haven't represented, feel free to chat it in to us.  If so, maybe we'll recruit you to guest blog for us to write some content so we can pull your expertise in to share with other nonprofits and libraries. We'll give just a moment for everybody to respond. We have 120 some people on the line right now, and that number is sure to climb in the next few minutes. So feel free to click on those radio buttons on your screen and I'll show the results in just a second. It looks like a handful of times is the majority with 44% of our users. So most of you are familiar with some of the basics. That's good. Some of you are brand new to it. So hopefully you'll have something to learn about this. And for those of you that use it all the time, we'll have some more advanced topics and tips that Wes will share that hopefully will show you some new ways to get to what you need done. And then one other question, which Photoshop have you used? Go ahead and let us know for those of you who have used it, check on the ones that you have used and you can select more than one option on this. And again, this just helps us get an understanding of where you're at with your Photoshop experience. And to get an idea of those of you who are already maybe using the Creative Cloud or those of you who have used primarily the Creative Suites, or maybe you're using Photoshop Elements, which is a lighter weight consumer product, not quite as robust as the major Photoshop programs are. And maybe you're not sure and that's okay too. So thanks for chiming in. Give just a couple more seconds for everybody to vote on that. And this will help us tailor a little bit of how much we spend on some of the basics versus the advanced. Either way, you'll get all of the slides that show the 10 tips that Wes will be covering today. And you'll be able to reference them at a later time to hone your own skills. So looking at the results, lots of people have used older Creative Suite versions and quite a number of you are already on the Creative Cloud, which is great to know. And quite a few people are using Photoshop Elements. So it seems like a pretty wide spread between the old Creative Suites. So that's good. There isn't one huge sand out there. So before we dive into Wes' tips, for those of you who aren't familiar, we just recently launched a new Adobe Creative Cloud offer. And I'd like to highlight quickly both that offer and the regular Adobe donation program that's available through TechSoup. And just highlight kind of the differences quickly and what to expect if you're interested in getting the newest, greatest offer that's out there right now for Adobe Creative Cloud. You can see I've just pointed to it on our site. And you can find this page at TechSoup.org slash Adobe, this exact page. And you'll see Adobe Creative Cloud Complete Plan, one-year individual membership, access to discounted rates to $5 admin fee that gets you 60% off for the first year of an individual membership subscription. So that's a pretty huge discount. We're happy to be able to provide that to both nonprofits and libraries if you're familiar with our other products in our Adobe donation program. We had quite a few limitations and restrictions around what types of organizations and their budget size that could access these had to be budget of less than $10 million, had to be certain types of 501c3 nonprofits.  So it's a great benefit that it's now widely available to most all of our organization types. So we're really thrilled to be able to make it available to everybody. And we're happy that Adobe has made it so open so that anybody can access it. And what you do is you do your admin fee. You can view the details by clicking on that. You can view pay the $5 admin fee which goes to TechSoup to help support programs like this. And then you pay your subscription fee 60% for the first year. It goes down to 40% discount years after, and that's based on the current rate. That goes directly paid through to Adobe. So that happens all through them. So we don't have to be a middle man in that process any longer. And you can access it and get their updates when they're released and not have to wait for annual releases of products and things like that. So it's a pretty great opportunity to get this, especially if you were excluded from the availability of our existing program. Now one thing to mention about the traditional Adobe donation program is that we do still have some products on our site that are available that are the downloadable but installed programs like Acrobat, Pro for Mac, and Windows. And we also have Photoshop Elements and Premiere Elements which I said are those lighter weight consumer grade tools for you to use for photo editing and video editing. Those are available through our regular program that resets as of June 30th. So between now and June 30th, if you're eligible for these donations which again have higher restrictions on which types of orgs are eligible, but if you're eligible you can request up to four different products between now and June 30th. And then as of July 1st you can request another four. So this is your opportunity to double dip if you haven't been able to do that this year. Or you haven't taken advantage of that program. So I'm going to move forward and just highlight quickly what is included with Adobe Creative Cloud. So you can see quickly the different products. This is a full slated platform of all of these things that are available for Windows and Mac. So it's not just getting access to one program or another program. You're getting all of these plus the number of additional ones that I haven't listed out here on this sheet. So I'm not going to read through all of these but it is all the programs that you're probably already familiar with like Photoshop, Illustrator, InDesign, Premier, all of your video editing, photo editing, web building, all of these types of things are included in here. And again just to repeat the plan offers, individual memberships for one year, discounted rates at 60% off the market rate which right now is $239.88 or $19.99 a month. So you can pay it monthly or as a full annual fee. And then it goes to 40% off the current market rate after that. And that's renewed automatically through Adobe. And then it's a one-time $5 admin fee through TechSoup. I'm not going to highlight all of these myths but we have a number of resources like this that highlight and answer questions for you about the Adobe Creative Cloud program and about how it operates. For example, apps run in the cloud, not in my browser, not entirely true. Pretty much all of it is still installed on your desktop and you're just syncing it with the cloud and getting updates from the cloud more regularly so you don't have to wait for an annual release of a product. So there's some great resources in here and we'll link to some additional ones for you afterwards. And again restrictions, all budget sizes are eligible, all 501Cs and public libraries are eligible, and orgs can request unlimited number of individual memberships. So they're no longer limited to four. So with that I'm going to go ahead and move us along to the meat of today's presentation and have Wes take us through Photoshop and some of his favorite tips on how to do amazing Photoshop work and beautiful images and designs that you can use on your brochures, your website, on your Save the Date cards, on your brochures, on your newsletters, all kinds of things. So we love this tool and we'd love to learn how to use it better. So Wes, take it away and tell us about it. Thanks a lot Becky. Hello everybody. As Becky mentioned, my name is Wes Holing. I am a senior content developer here at TechSoup. Like a lot of you, I have no formal training with Photoshop. I sort of learned as I went. I think I started with about CS4 and I've just learned more as I've needed to learn. So hopefully I share that experience with some of you. I'm going to switch over and start sharing my screen here. Let's see, over to my slides one moment. Okay, so as Becky mentioned we'll be covering Photoshop today, some tips and tricks. These are sort of things that I tend to use on a more regular basis. We're going to go from some of the more basic things to the more advanced. It looks like we've got folks that have used Photoshop a lot folks that are still fairly new to it. So I'll try and get everyone covered there. Now let's see, first thing I'd like to start with is just explaining when you should use Photoshop and when maybe another tool might be more advantageous for you. Along with all the other great programs that come in the Creative Cloud is Photoshop Lightroom. It's similar to Photoshop, but it's very helpful for managing and editing entire collections of photos from one place. You can think of it sort of as your home base for photography on your computer. Lightroom lets you sort and tag entire sets of photos to help you stay organized. You can also do some basic photo editing like cropping, fixing distortions or color correcting in images. Every edit you make in Lightroom is non-destructive which means that you can keep the original intact and then save a new modified version and still revert to the original if you want. So we won't be covering Lightroom in this webinar, but if all you're looking for is to crop multiple photos or tune them up, you might consider the simplicity of Lightroom versus sort of the complexity of Photoshop. Of course, there's Photoshop, the kitchen sink of photo editing. You can use Photoshop and you have specific projects that require more than just a simple crop or basic retouch. For example, the layers panel which we'll cover later lets you combine images and lay an image, text, graphic over another one. So you can quickly create panoramas, remove objects, retouch flaws, create unique images from photos, text, video, all of that. And that's all in one application. So the nice thing is too that they really work well together. You can start your photography workflow in Lightroom, bring your photo into Photoshop for more sophisticated edits and then switch back to Lightroom to organize, print, and share your work. So just a quick word on Lightroom there. It was sort of a new experience for me once I switched over to Creative Cloud, once it was an option. I decided to start using it and I'm quite a fan. So I wanted to make a quick note of that. And moving on to some assumptions. This is where I'm approaching it for the audience and so you know where I'm coming from with these tips. On the Photoshop experience scale I'm assuming that folks are around a 3 on average who are attending this webinar and feel free to tell us if that's not the case but based on the experience that Becky asked about earlier. It sounds like there's folks who use it every day or folks that use it on a fairly regular basis. But I'm assuming that you've used it before, that you've used it for the basics like cropping, resizing, combining photos, saving for the web, adjusting certain properties like saturation, etc. But you want to not be more fluent. Simply put, you want to do more with Photoshop. You might even know exactly what you want to do but you don't necessarily know how to get there. So hopefully some of these tips will cover a little bit of what you're looking to do. So let's get into it. So the first tip, of course, know your shortcuts. The best way to get to know Photoshop and what it's capable of is to be familiar with its interface, like very familiar. And a great way to do that is through keyboard shortcuts. These are some of the handiest shortcuts that I use on a regular basis. The ones that aren't as obvious as like Control-S for save, for example. So I'll demonstrate some of these as we go, just not all of them. But let's switch over to Photoshop. I saw that one of our participants is from my home city of Seattle, Washington. So I decided to use a great photo of my favorite city to demonstrate that. So Control-T is a great way to switch to the Quick Transform. Of course, if you've resized images, if you've moved things around, layers within your Photoshop file, Quick Transform brings, and if you can see it in your webinar, there are little boxes in the upper left, excuse me, in all the four corners. You can resize that way, move it around. By holding other modifier keys like Control-Shift, Alt, you can also distort and warp things as needed, continue to resize, etc., all from one keyboard shortcut basically, rather than having to say, okay, well I need to resize it, then I need to move it, then I need to distort it. It's all available from one keystroke. Going back from that, if you're really zoomed way in on a photo, you want to make some adjustments that you don't want to zoom back out, zoom back in. One way you can do that, which I just did right there, was if you hold space and then click and drag within your photo, you don't have to zoom back out and zoom back in. You can just move along to the parts that you want, if there's little details you want to change along the way. Another handy one that's on the same, that's similar is holding down H and dragging. So I'm zoomed way in right now. If I click, it'll zoom me out. I can move over to the other part. I let go of the button. It zooms me right back in. Again, if you're moving across the entire image, the space is a great way to do that. If you're exactly where you want to go, you don't want to keep zooming in, zooming out. H is a great way to do that too. You can also zoom back out here. If you're moving an object, let me resize this so you can see what I'm talking about. So if we have a layer in our Photoshop file and I want to move it, but I want it to stay on the same horizontal, vertical, or diagonal axis, I can do that just by holding Shift when I click and drag it. So if I click and hold down on that while I'm pressing Shift, move it along. If you can see, there is a horizontal rule on the screen right now. That's my horizontal axis and it's moving along. If I do vertically, I get the same thing. I can move my mouse left and right and it will still stay on that vertical axis. It's really nice if you know exactly where you want it to be. You just want to nudge it up a little bit, but not left or right or vice versa. This also works diagonally too at a 45 degree angle. So very handy for being very precise, which the more you use Photoshop or any of the applications in the Creative Cloud, the more precise you want to be with your designs. As some of you know with other popular applications like Word, you can do Ctrl-Z to undo any of your mistakes. With Photoshop, it's a little different. With Photoshop, undo goes back one step. If you press it again, it will go forward one step. It's a back and forth thing. But there is step backward and step forward, which is slightly different than Ctrl-Z. So Ctrl-Z, as I mentioned, will go undo and redo. Ctrl-Alt-Z will step backwards as many times as you need. Ctrl-Shift-Z will step forward as many times as you need. So as you've seen, I've made changes to the image here. If I do Ctrl-Alt-Z, it moves it back. It brings it back to the original size, etc. And if I do Ctrl-Shift-Z, it steps forward all the steps that I've made unlike redo and undo, which just go back and forth.  This is the way to do it. It's Ctrl-Z, Ctrl-Shift-Z. Another handy one too, if you are making things for the web, for your website, for emails, for social media, you want to save it for the web. Ctrl-Alt-Shift, yes, it's kind of a handful, but brings right up to the Save for Web option where you can change the output size, change the quality, change the format. If it's a JPEG, if it's a PNG file, any of that, that's Ctrl-Alt-Shift-S. Getting out of that, moving along to Fill, which is great.  That will bring up your Fill option and I can choose which color I want or a content aware Fill, which is handy and I can get to some of that later. But if I choose the foreground color, I can fill it in, I can enter text there for example, whatever I need. I don't have multiple layers on this, so let me add one and I'll show you the other two shortcuts that I've got listed here. In fact, let me just add this rectangle. Now it's over on the right side here. You can see I've got two layers. I've got the photo itself, that layer. I've got the rectangle layer. If I want to move one in front of the other, Ctrl-Bracket, either one will go forward or backward. And if I have multiple layers, like say I have 10 layers going, and I want to bring something all the way to the front or all the way to the back, I can use Ctrl-Shift and a bracket. That will bring it all the way, arrange my layer to the front or arranged all the way to the back. So Ctrl-Left Bracket will bring it backwards. Ctrl-Right Bracket will bring it forward. Very handy if you don't want to just rearrange your layers panel, drag it all the way down, way past the bottom, and then scoot it all the way down. It can be a hassle. So that's a great way to do that. And the last one, which is I think one of my favorites, if you've got multiple layers in an image and you want to select just one, but there's several that are around it, if you have the Move tool selected, which is handy by just pressing letter V, you can hold Ctrl and move around.  You can select the layer that you want rather than having to choose it from the layers palette, like I said, if you have many, many layers over there. So if you click it, right now I'm on the rectangle. You can see on the right side there are layers. If I continue to hold Ctrl and click the image, it switches over to Layer 0, which is my photo, and back and forth. So you can always tell which one you're on.  So going back to my slides here, I've included a link here under so many more. That will link you over to Adobe's list of all the keyboard shortcuts that Photoshop has to offer. So we need you guys to get the slides later if you want to go ahead and click on that. You can see all the things that I didn't have time to cover today. On the same token of shortcuts, you can also edit your own. I, for example, I always want a keyboard shortcut to crop to a selection. There's of course a crop tool, but if you have a certain size, a certain shape, or just the thing that you want, I like to have a keyboard shortcut just for that. There isn't one by default in Photoshop, but through the Edit Keyboard Shortcuts menu, you can add one. You can see here on the slide, just scroll down the menu item that you're looking to add a shortcut to, click the shortcut, enter it in there, and then it will tell you if there's a conflict you can accept or reject that as you want and assign any shortcut that fits your taste. So moving on to tip number two, and I have to warn you most of these tips have puns in the title, so be warned. Now you've heard of course that you should save early and save often when you're working with files of any kind. It's good advice, but it's easy to overlook when you're working hard. When you're working with layers in Photoshop, it's also easy to add them and rearrange them as needed, but they can quickly turn into a disorganized mess. When you've got more than five layers in a single file for example, it's a good idea to group them as much as you can and name them. Photoshop even lets you color code them for easy categorization. So if these are all of one type of layer or group, you can say these are all the blue ones. So you should also resist the urge to make changes directly to a layer, and instead duplicate them first. This is a lot easier to do than delete a layer that didn't turn out right, or step backward multiple times, or worse yet, have to revert your entire project because you changed the hue early on and now you're the end of your project and things don't look right at all. And lastly, one quick shortcut that makes it easy to check a layer or group is to hold Alt and click the Visibility icon in the Layers Pad. And I'll show you this too. This will hide or show everything but that layer. So let's pop back over to Photoshop and I'll minimize Seattle and bring up this. So if any of you have taken a look at the blog post series that I wrote, the Intro to Photoshop for Nonprofit Series, you might recognize this poster. And if you haven't, I'm going to promote myself here and say, feel free to go take a look. It will guide you through how to create a poster just like this and change out everything to suit your needs. And I think Becky's got something to add to that too. Becky, Wes, before we jump into showing the layers, we've got a request to just explain what they are and why and how you use them just for folks who are a little bit more basic on the line or beginners to Photoshop. Can you give us a description of what layers are and why we would use them? Wes Absolutely. That's a great question. So if you think about editing a photo, just the photo itself, think of that as one layer. If you imagine in a physical space if you have a photograph on the table, then you add an acetate layer on top that's transparent, it's got text over it. You can begin to add different layers on top of that. Those will stack on top of one another and create a visible image. So in this case, we've got a photo in the background, the far background, and that's the girl herself. On top of that, we've got several other objects. We have the lorem ipsum header. We have this box. We have the text that's in the box. We have the logo and the URL down below. Those are all different layers. So they all stack on top of one another and we can rearrange them as needed to show or hide the elements that we want to be more or less visible. Hopefully that answers that question. There is a handy link in the Photoshop blog series that I mentioned that goes to an Adobe page that probably gives a much better explanation than I can on what layers are and how they work. So I recommend checking that out as well. So as far as working with layers, you can see as I pointed out over here in our layers palette on the bottom right, we have six layers. We have the photo, the logo, which is the fake nonprofit organization logo that I made here, the URL that's underneath it, the header at the top, and one that says Rounded Rectangle, and one that says Body Copy. So the Rounded Rectangle is that white box here, and the body copy is the fake Latin. It's real Latin, but fake copy. So this is only six. It's not that much to manage, but in a project in Photoshop you can begin to add a lot of things to an image, especially if you're making something like this which is a poster that has a photograph in the back and then different elements over it. And basically it can get out of hand. So one way to avoid that is to name your layers. So if you click on a layer like the photo, double click the text of it. It will turn into an editable text field. You can rename that as you need. You can also group similar layers. So for example the logo and the URL underneath it conceptually are the same thing. It's one element. I would want to move them together. I would want to show or hide them together. They serve as one thing, although this is an image, the nonprofit organization is one image, and the URL underneath it is text. So they are two separate objects, but they serve the same purpose. I may want to group those. So if I click Logo, I can hold Control and click URL. Now I've selected both of those layers, and you can go up to the Layers menu, or what I prefer, you can just do Control G and that will group them. So there's Group 1. And again just like any layer, I can double click that and change the name. I'll change that to Logo. If I use the arrow that's next to it and collapse that, excuse me, expand that, I can see that they're both grouped as the name Logo. Now I can drag these around together as opposed to just separately. And the same goes for this body copy here, the lower set, etc., and the box that's beneath it. As you can see, those are two different layers. If I select them both, again Control G will group them. I can rename that. And now I've got everything grouped up that's similar. Everything that stands on its own doesn't need a group, and everything is nice and organized and neat. So this will serve two purposes. One, of course, it keeps your sanity. And two, if you have to send this to somebody else, if you send this to a printer for example, or somebody, maybe you've drawn up a mock-up of something, how you want it to look, you send it to somebody else for them to do some more work on. You don't want to hand them a mess. That's something that just makes sense to you basically. So this is a good way to make it clear and presentable. I also mentioned that you can change the colors. Of course, you can color code them. This is really easy to do. There's a little icon next to each layer, the little folder for groups, and then the P for text, the photograph thumbnail for photographs. For any layer or any group, you can right-click that icon, and then choose a color, red, orange, yellow. They don't affect the outcome of the image in any way. This is just for your own reference. So these two elements here are both copy related. I can say that they're red. Now I've assigned red to both of these. Just a handy reference in case you need it, in case you start to really have 30, 40 layers going on, a big project. This is a good way to just keep everything organized. As I also mentioned, one tip that I don't always follow myself, but I should, and just in the same way as always should get my taxes done early this year, and I never do, is to always duplicate your layers. So if I think, okay, well the photograph here needs to be brighter, darker, the saturation is off, the hue is off, anything like that. I want to make a change. Always best to duplicate your layer before you make the changes because if you get it wrong, you want to see how it looks, you want to come back later, you want to just try it out and test it out. That's always a good practice. So if I select the layer, I can right-click it. There's a lot of options. Duplicate Layer is up near the top and belongs there. So Duplicate Layer, I click that. I get this option to give it a name, photograph copy of as good as any, so I'll just say okay to that. Now I have two. So if I make a change to the image, and the things I'm going to change here, I'll be showing later too. But I'll just make the change now so you get the idea.  Now I've got two versions of it, and well, that doesn't look great. I don't like how that looks. Let's delete it. If you go back to the original, I like that much better. And I haven't ruined anything. I don't need to step back. I don't need to undo any changes that I wanted to keep along the way, any of that. So always good to duplicate along the way. And then the last tip for layers that I have, as I mentioned, you can hold Alt or Option for you Mac users, and click the icon to see only that layer or group, and then vice versa. So we've got four items here in the Layers palette. If I hold Alt and click the Visibility icon, this is Eyeball, I only see the text. I continue to hold Alt. I click it again. Everything comes back. Same thing for any groups. That's hard to see. That's a little easier. Holding Alt while I click the eye will only show that group. Click it again, bring it right back. And of course this works for without holding Alt, just clicking the eye will show or hide that particular layer or group. So a lot of options with layers. You can always play with them. There's plenty more in this palette that you can see. I won't be covering any of those, but always good to stay organized. So that's tip number 2. Let's switch back over to my presentation. There we go. So let's talk about fixing up photos. So title of some, maybe she's born with it, maybe it's Photoshop. Three really handy tools that are pretty basic. I mean you can really dive into a lot of the nitty gritty of Photoshop when it comes to fixing photographs that have just something slightly off, but these are some of the more common ones that I've run into. So first of all, the red eye tool, obviously is what it sounds like. You can clear out red eye from any photograph that was taken perhaps in low light or just bad lighting. Still get that red eye effect. I know I take a lot of photos of my dogs. I see a lot of red eye with the dogs for some reason. So Photoshop or Adobe have thought ahead and added a tool just for that. And I'll demonstrate that later along with the rest of these. So I'll just cover the other two before I hop back over to Photoshop, including the human brush tool which is useful for fixing up spots against a neutral surrounding. So if it's on a sort of flat or similar color in the background, Photoshop can automatically detect that there's something a miss in the section that you've selected and then remove that and fill it in automatically or automatically as we tend to say around here. And then a similar tool is the clone stamp tool which predates the other two but is really handy for cleaning up some of the same spots against a more complex or patterned surrounding. So if you're thinking of like a pattern on fabric or against like in a field where there's a lot of grass, a lot of neutral blades of grass, it's not quite as clear as a clear blue sky for example. So I'll switch back over to Photoshop and demonstrate some of these. Oh, that's coming later. So let me get ahead of myself. Let me bring up the red eye example. So this is a clear example of red eye in photography, not pleasant. But if we select over here on the left, there is the red eye tool. And that's a little scary looking. If you look at it too long, so I'll fix it as fast as I can because I'm having a reaction to it. From this fly out, the red eye tool is at the bottom. Also accessible by pressing the letter J but you select the red eye tool. And my inclination is always to just select only the red but Photoshop is more intuitive than that if you select the entire eye. And I'm not sure if you can see the dotted line around it but I've started from the upper left of her eye and I'm going to the bottom right of her eye. Select it, let go. It'll process finding the red eyes. And then you can see she has one normal looking eye. A lot better. She looks human again. Same story with the other one, selecting from the upper left corner to the bottom right. Let go. It'll process. There we go. Now she's human again. So very handy for obviously if you have a great photo of someone from your organization you want to use it in your promotional tools. But there's one glitch. This is a great way to fix that glitch. The second tool that I mentioned was the Healing Brush tool. So let me bring that one up. And this is a photo of me and my friend Joe looking, well we're trying to look cool but obviously not. And I chose a photo of myself because as much as I'd like to find a photo of someone else with a blemish that's not fair to them. So better to pick on myself. So from the same fly out as the red eye tool there's the Spot Healing Brush tool right here. So let's select that. Upper left here there is an option for the brush size. I'm looking to fix this part on my forehead. If you can see in the webinar the brush size is pretty large for that. So I'm going to want to scale that down. So that's where this comes in handy. I choose the brush size. I'm going to go down to maybe about 60 from 100. And there's no right answer to that. It's just trial and error experience and all that. So that looks like it will cover it up pretty well. So if I just do so much as click it, magically gone. I look like a little better at least. So that's a very handy one if someone in your photos has a blemish that day or something that you don't necessarily want to be dishonest with our photographs. But if you're concerned that the photo of the person you want to use, perhaps your CEO has something that is distracting to the eye. And it's not the purpose of the image that you want to send out. This is a great way to keep the distraction away, keep the focus on your message. And the last one that I wanted to show is the Clone Stamp tool. So I'm going to bring up an example of that. Now in this case we've got a hand with several grains of salt in it. Not that you would need to fix an image like this, but it's a good example of small detail against a complex surrounding. So if I zoom in, weigh in, this is a high resolution photo, you can see individual grains of salt against his palm print. So there's a sort of pattern here where the spot healing tool might just sort of make this smooth which would look weird. You wouldn't have a smooth patch in your hand. You would have fingerprints, hand prints, things like that. So that's where the Clone Stamp tool is handy. So just down from the flyout that we had earlier, we have the Clone Stamp tool right here. What Clone Stamp does is you can sample part of the image from elsewhere and then we basically paint that over another part of the image. It's kind of a weird concept so I'm going to go kind of slow through this one. So apologies to anybody who's used this many, many times. But same concept as before with the spot healing tool which used the brush size that we want. So 65 pixels for this particular grain of salt looks about good. It'll cover that area. You don't want it too big because you'll cover more than you need it too small. You'll be at it all day. So that looks about good. If you hold Alt or Option from Accusers and select an area that looks similar in color, in pattern, any of that, something that will be good to replicate over that particular grain of salt right here, we can paint over it with another part of the image. So I'll hold Alt. You can see the cursor changes to this crosshair. I click where I want to paint from, the source, let go, turns back to the brush. And you can see as I move around, there's sort of a hover going on of that other part of the image. And so just like with any paint brush, I just paint over it, let go. And now it's gone. It looks like part of his hand. It actually looks like a very specific part of his hand. But you can fix little details like this in any image. Say for example if you have historic photos that you want to share, but they've got creases or nicks in their corners. They're great photos, but you're worried that people perhaps will be distracted by those. You want to bring back the vibrance of that particular photo. This is a great tool to use that for too. So you can sample perhaps the border where there's no crack, paint over it. And it looks like, well not new of course, but it looks a lot cleaner. So we can continue to use this elsewhere too, finding things that we want to remove. So for example this next grain of salt here, I can hold Alt, click in this area, bring it back over, paint. It's not perfect. I might need to redo that as I go. But it's sort of trial and error finding the part of the image that will serve as a good source for the part that you're painting over. Becky, you've got something to add? Becky Sure. Well I just wanted to mention to be careful with this one. As Wes was saying it's an art form to be able to get this right. This seems to be the tool that people overuse, and then you can see weird distorted swooshes in their images if they don't pick a new spot to clone from. As they clone something if it's big. So I would definitely err on the side of minimal use so that you don't have distorted things in your images. We had a couple of questions come in that I just thought I'd field right now since it's related to this. And we have some folks who are on slower internet and it will hopefully let them catch up with what's rendering on their screens. But Virginia asked what zoom percentage is best to work with if you're keeping photos small. But sometimes do you have to zoom to something like 400% or do you have any recommendations around zoom? Wes Yeah, that's a really good question. A lot of times when you don't have access to the highest resolution photos, you kind of have to work with what you've got. And working at TechSoup just like any nonprofit, it's an old story of working just with what you have. So for images that are lower resolution, what I recommend as far as zoom, there's no right number on the amount of zoom I tend to just like to have whatever I'm working with, perhaps those grains of salt on the man's hand, right in the center takes up maybe half the screen of the area that I'm working on and then leaving the rest of it outside just for context basically. Again, no magic number on the percentage but just whatever is comfortable for you. If it's a low resolution image, the more you zoom in, the more it's going to get obviously. So sometimes what I've found is handy is if someone has provided you with an image, ask them if they have a higher resolution version. Sometimes they just grab something from Facebook for example. Well, Facebook will shrink something down. You can get the source sometimes from the person that uploaded in the first place. There's no magic bullet on that one unfortunately. So hopefully that provides you with some answer. But were there other questions to field, Becky? We do have a couple of others in the queue but it's like to keep us moving forward since we're only a few tips in and I want to make sure we've got time to get another couple before we go to Q&A. Perfect. Well, I do appreciate the questions. So feel free to keep those coming. That about does it for the image tune up tips. Of course, there's a whole industry around cleaning up photos for fashion magazines and all that kind of stuff, removing shiny foreheads and all that. So there's a lot of great tutorials online. In fact, those are probably the most common tutorials you'll find. So if you're looking for great ways to clean up images of people, you can find a lot of those online for very specific needs too. So I encourage you to search for those too. But those are just some of the basic ones that I tend to use on a more regular basis. So switching back to our slides, next up is Alignment and Distribution. Of course, this pun isn't available to you and you may not have played Dungeons and Dragons. If I'm not already nerdy for giving a Photoshop webinar then mentioning Dungeons and Dragons and it certainly won't make that apparent. So first up, Alignment. There's a difference in Photoshop. Well, let me back up a little bit. When you're working with multiple layers, sometimes you want to align them all the same way, always to the left or all to the right, top, bottom, any of that, or even horizontally and vertically align them with one another. And I'll demonstrate this in Photoshop, but it basically lets you align layers among one another and distribute the space among them. And the difference is that too, align layers, you need at least two and it will move all but the one that's in the farthest direction that you want to move the others. Now that might seem a little vague, so again, I'll demonstrate that, but I'll at least give you the explanation now and then show you what I'm talking about. As far as Distribution goes, you need at least three layers and then it will distribute evenly among the two that are on the most extreme. So if you want to center something, it will grab the farthest left, the farthest right, and align the third one in the center. And this applies to the top, bottom, left, right. You can also align or distribute to vertical and horizontal centers. So enough talking, let's show it. Let me bring up this alignment example. And this is really basic. This is just three, let me get this out of the way. This is just three squares. Let me move this unnecessary layer out of the way so it's clear what I'm talking about. We've got three rectangles and you can see over in the layers palette there's rectangle one, two, and three. It's the blue, red, and yellow respectively. And if I want to align any of these to one another or distribute the space, you can do that by dragging them along. But it's kind of imprecise if you're in a hurry too. This is a great way to get them all lined up to one another. So if I select for example rectangle one and rectangle two, up at the top there are six options here for aligning. They're aligning to the top edge, the vertical center, or the bottom edge, and then same thing with left, center, and right. So if I want to align these two objects to the top, just this one button here, Align Top Edges, will bring the red rectangle up to the top of the blue triangle, excuse me, blue square, align the same rectangle. It will bring the red to the top of the blue because the blue was the topmost of the two. Now back up, I can do the same thing with left, for example. I can align them to the center. Now of course there was no extreme in that case. There was two objects that's going to bring them both to the same center. It's going to find the average of the two and bring them together. Right of course, bottom, and the same thing with the vertical center. It's going to find the average of the two, bring them down to the same place. I can also distribute them. If I want to keep, for example, the blue and the yellow in the same place, but move this, the center red one, I can select all three. And now I've got these other options that weren't available previously. This is the distribution. I can distribute along the top edges. So it finds the top edge of the blue, top edge of the yellow, and then aligns the red top edge to that as well. I go back. I can now distribute horizontally. It's a subtle change, but it's finding the average horizontal position between the two. So the center of the blue, the center of the yellow, and then aligning the center of the red along there. So this becomes pretty handy for making things look symmetrical in an image. You can always tell if something is a skew, it's distracting. If you have logos, for example, or text in your image, you want to line everything up all together on the left side, the right side. This is a good way to do it.  Well, this isn't lined up because maybe you did it by eyeballs. This is a great way to keep it all perfectly lined up. So let's move on to adjustment layers. So instead of insurance adjustment, this one's adjustment insurance. When you're making adjustments to a photograph, you may want to change something like the hue, the saturation, changing the color, maybe make it black and white, or just slightly desaturated, things like that. It's very tempting to just make the changes directly. And this is where the tip that I mentioned in tip number one about duplicating your layers is a similar concept here. You want to make your changes as non-permanent as possible, something that's non-destructive is the proper term for that. So you can make adjustments directly to a photograph if you're convinced that's what needs to be done and you're done. But if you want to play around, if you want to adjust things, see how they look, tweak them, you're not entirely sure how it's going to end up. Adjustment layers are a great way to do that. You can, let's see, hop over to Photoshop and I'll bring up an example of that. So this is my dog, Charlie, as I mentioned, I take a lot of photos of my pets. I think if anyone has a pet, it probably does. Now if I want to make a change to this, let's say, let's find one. Let's change the hue on this. So we can go up to the image menu, choose adjustments, fly out, and then choose the hue and saturation and that will bring up this windmill. There's a preview checkbox here which is always good to have on so you can see your changes in real time as you make them. But if I decide to change the hue, that's adding a little more blue, purplish, and then bring down the saturation, you can see how it is now versus how it was before. So I've brought down the amount of color and I've changed the colors that are present and say, okay, well, now that I've accepted this change, if I do anything on top of it, I have to either revert back to the original if I change my mind later, which of course this isn't nearly as good as it was. And I lose those changes that I made along the way. So what I recommend instead doing, I'll undo that, Photoshop includes adjustment layers which just like we have layers for adding a photo, for adding text on top of something, you can add a separate layer on top of an element that will make those adjustments for you and they're not permanent, which is great. So those are accessible from the window menu and then there's adjustments that's already checked and that pops up over here. So we have all the same options that we did on the adjustments fly out. We have brightness and contrast, levels, curves, exposure, etc. The one that I just used is hue and saturation. So if I just click that, you can see it adds a new layer right here, right above the photograph, hue and saturation 1, and everything except is zero. So nothing looks any different yet. I can adjust these sliders. So I brought up the saturation. I've increased the brightness of the image and none of this is permanent, which is great because again, if I make other changes to the image, I add more text. I do something else and I decide that, okay, the changes I made now don't work well later with the other changes that I made. I can come back and adjust these without any damage to the original photograph. And you can see by turning off a visibility of this particular layer by clicking the eye which I covered earlier, there's the original just as it was. I turn it back on. Now I can see that it's brighter. The saturation is a little higher. And if I decide that perhaps I want to desaturate it a little bit, a lot, I can still do that. Again, no harm on that. The original is still there, still present just as it was. So just now there's always a good way to go if you want to make sure that your changes are nondestructive. So let me switch back over to tip number 6, matching your colors. If you have a photo that doesn't have the right color palette that you want, there's a great and easy way to do that if you already have something that looks how you want the original to look as far as color goes. And these are the four steps here. I'm not going to go over them right now. Instead I'll show you. But these are handy reference if you grab the slide deck later. So let me minimize that and I'll bring up two images. Here's a photo of a man helping some children at an event. Let me talk about this for a moment. So it's a great photo for something like a brochure for the web if you want to demonstrate. We're having an annual event. Here's a photo from last year's event. Come down, bring the kids, etc. But the problem with the image is it's kind of washed out. There's not a lot of vibrant color to it. You can adjust the hue and all that as needed, but it's a lot of trial and error. So what I like to do is grab an image that already has the colors that I like and then match it to this one. So in that case I'll also bring up this picture which has great color to it. Let me get this out of the way. So while I'm playing in the dirt there's a lot of warm colors to it which I like. So if I want to take the color palette from this and apply it to this more grab one, it's very easy. Just have them both open at the same time. Go up to Image, and then Adjustments, and Match Color. From here you've got a lot of options and I'll go over those in a moment. But the first thing to do is to select as the source the image that you want to match it to. And I can see as soon as I chose that the image looked a lot better. It brought in those colors from the original and matched it to the image that I've got here. And in case you missed that I'll toggle back and forth. So this is the preview with it on, without, with, without. So already like a lot better. And you can adjust the amount of this color that you're bringing it to. The luminance, it's really bright. I brought the brightness up a lot of the brightness from the original or lay down if it's too much. I kind of liked it where it was. So I'm going to bring that back. You can also change the color intensity. So this is sort of like a saturation if you really want those colors like vibrant. In this case though I think the colors like the skin tones are almost a little neon. So I might bring that up just a little bit to about 120. But there's no right answer on this. This is always just like a lot of things in Photoshop trial and error. And if the image itself is a little too much you can also adjust the fade which is sort of the overall amount of the settings that you've chosen. So I can bring that way up and you can see it begins to become more pale again. So I'm going to bring that all the way back down. I like this image. I like how it looks now. Again that's without and that's with. So you can do this with, it doesn't have to be photograph to photograph. If you have a piece of art for example, like a painting or something then you can use that to bring in the colors too. So let's switch back over to Becky. Becky I hate to have to cut us off but we are at almost the top of the hour and we have managed to answer a lot of questions in the back. So I'm actually going to stop screen sharing. I know I hate to do it but I don't want to keep people on past what we promised. Just know that in Wes's slides he has some other items that he has listed out as tips and he has steps on how to do them for things like smart objects and enhancing images that are blurry and using curves and things like that. So definitely look to those slides and I'm going to go ahead and show a couple of final resource slides just so you know we have a lot of additional resources, a whole bunch of tutorials that you can access. Adobe has Adobe.tv which has lots of great videos to show you how to do short things but short videos to show you how to do things like removing the background from an image, lots of things like if you need to get rid of the shine on something, lots of great topics there. We've also linked to some of Wes's favorite resources and as well as his series, the five-part series that shows a full introduction step-by-step of designing your own poster for your nonprofit or library. And then we also have a comparison for those of you who aren't sure if you want full-fledged Photoshop or if maybe you can get by with using Photoshop Elements. We have a comparison article that lists out some of the features that you gain with full-fledged Photoshop versus things that maybe you don't need. So it really depends on your own needs. We want to make sure you're picking the products that are best suited to your organization's needs. I'd like to invite you to join us in our Adobe Creative Cloud forum thread and we'll chat this link out as well where you can ask more questions and keep the conversation going. Additionally, we have some resources about Adobe Creative Cloud so we mentioned it at the beginning as well as the Adobe Donation Program, some articles comparing what's new, what's different, answering technical questions, Adobe's Learn and Support. Lots of resources here. Go ahead and if you can, chat in one thing that you learned today that you're going to try to go ahead and implement at your own Adobe Creativity. Let us know what elements or items that he mentioned you're going to try and work on a little bit more to improve your own scaling capacity. And I'd also like to invite you to join us for upcoming events including another Adobe event coming up in July. So we have next week what's new with Office 365. So if you're interested in that tool feel free to come and join us to learn more about that. And then we'll have a global tweet chat on Big Data and Social Change on Twitter. So there's not a link for that so you can follow the NP Tech Chat hashtag to learn more about that. And then we'll have a webinar on July 9th on using Google AdWords to drive impact so if you're looking for Google Ads and hoping to use them for your organization, join us. And then we'll have a crash course in Adobe Creative Cloud with Adobe's Paul Trani who is a renowned expert in presenting and making all kinds of great videos and content to train people on using Adobe. And so we'll be looking through the whole Creative Cloud platform or at least many pieces of it. So we hope you'll join us for that. Thank you so much Wes. We really appreciate it. I'm sorry we didn't have time to get through all of his tips today but they are in the slides. Please look to those because they do have some step-by-step instructions for things like enhancing what's step one, what's step two. So a lot of resources in there. Join us at TechSoup Global, TechSoup.org, and on our Facebook and Twitter. And please join us again for upcoming webinars. Lastly I'd like to thank ReadyTalk for the use of their platform. They've provided it for us to present these webinars to you on a weekly basis. You can learn more about their donation program with TechSoup and the ReadyTalk 3000 tool that we're using today at TechSoup.org slash ReadyTalk. When you close out, please take a moment to complete the post-event survey so that we can continue to improve our webinar programming. Thank you all so much and have a terrific day. Bye-bye.


I try litting one eyelid close at a time while I prop the other with my will. But the effect is too much. Sleep is winning. My whole body argues dully that nothing, nothing life can attain is quite so desirable as sleep. My mind is losing resolution and control. Flying solo for 33 hours and 30 minutes straight. His objective was to be the first to fly nonstop from New York to France. While Charles Lindbergh made history by traveling over 3,600 miles across the Atlantic, he also provided the aviation community with insight as to what it's like to fly when one is deprived of sleep or simply too tired. Got to. I mean I can't call the guys this late. You didn't fly when you're like this.  Do you have a fever? I've been in a lot worse shape than this and flown and everything turned out okay. I think there's something else that's bothering you. What's wrong? From such early beginnings, scientists have learned that fatigue is dangerous, especially when one is unaware of the conditions that cause it. Clinically, fatigue is defined as a state of diminished physical or mental efficiency. Numerous occupations necessitate that their employees conduct shift work. Changes are just now beginning to redefine what is considered appropriate work limits aimed at reducing fatigue on the job. In aviation, commercial pilots are familiar with working alternate time periods while factoring in the crossing of multiple time zones and changes in work schedule. However, it must be realized that any pilot that is fatigued before flight applies to subject to the same dangers as the commercial pilot flying long legs over multiple time zones. It's important to recognize that employees who work shifts may be affected by both short-term and long-term fatigue. Shift workers subject themselves to increased risk of lowered alertness and reduced performance capacity, especially during the first few days following a shift change. Because of the natural tendency for humans to want to extend the day, it appears that it is better to shift forward in a time change or move clockwise when changing to a new shift. Short-term fatigue, also known as acute fatigue, is typically experienced at the end of a long, hard day. While long-term fatigue, also referred to as chronic fatigue, develops over a period of time, it can sneak up on you and it has serious physiological and psychological effects. Fatigue is something that affects everyone, particularly those in the aviation community. A NASA study of regional airline pilots found that 89% rated fatigue as a moderate to serious concern. 88% say that fatigue is a common occurrence. And 86% of regional airline pilots report that they have not received any training from their companies on the topic of fatigue. Here are some observable effects of fatigue. Loss of appetite, weight loss, insomnia, depression, irritability, slurred speech, apathy, physical and emotional isolation from others, decreased alertness and attention. Those factors that affect one's tolerance to fatigue might be divided into three categories, individual, environmental and operational. Individual fatigue tolerance factors are those features that are very specific to each person. Individual fatigue takes into account poor physical fitness, poor sleeping habits, improper diet and inadequate nutrition, dehydration, excessive body weight, drug or alcohol use, use of medications, non-prescription and prescription, excessive caffeine consumption and use of tobacco. Environmental fatigue tolerance factors involve those aspects that can affect an individual in their immediate surroundings. Environmental fatigue is caused by family, work environment, bad weather during flight, noise, vibration, G-forces, high and low ambient temperatures and low humidity. The last fatigue tolerance factor is operational. Operational factors include the type of work performed and when it is performed. Examples of operational fatigue include heavy work schedule, multi-time zone operations, shift work, night operations. Obviously, there are many factors that can affect one's susceptibility for fatigue. The major causes of fatigue are emphasized by sleep loss, work schedules, circadian rhythm disruptions, recreational or extracurricular activity. During sleep, the physiological and psychological functions of the body get refreshed. Some very interesting but basic concepts have been derived from sleep research studies which are useful when learning to limit personal fatigue. Sleep is as necessary as food and water. Humans require about 7 to 8 hours of sleep each day. Your personal sleep requirements may vary and the amount and quality of sleep you get is likely to change throughout your lifetime. Because of these changes, people tend to underestimate their sleep requirements. Sleeping fewer hours per day than in what is required results in sleep loss or sleep deficit. This loss is cumulative and results in sleep debt. However, to successfully recover, a person does not have to sleep the same number of hours that were originally lost. The most notable recovery feature from sleep debt is an increased depth of sleep rather than an increased duration. As one might imagine, there are several causes that contribute to sleep loss. They include, circadian rhythm disruptions, sleep disorders, use or abuse of alcohol and drugs, excessive consumption of caffeine, bad sleeping habits, an uncomfortable sleeping environment, use of sleep aids. Over time and with age, nighttime sleep becomes shorter, lighter and more disturbed with more awakenings. Regardless of the cause for sleep loss, the physiological effect is fatigue. Some normal daily activities may disrupt normal circadian rhythms, which may lead to sleep loss and fatigue. Circadian rhythm is defined as a biological cycle of approximately 25 hours. This rhythm determines the physiological behavior or activity levels of all body functions. The succession of day and night, changes in ambient illumination, the timing of meals, as well as physical and social activities all affect the circadian rhythms of the body. As a pilot, the greatest threat to your circadian rhythm is flying through multiple time zones. A rule of thumb for time adaptation is this. For every one hour of change, one day is required for adaptation, with complete adaptation taking at least three full days. It is easier to adapt to time changes for westbound flights because it involves extending the workday, rather than eastbound flights, where the day is shortened. Since everyone is physiologically different, factors affecting adaptation rates will vary with each individual. Vacations, social events and recreational activities tend to disrupt normal sleep habits and circadian rhythms. As a result, we tend to overestimate our energy levels during these functions. The fatigue problem begins when we are required to return to our routine schedule after participating in such activities. So how does fatigue affect performance in the flying environment? Persons suffering from fatigue are more apt to demonstrate these symptoms. Channelized attention. Poor judgment. Slowed reaction time. Inattention. Ease of distraction. Technical errors resulting in task saturation. Fatigue is a safety of flight issue. It's important that you learn how to recognize it, deal with it and know the preventive methods needed to reduce fatigue. Starting with good physical fitness. Adequate food and sleep. Adequate rest and relaxation periods. Under normal flying conditions, you may be able to handle any situation or solve any problem that develops. The concern is how you react to an in-flight emergency or a highly intense period of stress when fatigue is present. Hey, do you have the report ready yet?  It's not even due till tomorrow. Whoa, calm down. I'm just checking the status of the report. Is everything okay? Man, I'm sorry, I'm sorry. I'm just tired. I haven't had enough sleep in the last couple of nights. So why haven't you made getting enough sleep? The Federal Aviation Administration requires pilots to have at least 8 hours of rest in a 24-hour period. This may or may not be enough to recover fully. You're your own advocate. Research shows that pilots are poor judges of their own fatigue level. A family member. Well, you're not going to fly today, are you? A good friend. Man, you look beat. Should you be flying today? Or another crew member may be able to assess your level of fatigue better than you can. Get someone else's input before putting yourself behind the controls. As a review, fatigue is defined as a state of diminished physical or mental efficiency. Pilots and crew members may be affected by both short-term and long-term fatigue. Some observable effects of fatigue are loss of appetite, weight loss, insomnia, depression, irritability, slurred speech, apathy, physical and emotional isolation, decreased alertness and attention. The factors that affect tolerance to fatigue are individual, those that are specific to each person, environmental, those that can affect the individual in their immediate surroundings, and operational, factors from the type of work performed and when it's performed. The major causes of fatigue are sleep loss, work schedules, circadian rhythm disruptions, recreational or extracurricular activity. The unfavorable effects of fatigue on flying skills are channelized attention, poor judgment, slowed reaction time, inattention, ease of distraction, task saturation. Pilots are poor judges of their own fatigue level. A family member, a good friend or another crew member may be able to assess your level of fatigue better than you can. I'll tell you what I'll do.  Get someone else's input before putting yourself behind the controls. Fatigue is something that can be prevented by taking appropriate pre-emptive measures. Plan to get enough sleep. Do what you need to do to ensure quality sleep, even if that means wearing earplugs and an eye mask. Eat well and exercise. Reducing your chance for fatigue potentially reduces costly errors.


Hey guys, what is up? Welcome to my channel. For today's video, I'm going to be talking about my top 10 eyeshadow palettes for spring. So if you want to see what my top picks are, then just keep watching. Hi guys, if you're new here, my name is Morgan. I am a product knowledge enthusiast. I just love knowing anything and everything about all of the new makeup on the market and sharing my thoughts with you guys.  So I will link it down below. I actually had to take a couple out from this video, so it could be different than last year's. When I do these videos, I try and do an even range of old palettes, new palettes, inexpensive, more expensive, all that good stuff. I just like to have a nice even mix of every category that I can give you guys. More than anything, this type of video is just to encourage you to pull out palettes that you already have. You of course aren't limited to the colors that you wear every season, but it's always fun to kind of stick to a theme. You know what I mean? So when it comes to spring, my thought process is pinks and purples, pastels, really light colors on the eyelid. So that was kind of my inspiration for the palettes that I chose. My palettes are in no particular order other than alphabetical order, so that's how I did it for this time. So the first palette that we have is from Anastasia Beverly Hills. This is the Norvina Volume 4 Collection, and I really enjoyed the Norvina palettes. I know a lot of people were overwhelmed by them, weren't so crazy about them, but I really liked them. But this one was my least favorite by far of the four. I felt like this one didn't have as good quality as the first three. Nonetheless, you can absolutely get very beautiful looks with this palette. You can see this palette sticks in the purple and pink range, making it perfect for the spring. I haven't reached for this very much since I reviewed it when it came out last year. So this is my reminder to myself, this is the perfect time of year to pull this guy out. You can get pretty neutral brown looks with this corner right here, and then you have an abundance of pink tones, neutral tones, and of course purple tones as well. So if you have this palette and you picked it up last year, this is a good time to pull it out. You have a lot of options for this upcoming season. The next palette that I chose is fairly new. It's very affordable, and it is perfect. This is the BH Cosmetics Lost in Los Angeles palette. And as you can see, we have a lot of pastel tones in here. We have some fun pops of orange and peach for the spring. You can get pinks and purples. We even have some greens in here as well. This is the perfect spring palette. This is one of the ones that I'm most excited to share with you guys because it's so affordable and the quality is so good. BH never ceases to amaze me with their quality and how they can keep it to such an affordable price. Everything from the packaging is really cute. It's very lightweight. It's very compact, but they still manage to fit 12 colors in here. One, two, four, eight, twelve, just kidding. But they still manage to fit 16 colors in here. And the shimmers are so pretty and multi-dimensional on the lid. This is one of the palettes that I highly recommend. Like this video isn't made for you to go and run out and pick up new palettes. But if there was one palette that I would highly encourage you to run out and get into this one because it's not going to break the bank and it's just amazing for the price. And it's just perfect for this time of year. Moving on to palette number three. This isn't ranked though. Remember that, okay? But the third palette I'm showing you today is from BK Beauty. This is the True Beauty Eyeshadow Palette. And this one is more soft than the other palettes that I'm going to show you today. So if you aren't so into wearing really bright colors for this spring, you like to stay in the more neutral everyday kind of tones. And this palette is going to be perfect for you. It doesn't give you punches of pigment. It's more of a soft formula. It's going to give you more of a wash. This purple right here is really pretty. And if you have this palette, try and dig into this guy a little bit more this season. But you can see we have some more pinky neutral tones here. And then you get a little bit more brown down here. I think this is a really great palette for this time of year if you are still trying to stick to more neutral colors. And I just wanted to bring some attention to this because when I first saw this palette, it didn't exactly scream spring to me. But that's the beauty in it is it's great because it's everyday, but you still have those springy kind of undertones to them. I had to pick out at least one color pop palette because they have so many. So I decided to go with the Blush Crush palette. This one is exactly what it sounds like. It has a lot of blushy tones to it. This one I'm excited to reach for because I haven't reached for this much in the past. And this truly is the perfect time of year to grab for it. And you can also use it as it blushes on the face as well. Like I can see this palette being quite versatile. You have some mauve tones here. The shimmers are really beautiful. Overall, this is a very nice quality palette from ColourPop. I believe it's only $14 at Ulta. So it is also a more affordable option that I can give you. And the packaging screams spring. You have beautiful flowers everywhere. And I just think that this is such a soft, pretty palette for this time of year. The next palette is an older palette. It's actually on sale on Sephora for 50% off. So if you have been wanting this, this is a good time to grab it. It's only like $22.50. Or if you bought it and you haven't dug out for it. The Dominique Cosmetics Rustic Glam is a fun one. Now this one is a little bit more deep than some of the other palettes that I'm sharing with you today. This is definitely the most unique kind of looking around at what I have. Because you have a lot of different colors in here. You have the pinks and purples, which are typical in this video. A lot of my palettes that I'm giving you are pink and purple. But you can also get some warmer kind of looks as well. You have some green options, a couple blue options as well. So this palette is quite versatile. And I thought it would be a really fun palette for spring. It's a little bit more colorful while still having very wearable options. And I do really enjoy the formula of this. I don't know. Dominique Cosmetics seemed to have changed and evolved a little bit over the last couple of years. So this one's kind of more of the OG Dominique Cosmetics kind of vibe. And this is a palette that I definitely didn't reach for enough. So now that I've put this out, I'm going to leave it out on my desk. I'm really excited to see what looks I can create with it. Because it truly is a palette that inspires me. So this is a great one that's going to make me step outside in my comfort zone. And I plan on using this this spring a lot. The next palette, again, is an older one. But I couldn't think of a better palette to fit into this time of year. This is the Lime Crime Venus XL Volume 2 Palette. And first of all, the packaging itself really does scream spring to me. And when you open it up, look at these beautiful muted tones. So these all kind of underlie in the pastel colors. But not an obnoxious vibrant pastel. These definitely have more of a neutral tone to them. A little bit more earthy as well. So you have some pinky tones, a lot of sage tones, very light green. And so this one is also a unique one compared to the other palettes that I have. And it's such an inspiring palette to me. I really don't have another palette that looks like this with these colors. This palette really reminds me of a bigger version of the Natasha Denona Mini Retro Palette.  So I highly, highly recommend this. If you like the color story, it's really beautiful. And if you have it, make sure you pull it out. I'm really excited to use this one. Next up, I wanted to bring a semi-newer palette. And I wanted something Pat McGrath in this lineup. So I decided to go with the newest Pat McGrath Labs Quad. This is called the Eternal Eden Quad. And essentially what it is, it's just a rosy tone palette. Now if you want to use your Pat McGrath palettes this spring, really anything in the Divine Rose collection, whether that be the one too, or this one is going to be perfect for this time of year. So this quad I haven't reached for a lot since it released. So I feel like this is something that I'm going to use when I travel. Maybe. I'm vaccinated now, you guys. Give me two weeks and I'll be good to travel domestically. So this I feel like is one palette that I think is just very portable, very spring-like, but still pretty neutral base. But anything really in Divine Rose line will be perfect. But I did want to bring some attention to this guy because I forget about the quads. So if I forget about them, maybe if you also forget about them, I just reminded you. Three more to go. So this next one, I've talked a lot about this palette at its counterparts, but I wanted to bring some attention to the Rare Beauty Magnetic Spirit eyeshadow palette. They were coming out with a new one, but anyways, this one came out during the holidays. And this is just so perfect for spring.  That doesn't matter. You can still get full looks despite them all being shimmers. They still look great. And this is an affordable eyeshadow palette for a high-end eyeshadow palette. It doesn't immediately break the bank. It's about $25. I think these probably might go on sale soon because they were limited edition and it's a holiday palette. I mean, don't quote me on that, but I do think I can foresee this going on sale. But anyways, how pretty is this for spring? You have a peachy tone, more greeny tone, and then you also have the purple tones here. I originally wasn't expecting this palette to end up in this video, but when I was looking through the palettes in my collection, I opened this and I really thought that this would be a fun one to wear this spring, which is weird because this launched over the holidays, but I really think it's more fitting during this time of year. And I don't know, when I saw this, I kind of thought it looked cheap. That was before I tried it and I wasn't sure. How the quality would be? I'm here to confirm for you that the quality in this is really nice. I really enjoy this palette. The next palette, in case you've been wondering what is on my eyes, it is from this palette and I know a lot of you guys are also excited to use this palette. It is the Sydney Grace and Mel Thompson collaboration and this is the Tiny Marbles palette. Now, this palette goes back in and out of stock. It sells out pretty quickly, but if you can get your hands on it, I highly recommend it.  So your money is going to a good place when you purchase this. And let's not mention the quality and color selection here. So this is such a beautiful palette for spring. I'm wearing the more purpley tones here. So I have Jewelby right here, this light lilac. I have this all over my crease and along my lower lash line. I like how easy this is to build up. It does start off as more of a sheer purple, but it builds up to be quite lilac and that's even without a white base. If you really want true opacity of this, use a white base underneath. I then used some of Bugaboo and that's what is adding my depth. It kind of changed the tone of this look to a little bit more warm. It's really beautiful and it blends out like a dream as all Sydney Grace shadows do. And then finally, I just used Web all over my eyelid a little bit in my inner corner and that just opened up my eyes. I mean, this look I think is so pretty and it's only a three eye shadow look. So imagine all of the other looks that you can get with this color selection. I mean, you have this green that you can do really fun things with. You can do a similar technique to what I did, except with the green all over the lid, a little bit of brown just to add some depth and this light shade all over the lid and kind of have more of a green eye, which will be really pretty. You'll have some golds and pinky tones. I really just think that this is a phenomenal palette for spring and the quality is amazing. So I'm leaving this one out on my desk as well because it's going to be a fun one to utilize. The last palette that I have to talk about is a newer palette. This is from Viseart. This is the Violette et Tendu palette. So we'll start off with the packaging. How fun and beautiful is this for Viseart? Typically, Viseart, with them being a more professional makeup brand, they don't really have a lot of fun with their packaging. So this is fun for Viseart and I love it. And when you open it up, you have more purple tones. Now, I'm a huge purple tone fan. If you guys don't know that, I mean, look at my eye look right now. Any opportunity I get to go for the purple colors in a palette, I do. It's just what I find myself gravitating towards, especially if you have brown eyes. Purple is so flattering to brown eyes. So I wanted to choose an all-purple palette for springtime. So this is the one that I chose. I love Viseart's formula. This one does have a very beautiful formula. I do have a full in-depth review if you would like to get the nitty-gritty on the details of this palette. But you can really create a very vibrant purple eye with this and you can also create a more muted, neutral toned purple eye if you kind of stick to the bottom here. So there's a lot of versatility within the purple family in this palette. And that's what Viseart does so well, is the way that they arrange the colors just so you can create multiple different kinds of looks. You even have a really fun silver that you can use as well. So I mean, you guys can take a look for yourself at how pretty this palette is and what you can do with it. So I just really like all of the different depths, the tones and the textures of purple that this palette gives you. And this is the perfect time of year, as I've said, for every single one of these palettes to utilize this. All right, you guys, there we have it. That was my top 10 ra... No, it wasn't. All right, you guys, there we have it.  If you're a makeup porter, I hope this video was helpful for you or if you were looking to purchase some new palettes this spring and we're looking for some inspiration. I hope that I was able to give that to you. So if you guys aren't subscribed to my channel already, I would love it if you would consider taking the time to do so and I will see you all in the next one. Bye, guys. Have a good one.


Live from Las Vegas, it's theCUBE. Covering Dell Technologies World 2018. Brought to you by Dell EMC and its ecosystem partners.  We are in the Sands, we're live in Las Vegas with 14,000 plus attendees, 4,000 I think in the Business Partner Summit. Really well attended, the solutions exposed for, still crowded and some really neat stuff inside there. Along with John Troyer, I'm John Walls and we're joined by Doug Schmidt who is the President of the Global Services at Dell EMC. Doug, thanks for joining us, we appreciate it. Thanks for having me John. Yeah, let's talk about global services. Yes. First off, I mean, Big Waterfront, right? That's pretty broad. Tell us about how you segment the responsibilities and what all that means. Well yeah, so the overall services family really has four groups in it. It has a consulting team and as you imagine, has an education services team. We have Virtue Stream for cloud, helps manage the cloud for our customers. And then my team and I have responsibility for support, deployment services, installations and also managed services. So, good size team in the sense of helping our customers around 60,000 direct and indirect team members in 180 countries. Just say 100 plus, right? Almost 200 countries. So, we had somebody on from the global side yesterday and we just barely necked into this a little bit. I thought it was interesting when you think about it on a global basis. At least we tend to think of the US, right? I mean, it was US centric. But you've got to deal with EU compliance and different kinds of governance and of course, different work cultures, different government, different governance, what have you. So complicated, right? I mean, this is not easy stuff to be able to bring the product to a different culture or different mindset, right? Well, that's that, yes. I mean, if you're asking, yes, the complexity is there, which is that really, but that's the value we bring to our customers. One is, believe it or not, the size and the scope helps us build better products. The feedback from our customers across multiple channels, whether it be through the data we get back through phone home and AI, helps us build better products globally, as well as help our customers. The calls we get in, social media, we're able to really aggregate that, take all that data and that information, build better products and custom build the solutions for the regions or the countries that we're in. So there's, yes, the complexity has some minuses, but it has actually more pluses in helping us build better services, solutions and products for our customers. Can you give me an idea of something you picked up from somewhere else that turned out to be useful across the board, or just maybe something that you hadn't thought of, whether it was some response from a customer in a different work environment, that you could apply across the board? Anything come to mind? Well, yeah, I think you look at things like WeChat in China and things like that that are occurring and how they're using both the social media, texting and all of these things about doing business and wanting services, and so that helps us build better social media platform to listen to our customers. We take those learnings and then apply them globally very, very quickly. Those would just be one example, but you can pick that up across the product and the solution side as well. Doug, a couple of things you said have already kind of sparked my imagination. I mean, support used to be, well, file a ticket and if you don't have a ticket, don't bug us, right? And it was a very reactive. And already you've talked about a lot of things that are proactive, both the phone home capabilities and other data collection and proactive capabilities. Can you talk a little bit about how your team, you need to be digitally transformed. Your customers, you've got to be more proactive. We can't just be sitting, we can't say have you filed a ticket, well then I can't talk to you. No, that's correct. No, that wouldn't work today. That's exactly right. But the customer's feedback to us, and we hear this resoundingly loud and clear is, look, it's got to be proactive, it's got to be predictive and it's got to be remote. And it's all about being fast, accurate and keeping that uptime in those environments running. So to your point, what we've really done is we use that data to predict when a hard drive is going to fail, right? So if you're a customer, whether it's a server, and by the way, we've taken that technology and put it into the consumer products as well. So hey, we get ahold of the customer and let them know that something's going to fail before it fails. And that's the proactive predictive. And we're really getting that quite frankly from the data we're getting back on that phone home, using that big data to then triangulate and build better products, better services. The other thing though that we've done, and we continue to do is not every customer on that proactive side wants to be contacted the same way. I'll use my family as an example. My daughter wants to be text, you know, she's got to use text. My wife likes email and my parents, by the way, still want to be called because they want it to be explained what's going on. And so we have to also build in the omnichannel with that predictive, that proactive capability. There's been an evolution in the acceptance of talking back to the vendor, you know, machines talking to machines on-prem over the years. Are people now at the, are most people now at the phase where they don't consider that a security risk or pride, people who didn't understand it in the early days were very careful, you know, everybody's still very careful about what goes through their firewall. Is there a, are we at a place now where that's just a- I think it's becoming more widely accepted. I wouldn't want to say that everybody's there yet. Perhaps not the three letter agencies, and you know, if you- That is correct.  By the way, when, and that's the key is using that information to customize the services for those environments, right? And a little bit of, that's a good point because that's how you want to contact them or how much you can do. But we can tailor that for the customer's needs and using that information to make sure we do that. It seems like there may also be a staffing, I'm interested in your staffing because, right, digital transformation. Let's make it real. The entire industry has an interesting competency issue in that, you know, we've got to be all made, we've got to all be current. There may be new sets of skills coming up. We certainly expect our, on the IT side of the house, their customer, your customers to become more skilled at new technologies. That's right. And, but you're in support and, you know, the support and installation side. How are you looking at training your people and upskilling your people to be able to deliver that kind of proactive support? Well, that's a great question. And I'll take it from two points, actually. One is, as the machine learning in the AI helps us solve what I call low complexity issues right now, moving up the stack every day to do more complex issues. Then what you find is, is that when customers do contact us or we do need to reach out to them, it's usually in complex situations, right? And so we spend a tremendous amount of resources continually upskilling our talent in the remote support deployment, as well as installation, so that they're able to handle that. So spend a lot of time with our education services team to make sure that we're out in front of all the new technologies and the capabilities. You've heard a lot about remote and virtual learning where we're on the cutting edge of that as well. That helps us stay abreast and up to date as well. But yes, it is going to take additional time and resources to stay ahead of that curve. We're there, but we want to make sure we stay there. And is that something that, I wouldn't say that the Cokes people are bringing them along, but help them understand that, you know, if we're on the cutting edge, you've got to be on the leading edge of the cutting edge, right? You've got to be the leader in this, right? In your workforce. How do you, I guess they're motivated professionally, motivated, right? But you do have to bring, it's culture. I mean, you've got to create a different kind of culture, don't you? Well, no, you're right on that. And what that, I think culturally, what we've always, always had at Dell Technologies is listening to the customer and all 60,000 get to hear every day from our customers multiple times. So that in and of itself helps us. I mean, we're listening, we hear what the customers want, what we need to be doing to help them. That pushes us to want to stay up on that. Look, you can't be in the services industry, as you well know, without having that natural desire to want to learn, want to help your customer. And so look, we have to have the resources and the capabilities inside that education, but culturally that's been built in because we listen to the customers. Yeah, and how different is it from the customer perspective then, maybe then five years ago, ten years ago in terms of expectation, in terms of what you, the kind of support they expect to get from you. Has that been altered as you give them new tools, you make them faster, you make them smarter, you make them more agile, but they also, are they turning you for different things or a different level of service now? Oh, yes, absolutely. And I think that starts with, if you look five years ago, it was the service was really, I'll call in when something, I have a problem. First, the expectation is, I want you to call us before we have an issue and let us know what we need to do to prevent it. And the second one is, if I do have to contact you via multiple omni-channels, then I got to have the best and the brightest now inside the organization. So routing and getting all of those to the right resources at the right time. As you're saying, the technical capabilities, the complex environments, the customers want to get to the right person, quickly and accurately now, the very first time they get ahold of us. Yeah, it's a dug, you mentioned Dell Technologies, right? This is the first Dell Technologies world. It's no longer, I think, I went to a few EMC worlds. I think I was on the first cube back in 2010 at EMC world. That was mostly storage folks, right? Now, you've got storage folks, you've got server folks, you've got VMware here as a big presence, Pivotal was doing some things. Systems are more complicated now. So maybe a two-part question, how is the show going for you? And also, but then this implication that, you know, Dell Technologies is a stack and there's a lot of IT people now that have to cover more of the stack. And how does that affect your job in terms of complicated cross-rack systems that are pinging back home and need help? That's about three questions in one. Yeah, I think there's a few in there, right? Well, first of all, I think when talking to the customers and being here at Dell Technology World, what we're hearing is actually confirmation on the proactive, predictive remote support and also getting to the correct talent very quickly, as you've mentioned, the education capabilities of the team. So that's good because that's kind of there, validating that. But more specifically to your question about how does that translate into the real world of how we're delivering? Well, you know, first of all, with that information coming back and being remote, we can get it to the correct people very quickly. So yes, it would be far more complex. Five years ago, if we didn't have that, that technology wasn't there for us. Now we know who we need to get it to and who the best person is to solve the problem. And that's really what we're using and transformed to is the technology helps us get it to the right place at the right time to solve the customer's issue. And where do you see yourselves going? As technology evolves, right? Demands change, expectations change, global services is going to change. I mean, can you make any kind of a, give me a little crystal ball prediction here about, I think this is where we're going to have to be in two or three years out in terms of meeting that customer demand and wherever they are and whenever they want it. Well, yes, and so, well look, we talk about transformation and making it real here at Dell Technology World, but we're living that every day as well, right? So we're helping our customers with it and hey, look, the transformation doesn't just, it's not just something we talk about externally. It's we doing that internally, as you're saying to stay ahead of the market, helping our customers with the transformation. And so as we look forward to that from a services perspective, what we realize is, is look that complexity and the speed is going to pick up. We know that we have to continue to use that big data, as Michael said, is the fuel. We know that's the fuel to provide better service, better products. We want no daylight between services, our engineering and product teams and sales and we're using that information to make sure we build better products, that we provide better solutions and better services, faster to our customers and we're also using that information and giving it to the sales teams so they can go out into our customers' environments and help them with their transformation. What's the challenge for you in making all that happen? You think everybody's got a nut to crack, right? Everybody says, okay, so for you, if there's a next hurdle or a next barrier for you to get over to be able to deliver on that, what would that be? Well, we're using the data today that we have which is very rich and we're transforming that into solutions for our customers. But look, that data is, we're getting more of it every day, making sure that we don't obsess about the data but that doesn't control us that we're using it, right? I mean, that's part of this, is you definitely want it to be the fuel, but you got to aim it the right way and I think that's the key is making sure that we get that point in the right direction. As you're doing this kind of thing, I'm kind of curious about hiring, right? What kinds of roles are you looking for to bring in that can do that? Because that's a very sophisticated data scientist, perhaps, that's working, that's pulling in people from engineering.  Yes, I talk about real-time questions, right? We could be talking about that one for hours. The answer is yes, and that is a good point. If you look at services now compared to five years ago, it's hiring data scientists, it's hiring the analytics and the deep analytics, folks that can help program, I mean, all of this comes together, right? And so we're working very closely with the schools globally to pull those scientists in, and that's a big hiring competency that we've been focused on for the last four years and we're going to continue that, we see that continuing down the road. Well, Doug, thank you for the time. We appreciate you telling the global service's story. Great show, and we wish you continued great success, and I assume it's been a really, really good way for you too, right? It has been an outstanding week, so thank you. You bet, appreciate having me. Joining us from Dell Technologies World 2018, you are watching us live from Las Vegas on theCUBE.


The turtle and the rabbit, a lesson about time management. Every day the rabbit talks about how fast he can run. He thinks he is quicker than all the other animals. He also says that no one can beat him in a race and no animals ever want to try. When rabbit sees the turtle, he usually teases him about his short feet and slow speed. One day, however, the turtle surprises the rabbit. The turtle says to him, you are fast, but I can beat you in a race. The rabbit's friends say, everyone knows you cannot win, he's too fast. The rabbit laughs and then decides to race the turtle. He says, I can dance and play and still beat you to the finish line. The turtle answers him, yes, you are very fast, but I can beat you. Let's race. The race begins. They both start to go as fast as they can. The rabbit runs faster. The turtle can't see him. The rabbit thinks he has plenty of time, so he stops to talk with his friends. The turtle just walks along slow and steady. Soon the rabbit is far ahead of the turtle again. It is a hot day, so the rabbit decides to rest for a few minutes. He thinks he has enough time to sleep under a tree. Slow and steady, the turtle keeps moving down the road. He doesn't talk to his friends or stop to rest. He doesn't quit moving forward. When the rabbit finally wakes up, he wonders where the turtle is. He looks back down the road but doesn't see the turtle there. He thinks he is still winning the race. Then the rabbit turns and looks at the finish line. The rabbit can't believe what he sees. The turtle is almost to the end of the race. The rabbit runs as fast as he can, but it is too late. The turtle slowly crosses the finish line and beats him in the race. The rabbit can't believe it, but all of the other animals yell, Hooray! The moral of the story is slow and steady wins the race. The end.