1. Image Cleanup in Adobe Photoshop

    02:01:20

    from B&H Photo Video / Added

    88 Plays / / 0 Comments

    In this Event Space presentation, Tim Grey demonstrates the following Photoshop techniques: • Image cleanup strategy • Quick fixes with the Spot Healing Brush • Controlled cleanup with the Healing Brush • Patching areas of an image • Two-step cleanup with Clone Stamp • Fixing color contamination and strong color casts • Minimizing noise

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    • Electric Zombie Tee Creation

      01:55:00

      from Ray Frenden / Added

      22.1K Plays / / 21 Comments

      In this video, I take an existing image and add to it. Often, as an illustrator, clients come back with specific feedback that needs to be applied.

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      • Subject Two - 'Out and About with Paul – Brush Line & Wash in Watercolours with Paul Taggart’ – Oban VOD

        01:37:16

        from artworkshopwithpaul / Added

        Although this box-set of Line & Wash demonstrations shows Artist & Author Paul Taggart using watercolours; the Brush Line & Wash technique and method can be exploited and adapted for use with acrylics, inks and pastels. SEE ALSO ‘Sketching Companions - Line & Wash Workshops with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/paintingtutorials PLUS other helpful companion videos…… ‘PAINTING TOPICAL TECHNIQUES for WATERCOLOURS with Paul Taggart [Series 1]’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourtechs01 ‘PAINTING EQUIPMENT FOCUS for WATERCOLOURS with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourequip ON-THE-SPOT WATERCOLOUR MONTAGE TUTORIAL in which you Join Paul Taggart as he helps to celebrate the 40th Anniversary Open Day of the Oban Lifeboat Station. This multi-purpose trip was centred around Paul’s on-the-spot painting of the Open Day (the subject of this film); which was donated to the Oban Lifeboat Station for fund-raising purposes; along with the oil painting from the two-part oil painting tutorial filmed in Oban harbour – CLICK HERE – http://vimeo.com/ondemand/outandaboutwithpauloils1 Watch as Paul embarks on this detailed and comprehensive start-to-finish tutorial, filmed in real-time and you will learn much about Colour Mixing, using a Hake brush, the techniques of Wet-on-Wet and Wet-on-Dry painting in Watercolours, Lift-Off and corrections, Scuffs and Scumbling, Restricted wet-on-wet, softening and ‘losing’ edges – to name but a few of the raft of techniques, hints and tips that are revealed in Paul’s running commentary. Firstly, you will see Paul sketch out the first of three segments within this watercolour montage – the principal motif of the Oban Lifeboat ‘Mora Edith MacDonald’ as she is visited by members of the public attending the 2012 Open Day. Having established the positioning of the lifeboat, Paul establishes the principal outlines in flowing ink lines; then moves on to the first layer of watercolours, carried out using the Wet-on-Wet Technique. Watch as Paul deals with the extraordinarily fast-drying conditions of the hot day, cooled down by a mild breeze blowing over the painting’s surface. Having re-inforced certain aspects, again with ink line – Paul then uses the Wet-on-Dry Technique to complete this segment of the intended montage. Light and shade, accents and highlights, form and texture, thin and thick colour mixes, still and rippling water - a panoply of techniques are exploited to their fullest to achieve the seemingly simple result. Thankfully, Paul manages to complete this segment in time, just as the lifeboat leaves its berth to carry out it’s duties at the Oban Raft Race, setting off across the bay – in which the Oban Lifeboat crew are participating with their entry ‘The Oban Strifeboat’. Having completed the lifeboat, Paul had worked up another area to give a flavour of the Open Day before coming to rest and an enforced stop on his painting as the Oban Raft Race got underway. Returning to his easel – you will find yourself down by the lifeboat berth, where Paul has moved his easel, so that he can complete the final segment within this watercolour montage – the RNLI Oban Lifeboat Station building. He starts this study by establishing the principal outlines in flowing ink lines; then on to the first layer of watercolours, carried out using the Wet-on-Dry Technique. Watch as Paul establishes the strong lights and deep shadows; typical of the late afternoon light. Learn how to differentiate between rocks lying above the water line and those below. Scuffs, scumbling, colour mixing, working with a large brush – all these and many more hints, tips and techniques are covered. And a little gem – enjoy the use of negative painting exploited to full effect in producing the blue painted window frame, with its dark recesses. FOR MORE INFORMATION ABOUT OBAN LIFEBOAT STATION - http://www.obanlifeboat.co.uk ‘AWASH WITH THE RNLI’ – by Paul Taggart These on-the-spot paintings are elements in Paul Taggart and Eileen Tunnell’s wide-ranging Fund-Raising Project in aid of RNLI Scotland – http://www.rnli.org.uk The open-ended project is centred on a series of Master Oil Paintings by Paul Taggart, to be produced over many years - each painting will be published by Paul Taggart as a Fund-Raising Limited Edition Print. SUCH AS THIS ‘Masterworks in Oils with Paul Taggart [Series 1’ – Reflecting on Longhope Sound - http://vimeo.com/ondemand/artworkshopwithpaulmaste The subject for each of these paintings being chosen for its history and iconic representation of an area closely associated with selected RNLI Lifeboat Stations around the shores of Scotland. THANKYOU Paul Taggart and Eileen Tunnell would like to thank Longhope Lifeboat Station, Oban Lifeboat Station and Invergordon Lifeboat Station for their support of this fund-raising project.

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        • Subject Three (Part 1) - 'Out and About with Paul – Brush Line & Wash in Watercolours with Paul Taggart’ – HFSF 2013 VOD

          01:14:42

          from artworkshopwithpaul / Added

          Although this box-set of Line & Wash demonstrations shows Artist & Author Paul Taggart using watercolours; the Brush Line & Wash technique and method can be exploited and adapted for use with acrylics, inks and pastels. SEE ALSO ‘Sketching Companions - Line & Wash Workshops with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/paintingtutorials PLUS other helpful companion videos…… ‘PAINTING TOPICAL TECHNIQUES for WATERCOLOURS with Paul Taggart [Series 1]’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourtechs01 ‘PAINTING EQUIPMENT FOCUS for WATERCOLOURS with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourequip Parts 1 & 2 of Subject 3 focus on the central motif of another of Artist & Author Paul Taggart’s unique fund-raising original paintings; on the occasion of the Highland Field Sports Fair 2013. Dynamically different to the others in this box-set THIS START-TO-FINISH TUTORIAL is a STUDY IN ‘WHITE’ and ‘A PORTRAIT OF MOVING FIGURES’ - an object lesson in HOW TO EXPLOIT LIGHT and SHADE. Being on for a mere fifteen minutes on the second day, it was impossible to capture the entire dance troupe on the day of the Fair; which is why Paul completed the painting in his studio and why it was filmed in real-time as a step-by-step tutorial. PART 1 - the OUTLINE DRAWING for the figures was completed in pencil and on the spot at the Fair. BACK IN THE STUDIO and masking fluid is used to selectively protect the white dresses, areas of sunlight and highlight areas and details. CLOSE-UP SHOTS enable you to see precisely where the masking fluid is applied. Paul now he moves on to the FIRST LAYER OF WET-ON-WET; which is soft and suggestive to place the various elements and shadows in the white dresses – a critical aspect in achieving ‘white’. Further wet-on-wet work pulls the entire study together and then left to dry. Then the MASKING FLUID IS REMOVED to reveal the white dresses and sections protected for forthcoming application of sunlight and highlights. It is at this point that LIFT-OFF is used to soften and reduce hard edges and remove any unwanted colour. Part 1 comes to a close with the linework being applied at this point. For this he works with a rather interesting brush, which has a ‘sword-like’ brush-head and a coloured ink which is chosen to complement this central motif and balance with the rest of the montage. This watercolour painting montage of the Highland Field Sports Fair 2013 fair was produced for and donated to RNLI Scotland for fund-raising purposes as part of Paul Taggart and Eileen Tunnell’s on-going project ‘Awash with the RNLI by Paul Taggart’. “2013 was a special year for Angus Mackenzie, Founding Mamber of HFSF; as the Inverness Branch of the Royal Scottish Country Dancing Society were performing a tribute dance, created especially in memory of one of their members, Janice Stevenson, his Personal Secretary. Rather than depict a couple of dancers, I felt it important to capture the entire troupe of eight dancers in a central tableau. I refer to this composition as a kaleidoscope of memories. Each year the Fair Committee generously welcomes me to set up my easel in the main ring and in 2013 the subjects featured in this painting that lead off from the central motif of the Inverness Branch, Royal Scottish Country Dance Society, represent some of the regular, invited participants, in the main ring. It has become something of a tradition for those featured in the painting to add their signatures alongside their ‘portrait’ and this year was no exception – Thankyou to everyone for so willingly joining in our fund-raising efforts for RNLI Scotland – those signatures make this a ‘memorial painting’……...” ‘AWASH WITH THE RNLI’ – by Paul Taggart These on-the-spot paintings are elements in Paul Taggart and Eileen Tunnell’s wide-ranging Fund-Raising Project in aid of RNLI Scotland – http://www.rnli.org.uk The open-ended project is centred on a series of Master Oil Paintings by Paul Taggart, to be produced over many years - each painting will be published by Paul Taggart as a Fund-Raising Limited Edition Print. SUCH AS THIS ‘Masterworks in Oils with Paul Taggart [Series 1’ – Reflecting on Longhope Sound - http://vimeo.com/ondemand/artworkshopwithpaulmaste The subject for each of these paintings being chosen for its history and iconic representation of an area closely associated with selected RNLI Lifeboat Stations around the shores of Scotland. THANKYOU Paul Taggart and Eileen Tunnell would like to thank Longhope Lifeboat Station, Oban Lifeboat Station and Invergordon Lifeboat Station for their support of this fund-raising project.

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          • Subject Four - 'Out and About with Paul – Brush Line & Wash in Watercolours with Paul Taggart’ – HFSF 2014 VOD

            01:08:47

            from artworkshopwithpaul / Added

            Although this box-set of Line & Wash demonstrations shows Artist & Author Paul Taggart using watercolours; the Brush Line & Wash technique and method can be exploited and adapted for use with acrylics, inks and pastels. SEE ALSO ‘Sketching Companions - Line & Wash Workshops with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/paintingtutorials PLUS other helpful companion videos…… ‘PAINTING TOPICAL TECHNIQUES for WATERCOLOURS with Paul Taggart [Series 1]’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourtechs01 ‘PAINTING EQUIPMENT FOCUS for WATERCOLOURS with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourequip For many years now Artist & Author Paul Taggart has been kindly invited by the Committee of the annual Highland Fields Sports Fair to participate as the Artist in Residence; knowing that the painting produced over the two-days of the Fair are donated by Paul Taggart to a charity of his choice, for fund-raising purposes. 2014 was no exception and in spite of the appalling weather on the first day of the Fair, Paul was able to produce one of his unique montage paintings in which he chronicles some of the activities which take place in the main ring. You join Paul at his easel on the first day of the Fair, a day that was to prove challenging, to say the least, thanks to the inclement weather. For this start-to-finish tutorial you will be watching Paul at work on one specific section of the montage; as he captures one of the most popular demonstrations, beloved of regular visitors to the Fair – that of the Farriers at their anvils and shoeing a working horse. This Line & Wash study is different again to the other three subjects in this box-set and for this tutorial, as Paul had opted to concentrate on a STRONG and BOLD SUBJECT he decided on a STRONG and BOLD APPROACH with which to capture it; which is why he turned to his brush-pen and black ink linework. As with all of Paul’s tutorials this is once again packed full of hints, tips, techniques and so much more. TO PROVE THAT MAJOR CHANGES CAN BE MADE IN A WATERCOLOUR PAINTING, Paul also shows how to exploit lift-off to incorporate an additional figure – because on the second day of the show Robin Pape’s colleague and fellow farrier, Sarah, came into Paul’s view and he could not possibly leave her out of the study. This watercolour painting montage of the Highland Field Sports Fair 2014 fair was produced for and donated to Invergordon Lifeboat Station for fund-raising purposes as part of Paul Taggart and Eileen Tunnell’s on-going project ‘Awash with the RNLI by Paul Taggart’. “I refer to this composition as a kaleidoscope of memories. Each year the Fair Committee generously welcomes me to set up my easel in the main ring and in 2014 the subjects featured in this painting represent some of the regular, invited participants in the main ring. It has become something of a tradition for those featured in the painting to add their signatures alongside their ‘portrait’ and this year was no exception – Thankyou to everyone for so willingly joining in our fund-raising efforts for RNLI Scotland – those signatures make this a ‘memorial painting’.” ‘AWASH WITH THE RNLI’ – by Paul Taggart These on-the-spot paintings are elements in Paul Taggart and Eileen Tunnell’s wide-ranging Fund-Raising Project in aid of RNLI Scotland – http://www.rnli.org.uk The open-ended project is centred on a series of Master Oil Paintings by Paul Taggart, to be produced over many years - each painting will be published by Paul Taggart as a Fund-Raising Limited Edition Print. SUCH AS THIS ‘Masterworks in Oils with Paul Taggart [Series 1’ – Reflecting on Longhope Sound - http://vimeo.com/ondemand/artworkshopwithpaulmaste The subject for each of these paintings being chosen for its history and iconic representation of an area closely associated with selected RNLI Lifeboat Stations around the shores of Scotland. THANKYOU Paul Taggart and Eileen Tunnell would like to thank Longhope Lifeboat Station, Oban Lifeboat Station and Invergordon Lifeboat Station for their support of this fund-raising project.

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            • Paint Poppy's Bodice and Dress. Episode 16 of 16. Step 81 to 8 of 84. (Page 193 - 196 in the Companion Book). VOD

              01:07:49

              from Johan / Added

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              HD Video EPISODE 16. Step 81 82 83 and 84 . - Step 81. (Excerpt Page 193 in the book.) Mix GRAY-WHITE. Start with yellow-brown and add white to make it light and a touch of blue to keep it gray - a yellowish gray. ... - Step 82. (Excerpt Page 194 in the book.) Mix GRAY-WHITE. Add white to GRAY-WHITE till it is nearly pure white. Stroke the crest of the folds between the fabric creases. Blend into the gray-white creases without destroying them. Blending generates a third tone between GRAY-WHITE and nearly pure white. ... - Step 82. Continued. - Step 83. (Excerpt Page 195 in book). Mix GRAY-WHITE as before. The tone is lighter than with the bodice because the folds are large and spread out. Stroke in the valleys to begin locating the folds. ... - Step 84. (Excerpt Page 196 in book). Continue with GRAY-WHITE and white. Stroke white along the look of the dress bust-line and up along the shoulder strap. With GRAY-WHITE stroke shading to give the fabric contours and shape around the bust. ... - Step 84. Continued. - Companion book to "Paint Poppy..." ISBN 978-1-939404-00-8. Available late 2015 where books are sold, online or in stores. - Email inquiries to kaolink@msn.com

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              • Paint Poppy's RIGHT ARM. Episode 11 of 16. Steps 56 - 61 of 84. (Page 153 to 162 in the Companion Book). VOD

                01:04:10

                from Johan / Added

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                HD Video EPISODE 11. Steps 56 57 58 59 60 and 61. - Step 56. (Excerpt Page 153 in the book.) Mix various background tones that touch the outline of the right arm. Use skin tone to wet the background behind the shoulder on the ankles. Mix load and stroke YELLOW-BLACK for the dark shadow under the arm. ... - Step 57. (Excerpt Page 154 in the book.) Stroke YELLOW-BROWN in the crease at the elbow. Stroke a dark ORANGE-BROWN in the shadow the hair cast on the upper arm. ... - Step 58. (Excerpt Page 155 in the book.) Mix ORANGE-BROWN by adding more red and yellow to YELLOW-BROWN . Don’t add white, but if some white pigment migrates from the right of the palette into the mixing pool in center that would be ok. ... - Step 59. (Excerpt Page 157 in the book.) Mix CREAM-ORANGE by adding white to ORANGE-BROWN and some red and yellow if the tone turns pale. White interacting with blue pigment in a tone can turn the tone dale or gray. Orange brightens the tone. ... - Step 60. (Excerpt Page 159 in the book.) Mix CREAM-WHITE by changing CREAM-ORANGE. Simply add white. To bighted the tone, add a touch of red and yellow. Keep the tone yellowish. The upper arm is divided skin tone is divided into two light areas. ... - Step 60 continued. (Excerpt Page 160 in the book.) The forearm has a large light area. Fill the area with CREAM-WHITE and blend into the surrounding shadows. Like the upper arm, the forearm is a tube, elongated in shape with a glow on top and rounded sides in shadow. The tube is not a perfect cylinder. The forearm tapers to the wrist and back to the elbow. ... - Step 61. (Excerpt Page 161 in the book.) With ROSE-WHITE loaded on the flat brush stroke the 3 light areas on the upper arm. Blend the areas into the surrounding shadows. Refine shape and balance a uniform skin complexion. ... - Step 61 continued. (Excerpt Page 162 in the book.) Brush lightly back and forth across the shaded area with the light pigmented brush. Notice that a third tone faintly materializes over the shaded areas. This 3rd tone balances effectively between light and dark refining shape and complexion at the same time. ... - Companion book to "Paint Poppy..." ISBN 978-1-939404-00-8. Available late 2015 where books are sold, online or in stores. - Email inquiries to kaolink@msn.com

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                • Subject One - 'Out and About with Paul – Brush Line & Wash in Watercolours with Paul Taggart’ - Longhope VOD

                  59:50

                  from artworkshopwithpaul / Added

                  Although this box-set of Line & Wash demonstrations shows Artist & Author Paul Taggart using watercolours; the Brush Line & Wash technique and method can be exploited and adapted for use with acrylics, inks and pastels. SEE ALSO ‘Sketching Companions - Line & Wash Workshops with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/paintingtutorials PLUS other helpful companion videos…… ‘PAINTING TOPICAL TECHNIQUES for WATERCOLOURS with Paul Taggart [Series 1]’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourtechs01 ‘PAINTING EQUIPMENT FOCUS for WATERCOLOURS with Paul Taggart’ – CLICK HERE – http://vimeo.com/ondemand/awwptwatercolourequip You join Paul at his easel working on one of his unique montage on-the-spot paintings. Follow along with this start-to-finish watercolour demonstration which is filmed in real-time, with close-up shots, so that you can see his pencil marks, his brush-strokes and his colour mixes – all accompanied by Paul’s running commentary. A simple, yet dynamic scene, selected by Artist and Author Paul Taggart as an ideal subject for demonstrating how you can quickly capture the principal elements in a sketch; in this case those all-important reflections into the water. But it is more than that, for you will also come to realise how the scene itself can be enhanced through the addition of sunlight; even though this particular day is grey and overcast. Listen as Paul describes how sunlight will work through the scene in front of him, watch as he achieves the effects he is looking for and you will pick up a myriad hints and tips to enable you to similarly feature sunlight. In this Line & Wash study, Paul uses a mix of acrylic inks for the linework, applied with a Lizard’s Lick brush – this allows him to work loosely and freely for longer periods without breaking off to repeatedly fill the brush with ink. As with all of Paul’s tutorials and demonstrations, no matter how simple they may appear, each is packed full of essential tips and an array of helpful techniques – for as is his policy, nothing is held back as you will hear from Paul’s running commentary and see in his step-by-step, start-to-finish demonstrations. This watercolour vignette forms one section of a montage painting, which this author of fourteen books produced live the prevous evening during a rehearsal of the Stromabank Pub Choir, Hoy, Orkney Islands, UK and on this, the following morning in the harbour of Longhope where the Longhope Lifeboat Station is based – http://www.longhopelifeboat.org.uk The painting featured in this film was completed at Longhope, set in a frame and presented to the Longhope Lifeboat Museum to use as they saw fit in raising funds. Longhope has a poignant history, memorialised in the Lifeboat Museum, which tells of the tragedy of 1969. For the subject of his Masterworks oil painting Paul Taggart chose a scene of the old bay at Brims, in which stands the original Lifeboat Shed (now the Museum) – the subject of ‘Masterclass [Series 1] with Paul Taggart’– CLICK HERE – http://vimeo.com/ondemand/artworkshopwithpaulmaste ‘AWASH WITH THE RNLI’ – by Paul Taggart These on-the-spot paintings are elements in Paul Taggart and Eileen Tunnell’s wide-ranging Fund-Raising Project in aid of RNLI Scotland – http://www.rnli.org.uk The open-ended project is centred on a series of Master Oil Paintings by Paul Taggart, to be produced over many years - each painting will be published by Paul Taggart as a Fund-Raising Limited Edition Print. SUCH AS THIS ‘Masterworks in Oils with Paul Taggart [Series 1’ – Reflecting on Longhope Sound - http://vimeo.com/ondemand/artworkshopwithpaulmaste The subject for each of these paintings being chosen for its history and iconic representation of an area closely associated with selected RNLI Lifeboat Stations around the shores of Scotland. THANKYOU Paul Taggart and Eileen Tunnell would like to thank Longhope Lifeboat Station, Oban Lifeboat Station and Invergordon Lifeboat Station for their support of this fund-raising project.

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                  • Paint Poppy's RIGHT HAND, ARM. Episode 10 of 16. Steps 51 52 53 54 55 of 84. (Page 141 to 151 in the Companion book) VOD

                    56:57

                    from Johan / Added

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                    HD Video EPISODE 10. Steps 51 52 53 54 and 55. - Step 51. (Excerpt Page 141 in the book.) Mix various tones. Start a fresh palette. Pull the basic four colors into their derivative mixtures with a quick flourish of the brush. Having an over view of the useful range of tones is helpful to key the eye in. We are outlining the hand and arm with various colors. ... - Step 52. (Excerpt Page 143 in the book.) Mix ORANGE-BROWN. Red and yellow with a touch of blue to turn it darker and brown, and a touch white to turn dark brown creamy. Stroke a shadow along the underside of hand and wrist. Blend slightly where the tone meets the black background color. ... - Step 53. (Excerpt Page 145 in the book.) Mix CREAM-ORANGE by adding red and yellow to ORANGE-BROWN and some white. Light is shining on the hand from above. The underside of the fingers are shaded and each finger for which cream-orange is suitable. Each finger also cast a darker shadow on the one below, which we already painted in the previous step. ... - Step 54. (Excerpt Page 147 in the book.) Mix CREAM-WHITE by changing CREAM-ORANGE. Add white and some yellow. Expand CREAM-WHITE coverage across the wrists area to join the hand area with the right arm. ... - Step 55. (Excerpt Page 149 in the book.) Mix ROSE-WHITE by hanging CREAM-WHITE. Add white and a touch of red. ROSE-WHITE acts against yellow in CREAM-WHITE and the yellowish shadows for a balanced complexion that looks natural. Load ROSE-WHITE with the flat brush and stroke the bright spots where light shines directly on the hand. ... - Step 55 continued. (Excerpt Page 150 in the book.) Use the tone loaded from the palette to blend with the tone already on the canvas. Use the third tone that arises to render a smooth transition between the dark and light tones. For the bottom of the forearm behind the hand, pull down orange (red and yellow) into CREAM-WHITE to mix a darker version. Stroke the darker tone along the right edge of the left forearm and blend. ... - Step 55 continued. (Excerpt Page 151 in the book.) ROSE-WHITE mixed on the palette should appear distinctly pink in anticipation of the pink fading quickly when ROSE-WHITE is blended into the yellowish shadow tones. The blended 3rd tone that arises is less pink than ROSE-WHITE and more pink than the yellowish building shadow tones of CREAM-WHITE and CREAM-ORANGE. Without yellowish tone in the shadows, the overall complexion will look too red with the appearance of acute sun burn. ... - Companion book to "Paint Poppy..." ISBN 978-1-939404-00-8. Available late 2015 where books are sold, online or in stores. - Email inquiries to kaolink@msn.com

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                    • Photoshop - Soft Edge Masking

                      54:36

                      from Ravian Budde / Added

                      12 Plays / / 0 Comments

                      Using Photoshop to mask soft edged objects, like fur and hair, using the paintbrush tool.

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