Adobe CC Photoshop: Project Setup and Interface

2.4.3 - Use the Adobe Camera Raw interface to process images.

A Camera Raw file contains unprocessed, uncompressed grayscale picture data from a digital camera's image sensor along with information about how the image was captured (metadata). In Photoshop, camera raw software interprets the camera raw file using information about the camera and the image's metadata to construct and process a color image. Each camera manufacturer has its own version of the raw format, each with its own unique extension. For example, Canon raw files typically have a ".cr2" extension, Nikon uses a ".nef" extension, and Fuji uses a ".raf" extension. Adobe also has its own raw format with a ".dng" extension. A camera raw file is similar to a photo negative. You can reprocess the file at any time, achieving the results that you want by making adjustments for white balance, tonal range, contrast, color saturation, and sharpening. When you adjust a camera raw image, the original camera raw data is preserved. Adjustments are stored as metadata in an accompanying sidecar file, in a database, or in the file itself (in the case of DNG format). When you shoot JPEG files with your camera, the camera automatically processes the JPEG file to enhance and compress the image. You generally have little control over how this processing occurs. You can still edit JPEG and TIFF images, but you will be editing pixels that were already processed by the camera. Shooting camera raw images with your camera gives you greater control than shooting JPEG images because camera raw does not lock you into processing done by your camera. Camera raw files always contain the original unprocessed pixels from the camera. To shoot camera raw images, you must set your camera to save files in its own camera raw file format. You open a raw file just as you would any file—using File > Open. However, when a raw file is opened, something different happens. Rather than going straight to Photoshop, raw files first open in Adobe Camera Raw, which is a separate plug-in included with Photoshop that launches automatically whenever a raw file is opened. Adobe Camera Raw is often thought of as a digital darkroom because it is used to correct Exposure, Contrast, White Balance, Color, Lens Distortion, and much more before sending it to Photoshop. After making the desired adjustments, click the Done button at the bottom of the Camera Raw panels to save the image and open it in Photoshop. If your image opened in Camera Raw and you want to skip making adjustments, simply click the Open Image button at the bottom of the dialog box to close Camera Raw and open the image in Photoshop.

2.2.2 - Organize and customize the workspace.

A Workspace holds all of the elements for a Photoshop project, such as the documents, panels, and tool bars. If you move or resize the workspace, the elements move together. Photoshop has many built-in workspaces preconfigured for different projects. The default workspace is named Essentials. The other workspaces are 3D, Graphic and Web, Motion, Painting, and Photography. One place to find these workspaces is in the menu bar along the top of the screen. Choose Window > Workspace. To choose a different workspace, simply click on its name to select it. The checkmark next to Essentials means that it is currently active. You can customize a workspace by rearranging the panels and tool bars. If you want to reuse your customized workspace, save it. To save a workspace, choose Window > Workspace > New Workspace. Assign the workspace a name and select the elements to include. To reset a workspace or load another workspace, choose Windows > Workspace from the menu bar as discussed above or use the Workspace Switcher located on the right side of the menu bar. Switching workspaces changes the panels that are displayed on your screen. For example, in the Essentials workspace, the Color and Swatches panels are grouped together at the top of the middle column. Yet in the Photography workspace, they've been replaced with the Histogram and Navigator panels, which are two panels more useful for editing and retouching work. Also, the narrow column on the left held only two panels in the Essentials workspace (History and Device Preview). While the Photography workspace keeps the History panel, the Device Preview panel is gone. In its place are three new panels (Actions, Info, and Clone Source) along with the Properties panel. In fact, the only thing that hasn't really changed between workspaces is that the Layers, Channels, and Paths panels are still grouped together at the bottom of the main column. The Painting workspace is also streamlined for a specific task, which is digital painting. The Histogram panel, previously at the top of the main column in the Photography workspace, is replaced with the Swatches panel. Below it, the Libraries and Adjustments panels have been swapped out for the Brush Presets panel. The narrow column on the left still holds the History panel and adds the Clone Source panel. But the Actions, Properties and Info panels from the Photography workspace have been replaced with the Brush and Tool Presets panels. The Libraries panel has been moved from the middle column into the left column, where it is displayed in iconic view to take up less space. A dock is a collection of panels, or panel groups, displayed together. They are generally displayed in a vertical orientation. To dock or undock panels, simply move them into and out of a dock. You can dock tool bars and panels to the top, bottom, or sides of your workspace, or you can float them in a location that is convenient to you. Dock locations are indicated by a blue-highlighted drop zone that appears when you move a panel into it. To dock a single panel, drag it by its tab into a blue-highlighted dock location at the top or bottom or nest it into another panel group. To dock a panel group, drag it by its title bar (the solid empty bar above the tabs) into a dock. To remove a panel from a dock or from a panel group, drag it out by its tab. To remove a panel group from a dock, drag it out by its title bar. ​​​​​​​ When you open more than one file, each Document window is represented by a tab. To rearrange the order of tabbed Documents, drag a tab to a new location within the group of tabs. Documents are displayed in the center of the workspace by default, but these documents can also be docked or undocked. When a document is docked, it displays a tab. When a document is undocked (floating), it displays a title bar. To undock (float or untab) a document from a group of tabs, drag the tab out of the group.

2.5.3 - Create and edit swatches.

By default, the Swatch Panel is located on the right side of the workspace. Creating and editing swatch colors requires only a few steps. 1Creating a New Swatch is a 3-step process: 1-Activate the Eyedropper Tool. 2-Select a Color. Move your cursor over the color you want to sample and click to sample it. You can verify the color you selected by looking at the Foreground color in the Tool Bar. Another way to sample colors is by holding down the mouse button as you drag the cursor around inside the image (with the Eyedropper Tool selected). Whichever color the eyedropper is over appears in the Foreground color swatch in the Tools palette and is continuously updated as you drag your mouse, giving you a live preview of the color before you sample it. 3-Add the Color to the Swatches Panel. Once you've sampled your first color, move your mouse cursor into the empty area inside the Swatches palette. You'll see your mouse cursor change into a paint bucket icon. Click anywhere inside the empty area to convert your sampled color into a color swatch. The Color Swatch Name pop-up will appear. Enter a name for your color swatch. Click OK. To Edit the Swatch Panel, right-click on the color swatch and choose either Rename Swatch or Delete Swatch.

2.4.2 - Place assets in a Photoshop document.

Choose the Place command when you want to import an image onto an active document that already contains other images or when you want to keep your working Photoshop (.psd) file size as small as possible. The Place command adds a photo, art, or any other supported file to a document as an object in its own layer. This way, the object can be scaled, positioned, skewed, rotated, or warped without degrading the original. Similar to the Open command, Place is located under the File menu. There are two versions of the Place command. Each has its advantages and disadvantages. The Place Embedded... command imports the image into its own layer and makes it part of the document. It increases the project file size by the size of the embedded document. The layer will display a symbol showing that it's embedded. The Place Linked... command imports the image pixels only, not the original file. The symbol on the layer looks like a chain, which denotes the file is linked, not embedded. The benefit of importing an image as linked is a vastly reduced PSD file size. Therefore, Photoshop will perform more efficiently because it uses much less memory. The disadvantage occurs when you want to distribute the document to someone else because the linked image is a rasterised version not available for editing. If you want the other person to edit the linked file, then you must first Package the document. If the Package command is not available on your system, it is because this composite document has not yet been saved. Save the document first, then choose File>Package. You can also put images into a document using the simple combination of Copy/Paste or Cut/Paste. Both of these options embed an image into a document.

2.6.1 - Open and browse libraries for included brushes, symbols, graphic styles, and patterns.

Creative Cloud Libraries is a web service that allows you to access your assets across various Adobe desktop and mobile applications. You can add graphics, colors, text styles, brushes, and layer styles to libraries in Photoshop and then access those elements from other Creative Cloud apps, such as Illustrator or InDesign. In most workspaces, the Library Panel is displayed in the panel groups on the right side. If the Library panel is not displayed by default, open it from the menu bar by selecting Window > Libraries. For example, in addition to the default brushes, Photoshop contains a number of brush libraries, which can be easily appended to the current list of presets. These presets are accessible in the fly-out menus located in the Brushes Palette and in the Brush dropdown menu in the toolbar. Additional brush libraries include Calligraphic Brushes, Dry Media Brushes, Wet Media Brushes, Natural Brushes, Square Brushes, and others. However, you can also load a custom library by choosing Load Brushes...

2.1.2 - Create a new document preset for reuse for specific project needs.

If you are building several projects that require settings not found in one of the existing presets, you can create a new preset by adjusting the specific settings your project requires for width, height, orientation, artboard, resolution, color mode, bit depth, and background. After adjusting the settings, type a name for the preset and click the Save Preset button located in the upper-right corner of the preset details menu. You can later access the new preset from the Saved tab of the New Document dialog window.

2.4.1 - Open or import images from various devices. Key Concepts: file, camera, scanner, etc.

Importing images is easy. Images can originate from cameras, scanners, drawings, and can be in any format. Photoshop supports all image formats. The Open command imports an image file into its own document and displays a tab at the top of the document window. There are two locatons where you can use the Open command. The Open command first appears when you launch Photoshop. It is located on the left side of the Start screen. To use it, click the Open... button, browse to the image file, select the file, and click Open. The image will open in Photoshop as a document ready for editing. If Photoshop is already open, you can access the Open command from the File menu located at the top of the Photoshop screen. Simply click File>Open, browse to the image file, select the file, and click Open. The image will open in Photoshop as a document ready for editing.

2.5.1 - Set the active foreground and background color.

Photoshop uses the active Foreground color to paint, fill, create text, and make stroke selections. The active Background color is used to make gradient fills and fill in erased areas of an image. The Foreground and Background colors are also used by some special effects filters. The default foreground color is black, the default background color is white. You can change these with the Color Picker, Eyedropper Tool, or Swatches Panel. The Foreground and Background colors are displayed at the bottom of the Tool Bar. To change the Foreground color, click the upper color selection box in the toolbox, and then click a color in the Adobe Color Picker. To change the Background color, click the lower color selection box in the toolbox, and then click a color in the Adobe Color Picker. To switch the Foreground and Background colors, click the Inverse Switch icon in the toolbox. To restore the default foreground and background colors, click the Default Colors icon in the toolbox. You can also choose Foreground and Background colors in the Color Picker by specifying a hexadecimal value to define the R, G, and B components of the colors. (R)ed = 8 bits; (G)reen = 8 bits; (B)lue = 8 bits. RGB is written using hexadecimal (HEX) numbers (0 thru F) as #RRGGBB where 0 means all color is off and F means all color is on. Examples are the following: Red is #FF0000 Green is #00FF00 Blue is #0000FF Black is #000000 White is #FFFFFF (all colors makeup white in light) If you want to save a color you've selected in the Color Picker so you can use it again in the future, click Add to Swatches, assign the color a name, and click OK. The Eyedropper Tool uses sampling to select a new Foreground or Background color. There are two ways to activate the Eyedropper Tool: While the Color Picker is displayed, move your cursor out of the Color Picker box. The cursor will automatically change to an eyedropper. You can use the eyedropper to select a color from anywhere on the active document or from the Color or Swatches panels located on the right of the workspace. Select the Eyedropper from the Tool Bar. After the eyedropper has been activated, you can change the sample size of the eyedropper from the Options menu located at the top of the screen below the main menu. The choices from the Sample Size menu are the following:Point Size: Reads the precise value of the pixel you click.Average: Creates a color value from an average of the pixels collected in the sample size selected. You can also change the Foreground and Background colors by clicking a value displayed on the Swatches Panel. If you simply click a swatch, it changes the Foreground color. If you hold down the CTRL key while clicking a swatch, it changes the Background color.

2.6.2 - Create and edit brushes, symbols, styles, and patterns.

The Brush Panel is a menu that lists all of the currently available brushes, including presets. Many of the preset brushes have options you can edit. These brush options are displayed in the Brush Settings Panel. The Brush Settings Panel lets you edit exising brush tips and also allows you to create new brushes. Options and their settings are displayed below the list of brush tips. Modifying any of the options will alter how the brush tip applies paint to an image. The Brush Stroke Preview at the bottom of the panel shows how the paint strokes look with the current brush settings. The options available vary depending on the type of brush tip selected. For example, below are the settings you can change for a Standard Brush Tip. tandard Brush Tip Shape Options: Size controls the size of the brush. Enter a value in pixels or drag the slider. Sample Size resets the brush to its original diameter. This option is available only if the brush tip shape was created by sampling pixels in an image. Flip X changes the direction of a brush tip on its x-axis. Flip Y changes the direction of a brush tip on its y-axis. Angle specifies the angle by which an elliptical or sampled brush's long axis is rotated from horizontal. Type a value in degrees or drag the horizontal axis in the preview box. Roundness specifies the ratio between the brush's short and long axes. Enter a percentage value or drag the points in the preview box. A value of 100% indicates a circular brush, a value of 0% indicates a linear brush, and intermediate values indicate elliptical brushes. Hardness controls the size of the brush's hard center. Type a number or use the slider to enter a value that is a percentage of the brush diameter. You can't change the hardness of sampled brushes. Spacing controls the distance between the brush marks in a stroke. To change the spacing, type a number or use the slider to enter a value that is a percentage of the brush diameter. When this option is deselected, the speed of the cursor determines the spacing. If you've created a brush that you would like to save as your own custom preset, you can do so by clicking the Create New Brush button at the bottom of the panel. This will add the brush to your preset menu.

2.5.2 - Create and/or customize a gradient.

The Gradient Tool is found in the Tool Bar along the left of the screen. When the Gradient Tool is activated, the next thing you must need do is choose a gradient. There are a couple of ways to do that. One is by opening the Gradient Picker; the other is by opening the larger Gradient Editor. The difference between the two is that the Gradient Picker provides ready-made preset gradients, while the Gradient Editor, as its name implies, is for customizing your own gradients. To open the Gradient Picker, click on the small arrow to the right of the gradient preview bar in the Options Bar. Make sure to click the arrow, not on the preview bar (clicking the preview bar will open the Gradient Editor). Clicking the arrow opens the Gradient Picker, which contains thumbnails of several preset gradients. To choose a gradient, click on its thumbnail and press Enter (Win)/Return (Mac) on your keyboard, or you can click on any empty space in the Options Bar to close the Gradient Picker. You can also double-click on the thumbnail, which will both select the gradient and close out of the Gradient Picker. Photoshop includes many gradient sets. To load one, click on the gear icon in the upper right. Foreground to Background Gradient is the default gradient. It is based on your current Foreground and Background colors. It is the easiest of all the gradients to customize and the one used most often. To use the Gradient Tool, click in your document to set a starting point for the gradient, keep your mouse button held down, and drag away from the starting point to where you want the gradient to end. As you're dragging, you'll see only a line indicating the direction of the gradient. When you release your mouse button, Photoshop completes the gradient and draws it with the chosen colors. For example, if the Foreground color is set to black and the Background color is set to white, the result is a black to white gradient. To change the colors, simply change the colors as explained in Objective 2.5.a Set the active foreground and background color. You can reverse the colors in your gradient by selecting the Reverse option in the Options Bar. Gradients aren't limited to running horizontally, they can run in any direction you draw them: vertically, diagonally, etc. Gradient Styles define the direction a gradient moves. There are five different gradient styles. Look to the right of the gradient preview bar in the Options Bar to see the five Gradient Style icons. To apply one of these styles to a gradient, simply click on it. Linear is the first icon from the left and the default gradient style. It draws the gradient from the starting point to the end point in a straight line based on the direction in which you drag, from the Foreground color to the Background color. Select Reverse in the Options Bar to swap the order of the colors. Radial is the second icon from the left. It will create a circular gradient outward from your starting point beginning with the Foreground color in the center and radiating outward to the Background color. Click in the center of the area to set the starting point and then drag outward toward the edge. Select the Reverse option in the Options Bar to reverse the colors starting with the Background color in the center and transitioning outward in a circular fashion into the Foreground color. Angle is the third icon from the left. Much like the Radial style, the Angle style also uses your starting point as the center of the gradient. But rather than transitioning outward in all directions, it wraps itself around the starting point in a counterclockwise fashion. Selecting Reverse in the Options Bar gives you the same result but the Foreground and Background colors are swapped. Angle is the third icon from the left. Much like the Radial style, the Angle style also uses your starting point as the center of the gradient. But rather than transitioning outward in all directions, it wraps itself around the starting point in a counterclockwise fashion. Selecting Reverse in the Options Bar gives you the same result but the Foreground and Background colors are swapped. Reflected is the fourth icon from the left. It is very similar to the Linear style, but it takes everything on one side of your starting point and mirrors it on the other side. Click in the center of a selected area to set the starting point, then drag outward. The gradient starts with the Foreground color at your starting point and ends with the Background color. Then, the gradient is mirrored on the other side of the starting point. Selecting Reverse in the Options Bar gives the same result but with the Foreground and Background colors swapped. Diamond is the fifth icon from the left. It is very similar to the Radial style, but it radiates out forming a diamond shape. Click in the center of a selected area to set the starting point, then drag outward. The gradient starts with the Foreground color at your starting point and ends with the Background color. Selecting Reverse in the Options Bar gives the same result but with the Foreground and Background colors swapped. Dither in the Options Bar is selected by default. It mixes a bit of noise into your gradients to help smooth out the transitions between colors. This helps to reduce banding (visible lines that form between colors when the transitions are not smooth enough). Transparency in the Options Bar is selected by default. This option must be selected for any of the tranparency gradient to work. These include the Foreground to Transparency, Transparency Stripes, and Transparent Rainbow gradients. Mode and Opacity in the Options Bar. The Mode option is used for setting the Blend Mode, and the Opacity option affects how the gradient will blend in with the original contents of a layer. In most cases, both of these options should be left to their default settings. The Gradient Editor is used to create, edit, and save your own custom gradients. The Gradient Editor lets you choose from any of the preset gradients, just like the smaller Gradient Picker, but it also lets you edit those gradients by choosing different colors, adding more colors, rearranging the colors, and removing colors. You can add transparency to a gradient and even adjust how the colors transition from one to the other. You can also save your gradient as a custom preset to use again the next time you need it. To open the Gradient Editor, click directly on the gradient preview bar in the Options Bar. If you click on the small arrow to the right of the preview bar, you'll open the Gradient Picker, which was covered previously. Creating or Customizing a Gradient is a 10-step process: Pick an Existing Preset to use as the basis for your new gradient. Choose a Gradient Type, either Solid or Noise, from the pop-up menu. A noise gradient contains random colors, so each time you create a noise gradient, the result is different. Choose Options depending on what you chose in the step above.​​​​​​​If you chose Solid, adjust the Smoothness percentage to determine how smoothly one color blends into another.If you chose Noise, choose which Color Model to use to set the color range. You can also adjust the Roughness, which affects how smoothly or abruptly the color transitions from one to another. Click Restrict Colors to avoid oversaturated colors.The Add Transparency option adds transparency to random colors. Click the Randomize button to randomly generate a new gradient. You can then skip to the last step to finish the gradient-making process. Choose the Starting Color by double-clicking the left color stop under the gradient bar. The Color Picker will appear. Select a color using the Color Picker, or you can select from a color swatch or choose Foreground, Background, or User Color from the pop-up menu. If you select the Foreground or Background option, when you change either of those colors, the color in the gradient will change automatically in gradients you create. Select the Ending Color by clicking the right color stop. Repeat step 4 above to define the color. Set the Percentage of one color versus the other by moving the starting or ending point's color stop to the left or right. Drag the midpoint slider (a diamond icon) to where the colors mix equally, 50-50. You can also change the position of the midpoint by typing a value in the Location box. (Optional) Add Another Color by clicking below the gradient bar at the position you want to add the next color. Define the color in the same way you did in the steps above. Repeat to add more colors. (Optional) Add Transparency to your gradient by selecting an opacity stop and adjust the Opacity slider to specify the amount of transparency you desire. By default, a gradient has colors that are 100% opaque. You can fade a gradient to transparency so that the portion of the image under the gradient shows through. You can also add opacity stops in the same way you add color stops. (Optional) Adjust Color and Opacity Stops and their midpoint sliders to vary the percentages of each color. You can also redefine any of the colors. To delete a color stop, drag it up or down off the gradient bar. Save the Gradient by naming it and clicking the New button. The gradient will be added to the Presets menu.

2.2.1 - Identify and manipulate elements of the Photoshop interface.

The Menu Bar is located across the top of the Photoshop window. The Menu bar contains all of the Photoshop commands and elements. The Options Bar is located immediately below the Photoshop Menu bar. The Options bar shows the settings available for a specific tool that has been selected. Tool Bars, Panels, and Palettes are terms often used interchangeably. They contain the commands and tools of Photoshop. Tools that are related are grouped together on tool bars or panels. Colors are grouped on palettes or color panels. The various "panels" are organized into "panel groups" with other related panels. To activate any panel, simply click on its tab. The Tools panel (also called "Tool bar") is located on the left by default. Other primary panels are grouped in columns along the right. The panels used the most (Color, Swatches, Libraries, Adjustments, Styles, Layers, Channels, and Paths) are found in the main column. Along the left of this main column is a narrow column that holds the History and Device Preview panels. These latter panels in the narrow left column are collapsed into icons (what Adobe calls iconic view). You can expand any panel that's in iconic view by clicking its icon. Click the icon again to collapse the panel.

2.1.1 - Set appropriate document settings for printed and on-screen images.

The New Document pop-up window offers several preset document settings for the most common types of projects: Photo, Print, Art & Illustration, Web, Mobile, and Film & Video. If you're not sure which settings to use, select Default Photoshop Size. You can always adjust the settings later. Each of the presets contain preconfigured settings most common for the type of project selected. Width/Height: Specify the size of the document. Select the unit from the pop-up menu (pixels, inches, cm, mm, points, picas, or columns). Orientation: Specify a page orientation for the document of either portrait or landscape. Artboard: Select this option if you want your document to have artboards. Photoshop adds an artboard while creating the document. Resolution: Specify the fineness of detail in a bitmap image. It is measured in pixels/inch or pixels/centimeter. Color Mode: Specify a color mode for the document of RGB, BitMap, Grayscale, CMYK Color, or Lab Color. Bit Depth: Specify the number of colors as a logarithmic power of 2 (example 21, 28, 216, or 232) by choosing 1 bit, 8 bit, 16 bit, or 32 bit. Background Contents: Specify a background color for the document of White, Background Color, or Transparent.

2.2.3 - Configure application preferences.

There are several features you can configure in the Photoshop application. These can be configured by choosing Edit > Preferences from the Photoshop menu bar. Units & Rulers allows you to configure measurements for display along the top and left side of the active window. For example, pixels would be most common for images displayed on a monitor, and picas or inches would be most common for output to a printer Another way to change the unit of measurement on the ruler is to right-click within the ruler area and select the units from the pop-up menu. To show or hide rulers, choose View > Rulers from the Photoshop menu bar. Guides, Grid, & Slices make it possible to position everything perfectly in your project because you can configure Photoshop to snap your images and text right to the guide. Guides appear as nonprinting lines that float over the image. To quickly create a single guide, do one of the following: Choose View > New Guide. In the dialog box, select Horizontal or Vertical orientation, enter a position, and click OK. Click the horizontal ruler and drag to create a horizontal guide; do the same from the vertical ruler to create a vertical guide. After you've created one or more Guides, managing them is simple: To lock all guides so they cannot be bumped out of their location, choose View > Lock Guides from the menu bar. To hide or show the guides after you've placed them, choose View > Show > Guides. To remove a single guide, drag the guide outside the image window. To remove all guides, choose View > Clear Guides. Smart Guides are special guides that appear temporarily when you draw a shape or create a selection. They help you align shapes, slices, and selections, then the Smart Guide disappears. To enable Smart Guides, choose View > Show > Smart Guides. Another useful tool is the Grid, which is a series of horizonal and vertical lines. Similar to guides, the grid is only to lay out elements and is not printed with your project. Grid spacing, color and style, is configured from Preferences > Guides, Grid, & Slices. To show or hide the grid, choose View > Show > Grid. You can also activate a feature called Snap to so that selections automatically snap to a guide or the grid whenever the selection's border is dragged within 8 screen (not image) pixels. When Snap to is active, guides also snap to the grid. Turn this feature on/off by selecting View > Snap to. Performance allows you to configure the amount of system memory (RAM) allocated to Photoshop. The more RAM available, the better Photoshop will run. If Photoshop routinely runs out of memory, adding additional RAM to your computer will give you the best results. Interface allows you to configure the size of the text and icons in your workspace as well as the overall color theme of the interface. A Scratch Disk is a section of your computer's hard drive that Photoshop uses as additional memory if it runs out of system memory. As long as your computer has enough memory, Photoshop won't need to use the scratch disk. If it does need the scratch disk, it will use whatever hard drive(s) you've selected in the Scratch Disks option. If your computer has an SSD (Solid State Drive), choose the SSD as your scratch disk. SSD's are much faster than traditional hard drives and can greatly improve the performance of Photoshop.