Adobe photoshop cc classroom in a book 2015

AdobePhotoshopCC2015release

AlbertoSeveso

CLASSROOMINABOOK®TheofficialtrainingworkbookfromAdobe

AndrewFaulkner&ConradChavez

Adobe®Photoshop®CCClassroominaBook®(2015release)

Ifthisguideisdistributedwithsoftwarethatincludesanenduseragreement,thisguide,aswellasthesoftwaredescribedinit,isfurnishedunderlicenseandmaybeusedorcopiedonlyinaccordancewiththetermsofsuchlicense.Exceptaspermittedbyanysuchlicense,nopartofthisguidemaybereproduced,storedinaretrievalsystem,ortransmitted,inanyformorbyanymeans,electronic,mechanical,recording,orotherwise,withoutthepriorwrittenpermissionofAdobeSystemsIncorporated.Pleasenotethatthecontentinthisguideisprotectedundercopyrightlawevenifitisnotdistributedwithsoftwarethatincludesanenduserlicenseagreement.

Thecontentofthisguideisfurnishedforinformationaluseonly,issubjecttochangewithoutnotice,andshouldnotbeconstruedasacommitmentbyAdobeSystemsIncorporated.AdobeSystemsIncorporatedassumesnoresponsibilityorliabilityforanyerrorsorinaccuraciesthatmayappearintheinformationalcontentcontainedinthisguide.

Pleaserememberthatexistingartworkorimagesthatyoumaywanttoincludeinyourprojectmaybeprotectedundercopyrightlaw.Theunauthorizedincorporationofsuchmaterialintoyournewworkcouldbeaviolationoftherightsofthecopyrightowner.Pleasebesuretoobtainanypermissionrequiredfromthecopyrightowner.

Anyreferencestocompanynamesinsamplefilesarefordemonstrationpurposesonlyandarenotintendedtorefertoanyactualorganization.

Adobe,theAdobelogo,Acrobat,theAdobePDFlogo,AfterEffects,Behance,ClassroominaBook,CreativeSuite,Flash,Illustrator,InDesign,Lightroom,Photoshop,PostScript,andPremiereareeitherregisteredtrademarksortrademarksofAdobeSystemsIncorporatedintheUnitedStatesand/orothercountries.

Apple,MacOS,Macintosh,andQuickTimearetrademarksofApple,registeredintheU.S.andothercountries.Microsoft,andWindowsareeitherregisteredtrademarksortrademarksofMicrosoftCorporationintheU.S.and/orothercountries.Allothertrademarksarethepropertyoftheirrespectiveowners.

AdobeSystemsIncorporated,345ParkAvenue,SanJose,California95110-2704,USA

NoticetoU.S.GovernmentEndUsers.TheSoftwareandDocumentationare“CommercialItems,”asthattermisdefinedat48C.F.R.§2.101,consistingof“CommercialComputerSoftware”and“CommercialComputerSoftwareDocumentation,”assuchtermsareusedin48C.F.R.§12.212or48C.F.R.§227.7202,asapplicable.Consistentwith48C.F.R.§12.212or48C.F.R.§§227.7202-1through227.7202-4,asapplicable,theCommercialComputerSoftwareandCommercialComputerSoftwareDocumentationarebeinglicensedtoU.S.Governmentendusers(a)onlyasCommercialItemsand(b)withonlythoserightsasaregrantedtoallotherenduserspursuanttothetermsandconditionsherein.Unpublished-rightsreservedunderthecopyrightlawsoftheUnitedStates.AdobeSystemsIncorporated,345ParkAvenue,SanJose,CA95110-2704,USA.ForU.S.GovernmentEndUsers,Adobeagreestocomplywithallapplicableequalopportunitylawsincluding,ifappropriate,theprovisionsofExecutiveOrder11246,asamended,Section402oftheVietnamEraVeterans

ReadjustmentAssistanceActof1974(38USC4212),andSection503oftheRehabilitationActof1973,asamended,andtheregulationsat41CFRParts60-1through60-60,60-250,and60-741.Theaffirmativeactionclauseandregulationscontainedintheprecedingsentenceshallbeincorporatedbyreference.

AdobePressbooksarepublishedbyPeachpit,adivisionofPearsonEducationlocatedinSanFrancisco,California.ForthelatestonAdobePressbooks,gotowww.adobepress.com.Toreporterrors,pleasesendanotetoerrata@peachpit.com.Forinformationongettingpermissionforreprintsandexcerpts,contactpermissions@peachpit.com.

PrintedandboundintheUnitedStatesofAmerica

ISBN-13:978-0-134-30813-5

ISBN-10:0-134-30813-1

988654321

HowtoGetYourLessonFiles

Thankyouforpurchasingthisdigitalversionof:

AdobePhotoshopCCClassroominaBook®(2015release)

Inordertoworkthroughtheprojectsinthisbook,youwillneedtodownloadthelessonfilesfrompeachpit.com.Eachdownloadlinkgivesyouthefilesforasinglelesson.Youalsohavetheoptionofdownloadingtheentiresetoflessonfilesasasingleverylargefile.

Toaccessthesefiles,followthestepsbelow:

1.OnaMacorPC,gotowww.peachpit.com/redeemandenterthiscode:

4AB0466F379B

2.IfyoudonothaveaPeachpit.comaccount,youwillbepromptedtocreateone.

3.ThedownloadablefileswillbelistedunderLesson&UpdateFilestabonyourAccountpage(seeimagebelow;yourlistoffilesmaylookalittledifferent.)

4.Clickthelessonfilelinkstodownloadthemtoyourcomputer.

Ifyouareunabletolocatethefilesforthistitlebyfollowingthestepsabove,pleaseemailask@peachpit.comandsupplythecodefromstepone.Ourcustomerservicerepresentativeswillassistyouassoonaspossible.

WhattodowiththeLessonfilesonceyou’vedownloadedthemThefilesarecompressedintoZiparchivestospeedupdownloadtimeandtoprotectthecontentsfromdamageduringtransfer.Youmustuncompress(or“unzip”)thefilestorestorethemtotheiroriginalsizeandformatbeforeyouusethemwiththebook.ModernMacandWindowssystemsaresetuptoopenZiparchivesbysimplydouble-clicking.

Afterunzippingthefiles,createanewfoldernamed“Lessons”inaconvenientlocationonyourcomputer.

•Ifyou’rerunningWindows,right-clickandchooseNew>Folder.Thenenterthenewnameforyourfolder.

•Ifyou’reusingMacOS,intheFinder,chooseFile>NewFolder.Typethenewnameanddragthefoldertothelocationyouwanttouse.

DragtheunzippedLessonsfolders(Lesson01,Lesson02,etc.)toyournew“Lessons”folder.Whenyoubegineachlesson,navigatetothefolderwiththatlessonnumbertoaccessalltheassetsyouneedtocompletethelesson.

Important!Thelessonfilesareprovidedsolelyforyourpersonaluse.Youarenotauthorizedtousethesefilescommercially,ortopublishordistributetheminanyformwithoutwrittenpermissionfromAdobeSystems.

Contents

GETTINGSTARTED

AboutClassroominaBook

What’snewinthisedition

Prerequisites

InstallingAdobePhotoshopandAdobeBridge

StartingAdobePhotoshop

AccessingtheClassroominaBookfiles

Restoringdefaultpreferences

Additionalresources

AdobeAuthorizedTrainingCenters

1GETTINGTOKNOWTHEWORKAREA

StartingtoworkinAdobePhotoshop

Usingthetools

Samplingacolor

Workingwithtoolsandtoolproperties

UndoingactionsinPhotoshop

Moreaboutpanelsandpanellocations

FindingresourcesforusingPhotoshop

Reviewquestionsandanswers

2BASICPHOTOCORRECTIONS

Strategyforretouching

Resolutionandimagesize

OpeningafilewithAdobeBridge

StraighteningandcroppingtheimageinPhotoshop

Adjustingthecolorandtone

UsingtheSpotHealingBrushtool

Applyingacontent-awarepatch

RepairingareaswiththeCloneStamptool

Sharpeningtheimage

3WORKINGWITHSELECTIONS

Aboutselectingandselectiontools

Gettingstarted

UsingtheQuickSelectiontool

Movingaselectedarea

Manipulatingselections

UsingtheMagicWandtool

Selectingwiththelassotools

Rotatingaselection

SelectingwiththeMagneticLassotool

Selectingfromacenterpoint

Resizingandcopyingaselection

Croppinganimage

4LAYERBASICS

Aboutlayers

Gettingstarted

UsingtheLayerspanel

Rearranginglayers

Applyingagradienttoalayer

Applyingalayerstyle

Addinganadjustmentlayer

Updatinglayereffects

Addingaborder

Flatteningandsavingfiles

5QUICKFIXES

Gettingstarted

Improvingasnapshot

Blurringabackground

Creatingapanorama

Correctingimagedistortion

Addingdepthoffield

MovingobjectswiththeContent-AwareMovetool

Adjustingperspectiveinanimage

6MASKSANDCHANNELS

Workingwithmasksandchannels

Gettingstarted

Creatingamask

Refiningamask

Creatingaquickmask

ManipulatinganimagewithPuppetWarp

Workingwithchannels

7TYPOGRAPHICDESIGN

Abouttype

Gettingstarted

Creatingaclippingmaskfromtype

Creatingtypeonapath

Warpingpointtype

Designingparagraphsoftype

Addingaroundedrectangle

Addingverticaltext

8VECTORDRAWINGTECHNIQUES

Aboutbitmapimagesandvectorgraphics

AboutpathsandthePentool

Gettingstarted

DrawingwiththePentool

Workingwithdefinedcustomshapes

ImportingaSmartObject

Addingcoloranddepthtoashapeusinglayerstyles

9ADVANCEDCOMPOSITING

Gettingstarted

Arranginglayers

UsingSmartFilters

Paintingalayer

Addingabackground

UsingtheHistoryPaneltoundotasks

Upscalingalow-resolutionimage

10PAINTINGWITHTHEMIXERBRUSH

AbouttheMixerBrush

Gettingstarted

Selectingbrushsettings

Mixingcolors

Creatingacustombrushpreset

Mixingcolorswithaphotograph

11EDITINGVIDEO

Gettingstarted

AbouttheTimelinepanel

Creatinganewvideoproject

Animatingtextwithkeyframes

Creatingeffects

Addingtransitions

Addingaudio

Mutingunwantedaudio

Renderingvideo

12WORKINGWITHCAMERARAW

Gettingstarted

Aboutcamerarawfiles

ProcessingfilesinCameraRaw

Applyingadvancedcolorcorrection

13PREPARINGFILESFORTHEWEB

Gettingstarted

Usinglayergroupstocreatebuttongraphics

Automatingamultisteptask

SavingassetswithAdobeGenerator

14PRODUCINGANDPRINTINGCONSISTENTCOLOR

Preparingfilesforprinting

Gettingstarted

Performinga“zoomtest”

Identifyingout-of-gamutcolors

Adjustinganimage

ConvertinganimagetoCMYK

Aboutcolormanagement

Specifyingcolor-managementsettings

Proofinganimage

SavingtheimageasaCMYKEPSfile

PrintingaCMYKimagefromPhotoshop

15PRINTING3DFILES

Gettingstarted

Understandingthe3Denvironment

Positioning3Delements

Printinga3Dfile

APPENDICES

GettingStarted

Adobe®Photoshop®CC,thebenchmarkfordigitalimagingexcellence,providesstrongperformance,powerfulimageeditingfeatures,andanintuitiveinterface.AdobeCameraRaw,includedwithPhotoshopCC,offersflexibilityandcontrolasyouworkwithrawimagesaswellasTIFFandJPEGimages.PhotoshopCCgivesyouthedigital-editingtoolsyouneedtotransformimagesmoreeasilythaneverbefore.

AboutClassroominaBookAdobePhotoshopCCClassroominaBook®(2015release)ispartoftheofficialtrainingseriesforAdobegraphicsandpublishingsoftware,developedwiththesupportofAdobeproductexperts.Thelessonsaredesignedtoletyoulearnatyourownpace.Ifyou’renewtoAdobePhotoshop,you’lllearnthefundamentalconceptsandfeaturesyou’llneedtomastertheprogram.Andifyou’vebeenusingAdobePhotoshopforawhile,you’llfindthatClassroominaBookteachesmanyadvancedfeatures,includingtipsandtechniquesforusingthelatestversionoftheapplicationandpreparingimagesfortheweb.

Althougheachlessonprovidesstep-by-stepinstructionsforcreatingaspecificproject,there’sroomforexplorationandexperimentation.Youcanfollowthebookfromstarttofinish,ordoonlythelessonsthatmatchyourinterestsandneeds.Eachlessonconcludeswithareviewsectionsummarizingwhatyou’vecovered.

What’snewinthiseditionThiseditioncoversnewfeaturesinAdobePhotoshopCC,suchasCreativeCloudlibrarieswithLinkedSmartObjectsforeasilyreusingdesignassetsandsharingthemwithyourteam;usingtheenhancedContentAwareMovetooltoinstantlymodifyduplicatedcontent;usingmultipleartboardstodesignscreensmoreefficientlyforarangeofdisplaysizesacrossdesktopandmobiledevices.Inaddition,theselessonsintroduceyoutoAdobeDevicePreviewtotestmobiledesignsonactualhardware,usingnewworkflowstogenerateoptimizedwebandmobileassets,easierwaystofindtherightfontforyourproject,howtouploadyourworktoshareonyourBehanceportfolio,andmore.

Thiseditionisalsochock-fullofextrainformationonPhotoshopfeaturesandhowtoworkeffectivelywiththisrobustapplication.You’lllearnbestpracticesfororganizing,managing,andshowcasingyourphotos,aswellashowtooptimizeimagesfortheweb.Andthroughoutthisedition,lookfortipsandtechniquesfromoneofAdobe’sownexperts,PhotoshopevangelistJulieanneKost.

PrerequisitesBeforeyoubegintouseAdobePhotoshopCCClassroominaBook(2015release),youshouldhaveaworkingknowledgeofyourcomputeranditsoperatingsystem.Makesurethatyouknowhowtousethemouseandstandardmenusandcommands,andalsohowtoopen,save,andclosefiles.Ifyouneedtoreviewthesetechniques,seethedocumentationincludedwithyourMicrosoft®Windows®orApple®Mac®OSXsystem.

Tocompletethelessonsinthisbook,you’llneedtohavebothAdobePhotoshopCC(2015release)andAdobeBridgeCCinstalled.

InstallingAdobePhotoshopandAdobeBridgeBeforeyoubeginusingAdobePhotoshopCCClassroominaBook(2015release),makesurethatyoursystemissetupcorrectlyandthatyou’veinstalledtherequiredsoftwareandhardware.YoumustlicensetheAdobePhotoshopCCsoftwareseparately.Forsystemrequirementsandcompleteinstructionsoninstallingthesoftware,visitwww.adobe.com/support.NotethatsomePhotoshopCCfeatures,includingall3Dfeatures,requireavideocardthatsupportsOpenGL2.0andthathasatleast512MBofdedicatedVRAM.

ManyofthelessonsinthisbookuseAdobeBridge.PhotoshopandBridgeuseseparateinstallers.YoumustinstalltheseapplicationsfromAdobeCreativeCloud(creative.adobe.com)ontoyourharddisk.Followtheonscreeninstructions.

StartingAdobePhotoshopYoustartPhotoshopjustasyoudomostsoftwareapplications.

TostartAdobePhotoshopinWindows:ChooseStart>AllPrograms>AdobePhotoshopCC.

TostartAdobePhotoshopinMacOS:OpentheApplications/AdobePhotoshopCCfolder,anddouble-clicktheAdobePhotoshopprogramicon.

AccessingtheClassroominaBookfilesInordertoworkthroughtheprojectsinthisbook,youwillneedtodownloadthelessonfilesfrompeachpit.com.Youcandownloadthefilesforindividuallessons,ordownloadthemallinasinglefile.

IfyoupurchasedaneBookfrompeachpit.comoradobepress.com,thefileswillautomaticallyappearonyourAccountpage,undertheLesson&UpdateFilestab.

IfyoupurchasedaneBookfromadifferentvendororaprintbook,usetheuniquecodeinthisbooktogainaccesstothelessonfiles.

ToaccesstheClassroominaBookfiles,dothefollowing:

1.Onadesktoporlaptopcomputer,gotowww.peachpit.com/redeem,andenterthecodefoundatthebackofyourbook.

2.IfyoudonothaveaPeachpit.comaccount,createonewhenyou’repromptedtodoso.

3.ThedownloadablefileswillbelistedundertheLesson&UpdateFilestabonyourAccountpage.Justlogintoaccessyourfilesanytimeasmanytimesasyouneed;thecodeneedstoberedeemedonlyonce.

4.Clickthelessonfilelinkstodownloadthemtoyourcomputer.

5.Createanewfolderonyourharddisk,andnameitLessons.Then,dragthelesson

filesyoudownloadedintotheLessonsfolderonyourharddisk.

Asyoucompleteeachlesson,youwillpreservethestartfiles.Incaseyouoverwritethem,youcanrestoretheoriginalfilesbydownloadingthecorrespondinglessonfilesfromyourAccountpageatpeachpit.com.

WebEditionThisbookcomeswithafreeWebEditionthatprovidesmanybenefits.YourWebEditioncanbeaccessedfromanydevicewithaconnectiontotheInternetanditcontains:

•Thecompletetextofthebook

•Hoursofinstructionalvideokeyedtothetext

•Interactivequizzes

Inaddition,theWebEditionwillbeupdatedwhenAdobeaddssignificantfeatureupdatesbetweenmajorCreativeCloudreleases.Toaccommodatethechanges,sectionsoftheonlinebookwillbeupdatedornewsectionswillbeadded.

AccessingtheFreeWebEditionYourpurchaseofthisClassroominaBookinanyformatincludesaccesstothecorrespondingWebEdition.TheWebEditioncontainsthecompletetextofthebookaugmentedwithhoursofvideoandinteractivequizzes.

RegisteringtoaccesstheWebEditiondoesnotautomaticallyprovideaccesstoyourlessonfiles,andviceversa.Youmustfollowtheinstructionsforeachtoclaimthefullbenefitsofyourpurchase.

Ifyoupurchasedyourbookthroughanyotherchannel,itmustberegistered:

1.Gotowww.peachpit.com/register.

2.Signinorcreateanewaccount.

3.EnterISBN:9780134308135.

4.Answerthequestionsasproofofpurchase.

5.TheWebEditionwillappearundertheDigitalPurchasestabonyourAccountpage.ClicktheLaunchlinktoaccesstheproduct.

RestoringdefaultpreferencesThepreferencesfilestoresinformationaboutpanelandcommandsettings.EachtimeyouquitAdobePhotoshop,thepositionsofthepanelsandcertaincommandsettingsarerecordedinthepreferencesfile.AnyselectionsyoumakeinthePreferencesdialogboxarealsosavedinthepreferencesfile.

Toensurethatwhatyouseeonscreenmatchestheimagesandinstructionsinthisbook,youshouldrestorethedefaultpreferencesasyoubegineachlesson.Ifyouprefertopreserveyourpreferences,beawarethatthetools,panels,andothersettingsinPhotoshopCCmaynotmatchthosedescribedinthisbook.

Ifyouhavecustomizedyourcolorsettings,usethefollowingproceduretosavethemasapresetbeforeyoustartworkinthisbook.Whenyouwanttorestoreyourcolorsettings,youcansimplyselectthepresetyoucreated.

Tosaveyourcurrentcolorsettings1.StartAdobePhotoshop.

2.ChooseEdit>ColorSettings.

3.NotewhatisselectedintheSettingsmenu:

•IfitisanythingotherthanCustom,writedownthenameofthesettingsfile,andclickOKtoclosethedialogbox.Youdonotneedtoperformsteps4–6ofthisprocedure.

•IfCustomisselectedintheSettingsmenu,clickSave(notOK).

TheSavedialogboxopens.ThedefaultlocationistheSettingsfolder,whichiswhereyouwanttosaveyourfile.Thedefaultfileextensionis.csf(colorsettingsfile).

4.IntheFileNamefield(Windows)orSaveAsfield(MacOS),typeadescriptivenameforyourcolorsettings,preservingthe.csffileextension.ThenclickSave.

5.IntheColorSettingsCommentdialogbox,typeanydescriptivetextthatwillhelpyouidentifythecolorsettingslater,suchasthedate,specificsettings,oryourworkgroup.

6.ClickOKtoclosetheColorSettingsCommentdialogbox,andagaintoclosetheColorSettingsdialogbox.

Torestoreyourcolorsettings1.StartAdobePhotoshop.

2.ChooseEdit>ColorSettings.

3.FromtheSettingsmenuintheColorSettingsdialogbox,choosethesettingsfileyounotedorsavedinthepreviousprocedure,andclickOK.

AdditionalresourcesAdobePhotoshopCCClassroominaBook(2015release)isnotmeanttoreplacedocumentationthatcomeswiththeprogramortobeacomprehensivereferenceforeveryfeature.Onlythecommandsandoptionsusedinthelessonsareexplainedinthisbook.Forcomprehensiveinformationaboutprogramfeaturesandtutorials,refertotheseresources:

AdobePhotoshopHelpandSupport:helpx.adobe.com/photoshop.htmliswhereyoucanfindandbrowseHelpandSupportcontentonAdobe.com.

AdobeForums:forums.adobe.comletsyoutapintopeer-to-peerdiscussions,questions,andanswersonAdobeproducts.

AdobePhotoshopCCproducthomepage:adobe.com/products/photoshop

AdobeAdd-ons:creative.adobe.com/addonsisacentralresourceforfindingtools,services,extensions,codesamples,andmoretosupplementandextendyourAdobeproducts.

Resourcesforeducators:adobe.com/educationandedex.adobe.comofferatreasuretroveofinformationforinstructorswhoteachclassesonAdobesoftware.Findsolutionsforeducationatalllevels,includingfreecurriculathatuseanintegratedapproachtoteachingAdobesoftwareandcanbeusedtopreparefortheAdobeCertifiedAssociateexams.

AdobeAuthorizedTrainingCentersAdobeAuthorizedTrainingCentersofferinstructor-ledcoursesandtrainingonAdobeproducts.

AdirectoryofAATCsisavailableattraining.adobe.com/trainingpartners.

1.GettingtoKnowtheWorkArea

Lessonoverview

Inthislesson,you’lllearnhowtodothefollowing:

•OpenimagefilesinAdobePhotoshop.

•SelectandusetoolsintheToolspanel.

•Setoptionsforaselectedtoolusingtheoptionsbar.

•Usevariousmethodstozoomintoandoutfromanimage.

•Select,rearrange,andusepanels.

•Choosecommandsinpanelandcontextmenus.

•Openanduseapanelinthepaneldock.

•Undoactionstocorrectmistakesortomakedifferentchoices.

Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson01projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.

Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.

PROJECT:BIRTHDAYCARDDESIGN

AsyouworkwithAdobePhotoshop,you’lldiscoverthatyoucanoftenaccomplishthesametaskinseveralways.Tomakethebestuseoftheextensiveeditingcapabilitiesin

Photoshop,youmustfirstlearntonavigatetheworkarea.

StartingtoworkinAdobePhotoshopTheAdobePhotoshopworkareaincludesmenus,toolbars,andpanelsthatgiveyouquickaccesstoavarietyoftoolsandoptionsforeditingandaddingelementstoyourimage.Youcanalsoaddcommandsandfilterstothemenusbyinstallingthird-partysoftwareknownasplug-ins.

InPhotoshop,youprimarilyworkwithbitmapped,digitizedimages(thatis,continuous-toneimagesthathavebeenconvertedintoaseriesofsmallsquares,orpictureelements,calledpixels).Youcanalsoworkwithvectorgraphics,whicharedrawingsmadeofsmoothlinesthatretaintheircrispnesswhenscaled.YoucancreateoriginalartworkinPhotoshop,oryoucanimportimagesfrommanysources,suchas:

•Photographsfromadigitalcameraormobilephone

•Stockphotography

•Scansofphotographs,transparencies,negatives,graphics,orotherdocuments

•Capturedvideoimages

•Artworkcreatedindrawingprograms

StartingPhotoshopandopeningafileTobegin,you’llstartAdobePhotoshopandresetthedefaultpreferences.

1.Double-clicktheAdobePhotoshopicononyourtaskbar(Windows)ordock(MacOS),andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)toresetthedefaultsettings.

Ifyoudon’tseethePhotoshopiconinyourtaskbarordock,chooseStart>AllPrograms>AdobePhotoshopCC(Windows)orlookintheApplicationsfolder(MacOS).

2.Whenprompted,clickYestoconfirmthatyouwanttodeletetheAdobePhotoshopSettingsfile.

Typically,youwon’tneedtoresetdefaultswhenyou’reworkingonyourownprojects.However,you’llresetthepreferencesbeforeworkingonmostlessonsinthisbooktoensurethatwhatyouseeonscreenmatchesthedescriptionsinthelessons.Formoreinformation,see“Restoringdefaultpreferences”onpage4.

ThePhotoshopworkareaappearsasshowninthefollowingillustration.

A.MenubarB.OptionsbarC.Toolspanel

D.WorkspacesmenuE.Panels

OnMacOS,theapplicationframekeepstheimage,panels,andmenubartogether.

ThisillustrationshowstheMacOSversionofPhotoshop.ThearrangementissimilaronWindows,butoperatingsystemstylesmayvary.

ThedefaultworkspaceinPhotoshopconsistsofthemenubarandoptionsbaratthetopofthescreen,theToolspanelontheleft,andseveralopenpanelsinthepaneldockontheright.Whenyouhavedocumentsopen,oneormoreimagewindowsalsoappear,andyoucandisplaythematthesametimeusingthetabbedinterface.ThePhotoshopuserinterfaceisverysimilartotheoneinAdobeIllustrator®,AdobeInDesign®,andAdobeFlashProfessional®—solearninghowtousethetoolsandpanelsinoneapplicationmeansthatyou’llbefamiliarwiththemwhenyouworkintheothers.

ThereisonemaindifferencebetweenthePhotoshopworkareaonWindowsandthatonMacOS:WindowsalwayspresentsPhotoshopinacontainedwindow.OnMacOS,youcanchoosewhethertoworkwithanapplicationframe,whichcontainsthePhotoshopapplication’swindowsandpanelswithinaframethatisdistinctfromotherapplicationsyoumayhaveopen;onlythemenubarisoutsidetheapplicationframe.Theapplicationframeisenabledbydefault;todisabletheapplicationframe,chooseWindow>ApplicationFrame.

3.ChooseFile>Open,andnavigatetotheLessons/Lesson01folderthatyoucopiedtoyourharddrivefromthepeachpit.comwebsite.(Ifyouhaven’tdownloadedthefiles,see“AccessingtheClassroominaBookfiles”onpage3.)

4.Selectthe01End.psdfile,andclickOpen.ClickOKifyouseetheEmbeddedProfileMismatchdialogbox.

The01End.psdfileopensinitsownwindow,calledtheimagewindow.Theendfilesinthisbookshowyouwhatyouarecreatingineachproject.Inthisproject,you’llcreateabirthdaycard.

5.ChooseFile>Close,orclicktheclosebutton(thexnexttothefilename)onthetitlebaroftheimagewindow.(DonotclosePhotoshop.)

UsingthetoolsPhotoshopprovidesanintegratedsetoftoolsforproducingsophisticatedgraphicsforprint,web,andmobileviewing.WecouldeasilyfilltheentirebookwithdetailsonthewealthofPhotoshoptoolsandtoolconfigurations.Whilethatwouldcertainlybeausefulreference,it’snotthegoalofthisbook.Instead,you’llstartgainingexperiencebyconfiguringandusingafewtoolsonasampleproject.Everylessonwillintroduceyoutomoretoolsandwaystousethem.Bythetimeyoufinishallthelessonsinthisbook,you’llhaveasolidfoundationforfurtherexplorationsofthePhotoshoptoolset.

SelectingandusingatoolfromtheToolspanelTheToolspanelisthelong,narrowpanelonthefarleftsideoftheworkarea.Itcontainsselectiontools,paintingandeditingtools,foreground-andbackground-colorselectionboxes,andviewingtools.

ForacompletelistofthetoolsintheToolspanel,seetheAppendix,“Toolspaneloverview.”

You’llstartbyusingtheZoomtool,whichalsoappearsinmanyotherAdobeapplications,includingIllustrator,InDesign,andAcrobat.

1.ChooseFile>Open,navigatetotheLessons/Lesson01folder,anddouble-clickthe01Start.psdfiletoopenit.

The01Start.psdfilecontainsthebackgroundimageandaribbongraphicthatyou’llusetocreatethebirthdaycardthatyouviewedintheendfile.

2.ClickthedoublearrowsjustabovetheToolspaneltotoggletoadouble-columnview.Clickthedoublearrowsagaintoreturntoasingle-columnToolspanelanduseyourscreenspacemoreefficiently.

3.Examinethestatusbaratthebottomoftheworkarea(Windows)orimagewindow(MacOS),andnoticethepercentagethatappearsonthefarleft.Thisrepresentsthecurrentenlargementviewoftheimage,orzoomlevel.

4.MovethepointerovertheToolspanel,andhoveritoverthemagnifying-glassiconuntilatooltipappears.Thetooltipdisplaysthetool’sname(Zoomtool)andkeyboardshortcut(Z).

5.ClicktheZoomtoolicon( )intheToolspanel,orpressZtoselectit.

6.Movethepointerovertheimagewindow.Thepointernowlookslikeatinymagnifyingglasswithaplussigninthecenteroftheglass( ).

7.Clickanywhereintheimagewindow.

Theimageenlargestoapresetpercentagelevel,whichreplacesthepreviousvalueinthestatusbar.Ifyouclickagain,thezoomadvancestothenextpresetlevel,uptoamaximumof3200%.

8.HolddowntheAltkey(Windows)orOptionkey(MacOS)sothattheZoomtoolpointerappearswithaminussigninthecenterofthemagnifyingglass( ),andthenclickanywhereintheimage.ThenreleasetheAltorOptionkey.

Nowtheviewzoomsouttoalowerpresetmagnification,sothatyoucanseemoreoftheimage,butinlessdetail.

9.IfScrubbyZoomisselectedintheoptionsbar,clickanywhereontheimageanddragtheZoomtooltotheright.Theimageenlarges.DragtheZoomtooltothelefttozoomout.

WhenScrubbyZoomisselected,youcandragtheZoomtoolacrosstheimagetozoominandout.

Youcanuseothermethodstozoominandout.Forexample,whentheZoomtoolisselected,youcanselecttheZoomInorZoomOutmodeontheoptionsbar.YoucanchooseView>ZoomInorView>ZoomOut.Or,youcantypeanewpercentageinthestatusbarandpressEnterorReturn.

10.DeselectScrubbyZoomintheoptionsbarifit’sselected.Then,usingtheZoomtool,dragarectangletoenclosepartoftheroseblossom.

Theimageenlargessothattheareayouenclosedinyourrectanglenowfillstheentireimagewindow.

11.ClickFitScreenintheoptionsbartoseetheentireimageagain.

YouhaveusedtheZoomtoolinfourdifferentwaystochangethemagnificationintheimagewindow:clicking,holdingdownakeyboardmodifierwhileclicking,draggingtozoominandout,anddraggingtodefineamagnificationarea.ManyoftheothertoolsintheToolspanelcanbeusedwithkeyboardcombinationsandoptionsaswell.You’llhaveopportunitiestousethesetechniquesasyouworkthroughthelessonsinthisbook.

ZoomingandscrollingwiththeNavigatorpanel

TheNavigatorpanelisanotherspeedywaytomakelargechangesinthezoomlevel,especiallywhentheexactpercentageofmagnificationisunimportant.It’salsoagreatwaytoscrollaroundinanimage,becausethethumbnailshowsyouexactlywhatpartoftheimageappearsintheimagewindow.ToopentheNavigatorpanel,chooseWindow>Navigator.

ThesliderundertheimagethumbnailintheNavigatorpanelenlargestheimagewhenyoudragtotheright(towardthelargemountainicon)andreducesitwhenyoudragtotheleft.

Theredrectangularoutlinerepresentstheareaoftheimagethatappearsintheimagewindow.Whenyouzoominfarenoughthattheimagewindowshowsonlypartoftheimage,youcandragtheredoutlinearoundthethumbnailareatoseeotherareasoftheimage.Thisisalsoanexcellentwaytoverifywhichpartofanimageyou’reworkingonwhenyouworkatveryhighzoomlevels.

BrighteninganimageOneofthemostcommoneditsyou’relikelytomakeistobrightenanimagetakenwithadigitalcameraorphone.You’llbrightenthisimagebychangingitsbrightnessandcontrastvalues.

1.IntheLayerspanel,ontherightsideoftheworkspace,makesuretheRoselayerisselected.

2.IntheAdjustmentspanel,whichisabovetheLayerspanelinthepaneldock,clicktheBrightness/ContrasticontoaddaBrightness/Contrastadjustmentlayer.ThePropertiespanelopens,displayingtheBrightness/Contrastsettings.

3.InthePropertiespanel,movetheBrightnesssliderto98andtheContrastsliderto18.

Theimageoftherosebrightens.

Intheselessons,we’llofteninstructyoutoenterspecificnumbersinpanelsanddialogboxestoachieveparticulareffects.Whenyou’reworkingonyourownprojects,experimentwithdifferentvaluestoseehowtheyaffectyourimage.Thereisnorightorwrongsetting;thevaluesyoushouldusedependontheresultsyouwant.

4.IntheLayerspanel,examinetheBrightness/Contrastadjustmentlayer.

Adjustmentlayersletyoumakechangestoyourimage,suchasadjustingthebrightnessoftherose,withoutaffectingtheactualpixels.Becauseyou’veusedanadjustmentlayer,youcanalwaysreturntotheoriginalimagebyhidingordeletingtheadjustmentlayer—andyoucanedittheadjustmentlayeratanytime.You’lluseadjustmentlayersinseverallessonsinthisbook.

LayeringisoneofthefundamentalandmostpowerfulfeaturesinPhotoshop.Photoshop

includesmanykindsoflayers,someofwhichcontainimages,text,orsolidcolors,andothersthatsimplyinteractwithlayersbelowthem.You’lllearnmoreaboutlayersinLesson4,“LayerBasics,”andthroughoutthebook.

5.ClickthedoublearrowsatthetopofthePropertiespaneltocloseit.

6.ChooseFile>SaveAs,namethefile01Working.psd,andclickOKorSave.

7.ClickOKinthePhotoshopFormatOptionsdialogbox.

Savingthefilewithadifferentnameensuresthattheoriginalfile(01Start.psd)remainsunchanged.Thatway,youcanreturntoitifyouwanttostartover.

You’vejustcompletedyourfirsttaskinPhotoshop.Yourimageisbrightandpunchyandreadyforabirthdaycard.

SamplingacolorBydefault,theforegroundcolorinPhotoshopisblackandthebackgroundcoloriswhite.Youcanchangetheforegroundandbackgroundcolorsinseveralways.OnewayistousetheEyedroppertooltosampleacolorfromtheimage.You’llusetheEyedroppertooltosampletheblueofoneribbonsothatyoucanmatchthatcolorwhenyoucreateanotherribbon.

First,you’llneedtodisplaytheRibbonslayersoyoucanseethecoloryouwanttosample.

1.IntheLayerspanel,clicktheVisibilitycolumnfortheRibbonslayertomakethelayervisible.Whenalayerisvisible,aneyeicon( )appearsinthatcolumn.

Aribbonwith“HappyBirthday”writtenonitappearsintheimagewindow.

2.SelecttheRibbonslayerintheLayerspanelsothatit’stheactivelayer.

3.SelecttheEyedroppertool( )intheToolspanel.

4.ClicktheblueareaintheHappyBirthdayribbontosampleabluecolor.

TheforegroundcolorchangesintheToolspanelandtheColorpanel.Anythingyoudrawwillbethiscoloruntilyouchangetheforegroundcoloragain.

WorkingwithtoolsandtoolpropertiesWhenyouselectedtheZoomtoolinthepreviousexercise,yousawthattheoptionsbarprovidedwaysforyoutochangetheviewofthecurrentimagewindow.Nowyou’lllearnmoreaboutsettingtoolpropertiesusingcontextmenus,theoptionsbar,panels,andpanelmenus.You’lluseallofthesemethodsasyouworkwithtoolstoaddthesecondribbontoyourbirthdaycard.

UsingcontextmenusContextmenusareshortmenusthatcontaincommandsandoptionsappropriatetospecificelementsintheworkarea.Theyaresometimesreferredtoas“right-click”or“shortcut”menus.Usually,thecommandsonacontextmenuarealsoavailableinsomeotherareaoftheuserinterface,butusingthecontextmenucansavetime.

1.SelecttheZoomtool( ),andzoominsoyoucanclearlyseethelowerthirdofthecard.

2.SelecttheRectangularMarqueetool( )intheToolspanel.

TheRectangularMarqueetoolselectsrectangularareas.You’lllearnmoreaboutselectiontoolsinLesson3,“WorkingwithSelections.”

3.DragtheRectangularMarqueetooltocreateaselectionabout1/2inchtalland2incheswide,endingattherightedgeofthecard.(Seetheillustrationbelow.)Asyoudragthetool,Photoshopdisplaysthewidthandheightoftheselectedarea.It’sokayifthesizeofyourselectionisalittledifferentfromours.

Selectionareasareshownbymovingdottedlines,sometimesreferredtoasmarchingants.

4.SelecttheBrushtool( )intheToolspanel.

5.Intheimagewindow,right-click(Windows)orControl-click(MacOS)anywhereintheimagetoopentheBrushtoolcontextmenu.

Contextmenusvarywiththeircontext,ofcourse,sowhatappearscanbeamenuofcommandsorapanel-likesetofoptions,whichiswhathappensinthiscase.

6.Selectthefirstbrush(SoftRound),andchangethesizeto65pixels.

7.Clickanywhereoutsidetheselectiontoclosethepanel.

8.Dragthecursoracrosstheselectedareauntilit’sfullypaintedblue.Don’tworryaboutstayingwithintheselection;youcan’taffectanythingoutsidetheselectionasyoupaint.

Clickinganywhereintheworkareaclosesthecontextmenu.

9.Whenthebariscoloredin,chooseSelect>Deselectsothatnothingisselected.

Theselectionisgone,butthebluebarremains.

SelectingandusingahiddentoolPhotoshophasmanytoolsyoucanusetoeditimagefiles,butyouwillprobablyworkwithonlyafewofthematatime.TheToolspanelarrangessomeofthetoolsingroups,withonlyonetoolshownforeachgroup.Theothertoolsinthegrouparehiddenbehindthattool.You’llusethePolygonalLassotooltoremoveatriangularnotchfromthecolorbarsothatitmatchestheribbonatthetopofthecard.

Asmalltriangleinthelowerrightcornerofabuttonisyourcluethatothertoolsareavailablebuthiddenunderthattool.

1.PositionthepointeroverthethirdtoolfromthetopintheToolspaneluntilthetooltipappears.ThetooltipidentifiestheLassotool( ),withthekeyboardshortcutL.SelecttheLassotool.

2.SelectthePolygonalLassotool( ),whichishiddenbehindtheLassotool,usingoneofthefollowingmethods:

•PressandholdthemousebuttonovertheLassotooltoopenthepop-uplistofhiddentools,andselectthePolygonalLassotool.

•Alt-click(Windows)orOption-click(MacOS)thetoolbuttonintheToolspaneltocyclethroughthehiddenlassotoolsuntilthePolygonalLassotoolisselected.

•PressShift+L,whichcyclesbetweentheLasso,PolygonalLasso,andMagneticLassotoolstools.

WiththeLassotool,youcandrawfree-formselections;thePolygonalLassotoolmakesiteasiertodrawstraight-edgedsectionsofaselectionborder.You’lllearnmoreaboutselectiontools,makingselections,andadjustingtheselectioncontentsinLesson3,“WorkingwithSelections.”

3.Movethepointerovertheleftedgeofthebluecolorbarthatyoujustpainted.Clickjusttotheleftoftheupperleftcornerofthebartostartyourselection.Youshouldbeginyourselectionjustoutsidethecoloredarea.

4.Movethecursortotherightabout1/4inch,andclickabouthalfwaybetweenthetopandbottomofthebar.You’recreatingthefirstsideofthetriangle.Itdoesn’tneedtobeperfect.

5.Clickjusttotheleftofthebottomleftcornerofthebartocreatethesecondsideofthetriangle.

6.Clickthepointwhereyoustartedtofinishthetriangle.

7.PresstheDeletekeyonyourkeyboardtodeletetheselectedareafromthecoloredbar,creatinganotchforyourribbon.

8.ChooseSelect>Deselecttodeselecttheareayoudeleted.

Theribbonisready.Nowyoucanaddanametoyourbirthdaycard.

SettingtoolpropertiesintheoptionsbarNextyou’llusetheoptionsbartoselectthetextpropertiesandthentotypethename.

1.IntheToolspanel,selecttheHorizontalTypetool( ).

ThebuttonsandmenusintheoptionsbarnowrelatetotheTypetool.

2.Intheoptionsbar,selectafontyoulikefromthefirstpop-upmenu.(WeusedMinionProItalic,butyoucanuseanotherfontifyouprefer.)

3.Specify32ptforthefontsize.

Youcanspecify32pointsbytypingdirectlyinthefont-sizetextboxandpressingEnterorReturn,orbyscrubbingthefont-sizemenulabel.Youcanalsochooseastandardfontsizefromthefont-sizepop-upmenu.

4.Clickonceanywhereontheleftsideofthecoloredbar,andtypeElaine.Oryoucantypeadifferentname,ifyoulike.Don’tworryifthetextisn’tpositionedwell;you’llcorrectthatlater.

Thetextisthesamecolorasthebaryoutypediton.You’llfixthatnext.

Youcanplacethepointeroverthelabelsofmostnumericsettingsinthetooloptionsbar,inpanels,andindialogboxesinPhotoshoptodisplaya“scrubbyslider.”Draggingthepointing-fingerslidertotherightincreasesthevalue;draggingtotheleftdecreasesthevalue.Alt-dragging(Windows)orOption-dragging(MacOS)changesthevaluesinsmallerincrements;Shift-draggingchangestheminlargerincrements.

UsingpanelsandpanelmenusThetextcoloristhesameastheForegroundColorswatchintheToolspanel,whichisthebluecoloryouusedtopaintthebar.You’llselectthetextandchooseanothercolorfromtheSwatchespanel.

1.MakesuretheHorizontalTypetool( )isselectedintheToolspanel.

2.DragtheHorizontalTypetoolacrossthetexttoselectthefullname.

3.ClicktheSwatchestabtobringthatpanelforward,ifit’snotalreadyvisible.

4.Selectanylight-coloredswatch.(Wechosepastelyellow.)

Whenyoumovethepointerovertheswatches,ittemporarilychangesintoaneyedropper.Setthetipoftheeyedropperontheswatchyouwant,andclicktoselectit.

Thecoloryouselectappearsinthreeplaces:astheForegroundColorintheToolspanel,inthetextcolorswatchintheoptionsbar,andinthetextyouselectedintheimagewindow.

5.SelectanothertoolintheToolspanel,suchastheMovetool( ),todeselectthetextsothatyoucanseethetextcolor.

That’showeasyitistoselectacolor,althoughthereareothermethodsinPhotoshop.

However,you’lluseaspecificcolorforthisprojectsothatitmatchesthetextintheotherribbon.It’seasiertofinditifyouchangetheSwatchespaneldisplay.

6.Clickthemenubutton( )ontheSwatchespaneltoopenthepanelmenu,andchooseSmallList.

7.SelecttheTypetoolandreselectthetext,asyoudidinsteps1and2.

8.IntheSwatchespanel,scrollabouthalfwaydownthelisttofindtheLightYellowOrangeswatch,andthenselectit.

9.SelecttheMovetool( )againtodeselectthetext.

Nowthetextappearsintheorangecolor.

Don’tselecttheMovetoolusingtheVkeyboardshortcut,becauseyou’reintext-entrymode.TypingVwilladdthelettertoyourtextintheimagewindow.

UndoingactionsinPhotoshopInaperfectworld,you’dnevermakeamistake.You’dneverclickthewrongobject.You’dalwayscorrectlyanticipatehowspecificactionswouldbringyourdesignideastolifeexactlyasyouimaginedthem.You’dneverhavetobacktrack.

Fortherealworld,Photoshopgivesyouthepowertostepbackandundoactionssothat

youcantryotheroptions.Youcanexperimentfreely,knowingthatyoucanreversetheprocess.

TheUndocommandisn’tavailableifyou’vealreadysavedyourchanges.However,youcanstillusetheStepBackwardcommandandtheHistorypanel(coveredinLesson9),aslongasyouhaven’tclosedtheprojectsinceyoumadethechanges.

EvenbeginningcomputerusersquicklycometoappreciatethefamiliarUndocommand.You’lluseittomovebackonestep,andthenstepfurtherbackward.Inthiscase,you’llgobacktothelightcolorthatyouoriginallychoseforthename.

1.ChooseEdit>UndoEditTypeLayer,orpressCtrl+Z(Windows)orCommand+Z(MacOS)toundoyourlastaction.

Thenamereturnstoitspreviouscolor.

2.ChooseEdit>RedoEditTypeLayer,orpressCtrl+Z(Windows)orCommand+Z(MacOS)toreapplytheorangecolortothename.

TheUndocommandinPhotoshopreversesonlyonestep.Thisisapracticality,becausePhotoshopfilescanbeverylarge,andmaintainingmultipleUndostepscantieupalotofmemory,whichtendstodegradeperformance.IfyoupressCtrl+ZorCommand+Zagain,Photoshoprestoresthestepyouremovedinitially.

However,youcanoftenusetheStepBackwardandStepForwardcommands(intheEditmenu)tomovethroughmultiplesteps.

3.Oncethenameisbacktothecoloryou’dlikeittobe,usetheMovetooltodragthenamesoit’scenteredinthebluebar.

4.Savethefile.Yourbirthdaycardisdone!

MoreaboutpanelsandpanellocationsPhotoshoppanelsarepowerfulandvaried.Rarelywouldyouneedtoseeallpanelssimultaneously.That’swhythey’reinpanelgroups,andwhythedefaultconfigurationsleavemanypanelsunopened.

ThecompletelistofpanelsappearsintheWindowmenu.Checkmarksappearnexttothenamesofthepanelsthatareopenandactiveintheirpanelgroups.YoucanopenaclosedpanelorcloseanopenonebyselectingthepanelnameintheWindowmenu.

Youcanhideallpanelsatonce—includingtheoptionsbarandToolspanel—bypressingtheTabkey.Toreopenthem,pressTabagain.

Whenpanelsarehidden,athin,semitransparentstripisvisibleattheedgeofthedocument.Hoveringthepointeroverthestripdisplaysitscontents.

YoualreadyusedpanelsinthepaneldockwhenyouusedtheLayersandSwatchespanels.Youcandragpanelstoorfromthepaneldock.Thisisconvenientforbulkypanelsoronesthatyouuseonlyoccasionallybutwanttokeephandy.

Youcanarrangepanelsinotherways,aswell:

•Tomoveanentirepanelgroup,dragthetitlebartoanotherlocationintheworkarea.

•Tomoveapaneltoanothergroup,dragthepaneltabintothatpanelgroupsothatabluehighlightappearsinsidethegroup,andthenreleasethemousebutton.

•Todockapanelorpanelgroup,dragthetitlebarorpaneltabontothetopofthedock.

•Toundockapanelorpanelgroupsothatitbecomesafloatingpanelorpanelgroup,dragitstitlebarorpaneltabawayfromthedock.

ExpandingandcollapsingpanelsYoucanresizepanelstousescreenspacemoreefficientlyandtoseefewerormorepaneloptions,eitherbydraggingorclickingtotogglebetweenpresetsizes:

•Tocollapseopenpanelstoicons,clickthedoublearrowinthetitlebarofthedockorpanelgroup.Toexpandapanel,clickitsiconorthedoublearrow.

•Tochangetheheightofapanel,dragitslowerrightcorner.

•Tochangethewidthofthedock,positionthepointerontheleftedgeofthedockuntilitbecomesadouble-headedarrow,andthendragtothelefttowidenthedock,ortotherighttonarrowit.

•Toresizeafloatingpanel,movethepointerovertheright,left,orbottomedgeofthepaneluntilitbecomesadouble-headedarrow,andthendragtheedgeinorout.Youcanalsopullthelowerrightcornerinorout.

Youcancollapse,butnotresize,theCharacterandParagraphpanels.

•Tocollapseapanelgroupsothatonlythedockheaderbarandtabsarevisible,double-clickapaneltaborpaneltitlebar.Double-clickagaintorestoreittotheexpandedview.Youcanopenthepanelmenuevenwhenthepaneliscollapsed.

Noticethatthetabsforthepanelsinthepanelgroupandthebuttonforthepanelmenuremainvisibleafteryoucollapseapanel.

SpecialnotesabouttheToolspanelandoptionsbarTheToolspanelandtheoptionsbarsharesomecharacteristicswithotherpanels:

•YoucandragtheToolspanelbyitstitlebartoadifferentlocationintheworkarea.Youcanmovetheoptionsbartoanotherlocationbydraggingthegrabbaratthefarleftendofthepanel.

•YoucanhidetheToolspanelandoptionsbar.

However,somepanelfeaturesarenotavailableordon’tapplytotheToolspaneloroptionsbar:

•YoucannotgrouptheToolspaneloroptionsbarwithotherpanels.

•YoucannotresizetheToolspaneloroptionsbar.

•YoucannotstacktheToolspaneloroptionsbarinthepaneldock.

•TheToolspanelandoptionsbardonothavepanelmenus.

FindingresourcesforusingPhotoshopThefollowingresourcescanhelpyoutakeyourexplorationsevenfurther,answerquestionsyouhave,andhelpyouresolveanyissuesyouencounterasyouworkonyourownprojects:

AdobePhotoshopHelpandSupport:https://helpx.adobe.com/photoshop.htmliswhereyoucanfindandbrowseHelpandSupportcontentonAdobe.com.

AdobeCreativeCloudLearn&Support:https://helpx.adobe.com/support.htmlprovidesinspiration,keytechniques,cross-productworkflows,andupdatesonnewfeatures.

AdobeForums:https://forums.adobe.com/welcomeletsyoutapintopeer-to-peerdiscussions,questions,andanswersonAdobeproducts.

Changinginterfacesettings

Bydefault,thepanels,dialogboxes,andbackgroundinPhotoshoparedark.YoucanlightentheinterfaceormakeotherchangesinthePhotoshopPreferencesdialogbox:

1.ChooseEdit>Preferences>Interface(Windows)orPhotoshopCC>Preferences>Interface(MacOS).

2.Selectadifferentcolortheme,ormakeotherchanges.

Whenyouselectadifferenttheme,youcanseethechangesimmediately.Youcanalsoselectspecificcolorsfordifferentscreenmodesandchangeotherinterfacesettingsinthisdialogbox.

3.Whenyou’resatisfiedwiththechanges,clickOK.

Reviewquestions1.DescribetwotypesofimagesyoucanopeninPhotoshop.

2.HowdoyouselecttoolsinPhotoshop?

3.Describetwowaystozoomintooroutfromanimage.

4.WhataretwowaystogetmoreinformationaboutPhotoshop?

Reviewanswers1.Youcanscanaphotograph,transparency,negative,orgraphicintotheprogram;captureadigitalvideoimage;orimportartworkcreatedinadrawingprogram.Youcanalsoimportdigitalphotos.

2.ToselectatoolinPhotoshop,clickitsiconintheToolspanel,orpressthetool’skeyboardshortcut.Aselectedtoolremainsactiveuntilyouselectadifferenttool.Toselectahiddentool,eitheruseakeyboardshortcuttotogglethroughthetools,orclickandholdthetoolintheToolspaneltoopenapop-upmenuofthehiddentools.

3.ChoosecommandsfromtheViewmenutozoominonoroutfromanimage,ortofititonscreen,orusethezoomtoolsandclickordragoveranimagetoenlargeorreducetheview.YoucanalsousekeyboardshortcutsortheNavigatorpaneltocontrolthedisplayofanimage.

4.ThePhotoshopHelpsystemincludesfullinformationaboutPhotoshopfeaturespluskeyboardshortcuts,task-basedtopics,andillustrations.CreativeCloudLearnprovidesinspiration,keytechniques,cross-productworkflows,andupdatesonnewfeatures.

2.BasicPhotoCorrections

Lessonoverview

•Understandimageresolutionandsize.

•ViewandaccessfilesinAdobeBridge.

•Straightenandcropanimage.

•Adjustthetonalrangeofanimage.

•UsetheSpotHealingBrushtooltorepairpartofanimage.

•Usethecontent-awarePatchtooltoremoveorreplaceobjects.

•UsetheCloneStamptooltotouchupareas.

•Removedigitalartifactsfromanimage.

•ApplytheSmartSharpenfiltertofinishretouchingphotos.

Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson02projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.

PROJECT:VINTAGEPHOTOGRAPHRESTORATION

Photoshopincludesavarietyoftoolsandcommandsforimprovingthequalityofaphotographicimage.Thislessonstepsyouthroughtheprocessofacquiring,resizing,

andretouchingavintagephotograph.

StrategyforretouchingHowmuchretouchingyoudodependsontheimageyou’reworkingonandyourgoalsforit.Formanyimages,youmayneedonlytochangetheresolution,lightentheimage,orrepairaminorblemish.Forothers,youmayneedtoperformseveraltasksandemploymoreadvancedfilters.

Inthislesson,youretouchanimageusingonlyPhotoshop.Forotherimages,itmaybemoreefficienttoworkinAdobeCameraRaw,whichisinstalledwithPhotoshop.You’lllearnaboutthetoolsCameraRawhastoofferinLesson12,“WorkingwithCameraRaw.”

OrganizinganefficientsequenceoftasksMostretouchingproceduresfollowthesegeneralsteps,thoughnoteverytaskmaybenecessaryforallprojects:

•Duplicatingtheoriginalimageorscan;workinginacopyoftheimagefilemakesiteasytorecovertheoriginallaterifnecessary

•Ensuringthattheresolutionisappropriateforthewayyou’llusetheimage

•Croppingtheimagetoitsfinalsizeandorientation

•Removinganycolorcasts

•Adjustingtheoverallcontrastortonalrangeoftheimage

•Repairingflawsinscansofdamagedphotographs(suchasrips,dust,orstains)

•Adjustingthecolorandtoneinspecificpartsoftheimagetobringouthighlights,midtones,shadows,anddesaturatedcolors

•Sharpeningtheoverallfocusoftheimage

Theorderofthetasksmayvarydependingontheproject,thoughyoushouldalwaysstartbyduplicatingtheimageandadjustingitsresolution.Likewise,sharpeningshouldusuallybeyourfinalstep.Fortheothertasks,consideryourprojectandplanaccordingly,sothattheresultsofoneprocessdonotcauseunintendedchangestootheraspectsoftheimage,makingitnecessaryforyoutoredosomeofyourwork.

AdjustingyourprocessfordifferentintendedusesTheretouchingtechniquesyouapplytoanimagedependinpartonhowyou’llusetheimage.Whetheranimageisintendedforblack-and-whitepublicationonnewsprintorforfull-coloronlinedistributionaffectseverythingfromtheresolutionoftheinitialscantothetypeoftonalrangeandcolorcorrectionthattheimagerequires.PhotoshopsupportstheCMYKcolormodeforpreparinganimagetobeprintedusingprocesscolors,aswellasRGBandothercolormodesforwebandmobileauthoring.

ResolutionandimagesizeThefirststepinretouchingaphotographinPhotoshopistomakesurethattheimagehasanappropriateresolution.Thetermresolutionreferstothenumberofsmallsquares,knownaspixels,thatdescribeanimageandestablishitsdetail.Resolutionisdeterminedbypixeldimensions,orthenumberofpixelsalongthewidthandheightofanimage.

Pixelsinaphotographicimage

Todeterminethenecessaryimageresolutionforaphotographyouplantoprint,followthecomputer-graphicsruleofthumbforcolororgrayscaleimagesintendedforprintonlargecommercialprinters:Scanataresolution1.5to2timesthescreenfrequencyusedbytheprinter.Forexample,iftheimagewillbeprintedusingascreenfrequencyof133lpi,scantheimageat200ppi(133×1.5).

Incomputergraphics,therearedifferenttypesofresolution:

Thenumberofpixelsperunitoflengthinanimageiscalledtheimageresolution,usuallymeasuredinpixelsperinch(ppi).Animagewithahighresolutionhasmorepixels(andthereforealargerfilesize)thananimageofthesamedimensionswithalowresolution.ImagesinPhotoshopcanvaryfromhighresolution(300ppiorhigher)tolowresolution(72ppior96ppi).

It’simportanttounderstandwhat“100%view”meanswhenyouworkonscreen.At100%,oneimagepixel=onemonitorpixel.Unlesstheresolutionofyourimageisexactlythesameastheresolutionofthemonitor,theimagesize(ininches,forexample)onscreenmaybelargerorsmallerthantheimagesizewillbewhenprinted.

Thenumberofpixelsperunitoflengthonamonitoristhemonitorresolution,alsousuallymeasuredinpixelsperinch(ppi).Imagepixelsaretranslateddirectlyintomonitorpixels.InPhotoshop,iftheimageresolutionishigherthanthemonitorresolution,theimageappearslargeronscreenthanitsspecifiedprintdimensions.Forexample,whenyoudisplaya1×1-inch,144-ppiimageona72-ppimonitor,theimagefillsa2×2-inchareaofthescreen.

Thenumberofinkdotsperinch(dpi)producedbyaplatesetterorlaserprinteristheprinter,oroutput,resolution.Higherresolutionimagesoutputtohigherresolutionprintersgenerallyproducethebestquality.Theappropriateresolutionforaprintedimageisdeterminedbothbytheprinterresolutionandbythescreenfrequency,orlinesperinch(lpi),ofthehalftonescreensusedtoreproduceimages.

Keepinmindthatthehighertheimageresolution,thelargerthefilesize,andthelongerthefilewilltaketoprintortodownloadfromtheweb.

Formoreinformationonresolutionandimagesize,seePhotoshopHelp.

OpeningafilewithAdobeBridgeInthisbook,you’llworkwithdifferentstartfilesineachlesson.Youmaymakecopiesofthesefilesandsavethemunderdifferentnamesorlocations,oryoumayworkfromtheoriginalstartfilesandthendownloadthemfromthepeachpit.comwebsiteagainifyouwantafreshstart.

Inthislesson,you’llretouchascanofadamagedanddiscoloredvintagephotographsoitcanbesharedorprinted.Thefinalimagesizewillbe7×7inches.

InLesson1,youusedtheOpencommandtoopenafile.You’llstartthislessonbycomparingtheoriginalscantothefinishedimageinAdobeBridge,avisualfilebrowserthathelpstaketheguessworkoutoffindingtheimagefilethatyouneed.

1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)toresetthedefaultsettings.

IfBridgeisn’tinstalled,you’llneedtoinstallitfromAdobeCreativeCloud.Formoreinformation,seepage3.

3.ChooseFile>BrowseInBridge.Ifyou’repromptedtoenablethePhotoshopextensioninBridge,clickOK.

AdobeBridgeopens,displayingacollectionofpanels,menus,andbuttons.

4.SelecttheFolderstabintheupperleftcorner,andthenbrowsetotheLessonsfolderyoudownloadedontoyourharddisk,sothatthelesssonsintheLessonsfolderappearintheContentpanel.

5.WiththeLessonsfolderstillselectedintheFolderspanel,chooseFile>AddToFavorites.

Addingfiles,folders,applicationicons,andotherassetsthatyouuseoftentotheFavoritespanelletsyouaccessthemquickly.

6.SelecttheFavoritestabtoopenthepanel,andclicktheLessonsfoldertoopenit.Then,intheContentpanel,double-clicktheLesson02folder.

ThumbnailpreviewsofthefoldercontentsappearintheContentpanel.

7.Comparethe02Start.tifand02End.psdfiles.ToenlargethethumbnailsintheContentpanel,dragthethumbnailslideratthebottomoftheBridgewindowtotheright.

Inthe02Start.tiffile,noticethattheimageiscrooked,thecolorsarerelativelydull,andtheimagehasagreencolorcastandadistractingcrease.You’llfixalloftheseproblemsinthislesson,andafewothers.You’llstartbycroppingandstraighteningtheimage.

8.Double-clickthe02Start.tifthumbnailtoopenthefileinPhotoshop.ClickOKifyouseetheEmbeddedProfileMismatchdialogbox.

9.InPhotoshop,chooseFile>SaveAs.ChoosePhotoshopfromtheFormatmenu,andnamethefile02Working.psd.ThenclickSave.

StraighteningandcroppingtheimageinPhotoshopYou’llusetheCroptooltostraighten,trim,andscalethephotograph.YoucanuseeithertheCroptoolortheCropcommandtocropanimage.Bydefault,croppingdeletesthecroppedpixels.

1.IntheToolspanel,selecttheCroptool( ).

DeselecttheDeleteCroppedPixelsoptionifyouwanttocropnondestructively,sothatyoucanrevisethecroplater.

Crophandlesappear,andacroppingshieldcoverstheareaoutsidethecroppingselection.

2.Intheoptionsbar,chooseWxHxResolutionfromthePresetAspectRatiomenu.(Ratioisthedefaultvalue.)

3.Intheoptionsbar,type7inforthewidth,7infortheheight,and200px/infortheresolution.Acropgridappears.

First,you’llstraightentheimage.

4.ClickStraightenintheoptionsbar.ThepointerchangestotheStraightentool.

5.Clickatthetopcornerofthephoto,pressthemousebuttonasyoudragastraightlineacrossthetopedgeofthephoto,andthenrelease.

Photoshopstraightenstheimage,sothatthelineyoudrewisparallelwiththetopoftheimagearea.Youdrewalineacrossthetopofthephoto,butanylinethatdefineseithertheverticalorhorizontalaxisoftheimagewillwork.

Now,you’lltrimthewhiteborderandscaletheimage.

6.Dragthecornersofthecropgridinwardtothecornersofthephotoitselftocropoutthewhiteborder.Ifyouneedtoadjustthepositionofthephoto,clickanddragitwithinthecropgrid.

YoucanchooseImage>Trimtodiscardaborderareaaroundtheedgeoftheimage,basedontransparencyoredgecolor.

7.PressEnterorReturntoacceptthecrop.

Theimageisnowcropped,andthecroppedimagefillstheimagewindow,straightened,sized,andpositionedaccordingtoyourspecifications.

Toquicklystraightenaphotoandcropoutthescannedbackground,chooseFile>Automate>CropAndStraightenPhotos.

8.Toseetheimagedimensions,chooseDocumentDimensionsfromthepop-upmenuatthebottomoftheapplicationwindow.

9.ChooseFile>Savetosaveyourwork.ClickOKifyouseethePhotoshopFormatOptionsdialogbox.

AdjustingthecolorandtoneYou’lluseCurvesandLevelsadjustmentlayerstoremovethecolorcastandadjustthecolorandtoneintheimage.Don’tlettheCurvesorLevelsoptionsintimidateyou.You’llworkwiththemmoreinlaterlessons;fornow,you’lltakeadvantageoftheirtoolstoquicklybrightenandadjustthetoneoftheimage.

1.ClickCurvesintheAdjustmentspaneltoaddaCurvesadjustmentlayer.

2.SelecttheWhitePointtoolontheleftsideofthePropertiespanel.

Specifyingawhitepointchangesallthecolorsintheimage.ThewhitepointisthecolorthatPhotoshopdefinesaspurewhite,anditadjustsallothercolorsaccordingly.Tosetanaccuratewhitepoint,selectawhiteareaintheimage.

3.Clickawhitestripeonthegirl’sdress.

Thecolortoneoftheimagechangesdramatically.Youcanclickdifferentwhiteareas,suchasthechild’ssailordress,astripeonthewoman’sdress,orthegirl’ssock,toseehoweachselectionchangesthecolor.

Insomeimages,adjustingthewhitepointisenoughtoremoveacolorcastandcorrectthetoneoftheimage.Here,selectingawhitepointisagoodstart.You’lluseaLevelsadjustmentlayertofine-tunethetone.

4.ClickLevelsintheAdjustmentspaneltoaddaLevelsadjustmentlayer.

TheLevelshistograminthePropertiespaneldisplaystherangeofdarkandlightvaluesintheimage.You’lllearnmoreaboutworkingwithlevelsinlaterlessons.Rightnow,youjustneedtoknowthatthelefttrianglerepresentstheblackpoint(thepointPhotoshopdefinesasthedarkestintheimage),therighttrianglerepresentsthewhitepoint(thelightestintheimage),andthemiddletrianglerepresentsthemidtones.

5.Dragthelefttriangle(blacks)underthehistogramtotheright,wheretheblacksaremorepronounced.Ourvaluewas15.

6.Dragthemiddletrianglealittletotherighttoadjustthemidtones.Ourvaluewas.90.

Nowthatyou’veadjustedthecolor,you’llflattentheimagesoit’seasiertoworkwithwhileyoutouchitup.Flatteninganimagemergesitslayers.Afteryouflattenanimage,youcannolongereditlayersindividually,butthefileissmaller,andyoucaneasilymakechangestotheentireimageatonce.

7.ChooseLayer>FlattenImage.

TheadjustmentlayersmergewiththeBackgroundlayer.

Real-worldphotorestoration

AsownerofGawainWeaverArtConservation,GawainWeaverhasconservedandrestoredoriginalworksbyartistsrangingfromEadwardMuybridgetoManRay,andfromAnselAdamstoCindySherman.Heteachesworkshopsinternationallyaswellasonlineonthecareandidentificationofphotographs.

Findoutmoreatgawainweaver.com.

ThetoolsinPhotoshopmakerestorationofoldordamagedphotographsseemlikemagic,givingvirtuallyanyonethepowertoscan,retouch,print,andframetheirphotocollections.

However,whendealingwithworksbyfamousartists,museums,galleries,andcollectorsneedtopreserveoriginalobjectstothegreatestdegreepossibledespitedeteriorationoraccidentaldamage.Professionalartconservatorsarecalledupontocleandustandsoilingfromprintsurfaces,removediscolorationandstaining,repairtears,stabilizeprintstopreventfuturedamage,andevenpaintinmissingareasofawork.

CarletonE.Watkins,NevadaFall,700FT,YosemiteValley,CA,mammothalbumenprint,15 ”×20¾”.Thisprintwasremovedfromitsmounttoremovethe

stainsandthenremounted.

“Photographconservationisbothascienceandanart,”saysWeaver.“Wemustapplywhatweknowaboutthechemistryofthephotograph,itsmount,andanyvarnishesorothercoatingsinordertosafelyclean,preserve,andenhancetheimage.Sincewecannotquickly‘undo’astepinaconservationtreatment,wemustalwaysproceedwithgreatcautionandahealthyrespectforthefragilityofthephotographicobjectwhetherit’sa160-year-oldsaltprintofNotreDameorgelatinsilverprintofHalfDomefromthe1970s.”

ManyofthemanualtoolsofanartconservatorhaveanalogousdigitalversionsinPhotoshop:

Anartconservatormightwashaphotographtoremovethediscoloredcomponentsofthepaper,orevenuseamildbleachingprocessknownaslight-bleachingtooxidizeandremovethecoloredcomponentsofastainoroveralldiscoloration.InPhotoshop,youcanuseaCurvesadjustmentlayertoremovethecolorcastfromanimage.

Aconservatorworkingonafine-artphotographmightusespecialpaintsandfinebrushestomanually“in-paint”damagedareasofaphotograph.Likewise,youcanusetheSpotHealingBrushinPhotoshoptospotoutspecksofdustordirtonascannedimage.

AconservatormightuseJapanesepapersandwheat-starchpastetocarefullyrepairandrebuildtornpaperbeforefinalizingtherepairwith

someskillfulin-painting.InPhotoshop,youcanremoveacreaseorrepairatearinascannedimagewithafewclicksoftheClonetool.

Afixativewasappliedtotheartist’ssignaturewithasmallbrushtoprotectitwhenthemountwaswashed.

“Althoughourworkhasalwaysbeenfirstandforemostaboutthepreservationandrestorationoftheoriginalphotographicobject,thereareinstances,especiallywithfamilyphotographs,wheretheuseofPhotoshopismoreappropriate,”saysWeaver.“Moredramaticresultscanbeachievedinfarlesstime.Afterdigitizationtheoriginalprintcanbesafelystoredaway,whilethedigitalversioncanbecopiedorprintedformanyfamilymembers.Often,wefirstcleanorunfoldfamilyphotographstosafelyrevealasmuchoftheoriginalimageaspossible,andthenwerepairtheremainingdiscoloration,stains,andtearsonthecomputerafterdigitization.”

UsingtheSpotHealingBrushtoolThenexttaskistoremovethecreaseinthephoto.You’llusetheSpotHealingBrushtoerasethecrease.Whileyou’reatit,you’lluseittoaddressafewotherissues.

TheHealingBrushtoolworkssimilarlytotheSpotHealingBrushtool,exceptthatitrequiresyoutosamplesourcepixelsbeforeretouchinganarea.

TheSpotHealingBrushtoolquicklyremovesblemishesandotherimperfections.Itsamplespixelsaroundtheretouchedareaandmatchesthetexture,lighting,transparency,andshadingofthesampledpixelstothepixelsbeinghealed.

TheSpotHealingBrushisexcellentforretouchingblemishesinportraits,butalsoworksnicelywhereverthere’sauniformappearanceneartheareasyouwanttoretouch.

1.Zoomintoseethecreaseclearly.

2.IntheToolspanel,selecttheSpotHealingBrushtool( ).

3.Intheoptionsbar,opentheBrushpop-uppanel,andspecifya100%hardbrushabout25pxindiameter.MakesureContent-Awareisselectedintheoptionsbar.

4.Intheimagewindow,dragtheSpotHealingBrushdownfromthetopofthecrease.Youcanprobablyrepairtheentirecreasewithfourtosixneatdownwardstrokes.Asyoudrag,thestrokeatfirstappearsblack,butwhenyoureleasethemouse,thepaintedareais“healed.”

5.Zoomintoseethewhitehairintheupperrightareaoftheimage.ThenselecttheSpotHealingBrushagain,andpaintoverthehair.

6.Zoomout,ifnecessary,toseethefullsky.ThenclicktheSpotHealingBrushwherevertherearedarkareasyouwanttoheal.

7.Saveyourworksofar.

Applyingacontent-awarepatchUsethePatchtooltoremoveunwantedelementsfromanimage.You’lluseacontent-awarepatchtoremoveanunrelatedpersonfromtherightsideofthephoto.InContent-Awaremode,thePatchtoolcreatesnearlyseamlessblendingwiththenearbycontent.

1.IntheToolspanel,selectthePatchtool( ),hiddenbeneaththeSpotHealingBrushtool( ).

2.Intheoptionsbar,chooseContent-AwarefromthePatchmenu,andmakesurethatSampleAllLayersisselected.Type4intotheStructureslider.

TheStructuremenudetermineshowcloselythepatchreflectstheexistingimagepatterns.Youcanchoosefrom1to7,with1allowingtheloosestadherencetothesourcestructureand7requiringthestrictest.

3.DragthePatchtoolaroundtheboyandhisshadow,ascloselyaspossible.Youmaywanttozoomintoseehimmoreclearly.

4.Clickwithintheareayou’vejustselected,anddragittotheleft.Photoshopdisplaysapreviewofthecontentthatwillreplacetheboy.Keepdraggingtotheleftuntilthepreviewareanolongeroverlapstheareaoccupiedbytheboy,butwithoutoverlappingthewomanorthegirlshe’sholding.Releasethemousebuttonwhenthepatchispositionedwhereyouwantit.

Theselectionchangestomatchtheareaaroundit.Theboyisgone,andwherehestoodisasectionofthebridgewallandofabuilding.

5.ChooseSelect>Deselect.

Theeffectwasprettyimpressive,butnotquiteperfect.You’lltouchuptheresultsnext.

RepairingareaswiththeCloneStamptoolTheCloneStamptoolusespixelsfromoneareaofanimagetoreplacethepixelsinanotherpartoftheimage.Usingthistool,youcannotonlyremoveunwantedobjectsfromyourimages,butyoucanalsofillinmissingareasinphotographsyouscanfromdamagedoriginals.

You’llusetheCloneStamptooltosmoothoutsomeirregularitiesintheheightofthebridgewallandthewindowsonthebuilding.

1.SelecttheCloneStamptool( )intheToolspanel,andselecta60pxbrushwith30%hardness.MakesurethattheAlignedoptionisselected.

2.MovetheCloneStamptooltoanareawherethetopofthebridgewallissmooth.That’stheareayouwanttocopytosmoothouttheareathatwaspatched.

3.Alt-click(Windows)orOption-click(MacOS)tostartsamplingthatpartoftheimage.(WhenyoupressAltorOption,thepointerappearsastargetcross-hairs.)

4.DragtheCloneStamptoolacrossthetopofthebridgewallinthepatchedareatoevenitout,andthenreleasethemousebutton.

EachtimeyouclicktheCloneStamptool,itbeginsagainwithanewsourcepoint,inthesamerelationshiptothetoolasthefirststrokeyoumade.Thatis,ifyoubeginpaintingfurtherright,itsamplesfromstonethatisfurtherrightthantheoriginalsourcepoint.That’sbecauseAlignedisselectedintheoptionsbar.DeselectAlignedifyouwanttostartfromthesamesourcepointeachtime.

5.Selectasourcepointwherethebottomofthebridgewalliseven,andthendragtheCloneStamptoolacrossthebottomofthewallwhereyoupatchedit.

6.Selectasmallerbrushsize,anddeselectAligned.Thenselectasourcepointovertherightmostwindowsinthelowestrowonthebuildingyoupatched.Clickacrosstocreateaccuratewindowsthere.

7.Repeatstep6tomakeanyadjustmentsyouwanttoapplytothelowestareaofthebuildingandthewallthatrunsinfrontofit.

8.Ifyoulike,youcanuseasmallerbrushsizetotouchupthestonesinthepatchedportionofthewall.

9.Saveyourwork.

SharpeningtheimageThelasttaskyoumightwanttodowhenretouchingaphotoistosharpentheimage.ThereareseveralwaystosharpenanimageinPhotoshop,buttheSmartSharpenfiltergivesyouthemostcontrol.Becausesharpeningcanemphasizeartifacts,you’llremovethosefirst.

1.Zoomintoabout400%toseetheboy’sshirtclearly.Thecoloreddotsyouseeareartifactsofthescanningprocess.

2.ChooseFilter>Noise>Dust&Scratches.

3.IntheDust&Scratchesdialogbox,leavethedefaultsettingswithaRadiusof1pixelandThresholdat0,andclickOK.

TheThresholdvaluedetermineshowdissimilarthepixelsshouldbebeforetheyareeliminated.TheRadiusvaluedeterminesthesizeoftheareasearchedfordissimilarpixels.Thedefaultvaluesaregreatfortinydotsofcolorliketheonesinthisimage.

Nowthattheartifactsaregone,youcansharpentheimage.

4.ChooseFilter>Sharpen>SmartSharpen.

5.IntheSmartSharpendialogbox,makesurethatPreviewisselected,soyoucanseetheeffectofsettingsyouadjustintheimagewindow.

Youcandraginsidethepreviewwindowinthedialogboxtoseedifferentpartsoftheimage,orusetheplusandminusbuttonsbelowthethumbnailtozoominandout.

6.MakesureLensBlurischosenintheRemovemenu.

YoucanchoosetoremoveLensBlur,GaussianBlur,orMotionBlurintheSmartSharpendialogbox.LensBlurprovidesfinersharpeningofdetailandreducedsharpeninghalos.GaussianBlurincreasescontrastalongtheedgesinanimage.MotionBlurreducestheeffectsofblurthatresultedfromthecameraorthesubjectmovingwhenthephotowastaken.

7.DragtheAmountslidertoabout60%tosharpentheimage.

8.DragtheRadiusslidertoabout1.5.

TheRadiusvaluedeterminesthenumberofpixelssurroundingtheedgepixelsthataffectthesharpening.Thehighertheresolution,thehighertheRadiussettingshouldusuallybe.

9.Whenyou’resatisfiedwiththeresults,clickOKtoapplytheSmartSharpenfilter.

10.ChooseFile>Save,andthenclosetheprojectfile.

Yourimageisreadytoshareorprint!

Extracredit

Convertingacolorimagetoblackandwhite

Youcangetgreatresultsconvertingacolorimagetoblackandwhite(withorwithoutatint)inPhotoshop.

1.ChooseFile>Open,andnavigatetothebike.tiffileintheLesson02folder.ClickOpen.

2.IntheAdjustmentspanel,clicktheBlack&WhitebuttontoaddaBlack&Whiteadjustmentlayer.

3.Adjustthecolorsliderstochangethesaturationofcolorchannels.Youcanalsoexperimentwithoptionsfromthepresetmenu,suchasDarkerorInfrared.Or,selectthetoolintheupperleftcorneroftheAdjustmentspanel,positionitoveranareayouwanttoadjust,anddraghorizontallytolightenordarkenthatcolorwhereveritappearsintheimage.(Wedarkenedthebikeitselfandmadethebackgroundareaslighter.)

4.Ifyouwanttocolorizetheentirephotowithasinglehue,selectTint.Then,clickthecolorswatchandselectatintcolor(weusedR=227,G=209,B=198).

Reviewquestions1.Whatdoesresolutionmean?

2.WhatdoestheCroptooldo?

3.HowcanyouadjustthetoneandcolorofanimageinPhotoshop?

4.Whattoolscanyouusetoremoveblemishesinanimage?

5.Howcanyouremovedigitalartifactssuchascoloredpixelsfromanimage?

Reviewanswers1.Thetermresolutionreferstothenumberofpixelsthatdescribeanimageandestablishitsdetail.Imageresolutionandmonitorresolutionaremeasuredinpixelsperinch(ppi).Printer,oroutput,resolutionismeasuredininkdotsperinch(dpi).

2.YoucanusetheCroptooltotrim,scale,orstraightenanimage.

3.ToadjustthetoneandcolorofanimageinPhotoshop,firstusetheWhitePointtoolinaCurvesadjustmentlayer.ThenrefinethetoneusingaLevelsadjustmentlayer.

4.TheHealingBrush,SpotHealingBrush,Patchtool,andCloneStamptoolsletyoureplaceunwantedportionsofanimagewithotherareasoftheimage.TheCloneStamptoolcopiesthesourceareaexactly;theHealingBrushandSpotHealingBrushtoolsblendtheareawiththesurroundingpixels.TheSpotHealingBrushtooldoesn’trequireasourceareaatall;it“heals”areastomatchthesurroundingpixels.

InContent-Awaremode,thePatchtoolreplacesaselectionwithcontentthatmatchesthesurroundingarea.

5.TheDust&Scratchesfilterremovesdigitalartifactsfromanimage.

3.WorkingwithSelections

Lessonoverview

•Makespecificareasofanimageactiveusingselectiontools.

•Repositionaselectionmarquee.

•Moveandduplicatethecontentsofaselection.

•Usekeyboard-mousecombinationsthatsavetimeandhandmotions.

•Deselectaselection.

•Constrainthemovementofaselectedarea.

•Adjustthepositionofaselectedareausingthearrowkeys.

•Addtoandsubtractfromaselection.

•Rotateaselection.

•Usemultipleselectiontoolstomakeacomplexselection.

PROJECT:SHADOWBOXCOLLAGE

Learninghowtoselectareasofanimageisofprimaryimportance—youmustfirstselectwhatyouwanttoaffect.Onceyou’vemadeaselection,onlytheareawithinthe

selectioncanbeedited.

AboutselectingandselectiontoolsMakingchangestoanareawithinanimageinPhotoshopisatwo-stepprocess.Youfirstuseoneoftheselectiontoolstoselectthepartofanimageyouwanttochange.Thenyouuseanothertool,filter,orotherfeaturetomakechanges,suchasmovingtheselectedpixelstoanotherlocationorapplyingafiltertotheselectedarea.Youcanmakeselectionsbasedonsize,shape,andcolor.Whenaselectionisactive,changesyoumakeapplyonlytotheselectedarea;otherareasareunaffected.

You’lllearnhowtoselectvectorareasusingthepentoolsinLesson8,“VectorDrawingTechniques.”

Thebestselectiontoolforaspecificareaoftendependsonthecharacteristicsofthatarea,suchasshapeorcolor.Therearefourprimarytypesofselections:

GeometricselectionsTheRectangularMarqueetool( )selectsarectangularareainanimage.TheEllipticalMarqueetool( ),whichishiddenbehindtheRectangularMarqueetool,selectsellipticalareas.TheSingleRowMarqueetool( )andSingleColumnMarqueetool( )selecteithera1-pixel-highrowora1-pixel-widecolumn,respectively.

FreehandselectionsTheLassotool( )tracesafreehandselectionaroundanarea.ThePolygonalLassotool( )setsanchorpointsinstraight-linesegmentsaroundanarea.TheMagneticLassotool( )workssomethinglikeacombinationoftheothertwolassotools,andgivesthebestresultswhengoodcontrastexistsbetweentheareayouwanttoselectanditssurroundings.

Edge-basedselectionsTheQuickSelectiontool( )quickly“paints”aselectionbyautomaticallyfindingandfollowingdefinededgesintheimage.

Color-basedselectionsTheMagicWandtool( )selectspartsofanimagebasedonthesimilarityinpixelcolor.Itisusefulforselectingodd-shapedareasthatshareaspecificrangeofcolors.

GettingstartedFirst,you’lllookattheimageyouwillcreateasyouexploretheselectiontoolsinPhotoshop.

1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)

3.ChooseFile>BrowseInBridgetoopenAdobeBridge.

4.IntheFavoritespanel,clicktheLessonsfolder.Thendouble-clicktheLesson03folderintheContentpaneltoseeitscontents.

IfBridgeisn’tinstalled,you’llbepromptedtoinstallitwhenyouchooseBrowseInBridge.Formoreinformation,seepage3.

5.Studythe03End.psdfile.Movethethumbnailslidertotherightifyouwanttoseetheimageinmoredetail.

Theprojectisashadowboxthatincludesapieceofcoral,asanddollar,amussel,anautilus,andaplateofsmallshells.Thechallengeinthislessonistoarrangetheseelements,whichwerescannedtogetheronthesinglepageyouseeinthe03Start.psdfile.

6.Double-clickthe03Start.psdthumbnailtoopentheimagefileinPhotoshop.

7.ChooseFile>SaveAs,renamethefile03Working.psd,andclickSave.

Bysavinganotherversionofthestartfile,youdon’thavetoworryaboutoverwritingtheoriginal.

UsingtheQuickSelectiontoolTheQuickSelectiontoolprovidesoneoftheeasiestwaystomakeaselection.Yousimplypaintanareaofanimage,andthetoolautomaticallyfindstheedges.Youcanaddorsubtractareasoftheselectionuntilyouhaveexactlytheareayouwant.

Theimageofthesanddollarinthe03Working.psdfilehasclearlydefinededges,makingitanidealcandidatefortheQuickSelectiontool.You’llselectjustthesanddollar,notthebackgroundbehindit.

1.SelecttheZoomtoolintheToolspanel,andthenzoominsothatyoucanseethesanddollarwell.

2.SelecttheQuickSelectiontool( )intheToolspanel.

3.SelectAuto-Enhanceintheoptionsbar.

WhenAuto-Enhanceisselected,theQuickSelectiontoolcreatesbetterqualityselections,withedgesthataretruertotheobject.TheselectionprocessisalittleslowerthanusingtheQuickSelectiontoolwithoutAuto-Enhance,buttheresultsaresuperior.

4.Clickonanoff-whiteareaneartheoutsideedgeofthesanddollar.

TheQuickSelectiontoolfindsthefulledgeautomatically,selectingtheentiresanddollar.Leavetheselectionactivesothatyoucanuseitinthenextexercise.

MovingaselectedareaOnceyou’vemadeaselection,anychangesyoumakeapplyexclusivelytothepixelswithintheselection.Therestoftheimageisnotaffectedbythosechanges.

Tomovetheselectedareatoanotherpartofthecomposition,youusetheMovetool.Thisimagehasonlyonelayer,sothepixelsyoumovewillreplacethepixelsbeneaththem.Thischangeisnotpermanentuntilyoudeselectthemovedpixels,soyoucantrydifferentlocationsfortheselectionyou’removingbeforeyoumakeacommitment.

1.Ifthesanddollarisnotstillselected,repeatthepreviousexercisetoselectit.

2.Zoomoutsoyoucanseeboththeshadowboxandthesanddollar.

3.SelecttheMovetool( ).Noticethatthesanddollarremainsselected.

4.Dragtheselectedarea(thesanddollar)uptotheupperleftareaoftheframe,whichislabeled“A.”Positionitoverthesilhouetteintheframe,leavingthelowerleftpartofthesilhouetteshowingasashadow.

5.ChooseSelect>Deselect,andthenchooseFile>Save.

InPhotoshop,it’snoteasytoloseaselection.Unlessaselectiontoolisactive,clickingelsewhereintheimagewillnotdeselecttheactivearea.Todeliberatelydeselectaselection,youcanchooseSelect>Deselect,pressCtrl+D(Windows)orCommand+D(MacOS),orclickoutsidetheselectionwithanyselectiontooltostartadifferentselection.

TooltipsfromthePhotoshopevangelist

JulieanneKostisanofficialAdobePhotoshopevangelist.

Movetooltip

Ifyou’removingobjectsinamultilayerfilewiththeMovetoolandyousuddenlyneedtoselectoneofthelayers,trythis:WiththeMovetoolselected,movethepointeroveranyareaofanimage,andright-click(Windows)orControl-click(MacOS).Thelayersthatareunderthepointerappearinthecontextmenu.Choosetheoneyou’dliketomakeactive.

ManipulatingselectionsYoucanmoveselections,repositionthemasyoucreatethem,andevenduplicatethem.Inthissection,you’lllearnseveralwaystomanipulateselections.Mostofthesemethodsworkwithanyselection,butyou’llusethemherewiththeEllipticalMarqueetool,whichletsyouselectovalsorperfectcircles.

Oneofthemostusefulthingsyoumayfindinthissectionistheintroductionofkeyboardshortcutsthatcansaveyoutimeandarmmotions.

RepositioningaselectionmarqueewhilecreatingitSelectingovalsandcirclescanbetricky.It’snotalwaysobviouswhereyoushouldstartdragging,sosometimestheselectionwillbeoff-center,ortheratioofwidthtoheightwon’tmatchwhatyouneed.Inthisexercise,you’lllearntechniquesformanagingthoseproblems,includingtwoimportantkeyboard-mousecombinationsthatcanmakeyourPhotoshopworkmucheasier.

Asyouperformthisexercise,beverycarefultofollowthedirectionsaboutkeepingthemousebuttonorspecifickeyspressed.Ifyouaccidentallyreleasethemousebuttonatthewrongtime,simplystarttheexerciseagainfromstep1.

1.SelecttheZoomtool( ),andclicktheplateofshellsatthebottomoftheimagewindowtozoomintoatleast100%view(use200%viewiftheentireplateofshellswillstillfitintheimagewindowonyourscreen).

2.SelecttheEllipticalMarqueetool( ),hiddenundertheRectangularMarqueetool().

3.Movethepointerovertheplateofshells,anddragdiagonallyacrosstheovalplatetocreateaselection,butdonotreleasethemousebutton.It’sOKifyourselectiondoesnotmatchtheplateshapeyet.

Ifyouaccidentallyreleasethemousebutton,drawtheselectionagain.Inmostcases—includingthisone—thenewselectionreplacesthepreviousone.

4.Stillholdingdownthemousebutton,pressthespacebar,andcontinuetodragtheselection.Insteadofresizingtheselection,nowyou’removingit.Positionitsothatitmorecloselyalignswiththeplate.

5.Carefullyreleasethespacebar(butnotthemousebutton)andcontinuetodrag,tryingtomakethesizeandshapeoftheselectionmatchtheovalplateofshellsascloselyaspossible.Ifnecessary,holddownthespacebaragainanddragtomovetheselectionmarqueeintopositionaroundtheplateofshells.

Youdon’thavetoincludeeverypixelintheplateofshells,buttheselectionshouldbetheshapeoftheplate,andshouldcontaintheshellscomfortably.

6.Whentheselectionborderispositionedappropriately,releasethemousebutton.

7.ChooseView>FitOnScreenorusethesliderintheNavigatorpaneltoreducethezoomviewsothatyoucanseealloftheobjectsintheimagewindow.

LeavetheEllipticalMarqueetoolandtheselectionactiveforthenextexercise.

MovingselectedpixelswithakeyboardshortcutNowyou’lluseakeyboardshortcuttomovetheselectedpixelsontotheshadowbox.TheshortcuttemporarilyswitchestheactivetooltotheMovetool,soyoudon’tneedtoselectitfromtheToolspanel.

1.Iftheplateofshellsisnotstillselected,repeatthepreviousexercisetoselectit.

2.WiththeEllipticalMarqueetool( )selectedintheToolspanel,pressCtrl(Windows)orCommand(MacOS),andmovethepointerwithintheselection.

Thepointericonnowincludesapairofscissors( )toindicatethattheselectionwillbecutfromitscurrentlocation.

3.Dragtheplateofshellsontotheareaoftheshadowboxlabeled“B.”(You’lluseanothertechniquetonudgetheovalplateintotheexactpositioninaminute.)

4.Releasethemousebutton,butdon’tdeselecttheplateofshells.

YoucanreleasetheCtrlorCommandkeyafteryoustartdragging,andtheMovetoolremainsactive.Photoshoprevertstothepreviouslyselectedtoolwhenyoudeselect,whetheryouclickoutsidetheselectionorusetheDeselectcommand.

MovingaselectionwiththearrowkeysYoucanmakeminoradjustmentstothepositionofselectedpixelsbyusingthearrowkeys.Youcannudgetheselectioninincrementsofeitheronepixelortenpixels.

WhenaselectiontoolisactiveintheToolspanel,thearrowkeysnudgetheselectionborder,butnotthecontents.WhentheMovetoolisactive,thearrowkeysmoveboththeselectionborderanditscontents.

You’llusethearrowkeystonudgetheplateofshells.Beforeyoubegin,makesurethattheplateofshellsisstillselectedintheimagewindow.

1.PresstheUpArrowkey( )onyourkeyboardafewtimestomovetheovalupward.

Noticethateachtimeyoupressthearrowkey,theplateofshellsmovesonepixel.Experimentbypressingtheotherarrowkeystoseehowtheyaffecttheselection.

2.HolddowntheShiftkeyasyoupressanarrowkey.

WhenyouholddowntheShiftkey,theselectionmovestenpixelseverytimeyoupressanarrowkey.

Sometimestheborderaroundaselectedareacandistractyouasyoumakeadjustments.Youcanhidetheedgesofaselectiontemporarilywithoutactuallydeselecting,andthendisplaytheselectionborderonceyou’vecompletedtheadjustments.

3.ChooseView>Show>SelectionEdgesorView>Extras.

Eithercommandhidestheselectionborderaroundtheplateofshells.

4.Usethearrowkeystonudgetheplateofshellsuntilit’spositionedoverthe

silhouette,sothatthere’sashadowontheleftandbottomoftheplate.ThenchooseView>Show>SelectionEdgestorevealtheselectionborderagain.

5.ChooseSelect>Deselect,orpressCtrl+D(Windows)orCommand+D(MacOS).

6.ChooseFile>Savetosaveyourworksofar.

UsingtheMagicWandtoolTheMagicWandtoolselectsallthepixelsofaparticularcolororcolorrange.It’smostusefulforselectinganareaofsimilarcolorssurroundedbyareasofverydifferentcolors.Aswithmanyoftheselectiontools,afteryoumaketheinitialselection,youcanaddorsubtractareasoftheselection.

TheToleranceoptionsetsthesensitivityoftheMagicWandtool.Thisvaluelimitsorextendstherangeofpixelsimilarity.Thedefaulttolerancevalueof32selectsthecoloryouclickplus32lighterand32darkertonesofthatcolor.Youmayneedtoadjustthetolerancelevelupordowndependingonthecolorrangesandvariationsintheimage.

Ifamulticoloredareathatyouwanttoselectissetagainstabackgroundofadifferentcolor,itcanbemucheasiertoselectthebackgroundthantheareaitself.Inthisprocedure,you’llusetheRectangularMarqueetooltoselectalargerarea,andthenusetheMagicWandtooltosubtractthebackgroundfromtheselection.

1.SelecttheRectangularMarqueetool( ),hiddenbehindtheEllipticalMarqueetool( ).

2.Dragaselectionaroundthepieceofcoral.Makesurethatyourselectionislargeenoughsothatamarginofwhiteappearsbetweenthecoralandtheedgesofthemarquee.

Atthispoint,thecoralandthewhitebackgroundareaareselected.You’llsubtractthewhiteareafromtheselectionsothatonlythecoralremainsintheselection.

3.SelecttheMagicWandtool( ),hiddenundertheQuickSelectiontool( ).

4.Intheoptionsbar,confirmthattheTolerancevalueis32.Thisvaluedeterminestherangeofcolorsthewandselects.

5.ClicktheSubtractFromSelectionbutton( )intheoptionsbar.

Aminussignappearsnexttothewandinthepointericon.Anythingyouselectnowwillbesubtractedfromtheinitialselection.

6.Clickinthewhitebackgroundareawithintheselectionmarquee.

TheMagicWandtoolselectstheentirebackground,subtractingitfromtheselection.Nowallthewhitepixelsaredeselected,leavingthecoralperfectlyselected.

7.SelecttheMovetool( ),anddragthecoraltotheareaoftheshadowboxlabeled“C,”positioningitsothatashadowappearstotheleftandbelowthecoral.

8.ChooseSelect>Deselect,andthensaveyourwork.

Softeningtheedgesofaselection

Tosmooththehardedgesofaselection,youcanapplyanti-aliasingorfeathering,orusetheRefineEdgeoption.

Anti-aliasingsmoothsthejaggededgesofaselectionbysofteningthecolortransitionbetweenedgepixelsandbackgroundpixels.Sinceonlytheedgepixelschange,nodetailislost.Anti-aliasingisusefulwhencutting,copying,andpastingselectionstocreatecompositeimages.

Anti-aliasingisavailablefortheLasso,PolygonalLasso,MagneticLasso,EllipticalMarquee,andMagicWandtools.(Selectthetooltodisplayitsoptionsintheoptionsbar.)Toapplyanti-aliasing,youmustselecttheoptionbeforemakingtheselection.Onceaselectionismade,youcannotaddanti-aliasingtoit.

Featheringblursedgesbybuildingatransitionboundarybetweentheselectionanditssurroundingpixels.Thisblurringcancausesomelossofdetailattheedgeoftheselection.

Youcandefinefeatheringforthemarqueeandlassotoolsasyouusethem,oryoucanaddfeatheringtoanexistingselection.Featheringeffectsbecomeapparentwhenyoumove,cut,orcopytheselection.

•TousetheRefineEdgeoption,firstmakeaselection,andthenclickRefineEdgeintheoptionsbartoopenitsdialogbox.YoucanusetheRefineEdgeoptiontosmooththeoutline,featherit,orcontractorexpandit.

•Touseanti-aliasing,selectalassotool,ortheEllipticalMarqueeorMagicWandtool,andselectAnti-aliasintheoptionsbar.

•Todefineafeatherededgeforaselectiontool,selectanyofthelassoormarqueetools.EnteraFeathervalueintheoptionsbar.Thisvaluedefinesthewidthofthefeatherededgeandcanrangefrom1to250pixels.

•Todefineafeatherededgeforanexistingselection,chooseSelect>Modify>Feather.EnteravaluefortheFeatherRadius,andclickOK.

SelectingwiththelassotoolsAswementionedearlier,Photoshopincludesthreelassotools:theLassotool,thePolygonalLassotool,andtheMagneticLassotool.YoucanusetheLassotooltomakeselectionsthatrequirebothfreehandandstraightlines,usingkeyboardshortcutstomovebackandforthbetweentheLassotoolandthePolygonalLassotool.You’llusetheLassotooltoselectthemussel.Ittakesabitofpracticetoalternatebetweenstraight-lineandfreehandselections—ifyoumakeamistakewhileyou’reselectingthemussel,simplydeselectandstartagain.

1.SelecttheZoomtool( ),andclickthemusseluntiltheviewenlargesto100%.Makesureyoucanseetheentiremusselinthewindow.

2.SelecttheLassotool( ).Startingatthelowerleftsectionofthemussel,drag

aroundtheroundedendofthemussel,tracingtheshapeasaccuratelyaspossible.Donotreleasethemousebutton.

3.PresstheAlt(Windows)orOption(MacOS)key,andthenreleasethemousebuttonsothatthelassopointerchangestothepolygonallassoshape( ).DonotreleasetheAltorOptionkey.

4.Beginclickingalongtheendofthemusseltoplaceanchorpoints,followingthecontoursofthemussel.BesuretoholddowntheAltorOptionkeythroughoutthisprocess.

Theselectionborderautomaticallystretcheslikearubberbandbetweenanchorpoints.

5.Whenyoureachthetipofthemussel,holddownthemousebuttonasyoureleasetheAltorOptionkey.Thepointeragainappearsasthelassoicon.

6.Carefullydragaroundthetipofthemussel,holdingdownthemousebutton.

7.Whenyoufinishtracingthetipandreachthelowersideofthemussel,firstpressAltorOptionagain,andthenreleasethemousebutton.ClickalongthelowersideofthemusselwiththePolygonalLassotoolasyoudidonthetop.Continuetotracethemusseluntilyouarrivebackatthestartingpointofyourselectionneartheleftendoftheimage.

8.Clickthestartingpointoftheselection,andthenreleaseAltorOption.Themusselisnowentirelyselected.Leavethemusselselectedforthenextexercise.

TomakesurethattheselectionistheshapeyouwantwhenyouusetheLassotool,endtheselectionbydraggingacrossthestartingpointoftheselection.Ifyoustartandstoptheselectionatdifferentpoints,Photoshopdrawsastraightlinebetweenthestartandendpointsoftheselection.

RotatingaselectionNowyou’llrotatethemussel.

Beforeyoubegin,makesurethatthemusselisstillselected.

1.ChooseView>FitOnScreentoresizetheimagewindowtofitonyourscreen.

2.PressCtrl(Windows)orCommand(MacOS)asyoudragtheselectedmusseltothesectionoftheshadowboxlabeled“D.”

ThepointerchangestotheMovetooliconwhenyoupressCtrlorCommand.

3.ChooseEdit>Transform>Rotate.

Themusselandselectionmarqueeareenclosedinaboundingbox.

4.Movethepointeroutsidetheboundingboxsothatitbecomesacurved,double-headedarrow( ).Dragtorotatethemusseltoa90-degreeangle.YoucanverifytheangleintheRotateboxintheoptionsbar.PressEnterorReturntocommitthetransformation.

5.Ifnecessary,selecttheMovetool( )anddragtorepositionthemussel,leavingashadowtomatchtheothers.Whenyou’resatisfied,chooseSelect>Deselect.

6.ChooseFile>Save.

SelectingwiththeMagneticLassotoolYoucanusetheMagneticLassotooltomakefreehandselectionsofareaswithhigh-contrastedges.WhenyoudrawwiththeMagneticLassotool,theselectionborderautomaticallysnapstotheedgebetweenareasofcontrast.Youcanalsocontroltheselectionpathbyoccasionallyclickingthemousetoplaceanchorpointsintheselectionborder.

You’llusetheMagneticLassotooltoselectthenautilussothatyoucanmoveittotheshadowbox.

1.SelecttheZoomtool( ),andclickthenautilustozoomintoatleast100%.

2.SelecttheMagneticLassotool( ),hiddenundertheLassotool( ).

3.Clickoncealongtheleftedgeofthenautilus,andthenmovetheMagneticLassotoolalongtheedgetotraceitsoutline.

Inlow-contrastareas,youmaywanttoclicktoplaceyourownfasteningpoints.Youcanaddasmanyasyouneed.Toremovethemostrecentfasteningpoint,pressDelete,andthenmovethemousebacktotheremainingfasteningpointandcontinueselecting.

Eventhoughyou’renotholdingdownthemousebutton,thetoolsnapstotheedgeofthenautilusandautomaticallyaddsfasteningpoints.

4.Whenyoureachtheleftsideofthenautilusagain,double-clicktoreturntheMagneticLassotooltothestartingpoint,closingtheselection.OryoucanmovetheMagneticLassotooloverthestartingpointandclickonce.

5.Double-clicktheHandtool( )tofittheimageintheimagewindow.

6.SelecttheMovetool( ),anddragthenautilusontoitssilhouetteinthesectionoftheframelabeled“E,”leavingashadowbelowitandontheleftside.

7.ChooseSelect>Deselect,andthenchooseFile>Save.

SelectingfromacenterpointInsomecases,it’seasiertomakeellipticalorrectangularselectionsbydrawingaselectionfromanobject’scenterpoint.You’llusethistechniquetoselecttheheadofthescrewfortheshadowboxcorners.

1.SelecttheZoomtool( ),andzoominonthescrewtoamagnificationofabout300%.Makesurethatyoucanseetheentirescrewheadinyourimagewindow.

2.SelecttheEllipticalMarqueetool( )intheToolspanel.

3.Movethepointertotheapproximatecenterofthescrew.

4.Clickandbegindragging.Then,withoutreleasingthemousebutton,pressAlt(Windows)orOption(MacOS)asyoucontinuedraggingtheselectiontotheouteredgeofthescrew.

Theselectioniscenteredoveritsstartingpoint.

5.Whenyouhavetheentirescrewheadselected,releasethemousebuttonfirst,andthenreleaseAltorOption(andtheShiftkeyifyouusedit).Donotdeselect,becauseyou’llusethisselectioninthenextexercise.

Toselectaperfectcircle,pressShiftasyoudrag.HolddownShiftwhiledraggingtheRectangularMarqueetooltoselectaperfectsquare.

6.Ifnecessary,repositiontheselectionborderusingoneofthemethodsyoulearnedearlier.IfyouaccidentallyreleasedtheAltorOptionkeybeforeyoureleasedthe

mousebutton,selectthescrewagain.

ResizingandcopyingaselectionNowyou’llmovethescrewtothelowerrightcornerofthewoodenshadowbox,andthenduplicateitfortheothercorners.

ResizingthecontentsofaselectionYou’llstartbymovingthescrew,butit’stoolargeforthespace.You’llneedtoresizeitaswell.

Beforeyoubegin,makesurethatthescrewisstillselected.Ifit’snot,reselectitbycompletingthepreviousexercise.

1.ChooseView>FitOnScreensothattheentireimagefitswithintheimagewindow.

2.SelecttheMovetool( )intheToolspanel.

3.Positionthepointerwithinthescrewselection.

Thepointerbecomesanarrowwithapairofscissors( ),indicatingthatdraggingtheselectionwillcutitfromitscurrentlocationandmoveittothenewlocation.

4.Dragthescrewontothelowerrightcorneroftheshadowbox.

5.ChooseEdit>Transform>Scale.Aboundingboxappearsaroundtheselection.

6.PressShiftasyoudragoneofthecornerpointsinwardtoreducethescrewtoabout40%ofitsoriginalsize,oruntilitissmallenoughtositontheshadowboxframe.ThenpressEnterorReturntocommitthechangeandremovethetransformationboundingbox.

Asyouresizetheobject,theselectionmarqueeresizes,too.PressingtheShiftkeyasyouresizetheselectionconstrainstheproportionssothatthereducedobjectisn’tdistorted.

7.UsetheMovetooltorepositionthescrewafterresizingit,sothatitiscenteredinthecorneroftheshadowboxframe.

8.Leavingthescrewselected,chooseFile>Savetosaveyourwork.

MovingandduplicatingaselectionsimultaneouslyYoucanmoveandduplicateaselectionatthesametime.You’llcopythescrewfortheotherthreecornersoftheframe.Ifthescrewisnolongerselected,reselectitnow,usingthetechniquesyoulearnedearlier.

1.WiththeMovetool( )selected,pressAlt(Windows)orOption(MacOS)asyoupositionthepointerinsidethescrewselection.

Thepointerchanges,displayingtheusualblackarrowandanadditionalwhitearrow,whichindicatesthataduplicatewillbemadewhenyoumovetheselection.

2.ContinueholdingdowntheAltorOptionkeyasyoudragaduplicateofthescrewstraightuptothetoprightcorneroftheframe.ReleasethemousebuttonandtheAltorOptionkey,butdon’tdeselecttheduplicateimage.

3.HolddownAlt+Shift(Windows)orOption+Shift(MacOS),anddraganewcopyofthescrewstraightlefttotheupperleftcorneroftheframe.

PressingtheShiftkeyasyoumoveaselectionconstrainsthemovementhorizontallyorverticallyin45-degreeincrements.

4.Repeatstep3todragafourthscrewtothelowerleftcorneroftheframe.

5.Whenyou’resatisfiedwiththepositionofthefourthscrew,chooseSelect>Deselect,andthenchooseFile>Save.

Copyingselections

YoucanusetheMovetooltocopyselectionsasyoudragthemwithinorbetweenimages,oryoucancopyandmoveselectionsusingtheCopy,CopyMerged,Paste,andPasteIntocommands.DraggingwiththeMovetoolsavesmemory,becausetheclipboardisnotusedasitiswiththecommands.

Photoshophasseveralcopyandpastecommands:

•Copycopiestheselectedareaontheactivelayer.

•CopyMergedcreatesamergedcopyofallthevisiblelayersintheselectedarea.

•Pastepastesacutorcopiedselectionintoanotherpartoftheimageorintoanotherimageasanewlayer.

•PasteIntopastesacutorcopiedselectioninsideanotherselectioninthesameoradifferentimage.Thesourceselectionispastedontoanewlayer,andthedestinationselectionborderisconvertedintoalayermask.

Keepinmindthatwhenaselectionispastedbetweenimageswithdifferentresolutions,thepasteddataretainsitspixeldimensions.Thiscanmakethepastedportionappearoutofproportiontothenewimage.UsetheImageSizecommandtomakethesourceanddestinationimagesthesameresolutionbeforecopyingandpasting.

CroppinganimageNowthatyourcompositionisinplace,you’llcroptheimagetoafinalsize.YoucanuseeithertheCroptoolortheCropcommandtocropanimage.

1.SelecttheCroptool( ),orpressCtoswitchfromthecurrenttooltotheCroptool.Photoshopdisplaysacropboundaryaroundtheentireimage.

2.Intheoptionsbar,makesureRatioisselectedinthePresetpop-upmenuandthattherearenoratiovaluesspecified.ThenconfirmthatDeleteCroppedPixelsisselected.

WhenRatioisselectedbutnoratiovaluesarespecified,youcancroptheimagewithanyproportions.

3.Dragthecrophandlessothattheshadowboxisinthehighlightedarea,omittingthebackgroundsfromtheoriginalobjectsatthebottomoftheimage.Croptheframesothatthere’sanevenareaofwhitearoundit.

Tocropanimagewithitsoriginalproportionsintact,chooseOriginalRatiofromthePresetpop-upmenuintheoptionsbar.

4.Whenyou’resatisfiedwiththepositionofthecroparea,clicktheCommitCurrentCropOperationbutton( )intheoptionsbar.

5.ChooseFile>Savetosaveyourwork.

You’veusedseveraldifferentselectiontoolstomovealltheseashellsintoplace.Theshadowboxiscomplete!

Reviewquestions1.Onceyou’vemadeaselection,whatareaoftheimagecanbeedited?

2.Howdoyouaddtoandsubtractfromaselection?

3.Howcanyoumoveaselectionwhileyou’redrawingit?

4.WhatdoestheQuickSelectiontooldo?

5.HowdoestheMagicWandtooldeterminewhichareasofanimagetoselect?Whatistolerance,andhowdoesitaffectaselection?

Reviewanswers1.Onlytheareawithinanactiveselectioncanbeedited.

2.Toaddtoaselection,clicktheAddToSelectionbuttonintheoptionsbar,andthenclicktheareayouwanttoadd.Tosubtractfromaselection,clicktheSubtractFromSelectionbuttonintheoptionsbar,andthenclicktheareayouwanttosubtract.YoucanalsoaddtoaselectionbypressingShiftasyoudragorclick;tosubtract,pressAlt(Windows)orOption(MacOS)asyoudragorclick.

3.Torepositionaselectionwhileyou’redrawingit,continuetopressthemousebuttonasyouholddownthespacebaranddrag.

4.TheQuickSelectiontoolexpandsoutwardfromwhereyouclicktoautomaticallyfindandfollowdefinededgesintheimage.

5.TheMagicWandtoolselectsadjacentpixelsbasedontheirsimilarityincolor.TheTolerancevaluedetermineshowmanycolortonestheMagicWandtoolwillselect.Thehigherthetolerancesetting,themoretonesareselected.

4.LayerBasics

Lessonoverview

•Organizeartworkonlayers.

•Create,view,hide,andselectlayers.

•Rearrangelayerstochangethestackingorderofartwork.

•Applyblendingmodestolayers.

•Resizeandrotatelayers.

•Applyagradienttoalayer.

•Applyafiltertoalayer.

•Addtextandlayereffectstoalayer.

•Addanadjustmentlayer.

•Saveacopyofthefilewiththelayersflattened.

Thislessonwilltakelessthananhourtocomplete.DownloadtheLesson04projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.

Pineappleandflowerphotography©ImageSource,www.imagesource.comPROJECT:TRAVELPOSTCARD

InPhotoshop,youcanisolatedifferentpartsofanimageonlayers.Eachlayercanthenbeeditedasdiscreteartwork,givingyoutremendousflexibilityasyoucomposeand

reviseanimage.

AboutlayersEveryPhotoshopfilecontainsoneormorelayers.Newfilesaregenerallycreatedwithabackgroundlayer,whichcontainsacolororanimagethatshowsthroughthetransparentareasofsubsequentlayers.Allnewlayersinanimagearetransparentuntilyouaddtextorartwork(pixelvalues).

Workingwithlayersisanalogoustoplacingportionsofadrawingonclearsheetsoffilm,suchasthoseviewedwithanoverheadprojector:Individualsheetsmaybeedited,repositioned,anddeletedwithoutaffectingtheothersheets.Whenthesheetsarestacked,theentirecompositionisvisible.

GettingstartedYou’llstartthelessonbyviewinganimageofthefinalcomposition.

2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.

IfBridgeisn’tinstalled,you’llbepromptedtoinstallit.Formoreinformation,seepage3.

4.IntheFavoritespanel,clicktheLessonsfolder.Thendouble-clicktheLesson04folderintheContentpaneltoseeitscontents.

5.Studythe04End.psdfile.Movethethumbnailslidertotherightifyouwanttoseetheimageinmoredetail.

Thislayeredcompositerepresentsapostcard.Youwillcreateitinthislessonasyoulearnhowtocreate,edit,andmanagelayers.

6.Double-clickthe04Start.psdfiletoopenitinPhotoshop.

7.ChooseFile>SaveAs,renamethefile04Working.psd,andclickSave.ClickOKifyouseethePhotoshopFormatOptionsdialogbox.

Savinganotherversionofthestartfilefreesyoutomakechangeswithoutworryingaboutoverwritingtheoriginal.

UsingtheLayerspanelTheLayerspanellistsallthelayersinanimage,displayingthelayernamesandthumbnailsofthecontentoneachlayer.YoucanusetheLayerspaneltohide,view,reposition,delete,rename,andmergelayers.Thelayerthumbnailsareautomaticallyupdatedasyoueditthelayers.

1.IftheLayerspanelisnotvisibleintheworkarea,chooseWindow>Layers.

TheLayerspanellistsfivelayersforthe04Working.psdfile(fromtoptobottom):Postage,HAWAII,Flower,Pineapple,andBackground.

2.SelecttheBackgroundlayertomakeitactive(ifit’snotalreadyselected).NoticethelayerthumbnailandtheiconsshownfortheBackgroundlayer:

•Thelockicon( )indicatesthatthelayerisprotected.

•Theeyeicon( )indicatesthatthelayerisvisibleintheimagewindow.Ifyouclicktheeye,theimagewindownolongerdisplaysthatlayer.

Thefirsttaskforthisprojectistoaddaphotoofthebeachtothepostcard.First,you’llopenthebeachimageinPhotoshop.

Usethecontextmenutohideorresizethelayerthumbnail.Right-click(Windows)orControl-click(MacOS)athumbnailintheLayerspaneltoopenthecontextmenu,andthenchooseathumbnailsize.

3.InPhotoshop,chooseFile>Open,navigatetotheLesson04folder,andthendouble-clicktheBeach.psdfiletoopenit.

TheLayerspanelchangestodisplaythelayerinformationfortheactiveBeach.psdfile.NoticethatonlyonelayerappearsintheBeach.psdimage:Layer1,notBackground.(Formoreinformation,seethesidebar“Aboutthebackgroundlayer.”)

Aboutthebackgroundlayer

Whenyoucreateanewimagewithawhiteorcoloredbackground,thebottomlayerintheLayerspanelisnamedBackground.Animagecanhaveonlyonebackgroundlayer.Youcannotchangethestackingorderofabackgroundlayer,itsblendingmode,oritsopacity.Youcan,however,convertabackgroundlayertoaregularlayer.

Whenyoucreateanewimagewithtransparentcontent,theimagedoesn’thaveabackgroundlayer.Thebottomlayerisn’tconstrainedlikethebackgroundlayer;youcanmoveitanywhereintheLayerspanel,andchangeitsopacityandblendingmode.

Toconvertabackgroundlayerintoaregularlayer:

1.Clickthelockiconnexttothelayername.

2.Renamethelayer.

Toconvertaregularlayerintoabackgroundlayer:

1.SelectalayerintheLayerspanel.

2.ChooseLayer>New>BackgroundFromLayer.

RenamingandcopyingalayerToaddcontenttoanimageandsimultaneouslycreateanewlayerforit,draganobjectorlayerfromonefileintotheimagewindowofanotherfile.WhetheryoudragfromtheimagewindowoftheoriginalfileorfromitsLayerspanel,onlytheactivelayerisreproducedinthedestinationfile.

You’lldragtheBeach.psdimageontothe04Working.psdfile.Beforeyoubegin,makesurethatboththe04Working.psdandBeach.psdfilesareopen,andthattheBeach.psdfileisselected.

First,you’llgiveLayer1amoredescriptivename.

1.IntheLayerspanel,double-clickthenameLayer1,typeBeach,andthenpressEnterorReturn.Keepthelayerselected.

2.ChooseWindow>Arrange>2-UpVertical.Photoshopdisplaysbothoftheopenimagefiles.SelecttheBeach.psdimagesothatitistheactivefile.

3.SelecttheMovetool( ),anduseittodragtheBeach.psdimageontothe04Working.psdimagewindow.

IfyouholddownShiftasyoudraganimagefromonefileintoanother,thedraggedimageautomaticallycentersitselfinthetargetimagewindow.

TheBeachlayernowappearsinthe04Working.psdfileimagewindowanditsLayerspanel,betweentheBackgroundandPineapplelayers.Photoshopalwaysaddsnewlayersdirectlyabovetheselectedlayer;youselectedtheBackgroundlayerearlier.

4.ClosetheBeach.psdfilewithoutsavingchangestoit.

Needimagesforaprojectlikethisone?InPhotoshop,chooseFile>SearchAdobeStocktodownloadlow-resolutionplaceholderimagesfromtheAdobeStockonlinephotolibraryatnoextracharge.Ifyoupurchasetheimages,Photoshopreplacestheplaceholderswithhigh-resolutionimages.

ViewingindividuallayersThe04Working.psdfilenowcontainssixlayers.Someofthelayersarevisibleandsomearehidden.Theeyeicon( )nexttoalayerthumbnailintheLayerspanelindicatesthatthelayerisvisible.

1.Clicktheeyeicon( )nexttothePineapplelayertohidetheimageofthepineapple.

Youcanhideorshowalayerbyclickingthisiconorclickinginitscolumn—alsocalledtheShow/HideVisibilitycolumn.

2.ClickagainintheShow/HideVisibilitycolumntodisplaythepineapple.

AddingabordertoalayerNowyou’lladdawhiteborderaroundtheBeachlayertocreatetheimpressionthatit’sanoldphotograph.

1.SelecttheBeachlayer.(Toselectthelayer,clickthelayernameintheLayerspanel.)

Thelayerishighlighted,indicatingthatitisactive.Changesyoumakeintheimagewindowaffecttheactivelayer.

2.Tomaketheopaqueareasonthislayermoreobvious,hidealllayersexcepttheBeachlayer:PressAlt(Windows)orOption(MacOS)asyouclicktheeyeicon( )nexttotheBeachlayer.

Thewhitebackgroundandotherobjectsintheimagedisappear,leavingonlythebeachimageagainstacheckerboardbackground.Thecheckerboardindicatestransparentareasoftheactivelayer.

3.ChooseLayer>LayerStyle>Stroke.

TheLayerStyledialogboxopens.Nowyou’llselecttheoptionsforthewhitestrokearoundthebeachimage.

4.Specifythefollowingsettings:

•Size:5px

•Position:Inside

•BlendMode:Normal

•Opacity:100%

•Color:White(ClicktheColorbox,andselectwhiteintheColorPicker.)

5.ClickOK.Awhiteborderappearsaroundthebeachphoto.

RearranginglayersTheorderinwhichthelayersofanimageareorganizediscalledthestackingorder.Thestackingorderdetermineshowtheimageisviewed—youcanchangetheordertomakecertainpartsoftheimageappearinfrontoforbehindotherlayers.

You’llrearrangethelayerssothatthebeachimageisinfrontofanotherimagethatiscurrentlyhiddeninthefile.

1.MakethePostage,HAWAII,Flower,Pineapple,andBackgroundlayersvisiblebyclickingtheShow/HideVisibilitycolumnnexttotheirlayernames.

Thebeachimageisalmostentirelyblockedbyimagesonotherlayers.

2.IntheLayerspanel,dragtheBeachlayerupsothatitispositionedbetweenthePineappleandFlowerlayers—whenyou’vepositioneditcorrectly,you’llseeathick

linebetweenthelayersinthepanel—andthenreleasethemousebutton.

TheBeachlayermovesuponelevelinthestackingorder,andthebeachimageappearsontopofthepineappleandbackgroundimages,butunderthepostage,flower,andtheword“HAWAII.”

YoucanalsocontrolthestackingorderoflayeredimagesbyselectingthemintheLayerspanelandchoosingLayer>Arrange,andthenchoosingBringToFront,BringForward,SendToBack,orSendBackward.

ChangingtheopacityofalayerYoucanreducetheopacityofanylayertorevealthelayersbelowit.Inthiscase,thepostmarkistoodarkontheflower.You’lledittheopacityofthePostagelayertolettheflowerandotherimagesshowthrough.

1.SelectthePostagelayer,andthenclickthearrownexttotheOpacityfieldtodisplaytheOpacityslider.Dragthesliderto25%.Youcanalsotype25intheOpacityboxorscrubtheOpacitylabel.

ThePostagelayerbecomespartiallytransparent,soyoucanseetheotherlayers

underneath.NoticethatthechangeinopacityaffectsonlytheimageareaofthePostagelayer.ThePineapple,Beach,Flower,andHAWAIIlayersremainopaque.

DuplicatingalayerandchangingtheblendingmodeYoucanapplydifferentblendingmodestoalayer.Blendingmodesaffecthowthecolorpixelsononelayerblendwithpixelsonthelayersunderneath.Firstyou’lluseblendingmodestoincreasetheintensityoftheimageonthePineapplelayersothatitdoesn’tlooksodull.Thenyou’llchangetheblendingmodeonthePostagelayer.(Currently,theblendingmodeforbothlayersisNormal.)

1.ClicktheeyeiconsnexttotheHAWAII,Flower,andBeachlayerstohidethem.

2.Right-clickorControl-clickthePineapplelayer,andchooseDuplicateLayerfromthecontextmenu.(Makesureyouclickthelayername,notitsthumbnail,oryou’llseethewrongcontextmenu.)ClickOKintheDuplicateLayerdialogbox.

Alayercalled“Pineapplecopy”appearsabovethePineapplelayerintheLayerspanel.

Blendingmodes

Blendingmodesaffecthowthecolorpixelsononelayerblendwithpixelsonthelayersbeneaththem.Thedefaultblendingmode,Normal,hidespixelsbeneaththetoplayerunlessthetoplayerispartiallyorcompletelytransparent.Eachoftheotherblendingmodesletyoucontrolthewaythepixelsinthelayersinteractwitheachother.

Often,thebestwaytoseehowablendingmodeaffectsyourimageissimplytotryit.YoucaneasilyexperimentwithdifferentblendingmodesintheLayerspanel,applyingoneafteranothertocomparetheeffects.Asyoubeginexperimenting,keepinmindhowdifferentgroupsofblendingmodesaffectanimage.Generally,ifyouwantto:

•Darkenyourimage,tryDarken,Multiply,ColorBurn,orLinearBurn.

•Lightenyourimage,tryLighten,Screen,ColorDodge,orLinearDodge.

•Increasethecontrastintheimage,tryOverlay,SoftLight,HardLight,VividLight,LinearLight,PinLight,orHardMix.

•Changetheactualcolorvaluesoftheimage,tryHue,Saturation,Color,orLuminosity.

•Createaninversioneffect,tryDifferenceorExclusion.

Thefollowingblendingmodesoftencomeinhandy,andcanbeagoodplacetostartyourexperimentation:

•Multiplydoesjustwhatthenameimplies:itmultipliesthecolorintheunderlyingcolorswiththecolorinthetoplayer.

•Lightenreplacespixelsintheunderlyinglayerswiththoseinthetoplayerwheneverthepixelsinthetoplayerarelighter.

•Overlaymultiplieseitherthecolorsortheinverseofthecolors,dependingonthecolorsintheunderlyinglayers.Patternsorcolorsoverlaytheexistingpixelswhilepreservingthehighlightsandshadowsoftheunderlyinglayers.

•Luminosityreplacesonlytheluminanceoftheunderlyingcolorswiththatofthetoplayer.

•Differencesubtractsdarkercolorsfromlighterones.

3.WiththePineapplecopylayerselected,chooseOverlayfromtheBlendingModesmenuintheLayerspanel.

TheOverlayblendingmodeblendsthePineapplecopylayerwiththePineapplelayerbeneathittocreateavibrant,morecolorfulpineapplewithdeepershadowsandbrighterhighlights.

4.SelectthePostagelayer,andchooseMultiplyfromtheBlendingModesmenu.

TheMultiplyblendingmodemultipliesthecolorsintheunderlyinglayerswiththecolorinthetoplayer.Inthiscase,thepostmarkbecomesalittlestronger.

ResizingandrotatinglayersYoucanresizeandtransformlayers.

1.ClicktheVisibilitycolumnontheBeachlayertomakethelayervisible.

2.SelecttheBeachlayerintheLayerspanel,andchooseEdit>FreeTransform.

ATransformboundingboxappearsaroundthebeachimage.Theboundingboxhashandlesoneachcornerandeachside.

First,you’llresizeandanglethelayer.

3.PressShiftasyoudragacornerhandleinwardtoscalethebeachphotodownby

about50%.(WatchtheWidthandHeightpercentagesintheoptionsbar.)

4.Withtheboundingboxstillactive,positionthepointerjustoutsideoneofthecornerhandlesuntilitbecomesacurveddoublearrow.Dragclockwisetorotatethebeachimageapproximately15degrees.Youcanalsoenter15intheSetRotationboxintheoptionsbar.

5.ClicktheCommitTransformbutton( )intheoptionsbar.

6.MaketheFlowerlayervisible.Then,selecttheMovetool( ),anddragthebeachphotosothatitscorneristuckedneatlybeneaththeflower,asintheillustration.

7.ChooseFile>Save.

UsingafiltertocreateartworkNext,you’llcreateanewlayerwithnoartworkonit.(Addingemptylayerstoafileiscomparabletoaddingblanksheetsoffilmtoastackofimages.)You’llusethislayertoaddrealistic-lookingcloudstotheskywithaPhotoshopfilter.

1.IntheLayerspanel,selecttheBackgroundlayertomakeitactive,andthenclicktheCreateANewLayerbutton( )atthebottomoftheLayerspanel.

Anewlayer,namedLayer1,appearsbetweentheBackgroundandPineapplelayers.Thelayerhasnocontent,soithasnoeffectontheimage.

YoucanalsocreateanewlayerbychoosingLayer>New>Layer,orbychoosingNewLayerfromtheLayerspanelmenu.

2.Double-clickthenameLayer1,typeClouds,andpressEnterorReturntorenamethelayer.

3.IntheToolspanel,clicktheforegroundcolorswatch,selectaskybluecolorfromtheColorPicker,andclickOK.Weselectedacolorwiththefollowingvalues:R=48,G=138,B=174.TheBackgroundColorremainswhite.

4.WiththeCloudslayerstillactive,chooseFilter>Render>Clouds.

Realistic-lookingcloudsappearbehindtheimage.

5.ChooseFile>Save.

DraggingtoaddanewlayerYoucanaddalayertoanimagebydragginganimagefilefromthedesktop,Bridge,orExplorer(Windows)ortheFinder(MacOS).You’lladdanotherflowertothepostcardnow.

1.IfPhotoshopfillsyourmonitor,reducethesizeofthePhotoshopwindow:

•InWindows,clicktheRestorebutton( )intheupperrightcorner,andthendragthelowerrightcornerofthePhotoshopwindowtomakeitsmaller.

•InMacOS,clickthegreenMaximize/Restorebutton( )intheupperleftcorneroftheimagewindow.

2.InPhotoshop,selectthePineapplecopylayerintheLayerspaneltomakeittheactivelayer.

3.InExplorer(Windows)ortheFinder(MacOS),navigatetotheLessonsfolderyoudownloadedfromthepeachpit.comwebsite.ThennavigatetotheLesson04folder.

4.SelectFlower2.psd,anddragitfromExplorerortheFinderontoyourimage.

TheFlower2layerappearsintheLayerspanel,directlyabovethePineapplecopylayer.PhotoshopplacestheimageasaSmartObject,whichisalayeryoucaneditwithoutmakingpermanentchanges.You’llworkmoreextensivelywithSmartObjectsinLesson8.

YoucandragimagesfromaBridgewindowtoPhotoshopaseasilyasyoucandragfromtheWindowsorMacdesktop.

5.PositiontheFlower2layerinthelowerleftcornerofthepostcard,sothatabouthalfofthetopflowerisvisible.

6.ClicktheCommitTransformbutton( )intheoptionsbartoacceptthelayer.

AddingtextNowyou’rereadytocreatesometypeusingtheHorizontalTypetool,whichplacesthetextonitsowntypelayer.You’lltheneditthetextandapplyaspecialeffect.

1.MaketheHAWAIIlayervisible.You’lladdtextjustbelowthislayer,andapplyspecialeffectstobothlayers.

2.ChooseSelect>DeselectLayers,sothatnolayersareselected.

3.IntheToolspanel,selecttheHorizontalTypetool( ).Then,chooseWindow>CharactertoopentheCharacterpanel.DothefollowingintheCharacterpanel:

•Selectaseriffont(weusedBirchStd;ifyouuseadifferentfont,adjustothersettingsaccordingly).

•Selectafontstyle(weusedRegular).

•Selectalargefontsize(weused36points).

•Selectalargetrackingvalue( )(weused250).

•Clickthecolorswatch,selectashadeofgrassygreenintheColorPicker,andclickOKtoclosetheColorPicker.

•ClicktheFauxBoldbutton( ).

•ClicktheAllCapsbutton( ).

•SelectCrispfromtheAnti-aliasingmenu( ).

4.Clickjustbelowthe“H”intheword“HAWAII,”andtypeIslandParadise.ThenclicktheCommitAnyCurrentEditsbutton( )intheoptionsbar.

TheLayerspanelnowincludesalayernamedIslandParadisewitha“T”thumbnail,indicatingthatitisatypelayer.Thislayerisatthetopofthelayerstack.

Thetextappearswhereyouclicked,whichprobablyisn’texactlywhereyouwantittobepositioned.

Ifyoumakeamistakewhenyouclicktosetthetype,simplyclickawayfromthetypeandrepeatstep4.

5.SelecttheMovetool( ),anddragthe“IslandParadise”textsothatitiscenteredbelow“HAWAII.”

ApplyingagradienttoalayerYoucanapplyacolorgradienttoallorpartofalayer.Inthisexample,you’llapplyagradienttotheword“HAWAII”tomakeitmorecolorful.Firstyou’llselecttheletters,andthenyou’llapplythegradient.

1.SelecttheHAWAIIlayerintheLayerspaneltomakeitactive.

2.Right-clickorControl-clickthethumbnailintheHAWAIIlayer,andchooseSelectPixels.

Makesureyouclickthethumbnail,ratherthanthelayername,oryou’llseethewrongcontextmenu.

EverythingontheHAWAIIlayer(thewhitelettering)isselected.Nowthatyou’veselectedtheareatofill,you’llapplyagradient.

3.IntheToolspanel,selecttheGradienttool( ).

Thoughthelayercontainstheword“HAWAII,”itisnotatypelayer.Thetexthasbeenrasterized.

4.ClicktheForegroundColorswatchintheToolspanel,selectabrightshadeoforangeintheColorPicker,andclickOK.TheBackgroundColorshouldstillbewhite.

5.Intheoptionsbar,makesurethatLinearGradient( )isselected.

Tolistthegradientoptionsbynameratherthanbysample,clickthemenubuttoninthegradientpicker,andchooseeitherSmallListorLargeList.Or,hoverthepointeroverathumbnailuntilatooltipappears,showingthegradientname.

6.Intheoptionsbar,clickthearrownexttotheGradientEditorboxtoopentheGradientPicker.SelecttheForegroundToBackgroundswatch(it’sthefirstone),andthenclickanywhereoutsidethegradientpickertocloseit.

7.Withtheselectionstillactive,dragtheGradienttoolfromthebottomtothetopoftheletters.Ifyouwanttobesureyoudragstraightup,presstheShiftkeyasyoudrag.

Thegradientextendsacrossthetype,startingwithorangeatthebottomandgraduallyblendingtowhiteatthetop.

8.ChooseSelect>DeselecttodeselecttheHAWAIItype.

9.Savetheworkyou’vedonesofar.

ApplyingalayerstyleYoucanenhancealayerbyaddingashadow,stroke,satinsheen,orotherspecialeffectfromacollectionofautomatedandeditablelayerstyles.Thesestylesareeasytoapply,andtheylinkdirectlytothelayeryouspecify.

Likelayers,layerstylescanbehiddenbyclickingeyeicons( )intheLayerspanel.Layerstylesarenondestructive,soyoucaneditorremovethematanytime.Youcanapplyacopyofalayerstyletoadifferentlayerbydraggingtheeffectontothedestinationlayer.

Earlier,youusedalayerstyletoaddastroketothebeachphoto.Now,you’lladddropshadowstothetexttomakeitstandout.

1.SelecttheIslandParadiselayer,andthenchooseLayer>LayerStyle>DropShadow.

2.IntheLayerStyledialogbox,makesurethatthePreviewoptionisselected,andthen,ifnecessary,movethedialogboxsothatyoucanseetheIslandParadisetextintheimagewindow.

YoucanalsoopentheLayerStyledialogboxbyclickingtheAddALayerStylebuttonatthebottomoftheLayerspanelandthenchoosingalayerstyle,suchasBevelAndEmboss,fromthepop-upmenu.

3.IntheStructurearea,selectUseGlobalLight,andthenspecifythefollowingsettings:

•BlendMode:Multiply

•Opacity:75%

•Angle:78degrees

•Distance:5px

•Spread:30%

•Size:10px

WhenUseGlobalLightisselected,one“master”lightingangleisavailableinallthelayereffectsthatuseshading.Ifyousetalightingangleinoneoftheseeffects,everyothereffectwithUseGlobalLightselectedinheritsthesameanglesetting.

TochangetheGlobalLightsettings,chooseLayer>LayerStyle>GlobalLight.

Angledeterminesthelightingangleatwhichtheeffectisappliedtothelayer.Distancedeterminestheoffsetdistanceforashadoworsatineffect.Spreaddetermineshow

graduallytheshadowfadestowardtheedges.Sizedetermineshowfartheshadowextends.

Photoshopaddsadropshadowtothe“IslandParadise”textintheimage.

4.ClickOKtoacceptthesettingsandclosetheLayerStyledialogbox.

PhotoshopneststhelayerstyleintheIslandParadiselayer.FirstitlistsEffects,andthenthelayerstylesappliedtothelayer.Aneyeicon( )appearsnexttotheeffectcategoryandnexttoeacheffect.Toturnoffaneffect,clickitseyeicon.Clickthevisibilitycolumnagaintorestoretheeffect.Tohidealllayerstyles,clicktheeyeiconnexttoEffects.Tocollapsethelistofeffects,clickthearrownexttothelayer.

5.MakesurethateyeiconsappearforbothitemsnestedintheIslandParadiselayer.

6.PressAlt(Windows)orOption(MacOS),anddragtheEffectslineorthefxsymbol( )ontotheHAWAIIlayer.

TheDropShadowlayerstyleisappliedtotheHAWAIIlayer,copyingthesettingsyouappliedtotheIslandParadiselayer.Nowyou’lladdagreenstrokearoundthewordHAWAII.

Blendingeffects

Blendinglayersinadifferentorderorondifferentgroupschangestheeffect.Youcanapplyablendingmodetoanentirelayergroupandgetaverydifferentresultthanifyouapplythesameblendingmodetoeachofthelayersindividually.Whenablendingmodeisappliedtoagroup,Photoshoptreatsthegroupasasinglemergedobjectandthenappliestheblendingmode.Experimentwithblendingmodestogettheeffectyouwant.

7.SelecttheHAWAIIlayerintheLayerspanel,clicktheAddALayerStylebutton()atthebottomofthepanel,andthenchooseStrokefromthepop-upmenu.

8.IntheStructureareaoftheLayerStylesdialogbox,specifythefollowingsettings:

•Size:4px

•Position:Outside

•BlendMode:Normal

•Opacity:100%

•Color:Green(Selectashadethatgoeswellwiththeoneyouusedforthe“IslandParadise”text.)

9.ClickOKtoapplythestroke.

Nowyou’lladdadropshadowandasatinsheentotheflower.

10.SelecttheFlowerlayer,andchooseLayer>LayerStyle>DropShadow.ThenchangethefollowingsettingsintheStructurearea:

•Opacity:60%

•Distance:13px

•Spread:9%.

•MakesureUseGlobalLightisselected,andthattheBlendModeisMultiply.DonotclickOK.

11.WiththeLayerStyledialogboxstillopen,clickthewordSatinonthelefttoselectitanddisplayitsoptions.ThenmakesureInvertisselected,andapplythefollowingsettings:

•Color(nexttoBlendMode):Fuchsia(chooseacolorthatcomplementstheflowercolor)

•Opacity:20%

•Distance:22px

BesuretoclickthewordSatin.Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.

TheSatinlayereffectappliesinteriorshadingtocreateasatinyfinish.Thecontourcontrolstheshapeoftheeffect;Invertflipsthecontourcurve.

Extracredit

Usinganeffectmorethanonceinalayerstyle

Agreatwaytoaddvisualimpacttoadesignelementistoapplymultipleinstancesofeffectssuchasstrokes,glows,orshadows.Youdon’thavetoduplicatelayerstodothis,becauseyoucanapplymultipleinstancesofaneffectinsidetheLayerStylesdialogbox.

1.Open04End.psdinyourLesson04folder.

2.IntheLayerspanel,double-clicktheDropShadoweffectappliedtotheHAWAIIlayer.

3.Clickthe+buttonnexttotheDropShadoweffect,andselectthesecondDropShadoweffect.

Nowforthefunpart!Youcanadjustyourseconddropshadowtochangeoptionssuchascolor,size,andopacity.

4.IntheDropShadowoptions,clickthecolorswatch,movethepointeroutsidetheLayerStyledialogboxsothatthepointerchangesintoaneyedropper,andclickthebottomflowertosampleitspinkcolor.ThenmatchtheDropShadowsettingsasshownbelow,andclickOK.

5.ThenewpinkdropshadowhelpstheHAWAIItextpopoffthepage.

12.ClickOKtoapplybothlayerstyles.

AddinganadjustmentlayerAdjustmentlayerscanbeaddedtoanimagetoapplycolorandtonaladjustmentswithoutpermanentlychangingthepixelvaluesintheimage.Forexample,ifyouaddaColorBalanceadjustmentlayertoanimage,youcanexperimentwithdifferentcolorsrepeatedly,becausethechangeoccursonlyontheadjustmentlayer.Ifyoudecidetoreturntotheoriginalpixelvalues,youcanhideordeletetheadjustmentlayer.

You’veusedadjustmentlayersinotherlessons.Here,you’lladdaHue/Saturationadjustmentlayertochangethecolorofthepurpleflower.Anadjustmentlayeraffectsalllayersbelowitintheimage’sstackingorderunlessaselectionisactivewhenyoucreateitoryoucreateaclippingmask.

1.SelecttheFlower2layerintheLayerspanel.

2.ClicktheHue/SaturationiconintheAdjustmentspaneltoaddaHue/Saturationadjustmentlayer.

3.InthePropertiespanel,applythefollowingsettings:

•Hue:43

•Saturation:19

•Lightness:0

ThechangesaffecttheFlower2,PineappleCopy,Pineapple,Clouds,andBackgroundlayers.Theeffectisinteresting,butyouwanttochangeonlytheFlower2layer.

Besuretoclickthelayername,notthethumbnail,toseetheappropriatecontextmenu.

4.Right-click(Windows)orControl-click(MacOS)thelayernameontheHue/Saturationadjustmentlayer,andchooseCreateClippingMask.

AnarrowappearsintheLayerspanel,indicatingthattheadjustmentlayerappliesonlytotheFlower2layer.You’lllearnmoreaboutclippingmasksinLessons6and7.

UpdatinglayereffectsLayereffectsareautomaticallyupdatedwhenyoumakechangestoalayer.Youcaneditthetextandwatchhowthelayereffecttracksthechange.

1.SelecttheIslandParadiselayerintheLayerspanel.

2.IntheToolspanel,selecttheHorizontalTypetool( ).

3.Intheoptionsbar,setthefontsizeto32points,andpressEnterorReturn.

Althoughyoudidn’tselectthetextbydraggingtheTypetool(asyouwouldhavetodoinawordprocessingprogram),“IslandParadise”nowappearsin32-pointtype.

YoucansearchforlayersintheLayerspanelbylayertype,layername,effect,mode,attribute,andcolor.Youcanalsodisplayonlytheselectedlayers:chooseSelect>IsolateLayers,orchooseSelectedfromtheKindmenuintheLayerspaneltoenterIsolationMode.

4.UsingtheHorizontalTypetool,clickbetween“Island”and“Paradise,”andtypeof.

Asyoueditthetext,thelayerstylesareappliedtothenewtext.

Youdon’thavetoclicktheCommitAnyCurrentEditsbuttonaftermakingthetextedits,becauseselectingtheMovetoolhasthesameeffect.

5.Youdon’tactuallyneedtheword“of,”sodeleteit.

6.SelecttheMovetool( ),anddrag“IslandParadise”tocenteritbeneaththeword“HAWAII.”

7.ChooseFile>Save.

AddingaborderTheHawaiipostcardisnearlydone.Theelementsarealmostallarrangedcorrectlyinthecomposition.You’llfinishupbypositioningthepostmarkandthenaddingawhitepostcardborder.

1.SelectthePostagelayer,andthenusetheMovetool( )todragittothemiddle

rightoftheimage,asintheillustration.

2.SelecttheIslandParadiselayerintheLayerspanel,andthenclicktheCreateANewLayerbutton( )atthebottomofthepanel.

3.ChooseSelect>All.

4.ChooseSelect>Modify>Border.IntheBorderSelectiondialogbox,type10pixelsfortheWidth,andclickOK.

A10-pixelborderisselectedaroundtheentireimage.Now,you’llfillitwithwhite.

5.SelectwhitefortheForegroundColor,andthenchooseEdit>Fill.

6.IntheFilldialogbox,chooseForegroundColorfromtheContentsmenu,andclickOK.

8.Double-clicktheLayer1nameintheLayerspanel,andrenamethelayerBorder.

FlatteningandsavingfilesWhenyoufinisheditingallthelayersinyourimage,youcanmergeorflattenlayerstoreducethefilesize.Flatteningcombinesallthelayersintoasinglebackgroundlayer.However,youcannoteditlayersonceyou’veflattenedthem,soyoushouldn’tflattenanimageuntilyouarecertainthatyou’resatisfiedwithallyourdesigndecisions.RatherthanflatteningyouroriginalPSDfiles,it’sagoodideatosaveacopyofthefilewithitslayersintact,incaseyouneedtoeditalayerlater.

Toappreciatewhatflatteningdoes,noticethetwonumbersforthefilesizeinthestatusbaratthebottomoftheimagewindow.Thefirstnumberrepresentswhatthefilesizewouldbeifyouflattenedtheimage.Thesecondnumberrepresentsthefilesizewithoutflattening.Thislessonfile,ifflattened,wouldbe2–3MB,butthecurrentfileismuchlarger.Soflatteningiswellworthitinthiscase.

Ifthesizesdonotappearinthestatusbar,clickthestatusbarpop-upmenuarrow,andchooseDocumentSizes.

1.SelectanytoolbuttheTypetool( ),tobesurethatyou’renotintext-editingmode.ThenchooseFile>Save(ifitisavailable)tobesurethatallyourchangeshavebeensavedinthefile.

2.ChooseImage>Duplicate.

3.IntheDuplicateImagedialogbox,namethefile04Flat.psd,andclickOK.

4.Leavethe04Flat.psdfileopen,butclosethe04Working.psdfile.

5.ChooseFlattenImagefromtheLayerspanelmenu.

Onlyonelayer,namedBackground,remainsintheLayerspanel.

6.ChooseFile>Save.EventhoughyouchoseSaveratherthanSaveAs,theSaveAsdialogboxappears.

7.MakesurethelocationistheLessons/Lesson04folder,andthenclickSavetoacceptthedefaultsettingsandsavetheflattenedfile.

Youhavesavedtwoversionsofthefile:aone-layer,flattenedcopyaswellastheoriginalfile,inwhichallthelayersremainintact.

You’vecreatedacolorful,attractivepostcard.ThislessononlybeginstoexplorethevastpossibilitiesandtheflexibilityyougainwhenyoumastertheartofusingPhotoshoplayers.You’llgetmoreexperienceandtryoutdifferenttechniquesforlayersinalmosteverychapterasyoumoveforwardinthisbook.

Ifyouwanttoflattenonlysomeofthelayersinafile,clicktheeyeiconstohidethelayersyoudon’twanttoflatten,andthenchooseMergeVisiblefromtheLayerspanelmenu.

Aboutlayercomps

Layercompsprovideone-clickflexibilityinswitchingbetweendifferentviewsofamultilayeredimagefile.AlayercompissimplyadefinitionofthesettingsintheLayerspanel.Onceyou’vedefinedalayercomp,youcanchangeasmanysettingsasyoupleaseintheLayerspanelandthencreateanotherlayercomptopreservethatconfigurationoflayerproperties.Then,byswitchingfromonelayercomptoanother,youcanquicklyreviewthetwodesigns.Thebeautyoflayercompsbecomesapparentwhenyouwanttodemonstrateanumberofpossibledesignarrangements.Whenyou’vecreatedafewlayercomps,youcanreviewthedesignvariationswithouthavingtotediouslyselectanddeselecteyeiconsorchangesettingsintheLayerspanel.

Say,forexample,thatyouaredesigningabrochure,andyou’reproducingaversioninEnglishaswellasinFrench.YoumighthavetheFrenchtextononelayer,andtheEnglishtextonanotherinthesameimagefile.Tocreatetwodifferentlayercomps,youwouldsimplyturnonvisibilityfortheFrenchlayerandturnoffvisibilityfortheEnglishlayer,andthenclicktheCreateNewLayerCompbuttonintheLayerCompspanel.Thenyou’ddotheinverse—turnonvisibilityfortheEnglishlayerandturnoffvisibilityfortheFrenchlayer,andclicktheCreateNewLayerCompbutton—tocreateanEnglishlayercomp.Toviewthedifferentlayercomps,clicktheLayerCompboxforeachcompintheLayerCompspanelinturn.

Layercompscanbeanespeciallyvaluablefeaturewhenthedesignisinfluxorwhenyouneedtocreatemultipleversionsofthesameimagefile.Ifsomeaspectsneedtostayconsistentamonglayercomps,youcanchangethevisibility,position,orappearanceofonelayerinalayercompandthensyncittoseethatchangereflectedinalltheotherlayercomps.

Extracredit

Mergingphotos

TaketheblinkingandbadposesoutofanotherwisegreatfamilyportraitwiththeAuto-AlignLayersfeature.

1.OpenFamilyPhoto.psdinyourLesson04folder.

2.IntheLayerspanel,turnLayer2onandofftoseethetwosimilarphotos.Whenbothlayersarevisible,Layer2showsthetallmaninthecenterblinking,andthetwogirlsinthefrontlookingaway.

You’llalignthetwophotos,andthenusetheErasertooltobrushoutthepartsofthephotoonLayer2thatyouwanttoimprove.

3.Makebothlayersvisible,andShift-clicktoselectthem.ChooseEdit>Auto-AlignLayers;clickOKtoacceptthedefaultAutoposition.ToggletheeyeiconnexttoLayer2offandontoseethatthelayersareperfectlyaligned.

Nowforthefunpart!You’llbrushoutthephotowhereyouwanttoimproveit.

4.SelecttheErasertoolintheToolspanel,andpickasoft,45-pixelbrushintheoptionsbar.SelectLayer2,andstartbrushinginthecenteroftheblinkingman’sheadtorevealthesmilingfacebelow.

5.UsetheErasertoolonthetwogirlslookingaway,revealingtheimagebelow,wheretheylookintothecamera.

You’vecreatedanaturalfamilysnapshot.

Reviewquestions1.Whatistheadvantageofusinglayers?

2.Whenyoucreateanewlayer,wheredoesitappearintheLayerspanelstack?

3.Howcanyoumakeartworkononelayerappearinfrontofartworkonanotherlayer?

4.Howcanyouapplyalayerstyle?

5.Whenyou’vecompletedyourartwork,whatcanyoudotominimizethefilesizewithoutchangingthequalityordimensions?

Reviewanswers1.Layersletyoumoveandeditdifferentpartsofanimageasdiscreteobjects.Youcanalsohideindividuallayersasyouworkonotherlayers.

2.Anewlayeralwaysappearsimmediatelyabovetheactivelayer.

3.YoucanmakeartworkononelayerappearinfrontofartworkonanotherlayerbydragginglayersupordownthestackingorderintheLayerspanel,orbyusingtheLayer>Arrangesubcommands—BringToFront,BringForward,SendToBack,andSendBackward.However,youcan’tchangethelayerpositionofabackgroundlayer.

4.Toapplyalayerstyle,selectthelayer,andthenclicktheAddALayerStylebuttonintheLayerspanel,orchooseLayer>LayerStyle>[style].

5.Tominimizefilesize,youcanflattentheimage,whichmergesallthelayersontoasinglebackground.It’sagoodideatoduplicateimagefileswithlayersintactbeforeyouflattenthem,incaseyouhavetomakechangestoalayerlater.

5.QuickFixes

Lessonoverview

•Removeredeye.

•Brightenanimage.

•Combineimagestocreateapanorama.

•BlurthebackgroundofanimageusingIrisBlur.

•Mergetwoimagestoextenddepthoffield.

•Applyopticallenscorrectiontoadistortedimage.

•Moveanobjectseamlessly.

•UsePerspectiveWarptoplaceanobjectintoanimagewithadifferentperspective.

SometimesjustoneortwoclicksinPhotoshopcanturnanimagefromso-so(orworse)toawesome.Quickfixesgetyoutheresultsyouwantwithoutalotoffuss.

GettingstartedNoteveryimagerequiresacomplicatedmakeoverusingadvancedfeaturesinPhotoshop.Infact,onceyou’refamiliarwithPhotoshop,youcanoftenimproveanimagequickly.Thetrickistoknowwhat’spossibleandhowtofindwhatyouneed.

Inthislesson,you’llmakequickfixestoseveralimagesusingavarietyoftoolsandtechniques.Youcanusethesetechniquesindividually,orteamthemupwhenyou’reworkingwithanimagethatneedsjustalittlemorehelp.

ImprovingasnapshotIfyou’resharingasnapshotwithfamilyandfriends,youmaynotneedittolookprofessional.Butyouprobablydon’twantglowingeyes,anditwouldbegoodifthepictureisn’ttoodarktoshowimportantdetail.Photoshopgivesyouthetoolstomakequickchangestoasnapshot.

CorrectingredeyeRedeyeoccurswhentheretinaofasubject’seyeisreflectedbythecameraflash.Itcommonlyoccursinphotographstakeninadarkroom,becausethesubject’sirisesarewideopen.Fortunately,redeyeiseasytofixinPhotoshop.Inthisexercise,youwillremovetheredeyefromtheboy’seyesintheportrait.

You’llstartbyviewingthebeforeandafterimagesinAdobeBridge.

2.IntheFavoritespanelinBridge,clicktheLessonsfolder.Then,intheContentpanel,double-clicktheLesson05foldertoopenit.

3.Adjustthethumbnailslider,ifnecessary,sothatyoucanseethethumbnailpreviewsclearly.ThenlookattheBoy_Start.jpgandBoy_End.psdfiles.

Ifyouhaven’tinstalledBridge,you’llbepromptedtodosowhenyouchooseBrowseInBridge.Formoreinformation,seepage3.

Notonlydoesredeyemakeanordinarypersonoranimalappearsinister,butitcandistractfromthesubjectoftheimage.It’seasytocorrectredeyeinPhotoshop,andyou’llquicklylightenthisimagetoo.

4.Double-clicktheBoy_start.jpgfiletoopenitinPhotoshop.

5.ChooseFile>SaveAs,choosePhotoshopfortheFormat,namethefileBoy_Working.psd,andclickSave.

6.SelecttheZoomtool( ),andthendragtozoomintoseetheboy’seyes.IfScrubbyZoomisn’tselected,dragamarqueearoundtheeyestozoomin.

7.SelecttheRedEyetool( ),hiddenundertheSpotHealingBrushtool( ).

8.Intheoptionsbar,reducethePupilSizeto23%,andtheDarkenAmountto30%.

TheDarkenAmountspecifieshowdarkthepupilshouldbe.

9.Clickonthepupilintheboy’slefteye.Theredreflectiondisappears.

10.Clickonthepupilintheboy’srighteyetoremovetheredreflectionthere,too.

Iftheredreflectionisdirectlyoverthepupil,clickingthepupilremovesit.However,iftheredreflectionisslightlyoffthepupil,tryclickingthehighlightintheeyefirst.Youmayneedtotryafewdifferentspots,butit’seasytoundoandtryagain.

11.ChooseView>FitOnScreentoseetheentireimage.

BrighteninganimageTheboy’seyesnolongerglow,buttheimageisabitdark.InPhotoshop,youcanbrightenanimageinseveraldifferentways,asyou’vealreadyseen.Choosingonlyfromadjustmentlayers,youcantrymodifyingBrightness/Contrast,Levels,Curves,andExposure.Sometimesthebestoptionistotrythemallandseewhichoneyoulikebest.That’seasytodowithadjustmentlayers.Butwhenyou’rereallylookingforaquickfix,aCurvesadjustmentlayerisagreatwaytogo.

1.ClickCurvesintheAdjustmentspanel.

2.ClickAutotoseewhatPhotoshopapplies.Theimagebrightens.

3.ChooseLighterfromthePresetmenu.Photoshopappliessomesubtlechanges.

4.SelecttheWhitePointeyedropperintheCurvespanel,andthenclickinthewhiteareaofthedecalonthechild’sshirt.Thatbrightenstheimagenicely,andalsoimprovesthecontrast.

5.Ifyou’dliketocontinuetweakingthesettings,youcanmovethecurvemanually,orchooseablackorgraypoint.Toseehowyou’vebrightenedtheimage,hidetheCurveslayerandthenshowitagain.

6.Savethefile,andthencloseit.Thesnapshotisreadytoshare.

BlurringabackgroundTheinteractiveblursintheBlurGalleryletyoucustomizeablurasyoupreviewitonyourimage.You’lluseanirisblurtoblurthebackgroundinanimage,focusingtheviewer’sattentionontheegret.You’llapplytheblurasaSmartFiltersothatyoucanmodifyitlaterifyouwantto.

You’llstartbylookingatthestartandendfilesinBridge.

3.ComparetheEgret_Start.jpgandEgret_End.psdthumbnailpreviews.

Inthefinalimage,theegretappearssharper,asitsreflectionandthegrassaroundithavebeenblurred.IrisBlur,oneoftheinteractiveblursintheBlurGallery,makesthetaskaneasyone—nomaskingrequired.

4.ReturntoPhotoshop,andchooseFile>OpenAsSmartObject.

5.SelecttheEgret_Start.jpgfileintheLesson05folder,andclickOKorOpen.

Photoshopopenstheimage.ThereisonelayerintheLayerspanel,andit’saSmartObject.

6.ChooseFile>SaveAs,choosePhotoshopfortheFormat,namethefileEgret_Working.psd,andclickSave.ClickOKinthePhotoshopFormatOptionsdialogbox.

7.ChooseFilter>BlurGallery>IrisBlur.

Ablurellipseiscenteredonyourimage.Youcanadjustthelocationandscopeoftheblurbymovingthecenterpin,featherhandles,andellipsehandles.PhotoshopalsoopenstheBlurGallery,whichincludestheBlurTools,BlurEffects,andMotionBlurEffectspanels.

8.Dragthecenterpinsothatit’satthebottomofthebird’sbody.

9.Clicktheellipse,anddraginwardtotightenthefocusaroundthebird.

A.CenterB.Ellipse

C.FeatherhandleD.Focus

10.PressAlt(Windows)orOption(MacOS)asyouclickanddragthefeatherhandlestomatchthoseinthefirstimagebelow.PressingAltorOptionletsyoudrageachhandleseparately.

11.Clickanddragonthefocusringtoreducetheamountofblurto5px,creatinga

gradualbutnoticeableblur.YoucanalsochangetheamountofblurbymovingtheBlursliderintheIrisBlurareaoftheBlurToolspanel.

12.ClickOKintheoptionsbartoapplytheblur.

Theblurmaybealittletoosubtle.You’lledittheblurtoincreaseitslightly.

13.Double-clicktheBlurGalleryintheEgretlayerintheLayerspaneltoopenitagain.Adjusttheblurto6px,andclickOKintheoptionsbartoapplyit.

BecauseyouappliedthefiltertoaSmartObject,youcanhideitoredititwithoutaffectingtheoriginalimage.

14.Savethefileandcloseit.

Theegretisaccentuatedbytheblur.

BlurGallery

TheBlurGalleryincludesfiveinteractiveblurs:FieldBlur,IrisBlur,Tilt-Shift,PathBlur,andSpinBlur.Eachgivesyouon-imageselectivemotionblurtools,withaninitialblurpin.Youcancreateadditionalblurpinsbyclickingontheimage.Youcanapplyoneoracombinationofblurs,andyoucancreateastrobeeffectforpathandspinblurs.

FieldBlurappliesagradientblurtoareasoftheimage,definedbypinsyoucreateandsettingsyouspecifyforeach.WhenyoufirstapplyFieldBlur,apinisplacedinthecenteroftheimage.YoucanadjusttheblurrelativetothatpointbydraggingtheblurhandleorspecifyingavalueintheBlurToolspanel;youcanalsodragthepintoadifferentlocation.

Tilt-Shiftsimulatesanimagetakenwithatilt-shiftlens.Thisblurdefinesareasofsharpnessandthenfadestoablurattheedges.Youcanusethiseffecttosimulatephotosofminiatureobjects.

IrisBlursimulatesashallowdepth-of-fieldeffect,graduallyblurringeverythingoutsidethefocusring.Adjusttheellipsehandles,featherhandles,andbluramounttocustomizetheirisblur.

SpinBlurisaradial-styleblurmeasuredindegrees.Youcanchangethesizeandshapeoftheellipse,re-centertherotationpointbypressingAltorOptionasyouclickanddrag,andadjusttheblurangle.YoucanalsospecifytheblurangleintheBlurToolspanel.Multiplespinblurscanoverlap.

PathBlurcreatesmotionblursalongpathsyoudraw.Youcontroltheshapeandamountoftheblur.

WhenyoufirstapplyaPathBlur,adefaultpathappears.Dragtheendpointtorepositionit.Clickthecenterpointanddragtochangethecurve.Clicktoaddadditionalcurvepoints.Thearrowonthepathindicatestheblur’sdirection.

Youcanalsocreateamultiple-pointpathorashape.Blurshapesdescribethelocalmotionblurs,similartocamerashake(see“CameraShakeReduction”onpage134).TheSpeedsliderintheBlurToolspaneldeterminesthespeedforallthepathblurs.TheCenteredBluroptionensuresthattheblurshapeforanypixeliscenteredonthatpixel,resultinginmorestable-feelingmotionblurs;tomakethemotionappearmorefluid,deselectthisoption.

IntheEffectstabyouspecifythebokehparameterstocontroltheappearanceofblurredareas.LightBokehbrightenstheblurredareas;BokehColoraddsmorevividcolorstolightenedareasthataren’tblownouttowhite;LightRangedeterminestherangeoftonesthatthesettingsaffect.

Youcanaddastrobeeffecttospinandpathblurs.SelecttheMotionEffectstabtobringitspanelforward.TheStrobeStrengthsliderdetermineshowmuchblurshowsbetweenflashexposures(0%givesnostrobeeffect;100%givesfullstrobeeffectwithlittleblurbetweenexposures).StrobeFlashesdeterminesthenumberofexposures.

Applyingablurwillsmoothoutvisibledigitalimagenoiseorfilmgrainthat’sintheoriginalimage,andthismismatchbetweentheoriginalandblurredareascanmaketheblurappearartificial.YoucanusetheNoisetabtorestorenoiseorgrainsothatblurredareasmatchupwithunblurredareas.StartwiththeAmountslider,andthenusetheotherNoiseoptionstomatchthecharacteroftheoriginalgrain.IncreasetheColorvalueiftheoriginalhasvisiblecolornoise,andlowertheHighlightsvalueifyouneedtobalancethenoiselevelinthehighlightscomparedtotheshadows.

CreatingapanoramaSometimesavistaisjusttoolargeforasingleshot.Photoshopmakesiteasytocombinemultipleimagesintoapanoramasothatyourviewerscangetthefulleffect.

Onceagain,you’lltakealookattheendfilefirst,toseewhereyou’regoing.

1.ChooseFile>BrowseInBridge.

2.NavigatetotheLesson05folder,ifyou’renottherealready.Then,lookattheSkyline_End.psdthumbnailpreview.

Skyline_End.psd

You’llcombinefourshotsoftheSeattleskylineintoasinglewidepanoramaimagesothatviewersgetasenseofthewholescene.Creatingapanoramafrommultipleimagesrequiresonlyafewclicks.Photoshopdoestherest.

3.ReturntoPhotoshop.

YoucanalsoopenselectedimagesfromBridgedirectlyintoPhotomergebychoosingTools>Photoshop>Photomerge.

4.WithnofilesopeninPhotoshop,chooseFile>Automate>Photomerge.

5.IntheSourceFilesarea,clickBrowse,andnavigatetotheLesson05/FilesForPanoramafolder.

6.Shift-selectalltheimagesinthefolder,andclickOKorOpen.

7.IntheLayoutareaofthePhotomergedialogbox,selectPerspective.

8.AtthebottomofthePhotomergedialogbox,selectBlendImagesTogether,VignetteRemoval,GeometricDistortionCorrection,andContentAwareFillTransparentAreas.ThenclickOK.

BlendImagesTogetherblendsimagesbasedontheoptimalbordersbetweenthem,insteadofjustcreatingasimplerectangularblend.VignetteRemovalperformsexposurecompensationinimageswithdarkenededges.GeometricDistortionCorrectioncompensatesforbarrel,pincushion,orfisheyedistortion.ContentAwareFillTransparent

Areasautomaticallypatchestheemptyareasbetweenthemergedimageedgesandthesidesofthecanvas.

Photoshopcreatesthepanoramaimage.It’sacomplexprocess,soyoumayhavetowaitafewmomentswhilePhotoshopworks.Whenit’sfinished,you’llseethefullvistaintheimagewindowwithfivelayersintheLayerspanel.Thebottomfourlayersaretheoriginalfourimagesyouselected.Photoshopidentifiedtheoverlappingareasoftheimagesandmatchedthem,correctinganyangulardiscrepancies.Thetoplayer,containing“(merged)”inthelayername,isasinglepanoramaimageblendedfromalloftheimagesyouselected,combinedwithformerlyemptyareasfilledinbyContentAwareFill.Thoseareasareindicatedbytheselection.

IfyouwanttoseehowthepanoramalookswithouttheareascreatedbyContentAwareFill,hidethetoplayer.

GettingthebestresultswithPhotomerge

Ifyouknowyou’regoingtocreateapanoramawhenyoutakeyourshots,keepthefollowingguidelinesinmindtogetthebestresult.

Overlapimagesapproximately40%.YouwantenoughoverlapthatPhotomergecanassemblethepanoramabutnotsomuchthatitcan’tblendtheimages.

Useaconsistentfocallength.Ifyouuseazoomlens,keepthefocallengththesameforallthepicturesinthepanorama.

Useatripodifpossible.You’llgetthebestresultsifthecameraisatthesamelevelwhenyoutakeeachoftheshots.Atripodwitharotatingheadmakesthateasier.

Takethephotosfromthesameposition.Ifyou’renotusingatripodwitharotatinghead,trytostayinthesamepositionasyoutakethephotossothattheyaretakenfromthesameviewpoint.

Avoiddistortionlenses.TheycaninterferewithPhotomerge.(TheAutooptiondoesadjustforimagesyoutakewithfish-eyelenses,though.)

Usethesameexposure.Theimageswillblendmoregracefullyiftheyallhavethesameexposure.Forexample,eitheruseflashforalltheimagesornoneofthem.

Trydifferentlayoutoptions.Ifyoudon’tliketheresultsyougetwhenyoucreatethepanorama,tryagainusingadifferentlayoutoption.Often,Autoselectstheappropriateoption,butsometimesyou’llgetabetterimagewithoneoftheotheroptions.

11.ChooseFile>SaveAs.ChoosePhotoshopfortheFormat,andnamethefileSkyline_Working.psd.SavethefileintheLesson05folder.ClickSave.

Thepanoramalooksgreat,butit’salittledark.You’lladdaLevelsadjustmentlayertobrightenitalittlebit.

12.ClicktheLevelsiconintheAdjustmentspaneltoaddaLevelsadjustmentlayer.

13.SelecttheWhitePointeyedropper,andthenclickonawhiteareaoftheclouds.

Theskygetsbluer,andtheentireimagebrightens.

14.Saveyourwork.ClickOKinthePhotoshopFormatOptionsdialogboxandclosethefile.

It’sthateasytocreateapanorama!

CorrectingimagedistortionTheLensCorrectionfilterfixescommoncameralensflaws,suchasbarrelandpincushiondistortion,chromaticaberration,andvignetting.Barreldistortionisalensdefectthatcausesstraightlinestobowouttowardtheedgesoftheimage.Pincushiondistortionistheoppositeeffect,causingstraightlinestobendinward.Chromaticaberrationappearsasacolorfringealongtheedgesofimageobjects.Vignettingoccurswhentheedgesofanimage,especiallythecorners,aredarkerthanthecenter.

Somelensesexhibitthesedefectsdependingonthefocallengthorthef-stopused.TheLensCorrectionfiltercanapplysettingsbasedonthecamera,lens,andfocallengththatwereusedtomaketheimage.Thefiltercanalsorotateanimageorfiximageperspectivecausedbytiltingacameraverticallyorhorizontally.Thefilter’simagegridmakesiteasierandmoreaccuratetomaketheseadjustmentsthanusingtheTransformcommand.

2.NavigatetotheLesson05folderifyou’renotalreadythere,andthenlookattheColumns_Start.psdandColumns_End.psdthumbnailpreviews.

Inthiscase,theoriginalimageofaGreektempleisdistorted,withthecolumnsappearingtobebowed.Thisphotowasshotatarangethatwastooclosewithawide-anglelens.You’llquicklycorrectthelensbarreldistortion.

3.Double-clicktheColumns_Start.psdfiletoopenitinPhotoshop.

4.ChooseFile>SaveAs.IntheSaveAsdialogbox,namethefileColumns_Working.psd,andsaveitintheLesson05folder.ClickOKifthePhotoshopFormatOptionsdialogboxappears.

5.ChooseFilter>LensCorrection.TheLensCorrectiondialogboxopens.

6.SelectShowGridatthebottomofthedialogbox,ifit’snotalreadyselected.

Analignmentgridoverlaystheimage,nexttooptionsforremovingdistortion,correcting

chromaticaberration,removingvignettes,andtransformingperspective.

TheLensCorrectiondialogboxincludesauto-correctionoptions.You’lladjustonesettingintheAutoCorrectiontabandthencustomizethesettings.

7.IntheCorrectionareaoftheAutoCorrectiontab,makesureAutoScaleImageisselected,andthatTransparencyisselectedfromtheEdgemenu.

8.SelecttheCustomtab.

9.IntheCustomtab,dragtheRemoveDistortionslidertoabout+52.00toremovethebarreldistortionintheimage.Alternatively,youcouldselecttheRemoveDistortiontool( )anddragintheimagepreviewareauntilthecolumnsarestraight.Theadjustmentcausestheimageborderstobowinward.However,becauseyouselectedAutoScaleImage,theLensCorrectionfilterautomaticallyscalestheimagetoadjusttheborders.

Watchthealignmentgridasyoumakethesechangessothatyoucanseewhentheverticalcolumnsarestraightenedintheimage.

10.ClickOKtoapplyyourchangesandclosetheLensCorrectiondialogbox.

Thecurvingdistortioncausedbythewide-anglelensandlowshootingangleiseliminated.

11.(Optional)Toseetheeffectofyourchangeinthemainimagewindow,pressCtrl+Z(Windows)orCommand+Z(MacOS)twicetoundoandredothefilter.

12.ChooseFile>Savetosaveyourchanges,clickOKifthePhotoshopFormatOptionsdialogboxappears,andthenclosetheimage.

Thetemplelooksmuchmorestablenow!

AddingdepthoffieldWhenyou’reshootingaphoto,youoftenhavetochoosetofocuseitherthebackgroundortheforeground.Ifyouwanttheentireimagetobeinfocus,youcantaketwophotos—onewiththebackgroundinfocusandonewiththeforegroundinfocus—andthenmergethetwoinPhotoshop.

Becauseyou’llneedtoaligntheimagesexactly,it’shelpfultouseatripodtokeepthecamerasteady.Evenwithahandheldcamera,though,youcangetsomeamazingresults.You’lladddepthoffieldtoanimageofawineglassinfrontofabeach.

2.NavigatetotheLesson05folder,ifyou’renottherealready,andthenlookattheGlass_Start.psdandGlass_End.psdthumbnailpreviews.

Thefirstimagehastwolayers.Dependingonwhichlayerisvisible,eithertheglassintheforegroundorthebeachinthebackgroundisinfocus.You’llextendthedepthoffieldtomakebothclear.

3.Double-clicktheGlass_Start.psdfiletoopenit.

4.ChooseFile>SaveAs.NamethefileGlass_Working.psd,andsaveitintheLesson05folder.ClickOKifthePhotoshopFormatOptionsdialogboxappears.

5.IntheLayerspanel,hidetheBeachlayer,sothatonlytheGlasslayerisvisible.Theglassisinfocus,butthebackgroundisblurred.Then,showtheBeachlayerandhidetheGlasslayer.Nowthebeachisinfocus,buttheglassisblurred.

You’llmergethelayers,usingthepartofeachlayerthatisinfocus.First,youneedtoalignthelayers.

6.Showbothlayersagain,andthenShift-clicktoselectbothofthem.

7.ChooseEdit>Auto-AlignLayers.

Becausetheseimageswereshotfromthesameangle,Autowillworkjustfine.

8.SelectAuto,ifitisn’talreadyselected.MakesureneitherVignetteRemovalnorGeometricDistortionisselected.ThenclickOKtoalignthelayers.

Nowthatthelayersareperfectlyaligned,you’rereadytoblendthem.

9.MakesurebothlayersarestillselectedintheLayerspanel.ThenchooseEdit>Auto-BlendLayers.

10.SelectStackImagesandSeamlessTonesAndColors,iftheyaren’talreadyselected.MakesureContentAwareFillTransparentAreasisnotselected,andthenclickOK.

11.Saveyourwork,andclosethefile.

Boththewineglassandthebeachbehinditareinfocus.

MovingobjectswiththeContent-AwareMovetoolYou’veusedthecontent-awarefeaturesinsomeprettyimpressivewaysinearlierlessons,andtofillintheskyinthepanoramaprojectinthislesson.Nowyou’llusetheContent-AwareMovetooltomovesomethinginanimage(inthiscase,aduck)andhavePhotoshopconvincinglyfillintheareawheretheitemyoumovedusedtobe.YoucanalsousetheContent-AwareMovetooltoextendaportionofanimage,suchasastandoftreesorfenceposts,seamlessly.

2.NavigatetotheLesson05folder,ifyou’renottherealready,andthenlookattheDucks_Start.jpgandDucks_End.psdthumbnailpreviews.

You’llusetheContent-AwareMovetooltonudgethelastduckintoaclusterwithitscompanions.

3.Double-clicktheDucks_Start.jpgfiletoopenitinPhotoshop.

4.ChooseFile>SaveAs,choosePhotoshopfortheformattype,andnamethenewfileDucks_Working.psd.ClickSave.

5.SelecttheContent-AwareMovetool( ),whichishiddenbeneaththeRedEyeRemovaltool( ).

6.Intheoptionsbar,chooseMovefromtheModemenu,andenter3intheStructurefield.

7.Drawaselectionmarqueearoundthethirdduck,withamarginlargeenoughtoincludethegrassanddirtaroundit.

8.Dragtheselectiontotheleft,slightlyabovethesecondduck,sothattheducksareclustered.

Whenyoureleasethemouse,thedraggedduckappearswithatransformationrectangleandhandles.Thesetransformationcontrolsgiveyouanopportunitytorotateandscalethecontent,butyoudon’tneedtodothatinthisstep.

9.ClicktheCommitTransformbuttonintheoptionsbar.

10.ChangetheStructuresettingto5,whichrequiresstricteradherencetothepattern,andobservehowtheimagechanges.ThenchangetheStructuresettingto1,whichresultsinamuchlooseradaptation.YoucanalsoexperimentwithdifferentColorsettings,from0to10.

Nowthatyou’vecommittedtothemove,Photoshopfillsintheareatheduckleftbehind.HowitcreatestheareadependsontheStructureandColorsettingsintheOptionsbar.Youcantrydifferentoptionswhiletheselectionremainsactive.

11.ChoosetheStructureandColoroptionsyouthinklookbest.ThenchooseSelect>Deselect.Savethefileandcloseit.

Thethreeducksareinatighterformationnow,andyoucan’ttellthatthethirdduckusedtobeinadifferentposition.

MoreontheContent-AwareMovetool

TheContent-AwareMovetoolisveryimpressivewhenyou’reworkingwithsomeimages,andlessimpressivewithothers.Forbestresults,useitwhenthebackgroundisconsistentenoughthatPhotoshopwillbeabletorecognizeandreplicateapattern.Intheimageofducks,thegrassanddirtarefairlyconsistentandrepetitive.Youcanalsotrymovingobjectswithbackgroundssuchasmeadows,solid-coloredwalls,sky,woodgrains,orwater.

It’sbesttoextendarchitecturalobjectsinphotosthathavebeenshotonaparallelplane,ratherthanatanangle.Ifyou’reworkingwithanimagethathasmultiplelayers,selectSampleAllLayersintheoptionsbartoincludethemallintheselection.

TheStructureandColoroptionsdefinehowcloselytheresultsreflecttheexistingimagepatterns.IntheStructuresettings,1istheloosestand5isthestrictest.TheColorsettingsrangefrom0(nocoloradaptation)to10(matchingthecolorascloselyaspossible).Experimentwiththeoptionswhiletheobjectisstillselectedtoseewhichgiveyouthebestresultsinaparticularimage.Youmaywanttohidetheselectionedges(chooseView>Show>SelectionEdgesorView>Extras)toseehowtheobjectintegratesintoitsnewposition.

Extracredit

TransformationswiththeContent-AwareMovetool

WiththeContent-AwareMovetool,youneedonlyafewquickstepstocreateacopyofthethistlethatcombinesseamlesslywiththebackgroundandisalsodifferentenoughthatitdoesn’tlooklikeanexactcopyoftheoriginal.

1.OpenThistle.psdinyourLesson05/Extra_Creditfolder.

2.SelecttheContent-AwareMovetool( ).

3.Intheoptionsbar,chooseExtendfromtheModemenu.ChoosingExtendduplicatesthethistle;ifyoujustwanttorepositionthesinglethistle,youwouldchooseMove.

4.Drawaselectionmarqueearoundthethistle,withamarginlargeenoughtoincludethegrassaroundit.

5.Dragtheselectiontotheleft,anddropitintheemptyareaofgrass.

6.Right-click(Windows)orControl-click(MacOS)thedraggedthistle,andchooseFlipHorizontal.

7.Dragthetoplefttransformationhandletomakethethistlesmaller.Ifyouthinkthecopyofthethistleshouldbefartherfromtheoriginal,positionthepointerinsidethetransformationrectangle(butnotovertheanchorpoint)anddragthethistlecopyslightlytotheleft.

8.PressEnterorReturntomakethetransformationspermanent,leavingthecontentselectedsoyoucanadjusttheStructureandColoroptions.

9.ChooseSelect>Deselect,andsaveyourchanges.

AdjustingperspectiveinanimageThePerspectiveWarpfeatureletsyouadjustthewayobjectsinyourimagerelatetothescene.Youcancorrectdistortions,changetheanglefromwhichanobjectappearstobeviewed,orshifttheperspectiveofanobjectsothatitmergessmoothlywithanewbackground.

UsingthePerspectiveWarpfeatureisatwo-stepprocess:definingtheplanesandadjustingthem.YoustartinLayoutmode,drawingquadstodefinetwoormoreplanes;it’sagoodideatoaligntheedgesofthequadssothattheyareparallelwiththelinesoftheoriginalobject.ThenyouswitchtoWarpmode,andmanipulatetheplanesyoudefined.

You’llusePerspectiveWarptomergeimageswithdifferentperspectives.

2.NavigatetotheLesson05folder,ifyou’renottherealready,andthenlookattheBridge_Start.psdandBridge_End.psdthumbnailpreviews.

IntheBridge_Start.psdfile,theimageofthetrainhasbeencombinedwiththeimageofatrestlebridge,buttheirperspectivesdon’tmatch.Ifyou’reillustratingastoryaboutaflyingtrainthatismakingalandingonatrestlebridge,thismightbeperfect.Butifyouwantamorerealisticimage,you’llneedtoadjusttheperspectiveofthetraintoputitfirmlyonthetracks.You’llusePerspectiveWarptodojustthat.

3.Double-clicktheBridge_Start.psdfiletoopenitinPhotoshop.

4.ChooseFile>SaveAs,andrenamethefileBridge_Working.psd.ClickOKinthePhotoshopFormatOptionsdialogbox.

5.SelecttheTrainlayer.

ThetracksareontheBackgroundlayer.ThetrainisontheTrainlayer.BecausetheTrainlayerisaSmartObject,youcanapplyPerspectiveWarpandthenmodifytheresultsifyou’renotsatisfied.

6.ChooseEdit>PerspectiveWarp.Thisfeaturerequiresafairamountofprocessingpower.IfPerspectiveWarpisgrayedoutwhenyoutrytoselectit,makesureyouhaveacurrentvideocardandaminimumof512MBVRAM.

Asmallanimatedtutorialappears,showingyouhowtodrawaquad,whichdefinesaplane.

7.Watchtheanimation,andthencloseit.

Inthefirststepoftheprocess,youwanttoenclosetheobjectinquadsthatrepresentthecurrentplanesoftheobject.

8.Drawthequadforthesideofthetrain:Clickabovethetopofthesmokestack,drag

downtotherailroadtiebelowthefrontwheel,andthendragacrosstotheendofthecaboose.Theplaneiscurrentlyarectangle.

9.Dragasecondquadforthefrontofthetrain,draggingacrossthecowcatcheratthebottomandintothetreesatthetop.Dragittotherightuntilitattachestotheleftedgeofthefirstquad.

10.Dragthecornersoftheplanestomatchtheanglesofthetrain.Thebottomlineofthesideplaneshouldrunalongthebottomofthetrainwheels;thetopedgeshouldborderthetopofthecaboose.Thefrontplaneshouldmirrorthelinesofthecowcatcherandthetopofthelight.

Nowthatthequadsaredrawn,you’rereadyforthesecondstepintheprocess:warping.

11.ClickWarpintheoptionsbar.Closethetutorialboxthatshowsyouhowtowarptheplane.

12.ClicktheAutomaticallyStraightenNearVerticalLinesbutton,nexttoWarpintheoptionsbar.

Thismakesthetrainappearproperlyvertical,makingiteasiertoadjusttheperspectiveaccurately.

13.Dragthehandlestomanipulatetheplanes,movingthebackendofthetraindownandintoperspecivewiththetracks.Exaggeratetheperspectivetowardthecabooseforamoredramaticresult.

14.Warpotherpartsofthetrainasneeded.Youmayneedtoadjustthefrontofthetrain.Payattentiontothewheels;makesureyoudon’tdistortthemasyouwarptheperspective.

Thereisnopreciserightorwrongwaytoadjustperspective.Trustyoureyestotellyouwhenitlooksright.Rememberyoucanreturntotweakitagainlater,becauseyou’reapplyingPerspectiveWarpasaSmartFilter.

15.Whenyou’resatisfiedwiththeperspective,clicktheCommitPerspectiveWarpbuttonintheoptionsbar.

16.Tocomparethechangedimagewiththeoriginal,hidethePerspectiveWarpfilterintheLayerspanel.Thenshowthefilteragain.

Ifyouwanttomakefurtheradjustments,double-clickthePerspectiveWarpfilterintheLayerspanel.Youcancontinuetoadjusttheexistingplanes,orclickLayoutintheoptionsbartoreshapethem.

Changingtheperspectiveofabuilding

Intheexercise,youappliedPerspectiveWarptoonelayertochangeitsrelationshipwithanother.ButyoucanalsousePerspectiveWarptochangetheperspectiveofanobjectinrelationshiptoothersinthesamelayer.Forexample,youcanshifttheanglefromwhichyouviewabuilding.

Inthiscase,youapplyPerspectiveWarpthesameway:InLayoutmode,drawtheplanesoftheobjectyouwanttoaffect.InWarpmode,manipulatethoseplanes.Ofcourse,becauseyou’reshiftingangleswithinalayer,otherobjectsonthelayerwillmove,too,soyouneedtowatchforanyirregularities.

Inthisimage,astheperspectiveofthebuildingshifted,sodidtheperspectiveofthetreessurroundingit.

CameraShakeReduction

Evenwithasteadyhand,unintendedcameramotioncanoccurwithslowshutterspeedsorlongfocallengths.TheCameraShakeReductionfilterreducestheresultingcamerashake,givingyouasharperimage.

BeforeapplyingtheCameraShakeReductionfilter

You’llgetthebestresultsifyouapplythefiltertoaparticularpartofanimage,ratherthantheentireimage.Itcanbeespeciallyusefuliftexthasbecomeillegibleduetocamerashake.

TousetheCameraShakeReductionfilter,opentheimage,andchooseFilter>Sharpen>ShakeReduction.Thefilterautomaticallyanalyzestheimage,selectsaregionofinterest,andcorrectstheblur.UsetheDetailloupetoexaminethepreview.Thatmaybeallyouneedtodo.Ifso,clickOKtoclosetheShakeReductiondialogboxandapplythefilter.

AfterapplyingtheCameraShakeReductionfilter

Ifyouwanttomakefurtheradjustments,expandtheAdvancedareaofthedialogbox.Youcanchangetheregionofinterestoradjustitssize;viewandresizetheblurtrace,whichistheshapeandsizeofthecamerashakethatPhotoshopidentified;andadjusttheSmoothingandArtifactSuppressionvaluestocorrectnoiseandartifacts.Youcanevensavetheblurtracetousethesettingsonanotherimage.ForfullinformationabouttheCameraShakeReductionfilter,seePhotoshopHelp.

Reviewquestions1.Whatisredeye,andhowdoyoucorrectitinPhotoshop?

2.Howcanyoucreateapanoramafrommultipleimages?

3.DescribehowtofixcommoncameralensflawsinPhotoshop.Whatcausesthesedefects?

4.WhatconditionsprovidethebestresultswhenusingtheContent-AwareMovetool?

Reviewanswers1.Redeyeoccurswhentheretinasofasubject’seyesarereflectedbythecameraflash.TocorrectredeyeinPhotoshop,zoomintothesubject’seyes,selecttheRedEyetool,andthenclicktheeye.

2.Toblendmultipleimagesintoapanorama,chooseFile>Automate>Photomerge,selectthefilesyouwanttocombine,andclickOK.

3.TheLensCorrectionfilterfixescommoncameralensflaws,suchasbarrelandpincushiondistortion,inwhichstraightlinesbowouttowardstheedgesoftheimage(barrel)orbendinward(pincushion);chromaticaberration,whereacolorfringeappearsalongtheedgesofimageobjects;andvignettingattheedgesofanimage,especiallycorners,thataredarkerthanthecenter.Defectscanoccurfromincorrectlysettingthelens’sfocallengthorf-stop,orbytiltingthecameraverticallyorhorizontally.

4.TheContent-AwareMovetoolworksbestinimagesthathaveconsistentbackgroundssothatPhotoshopcanseamlesslyreplicatethepatterns.

6.MasksandChannels

Lessonoverview

•Createamasktoremoveasubjectfromabackground.

•Refineamasktoincludecomplexedges.

•Createaquickmasktomakechangestoaselectedarea.

•EditamaskusingthePropertiespanel.

•ManipulateanimageusingPuppetWarp.

•Saveaselectionasanalphachannel.

•ViewamaskusingtheChannelspanel.

•Loadachannelasaselection.

•Isolateachanneltomakespecificimagechanges.

Photography©ImageSource,www.imagesource.comPROJECT:MAGAZINECOVERIMAGE

Usemaskstoisolateandmanipulatespecificpartsofanimage.Thecutoutportionofamaskcanbealtered,buttheareasurroundingthecutoutisprotectedfromchange.Youcancreateatemporarymasktouseonce,oryoucansavemasksforrepeateduse.

WorkingwithmasksandchannelsInPhotoshop,masksisolateandprotectpartsofanimage,justasmaskingtapeprotectswindowpanesortrimfrompaintwhenahouseispainted.Whenyoucreateamaskbasedonaselection,theareayouhaven’tselectedismasked,orprotectedfromediting.Withmasks,youcancreateandsavetime-consumingselectionsandthenusethemagain.Inaddition,youcanusemasksforothercomplexeditingtasks—forexample,toapplycolorchangesorfiltereffectstoanimage.

InPhotoshop,youcanmaketemporarymasks,calledquickmasks,oryoucancreatepermanentmasksandstorethemasspecialgrayscalechannelscalledalphachannels.Photoshopalsouseschannelstostoreanimage’scolorinformation.Unlikelayers,channelsdonotprint.YouusetheChannelspaneltoviewandworkwithalphachannels.

Akeyconceptinmaskingisthatblackhidesandwhitereveals.Asinlife,rarelyisanythingblackandwhite.Shadesofgraypartiallyhide,dependingonthegraylevels.

GettingstartedFirst,you’llviewtheimagethatyou’llcreateusingmasksandchannels.

4.ClicktheFavoritestabontheleftsideoftheBridgewindow.SelecttheLessonsfolder,andthendouble-clicktheLesson06folderintheContentpanel.

5.Studythe06End.psdfile.Toenlargethethumbnailsothatyoucanseeitmoreclearly,movethethumbnailslideratthebottomoftheBridgewindowtotheright.

Inthislesson,you’llcreateamagazinecover.Themodelforthecoverwasphotographedinfrontofadifferentbackground.You’llusemaskingandtheRefineMaskfeaturetoplacethemodelontheappropriatebackground.

6.Double-clickthe06Start.psdthumbnailtoopenitinPhotoshop.ClickOKifyouseeanEmbeddedProfileMismatchdialogbox.

CreatingamaskYou’llusetheQuickSelectiontooltocreatetheinitialmaskinordertoseparatethemodelfromthebackground.

1.ChooseFile>SaveAs,renamethefile06Working.psd,andclickSave.ClickOKifthePhotoshopFormatOptionsdialogboxappears.

Savingaworkingversionofthefileletsyoureturntotheoriginalifyouneedit.

2.SelecttheQuickSelectiontool( ).Intheoptionsbar,setupabrushwithasizeof15pxandhardnessof100%.

Forhelpmakingselections,refertoLesson3,“WorkingwithSelections.”

3.Dragtoselecttheman.It’sfairlyeasytoselecthisshirtandface,butthehairistrickier.Don’tworryiftheselectionisn’tperfect.You’llrefinethemaskinthenextexercise.

4.AtthebottomoftheLayerspanel,clicktheAddLayerMaskbutton( )tocreatealayermask.

Aboutmasksandmasking

Alphachannels,channelmasks,clippingmasks,layermasks,vectormasks—what’sthedifference?Insomecases,they’reinterchangeable:Achannelmaskcanbeconvertedtoalayermask,alayermaskcanbeconvertedtoavectormask,andviceversa.

Here’sabriefdescriptiontohelpyoukeepthemallstraight.Whattheyhaveincommonisthattheyallstoreselections,andtheyallletyoueditanimagenondestructively,soyoucanreturnatanytimetoyouroriginal.

•Analphachannel—alsocalledamaskorselection—isanextrachanneladdedtoanimage;itstoresselectionsasgrayscaleimages.Youcanaddalphachannelstocreateandstoremasks.

•Alayermaskislikeanalphachannel,butit’sattachedtoaspecificlayer.Alayermaskcontrolswhichpartofalayerisrevealedorhidden.ItappearsasablankthumbnailnexttothelayerthumbnailintheLayerspaneluntilyouaddcontenttoit;ablackoutlineindicatesthatit’sselected.

•Avectormaskisessentiallyalayermaskmadeupofvectors,notpixels.Resolution-independent,vectormaskshavecrispedgesandarecreatedwiththepenorshapetools.Theydon’tsupporttransparency,sotheiredgescan’tbefeathered.Theirthumbnailsappearthesameaslayermaskthumbnails.

•Aclippingmaskappliestoalayer.Itconfinestheinfluenceofaneffecttospecificlayers,ratherthantoeverythingbelowthelayerinthelayerstack.Usingaclippingmaskclipslayerstoabaselayer;onlythatbaselayerisaffected.Thumbnailsofaclippedlayerareindentedwitharight-anglearrowpointingtothelayerbelow.Thenameoftheclippedbaselayerisunderlined.

•Achannelmaskrestrictseditingtoaspecificchannel(forexample,aCyanchannelinaCMYKimage).Channelmasksareusefulformakingintricate,fringed,orwispy-edgedselections.Youcancreateachannelmaskbasedonadominantcolorinanimageorapronouncedcontrastinanisolatedchannel,forexample,betweenthesubjectandthebackground.

Theselectionbecomesapixelmask,anditappearsaspartofLayer0intheLayerspanel.Everythingoutsidetheselectionistransparent,representedbyacheckerboardpattern.

RefiningamaskThemaskisprettygood,buttheQuickSelectiontoolcouldn’tquitecaptureallofthemodel’shair.Themaskisalsoalittlechoppyaroundthecontoursoftheshirtandface.You’llsmooththemask,andthenfine-tunetheareaaroundthehair.

1.ChooseWindow>PropertiestoopenthePropertiespanel.

2.Ifitisn’talreadyselected,clickthemaskonLayer0intheLayerspanel.

3.InthePropertiespanel,clickMaskEdge.TheRefineMaskdialogboxopens.

4.IntheViewModeareaofthedialogbox,clickthearrownexttothepreviewwindow.ChooseOnBlackfromthepop-upmenu.

Themaskappearsagainstablackbackground,whichmakesiteasiertoseetheedgeofthewhiteshirtandtheface.

5.IntheAdjustEdgeareaofthedialogbox,movethesliderstocreateasmooth,unfeatherededgealongtheshirtandface.Theoptimalsettingsdependontheselectionyoucreated,butthey’llprobablybesimilartoours.WemovedtheSmoothsliderto15tocreateasmootheroutline,Contrastto40%tomakethetransitionsalongtheselectionbordermoreabrupt,andShiftEdgeto-8%tomovetheselectionborderinwardandhelpremoveunwantedbackgroundcolorsfromselectionedges.(AdjustingShiftEdgetoapositivenumbermovestheborderoutward.)

6.IntheOutputareaofthedialogbox,selectDecontaminateColors.ChooseNewLayerWithLayerMaskfromtheOutputTomenu.

DecontaminateColorsreplacescolorfringeswiththecoloroffullyselectedpixelsnearby.Becauseitchangespixelcolor,thisoptionrequiresyoutooutputtoanewlayerordocument.

7.SelecttheZoomtoolintheRefineMaskdialogbox,andthenclickthefacetozoominsoyoucanseeitsedgesmoreclearly.

8.SelecttheRefineRadiustool( )intheRefineMaskdialogbox.Useittopaintoutanywhitebackgroundthatremainsaroundthelipsandthenose.Presstheleftbracket([)todecreasethebrushsizeandtherightbracket(])toincreaseit.

Zoomtoolshortcuts

Oftenwheneditinganimage,you’llneedtozoomintoworkonadetailandthenzoomoutagaintoseethechangesincontext.Hereareseveralkeyboardshortcutsthatmakezoomingfasterandeasier.

•Withanytoolselected,pressCtrl(Windows)orCommand(MacOS)withtheplussign(+)tozoomin,orwiththeminussign(-)tozoomout.

•Double-clicktheZoomtoolintheToolspaneltoreturntheimageto100%view.

•WhenScrubbyZoomisselectedintheoptionsbar,justdragtheZoomtooltothelefttozoomoutordragittotherighttozoomin.

•PressAlt(Windows)orOption(MacOS)tochangetheZoomIntooltotheZoomOuttool,andclicktheareaoftheimageyouwanttoreduce.EachAlt/Optionclickreducestheimagebythenextpresetincrement.

9.Whenyou’resatisfiedwiththemaskaroundtheface,clickOK.

Anewlayer,namedLayer0copy,appearsintheLayerspanel.You’llusethislayertoaddthespikestothemaskofthehair.

10.WithLayer0copyactive,clickMaskEdgeinthePropertiespaneltoopentheRefineMaskdialogboxagain.

11.FromtheViewpop-upmenu,chooseOnWhite.Theblackhairshowsupwellagainstthewhitematte.Ifnecessary,zoomoutorusetheHandtooltorepositiontheimagesothatyoucanseeallofthehair.

12.SelecttheRefineRadiustoolintheRefineMaskdialogbox.Pressthe]keytoincreasethesizeofthebrush.(Theoptionsbardisplaysthebrushsize;weused300pxatfirst.)Then,beginbrushingalongthetopofthehair,highenoughtoincludethespikes.

13.Pressthe[keyafewtimestodecreasethebrushsizebyabouthalf.Then,paintalongtherightsideofthehead,wherethehairisasolidcolor,topickupanysmall,finehairsthatprotrude.

Asyoupaint,Photoshoprefinesthemaskedge,includingthehair,buteliminatingmostofthebackground.Ifyouwerepaintingonalayermask,thebackgroundwouldbeincluded.TheRefineMaskfeatureisgood,butit’snotperfect.You’llcleanupanyareasofbackgroundthatareincludedwiththehair.

14.SelecttheEraseRefinementstool( ),hiddenbehindtheRefineRadiustoolintheRefineMaskdialogbox.Clickonceortwiceineachareawherebackgroundcolorshows.Whenyoueraseanarea,theRefineMaskfeatureerasessimilarcolors,cleaningupmoreofthemaskforyou.Becarefulnottoerasetherefinementsyoumadetothehairedge.YoucanundoasteporusetheRefineRadiustooltorestoretheedgeifnecessary.

15.SelectDecontaminateColors,andmovetheAmountsliderto85%.ChooseNewLayerWithLayerMaskfromtheOutputTomenu.ThenclickOK.

16.IntheLayerspanel,maketheMagazineBackgroundlayervisible.Themodelappearsinfrontofanorangepatternedbackground.

CreatingaquickmaskYou’llcreateaquickmasktochangethecoloroftheglassesframes.First,you’llcleanuptheLayerspanel.

1.HidetheMagazineBackgroundlayersoyoucanfocusonthemodel.ThendeletetheLayer0andLayer0copylayers.ClickYesorDeletetoconfirmdeletionofthelayersortheirmasks,ifprompted;youdonotneedtoapplythemasktothecurrentlayerbecauseLayer0copy2alreadyhasthemaskapplied.

2.Double-clicktheLayer0copy2layername,andrenameitModel.

3.ClicktheEditInQuickMaskModebuttonintheToolspanel.(Bydefault,youhavebeenworkinginStandardmode.)

InQuickMaskmode,aredoverlayappearsasyoumakeaselection,maskingtheareaoutsidetheselectionthewayarubylith,orredacetate,wasusedtomaskimagesintraditionalprintshops.Youcanapplychangesonlytotheunprotectedareathatisvisibleandselected.NoticethatthehighlightfortheselectedlayerintheLayerspanelappearsgrayinsteadofblue,indicatingyou’reinQuickMaskmode.

4.IntheToolspanel,selecttheBrushtool( ).

5.Intheoptionsbar,makesurethatthemodeisNormal.OpentheBrushpop-uppanel,andselectasmallbrushwithadiameterof13px.Clickoutsidethepaneltocloseit.

6.Painttheearpieceoftheglassesframes.Theareayoupaintwillappearred,creatingamask.

7.ContinuepaintingwiththeBrushtooltomasktheearpieceoftheframesandtheframearoundthelenses.Reducethebrushsizetopaintaroundthelenses.Don’tworryaboutthehairoverlappingtheearpiece;goaheadandpaintoverit.

InQuickMaskmode,PhotoshopautomaticallydefaultstoGrayscalemode,withaforegroundcolorofblackandabackgroundcolorofwhite.WhenusingapaintingoreditingtoolinQuickMaskmode,keeptheseprinciplesinmind:

•Paintingwithblackaddstothemask(theredoverlay)anddecreasestheselectedarea.

•Paintingwithwhiteerasesthemask(theredoverlay)andincreasestheselectedarea.

•Paintingwithgraypartiallyaddstothemask.

8.ClicktheEditInStandardModebuttontoexitQuickMaskMode.

Theunmaskedareaisselected.Unlessyousaveaquickmaskasamorepermanentalpha-channelmask,Photoshopdiscardsthetemporarymaskonceitisconvertedtoaselection.

9.ChooseSelect>Inversetoselecttheareayouoriginallymasked.

10.ChooseImage>Adjustments>Hue/Saturation.

11.IntheHue/Saturationdialogbox,changetheHueto70.Thenewgreencolorfillstheglassesframe.ClickOK.

ManipulatinganimagewithPuppetWarpThePuppetWarpfeaturegivesyouflexibilityinmanipulatinganimage.Youcanrepositionareas,suchashairoranarm,justasyoumightpullthestringsonapuppet.Placepinswhereveryouwanttocontrolmovement.You’llusePuppetWarptotiltthemodel’sheadback,soheappearstobelookingup.

1.Zoomoutsoyoucanseetheentiremodel.

2.WiththeModellayerselectedintheLayerspanel,chooseEdit>PuppetWarp.

Ameshappearsoverthevisibleareasinthelayer—inthiscase,themeshappearsoverthemodel.You’llusethemeshtoplacepinswhereyouwanttocontrolmovement(ortoensurethereisnomovement).

3.Clickaroundtheedgesoftheshirt.Eachtimeyouclick,PuppetWarpaddsapin.Approximately10pinsshouldwork.

Thepinsyou’veaddedaroundtheshirtwillkeepitinplaceasyoutiltthehead.

4.Selectthepinatthenapeoftheneck.Awhitedotappearsinthecenterofthepintoindicatethatit’sselected.

5.PressAlt(Windows)orOption(MacOS).Alargercircleappearsaroundthepinandacurveddoublearrowappearsnexttoit.ContinuepressingAltorOptionasyoudragthepointertorotatetheheadbackwards.Youcanseetheangleofrotationintheoptionsbar;youcanenter135theretorotatetheheadback.

BecarefulnottoAlt-clickorOption-clickthedotitself,oryou’lldeletethepin.

6.Whenyou’resatisfiedwiththerotation,clicktheCommitPuppetWarpbutton( )intheoptionsbar,orpressEnterorReturn.

WorkingwithchannelsJustasdifferentinformationinanimageisstoredondifferentlayers,channelsalsoletyouaccessspecifickindsofinformation.Alphachannelsstoreselectionsasgrayscaleimages.Colorinformationchannelsstoreinformationabouteachcolorinanimage;forexample,anRGBimageautomaticallyhasred,green,blue,andcompositechannels.

Toavoidconfusingchannelsandlayers,thinkofchannelsascontaininganimage’scolorandselectioninformation;thinkoflayersascontainingpaintingandeffects.

You’lluseanalphachanneltocreateashadowforthemodel.Then,you’llconverttheimagetoCMYKmodeandusetheBlackchanneltoaddcolorhighlightstothehair.

UsinganalphachanneltocreateashadowYou’vealreadycreatedamaskofthemodel.Tocreateashadow,youwanttoessentiallyduplicatethatmaskandthenshiftit.You’lluseanalphachanneltomakethatpossible.

1.IntheLayerspanel,Ctrl-click(Windows)orCommand-click(MacOS)thelayericonintheModellayer.Themaskedareaisselected.

2.ChooseSelect>SaveSelection.IntheSaveSelectiondialogbox,makesureNewischosenintheChannelmenu.ThennamethechannelModelOutline,andclickOK.

NothingchangesintheLayerspanelorintheimagewindow.However,anewchannelnamedModelOutlinehasbeenaddedtotheChannelspanel.

3.ClicktheCreateANewLayericon( )atthebottomoftheLayerspanel.DragthenewlayerbelowtheModellayer,sothattheshadowwillbebelowtheimageofthemodel.Thendouble-clickthenewlayer’sname,andrenameitShadow.

4.WiththeShadowlayerselected,chooseSelect>RefineEdge.IntheRefineEdgedialogbox,movetheShiftEdgesliderto+36%.ThenclickOK.

5.ChooseEdit>Fill.IntheFilldialogbox,chooseBlackfromtheContentsmenu,andthenclickOK.

TheShadowlayerdisplaysafilled-inblackoutlineofthemodel.Shadowsaren’tusuallyasdarkasthepersonthatcaststhem.You’llreducethelayeropacity.

6.IntheLayerspanel,changethelayeropacityto30%.

Theshadowisinexactlythesamepositionasthemodel,whereitcan’tbeseen.You’llshiftit.

7.ChooseSelect>Deselecttoremovetheselection.

8.ChooseEdit>Transform>Rotate.Rotatetheshadowbyhand,orenter-15°intheRotatefieldintheoptionsbar.Thendragtheshadowtotheleft,orenter845intheXfieldintheoptionsbar.ClicktheCommitTransformbutton( )intheoptionsbar,orpressEnterorReturn,toacceptthetransformation.

AdjustinganindividualchannelYou’realmostdonewiththemagazinecoverimage.Allthatremainsistoaddcolorhighlightstothemodel’shair.You’llconverttheimagetoCMYKmodesoyoucantakeadvantageoftheBlackchanneltodojustthat.

1.SelecttheModellayerintheLayerspanel.

2.ChooseImage>Mode>CMYKColor.ClickDon’tMergeinthedialogboxthatappears,becauseyouwanttokeepyourlayersintact.ClickOKifyou’repromptedaboutcolorprofiles.

3.Alt-click(Windows)orOption-click(MacOS)thevisibilityiconfortheModel

layertohidetheotherlayers.

Aboutalphachannels

IfyouworkinPhotoshopverylong,you’reboundtoworkwithalphachannels.It’sagoodideatoknowafewthingsaboutthem.

•Animagecancontainupto56channels,includingallcolorandalphachannels.

•Allchannelsare8-bitgrayscaleimages,capableofdisplaying256levelsofgray.

•Youcanspecifyaname,color,maskoption,andopacityforeachchannel.(Theopacityaffectsthepreviewofthechannel,nottheimage.)

•Allnewchannelshavethesamedimensionsandnumberofpixelsastheoriginalimage.

•Youcaneditthemaskinanalphachannelusingthepaintingtools,editingtools,andfilters.

•Youcanconvertalphachannelstospot-colorchannels.

4.SelecttheChannelstab.IntheChannelspanel,selecttheBlackchannel.ThenchooseDuplicateChannelfromtheChannelspanelmenu.NamethechannelHair,andclickOK.

Individualchannelsappearingrayscale.IfmorethanonechannelisvisibleintheChannelspanel,thechannelsappearincolor.

5.MaketheHairchannelvisible,andhidetheBlackchannel.ThenselecttheHairchannel,andchooseImage>Adjustments>Levels.

6.IntheLevelsdialogbox,adjustBlackto85,Midtonesto1,andWhiteto165.MovingtheBlackandWhitepointscreatescontrastinthehair.ClickOK.

7.WiththeHairchannelstillselected,chooseImage>Adjustments>Invert.Thechannelappearswhiteagainstablackbackground.

8.SelecttheBrushtool,andclicktheSwitchForegroundAndBackgroundColorsiconintheToolspaneltomaketheForegroundcolorblack.Thenpaintovertheglasses,eyes,andanythinginthechannelthatisn’thair.

9.ClicktheLoadChannelAsSelectioniconatthebottomoftheChannelspanel.

10.SelecttheLayerstab.IntheLayerspanel,selecttheModellayer.

11.ChooseSelect>RefineEdge.IntheRefineEdgedialogbox,movetheFeathersliderto1.2px,andthenclickOK.

12.ChooseImage>Adjustments>Hue/Saturation.SelectColorize,andthenmovetheslidersasfollows,andclickOK:

•Hue:230

•Saturation:56

•Lightness:11

13.ChooseImage>Adjustments>Levels.IntheLevelsdialogbox,movethesliderssothattheBlacksliderispositionedwheretheblackspeak,theWhitesliderwherethewhitespeak,andtheMidtonesinbetween.ThenclickOK.Weusedthevalues58,1.65,255,butyourvaluesmayvary.

14.IntheLayerspanel,maketheShadowandMagazineBackgroundlayersvisible.

16.ChooseFile>Save.

Yourmagazinecoverisreadytogo!

Reviewquestions1.Whatisthebenefitofusingaquickmask?

2.Whathappenstoaquickmaskwhenyoudeselectit?

3.Whenyousaveaselectionasamask,whereisthemaskstored?

4.Howcanyoueditamaskinachannelonceyou’vesavedit?

5.Howdochannelsdifferfromlayers?

Reviewanswers1.Quickmasksarehelpfulforcreatingquick,one-timeselections.Inaddition,usingaquickmaskisaneasywaytoeditaselectionusingthepaintingtools.

2.Thequickmaskdisappearswhenyoudeselectit.

3.Masksaresavedinchannels,whichcanbethoughtofasstorageareasforcolorand

selectioninformationinanimage.

4.Youcanpaintonamaskinachannelusingblack,white,andshadesofgray.

5.Channelsareusedasstorageareasforsavedselections.Unlessyouexplicitlydisplayachannel,itdoesnotappearintheimageorprint.Layerscanbeusedtoisolatevariouspartsofanimagesothattheycanbeeditedasdiscreteobjectswiththepaintingoreditingtoolsorothereffects.

7.TypographicDesign

Lessonoverview

•Useguidestopositiontextinacomposition.

•Makeaclippingmaskfromtype.

•Mergetypewithotherlayers.

•Previewfonts.

•Formattext.

•Distributetextalongapath.

•Controltypeandpositioningusingadvancedfeatures.

Photography©ImageSource,www.imagesource.comPROJECT:MAGAZINECOVERLAYOUT

Photoshopprovidespowerful,flexibletexttoolssoyoucanaddtypetoyourimageswithgreatcontrolandcreativity.

AbouttypeTypeinPhotoshopconsistsofmathematicallydefinedshapesthatdescribetheletters,numbers,andsymbolsofatypeface.Manytypefacesareavailableinmorethanoneformat,themostcommonformatsbeingType1orPostScriptfonts,TrueType,andOpenType(see“OpenTypeinPhotoshop”laterinthislesson).

WhenyouaddtypetoanimageinPhotoshop,thecharactersarecomposedofpixelsandhavethesameresolutionastheimagefile—zoominginoncharactersshowsjaggededges.However,Photoshoppreservesthevector-basedtypeoutlinesandusesthemwhenyouscaleorresizetype,saveaPDForEPSfile,orprinttheimagetoaPostScriptprinter.Asaresult,youcanproducetypewithcrisp,resolution-independentedges,applyeffectsandstylestotype,andtransformitsshapeandsize.

GettingstartedInthislesson,you’llworkonthelayoutforthecoverofatechnologymagazine.You’llstartwiththeartworkyoucreatedinLesson6:Thecoverhasamodel,hisshadow,andtheorangebackground.You’lladdandstylizetypeforthecover,includingwarpingthetext.

You’llstartthelessonbyviewinganimageofthefinalcomposition.

IfBridgeisnotinstalled,you’llbepromptedtodownloadandinstallit.Seepage3formoreinformation.

4.IntheFavoritespanelontheleftsideofBridge,clicktheLessonsfolder,andthendouble-clicktheLesson07folderintheContentpanel.

5.Selectthe07End.psdfile.Increasethethumbnailsizetoseetheimageclearlybydraggingthethumbnailslidertotheright.

You’llapplythetypetreatmentinPhotoshoptofinishthemagazinecover.AllofthetypecontrolsyouneedareavailableinPhotoshop,soyoudon’thavetoswitchtoanotherapplicationtocompletetheproject.

6.Double-clickthe07Start.psdfiletoopenitinPhotoshop.

ThoughthislessonstartswhereLesson6leftoff,usethe07Start.psdfile.We’veincludedapathandastickynoteinthestartfilethatwon’tbeinthe06Working.psdfileyousaved.

7.ChooseFile>SaveAs,renamethefile07Working.psd,andclickSave.

8.ClickOKinthePhotoshopFormatOptionsdialogbox.

9.ChooseTypographyfromtheWorkspaceSwitcherintheoptionsbar.

TheTypographyworkspacedisplaystheCharacterandParagraphpanelsthatyou’lluseinthislesson,alongwiththeParagraphStyles,CharacterStyles,Glyphs,Layers,Channels,andPathspanels.

CreatingaclippingmaskfromtypeAclippingmaskisanobjectoragroupofobjectswhoseshapemasksotherartworksothatonlyareasthatliewithintheclippingmaskarevisible.Ineffect,youareclippingtheartworktoconformtotheshapeoftheobject(ormask).InPhotoshop,youcancreateaclippingmaskfromshapesorletters.Inthisexercise,you’lluselettersasaclippingmasktoallowanimageinanotherlayertoshowthroughtheletters.

AddingguidestopositiontypeThe07Working.psdfileincludesabackgroundlayer,whichwillbethefoundationforyourtypography.You’llstartbyzoominginontheworkareaandusingrulerguidestohelppositionthetype.

1.ChooseView>FitOnScreentoseethewholecoverclearly.

2.ChooseView>Rulerstodisplayrulersalongtheleftandtopbordersoftheimagewindow.

3.Dragaverticalguidefromtheleftrulertothecenterofthecover(4.25″).

AddingpointtypeNowyou’rereadytoaddtypetothecomposition.Youcancreatehorizontalorverticaltypeanywhereinanimage.Youcanenterpointtype(asingleletter,word,orline)orparagraphtype.Youwilldobothinthislesson.First,you’llcreatepointtype.

1.IntheLayerspanel,selecttheBackgroundlayer.

2.SelecttheHorizontalTypetool( ),and,intheoptionsbar,dothefollowing:

•Chooseaseriftypeface,suchasMinionProRegular,fromtheFontFamilypop-upmenu.

•Type144ptfortheSize,andpressEnterorReturn.

•ClicktheCenterTextbutton.

3.IntheCharacterpanel,changetheTrackingvalueto100.

TheTrackingvaluespecifiestheoverallspacebetweenletters,whichaffectsthedensityinalineoftext.

4.Clickonthecenterguideyouaddedtosetaninsertionpoint,andtypeDIGITALinallcapitalletters.ThenclicktheCommitAnyCurrentEditsbutton( )intheoptionsbar.

Afteryoutype,youmustcommityoureditinginthelayerbyclickingtheCommitAnyCurrentEditsbuttonorswitchingtoanothertoolorlayer.YoucannotcommittocurrenteditsbypressingEnterorReturn;doingsomerelycreatesanewlineoftype.

Theword“DIGITAL”isaddedtothecover,anditappearsintheLayerspanelasanewtypelayernamedDIGITAL.Youcaneditandmanagethetypelayerasyouwouldanyotherlayer.Youcanaddorchangethetext,changetheorientationofthetype,applyanti-aliasing,applylayerstylesandtransformations,andcreatemasks.Youcanmove,restack,andcopyatypelayer,oredititslayeroptions,justasyouwouldforanyotherlayer.

Thetextisbigenough,butnotmodernenough,forthismagazine’sstyle.You’llapplyadifferentfont.

5.SelecttheHorizontalTypetool( ),andselectthe“DIGITAL”text.

6.OpentheFontFamilypop-upmenuintheoptionsbar.Movethecursoroverthefonts,eitherwiththemouseorusingarrowkeys.

Whenthecursorisoverafontname,Photoshopappliesthatfonttotheselectedtextsoyoucanpreviewthefontincontext.

7.SelectMyriadProSemibold,andthenclicktheCommitAnyCurrentEditsbutton()intheoptionsbar.

That’smuchmoreappropriate.

8.SelecttheMovetool,anddragthe“DIGITAL”texttomoveittothetopofthecover,ifit’snottherealready.

MakingaclippingmaskandapplyingashadowYouaddedthelettersinblack,thedefaulttextcolor.However,youwanttheletterstoappeartobefilledwithanimageofacircuitboard,soyou’llusetheletterstomakeaclippingmaskthatwillallowanotherimagelayertoshowthrough.

1.ChooseFile>Open,andopenthecircuit_board.tiffile,whichisintheLesson07folder.

2.ChooseWindow>Arrange>2-UpVertical.Thecircuit_board.tifand07Working.psdfilesappearonscreentogether.Clickthecircuit_board.tiffiletoensurethatit’stheactivewindow.

3.WiththeMovetoolselected,holddowntheShiftkeyasyoudragtheBackgroundlayerfromtheLayerspanelinthecircuit_board.tiffileontothecenterofthe07Working.psdfile.

PressingShiftasyoudragcentersthecircuit_board.tifimageinthecomposition.

Anewlayer—Layer1—appearsintheLayerspanelforthe07Working.psdfile.Thisnew

layercontainstheimageofthecircuitboard,whichwillshowthroughthetype.Butbeforeyoumaketheclippingmask,you’llresizethecircuitboardimage,asit’scurrentlytoolargeforthecomposition.

4.Closethecircuit_board.tiffilewithoutsavinganychangestoit.

5.Inthe07Working.psdfile,selectLayer1,andthenchooseEdit>Transform>Scale.

6.Grabacornerhandleontheboundingboxforthecircuitboard.PressAlt+Shift(Windows)orOption+Shift(MacOS)asyouresizeittoapproximatelythesamewidthastheareaoftext.

PressingShiftretainstheimage’sproportions;AltorOptionkeepsitcentered.

7.Repositionthecircuitboardsothattheimagecoversthetext,andpressEnterorReturntoconfirmthetransformation.

8.Double-clicktheLayer1name,andchangeittoCircuitBoard.ThenpressEnterorReturn,orclickawayfromthenameintheLayerspanel,toapplythechange.

9.SelecttheCircuitBoardlayer,ifitisn’talreadyselected,andchooseCreateClippingMaskfromtheLayerspanelmenu( ).

YoucanalsomakeaclippingmaskbyholdingdowntheAlt(Windows)orOption(MacOS)keyandclickingbetweentheCircuitBoardandDIGITALtypelayers.

ThecircuitboardnowshowsthroughtheDIGITALletters.AsmallarrowintheCircuitBoardlayerandtheunderlinedtypelayernameindicatetheclippingmaskisapplied.Next,you’lladdaninnershadowtogivethelettersdepth.

10.SelecttheDIGITALlayertomakeitactive.Then,clicktheAddALayerStylebutton( )atthebottomoftheLayerspanel,andchooseInnerShadowfromthepop-upmenu.

11.IntheLayerStyledialogbox,changetheBlendModetoMultiply,Opacityto48%,Distanceto18,Choketo0,andSizeto16.ThenclickOK.

ParagraphandCharacterStyles

IfyoufrequentlyworkwithtypeinPhotoshop,orifyouneedtoconsistentlyformatasignificantamountoftypeinanimage,paragraphandcharacterstylescanhelpyouworkmoreefficiently.Aparagraphstyleisacollectionoftypeattributesthatyoucanapplytoanentireparagraphwithasingleclick.Acharacterstyleisacollectionofattributesthatyoucanapplytoindividualcharacters.

TheconceptoftypestylesinPhotoshopissimilartothatinpagelayoutapplicationssuchasAdobeInDesignandword-processingapplicationssuchasMicrosoftWord.However,stylesbehavealittledifferentlyinPhotoshop.ForthebestresultsworkingwithstylesinPhotoshop,keepthefollowinginmind:

•Bydefault,alltextyoucreateinPhotoshophastheBasicParagraphstyleapplied.TheBasicParagraphstyleisdefinedbyyourtextdefaults,butyoucanchangeitsattributes.

•Deselectalllayersbeforeyoucreateanewstyle.

•Iftheselectedtexthasbeenchangedfromthecurrentparagraphstyle(usuallytheBasicParagraphstyle),thosechanges(consideredoverrides)persistevenwhenyouapplyanewstyle.Toensurethatalltheattributesofaparagraphstyleareappliedtotext,applythestyle,andthenclicktheClearOverridesbuttonintheParagraphStylespanel.

•Youcanusethesameparagraphandcharacterstylesacrossmultiplefiles.Tosavethecurrentstylesasdefaultsforallnewdocuments,chooseType>SaveDefaultTypeStyles.Touseyourdefaultstylesinanexistingdocument,chooseType>LoadDefaultTypeStyles.

CreatingtypeonapathInPhotoshop,youcancreatetypethatfollowsalongapaththatyoucreatewithapenorshapetool.Thedirectionthetypeflowsdependsontheorderinwhichanchorpointswereaddedtothepath.WhenyouusetheHorizontalTypetooltoaddtexttoapath,thelettersareperpendiculartothebaselineofthepath.Ifyouchangethelocationorshapeofthepath,thetypemoveswithit.

You’llcreatetypeonapathtomakeitlookasifquestionsarecomingfromthemodel’smouth.We’vealreadycreatedthepathforyou.

1.IntheLayerspanel,selecttheBackgroundlayer.

2.SelectthePathstabintheLayerspanelgroup.

3.InthePathspanel,selectthepathnamedSpeechPath.

Thepathappearstobecomingoutofthemodel’smouth.

4.SelecttheHorizontalTypetool.

5.Intheoptionsbar,clicktheRightAlignTextbutton.

Typetooltricks

•Shift-clickintheimagewindowwiththeHorizontalTypetooltocreateanewtypelayer—incaseyou’reclosetoanotherblockoftypeandPhotoshoptriestoautoselecttheexistingtypelayer.

•Double-clickthethumbnailicononanytypelayerintheLayerspaneltoselectallofthetypeonthatlayer.

•Withanytextselected,right-click(Windows)orControl-click(MacOS)onthetexttoaccessthecontextmenu.ChooseCheckSpellingtorunaspellcheck.

6.IntheCharacterpanel,selectthefollowingsettings:

•FontFamily:MyriadProRegular

•FontStyle:Regular

•FontSize( ):16pt

•Tracking( ):-10

•Color:White

•AllCaps( )

7.MovetheTypetooloverthepath.WhenasmallslantedlineappearsacrosstheI-bar,clicktheendofthepathclosesttothemodel’smouth,andtypeWhat’snew

withgames?

8.Selecttheword“GAMES,”andchangeitsfontstyletoBold.ClicktheCommitAnyCurrentEditsbutton( )intheoptionsbar.

9.ClicktheLayerstabtobringitforward.IntheLayerspanel,selecttheWhat’snewwithgames?layer,andthenchooseDuplicateLayerfromtheLayerspanelmenu.NamethenewlayerWhat’snewwithmusic?,andclickOK.

Photoshopcreatesaduplicatetextlayer,hidingthetextyoutypedearlier.

10.WiththeTypetool,select“GAMES,”andreplaceitwithmusic.ClicktheCommitAnyCurrentEditsbuttonintheoptionsbar.

11.ChooseEdit>FreeTransformPath.Rotatetheleftsideofthepathapproximately30degrees,andthenshiftthepathupabovethefirstpath,andalittletotheright,asintheimagebelow.ClicktheCommitTransformbuttonintheoptionsbar.

12.Repeatsteps9–11,replacingtheword“GAMES”withphones.Rotatetheleftsideofthepathapproximately-30degrees,andmoveitbelowtheoriginalpath.

WarpingpointtypeThetextonacurvypathismoreinterestingthanstraightlineswouldbe,butyou’llwarpthetexttomakeitmoreplayful.Warpingletsyoudistorttypetoconformtoavarietyofshapes,suchasanarcorawave.Thewarpstyleyouselectisanattributeofthetypelayer—youcanchangealayer’swarpstyleatanytimetochangetheoverallshapeofthewarp.Warpingoptionsgiveyouprecisecontrolovertheorientationandperspectiveofthewarpeffect.

1.ScrollorusetheHandtool( )tomovethevisibleareaoftheimagewindowsothatthesentencestotheleftofthemodelareinthecenterofthescreen.

2.Right-click(Windows)orControl-click(MacOS)theWhat’snewwithgames?layerintheLayerspanel,andchooseWarpTextfromthecontextmenu.

3.IntheWarpTextdialogbox,chooseWavefromtheStylemenu,andselecttheHorizontaloption.Specifythefollowingvalues:Bend,+33%;HorizontalDistortion,-23%;andVerticalDistortion,+5%.ThenclickOK.

TheBendsliderspecifieshowmuchwarpisapplied.HorizontalDistortionandVerticalDistortiondeterminetheperspectiveofthewarp.

Thewords“What’snewwithgames?”appeartofloatlikeawaveonthecover.

4.Repeatsteps2and3towarptheothertwotextlayersyoutypedonapath.

5.Saveyourwork.

DesigningparagraphsoftypeAllofthetextyou’vewrittenonthiscoversofarhasbeenafewdiscretewordsorlines—pointtype.However,manydesignscallforfullparagraphsoftext.YoucandesigncompleteparagraphsoftypeinPhotoshop;youcanevenapplyparagraphstyles.Youdon’thavetoswitchtoadedicatedpagelayoutprogramforsophisticatedparagraphtypecontrols.

UsingguidesforpositioningYouwilladdparagraphstothecoverinPhotoshop.First,you’lladdsomeguidestotheworkareatohelpyoupositiontheparagraph

1.Dragaguidefromtheleftverticalruler,placingitapproximately1/4″fromtherightsideofthecover.

2.Dragaguidedownfromthetophorizontalruler,placingitapproximately2″fromthetopofthecover.

AddingparagraphtypefromastickynoteYou’rereadytoaddthetext.Inarealdesignenvironment,thetextmightbeprovidedtoyouinaword-processingdocumentorthebodyofanemailmessage,whichyoucouldcopyandpasteintoPhotoshop.Oryoumighthavetotypeitin.Anothereasywaytoaddabitoftextisforthecopywritertoattachittotheimagefileinastickynote,aswe’vedoneforyouhere.

1.SelecttheMovetool,andthendouble-clicktheyellowstickynoteinthelowerrightcorneroftheimagewindowtoopentheNotespanel.ExpandtheNotespanel,ifnecessary,toseeallthetext.

2.IntheNotespanel,selectallthetext.PressCtrl+C(Windows)orCommand+C(MacOS)tocopythetexttotheclipboard.ClosetheNotespanel.

3.SelecttheModellayer.Then,selecttheHorizontalTypetool( ).

4.PressShiftasyouclickwheretheguidelinesintersect,about¼″fromtherightedgeand2″fromthetopofthecover.ContinuetoholdtheShiftkeyasyoustarttodragatextboxdownandtotheleft.ThenreleasetheShiftkeyandcontinuedragginguntiltheboxisabout4incheswideby8incheshigh,thetopandrightedgesalignedwiththeguidesyoujustadded.

PressShiftasyoustarttodragatextboxtoensurethatPhotoshopcreatesanewtextlayer,insteadofselectinganexistingtextlayer.

5.PressCtrl+V(Windows)orCommand+V(MacOS)topastethetext.ThenewtextlayerisatthetopoftheLayerspanel,sothetextappearsinfrontofthemodel.

Ifthetextisn’tvisible,makesurethenewtypelayerisabovetheModellayerintheLayerspanel.

Thepastedtextis16pts,andit’sright-aligned,becausethosewerethelatesttextsettingsyou’dused.

6.Selectthefirstthreelines(“TheTrendIssue”),andthenapplythefollowingsettingsintheCharacterpanel:

•FontFamily:MyriadPro(oranothersansseriffont)

•FontSize( ):70pt

•Leading( ):55pt

•Tracking( ):50

•Color:White

Leadingdeterminestheverticalspacebetweenlines.

7.Selectjusttheword“Trend,”andchangetheFontStyletoBold.

You’veformattedthetitle.Nowyou’llformattherestofthetext.

UsetheGlyphspaneltoaccessthefullrangeofalternatecharactersinOpenTypefonts.Wheneditingtext,double-clickacharacterintheGlyphspaneltoaddittothetext.Ifyouseeablackdotinthebottomrightcornerofacharacter’sboxintheGlyphspanel,clickitandholddownthemousebuttontoseealternateversionsofthatcharacter,andthenchooseonetoaddittothetext.

8.Selecttherestofthetextyoupasted.IntheCharacterpanel,selectthefollowing:

•FontFamily:MyriadPro

•FontSize:22pt

•Leading:28pt

•Tracking:0

•DeselectAllCaps( )

Thetextlooksgood,butit’sallthesame.You’llmaketheheadlinesstandoutmore.

9.Selectthe“What’sHot!”text,andthenchangethefollowingintheCharacterpanel:

•FontStyle:Bold

•FontSize:28pt

10.Repeatstep9forthe“What’sNot”and“Comingthisyear”subheads.

11.Select“Comingthisyear”andallthetextthatfollowsit.Then,intheCharacterpanel,changethetextcolortoBlack.

12.Finally,clicktheCommitAnyCurrentEditsbuttonintheoptionsbar.

13.Saveyourchanges.

OpenTypeinPhotoshop

OpenTypeisacross-platformfontfileformatdevelopedjointlybyAdobeandMicrosoft.TheformatusesasinglefontfileforbothMacOSandWindows,soyoucanmovefilesfromoneplatformtoanotherwithoutfontsubstitutionorreflowedtext.OpenTypeofferswidelyexpandedcharactersetsandlayoutfeatures,suchasswashesanddiscretionaryligatures,thataren’tavailableintraditionalPostScriptandTrueTypefonts.This,inturn,providesricherlinguisticsupportandadvancedtypographycontrol.HerearesomehighlightsofOpenType.

TheOpenTypemenuTheCharacterpanelmenuincludesanOpenTypesubmenuthatdisplaysallavailablefeaturesforaselectedOpenTypefont,includingligatures,alternates,andfractions.Dimmedfeaturesareunavailableforthattypeface;acheckmarkappearsnexttofeaturesthathavebeenapplied.

DiscretionaryligaturesToaddadiscretionaryligaturetotwoOpenTypeletters,suchasto“th”intheBickhamScriptStandardtypeface,selecttheminthefile,andchooseOpenType>DiscretionaryLigaturesfromtheCharacterpanelmenu.

SwashesAddingswashesoralternatecharactersworksthesameway.Selecttheletter,suchasacapital“T”inBickhamScript,andchooseOpenType>Swashtochangetheordinarycapitalintoadramaticallyornateswash“T.”

TruefractionsTocreatetruefractions,typethefraction’scharacters—forexample,1/2.Then,selectthecharacters,andfromtheCharacterpanelmenu,chooseOpenType>Fractions.Photoshopappliesthetruefraction(½).

TheGlyphspanelTheGlyphspanellistsallcharactersavailableforafont,includingspecializedcharactersandalternateversionssuchasswashes.AmenuunderthefontnameletsyoudisplayawritingsystemsuchasArabic,oracategoryofcharacterssuchaspunctuationorcurrencysymbols.Ablackdotinthebottomrightcornerofacharacter’sboxindicatesthatalternatesareavailableforthatcharacter;clickandholdthemouseonthecharactertoviewitsalternateglyphsortochooseonetoenterintoatextlayer.

NotethatsomeOpenTypefontshavemoreoptionsthanothers.

AddingaroundedrectangleYou’realmostdonewiththetextforthemagazinecover.Allthatremainsistoaddthevolumenumberintheupperrightcorner.First,you’llcreatearectanglewithroundedcornerstoserveasabackgroundforthevolumenumber.

1.SelecttheRoundedRectangletool( ),hiddenbeneaththeRectangletool( ),intheToolspanel.

2.Drawarectangleinthespaceabovetheletter“L”intheupperrightcornerofthecover,placingitsrightedgealongtheguide.

3.InthePropertiespanel,type67pxforthewidth,andthenmakesurethestrokewidthis3pt.

4.ClickthefillcolorswatchinthePropertiespanel,andselectthePastelYellowOrangeswatchinthethirdrow.

Bydefault,allthecornersintherectanglehavethesameradius,butyoucanadjusttheradiusforeachcornerseparately.Youcanevenreturntoeditthecornerslaterifyouwantto.You’llchangetherectanglesothatonlythelowerleftcornerisrounded,changingtheotherstorightangles.

5.UnlinkthecornerradiusvaluesinthePropertiespanel.Thenchangethebottomleftcornerto16px,andsetalltheothersto0px.

6.WiththeMovetool,dragtherectangletothetopoftheimagesoithangsdownlikearibbonanditsrightedgeisnexttotherulerguide.

7.SelectShowTransformControlsintheoptionsbar.Dragthebottomoftherectangledownsothatit’sclosetotheletter“L.”Youwanttherectangletobelongenoughtocontainthetext.ThenclicktheCommitTransformbutton( ).

AddingverticaltextYou’rereadytoaddthevolumenumberontopoftheribbon.

1.ChooseSelect>DeselectLayers.ThenselecttheVerticalTypetool( ),whichishiddenundertheHorizontalTypetool.

2.PresstheShiftkey,andclickinsidetherectangleyoujustcreated.

PressingtheShiftkeyasyouclickensuresthatyoucreateanewtextboxinsteadofselectingthetitle.

3.TypeVOL9.

Thelettersaretoolargetoview.You’llneedtochangetheirsizetoseethem.

4.ChooseSelect>All,andthen,intheCharacterpanel,selectthefollowing:

•FontFamily:asans-seriftypeface,suchasMyriadPro

•FontStyle:alightornarrowstyle,suchasLightCondensed

•Fontsize:15pt

•Tracking:10

•Color:Black

5.ClicktheCommitAnyCurrentEditsbutton( )intheoptionsbar.YourverticaltextnowappearsasthelayernamedVOL9.UsetheMovetool( )tocenteritintheribbon,ifnecessary.

Now,you’llcleanupabit.

6.Clickthenotetoselectit.Thenright-click(Windows)orControl-click(MacOS),andchooseDeleteNotefromthecontextmenu;clickYestoconfirmthatyouwanttodeletethenote.

7.Hidetheguides:ChoosetheHandtool( ),andthenpressCtrl+;(Windows)orCommand+;(MacOS).Thenzoomouttogetanicelookatyourwork.

Congratulations!You’veaddedandstylizedallofthetypeontheDigitalmagazinecover.Nowthatthemagazinecoverisreadytogo,you’llflattenitandprepareitforprinting.

9.ChooseFile>SaveAs,renamethefile07Working_flattened,andclickSave.ClickOKifyouseethePhotoshopFormatOptionsdialogbox.

Keepingalayeredversionletsyoureturntothe07Working.psdfileinthefuturetoeditit.

11.ChooseFile>Save,andthenclosetheimagewindow.

SavingasPhotoshopPDF

Thetypeyou’veaddedconsistsofvector-basedoutlines,whichremaincrispandclearasyouzoominorresizethem.However,ifyousavethefileasaJPEGorTIFFimage,Photoshoprasterizesthetype,soyoulosethatflexibility.WhenyousaveaPhotoshopPDFfile,vectortypeisincluded.

YoucanpreserveotherPhotoshopeditingcapabilitiesinaPhotoshopPDFfile,too.Forexample,youcanretainlayers,colorinformation,andevennotes.

Toensureyoucaneditthefilelater,selectPreservePhotoshopEditingCapabilitiesintheSaveAdobePDFdialogbox.

TopreserveanynotesinthefileandconvertthemtoAcrobatcommentswhenyousavetoPDF,selectNotesintheSaveareaoftheSaveAsdialogbox.

YoucanopenaPhotoshopPDFfileinAcrobatorPhotoshop,placeitinanotherapplication,orprintit.FormoreinformationaboutsavingasPhotoshopPDF,seePhotoshopHelp.

Reviewquestions1.HowdoesPhotoshoptreattype?

2.HowisatextlayerthesameasordifferentfromotherlayersinPhotoshop?

3.Whatisaclippingmask,andhowdoyoumakeonefromtype?

Reviewanswers1.TypeinPhotoshopconsistsofmathematicallydefinedshapesthatdescribetheletters,numbers,andsymbolsofatypeface.WhenyouaddtypetoanimageinPhotoshop,thecharactersarecomposedofpixelsandhavethesameresolutionastheimagefile.However,Photoshoppreservesthevector-basedtypeoutlinesandusesthemwhenyouscaleorresizetype,saveaPDForEPSfile,orprinttheimagetoaPostScriptprinter.

2.TypethatisaddedtoanimageappearsintheLayerspanelasatextlayerthatcanbeeditedandmanagedinthesamewayasanyotherkindoflayer.Youcanaddandeditthetext,changetheorientationofthetype,andapplyanti-aliasingaswellasmove,restack,copy,andchangetheoptionsforlayers.

3.Aclippingmaskisanobjectorgroupwhoseshapemasksotherartworksothatonlyareasthatliewithintheshapearevisible.Toconvertthelettersonanytextlayertoaclippingmask,makesurethelayeryouwanttorevealisdirectlyabovethetextlayer,selectthelayeryouwanttoshowthroughtheletters,andchooseCreateClippingMaskfromtheLayerspanelmenu.

8.VectorDrawingTechniques

Lessonoverview

•Differentiatebetweenbitmapandvectorgraphics.

•DrawstraightandcurvedpathsusingthePentool.

•Savepaths.

•Drawandeditshapelayers.

•Drawcustomshapes.

•ImportandeditaSmartObjectfromAdobeIllustrator.

•UseSmartGuides.

Thislessonwilltakeabout90minutestocomplete.DownloadtheLesson08projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.

PROJECT:COFFEESHOPSIGN

Unlikebitmapimages,vectorimagesretaintheircrispedgeswhenyouenlargethemtoanysize.YoucandrawvectorshapesandpathsinyourPhotoshopimagesandadd

vectormaskstocontrolwhatisshowninanimage.

AboutbitmapimagesandvectorgraphicsBeforeworkingwithvectorshapesandvectorpaths,it’simportanttounderstandthebasicdifferencesbetweenthetwomaincategoriesofcomputergraphics:bitmapimagesandvectorgraphics.YoucanusePhotoshoptoworkwitheithertypeofgraphic;infact,youcancombinebothbitmapandvectordatainanindividualPhotoshopimagefile.

Bitmapimages,technicallycalledrasterimages,arebasedonagridofdotsknownaspixels.Eachpixelisassignedaspecificlocationandcolorvalue.Inworkingwithbitmapimages,youeditgroupsofpixelsratherthanobjectsorshapes.Becausebitmapgraphicscanrepresentsubtlegradationsofshadeandcolor,theyareappropriateforcontinuous-toneimagessuchasphotographsorartworkcreatedinpaintingprograms.Adisadvantageofbitmapgraphicsisthattheycontainafixednumberofpixels.Asaresult,theycanlosedetailandappearjaggedwhenscaleduponscreenorprintedatalowerresolutionthantheywerecreatedfor.

Vectorgraphicsaremadeupoflinesandcurvesdefinedbymathematicalobjectscalledvectors.Thesegraphicsretaintheircrispnesswhethertheyaremoved,resized,orhave

theircolorchanged.Vectorgraphicsareappropriateforillustrations,type,andgraphicssuchaslogosthatmaybescaledtodifferentsizes.

AboutpathsandthePentoolInPhotoshop,theoutlineofavectorshapeisapath.ApathisacurvedorstraightlinesegmentyoudrawusingthePentool,FreeformPentool,orashapetool.ThePentooldrawspathswiththegreatestprecision;shapetoolsdrawrectangles,ellipses,andothershapepaths;theFreeformPentooldrawspathsasifyouweredrawingwithapencilonpaper.

Accessingtoolsquickly

EachtoolintheToolspanelhasasingle-letterkeyboardshortcut.Typetheletter,getthetool.PressShiftwiththeshortcutkeytocyclethroughanynestedtoolsinagroup.Forexample,pressPtoselectthePentool,andpressShift+PtotogglebetweenthePenandFreeformPentools.

Pathscanbeopenorclosed.Anopenpath(suchasawavyline)hastwodistinctendpoints.Aclosedpath(suchasacircle)iscontinuous.Thetypeofpathyoudrawaffectshowitcanbeselectedandadjusted.

Pathsthathavenofillorstrokedonotprintwhenyouprintyourartwork.Thisisbecausepathsarevectorobjectsthatcontainnopixels,unlikethebitmapshapesdrawnbythePenciltoolandotherpaintingtools.

GettingstartedInthislesson,you’lldrawapatharoundacoffeecupinanimage,andcreateanotherpathinsidethehandle.You’llsubtractoneselectionfromtheothersothatalightningboltshape(providedintheShapespanel)knocksoutofthecupshape.Finally,you’llimportanIllustratortitletreatmentasaSmartObjectandapplyacolorandembosseffect.

Beforeyoubegin,you’llviewtheimageyou’llbecreating—asignforafictitiouscoffeeshop.

4.IntheFavoritespanel,clicktheLessonsfolder,andthendouble-clicktheLesson08folderintheContentpanel.

5.Selectthe08End.psdfile,andpressthespacebartoseeitinfull-screenview.

Tocreatethissign,you’lltracethecoffeecupinanimage,andusethattracingtomakeavectorlogo.You’llresizethatlogoandcombineitwithanIllustratortypographiclogoimportedasaSmartObject.First,you’llpracticemakingpathsandselectionsusingthePentool.

6.Whenyou’vefinishedlookingatthe08End.psdfile,pressthespacebaragain.Then

double-clickthe08Practice_Start.psdfiletoopenitinPhotoshop.

7.ChooseFile>SaveAs,renamethefile08Practice_Working.psd,andclickSave.IfthePhotoshopFormatOptionsdialogboxappears,clickOK.

DrawingwiththePentoolYou’llusethePentooltoselectthecoffeecup.Thecuphaslong,smooth,curvededgesthatwouldbedifficulttoselectusingothermethods.

ThePentoolworksalittledifferentlyfrommostPhotoshoptools.We’vecreatedapracticefilewhichyoucanusetogetfamiliarwiththePentoolbeforemakingyourKailuaKoffeesign.

Pathsincludeanchorpoints(smoothandcorner)andsegments(straightandcurved).You’llgetafeelforthePentoolbydrawingastraightpath,asimplecurve,andthenanS-curvebeforeyoupracticetracingthecoffeecup

CreatingpathswiththePentool

YoucanusethePentooltocreatepathsthatarestraightorcurved,openorclosed.Ifyou’reunfamiliarwiththePentool,itcanbeconfusingtouseatfirst.UnderstandingtheelementsofapathandhowtocreatethoseelementswiththePentoolmakespathsmucheasiertodraw.

Tocreateastraightpath,clickthemousebutton.Thefirsttimeyouclick,yousetthestartingpoint.Eachtimethatyouclickthereafter,astraightlineisdrawnbetweenthepreviouspointandthecurrentpoint.Todrawcomplexstraight-segmentpathswiththePentool,simplycontinuetoaddpoints.

Creatingastraightline

Tocreateacurvedpath,clicktoplaceananchorpoint,dragtocreateadirectionlineforthatpoint,andthenclicktoplacethenextanchorpoint.Eachdirectionlineendsintwodirectionpoints;thepositionsofdirectionlinesandpointsdeterminethesizeandshapeofthecurvedsegment.Movingthedirectionlinesandpointsreshapesthecurvesinapath.

Smoothcurvesareconnectedbyanchorpointscalledsmoothpoints.Sharplycurvedpathsareconnectedbycornerpoints.Whenyoumoveadirectionlineonasmoothpoint,thecurvedsegmentsonbothsidesofthepointadjustsimultaneously,butwhenyoumoveadirectionlineonacornerpoint,onlythecurveonthesamesideofthepointasthedirectionlineisadjusted.

Pathsegmentsandanchorpointscanbemovedafterthey’redrawn,eitherindividuallyorasagroup.Whenapathcontainsmorethanonesegment,youcandragindividualanchorpointstoadjustindividualsegmentsofthepath,orselectalloftheanchorpointsinapathtoedittheentirepath.UsetheDirectSelectiontooltoselectandadjustananchorpoint,apathsegment,oranentirepath.

A.CurvedlinesegmentB.DirectionpointC.Directionline

D.SelectedanchorpointE.Unselectedanchorpoint

Creatingaclosedpathdiffersfromcreatinganopenpathinthewaythatyouendit.Toendanopenpath,pressEnterorReturn.Tocreateaclosedpath,positionthePentoolpointeroverthestartingpoint,andclick.Closingapathautomaticallyendsthepath.Afterthepathcloses,thePentoolpointerappearswithasmall*,indicatingthatyournextclickwillstartanewpath.

Creatingaclosedpath

Asyoudrawpaths,atemporarystorageareanamedWorkPathappearsinthePathspanel.It’sagoodideatosaveworkpaths,andit’sessentialifyouusemultiplediscretepathsinthesameimagefile.IfyoudeselectanexistingWorkPathinthePathspanelandthenstartdrawingagain,anewworkpathwillreplacetheoriginalone,whichwillbelost.Tosaveaworkpath,double-clickitinthePathspanel,typeanameintheSavePathdialogbox,andclickOKtorenameandsavethepath.ThepathremainsselectedinthePathspanel.

First,you’llconfigurethePentooloptionsandtheworkarea.

1.IntheToolspanel,selectthePentool( ).

2.Intheoptionsbar,selectorverifythefollowingsettings:

•ChooseShapefromtheToolModepop-upmenu.

•InthePenOptionsmenu,makesurethatRubberBandisnotselected.

•MakesurethatAutoAdd/Deleteisselected.

•ChooseNoColorfromtheFillpop-upmenu.

•ChooseagreencolorfromtheStrokepop-upmenu.

•Enter4ptforthestrokewidth.

•IntheStrokeOptionswindow,chooseCenter(thesecondoption)fromtheAlignmenu.

A.ToolModemenuB.PenOptionsmenu

DrawingastraightlineYou’llstartbydrawingastraightline.Anchorpointsmarktheendsofpathsegments;thestraightlineyou’lldrawisasinglepathsegmentwithtwoanchorpoints.

1.ClickthePathstabtobringthatpaneltothefrontoftheLayerspanelgroup.

ThePathspaneldisplaysthumbnailpreviewsofthepathsyoudraw.Currently,thepanelis

empty,becauseyouhaven’tstarteddrawing.

2.Ifnecessary,zoominsothatyoucaneasilyseetheletteredpointsandbluedotsontheshapetemplate.Makesureyoucanseethewholetemplateintheimagewindow,andbesuretoreselectthePentoolafteryouzoom.

3.ClickpointAonthefirstshape,andreleasethemousebutton.You’vecreatedananchorpoint.

4.ClickpointB.You’vecreatedastraightlinewithtwoanchorpoints.

5.PressEnterorReturntostopdrawing.

ThepathyoudrewappearsinthePathspanelandasanewlayerintheLayerspanel.

DrawingcurvesOncurvedsegments,selectingananchorpointdisplaystwodirectionlines(smoothpoints)oronedirectionline(cornerpoint).Directionlinesendindirectionpoints,andthepositionsofthedirectionlinesanddirectionpointsdeterminethesizeandshapeofthecurvedsegment.You’llcreatecurvedlines,usingsmoothpoints.

1.ClickAonthesemicircle,andreleasethemousetocreatethefirstanchorpoint.

2.ClickpointB,butdon’treleasethemousebutton.Instead,dragthecursortothebluedottotherightofpointBtocreateacurvedpathsegmentandasmoothanchorpoint.Thenreleasethemousebutton.

Smoothanchorpointshavetwolinkeddirectionlines.Whenyoumoveone,thecurved

segmentsonbothsidesofthepathadjustsimultaneously.

3.ClickpointC,anddragdowntothebluedotbelow.Thenreleasethemousebutton.You’vecreatedasecondcurvedpathsegmentandanothersmoothpoint.

4.ClickpointD,andreleasethemousetocreatethefinalanchorpoint.PressEnterorReturntocompletethepath.

WhendrawingafreehandpathusingthePentool,useasfewpointsaspossibletocreatetheshapeyouwant.Thefewerpointsyouuse,thesmootherthecurvesare—andthemoreefficientyourfileis.

Usingthesametechniques,you’lldrawanS-shapedcurve.

5.ClickpointA,thenclickpointB,anddragthecursortothefirstbluedot.

6.ContinuewithpointsC,D,E,andF,ineachcaseclickingthepointandthendraggingtothecorrespondingbluedot.

7.ClickpointGtocreatethefinalanchorpoint,andthenpressEnterorReturntocompletethepath.

ThisshapeisonitsownlayerintheLayerspanel.OnlyonepathisinthePathspanelbecausetheworkpathforthesecondshapeoverwrotetheworkpathforthefirstone.

DrawingamorecomplexshapeNowthatyou’vegottheidea,you’llhaveachancetodrawamorecomplexobject:theoutlineofacoffeecup.

1.ClickpointAontheshapeontherightsidetosetthefirstanchorpoint.

2.PresstheShiftkeyasyouclickpointB.PressingtheShiftkeyconstrainsthelinesothatitisperfectlystraight.

3.PresstheShiftkeyasyouclickpointsC,D,andEtocreatestraightpathsegments.

4.ClickpointF,anddragtothebluedottocreateacurve.Thenreleasethemousebutton.

5.ClickpointG,anddragtothebluedottocreateanothercurve.Thenreleasethemousebutton.

6.ClickpointH.ThenpressAlt(Windows)orOption(MacOS)asyouclickpointHagaintocreateacornerpoint.

Whenyoumoveadirectionlineonacornerpoint,onlythecurveonthesamesideofthepointasthedirectionlineisadjusted,soyoucancreateasharptransitionbetweentwosegments.

7.ClickpointAtodrawthefinalpathsegmentandclosethepath.Closingapathautomaticallyendsthedrawing;youdon’tneedtopressEnterorReturn.

TracingashapefromaphotoNowyou’rereadytodrawapatharoundthecoffeecupintheimage.You’llusethetechniquesyou’vepracticedtodrawapatharoundtheoutsideofthecupandanotheroneinsidethehandle.

1.Openthe08Start.psdfileinPhotoshop.

Theimageincludesthreelayers:thebackgroundlayerandtwotemplatelayerstoguideyouasyoudrawshapes.

2.ChooseFile>SaveAs,renamethefile08Working.psd,andclickSave.ClickOKinthePhotoshopFormatOptionsdialogbox.

3.WiththePentoolselected,chooseSubtractFrontShapefromthePathOperations

pop-upmenuintheoptionsbar.

Ifyou’dliketotrytracingthecupwithoutusingthedotstoguideyou,hidetheOutsideCuplayerintheLayerspanel.

OptionsinthePathOperationsmenudeterminehowmultipleshapesinteractwitheachotherinapath.Afteryoudrawthecupoutline,you’llsubtracttheinsideofthehandlefromit.

4.ClickpointA.Photoshopcreatesanewlayerfortheshape.

5.ClickpointB,anddragthecursortothereddotontherighttocreatetheinitialcurve.

6.ClickpointC,anddragtothereddottoitsright.

7.Continuetracingthecup,clickingeachpoint,anddraggingthecursortothecorrespondingreddotswhenyouneedtocreateacurve.

8.ClosetheshapebyclickingpointAagain.

9.Evaluateyourpath.Ifyouwanttoadjustanysegments,usetheDirectSelectiontooltoselectapoint,andthenmoveitsdirectionlinestoeditthesegment.

AddingasecondshapetoapathYou’vedrawnapaththatoutlinestheexteriorofthecup,butyouwanttheinsideofthehandletobetransparent.You’lldrawashapetoisolatetheinsideofthecuphandle.

1.HidetheOutsideCuplayer,andmaketheInsideHandlelayervisible.

2.MakesurethePentoolisselectedandthatSubtractFrontShapeisstillselectedinthePathOperationspop-upmenuintheoptionsbar.

3.ClickpointAtobegindrawing.ThenclickpointB,dragtothenextreddot,andreleasethemousebutton.

4.Continuedrawing,clickinganddraggingasindicatedatpointsCandD.

5.ClickpointE,anddragslightlydowntothereddot,andrelease.Then,pressAlt(Windows)orOption(MacOS)asyouclickpointEtoconvertthepointtoacornerpoint.

ConvertingpointEtoacornerpointenablesyoutodrawastraightpathsegmentbetweenitandpointA.IfpointEremainedasmoothpoint,thepathbetweenpointsEandAwouldbeslightlycurved.

6.ClickpointAtoclosetheshapeandstopdrawing.

Nowyou’llsavethepathtouselater.

7.InthePathspanel,double-clickShape1ShapePath,typeCupOutlineintheSavePathdialogboxclickOKtosaveit;then,inthePathspanel,clickoutsideCupOutlinetodeselectit.

8.IntheLayerspanel,deletetheOutsideCupandInsideHandlelayers,becauseyoudon’tneedthemanymore.TheShape1ShapePathinthePathspanelwillberemoved,asindicatedinthescreenshotabove.

WorkingwithdefinedcustomshapesPhotoshopincludesseveralpredefinedcustomshapesintheCustomShapePicker,butyoucanalsocreateyourown.

ConvertingapathtoashapeYou’lldefinethecupoutlinepathasacustomshapethatyoucanuseforthelogo.TheshapewillbeavailableintheCustomShapePicker.

1.SelecttheCupOutlinepathinthePathspanel.

2.ChooseEdit>DefineCustomShape.

3.NametheshapeCoffeeCup,andclickOK.

4.SelecttheCustomShapetool( ),hiddenbeneaththeRectangletool( )intheToolspanel

5.OpentheCustomShapePickerintheoptionsmenu,andscrolltothebottomofthepicker.Theshapeyouaddedshouldbethelastonedisplayed.

6.PositiontheCustomShapeToolneartheupperleftcornerofthecoffeecup,andstartdraggingdownandtotheright.Begindragging,andthenpressshifttomaintainoriginalproportions.Whenthelogoistherightsize,releasethemousebuttonandthenreleasetheShiftkey.

PressingtheShiftkeykeepstheshapeproportionalasyoudrag.

7.Double-clicktheShape1layerintheLayerspanel,andnameitCoffeeCup.

ChangingthefillcolorofashapelayerYou’vecreatedacustomshapefromyourpath,andyou’veusedtheCustomShapetooltodrawtheshapeontheimage.Butit’sjustanoutline.You’lladdafill.

1.MakesuretheCoffeeCuplayerisselectedintheLayerspanel.

2.SelectthePentool( )intheToolspanel.

3.Intheoptionsbar,selectblackfortheFillcolor,andNoneforthestroke.

Thecoffeecupshapeisnowsolidblack.

4.SelecttheMovetooltodeselectthecoffeecup.

SubtractingshapesfromashapelayerAfteryoucreateashapelayer,youcansubtractnewshapesfromit.You’lladdsomeinteresttothecoffeecupshapebysubtractingalightningboltshapefromit,allowingthebackgroundtoshowthrough.

1.IntheToolspanel,selecttheCustomShapetool.

2.Ontheoptionsbar,chooseSubtractFrontShapefromthePathOperationsmenu.Thepointernowappearsascross-hairswithasmallminussign( ).

3.InthePathspanel,selecttheCoffeeCupshapepath.

4.SelectthelightningboltfromtheCustomShapePicker(it’sinthesecondrow).

Startattheupperleftcorneranddragdowntothebottomright.Clickfirst,andasyoudragdiagonally,presstheShiftkeytokeepthedimensionsproportionate.

ImportingaSmartObjectSmartObjectsarelayersthatyoucaneditinPhotoshopnondestructively;thatis,changesyoumaketotheimageremaineditableanddon’taffecttheactualimagepixels,whicharepreserved.Regardlessofhowoftenyouscale,rotate,skew,orotherwisetransformaSmartObject,itretainsitssharp,preciseedges.

YoucanimportvectorobjectsfromAdobeIllustratorasSmartObjects.IfyouedittheoriginalobjectinIllustrator,thechangeswillbereflectedintheplacedSmartObjectinyourPhotoshopimagefile.

WhenyouplaceaSmartObject,youcanlinkitorembedit.Ifyoulinkit,Photoshopretainsalinktotheoriginalfilesothatyoucaneasilyupdateitlater,anditincludesabitmapimageoftheSmartObjectinthePhotoshopfile.IfyouembedaSmartObject,PhotoshopincludestheentireobjectinthePhotoshopfile,butdoesnotretainalink.However,youcanconvertanembeddedSmartObjecttoalinkedSmartObjectiftheoriginalfileisstillavailable.

You’llworkwithaSmartObjectnowbyplacingaKailuaKoffeelogotypethatwascreatedinIllustrator.

1.SelecttheMovetool( )intheToolspanel.

2.SelecttheCoffeeCuplayer,andchooseFile>PlaceLinked.SelecttheLogotype.epsfileintheLesson08folder,andclickPlace.

TheKailuaKoffeelogotypeisaddedtothemiddleofthecomposition,insideaboundingboxwithadjustablehandles.Anewlayer,Logotype,appearsintheLayerspanel.

3.Dragthelogotypeobjecttotheupperleftcornerofthesign,justtotherightofthecoffeecuplogo,andthenpressShiftanddragacornertomakethetextobjectproportionallylarger—largeenoughthatitfillsthetopportionoftheimage,asinthefollowingillustration.Whenyou’vefinished,eitherpressEnterorReturn,orclicktheCommitTransformbutton( )intheoptionsbar.

Whenyoucommittothetransformation,thelayerthumbnailiconchangestoreflectthatthetitlelayerisalinkedSmartObject.

AswithanyshapelayerorSmartObject,youcancontinuetoedititssizeandshapeifyou’dlike.Simplyselectthelayer,chooseEdit>FreeTransformtoaccessthecontrolhandles,anddragtoadjustthem.Or,selecttheMovetool( ),andselectShowTransformControlsintheoptionsbar.Thenadjustthehandles.

AddingcoloranddepthtoashapeusinglayerstylesYoucreatedtheshapewithablackfill.Nowyou’llmakeitsnazzierbychangingthefillcolorandaddingaBevel&Embosseffect.

1.WiththeLogotypelayerselected,chooseColorOverlayfromtheAddALayerStylemenu( )atthebottomoftheLayerspanel.

2.IntheLayerStyledialogbox,chooseadarkredorburgundycolor.

3.ClickBevel&EmbossontheleftsideoftheLayerStyledialogboxtoaddanotherlayerstyle.AcceptthedefaultsfortheBevel&Embosslayerstyle,andclickOK.

Besuretoclickthewords“Bevel&Emboss.”Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.

TheColorOverlayandBevel&EmbosslayerstylesaffecttheLogotypelayer.You’llcopythemtotheCoffeeCuplayer.

4.PressAlt(Windows)orOption(MacOS)asyoudragthelayereffectsindicator( )fromtheLogotypelayerontotheCoffeeCuplayer.

5.CleanuptheLayerspanel:HideallbuttheLogotype,CoffeeCup,andBackgroundlayers.ThenchooseDeleteHiddenLayersfromtheLayerspanelmenu,andclickYeswhenaskedtoconfirmthedeletion.

6.CleanupthePathspanelbydeletingtheCupOutlinepath.

7.ChooseFile>Savetosaveyourwork.Thecoffeeshopsigniscomplete.

ExtraCredit

UsingCreativeCloudLibrarieswithlinkedSmartObjects

WhenyouorganizeandshareyourdesignassetsusingCreativeCloudLibraries,youandyourteamcanusethoselibraryitemsinmanyCreativeClouddesktopandmobileapps.Let’stakealook:

1.Open08End.psd,andchooseWindow>LibrariestoopentheLibrariespanel.

2.IntheLibrariespanelmenu,chooseCreateNewLibrary,andnameitKailuaKoffee.

3.IntheLayerspanel,selecttheBackgroundlayer.IntheLayerspanelmenu,chooseConverttoSmartObject.Thislayerisnownamed“Layer0”.

4.SelecttheMovetool.Dragthelayerfromthedocumentwindow(nottheLayerspanel)intotheKailuaKoffeelibrary.

5.Repeatsteps3and4fortheLogotypelayerandtheCoffeeCuplayer.

NowallthreeelementswillappearinCreativeCloudapplicationsandmobileapps.BecauseeachitemisalinkedSmartObject,thecompanycaneditthelogointheKailuaKoffeelibraryanditwillupdateinalldocumentsthatuseit.Toeditalibraryitem,justdouble-clickitintheLibrariespanel.

Addingcolors

1.WiththeEyedroppertool,clicktheredmuginthedocumentwindow.Then,deselectalllayersintheLayerspanel.

2.AtthebottomoftheLibrariespanel,clicktheAddForegroundColorswatch.Thataddsthecoloryousampledtothecurrentlibrary.Usethesamemethodtosamplealightbluefromtheskyinthebackground,andaddthatcolortoyourlibrarytoo.

Collaborating

WhenyoushareaCreativeCloudLibrary,yourteamalwayshasthecurrentversionofthoseassets.IntheLibrariespanelmenu,chooseCollaborate,andfillintheInviteCollaboratorsscreenthatappearsinyourwebbrowser.CollaboratorswillseethelibraryyousharedintheirCreativeCloudapplications(toutilizethisfeature,youmusthaveaCreativeCloudaccountandbeloggedin).

AddingassetstolibrariesusingAdobemobileapps

UseAdobemobileapps—suchasAdobeColorCC,AdobeShapeCC,andAdobeBrushCC—tocapturecolorthemes,shapes,andbrushesfromreallifeandaddthemtoyourCreativeCloudlibraries.LibraryassetsyouaddwithmobileappsareautomaticallysyncedtoyourCreativeCloudaccount,soyou’llseethenewassetsinyourLibrariespanelwhenyoureturntoyourcomputer.

SmartGuides

Let’stakethisdesigntothenextlevel.Youcanusethecoffeecuplogotomakearepeatedmotifatthebottomofthesign.SmartGuidescanhelpyoupositiontheimagesevenly.

1.ChooseView>Show,andmakesureSmartGuidesareenabled.Ifthere’sacheckmarknexttoSmartGuides,they’reon.Ifthereisn’tone,selectSmartGuidestoenablethem.

2.SelecttheCoffeeCuplayer.ThenselecttheMovetool,andpressAlt+Shift(Windows)orOption+Shift(MacOS)asyoudragthecuplogotothelowerleftcornerofthesign.TheAltorOptionkeycopiesthe

selectedobject;theShiftkeyconstrainsitsmovement.ThemagentalinesthatappearasyoudragtheobjectareSmartGuides.

3.ChooseEdit>FreeTransform.ThenpressShifttomaintaintheproportionsasyouscalethecuptoaboutone-fourthitsoriginalsize.PressEnterorReturntoconfirmthetransformation.

4.WiththeCoffeeCupcopylayerstillselected,pressAlt+ShiftorOption+Shiftanddragtotherightuntilthemeasurementsdisplayedinpinkshowyouthattheimagesare3.5inchesapart.Asyoudrag,SmartGuidesgiveyoualignmentguidesanddisplaymeasurementstohelpyoupositionobjects.

5.Selectthesecondimageonthebottom,andrepeatstep4.Thistime,whenyoudragtheimage3.5inches,Photoshopdisplaysthedistancebetweeneachofthesetsofimages.

6.Repeatstep5soyouhaveatotalof4equallyspacedlogos.

Reviewquestions1.Whatisthedifferencebetweenabitmapimageandavectorgraphic?

2.Howcanyoucreateacustomshape?

3.Whattoolcanyouusetomoveandresizepathsandshapes?

4.WhatareSmartObjects,andwhatisthebenefitofusingthem?

Reviewanswers1.Bitmap,orraster,imagesarebasedonagridofpixelsandareappropriateforcontinuous-toneimagessuchasphotographsorartworkcreatedinpaintingprograms.Vectorgraphicsaremadeupofshapesbasedonmathematicalexpressionsandareappropriateforillustrations,type,anddrawingsthatrequireclear,smoothlines.

2.Tocreateacustomshape,selectapath,andthenchooseEdit>DefineCustomShape.Nametheshape;itwillappearintheCustomShapePicker.

3.YouusetheDirectSelectiontooltomove,resize,andeditshapes.YoucanalsomodifyandscaleaselectedshapeorpathbychoosingEdit>FreeTransform.

4.SmartObjectsarevectorobjectsthatyoucanplaceandeditinPhotoshopwithoutalossofquality.Regardlessofhowoftenyouscale,rotate,skew,orotherwisetransformaSmartObject,itretainssharp,preciseedges.AgreatbenefitofusingSmartObjectsisthatyoucanedittheoriginalobjectintheauthoringapplication,suchasIllustrator,andthechangeswillbereflectedintheplacedSmartObjectinyourPhotoshopimagefile.

9.AdvancedCompositing

Lessonoverview

•ApplyandeditSmartFilters.

•UsetheLiquifyfiltertodistortanimage.

•Applycoloreffectstoselectedareasofanimage.

•Applyfilterstocreatevariouseffects.

•UsetheHistorypaneltoreturntoapreviousstate.

•Upscalealow-resolutionimageforhigh-resolutionprinting.

MonstermakeupimagerycourtesyofRussellBrown,withillustrationbyJohnConnellPROJECT:MONSTERMOVIEPOSTERDESIGN

Filterscantransformordinaryimagesintoextraordinarydigitalartwork.SmartFiltersletyoueditthosetransformationsatanytime.Thewidevarietyoffeaturesin

Photoshopletsyoubeascreativeasyouwanttobe.

GettingstartedInthislesson,you’llassembleamontageofimagesforamovieposterasyouexplorefiltersinPhotoshop.First,lookatthefinalprojecttoseewhatyou’llbecreating.

4.InBridge,chooseFavoritesfromthemenuontheleft,andthenclicktheLessonsfolder.Double-clicktheLesson09folder.

5.Viewthe09_End.psdthumbnail.MovetheslideratthebottomoftheBridgewindowifyouneedtozoomintoseethethumbnailmoreclearly.

Thisfileisamovieposterthatcomprisesabackground,amonsterimage,andseveralsmallerimages.Eachimagehashadoneormorefiltersoreffectsappliedtoit.

Themonsteriscomposedofanimageofaperfectlynormal(thoughslightlythreatening)guywithseveralghoulishimagesapplied.ThesemonstrousadditionsarecourtesyofRussellBrown,withillustrationbyJohnConnell.

6.InBridge,navigatetotheLesson09/Monster_Makeupfolder,andopenit.

7.Shift-clicktoselectallthefilesintheMonster_Makeupfolder,andthenchooseTools>Photoshop>LoadFilesIntoPhotoshopLayers.

PhotoshopimportsalltheselectedfilesasindividuallayersinanewPhotoshopfile.Thevisibilityiconislabeledredinthelayersthatcreatethemonster’slook.

8.InPhotoshop,chooseFile>SaveAs.ChoosePhotoshopfortheFormat,andnamethenewfile09Working.psd.SaveitintheLesson09folder.ClickOKinthePhotoshopFormatOptionsdialogbox.

ArranginglayersYourimagefilecontainseightlayers,importedinalphabeticalorder.Intheircurrentpositions,theydon’tmakeaveryconvincingmonster.You’llrearrangethelayerorderandresizetheircontentsasyoustarttobuildyourmonster.

1.Zoomoutorscrollsothatyoucanseeallthelayersontheartboard.

2.IntheLayerspanel,dragtheMonster_Hairlayertothetopofthelayerstack.

3.DragtheFrankenlayertothebottomofthelayerstack.

4.SelecttheMovetool( ),andthenmovetheFrankenlayer(theimageoftheperson)tothebottomofthepage.

5.IntheLayerspanel,Shift-selecteverylayerexcepttheFrankenlayer,andchooseEdit>FreeTransform.

6.PresstheShiftkeyasyoudragdownfromacorneroftheselectiontoresizealltheselectedlayerstoabout50%oftheiroriginalsize.(Watchthewidthandheightpercentagesintheoptionsbar.)

7.Withtheresizedlayersstillselected,movethemovertheheadoftheFrankenlayer.ThenpressEnterorReturntocommitthetransformation.

8.Zoomintoseetheheadareaclearly.

9.HidealllayersexcepttheGreen_Skin_TextureandFrankenlayers.

10.SelectonlytheGreen_Skin_Texturelayer,andusetheMovetooltocenteritovertheface.

11.ChooseEdit>FreeTransformagaintoadjustthefitofthetexturetotheface.Usethesidehandlestoadjustthewidth,thebottomandtophandlestoadjusttheheight,andarrowkeystonudgetheentirelayerintoposition.Usetheeyesandmouthasaguide.Whenyou’vepositionedtheskintexture,pressEnterorReturntocommitthetransformation.

12.Saveyourfile.

UsingSmartFiltersUnlikeregularfilters,whichpermanentlychangeanimage,SmartFiltersarenondestructive:Theycanbeadjusted,turnedoffandon,anddeleted.However,youcanapplySmartFiltersonlytoaSmartObject.

ApplyingtheLiquifyfilterYou’llusetheLiquifyfiltertotightentheeyeopeningsandchangetheshapeofthemonster’sface.Becauseyouwanttobeabletoadjustthefiltersettingslater,you’llusetheLiquifyfilterasaSmartFilter.Soyou’llfirstneedtoconverttheGreen_Skin_TexturelayertoaSmartObject.

1.MakesuretheGreen_Skin_TexturelayerisselectedintheLayerspanel,andthenchooseConvertToSmartObjectfromtheLayerspanelmenu.

2.ChooseFilter>Liquify.

PhotoshopdisplaysthelayerintheLiquifydialogbox.

3.IntheLiquifydialogbox,selectAdvancedModetoseeadditionaloptions.

4.SelectShowBackdrop,andthenchooseBehindfromtheModemenu.SettheOpacityto75.

5.SelecttheZoomtool( )fromtheToolspanelontheleftsideofthedialogbox,andzoomintotheeyearea.

6.SelecttheForwardWarptool( )(thefirsttool).

TheForwardWarptoolpushespixelsforwardasyoudrag.

7.IntheBrushToolOptionsarea,settheSizeto150andPressureto75.

8.WiththeForwardWarptool,pulltherighteyebrowdowntoclosetheeyeopening.Thenpullupfromundertheeye.

9.Repeatstep8onthelefteyebrowandunder-eyearea.

10.Whenyou’veclosedthegaparoundtheeyes,clickOK.

Becauseyou’veappliedtheLiquifyfilterasaSmartFilter,youcanreturnlatertomakeadditionalchangestotheface.

PositioningotherlayersNowthatyou’vegottheskintextureinplace,you’llmovetheotherlayersintoposition,workingupfromthelowestlayersintheLayerspanel.

1.MaketheGreen_Nose_Stitcheslayervisible,andselectitintheLayerspanel.

2.ChooseEdit>FreeTransform,andthenpositionthelayeroverthenose,resizingitasnecessary.PressEnterorReturntocommitthetransformation.

You’llrepeattheprocesstopositiontherestofthelayers.

3.MaketheGreen_Neck_Stitcheslayervisible,andselectit.Thenmoveitovertheneck.Ifyouneedtoadjustit,chooseEdit>FreeTransform,resizeit,andpressEnterorReturn.

4.MaketheGreen_Ear_Stapleslayervisible,andselectit.Movethestaplesoverhisrightear.ChooseEdit>FreeTransform,resizeandrepositionthestaples,andthenpressEnterorReturn.

5.MaketheEnhanced_Green_Foreheadlayervisible,andselectit.Moveitovertheforehead;it’sprobablyabitlarge.ChooseEdit>FreeTransform,resizetheforehead

tofitthespace,andpressEnterorReturn.

6.MaketheBoltslayervisible,andselectit.Dragtheboltssothey’repositionedoneithersideoftheneck.ChooseEdit>FreeTransform,andresizethemsothattheyfitsnuglyagainsttheneck.Whenyouhavetheminposition,pressEnterorReturntocommitthetransformation.

7.Lastly,maketheMonster_Hairlayervisible,andselectit.Moveitovertheforehead.ChooseEdit>Transform,andthenresizethehairsoitfitsproperlyagainsttheforehead.PressEnterorReturntocommitthechange.

EditingaSmartFilterWithallthelayersinposition,youcanfurtherrefinetheeyeopeningsandexperimentwiththebulgesintheeyebrows.You’llreturntotheLiquifyfiltertomakethoseadjustments.

1.IntheLayerspanel,double-clickLiquify,listedunderSmartFiltersintheGreen_Skin_Texturelayer.

PhotoshopopenstheLiquifydialogboxagain.Thistime,allthelayersarevisibleinPhotoshop,sowhenShowBackdropisselected,youseethemall.Sometimesit’seasiertomakechangeswithoutabackdroptodistractyou.Othertimes,it’susefultoseeyoureditsincontext.

2.Zoomintoseetheeyesmoreclosely.

3.SelectthePuckertool( )intheToolspanel,andclickontheoutercornerofeacheye.

ThePuckertoolmovespixelstowardsthecenterofthebrushasyouclickordrag,forapuckeringeffect.

4.SelecttheBloattool( ),andclicktheouteredgeofaneyebrowtoexpandit;dothesamefortheothereyebrow.

TheBloattoolmovespixelsawayfromthecenterofthebrushasyouclickordrag.

5.ExperimentwiththePucker,Bloat,andothertoolsintheLiquifyfiltertocustomizethemonster’sface.Rememberthatyoucanchangethebrushsizeandothersettings.Youcanundoindividualsteps,butifyouwanttostartover,it’seasiesttoclickCancel,andthenreturntotheLiquifydialogbox.

6.Whenyou’rehappywiththemonster’sface,clickOK.

PaintingalayerTherearemanywaystopaintobjectsandlayersinPhotoshop.OneofthesimplestistousetheColorblendingmodeandtheBrushtool.You’llusethismethodtopainttheexposedskingreenonyourmonster.

1.SelecttheFrankenlayerintheLayerspanel.

2.ClicktheCreateANewLayerbuttonatthebottomoftheLayerspanel.

Photoshopcreatesanewlayer,namedLayer1.

3.WithLayer1selected,chooseColorfromtheBlendingModemenuatthetopoftheLayerspanel.

TheColorblendingmodecombinestheluminanceofthebasecolor(thecoloralreadyonthelayer)withthehueandsaturationofthecoloryou’reapplying.It’sagoodblendingmodetousewhenyou’recoloringmonochromeimagesortintingcolorimages.

Tolearnmoreaboutblendingmodes,includingadescriptionofeachone,see“Blendingmodes”inPhotoshopHelp.

4.SelecttheBrushtool( ).Intheoptionsbar,selecta60-pixelbrushwithahardnessof0.

5.PressAltorOptiontotemporarilyswitchtotheEyedroppertool.Sampleagreencolorfromtheforehead.ThenreleasetheAltorOptionkeytoreturntotheBrushtool.

6.Ctrl-clickorCommand-clickthethumbnailintheFrankenlayertoselectitscontents.

Usually,youselectanentirelayerintheLayerspanel.Whenyoudothat,thelayerisactive,butthereisn’tactuallyanactiveselection.WhenyouCtrl-clickorCommand-clickthethumbnailofthelayer,Photoshopselectsthecontentsofthelayer,soyouhaveanactiveselection.It’saquickwaytoselectallofthecontentsofalayer—butonlythecontentsofthatspecificlayer.

7.MakesureLayer1isstillselectedintheLayerspanel,andthenusetheBrushtooltopaintoverthehandsandarms.Youcanpaintquicklywherethehandsareagainsttransparentareas,becausepaintingoutsidetheselectionhasnoeffect.However,rememberthattheshirtispartoftheselection,soyouneedtobemorecarefulasyoupainttheskinwhereitabutstheshirtcolors.

Tochangethebrushsizeasyoupaint,pressthebracketkeysonyourkeyboard.TheLeftBracketkey([)decreasesthebrushsize;theRightBracket(])increasesit.

8.PaintanyareasofthefaceorneckwheretheoriginalfleshcolorshowsthroughtheGreen_Skin_Texturelayer.

9.Whenyou’rehappywiththegreenskin,chooseSelect>Deselect.Saveyourwork.

AddingabackgroundYou’vegotagood-lookingmonster.Nowit’stimetoputhiminhisspookyenvironment.Toeasilymovethemonsterontoabackground,you’llfirstmergethelayers.

1.Makesureallthelayersarevisible.ThenchooseMergeVisiblefromtheLayerspanelmenu.

Photoshopmergesallthelayersintoone,namedLayer1.

2.RenameLayer1Monster.

3.ChooseFile>Open.NavigatetoandopentheBackdrop.psdfileintheLesson09folder.

4.ChooseWindow>Arrange>2-UpVerticaltodisplayboththemonsterandbackdropfiles.

5.Clickthe09Working.psdfiletomakeitactive.

6.SelecttheMovetool( ),andthendragtheMonsterlayerontotheBackdrop.psdfile.Positionthemonstersohishandsarejustabovethemovietitle.

7.Closethe09Working.psdfile,savingthechangeswhenprompted.

Fromnowon,you’llworkonthemovieposterfileitself.

8.ChooseFile>SaveAs,andsavethefilewiththenameMovie-Poster.psd.ClickOKinthePhotoshopFormatOptionsdialogbox.

UsingtheHistorypaneltoundotasksYou’veusedtheUndocommandtomovebackwardonestep.That’sasfarbackasUndocantakeyou.Thisisapracticality,becausePhotoshopfilescanbeverylarge,andmaintainingmultipleUndostepscantieupalotofmemory,whichtendstodegradeperformance.IfyoupressCtrl+ZorCommand+Ztoundo,andthenpresstheshortcutagain,Photoshoprestoresthestepyouinitiallyremoved.

Whenyouwanttogobackmorethanonestep,youcouldusetheStepBackwardcommandtoundostepsoneatatime,butit’sfasterandeasiertoreversemultipleactionsbyusingtheHistorypanel.

PhotoshopstoresarecordofthestepsyouperformintheHistorypanel.Knowingthis,youcantryacreativeapproach,easilyreturntoyourstartingpointifyoudon’tgettheresultsyouwant,andtrygoingadifferentdirection.

ApplyingfiltersandeffectsYou’lladdatombstonetotheposter,andyou’llexperimentwithfiltersandeffectstoseewhatworks,usingtheHistorypaneltoreversecourseifnecessary.

1.InPhotoshop,chooseFile>Open.

2.NavigatetotheLesson09folder,anddouble-clicktheT1.psdfiletoopenit.

Thetombstoneimageisplain,butyou’lladdtextureandcolortoit.

3.IntheToolspanel,clicktheDefaultForegroundAndBackgroundColorsicon( )to

returntheforegroundcolortoblack.

You’llstartbyaddingalittleatmospheretothetombstone.

4.ChooseFilter>Render>DifferenceClouds.

You’llleavethetopofthetombstoneinfocus,butblurtherestusinganirisblur.Thedefaultblursettingswillworkfine.

5.ChooseFilter>BlurGallery>IrisBlur.

6.Intheimagewindow,dragtheIrisBlurellipseupsothatthetopofthetombstoneisinfocus.ThenclickOK.

You’lluseadjustmentlayerstomaketheimagedarkerandchangeitscolor.

7.ClicktheBrightness/ContrasticonintheAdjustmentspanel.Then,inthePropertiespanel,movetheContrastsliderto70.

8.ClicktheChannelMixericonintheAdjustmentspanel.

9.InthePropertiespanel,chooseGreenfromtheOutputChannelmenu,andthenchangetheRedvalueto+37andtheBluevalueto+108.

Thetombstonetakesonagreencast.YoucanusetheChannelMixeradjustmenttocreatehigh-qualitygrayscale,sepiatone,orothertintedimages.Youcanalsomakecreativecoloradjustmentstoanimage.

10.ClicktheExposureiconintheAdjustmentspanel.InthePropertiespanel,movetheExposuresliderto+.90toincreasethecontrastintheimage.

UndoingmultiplestepsThetombstonecertainlylooksdifferentthanitdidwhenyoustarted,butitdoesn’tquitematchthetombstonesthatarealreadyintheposter.You’llusetheHistorypaneltorevisitthestepsyou’vetaken.

1.ChooseWindow>HistorytoopentheHistorypanel.Dragthebottomofthepaneldownsothatyoucanseeeverythinginit.

TheHistorypanelrecordstherecentactionsyou’veperformedontheimage.Thecurrentstateisselected.

2.ClicktheBlurGallerystateintheHistorypanel.

Thestatesbelowtheselectedstatearedimmed,andtheimagehaschanged.Thecolorisgone,asaretheBrightness/Contrastsettings.Atthispoint,theDifferenceCloudsfilterhasbeenrunandtheirisblurhasbeenapplied.Everythingelsehasbeenremoved.TherearenoadjustmentlayerslistedintheLayerspanel.

3.ClicktheModifyChannelMixerLayerstateintheHistorypanel.

Manyofthestatesarerestored.Thecolorhasreturned,alongwiththebrightnessandcontrastsettings.TherearetwoadjustmentlayersintheLayerspanel.However,thestatesbelowtheoneyouselectedremaindimmed,andtheExposureadjustmentlayerisnotlistedintheLayerspanel.

You’llreturnalmosttothebeginningtoapplydifferenteffectstothetombstone.

4.ClickDifferenceCloudsintheHistorypanel.

Everythingfollowingthatstateisdimmed.

5.ChooseFilter>Noise>AddNoise.

Addingnoisewillgivethetombstoneagrainierlook.

6.IntheAddNoisedialogbox,settheAmountto3%,selectGaussian,andselectMonochromatic.ThenclickOK.

ThestatesthatweredimmedarenolongerintheHistorypanel.Instead,theHistorypanelhasaddedastateforthetaskyoujustperformed(AddNoise),followingthestateyouhadselected(DifferenceClouds).Youcanclickanystatetoreturntothatpointintheprocess,butassoonasyouperformanewtask,Photoshopdeletesalldimmedstates.

7.ChooseFilter>Render>LightingEffects.

8.Intheoptionsbar,chooseFlashlightfromthePresetsmenu.

9.InthePropertiespanel,clicktheColorswatch,selectalightbluecolor,andthenclickOK.

10.Intheimagewindow,dragthelightsourcetotheupperthirdofthetombstone,centeredovertheletters“RIP.”

11.InthePropertiespanel,changetheAmbienceto46.

TheLightingEffectsfilterisunavailableifUseGraphicsProcessorisnotselectedinthePerformancePreferencesdialogbox.IfyourvideocarddoesnotsupporttheUseGraphicsProcessoroption,skipsteps7–12.

12.ClickOKintheoptionsbartoaccepttheLightingEffectssettings.

Thetombstoneisreadytojointheothersinyourmovieposter.

13.Savethefile.

14.ChooseWindow>Arrange>TileAllVertically.

15.DragthetombstoneyoujustcreatedtotheMovie-Poster.psdfile.ClickOKifyouseeacolormanagementwarning.

16.Dragthetombstonetothebottomleftcorner,withthetopthirdofitshowing.

17.ChooseFile>SavetosavetheMovie-Poster.psdfile.ThenclosetheT1.psdfilewithoutsavingit.

You’vehadachancetotryoutsomenewfiltersandeffects,andtousetheHistorypaneltobacktrack.Bydefault,theHistorypanelretainsonlythelast20states.YoucanchangethenumberoflevelsintheHistorypanelbychoosingEdit>Preferences>Performance(Windows)orPhotoshopCC>Preferences>Performance(MacOS),andenteringadifferentvalueforHistoryStates.

Upscalingalow-resolutionimageLow-resolutionimagesarefine—evendesirable—forwebpagesandsocialmedia.Ifyouneedtoenlargethem,though,theymaynotcontainenoughinformationforhigh-qualityprinting.Toscaleanimageupinsize,Photoshopneedstoresampleit.Thatis,itneedstocreatenewpixelswherenoneexisted,approximatingtheirvalues.ThePreserveDetails(Enlargement)algorithminPhotoshopgivesthebestresultswhenyouupscalelow-resolutionimages.

Inyourmovieposter,youwanttousealow-resolutionimagethatwaspostedonasocialmediasite.You’llneedtoresizeitwithoutcompromisingqualityforyourprintedposter.

1.ChooseFile>Open,navigatetotheLesson09folder,andopentheFaces.jpgfile.

2.Zoominto300%,soyoucanseethepixels.

3.ChooseImage>ImageSize.

4.ChangethewidthandheightmeasurementstoPercent,andthenchangetheirvaluesto400%.

Thewidthandheightarelinkedbydefault,sothatimagesresizeproportionally.Ifyouneedtochangethewidthandheightseparatelyforaproject,clickthelinkicontounlinkthevalues.

5.Paninthepreviewwindowsothatyoucanseetheglasses.

6.MakesureResampleisselected,andchoosePreserveDetails(Enlargement)fromtheResamplemenu.

Theimageismuchsharper,butthesharpeninghasintroducedsomenoise.

7.MovetheReduceNoisesliderto50%tosmooththeimage.

8.Clickandholdonthepreviewwindowtoseetheoriginalimage,soyoucancompareittothealteredimage.

9.ClickOK.

Thefinalimagequalityissofter,butitholdsupwell,consideringyou’vequadrupledtheimagesizeandmadealow-resolutionimageusableforprint.You’llpastetheimageintoafeatheredselectionontheposter.

10.ChooseSelect>All,andthenchooseEdit>Copy.

11.SelecttheMovie-Poster.psdtabtobringittothefront,andthenselecttheEllipticalMarqueetool( ),hiddenbeneaththeRectangularMarqueetool( ).

12.Intheoptionsbar,enter50pxforFeathertosoftentheedgeofthepastedimage.

13.Drawanovalintheupperrightcorneroftheposter,abovethemonster’shead.Theovalshouldoverlapthewindowandfireescape.

14.ChooseEdit>PasteSpecial>PasteInto.ClickOKifyouseethePasteProfileMismatchdialogbox.

15.SelecttheMovetool( ),andcenterthepastedimageinthefeatheredarea.

16.IntheLayerspanel,chooseLuminosityfromtheBlendingModemenu,andmovetheOpacitysliderto50%.

17.ChooseFile>Save.ThenclosetheFaces.jpgfilewithoutsavingit.

Reviewquestions1.WhatarethedifferencesbetweenusingaSmartFilterandaregularfiltertoapplyeffectstoanimage?

2.WhatdotheBloatandPuckertoolsintheLiquifyfilterdo?

3.WhatdoestheHistorypaneldo?

Reviewanswers1.SmartFiltersarenondestructive:Theycanbeadjusted,turnedoffandon,anddeletedatanytime.Incontrast,regularfilterspermanentlychangeanimage;onceapplied,theycannotberemoved.ASmartFiltercanbeappliedonlytoaSmartObjectlayer.

2.TheBloattoolmovespixelsawayfromthecenterofthebrush;thePuckertoolmovespixelstowardthecenterofthebrush.

3.TheHistorypanelrecordsrecentstepsyou’veperformedinPhotoshop.YoucanreturntoanearlierstepbyselectingitintheHistorypanel.

10.PaintingwiththeMixerBrush

Lessonoverview

•Customizebrushsettings.

•Cleanthebrush.

•Mixcolors.

•Useanerodibletip.

•Createacustombrushpreset.

•Usewetanddrybrushestoblendcolor.

PROJECT:DIGITALPAINTING

TheMixerBrushtoolgivesyouflexibility,color-mixingabilities,andbrushstrokesasifyouwerepaintingonaphysicalcanvas.

AbouttheMixerBrushInpreviouslessons,you’veusedbrushesinPhotoshoptoperformvarioustasks.TheMixerBrushisunlikeotherbrushesinthatitletsyoumixcolorswitheachother.Youcanchangethewetnessofthebrushandhowitmixesthebrushcolorwiththecoloralreadyonthecanvas.

Photoshopbrusheshaverealisticbristles,soyoucanaddtexturesthatresemblethoseinpaintingsyoumightcreateinthephysicalworld.Whilethisisagreatfeatureingeneral,it’sparticularlyusefulwhenyou’reusingtheMixerBrush.Youcanalsouseanerodibletiptoachievetheeffectsyoumightgetwithcharcoalpencilsandpastelsinthephysicalworld.Combiningdifferentbristlesettingsandbrushtipswithdifferentwetness,paint-load,andpaint-mixingsettingsgivesyouopportunitiestocreateexactlythelookyouwant.

GettingstartedInthislesson,you’llgetacquaintedwiththeMixerBrushaswellasthebrushtipandbristleoptionsavailableinPhotoshop.Startbytakingalookatthefinalprojectsyou’llcreate.

4.InBridge,clickLessonsintheFavoritespanel.Double-clicktheLesson10folderintheContentpanel.

5.PreviewtheLesson10endfiles.

You’llusethepaletteimagetoexplorebrushoptionsandlearntomixcolors.You’llthenapplywhatyou’velearnedtotransformthelandscapeimageintoawatercolor.

6.Double-click10Palette_Start.psdtoopenthefileinPhotoshop.

IfyouplantodoalotofpaintinginPhotoshop,considerusingatablet,suchasaWacomtablet,insteadofamouse.Photoshopcansensethewayyouholdandusethepentochangethebrushwidth,strength,andangleonthefly.

7.ChooseFile>SaveAs,andnamethefile10Palette_Working.psd.ClickOKifthePhotoshopFormatOptionsdialogboxappears.

SelectingbrushsettingsTheimageincludesapaletteandfourtubesofcolor,whichyou’llusetosamplethecolorsyou’reworkingwith.You’llchangesettingsasyoupaintdifferentcolors,exploringbrushtipsettingsandwetnessoptions.

1.SelecttheZoomtool( ),andzoomintoseethetubesofpaint.

2.SelecttheEyedroppertool( ),andclicktheredtubetosampleitscolor.

Theforegroundcolorchangestored.

3.SelecttheMixerBrushtool( ),hiddenundertheBrushtool( ).

IfyouhaveOpenGLenabled,Photoshopdisplaysasamplingringsoyoucanpreviewthecoloryou’repickingup.

4.ChooseWindow>BrushtoopentheBrushpanel.Selectthefirstbrush.

TheBrushpanelcontainsbrushpresetsandseveraloptionsforcustomizingbrushes.

ExperimentingwithwetnessoptionsandbrushesTheeffectofthebrushisdeterminedbytheWet,Load,andMixfieldsintheoptionsbar.Wetcontrolshowmuchpaintthebrushpicksupfromthecanvas.Loadcontrolshowmuchpaintthebrushholdswhenyoubeginpainting(aswithaphysicalbrush,itrunsoutofpaintasyoupaintwithit).Mixcontrolstheratioofpaintfromthecanvasandpaintfromthebrush.

Youcanchangethesesettingsseparately.However,it’sfastertoselectastandardcombinationfromthepop-upmenu.

1.Intheoptionsbar,chooseDryfromthepop-upmenuofblendingbrushcombinations.

WhenyouselectDry,Wetissetto0%,Loadto50%,andMixisnotapplicable.WiththeDrypreset,youpaintopaquecolor;youcannotmixcolorsonadrycanvas.

2.Paintintheareaabovetheredtube.Solidredappears.Asyoucontinuepaintingwithoutreleasingthemouse,thepainteventuallyfadesandrunsout.

3.Samplethebluecolorfromthebluetubeofpaint.YoucanusetheEyedroppertoolorAlt-click(Windows)orOption-click(MacOS)tosamplethecolor.IfyouusetheEyedroppertool,returntotheMixerBrushtoolafteryousamplethecolor.

4.IntheBrushpanel,selecttheroundfan-shapedbrush.ChooseWetfromthepop-upmenuintheoptionsbar.

WhenyouAlt-clickorOption-clicktoloadpaint,thebrushpicksupcolorvariationsinthesamplearea.Tosampleonlysolidcolors,selectLoadSolidColorsOnlyintheCurrentBrushLoadmenuintheoptionsbar.

5.Paintabovethebluetube.Thepaintmixeswiththewhitebackground.

6.ChooseDryfromthemenuintheoptionsbar,andthenpaintagainabovethebluetube.Amuchdarker,moreopaqueblueappears,anddoesn’tmixwiththewhitebackground.

TheLiveTipBrushPreviewshowsyouthedirectionofthebristlesasyoupaint.ToshoworhidetheLiveTipBrushPreview,clicktheToggleTheLiveTipBrushPreviewbuttonatthebottomoftheBrushorBrushPresetspanel.TheLiveTipBrushPreviewisavailableonlywithOpenGLenabled.

Thebristlesfromthefanbrushyouselectedaremuchmoreapparentthanthebristlesyouusedoriginally.Changingbristlequalitiesmakesabigdifferenceinthetextureyoupaint.

7.IntheBrushpanel,decreasethenumberofbristlesto40%.Paintalittlemorewiththebluebrushtoseethechangeintexture.Thebristlesaremuchmoreobviousinthestroke.

8.Sampletheyellowcolorfromtheyellowpainttube.IntheBrushpanel,selecttheflat-pointbrushwithfewerbristles(theonetotherightofthefanbrush).ChooseDryfromthemenuintheoptionsbar,andthenpaintintheareaovertheyellowpainttube.

9.ChooseVeryWetfromthemenuintheoptionsbar,andthenpaintsomemore.Nowtheyellowmixeswiththewhitebackground.

UsinganerodibletipWhenyouuseanerodibletip,thewidthofthebrushchangesasyoupaint.ErodibletipsarerepresentedintheBrushpanelbypencilicons,becauseinthephysicalworld,pencilsandpastelshaveerodibletips.You’llexperimentwitherodiblepointandtriangletips.

1.Samplethegreencolorfromthegreenpainttube,andchooseDry,HeavyLoadintheoptionsbar.

2.Selectoneoftheerodibletips(anytipwithapencilicon),andthenchooseErodiblePointfromtheShapemenu.Changethebrush’sSizeto30pxandSoftnessto100%.

TheSoftnessvaluedetermineshowquicklythetiperodes.Ahighervalueresultsinfastererosion.

3.Drawazigzaglineabovethegreenpainttube.

Thelinegetsthickerasthetiperodes.

4.ClickSharpenTipintheBrushpanel,andthendrawalinenexttotheoneyoujustdrew.

Thesharpertipdrawsamuchnarrowerline.

5.ChooseErodibleTrianglefromtheShapemenuintheBrushpanel,anddrawazigzaglinewithit.

Youcanchoosefromseveralerodibletips,dependingontheeffectyouwant.

MixingcolorsYou’veusedwetanddrybrushes,changedbrushsettings,andmixedthepaintwiththebackgroundcolor.Now,you’llfocusmoreonmixingcolorswitheachotherasyouaddpainttothepainter’spalette.

1.Zoomoutjustenoughtoseethefullpaletteandthepainttubes.

Dependingonthecomplexityofyourproject,youmayneedtobepatient.Mixingcolorscanbeamemory-intensiveprocess.

2.SelectthePaintmixlayerintheLayerspanel,sothecoloryoupaintwon’tblendwiththebrownpaletteontheBackgroundlayer.

TheMixerBrushtoolmixescolorsonlyontheactivelayerunlessyouselectSampleAllLayersintheoptionsbar.

3.UsetheEyedroppertooltosampletheredcolorfromtheredpainttube.Then,withtheMixerBrushtoolselected,selecttheroundbluntbrushintheBrushpanel(thefifthbrush).ThenchooseWetfromthepop-upmenuintheoptionsbar,andpaintinthetopcircleonthepalette.

4.ClicktheCleanTheBrushAfterEachStrokeicon( )intheoptionsbartodeselectit.

5.UsetheEyedroppertooltosamplethebluecolorfromthebluepainttube,andthenusetheMixerBrushtooltopaintinthesamecircle,mixingtheredwiththeblueuntilthecolorbecomespurple.

UsetheEyedroppertooltosamplethecolor,sinceit’sonadifferentlayer.YoucanpressItoselecttheEyedroppertool.

UsetheEyedroppertooltosampleacolorwhenthelayerthatcontainsthecolor(inthiscase,theBackgroundlayer)isn’tselected.

6.Paintinthenextcircle.You’repaintinginpurplebecausethepaintstaysonthebrushuntilyoucleanit.

7.Intheoptionsbar,chooseCleanBrushfromtheCurrentBrushLoadpop-upmenu.Thepreviewchangestoindicatetransparency,meaningthebrushhasnopaintloaded.

Toremovethepaintloadfromabrush,youcanchooseCleanBrushintheoptionsbar.Toreplacethepaintloadinabrush,sampleadifferentcolor.

IfyouwantPhotoshoptocleanthebrushaftereachstroke,selecttheCleanBrushiconintheoptionsbar.Toloadthebrushwiththeforegroundcoloraftereachstroke,selecttheLoadBrushiconintheoptionsbar.Bydefault,bothoftheseoptionsareselected.

8.ChooseLoadBrushfromtheCurrentBrushLoadpop-upmenuintheoptionsbartoloadthebrushwithblue,thecurrentforegroundcolor.Paintblueinhalfofthenextcircle.

9.Sampletheyellowcolorfromtheyellowpainttube,andpaintoverthebluewithawetbrushtomixthetwocolors.

10.Fillthelastcirclewithyellowandredpaint,mixingthetwowithawetbrushtocreateanorangecolor.

11.HidetheCircleslayerintheLayerspaneltoremovetheoutlinesonthepalette.

12.ChooseFile>Save.

MixerBrushshortcuts

TherearenodefaultkeyboardshortcutsfortheMixerBrushtool,butyoucancreateyourown.

Tocreatecustomkeyboardshortcuts:

1.ChooseEdit>KeyboardShortcuts.

2.ChooseToolsfromtheShortcutsFormenu.

3.Scrolldowntothebottomofthelist.

4.Selectacommand,andthenenteracustomshortcut.Youcancreateshortcutsforthefollowingcommands:

•LoadMixerBrush

•CleanMixerBrush

•ToggleMixerBrushAuto-Load

•ToggleMixerBrushAuto-Clean

•ToggleMixerBrushSampleAll

CreatingacustombrushpresetPhotoshopincludesnumerousbrushpresets,whichareveryhandy.Butifyouneedtotweakabrushforyourproject,youmightfinditeasiertocreateyourownpreset.You’llcreateabrushpresettouseinthefollowingexercise.

1.IntheBrushpanel,selectthefollowingsettings:

•Size:36px

•Shape:RoundFan

•Bristles:35%

•Length:32%

•Thickness:2%

•Stiffness:75%

•Angle:0°

•Spacing:2%

Duetoananomaly,numbersyouenterintheSize,Bristles,Thickness,andStiffnessfieldsmaynotappearinthecorrectorder.Toavoidtheissue,selectonlythedigits(notthepercentagesign)inthefieldbeforeenteringanewvalue.

2.ChooseNewBrushPresetfromtheBrushpanelmenu.

3.NamethebrushLandscape,andclickOK.

4.ClickBrushPresetsintheBrushpaneltoopentheBrushPresetspanel.

TheBrushPresetspaneldisplayssamplesofthestrokescreatedbydifferentbrushes.Ifyouknowwhichbrushyouwanttouse,itcanbeeasiertofindbyname.You’lllistthembynamenow,soyoucanfindyourpresetforthenextexercise.

5.ChooseLargeListfromtheBrushPresetspanelmenu.

6.Scrolltothebottomofthelist.Thepresetyoucreated,namedLandscape,isthelastpresetinthelist.

7.Closethe10Palette_Working.psdfile.

MixingcolorswithaphotographEarlier,youmixedcolorswithawhitebackgroundandwitheachother.Now,you’lluseaphotographasyourcanvas.You’lladdcolorsandmixthemwitheachotherandwiththebackgroundcolorstotransformaphotographofalandscapeintoawatercolor.

1.ChooseFile>Open.Double-clickthe10Landscape_Start.jpgfileintheLesson10foldertoopenit.

2.ChooseFile>SaveAs.Renamethefile10Landscape_Working.jpg,andclickSave.ClickOKintheJPEGOptionsdialogbox.

You’llpainttheskyfirst.Startbysettingupthecolorandselectingthebrush.

3.ClicktheForegroundcolorswatchintheToolspanel.Selectamedium-lightbluecolor(wechoseR=185,G=204,B=228),andthenclickOK.

4.SelecttheMixerBrushtool( ),ifitisn’talreadyselected.ChooseDryfromthepop-upmenuintheoptionsbar.ThenselecttheLandscapebrushfromtheBrushPresetspanel.

Presetsaresavedonyoursystem,sothey’reavailablewhenyouworkwithanyimage.

5.Paintoverthesky,movinginclosetothetrees.Becauseyou’reusingadrybrush,thepaintisn’tmixingwiththecolorsbeneathit.

6.Selectadarkerbluecolor(weusedR=103,G=151,B=212),andadddarkercoloratthetopofthesky,stillusingthedrybrush.

7.Selectalightbluecoloragain,andchooseVeryWet,HeavyMixfromthepop-upmenuintheoptionsbar.Usethisbrushtoscrubdiagonallyacrossthesky,blendingthetwocolorsinwiththebackgroundcolor.Paintinclosetothetrees,andsmoothouttheentiresky.

Whenyou’resatisfiedwiththesky,moveontothegrassandtrees.

8.Selectalightgreen(weusedR=92,G=157,B=13).ChooseDryfromthepop-upmenuintheoptionsbar.Thenpaintalongthetopsectionofthegrasstohighlightit.

9.Sampleadarkergreenfromthegrassitself.ChooseVeryWet,HeavyMixintheoptionsbar.Thenpaintusingdiagonalstrokestoblendthecolorsinthegrass.

RememberthatyoucanAlt-click(Windows)orOption-click(MacOS)tosampleacolorinsteadofusingtheEyedroppertool.Tosampleonlysolidcolorsusingthekeyboardshortcut,chooseLoadSolidColorsOnlyfromtheCurrentBrushLoadpop-upmenuintheoptionsbar.

10.Samplealightgreen,andthenuseadrybrushtohighlightthelighterareasofthetreesandthesmalltreeinthemiddleofthelandscape.Thenselectadarkgreen(weusedR=26,G=79,B=34),andchooseVeryWet,HeavyMixintheoptionsbar.Paintwiththewetbrushtomixtogetherthecolorsinthetrees.

Sofar,sogood.Thebackgroundtreesandthebrowngrassesareallthatremaintobepainted.

11.Selectabluercolorforthebackgroundtrees(weusedR=65,G=91,B=116).Paintwithadrybrushtoaddtheblueatthetop.ThenchooseWetintheoptionsbar,andpainttomixtheblueintothetrees.

Fordifferenteffects,paintindifferentdirections.WiththeMixerBrushtool,youcangowhereveryourartisticinstinctsleadyou.

12.Sampleabrowncolorfromthetallgrasses,andthenselectVeryWet,HeavyMixintheoptionsbar.Paintalongthetopofthetallgrasswithup-and-downstrokesforthelookofafield.Acrossthebackarea,behindthesmallcentertree,paintbackandforthtocreatesmoothstrokes.

13.ChooseFile>Save,andclosethedocument.

Voilà!You’vecreatedamasterpiecewithyourpaintsandbrushes,andthere’snomesstocleanup.

Brushvariations

Youcangobeyondthesettingsintheseprojectstoexplorenumerousvariationsinbrushtipsandsettings.Inparticular,youmaywanttoplaywithBrushPoseandShapeDynamicsoptions.

BrushPosesettingschangethetilt,rotation,andpressureofthebrush.IntheBrushpanel,selectBrushPosefromthelistontheleft.MovetheTiltXslidertotiltthebrushfromlefttoright.MovetheTiltYslidertotiltthebrushforwardandbackward.ChangetheRotationvaluetorotatethebristles.(Rotationismoreobviouswhenusingaflatfan-shapedbrush,forexample.)ChangethePressuresettingtodeterminehowmucheffectthebrushhasontheartwork.

ShapeDynamicssettingsaffectthesteadinessofthestroke.Movethesliderstotherighttoincreasethevariabilityinthestroke.

Ifyou’reusingasupportedstylusorWacomtablet,Photoshoprecognizestheangleandpressureofthepenyou’reusing,andappliesthemtothebrush.YoucanusethepentocontrolsuchthingsasSizeJitter.ChoosePenPressureorPenTiltfromtheControlmenuintheShapeDynamicssettingstodeterminehowthevaluechanges.

Therearemanymoreoptions—somesubtle,somenotsosubtle—tocreatevarietyinbrusheffects.Whichoptionsareavailabledependonthebrushtipshapeyou’veselected.Formoreinformationaboutalltheoptions,seePhotoshopHelp.

Paintinggallery

ThepaintingtoolsandbrushtipsinPhotoshopletyoucreateallkindsofpaintingeffects.

Erodiblebrushtipsgiveanaddedrealismtoyourart.ThefollowingpagesshowexamplesofartcreatedwiththebrushtipsandtoolsinPhotoshop.

Image©JanetStoppeeform2media.com

Image©JohnDerry,www.pixelart.com

Image©VictoriaPavlov,pavlovphotography.com

Image©sholby,www.sholby.net

Image©JohnDerry,www.pixelart.com

Image©LynetteKent,www.LynetteKent.com

Reviewquestions1.WhatdoestheMixerBrushdothatotherbrushesdon’t?

2.Howdoyouloadamixerbrush?

3.Howdoyoucleanabrush?

4.Howcanyoudisplaythenamesofbrushpresets?

5.WhatistheLiveTipBrushPreview,andhowcanyouhideit?

6.Whatisanerodibletip?

Reviewanswers1.TheMixerBrushmixesthecolorofthepaintbrushwithcolorsonthecanvas.

2.Youcanloadamixerbrushbysamplingacolor,eitherbyusingtheEyedroppertoolorkeyboardshortcuts(Alt-clickorOption-click).Or,youcanchooseLoadBrushfromthepop-upmenuintheoptionsbartoloadthebrushwiththeforegroundcolor.

3.Tocleanabrush,chooseCleanBrushfromthepop-upmenuintheoptionsbar.

4.Todisplaybrushpresetsbyname,opentheBrushPresetspanel,andthenchooseLargeList(orSmallList)fromtheBrushPresetspanelmenu.

5.TheLiveTipBrushPreviewshowsyouthedirectionthebrushstrokesaremoving.It’savailableifOpenGLisenabled.TohideorshowtheLiveTipBrushPreview,clicktheToggleTheLiveTipBrushPreviewiconatthebottomoftheBrushpanelortheBrushPresetspanel.

6.Anerodibletiperodes,changingthickness,asyoupaintordraw.It’ssimilartothewayapencilorpasteltipchangesshapeasiterodes.

11.EditingVideo

Lessonoverview

•CreateavideotimelineinPhotoshop.

•AddmediatoavideogroupintheTimelinepanel.

•Addmotiontostillimages.

•Animatetypeandeffectsusingkeyframes.

•Addtransitionsbetweenvideoclips.

•Includeaudioinavideofile.

•Renderavideo.

PROJECT:FAMILYVIDEOFROMMOBILEPHONE

YoucaneditvideofilesinPhotoshopusingmanyofthesameeffectsyouusetoeditimagefiles.Youcancreateamoviefromvideofiles,stillimages,SmartObjects,audio

files,andtypelayers;applytransitions;andanimateeffectsusingkeyframes.

GettingstartedInthislesson,you’lleditavideothatwasshotusingacameraphone.You’llcreateavideotimeline,importclips,addtransitionsandothervideoeffects,andrenderthefinalvideo.First,lookatthefinalprojecttoseewhatyou’llbecreating.

4.InBridge,selecttheLessonsfolderintheFavoritespanel.Then,double-clicktheLesson11folderintheContentpanel.

5.Double-clickthe11End.mp4filetoopenitinQuickTimeorWindowsMediaPlayer.

6.ClickthePlaybuttontoviewthefinalvideo.

Theshortvideoisacompilationofclipsfromadayatthebeach.Itincludestransitions,layereffects,animatedtext,andamusicaltrack.

7.CloseQuickTimeorWindowsMediaPlayer,andreturntoBridge.

8.Double-clickthe11End.psdfiletoopenitinPhotoshop.

AbouttheTimelinepanelIfyou’veusedavideo-editingapplicationsuchasAdobePremiere®ProorAdobeAfterEffects®,theTimelinepanelisprobablyfamiliar.YouusetheTimelinepaneltoassembleandarrangevideoclips,images,andaudiofilesforamoviefile.Youcaneditthedurationofeachclip,applyfiltersandeffects,animateattributessuchaspositionandopacity,mutesound,addtransitions,andperformotherstandardvideo-editingtaskswithouteverleavingPhotoshop.

1.ChooseWindow>TimelinetoopentheTimelinepanel.

EachvideocliporimageincludedintheprojectisrepresentedinaboxintheTimelinepanelandasalayerintheLayerspanel.VideoclipshaveabluebackgroundintheTimelinepanel;imagefileshaveapurplebackground.AtthebottomoftheTimelinepanelistheaudiotrack.

A.PlaybuttonB.PlayheadC.AudiotrackD.ImagefileE.Videoclip

2.ClickPlayintheTimelinepaneltoviewthemovie.

Theplayheadmovesacrossthetimeruler,displayingeachframeofthemovie.

3.Pressthespacebartopauseplayback.

4.Dragtheplayheadtoanotherpointinthetimeruler.

Theplayhead’slocationdetermineswhatappearsinthedocumentwindow.

OntheleftsideoftheTimelinepanelareanimationkeyframecontrols.You’llusethesetoanimatethepositionandotherattributesofimageandvideofilesacrosstime.

Whenyouworkwithvideo,Photoshopdisplaysguidelinesacrossthedocumentwindow.Theguidelinesidentifytheareathatwouldbevisibleifyoubroadcastthevideo.

5.Whenyou’vefinishedexploringtheendfile,closeit,butleavePhotoshopopen.Don’tsaveanychangesyoumighthavemade.

CreatinganewvideoprojectWorkingwithvideoisalittledifferentfromworkingwithstillimagesinPhotoshop.Youmayfinditeasiesttocreatetheprojectfirst,andthenimporttheassetsyou’llbeusing.You’llchoosethevideopresetforthisproject,andthenaddninevideoandimagefilestoincludeinyourmovie.

CreatinganewfilePhotoshopincludesseveralfilmandvideopresetsforyoutochoosefrom.You’llcreateanewfileandselectanappropriatepreset.

1.ChooseFile>New.

ThevideointhislessonwasshotusinganAppleiPhone,sooneoftheHDVpresetsisappropriate.The720ppresetprovidesgoodqualitywithoutprovidingtoomuchdataforeasystreamingonline.

2.Namethefile11Start.psd.

3.ChooseFilm&VideofromtheDocumentTypemenu.

4.ChooseHDV/HDTV720p/29.97fromtheSizemenu.

5.Acceptthedefaultsettingsfortheotheroptions,andclickOK.

6.ChooseFile>SaveAs,andsavethefileintheLesson11folder.

ImportingassetsPhotoshopprovidestoolsspecificallyforworkingwithvideo,suchastheTimelinepanel,whichmayalreadybeopenbecauseyoupreviewedtheendfile.Toensureyouhaveaccesstotheresourcesyouneed,you’llselecttheMotionworkspaceandorganizeyourpanels.Thenyou’llimportthevideoclips,images,andaudiofileyouneedtocreatethemovie.

1.ChooseWindow>Workspace>Motion.

2.PullthetopedgeoftheTimelinepanelupsothatthepaneloccupiesthebottomhalfoftheworkspace.

3.SelecttheZoomtool( ),andthenclickFitScreenintheoptionsbarsothatyoucanseetheentirecanvaswithinthetophalfofthescreen.

4.IntheTimelinepanel,clickCreateVideoTimeline.Photoshopcreatesanewvideotimeline,includingtwodefaulttracks:Layer0andAudioTrack.

5.ClicktheVideomenuintheLayer0track,andchooseAddMedia.

6.NavigatetotheLesson11folder.

7.Shift-selectthevideoandphotoassetsnumbered1–6,andclickOpen.

WhenyouusetheAddMediabuttonwithanunspecifiedcanvas,Photoshopdeterminestheprojectsizebasedonthesizeofthefirstvideofileitfinds—or,ifyou’reimportingonlyimages,basedontheimagesize.

Photoshopimportsallsixoftheassetsyouselectedontothesametrack,nownamedVideoGroup1,intheTimelinepanel.Itdisplaysstillimageswithapurplebackgroundandvideoclipswithabluebackground.IntheLayerspanel,theassetsappearasindividuallayerswithinthelayergroupnamedVideoGroup1.Youdon’tneedtheLayer0layer,soyou’lldeleteit.

8.SelectLayer0intheLayerspanel,andclicktheDeleteLayerbuttonatthebottomofthepanel.ClickYestoconfirmthedeletion.

ChangingthedurationandsizeofclipsinthetimelineTheclipsareofverydifferentlengths,meaningthey’dplayfordifferentamountsoftime.Forthisvideo,youwantalltheclipstobethesamelength,soyou’llshortenthemallto3seconds.Thelengthofaclip(itsduration)ismeasuredinsecondsandframes:03:00is3seconds;02:25is2secondsand25frames.

1.DragtheControlTimelineMagnificationslidertotherightatthebottomoftheTimelinepaneltozoominonthetimeline.Youwanttobeabletoseeathumbnailofeachclipandenoughdetailinthetimerulerthatyoucanaccuratelychangethedurationofeachclip.

You’reshorteningeachcliptothesamelengthhere,butyoucanhaveclipsofvaryinglengths,dependingonwhat’sappropriatefortheproject.

2.Dragtherightedgeofthefirstclip(1_Family)to03:00onthetimeruler.Photoshopdisplaystheendpointandthedurationasyoudragsothatyoucanfindtherightstoppingpoint.

3.Dragtherightedgeofthesecondclip(2_BoatRide)toadurationof03:00.

Shorteningavideoclipdoesn’tcompressit;itremovespartoftheclipfromthevideo.Inthiscase,youwanttousethefirstthreesecondsofeachclip.Ifyouwantedtouseadifferentportionofavideoclip,youwouldshortentheclipfromeachend.Asyoudragtheendpointofavideoclip,Photoshopdisplaysapreviewsoyoucanseewhichpartoftheclipisincluded.

4.Repeatstep3foreachoftheremainingclipssothateachhasadurationof3seconds.

Toquicklychangethedurationofavideoclip,clickthearrowintheupperrightcorner,andthentypeanewDurationvalue.Thisoptionisn’tavailableforstillimages.

Theclipsarenowtherightduration,butsomeoftheimagesarethewrongsizeforthecanvas.You’llresizethefirstimagebeforecontinuing.

5.Selectthe1_FamilylayerintheLayerspanel.TheclipisalsoselectedintheTimelinepanel.

Thearrowontheleftsideofaclip(nexttotheclip’sthumbnail)revealstheattributesyoucananimateusingkeyframes.ThearrowontherightsideofaclipopenstheMotionpanel.

6.Clickthetriangleintheupperrightcornerofthe1_FamilyclipintheTimelinepaneltoopentheMotionpanel.

7.ChoosePan&Zoomfromthemenu,andmakesureResizeToFillCanvasisselected.ThenclickanemptyareaoftheTimelinepaneltoclosetheMotionpanel.

Theimageresizestofitthecanvas,whichiswhatyouwanted.However,youdon’tactuallywanttopanandzoom.You’llremovetheeffect.

8.OpentheMotionpanelfromthe1_Familyclipagain,andchooseNoMotionfromthemenu.ClickanemptyareaoftheTimelinepaneltoclosetheMotionpanel.

9.ChooseFile>Save.ClickOKinthePhotoshopFormatOptionsdialogbox.

AnimatingtextwithkeyframesKeyframesletyoucontrolanimation,effects,andotherchangesthatoccurovertime.Akeyframemarksthepointintimewhereyouspecifyavalue,suchasaposition,size,orstyle.Tocreateachangeovertime,youmusthaveatleasttwokeyframes:oneforthestateatthebeginningofthechangeandoneforthestateattheend.Photoshopinterpolatesthevaluesforthepositionsinbetweensothatthechangetakeseffectsmoothlyoverthespecifiedtime.You’llusekeyframestoanimateamovietitle(BeachDay)fromlefttorightovertheopeningimage.

1.ClicktheVideopop-upmenuintheVideoGroup1track,andchooseNewVideoGroup.PhotoshopaddsVideoGroup2totheTimelinepanel.

2.SelecttheHorizontalTypetool( ),andthenclickontheleftedgeoftheimage,abouthalfwaydownfromthetop.

Photoshopcreatesanewtypelayer,namedLayer1,intheVideoGroup2track.

3.Intheoptionsbar,selectasansseriffontsuchasMyriadPro,setthetypesizeto600pt,andselectwhiteforthetypecolor.

4.TypeBEACHDAY.

Thetextislargeenoughthatitdoesn’tallfitontheimage.That’sokay;you’llanimateittomoveacrosstheimage.

5.IntheLayerspanel,changetheopacityfortheBEACHDAYlayerto25%.

6.IntheTimelinepanel,dragtheendpointofthetypelayerto03:00sothatithasthe

samedurationasthe1_Familylayer.

7.ClickthearrownexttothethumbnailintheBEACHDAYcliptodisplaytheclip’sattributes.

8.Makesuretheplayheadisatthebeginningofthetimeruler.

9.Clickthestopwatchicon( )nexttotheTransformpropertytosetaninitialkeyframeforthelayer.

Thekeyframeappearsasayellowdiamondinthetimeline.

10.SelecttheMovetool( ),anduseittodragthetypelayeroverthecanvassothatthetopofthelettersalignwiththelowerofthetwotopguidelines.Dragittotherightsothatonlytheleftedgeoftheletter“B”intheword“BEACH”isvisibleonthecanvas.Thekeyframeyousetensuresthatthetextwillbeinthispositionatthebeginningofthemovie.

11.Movetheplayheadtothelastframeofthefirstclip(02:29).

Photoshopdisplaystheplayhead’slocationinthelowerleftcorneroftheTimelinepanel.

12.PresstheShiftkeyasyoudragthetypelayertotheleftoverthecanvassothatonlytherightedgeofthe“Y”intheword“DAY”isvisible.PressingtheShiftkeyensuresthetyperemainslevelasyoumoveitacross.

Becauseyou’vechangedtheposition,Photoshopcreatesanewkeyframe.

13.Movetheplayheadacrossthefirstthreesecondsofthetimerulertopreviewtheanimation.Thetitlemovesacrosstheimage.

14.Clickthetrianglenexttothethumbnailofthetextcliptoclosetheclip’sattributes,andthenchooseFile>Savetosaveyourworksofar.

CreatingeffectsOneofthebenefitsofworkingwithvideofilesinPhotoshopisthatyoucancreateeffectsusingadjustmentlayers,styles,andsimpletransformations.

AddingadjustmentlayerstovideoclipsYou’veusedadjustmentlayerswithstillimagesthroughoutthisbook.Theyworkjustaswellonvideoclips.Whenyouapplyanadjustmentlayerinavideogroup,PhotoshopappliesitonlytothelayerimmediatelybelowitintheLayerspanel.

1.Selectthe3_DogAtBeachlayerintheLayerspanel.

2.IntheTimelinepanel,movetheplayheadtothebeginningofthe3_DogAtBeachlayersoyoucanseetheeffectasyouapplyit.

3.IntheAdjustmentspanel,clicktheBlack&Whitebutton.

IfyouhadimportedthevideofileusingthePlacecommand,sothatitwasnotinavideogroup,youwouldneedtocreateaclippinglayertolimittheadjustmentlayertoasinglelayer.

4.InthePropertiespanel,leavethedefaultpreset,andselectTint.Thedefaulttintcolorcreatesasepiaeffectthatworkswellforthisclip.Youcanexperimentwiththeslidersandthetintcolortomodifytheblack-and-whiteeffecttoyourtaste.

5.Movetheplayheadacrossthe3_DogAtBeachclipintheTimelinepaneltopreviewtheeffect.

AnimatingazoomeffectEvensimpletransformationsbecomeinterestingeffectswhenyouanimatethem.You’lluseanimationtozoominonthe4_Dogsclip.

1.Movetheplayheadtothebeginningofthe4_DogsclipintheTimelinepanel(09:00).

2.Clickthearrowinthe4_DogscliptodisplaytheMotionpanel.

3.ChooseZoomfromthepop-upmenu,andchooseZoomInfromtheZoommenu.OntheZoomFromgrid,selecttheupperleftcornertozoominfromthatpoint.MakesureResizeToFillCanvasisselected,andthenclickanemptyareaoftheTimelinepaneltoclosetheMotionpanel.

4.Dragtheplayheadacrossthecliptopreviewtheeffect.

You’llenlargetheimageinthelastkeyframetomakethezoommoredramatic.

5.Clickthearrowontheleftsideofthe4_Dogscliptorevealtheattributesfortheclip.

Therearetwokeyframes,oneforthebeginningoftheZoomIneffect,andonefortheend.

6.ClicktherightarrownexttotheTransformattribute(underVideoGroup1ontheleftsideoftheTimelinepanel)tomovetheplayheadtothelastkeyframeifit’snot

alreadythere,andchooseEdit>FreeTransform.Thenenter120%forWidthandHeightintheoptionsbar.PressEnterorReturntoconfirmthetransformation.

YoucanmovetothenextkeyframebyclickingtherightarrownexttotheattributeintheTimelinepanel.Clicktheleftarrowtomovetothepreviouskeyframe.

7.Dragtheplayheadacrossthe4_Dogsclipinthetimerulertopreviewtheanimationagain.

8.ChooseFile>Save.

AnimatinganimagetocreateamotioneffectYou’llanimateanothertransformationtocreatetheappearanceofmotion.Youwanttheimagetobeginwiththediver’slegsandendwithhishands.

1.Movetheplayheadtotheendofthe5_Jumpingclip(14:29),andselecttheclip.PressShiftwhileyoumovetheimagedowninthedocumentwindowsothatthehandsarenearthetopofthecanvas,puttingthediverinthefinalposition.

2.Displaytheattributesfortheclip,andclickthestopwatchiconforthePositionattributetoaddakeyframe.

3.Movetheplayheadtothebeginningoftheclip(12:00).PressShiftwhileyoumovetheimageupsothatthefeetarenearthebottomofthecanvas.

Photoshopaddsakeyframe.

4.Movetheplayheadacrossthetimerulertopreviewtheanimation.

5.Closetheclip’sattributes.ThenchooseFile>Savetosaveyourworksofar.

Addingpan&zoomeffectsYoucaneasilyaddfeaturessimilartothepanandzoomeffectsusedindocumentaries.You’lladdthemtothesunsettobringthevideotoadramaticclose.

1.Movetheplayheadtothebeginningofthe6_Sunsetclip.

2.OpentheMotionpanelfortheclip.ChoosePan&Zoomfromthepop-upmenu,chooseZoomOutfromtheZoommenu,andmakesureResizeToFillCanvasisselected.ThenclickanemptyareaoftheTimelinepaneltoclosetheMotionpanel.

3.Movetheplayheadacrossthelastcliptopreviewtheeffects.

AddingtransitionsAtransitionmovesascenefromoneshottothenext.SimplydraganddroptoaddtransitionstoclipsinPhotoshop.

1.ClicktheGoToFirstFramebutton( )intheupperleftcorneroftheTimelinepaneltoreturntheplayheadtothebeginningofthetimeruler.

2.ClicktheTransitionbutton( )intheupperleftcorneroftheTimelinepanel.SelectCrossFade,andchangetheDurationvalueto.25s(foraquarterofasecond).

3.DragtheCrossFadetransitionbetweenthe1_Familyand2_BoatRideclips.

Photoshopadjuststheendsoftheclipstoapplythetransitionandaddsasmallwhiteiconinthelowercornerofthesecondclip.

4.DragCrossFadetransitionsbetweeneachoftheotherclips.

5.DragaFadeWithBlacktransitionontotheendofthefinalclip.

6.Tomakethetransitionsmoother,extendtheFadeWithBlacktransitionbystretchingitsleftsidetoaboutone-thirdthetotallengthoftheclip.

7.ChooseFile>Save.

AddingaudioYoucanaddaseparateaudiotracktoavideofileinPhotoshop.Infact,theTimelinepanelincludesanaudiotrackbydefault.You’lladdanMP3filetoplayasthesoundtrackforthisshortvideo.

1.ClickthenoteiconintheAudioTrackatthebottomoftheTimelinepanel,andchooseAddAudiofromthepop-upmenu.

Youcanalsoaddanaudiotrackbyclickingthe+signatthefarrightendofthetrackintheTimelinepanel.

2.Selectthebeachsong.mp3filefromtheLesson11folder,andclickOpen.

Theaudiofileisaddedtothetimeline,butit’smuchlongerthanthevideo.You’llusetheSplitAtPlayheadtooltoshortenit.

3.Movetheplayheadtotheendofthe6_Sunsetclip.Withtheaudiofilestillselected,clicktheSplitAtPlayheadtool.

Theaudiofileisclippedatthatpoint,becomingtwoaudioclips.

4.Selectthesecondaudiofilesegment,theonethatbeginsaftertheendofthe6_Sunsetclip.PresstheDeletekeyonyourkeyboardtodeletetheselectedclip.

Nowtheaudiofileisthesamelengthasthevideo.You’lladdafadesothatitendssmoothly.

5.ClickthesmallarrowattherightedgeoftheaudiocliptoopentheAudiopanel.Thenenter3secondsforFadeInand5secondsforFadeOut.

MutingunwantedaudioSofar,you’vepreviewedportionsofthevideobymovingtheplayheadacrossthetimeruler.Nowyou’llpreviewtheentirevideousingthePlaybuttonintheTimelinepanel,andthenmuteanyextraneousaudiofromthevideoclips.

1.ClickthePlaybutton( )intheupperleftcorneroftheTimelinepaneltopreviewthevideosofar.

Tocreateasmootherpreview,disabletheaudioplaybackbuttonintheTimelinepanelthefirsttimeyouplaythevideo.Withaudioplaybackdisabled,Photoshopcancreateamorecompletecache,resultinginamoreaccuratepreview.

It’slookinggood,butthereissomeunwantedbackgroundnoisefromthevideoclips.You’llmutethatextrasound.

2.Clickthesmalltriangleattherightendofthe2_BoatRideclip.

3.ClicktheAudiotabtoseeaudiooptions,andthenselectMuteAudio.ClickanemptyareaoftheTimelinepaneltoclosetheAudio/Videopanel.

4.Clickthesmalltriangleattherightendofthe3_DogAtBeachclip.

5.ClicktheAudiotabtoseeaudiooptions,andthenselectMuteAudio.ClickanemptyareaoftheTimelinepaneltoclosethepanel.

RenderingvideoYou’rereadytorenderyourprojecttovideo.Photoshopprovidesseveralrenderingoptions.You’llselectoptionsappropriateforstreamingvideotoshareontheVimeowebsite.Forinformationaboutotherrenderingoptions,seePhotoshopHelp.

1.ChooseFile>Export>RenderVideo,orclicktheRenderVideobutton( )inthelowerleftcorneroftheTimelinepanel.

2.Namethefile11Final.mp4.

3.ClickSelectFolder,andthennavigatetotheLesson11folder,andclickOKorChoose.

4.FromthePresetmenu,chooseVimeoHD720p25.

5.ClickRender.

Photoshopdisplaysaprogressbarasitexportsthevideo.Dependingonyoursystem,therenderingprocessmaytakeseveralminutes.

Dependingonyoursystem,thismaytakeawhile.

6.Locatethe11Final.mp4fileintheLesson11folderinBridge.Double-clickittoviewthevideoyoumade.

Reviewquestions1.Whatisakeyframe,andhowdoyoucreateone?

2.Howdoyouaddatransitionbetweenclips?

3.Howdoyourenderavideo?

Reviewanswers1.Akeyframemarksthepointintimewhereyouspecifyavalue,suchasaposition,size,orstyle.Tocreateachangeovertime,youmusthaveatleasttwokeyframes:oneforthestateatthebeginningofthechangeandoneforthestateattheend.Tocreateaninitialkeyframe,clickthestopwatchiconnexttotheattributeyouwanttoanimateforthelayer.Photoshopcreatesadditionalkeyframeseachtimeyouchangethevaluesofthatattribute.

2.Toaddatransition,clicktheTransitionbuttonintheupperleftcorneroftheTimelinepanel,andthendragatransitionontoaclip.

3.Torenderavideo,chooseFile>Export>RenderVideo,orclicktheRenderVideobuttoninthelowerleftcorneroftheTimelinepanel.Thenselectthevideosettingsthatareappropriateforyourintendedoutput.

12.WorkingwithCameraRaw

Lessonoverview

•OpenaproprietarycamerarawimageinAdobeCameraRaw.

•Adjusttoneandcolorinarawimage.

•SharpenanimageinCameraRaw.

•Synchronizesettingsformultipleimages.

•OpenaCameraRawimageasaSmartObjectinPhotoshop.

•ApplyCameraRawasafilterinPhotoshop.

PROJECT:ADVANCEDPHOTORETOUCHING

Rawimagesgiveyougreaterflexibility,especiallyinsettingcolorandtone.CameraRawletsyoutapintothatpotential.Itcanbeausefultoolevenwhenyou’restarting

withaJPEGorTIFFimage,orwhenyouapplyitasafilterinPhotoshop.

GettingstartedInthislesson,you’lleditseveraldigitalimagesusingPhotoshopandAdobeCameraRaw,whichcomeswithPhotoshop.You’lluseavarietyoftechniquestotouchupandimprovetheappearanceofdigitalphotographs.You’llstartbyviewingthebeforeandafterimagesinAdobeBridge.

1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See

“Restoringdefaultpreferences”onpage4.)

WeusedAdobeCameraRaw8.5,whichwasthecurrentversionatthetimeofpublication.AdobeupdatesCameraRawfrequently;ifyou’reusingalaterversion,someofthestepsinthislessonmaynotmatchwhatyousee.

Ifyouhaven’tinstalledBridge,you’llbepromptedtodosowhenyouchooseBrowseInBridge.Formoreinformation,seepage3.

5.Adjustthethumbnailslider,ifnecessary,sothatyoucanseethethumbnailpreviewsclearly.Thenlookatthe12A_Start.crwand12A_End.psdfiles.

TheoriginalphotographofaSpanish-stylechurchisacamerarawfile,soitdoesn’thavetheusual.psdor.jpgfileextensionyou’veworkedwithsofarinthisbook.ItwasshotwithaCanonDigitalRebelcameraandhastheCanonproprietary.crwfileextension.You’llprocessthisproprietarycamerarawimagetomakeitbrighter,sharper,andclearer,andthensaveitasaJPEGfileforthewebandasaPSDfilesothatyoucouldworkonitfurtherinPhotoshop.

6.Comparethe12B_Start.nefand12B_End.psdthumbnailpreviews.

Thistime,thestartfilewastakenwithaNikoncamera,andtherawimagehasan.nefextension.You’llperformcolorcorrectionsandimageenhancementsinCameraRawandPhotoshoptoachievetheendresult.

AboutcamerarawfilesAcamerarawfilecontainsunprocessedpicturedatafromadigitalcamera’simagesensor.Manydigitalcamerascansaveimagesincamerarawformat.Theadvantageofcamerarawfilesisthattheyletthephotographer—ratherthanthecamera—interprettheimagedataandmakeadjustmentsandconversions.(Incontrast,shootingJPEGimageswithyourcameralocksthecamera’sprocessingintotheimage.)Becausethecameradoesn’tdoanyimageprocessingwhenyoushootacamerarawphoto,youcanuseAdobeCameraRawtosetthewhitebalance,tonalrange,contrast,colorsaturation,andsharpening.Thinkofcamerarawfilesasphotonegatives:Youcangobackandreprocessthefileanytimeyouliketoachievetheresultsyouwant.

Tocreatecamerarawfiles,setyourdigitalcameratosavefilesinitsown,possiblyproprietary,rawfileformat.Whenyoudownloadthefilefromyourcamera,ithasafileextensionsuchas.nef(fromNikon)or.crw(fromCanon).InBridgeorPhotoshop,youcanprocesscamerarawfilesfromamyriadofsupporteddigitalcamerasfromCanon,Kodak,Leica,Nikon,andothermakers—andevenprocessmultipleimagessimultaneously.YoucanthenexporttheproprietarycamerarawfilestoDNG,JPEG,TIFF,orPSDfileformat.

ThePhotoshopRawformat(.rawextension)isafileformatfortransferringimagesbetweenapplicationsandcomputerplatforms.Don’tconfusePhotoshopRawwithcamerarawfileformats.

Youcanprocesscamerarawfilesobtainedfromsupportedcameras,butyoucanalsoopenTIFFandJPEGimagesinCameraRaw,whichincludessomeeditingfeaturesthataren’t

inPhotoshop.However,youwon’thavethesameflexibilitywithwhitebalanceandothersettingsifyou’reusingaTIFForJPEGimage.AlthoughCameraRawcanopenandeditacamerarawimagefile,itcannotsaveanimageincamerarawformat.

ProcessingfilesinCameraRawWhenyoumakeadjustmentstoanimageinCameraRaw,suchasstraighteningorcroppingtheimage,PhotoshopandBridgepreservetheoriginalfiledata.Thisway,youcanedittheimageasyoudesire,exporttheeditedimage,andkeeptheoriginalintactforfutureuseorotheradjustments.

OpeningimagesinCameraRawYoucanopenCameraRawfromeitherBridgeorPhotoshop,andyoucanapplythesameeditstomultiplefilessimultaneously.Thisisespeciallyusefulifyou’reworkingwithimagesthatwereallshotinthesameenvironment,andwhichthereforeneedthesamelightingandotheradjustments.

CameraRawprovidesextensivecontrolsforadjustingwhitebalance,exposure,contrast,sharpness,tonecurves,andmuchmore.Inthisexercise,you’lleditoneimageandthenapplythesettingstosimilarimages.

1.InBridge,opentheLessons/Lesson12/Missionfolder,whichcontainsthreeshotsoftheSpanishchurchyoupreviewedearlier.

2.Shift-clicktoselectalloftheimages—Mission01.crw,Mission02.crw,andMission03.crw—andthenchooseFile>OpenInCameraRaw.

A.FilmstripB.ToggleFilmstrip

C.ToolbarD.RGBvalues

E.ImageadjustmenttabsF.Histogram

G.CameraRawSettingsmenuH.Zoomlevels

I.ClicktodisplayworkflowoptionsJ.Multi-imagenavigationcontrols

K.Adjustmentsliders

TheCameraRawdialogboxdisplaysalargepreviewofthefirstimage,andafilmstripdowntheleftsidedisplaysallopenimages.Thehistogramintheupperrightcornershowsthetonalrangeoftheselectedimage;theworkflowoptionslinkbelowthepreviewwindowdisplaystheselectedimage’scolorspace,bitdepth,size,andresolution.Toolsalongthetopofthedialogboxletyouzoom,pan,straighten,andmakeotheradjustmentstotheimage.Tabbedpanelsontherightsideofthedialogboxgiveyoumorenuancedoptionsforadjustingtheimage:Youcancorrectthewhitebalance,adjustthetone,sharpentheimage,removenoise,adjustcolor,andmakeotherchanges.Youcanalsosave

settingsasapreset,andthenapplythemlater.

ForthebestresultsusingCameraRaw,planyourworkflowtomovefromlefttorightandtoptobottom.Thatis,you’lloftenwanttousethetoolsacrossthetopfirst,andthenmovethroughthepanelsinorder,makingchangesasnecessary.

Youwillexplorethesecontrolsnowasyoueditthefirstimagefile.

3.Clickeachthumbnailinthefilmstriptopreviewalltheimagesbeforeyoubegin.Or,youcanclicktheForwardbuttonunderthemainpreviewwindowtocyclethroughthem.Whenyou’veseenallthree,selecttheMission01.crwimageagain.

AdjustingwhitebalanceAnimage’swhitebalancereflectsthelightingconditionsunderwhichitwascaptured.Adigitalcamerarecordsthewhitebalanceatthetimeofexposure;thisisthevaluethatinitiallyappearsintheCameraRawdialogboximagepreview.

Whitebalancecomprisestwocomponents.Thefirstistemperature,whichismeasuredinkelvinsanddeterminesthelevelof“coolness”or“warmness”oftheimage—thatis,itscoolblue-greentonesorwarmyellow-redtones.Thesecondcomponentistint,whichcompensatesformagentaorgreencolorcastsintheimage.

Dependingonthesettingsyou’reusingonyourcameraandtheenvironmentinwhichyou’reshooting(forexample,ifthere’sglareorunevenlighting),youmaywanttoadjustthewhitebalancefortheimage.Ifyouplantomodifythewhitebalance,makethatthefirstthingyoudo,asitwillaffectallotherchangesintheimage.

1.IftheBasicpanelisn’talreadydisplayedontherightsideofthedialogbox,clicktheBasicbutton( )toopenit.

Bydefault,AsShotisselectedintheWhiteBalancemenu.CameraRawappliesthewhitebalancesettingsthatwereinyourcameraatthetimeofexposure.CameraRawincludesseveralWhiteBalancepresets,whichyoucanuseasastartingpointtoseedifferentlightingeffects.

2.ChooseCloudyfromtheWhiteBalancemenu.

CameraRawadjuststhetemperatureandtintforacloudyday.Sometimesapresetdoesthetrick.Inthiscase,though,there’sstillabluecasttotheimage.You’lladjustthewhitebalancemanually.

3.SelecttheWhiteBalancetool( )atthetopoftheCameraRawdialogbox.

Tosetanaccuratewhitebalance,selectanobjectthatshouldbewhiteorgray.CameraRawusesthatinformationtodeterminethecolorofthelightinwhichthescenewasshot,andthenadjustsforscenelightingautomatically.

4.Clickthewhitecloudsintheimage.Thelightingoftheimagechanges.

5.Clickadifferentareaoftheclouds.Thelightingshifts.

YoucanusetheWhiteBalancetooltofindthebestlightingforthescenequicklyandeasily.Clickingdifferentareaschangesthelightingwithoutmakinganypermanentchangestothefile,soyoucanexperimentfreely.

6.Clickthecloudsdirectlytotheleftofthesteeple.Thisselectionremovesmostofthecolorcastsandresultsinrealisticlighting.

7.MovetheTintsliderto-22tointensifythegreens.

Toundothesettings,pressCtrl+Z(Windows)orCommand+Z(MacOS).

8.Toseethechangesyou’vemade,clickthepreviewmodebutton( )atthebottom

ofthewindow,andchooseBefore/AfterLeft/Rightfromthepop-upmenu.

ToexpandCameraRawtofillthescreen,clicktheToggleFull-ScreenModebutton( )onthefarrightsideofthetoolbar,orpressF.

CameraRawdisplaystheBeforeimageontheleftandtheAfterimageontherightsoyoucanseethechangesyou’vemade.

9.ToseeonlytheAfterimageagain,chooseSingleViewfromthepreviewmodepop-upmenu.Ifyouprefer,youcanleavebothviewsvisiblesoyoucanseehowtheimagehaschangedasyoucontinuetoalterit.

MakingtonaladjustmentsinCameraRawOtherslidersintheBasicpanelaffectexposure,brightness,contrast,andsaturationintheimage.ExceptforContrast,movingaslidertotherightlightenstheaffectedareasoftheimage,andmovingittotheleftdarkensthoseareas.Exposureessentiallydefinesthewhitepoint,orthelightestpointoftheimage,sothatCameraRawadjustseverythingelseaccordingly.Conversely,theBlacksslidersetstheblackpoint,orthedarkestpointintheimage.TheHighlightsandShadowsslidersincreasedetailinthehighlightsandtheshadows,respectively.

TheContrastslideradjuststhecontrast.Formorenuancedcontrastadjustments,youcanusetheClarityslider,whichaddsdepthtoanimagebyincreasinglocalcontrast,especiallyonthemidtones.

Forthebesteffect,increasetheClarityslideruntilyouseehalosneartheedgedetails,andthenreducethesettingslightly.

TheSaturationslideradjuststhesaturationofallcolorsintheimageequally.TheVibranceslider,ontheotherhand,hasagreatereffectonundersaturatedcolors.Youcanuseittobringlifetoabackgroundwithoutoversaturatinganyskintonesintheimage,forexample.

YoucanusetheAutooptiontoletCameraRawattempttocorrecttheimagetone,oryoucanselectyourownsettings.

1.ClickAutointheBasicpanel.

CameraRawincreasestheexposureandchangesseveralothersettings.Youcouldusethisasastartingpoint.However,inthisexercise,you’llreturntothedefaultsettingsandadjustthemyourself.

2.ClickDefaultintheBasicpanel.

3.Changetheslidersasfollows:

•Exposure:+0.20

•Contrast:+18

•Highlights:+8

•Shadows:+63

•Whites:+12

•Blacks:-14

•Clarity:+3

•Vibrance:+4

•Saturation:+1

Thesesettingshelppumpupthemidtonesoftheimagesothatitlooksbolderandmoredimensionalwithoutbeingoversaturated.

AbouttheCameraRawhistogram

ThehistogramintheupperrightcorneroftheCameraRawdialogboxsimultaneouslyshowsthered,green,andbluechannelsoftheselectedimage,andupdatesinteractivelyasyouadjustanysettings.Also,asyoumoveanytooloverthepreviewimage,theRGBvaluesfortheareaunderthecursorappearbelowthehistogram.

ApplyingsharpeningPhotoshopoffersseveralsharpeningfilters,butwhenyouneedtosharpenanentireimage,CameraRawprovidesthebestcontrol.ThesharpeningcontrolsareintheDetailpanel.Toseetheeffectofsharpeninginthepreviewpanel,youmustviewtheimageat100%orgreater.

1.Double-clicktheZoomtool( )ontheleftsideofthetoolbartozoominto100%.ThenselecttheHandtool( ),andpantheimagetoseethecrossatthetopofthemissiontower.

2.ClicktheDetailbutton( )toopentheDetailpanel.

TheAmountsliderdetermineshowmuchsharpeningCameraRawapplies.Typically,you’llwanttoexaggeratetheamountofsharpeningatfirst,andthenadjustitafteryou’vesettheothersliders.

3.MovetheAmountsliderto100.

TheRadiussliderdeterminesthepixelareaCameraRawanalyzesasitsharpenstheimage.Formostimages,you’llgetthebestresultsifyoukeeptheradiuslow,evenbelowonepixel.Alargerradiuscanbegintocauseanunnaturallook,almostlikeawatercolor.

4.MovetheRadiussliderto0.9.

TheDetailsliderdetermineshowmuchdetailyou’llsee.Evenwhenthissliderissetto0,CameraRawperformssomesharpening.Typically,you’llwanttokeeptheDetailsettingrelativelylow.

5.MovetheDetailsliderto25,ifitisn’talreadythere.

TheMaskingsliderdetermineswhichpartsoftheimageCameraRawsharpens.WhentheMaskingvalueishigh,CameraRawsharpensonlythosepartsoftheimagethathavestrongedges.

6.MovetheMaskingsliderto61.

Afteryou’veadjustedtheRadius,Detail,andMaskingsliders,youcanlowertheAmountslidertofinalizethesharpening.

7.DecreasetheAmountsliderto70.

PressAlt(Windows)orOption(MacOS)asyoumovetheMaskingslidertoseewhatCameraRawwillsharpen.

Sharpeningtheimagegivesstrongerdefinitiontothedetailsandedges.TheMaskingsliderletsyoutargetthesharpeningeffecttothelinesintheimage,sothatartifactsdon’tappearinunfocusedorbackgroundareas.

Ifyouhavedifficultyseeingtheeffectsofsharpening,changethezoomlevelto100%.

WhenyoumakeadjustmentsinCameraRaw,theoriginalfiledataispreserved.YouradjustmentsettingsfortheimagearestoredeitherintheCameraRawdatabasefileorin“sidecar”XMPfilesthataccompanytheoriginalimagefileinthesamefolder.TheseXMPfilesretaintheadjustmentsyoumadeinCameraRawwhenyoumovetheimagefiletoastoragemediumoranothercomputer.

SynchronizingsettingsacrossimagesAllthreeofthemissionimageswereshotatthesametimeunderthesamelightingconditions.Nowthatyou’vemadethefirstonelookstunning,youcanautomaticallyapplythesamesettingstotheothertwoimages.YoudothisusingtheSynchronizecommand.

1.IntheupperleftcorneroftheCameraRawdialogbox,clicktheFilmstripmenubutton,andchooseSelectAlltoselectalloftheimagesinthefilmstrip.

2.ClicktheFilmstripmenubuttonagain,andchooseSyncSettings.

TheSynchronizedialogboxappears,listingallthesettingsyoucanapplytotheimages.Bydefault,alloptionsexceptCrop,SpotRemoval,andLocalAdjustmentsareselected.Youcanacceptthedefaultforthisproject,eventhoughyoudidn’tchangeallthesettings.

3.ClickOKintheSynchronizedialogbox.

Whenyousynchronizethesettingsacrossalloftheselectedimages,thethumbnailsupdatetoreflectthechangesyoumade.Topreviewtheimages,clickeachthumbnailinthefilmstrip.

SavingCameraRawchangesYoucansaveyourchangesindifferentwaysfordifferentpurposes.First,you’llsavetheimageswithadjustmentsaslow-resolutionJPEGfilesthatyoucanshareontheweb.Then,you’llsaveoneimage,Mission01,asaPhotoshopfilethatyoucanopenasaSmartObjectinPhotoshop.WhenyouopenanimageasaSmartObjectinPhotoshop,youcanreturntoCameraRawatanytimetomakefurtheradjustments.

1.IntheCameraRawdialogbox,clicktheFilmstripmenubutton,andchooseSelectAlltoselectallthreeimages.

2.ClickSaveImagesinthelowerleftcorner.

3.IntheSaveOptionsdialogbox,dothefollowing:

•ChooseSaveInSameLocationfromtheDestinationmenu.

•IntheFileNamingarea,leave“DocumentName”inthefirstbox.

•ChooseJPEGfromtheFormatmenu,andsettheQualityleveltoHigh(8–9).

•IntheImageSizingarea,selectResizeToFit,andthenchooseLongSidefromtheResizeToFitmenu.

•Enter640pixelstodesignatethedimensionofthelongside,whetherit’saportraitorlandscapeimage.(Thedimensionoftheshortsidewillautomaticallybeadjustedproportionally.)

•Type72pixels/inchfortheResolutionvalue.

Thesesettingswillsaveyourcorrectedimagesassmaller,downsampledJPEGfiles,whichyoucansharewithcolleaguesontheweb.They’llberesizedsothatmostviewerswon’tneedtoscrolltoseetheentireimagewhenitopens.YourfileswillbenamedMission01.jpg,Mission02.jpg,andMission03.jpg.

4.ClickSave.

BridgereturnsyoutotheCameraRawdialogbox,andindicateshowmanyimageshavebeenprocesseduntilalltheimageshavebeensaved.TheCRWthumbnailsstillappearintheCameraRawdialogbox.InBridge,however,younowalsohaveJPEGversionsaswellastheoriginalCRWimagefiles,whichyoucancontinuetoeditorleaveforanothertime.

Now,you’llopenacopyoftheMission01imageinPhotoshop.

5.SelecttheMission01.crwimagethumbnailinthefilmstripintheCameraRawdialogbox.ThenpresstheShiftkey,andclickOpenObjectatthebottomofthedialogbox.

TheOpenObjectbuttonopenstheimageasaSmartObjectinPhotoshop;youcandouble-clicktheSmartObjectthumbnailintheLayerspaneltoreturntoCameraRawtocontinuemakingadjustmentsatanytime.

TomaketheOpenObjectbuttonthedefault,clicktheworkflowoptionslink(inblue)belowthepreviewwindowintheCameraRawdialogbox,selectOpenInPhotoshopAsSmartObjects,andclickOK.

If,instead,youhadclickedOpenImage,theimagewouldopenasastandardPhotoshopimage.PressingtheShiftkeychangestheOpenImagebuttontotheOpenObjectbutton.

6.InPhotoshop,chooseFile>SaveAs.IntheSaveAsdialogbox,choosePhotoshopfortheformat,renamethefileMission_Final.psd,navigatetotheLesson12folder,andclickSave.ClickOKifthePhotoshopFormatOptionsdialogboxappears.Thenclosethefile.

AboutsavingfilesinCameraRaw

Everycameramodelsavesrawimagesinauniqueformat,butAdobeCameraRawcanprocessmanyrawfileformats.CameraRawprocessestherawfileswithdefaultimagesettingsbasedonbuilt-incameraprofilesforsupportedcamerasandtheEXIFdata.

YoucansavetheproprietaryfilesinDNGformat(theformatsavedbyAdobeCameraRaw),JPEG,TIFF,andPSD.AlloftheseformatscanbeusedtosaveRGBandCMYKcontinuous-tone,bitmappedimages,andallofthemexceptDNGarealsoavailableinthePhotoshopSaveandSaveAsdialogboxes.

•TheDNG(AdobeDigitalNegative)formatcontainsrawimagedatafromadigitalcameraandmetadatathatdefineswhattheimagedatameans.DNGismeanttobeanindustry-widestandardformatforrawimagedata,helpingphotographersmanagethevarietyofproprietaryrawformatsandprovidingacompatiblearchivalformat.(YoucansavethisformatonlyfromtheCameraRawdialogbox.)

•TheJPEG(JointPhotographicExpertsGroup)fileformatiscommonlyusedtodisplayphotographsandothercontinuous-toneRGBimagesontheweb.Higher-resolutionJPEGfilesmaybeusedforotherpurposes,includinghighqualityprinting.JPEGformatretainsallcolorinformationinanimage,butcompressesfilesizebyselectivelydiscardingdata.Thegreaterthecompression,thelowertheimagequality.

•TIFF(TaggedImageFileFormat)isusedtoexchangefilesbetweenapplicationsandcomputerplatforms.TIFFisaflexibleformatsupportedbyvirtuallyallpaint,image-editing,andpagelayoutapplications.Also,virtuallyalldesktopscannerscanproduceTIFFimages.

•PSDformatisthePhotoshopnativefileformat.BecauseofthetightintegrationbetweenAdobeproducts,otherAdobeapplicationssuchasAdobeIllustratorandAdobeInDesigncandirectlyimportPSDfilesandpreservemanyPhotoshopfeatures.

OnceyouopenafileinPhotoshop,youcansaveitinmanydifferentformats,includingLargeDocumentFormat(PSB),Cineon,PhotoshopRaw,orPNG.Nottobeconfusedwithcamerarawfileformats,thePhotoshopRawformat(RAW)isafileformatfortransferringimagesbetweenapplicationsandcomputerplatforms.

FormoreinformationaboutfileformatsinCameraRawandPhotoshop,seePhotoshopHelp.

ApplyingadvancedcolorcorrectionYou’lluseLevels,theHealingBrushtool,andotherPhotoshopfeaturestoenhancetheimageofthismodel.

AdjustthewhitebalanceinCameraRawTheoriginalimageofthebridehasaslightcolorcast.You’llstartyourcolorcorrectionsinCameraRaw,settingthewhitebalanceandadjustingtheoveralltoneoftheimage.

1.InBridge,navigatetotheLesson12folder.Selectthe12B_Start.neffile,andchooseFile>OpenInCameraRaw.

InadditiontoopeningfilesinCameraRawwhenyoustarttheeditingprocess,youcanapplyCameraRawsettingsasafiltertoanimagelayerinPhotoshop.ChooseFilter>CameraRawFilter,adjustthesettings,andclickOK.

2.InCameraRaw,selecttheWhiteBalancetool( ),andthenclickawhiteareainthemodel’sdresstoadjustthetemperatureandremoveagreencolorcast.

3.AdjustotherslidersintheBasicpaneltobrightenandintensifytheimage:

•IncreaseExposureto0.30.

•IncreaseContrastto15.

•IncreaseClarityto+8.

4.PresstheShiftkey,andclickOpenObject.

TheimageopensinPhotoshopasaSmartObject.

AdjustinglevelsThetonalrangeofanimagerepresentstheamountofcontrast,ordetail,intheimageandisdeterminedbytheimage’sdistributionofpixels,rangingfromthedarkestpixels(black)tothelightestpixels(white).You’lluseaLevelsadjustmentlayertofine-tunethetonalrangeinthisimage.

1.InPhotoshop,chooseFile>SaveAs.NamethefileModel_final.psd,andclickSave.ClickOKifyouseethePhotoshopFormatOptionsdialogbox.

2.ClicktheLevelsbuttonintheAdjustmentspanel.

PhotoshopaddsaLevelsadjustmentlayertotheLayerspanel.TheLevelscontrolsanda

histogramappearinthePropertiespanel.Thehistogramdisplaystherangeofdarkandlightvaluesintheimage.Theleft(black)trianglerepresentstheshadows;theright(white)trianglerepresentsthehighlights;andthemiddle(gray)trianglerepresentsthemidtones,orgamma.Unlessyou’reaimingforaspecialeffect,theidealhistogramhasitsblackpointatthebeginningofthedataanditswhitepointattheendofthedata,andthemiddleportionhasfairlyuniformpeaksandvalleys,representingadequatepixeldatainthemidtones.

3.ClicktheCalculateAMoreAccurateHistogrambutton( )ontheleftsideofthehistogram.Photoshopreplacesthehistogram.

Thereisasmallbumponthefarrightsideofthehistogram,representingthecurrentwhitepoint,butthebulkofthedataendsfurthertotheleft.Youwanttosetthewhitepointtomatchtheendofthatdata.

4.Dragtheright(white)triangletowardthelefttothepointwherethehistogramindicatesthelightestcolorsbegin.

Prophotoworkflow

Aphotographerformorethan25years,JayGrahambeganhiscareerdesigningandbuildingcustomhomes.Today,Grahamhasclientsintheadvertising,architectural,editorial,andtravelindustries.

SeeJayGraham’sportfolioonthewebatjaygraham.com.

Goodhabitsmakeallthedifference

Asensibleworkflowandgoodworkhabitswillkeepyouenthusedaboutdigitalphotography,helpyourimagesshine—andsaveyoufromthenightterrorsoflosingworkyouneverbackedup.Here’sanoutlineofthebasic

workflowfordigitalimagesfromaprofessionalphotographerwithmorethan25years’experience.Tohelpyougetthemostfromtheimagesyoushoot,JayGrahamoffersguidelinesforsettingupyourcamera,creatingabasiccolorworkflow,selectingfileformats,organizingimages,andshowingoffyourwork.

GrahamusesAdobePhotoshopLightroom®toorganizethousandsofimages.

“Thebiggestcomplaintfrompeopleisthey’velosttheirimage.Whereisit?Whatdoesitlooklike?”saysGraham.“Sonamingisimportant.”

Startoutrightbysettingupyourcamerapreferences

Ifyourcamerahastheoption,it’sgenerallybesttoshootinitscamerarawfileformat,whichcapturesalltheimageinformationyouneed.Withonecamerarawphoto,saysGraham,“youcangofromdaylighttoanindoortungstenimagewithoutdegradation”whenit’sreproduced.IfitmakesmoresensetoshootinJPEGforyourproject,usefinecompressionandhighresolution.

Startwiththebestmaterial

Getallthedatawhenyoucapture—atfinecompressionandhighresolution.Youcan’tgobacklater.

Organizeyourfiles

Nameandcatalogueyourimagesassoonafterdownloadingthemaspossible.“Ifthecameranamesfiles,eventuallyitresetsandproducesmultiplefileswiththesamename,”saysGraham.UseAdobePhotoshopLightroomto

rename,rank,andaddmetadatatothephotosyouplantokeep;cullthoseyoudon’t.

Grahamnameshisfilesbydate(andpossiblysubject).HewouldstoreaseriesofphotostakenDec.12,2013atStinsonBeachinafoldernamed“20131212_Stinson_01”;withinthefolder,henameseachimageincrementally,andeachimagehasauniquefilename.“Thatway,itlinesupontheharddriverealeasily,”hesays.FollowWindowsnamingconventionstokeepfilenamesusableonnon-Macintoshplatforms(32charactersmaximum;onlynumbers,letters,underscores,andhyphens).

ConvertrawimagestoDNG

ItmaybebesttoconvertallyourcamerarawimagestotheDNGformat.Unlikemanycameras’proprietaryrawformats,thespecificationsforthisformatarepubliclyavailablesothatsoftwaredevelopersanddevicemakerscanmoreeasilysupportit.

Keepamasterimage

SaveyourmasterinPSD,TIFF,orDNGformat,notJPEG.EachtimeaJPEGisre-editedandsaved,compressionisreapplied,andtheimagequalitydegrades.

Showofftoclientsandfriends

Whenyouprepareyourworkfordelivery,choosetheappropriatecolorfileforthedestination.Converttheimagetothatprofile,ratherthanassigningtheprofile.sRGBisgenerallybestforviewingelectronicallyorforprintingfrommostonlineprintingservices.Adobe1998orColormatcharethebestprofilestouseforRGBimagesdestinedfortraditionallyprintedmaterialssuchasbrochures.Adobe1998orProPhotoRGBarebestforprintingwithinkjetprinters.Use72dpiforelectronicviewingand180dpiorhigherforprinting.

Backupyourimages

You’vedevotedalotoftimeandefforttoyourimages:don’tlosethem.BecausethelifespanofCDsandDVDsisuncertain,it’sbesttobackuptoanexternalharddrive(ordrives!),ideallysettobackupautomatically.“Thequestionisnotifyour[internal]harddriveisgoingtocrash,”saysGraham,recitingacommonadage.“It’swhen.”

Asyoudrag,thethirdInputLevelsvalue(beneaththehistogramgraph)changes,andsodoestheimageitself.

5.Pullthemiddle(gray)trianglealittlebittotherighttoslightlydarkenthemidtones.Wemovedittoavalueof.90.

EditingthesaturationinCameraRawTheLevelsadjustmentshelpedsignificantly,butourbridelooksalittlesunburned.You’lladjustthesaturationinCameraRawtoevenoutherskintone.

1.Double-clickthe12B_StartlayerthumbnailtoopentheSmartObjectinCameraRaw.

2.ClicktheHSL/Grayscalebutton( )todisplaythatpanel.

3.ClicktheSaturationtab.

4.Movethefollowingsliderstoreducetheamountofredintheskin:

•ReduceRedsto-2.

•ReduceOrangesto-10.

•ReduceMagentasto-3.

5.ClickOKtoreturntoPhotoshop.

UsingthehealingbrushtoolstoremoveblemishesNowyou’rereadytogivethemodel’sfacesomefocusedattention.You’llusetheHealingBrushandSpotHealingBrushtoolstohealblemishes,smooththeskin,removeredveinsfromtheeyes,andevenhidethenosejewelry.

1.IntheLayerspanel,selectthe12B_Startlayer.Then,chooseDuplicateLayerfromtheLayerspanelmenu.

2.NamethenewlayerCorrections,andclickOK.

Workingonaduplicatelayerpreservestheoriginalpixelssoyoucanmakechangeslater.Youcan’tmakechangesusingthehealingbrushtoolsonaSmartObject,sofirstyou’llrasterizethelayer.

3.ChooseLayer>SmartObjects>Rasterize.

4.Zoominonthemodel’sfacesothatyoucanseeitclearly.

5.SelecttheSpotHealingBrushtool( ).

6.Intheoptionsbar,selectthefollowingsettings:

•Brushsize:35px

•Mode:Normal

•Type:Content-Aware

7.WiththeSpotHealingBrushtool,brushoutthenosejewelry.Asingleclickmaybeenough.

Becauseyou’veselectedContent-Awareintheoptionsbar,theSpotHealingBrushtoolreplacesthenosestudwithskinthatissimilartothataroundit.

8.Paintoverfinelinesaroundtheeyesandmouth.Youcanalsobrushawayfrecklesandmolesonherface,neck,arms,andchest.Experimentwithsimplyclicking,usingveryshortstrokes,andcreatinglongerbrushstrokes.Youcanalsoexperimentwithdifferentsettings.Forexample,tosoftenthelinesaroundthemouth,weselectedProximityMatchintheoptionsbarandtheLightenblendingmode.Removeobtrusiveordistractinglinesandblemishes,butleaveenoughthatthefaceretainsitscharacter.

TheHealingBrushtoolmaybeabetteroptionforlargerblemishes.WiththeHealingBrushtool,youhavemorecontroloverthepixelsPhotoshopsamples.

9.SelecttheHealingBrushtool( ),hiddenundertheSpotHealingBrushtool( ).Selectabrushwithasizeof45pixelsandahardnessof100%.

10.Alt-click(Windows)orOption-click(MacOS)anareaonhercheektocreatethesamplingsource.

11.Brushoverthelargemoleonhercheektoreplaceitwiththecoloryousampled.You’llsmoothoutthetexturelater.

12.UsetheHealingBrushtooltohealanylargerblemishesthatremain.

EnhancinganimageusingtheDodgeandSpongetoolsYou’llusetheSpongeandDodgetoolstobrightentheeyesandlips.

1.SelecttheSpongetool( ),hiddenundertheDodgetool( ).Intheoptionsbar,makesureVibranceisselected,andthenselectthefollowingsettings:

•Brushsize:35px

•Brushhardness:0%

•Mode:Saturate

•Flow:50%

2.MovetheSpongetoolovertheirisesintheeyestoincreasetheirsaturation.

3.Changethebrushsizeto70pxandtheflowto10%.ThenbrushtheSpongetooloverthelipstosaturatethem.

YoucanusetheSpongetooltodesaturatecolor,too.You’llreducetheredinthecorneroftheeye.

4.Changethebrushsizeto45px,andtheflowto50%.ThenchooseDesaturatefromtheModemenuintheoptionsbar.

5.Brushoverthecorneroftheeyetoreducethered.

6.SelecttheDodgetool( ),hiddenbeneaththeSpongetool.

7.Intheoptionsbar,changethebrushsizeto60pxandtheExposureto10%.ChooseHighlightsfromtheRangemenu.

8.BrushtheDodgetoolovertheeyes—thewhitesandtheirises—tobrightenthem.

9.WiththeDodgetoolstillselected,selectShadowsfromtheRangemenuintheoptionsbar.

10.UsetheDodgetooltolightentheshadowareaabovetheeyesandtheareasaroundtheirisestobringoutthecolor.

AdjustingskintonesInPhotoshop,youcanselectacolorrangethattargetsskintonessothatit’seasiertoadjustthelevelsandcolortoneofskinwithoutaffectingtheentireimage.Theskintonecolorrangeselectsotherareasoftheimagewithasimilarcolor,butifyou’remakingslightadjustments,thisisusuallyacceptable.

1.ChooseSelect>ColorRange.

2.IntheColorRangedialogbox,chooseSkinTonesfromtheSelectmenu.

Thepreviewshowsthatmuchoftheimagehasbeenselected.

3.SelectDetectFaces.

Thepreviewintheselectionchanges.Nowtheface,hairhighlights,andlighterareasofthedressareselected.

4.DecreasetheFuzzinesssliderto10torefinetheselection.ThenclickOK.

Theselectionappearsontheimageitselfasanimateddottedlines(sometimescalledmarchingants).You’llapplyaCurvesadjustmentlayertotheselectiontoreducetheoverallredintheskintoneoftheimage.

5.ClicktheCurvesiconintheAdjustmentspanel.

PhotoshopaddsaCurvesadjustmentlayerabovetheCorrectionslayer.

6.ChooseRedfromthecolorchannelmenuinthePropertiespanel.Thenclickinthemiddleofthegraph,andpullthecurvedownveryslightly.Theselectedareas

becomelessred.Becarefulnottopullthecurvedowntoofar,oragreencastwillappear.Youcanseethedifferenceyou’vemadebyclickingtheToggleLayerVisibilitybutton.

BecauseyouselectedtheskintonesbeforeapplyingtheCurvesadjustmentlayer,theskincolorshiftsbutthebackgroundisunchanged.Theadjustmentaffectsslightlymoreoftheimagethantheskinitself,buttheeffectblendswellandissubtle.

ApplyingsurfaceblurYou’realmostdonewiththemodel.Asafinishingtouch,you’llapplytheSurfaceBlurfiltertogiveherasmoothappearance.

1.SelecttheCorrectionslayer,andchooseLayer>DuplicateLayer.NamethelayerSurfaceBlur,andclickOKintheDuplicateLayerdialogbox.

2.WiththeSurfaceBlurlayerselected,chooseFilter>Blur>SurfaceBlur.

3.IntheSurfaceBlurdialogbox,leavetheRadiusat5pixels,andmovetheThresholdto10levels.ThenclickOK.

TheSurfaceBlurfilterhasleftthemodellookingalittleglassy.You’llreduceitseffectbyreducingtheopacityoftheblur.

4.WiththeSurfaceBlurlayerselected,changetheOpacityto40%intheLayerspanel.

Shelooksmorerealisticnow,butyoucantargetthesurfaceblurmorepreciselyusingtheErasertool.

5.SelecttheErasertool( ).Intheoptionsbar,selectabrushbetween10and50pixels,with10%hardness.Settheopacityto90%.

6.Brushovertheeyes,eyebrows,thedefininglinesofthenose,andthedetailinthedress.You’reerasingpartoftheblurredlayertoletthesharperlayerbelowshowthroughintheseareas.

7.Zoomoutsoyoucanseetheentireimage.

8.Saveyourwork.

9.ChooseLayer>FlattenImagetoflattenthelayersandreducetheimagesize.

10.Savetheimageagain,andthencloseit.

You’vetakenadvantageoffeaturesinbothCameraRawandPhotoshoptohelpthisbridelookherbest.Asyou’veseen,youcanmovebetweenPhotoshopandCameraRawtoperformdifferenttasksasyouenhanceandimproveanimage.

AboutHDRandpanoramasinCameraRaw

WhenyouselectmorethanoneimageinCameraRaw,youcanchooseMergetoHDRorMergetoPanoramafromtheFilmstripmenu.HDR(highdynamicrange)requiresdarkerandlighterexposuresofthesamecomposition,whileapanoramarequiresmultipleexposuresthatmakeupalargerscene.PhotoshopalsohasHDRorpanoramafeatures,butthenewerprocessinCameraRawissimpler,providesapreview,canprocessinthebackground,andproducesaDNGfilethatyoucaneditinCameraRawwiththeflexibilityofarawformatimage.

Extracredit

PaintingwithLight:UsingCameraRawasaFilter

InadditiontoopeningfilesinCameraRawtostarttheeditingprocess,youcanapplyCameraRawsettingsasafiltertoanyfileinPhotoshop.You’lluseCameraRawasafiltertomakeadjustmentstothisstill-lifeimage.First,you’llconverttheimagetoaSmartObjectsoyoucanuseCameraRawasaSmartFilter,applyingchangeswithoutaffectingtheoriginalfile.

1.InPhotoshop,chooseFile>Open.NavigatetotheLessons/Lesson12folder,anddouble-clicktheFruit.jpgfiletoopenit.

2.ChooseFilter>ConvertforSmartFilters.ClickOKintheinformationaldialogbox.

3.ChooseFilter>CameraRawFilter.TheimageopensinCameraRaw.

YouconvertedtheimagetoaSmartObjectsoyoucanapplyCameraRawasaSmartFilter.YoucanalsoapplyCameraRawasastandardfilter,butthenyoucan’treturntoadjustyoursettingsorhidetheadjustmentsinyourimagefile.

4.SelecttheAdjustmentBrushinthetoolbar.

WiththeAdjustmentBrushtoolinCameraRaw,youcanapplyExposure,Brightness,Clarity,andotheradjustmentstospecificareasofaphotobypaintingthemdirectlyontothoseareas.TheGraduatedFiltertoolissimilar,

butitappliesthesametypesofadjustmentsgraduallyacrossaregionofthephotothatyoudefine.

5.IntheAdjustmentBrushpanel,changeExposureto+1.50.Then,atthebottomofthepanel,changeSizeto8andFeatherto85.

6.Brushthefruitwhereyouwanttoincreasetheexposure,whichrevealsmoreofthecolor.Continuebrushinguntilthefruitistoobright.

7.Onceyou’vebrushedallthefruit,reducetheExposuresettingintheAdjustmentBrushpanelsotheimagelooksmorerealistic.

8.ToseehowyourchangeshaveaffectedtheimageinCameraRaw,clicktheBefore/AfterViewsbuttonatthebottomoftheimagewindow,andchooseBefore/AfterLeft/Rightfromthepop-upmenu.

9.Whenyou’resatisfiedwiththechanges,clickOK.

Photoshopdisplaystheimage.IntheLayerspanel,theCameraRawfilterislistedbeneaththelayername.YoucantogglethevisibilityiconfortheCameraRawfiltertoseetheimagebeforeandaftertheadjustment.

Reviewquestions1.WhathappenstocamerarawimageswhenyouedittheminCameraRaw?

2.WhatistheadvantageoftheAdobeDigitalNegative(DNG)fileformat?

3.HowcanyouapplythesamesettingstomultipleimagesinCameraRaw?

4.HowcanyouapplyCameraRawasafilter?

Reviewanswers1.Acamerarawfilecontainsunprocessedpicturedatafromadigitalcamera’simagesensor.Camerarawfilesgivephotographerscontroloverinterpretingtheimagedata,ratherthanlettingthecameramaketheadjustmentsandconversions.WhenyouedittheimageinCameraRaw,itpreservestheoriginalrawfiledata.Thisway,youcanedittheimageasyoudesire,exportit,andkeeptheoriginalintactforfutureuseorotheradjustments.

2.TheAdobeDigitalNegative(DNG)fileformatcontainstherawimagedatafromadigitalcameraaswellasmetadatathatdefineswhattheimagedatameans.DNGisanindustry-widestandardforcamerarawimagedatathathelpsphotographersmanageproprietarycamerarawfileformatsandprovidesacompatiblearchivalformat.

3.ToapplythesamesettingstomultipleimagesinCameraRaw,selecttheimagesinthefilmstrip,clicktheFilmstripmenubutton,andchooseSyncSettings.Thenselectthesettingsyouwanttoapply,andclickOK.

4.ToapplyCameraRawasafilter,chooseFilter>CameraRawFilterinPhotoshop.MakethechangesyouwanttomakeinCameraRaw,andthenclickOK.Ifyouwanttobeabletoeditthechangeslater,applyCameraRawasaSmartFilter.

13.PreparingFilesfortheWeb

Lessonoverview

•Createandstylizeabuttonforawebsite.

•Uselayergroups.

•Optimizeimagesforthewebandmakegoodcompressionchoices.

•Recordanactiontoautomateaseriesofsteps.

•Playanactiontoaffectmultipleimages.

•SaveassetsusingAdobeGenerator.

•EvaluateassetsandrevisethemwithGenerator.

•DesignformultiplescreensizeswithmultipleartboardsandtestthemwithAdobePreviewCC.

PROJECT:MUSEUMWEBSITE

Often,youneedtocreateseparateimagesforbuttonsorotherobjectsinawebsite.AdobeGenerator,builtintoPhotoshop,makesiteasytosavelayers,layergroups,and

artboardsasseparateimagefiles.

GettingstartedInthislesson,youwillbuildbuttonsforthehomepageofaSpanishartmuseum’swebsite,andthengenerateappropriategraphicsfilesforeachbutton.You’lluselayergroupstoassemblethebuttons,andthencreateactionstoprepareasetofimagesforuseasasecondgroupofbuttons.First,you’llviewthefinalwebdesign.

5.Viewthe13End.psdfileinBridge.

Thereareeightbuttonsatthebottomofthepage,arrangedintworows.You’lltransformimagesintobuttonsforthetoprow,anduseanactiontopreparethebuttonsforthesecondrow.

6.Double-clickthe13Start.psdthumbnailtoopenthefileinPhotoshop.ClickOKifyouseetheMissingProfiledialogbox.

7.ChooseFile>SaveAs,andrenamethefile13Working.psd.ClickOKinthePhotoshopFormatOptionsdialogbox.

UsinglayergroupstocreatebuttongraphicsLayergroupsmakeiteasiertoorganizeandworkwithlayersincompleximages,especiallywhentherearesetsoflayersthatworktogether.You’lluselayergroupstoassemblethelayersthatmakeupeachbutton,andthey’llcomeinhandywhenyousaveassetsusingAdobeGeneratorlater.

Fourimageshavebeenarrangedinthestartfiletoserveasthebasisforbuttons.You’lladdalabeltoeach,identifyingthegalleryitrepresents,andthenaddadropshadowandastroke.

CreatingthefirstbuttonYou’lldesignthefirstbutton,andthenduplicatelayersandeditthemtoquicklyapplythesametreatmenttotheotherthree.First,you’llchangetheunitsofmeasurementtopixels.

1.ChooseEdit>Preferences>Units&Rulers(Windows)orPhotoshopCC>Preferences>Units&Rulers(MacOS).IntheUnitsareaofthedialogbox,choosePixelsfromtheRulersmenu,andthenclickOK.

2.ChooseView>Snaptoturnoffsnapping.(AcheckmarkappearsnexttoSnapwhenit’senabled.)

3.ChooseWindow>InfotoopentheInfopanel.

TheInfopaneldisplaysinformationdynamicallyasyoumovethepointerormakeselections.Whichinformationitdisplaysdependsonthetoolthatisselected.You’lluseittodeterminethepositionoftherulerguide(basedontheYcoordinate)andthesizeofanareayouselect(basedonthewidthandheight).It’salsoveryhandyforseeingtheRGBandCMYKvaluesofcolorsinanimage.

4.ChooseView>Rulers.ThendragarulerguidedownuntiltheYvaluereportedintheInfopanelis795pixels.

You’llusethisguidetodrawabandacrossthebottomoftheimageforthelabel.

5.Zoominonthefirstimage,theimageoftheman.ThenselectImage1intheLayerspanel.

You’llusethisimagetodesignthefirstbutton.

6.ClicktheNewLayerbutton( )atthebottomoftheLayerspanel.ThenewlayerisnamedLayer13andappearsdirectlyabovetheImage1layer.Renameitband.

7.SelecttheRectangularMarqueetool( )intheToolspanel.Then,dragaselectionacrossthebottomoftheimage,asindicatedbytheguides.Theselectionshouldbe180pixelswideand32pixelshigh.

8.ChooseEdit>Fill.IntheFilldialogbox,chooseColorfromtheContentsmenu,andthen,intheColorPicker,selectadarkblue(R=25,G=72,B=121).ClickOKtoapplythefill.

Adarkbluebandappearsatthebottomoftheimage,whereyoumadeyourselection.You’lladdtexttoitnext.

10.SelecttheHorizontalTypetool,andselectthefollowingsettingsintheoptionsbar:

•FontFamily:MyriadPro

•FontSize:18pt

•Anti-aliasing:Strong

•Alignment:Center

•Color:White

11.Clickinthecenteroftheblueband,andtypeGALLERYONE.UsetheMovetooltoadjustthepositionofthetypelayerifnecessary.

Thelabelisinplace.Nowyou’lladdadropshadowandstroketoimprovetheappearanceofthebutton.

12.SelecttheImage1layerintheLayerspanel.Then,clicktheAddLayerStylebutton( )atthebottomoftheLayerspanel,andchooseDropShadow.

13.IntheLayerStyledialogbox,changethefollowingsettingsintheStructurearea:

•Opacity:27%

•Distance:9px

•Spread:19%

•Size:18px

14.WiththeLayerStyledialogboxstillopen,selectStrokeontheleft,andapplythefollowingsettings:

•Size:1px

•Position:Inside

•Color:ClickthecolorswatchtoopentheColorPicker.Thenclickthebluebandtosampleitscolor,andclickOKtoselectit.

BesuretoclickthewordStroke.Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.

Thebuttonlooksgood.Nowyou’llassembleallofitslayersintoasinglegroup.

16.SelecttheGALLERYONE,band,andImage1layersintheLayerspanel,andchooseLayer>GroupLayers.

PhotoshopcreatesagroupnamedGroup1.

17.Double-clicktheGroup1layergroup,andrenameitGallery1.Thenexpandthegroup.Thelayersyouselectedareindented,indicatingthey’repartofthatgroup.

18.ChooseFile>Save.

DuplicatingbuttonsYou’vedesignedtheinitialbutton.Youcouldgothroughallthosestepsagaintocreateeachoftheotherbuttons,butitwillbefastertoduplicatelayersorevenlayergroups,andtheneditthemasnecessary.

1.ClicktheCreateANewGroupbuttonatthebottomoftheLayerspanel.NamethegroupGallery2.

2.DragImage2intotheGallery2layergroup,andthenpressAltorOptionasyoudragtheEffectslineorthe symbolfromImage1toImage2.

ThedropshadowandstrokeyouappliedtoImage1areappliedtobothimagesnow.

3.Selectthebandlayer,andchooseDuplicateLayerfromtheLayerspanelmenu.Nameitband2,anddragitintotheGallery2layergroupabovetheImage2layer.

4.SelecttheMovetool,andthen,intheimagewindow,dragtheduplicatebandlayerfromthefirstimagetothesecondone.

YoucanalsoduplicatelayersbydraggingalayerdowntotheNewLayericonintheLayerspanel.

5.SelecttheGALLERYONElayer,andchooseDuplicateLayerfromtheLayers

panelmenu.NametheduplicatelayerGALLERYTWO,anddragitintotheGallery2layergroupabovetheband2layer.

6.UsetheMovetooltodragtheduplicatetypefromthefirstimagetothebandonthesecondimage.ThenselecttheHorizontalTypetool,andchangethetypetoGALLERYTWO.

PresstheShiftkeyasyoumovethetypetodragitinastraightline.

Thesecondbuttonisdone.You’llcreatethethirdbuttonbyduplicatingtheentirelayergroupandmakingthenecessarychanges.

7.SelecttheGallery2layergroup,andchooseDuplicateGroupfromtheLayerspanelmenu.RenamethegroupGallery3.

8.DeletetheImage2layerintheGallery3layergroup,andthendragImage3intothegroup,belowtheband2layer.

9.PressAltorOptionasyoudragthelayereffectsfromtheImage2layer(intheGallery2group)ontotheImage3layertocopythem.

10.IntheGallery3group,renametheband2layerband3,andselectit.Then,intheimagewindow,dragthebluebandfromthesecondimagetothethirdimage.

11.RenamethetypelayerintheGallery3groupGALLERYTHREE.Thenselectthelayer,anddragtheduplicatetypefromthesecondimagetothebluebandonthethirdimage.Finally,selecttheHorizontalTypetool,andchangethetypetoGALLERYTHREE.

12.Repeatsteps1-6orsteps7-11tocopythedesignelementsforthefourthbutton.

13.Savethefile,andthencloseit.

AutomatingamultisteptaskAnactionisasetofoneormorecommandsthatyourecordandthenplaybacktoapplytoasinglefileorabatchoffiles.Inthisexercise,you’llcreateanactiontoprepareasetofimagestoserveasbuttonsforadditionalgalleriesonthewebpageyou’redesigning.

Youcancreateconditionalactionsthatchangetheirbehaviorbasedoncriteriayoudefine.

RecordinganactionYou’llstartbyrecordinganactionthatresizesanimage,changesitscanvassize,andaddslayerstyles,sothattheadditionalbuttonsmatchtheonesyou’vealreadycreated.YouusetheActionspaneltorecord,play,edit,anddeleteindividualactions.YoualsousetheActionspaneltosaveandloadactionfiles.

TherearefourimagesintheButtonsfolderthatwillserveasthebasisfornewgallerybuttonsonyourwebsite.Theimagesarelarge,sothefirstthingyou’llneedtodoisresizethemtomatchtheexistingbuttons.You’llperformeachofthestepsontheGallery5.jpgfileasyourecordtheaction.You’llthenplaytheactiontomakethesamechangesontheotherimagesinthefolderautomatically.

1.ChooseFile>Open,andnavigatetotheLesson13/Buttonsfolder.Double-clicktheGallery5.jpgfiletoopenitinPhotoshop.

2.ChooseWindow>ActionstoopentheActionspanel.ClosetheDefaultActionsfoldertokeeptheActionspaneltidy.

3.ClicktheCreateNewSetbutton( )atthebottomoftheActionspanel.IntheNewSetdialogbox,namethesetButtons.

Photoshopcomeswithseveralprerecordedactions,allintheDefaultActionsset.Youcanuseactionssetstoorganizeyouractionssothatit’seasiertofindtheoneyouwant.

4.ClicktheCreateNewActionbutton( )atthebottomoftheActionspanel.NametheactionResizingandStylingImages,andclickRecord.

It’sagoodideatonameactionsinawaythatmakesitclearwhattheactionsdosoyoucanfindthemeasilylater.

Don’tletthefactthatyou’rerecordingrushyou.Takeallthetimeyouneedtodotheprocedureaccurately.Thespeedatwhichyouworkhasnoeffectontheamountoftimerequiredtoplayarecordedaction.

You’llstartbyresizingandsharpeningtheimage.

5.ChooseImage>ImageSize.ChoosePixelsfromtheUnitsmenufortheWidth,andthenchangetheWidthto180.Bydefault,theWidthandHeightvaluesarelinked.ConfirmthattheHeightchangesto180pixels,too.ThenclickOK.

6.ChooseFilter>Sharpen>SmartSharpen,applythefollowingsettings,andclickOK:

•Amount:100%

•Radius:1px

Youneedtomakesomeadditionalchangestotheimagethatyoucan’tmakeaslongastheBackgroundlayerislocked.You’llconvertittoaregularlayer.

7.Double-clicktheBackgroundlayernameintheLayerspanel.IntheNewLayerdialogbox,namethelayerButton,andclickOK.

WhenyourenameaBackgroundlayer,you’reconvertingittoaregularlayer,soPhotoshopdisplaystheNewLayerdialogbox.ButthenewlayerreplacestheBackgroundlayer;Photoshopdoesn’taddalayertotheimage.

Nowthatyou’veconvertedtheBackgroundlayer,youcanchangethecanvassizeandaddlayerstyles.

8.ChooseImage>CanvasSize,anddothefollowing:

•Makesurethecanvasismeasuredinpixels.

•ChangetheWidthto220pixelsandtheHeightto220pixels.

•Clickthecentersquareintheanchorareatoensurethecanvasisextendedevenlyonallsides.

•ClickOK.

9.ChooseLayer>LayerStyle>DropShadow.

10.IntheLayerStyledialogbox,applythefollowingsettings:

•Opacity:27%

•Angle:120°

•Distance:9px

•Spread:19%

•Size:18px

11.WiththeLayerStyledialogboxstillopen,selectStrokeontheleft,andapplythefollowingsettings:

•Size:1px

•Position:Inside

•Color:ClickthecolorswatchtoopentheColorPicker.Thenclickthebluebandtosampleitscolor,andclickOKtoselectit.

BesuretoclickthewordStroke.Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.

13.ChooseFile>SaveAs,choosePhotoshopfortheFormat,andclickSave.Thenclosethefile.

14.ClicktheStopRecordingbuttonatthebottomoftheActionspanel.

Theactionyoujustrecorded(ResizingandStylingImages)isnowsavedintheButtonssetintheActionspanel.Clickthearrowstoexpanddifferentsetsofsteps.Youcanexamineeachrecordedstepandthespecificselectionsyoumade.

Batch-playinganactionApplyingactionsisatimesavingprocessforperformingroutinetasksonfiles,butyoucanstreamlineyourworkevenfurtherbyapplyingactionstomultiplefilesatonce.You’llapplytheactionyou’vecreatedtothethreeremainingimages.

1.ChooseFile>Open,andnavigatetotheLesson13/Buttonsfolder.Shift-selecttheGallery6.jpg,Gallery7.jpg,andGallery8.jpgfiles,andclickOpen.

2.ChooseFile>Automate>Batch.

3.IntheBatchdialogbox,dothefollowing:

•ConfirmthatButtonsischosenintheSetmenuandResizingandStylingImages

—theactionyoujustcreated—ischosenintheActionmenu.

•ChooseOpenedFilesfromtheSourcemenu.

•MakesureNoneischosenfortheDestination.

•ClickOK.

Photoshopplaystheaction,applyingitsstepstoallthefilesthatareopen.Youcanalsoapplyanactiontoanentirefolderofimageswithoutopeningthem.

Becauseyousavedthefileandcloseditwhileyouwererecordingtheaction,PhotoshopsaveseachoftheimagesasaPSDfileinitsoriginalfolder,andthenclosesthefile.

PlacingfilesinPhotoshopThefouradditionalbuttonimagesarereadytobeplacedintothedesign.Youprobablynoticedthateachalreadyhasabluebandwithitsgallerynameincludedintheimage,soyoudon’tneedtoperformthosesteps.They’rereadytogo.

1.ChooseFile>Open,navigatetotheLesson13folder,anddouble-clickthe13Working.psdfiletoopenitinPhotoshop.

2.IntheLayerspanel,selectalayergroupnameorthelogolayer.Newlayersareaddedabovetheselectedlayer;don’taddthemtotheGallery4layergroup.

3.ChooseFile>PlaceEmbedded.

You’llplacethesefilesasembeddedSmartObjects.Becausethey’reembedded,theentireimageisincludedinthePhotoshopfile.

4.InthePlaceEmbeddeddialogbox,navigatetotheLesson13/Buttonsfolder,anddouble-clicktheGallery5.psdfile.

PhotoshopplacestheGallery5.psdfileinthecenterofthe13Working.psdfile.Butthat’snotwhereyouwantittogo.You’llmoveit.

5.DragtheimageintopositionbelowtheGalleryOnebutton.Usetheguidestoplacetheimage.Whenit’sinposition,pressEnterorReturntocommitthechange.

6.Repeatsteps2–4toplacetheGallery6.psd,Gallery7.psd,andGallery8.psdfilessothattheylineupbelowtheGalleryTwo,GalleryThree,andGalleryFourbuttons.

SavingassetswithAdobeGeneratorWhenyou’repreparingfilesforawebsite,oftenyouneedtocreateseparateimagefilesforbuttonsandothercontent.WithAdobeGenerator,youcaneasilygenerateaJPEG,PNG,orGIFimagefromthecontentsofalayerorlayergroupinaPhotoshopfilesimplybyrenamingthelayerorlayergroup.Youcanappendtheappropriatefileextensiontosaveanimagewithdefaultsettings,butyoucanalsospecifyqualityandsizeparametersfortheimage,alldeterminedbyhowyounameit.

RenaminglayersandlayergroupsYou’llgenerateassetsfromthe13Working.psdfileforawebsite.Initially,you’llsaveonlyoneofthebuttons,soyoucanpreviewthegeneratedimageandseeifitmeetsyourneeds.

1.ChooseFile>Generate>ImageAssets.

Onceyou’veenabledGenerator,itcontinuestobeenabledforthecurrentdocumentuntilyoudisableitagain.It’sadocument-specificsetting,whichmeansitcanbeenabledforonePSDfileyou’reworkinginbutnotforanother.

2.IntheLayerspanel,double-clicktheGallery1layergroupname,andrenameitgallery1.jpg5.

TheJPGextensionspecifiesthattheresultingassetshouldbeaJPEGfile.The5specifiesaqualityof50%.(Seethesidebar“Specifyingqualityandsizeparametersingeneratedassets”formoreinformation.)

Yourlayersmaybeinadifferentorder,dependingonhowyoucopiedthegalleryfoldersandplacedthegalleryfiles.Anylayerorderisfine.

3.RenametheNewWinglayernew-wing.gif.

Whenyou’renaminglayersandlayergroupstogenerateassets,it’sagoodideatousenamesthatdon’tincludespacesorspecialcharacters.

4.RenametheLogolayerlogo.jpg5.

Youwon’tseeanychangesinthePhotoshopfileitselfwhenyougenerateassets.ButAdobeGeneratorhassavedtherenamedlayerorlayergroupinthespecifiedformattoasubfolderalongsidethesourcePSDfile.Inthiscase,theassetsyou’vegeneratedhavebeensavedtotheLesson13/13Working-assetsfolder.

Ifyougenerateanassetfromalayergroup,thegroupisflattenedtoproducetheresultingimage.

EvaluatingandrevisinggeneratedassetsLookattheassetsthatweregenerated,toensuretheymeetyourneeds.YoucanquicklyevaluatethemusingBridge.

2.NavigatetotheLesson13/13Working-assetsfolder.

Therearethreeimagesinthefolder:gallery1.jpg,logo.jpg,andnew-wing.gif.Eachoftheimagesissurroundedbyawhiteborder.That’sfineforthebuttonsandthelogo,becausethey’reonawhitebackgroundonthesite.ButtheNewWingartworkoverlapsanotherimage,sothewhiteborderwon’twork.Additionally,theimagesallappearpixelated.Thefilesizesarecurrentlyverysmall,sothere’sroomtoincreasethefileresolutions.You’llreturntoPhotoshopandgeneratetheassetsagain,usingdifferentsettings.

First,you’llincreasethequalityofthegallerybuttonandlogofilesfrom50%to100%.

3.InPhotoshop,renamethegallery1.jpg5layergroupgallery1.jpg10.Thenrenamethelogo.jpg5layerlogo.jpg10.

Next,you’lltryadifferentformatfortheNewWingimage.GIFimagesaresavedwithawhiteborder,butPNGfileshaveasemitransparentbackgroundandshadows.

4.Renamethenew-wing.giflayernew-wing.png.

5.ReturntoBridge.

Theimageslookbetter.Theirfilessizesaremuchlarger,butthey’restillreasonableforuseontheweb.Thesesettingsshouldwork.

6.ReturntoPhotoshop,andrenameeachofthegallerylayergroupsandthelayersforgalleries5-8,appending.jpg10toeachonetogeneratetherestofthebuttons.

Generatingassetsisassimpleasrenaminglayersandlayergroups,buttherenamingprocesscanstillbetediousifyouhavealargenumberoflayerstorename.Toreducepossiblefrustration,testyoursettingsonasinglelayerorlayergroupfirst,beforerenamingthemall.

GeneratingmultipleimagesizesandformatsfromthesamelayerIfyou’repreparingimagesforprint,youknowhowpeoplewillviewthem,andyoucanbesurethatonesizeandformatwillworkwell.However,thewebisaverydifferentenvironment.Peopleviewwebsitesonavarietyofdevices,fromcellphonestodesktopcomputers,andwebmastersconstructtheirsitesindifferentways.Youoftenneedtoprovidethesameimageinmultiplesizesandformats,sothattheappropriateoneisavailableforanyparticularviewingenvironment.

YoucanuseAdobeGeneratortocreatemultipleversionsofasingleassetbyaddingimagefilenamestothelayerorlayergroupname.YouneedonlyseparatethemwithacommaforGeneratortorecognizethatyouwanttogeneratemultipleassets.

Forthisproject,you’llgeneratemultipleversionsofthelogosothatitcanbeusedonvarioussitesthatpromotethemuseum.

1.ExpandtheLayerspaneltomakeitwidersothatyoucanseealonglayername.

2.Renamethelogo.jpg10layerwiththefollowingname:300%logo.jpg8,100%logo.gif,50%logo.png24.

Photoshopgeneratesalogo.jpgfilethatisan80%qualityJPEGimagescaledto300%,alogo.giffilethatisaGIFimagescaledto100%,andalogo.pngfilethatisa24-bitPNGimagescaledto50%.

Thefirstimageisalargerversionofthelogothatwillworkforafull-pagewebbanner.BecausetheoriginallogolayerisaSmartObject,itcanberesizedto300%withoutlosingresolution.

PreviewingimagesinabrowserAwebbrowserdisplaysallimagefilesat72dpi.Youcancomparethelogoassetsyougeneratedtoseehowtheyhavebeenscaled.

1.Openawebbrowser.

2.ChooseFile>OpenFile,andthennavigatetotheLesson13/13Working-assetsfolder.

3.Double-clickthelogo.jpgfiletoopenit.

Thelogoisthreetimesitsoriginalsize,butkeptthesameresolution.

4.Openthelogo.pngfile.

It’shalfthesizeitwasinthePhotoshopfile.

You’vesuccessfullygeneratedtheimagesyouneedtobuildthewebsite.

5.ReturntoPhotoshop.ChooseFile>Generate>ImageAssets.

Theassetsyougeneratedareunaffected,butGeneratorisdisabled.

6.Savethefile,andthencloseit.

Specifyingqualityandsizeparametersingeneratedassets

Whenyourenamealayerorlayergroupwithjusttheappendedfileextension(.jpg,.png,or.gif),Generatorusesdefaultsettingstocreatetheassets.JPEGfilesaregeneratedat90%quality,PNGassetsaregeneratedas32-bitimages,andGIFassetsincludebasicalphatransparency.

Togenerateassetswithdifferentparameters,addmoreinformationtothename.

Specifyingthequalityofanasset

•TospecifythequalityofaJPEGasset,addanumberfrom1to10orapercentagefrom1to100%asasuffix.(Forexample,.jpg6and.jpg60%bothcreateJPEGfilesat60%quality.)

•TospecifywhetheraPNGfileisan8-bit,24-bit,or32-bitfile,addthenumberasasuffix.(Gallery1.png32generatesa32-bitPNGfile.)

•QualityparametersarenotavailableforGIFimages.

Specifyingtheimagesize

Tospecifytheoutputimagesize,addaprefix,followedbyaspace,beforetheassetname.Youcanspecifyapercentageoranabsolutesize.Thedefaultunitispixels;specifyotherunits—in,cm,ormm—inthename.Youcanmixunitsaswell.ThesamenamingmethodappliesforJPEG,PNG,andGIFimages.

IfyourassetisnamedGallery1,forexample,youcouldusethefollowingprefixes:

•200%Gallery1.jpgscalestheimageto200%.

•300×200Gallery1.pngscalestheimageto300×200pixels.

•10in×200mmGallery1.gifscalestheimageto10inchesby200millimeters.

Extracredit

Designingformobiledeviceswithartboards

Creatinguserinterfacesandwebsitesformobiledevicesjustgoteasier,withartboards.Youcanuseartboardstocreatevariationsofadesigninasingledocument,asmanyAdobeIllustratorCCusersalreadyknow.InPhotoshop,artboardsareaspecialtypeoflayergroup,soyouworkwithartboardsintheLayerspanel.We’llcopythislesson’sendfileandformatitforthescreensizeofaniPhone6Plus.

1.Open13End.psd,andsaveitwithanewname.

2.ChooseSelect>AllLayers.

3.ChooseLayer>New>ArtboardFromLayers,nameitMuseoArteComputer,andclickOK.Thiswebsitedesignisforacomputer.

4.WiththeMuseoArteComputerartboardselectedintheLayerspanel,chooseLayer>DuplicateArtboard.NameitMuseoArteiPhone6Plus,andclickOK.

5.WiththenewartboardstillselectedintheLayerspanel,choosetheArtboardtool,hiddenundertheMovetool,andthenShift-dragtheartboardtotherighttomoveitawayfromtheoriginalartboard.

6.MakesuretheArtboardtoolisactive,andthenintheoptionsbarchooseiPhone6Plus(1242,2208)fromtheSizemenu.

7.IntheLayerspanel,expandtheMuseoArteiPhone6Plusartboard,andShift-clickthefirstandlastlayersinjustthatartboardtoselectallofitslayers.ChooseEdit>FreeTransform,Shift-dragthebottomrighthandletosizethewidthofthedesignforthatartboard,andthenpressEnterorReturn.

TestingartboarddesignswithAdobePreviewCC

Nowwe’lluseAdobePreviewCCtoseehowthenewdesignlooksonarealdevice.MakesureyourdeviceiseitherconnectedtoyourcomputerwithaUSBcableorconnectedtothesamewirelessnetworkasthecomputerrunningPhotoshop.

1.ChooseWindow>DevicePreview.Ifyoudon’talreadyhaveAdobePreviewCCinstalledonyourdevice,clicktheGettheApplinkandinstallit.

2.Onyourdevice,opentheAdobePreviewCCapp.Ifnecessary,signintoyourCreativeCloudaccountintheapp.

3.ThePhotoshopdocumentshouldappearautomaticallyinPreviewCCon

yourdevice.Chooseanartboardtopreviewbychoosingitfromthemenuatthetopoftheapp.Ifyoudon’tseethemenu,tapthedevice’sscreen.

4.InPhotoshop,editthelayersintheartboardyou’repreviewing.Forexample,hideormovealayer.You’llseethatyourchangesappearquicklyonthedevice.

Reviewquestions1.Whatisalayergroup?

2.Whatisanaction?Howdoyoucreateone?

3.HowcanyougenerateassetsfromlayersandlayergroupsinPhotoshop?

Reviewanswers1.Alayergroupisagroupoflayers.Layergroupsmakeiteasiertoorganizeandworkwithlayersincompleximages,especiallywhentherearesetsoflayersthatworktogether.

2.Anactionisasetofoneormorecommandsthatyourecordandthenplaybacktoapplytoasinglefileorabatchoffiles.Tocreateone,clicktheCreateNewActionbuttonintheActionspanel,nametheaction,andclickRecord.Thenperformthetasksyouwanttoincludeinyouraction.Whenyou’vefinished,clicktheStopRecordingbuttonatthebottomoftheActionspanel.

3.UseAdobeGeneratortogenerateassetsfromlayersandlayergroupsinPhotoshop.First,enableGeneratorforyourdocumentbychoosingFile>Generate>ImageAssets.Thenrenamelayersorlayergroupstoappendfileformatextensions(.jpg,.png,or.gif),aswellassizeandqualityparameters.

14.ProducingandPrintingConsistentColor

Lessonoverview

•DefineRGB,grayscale,andCMYKcolorspacesfordisplaying,editing,andprintingimages.

•PrepareanimageforprintingonaPostScriptCMYKprinter.

•Proofanimageforprinting.

•SaveanimageasaCMYKEPSfile.

•Createandprintafour-colorseparation.

•Understandhowimagesarepreparedforprintingonpresses.

PROJECT:TRAVELPOSTER

Toproduceconsistentcolor,youdefinethecolorspaceinwhichtoeditanddisplayRGBimages,andthecolorspaceinwhichtoedit,display,andprintCMYKimages.

Thishelpsensureaclosematchbetweenonscreenandprintedcolors.

PreparingfilesforprintingAfteryou’veeditedanimagetogettheeffectyouwant,youprobablywanttoshareorpublishitinsomeway.Ideally,you’vebeeneditingwiththefinaloutputinmind,andyou’vemanagedfileresolution,colors,filesize,andotheraspectsoftheimageaccordingly.Butasyoupreparetooutputthefile,youhaveanotheropportunitytomakesureyourimagewilllookitsbest.

OneexerciseinthislessonrequiresthatyourcomputerbeconnectedtoaPostScriptcolorprinter.Ifitisn’t,youcandomost,butnotall,oftheexercises.

Ifyouplantoprinttheimage—whetheryou’llprintittoyourowninkjetprinterorsendittoaserviceproviderforprofessionalprinting—youshouldperformthefollowingtasksforthebestresults.(Manyofthesetasksaredescribedingreaterdetaillaterinthislesson.)

•Determinethefinaldestination.Whetheryou’reprintingthefileyourselforsendingitaway,identifywhetheritwillbeprintedtoaPostScriptprinter,aninkjetprinter,anoffsetpress,orsomeotherdevice.Ifyou’reworkingwithaserviceprovider,askwhatformattheyprefer;often,theyrequestaPDFfile.

•Verifythattheimageresolutionisappropriate.Forprofessionalprinting,theresolutionshouldbe300dpiwhentheimagesizematchestheintendedoutputsize.Foraninkjetprinter,youmaygetthebestresultswitha300-dpiimage,butyoumightalsogetgoodresultswithalowerresolution;ifyouowntheprinter,youcanexperimentwithsettingstofindwhatworksbest.Generally,300dpiisasaferesolutionformostprintedoutput.

•Doa“zoomtest:”Takeacloselookattheimage.Zoomintocheckandcorrectsharpness,colorcorrection,noise,andotherissuesthatcanaffectthefinalprintedimagequality.

•Allowforbleedsifyou’resendinganimageforprofessionalprinting:Ifanycolorrunstotheedgeoftheimage,extendthecanvasby1/4inchonallsidestoensurethatthecolorisproperlyprintedevenifthetrimlineisnotexact.Yourserviceprovidercanhelpyoudeterminewhetheryouhavebleedsandhowtoprepareyourfiletoensureitprintscorrectly.

•Unlessyou’reprintingtoaninkjetprinter,convertthefiletoCMYK.Note:Somehigh-qualityprintersareinkjets;askyourserviceproviderwhatcolorspaceyourimageshouldbesavedin.

•Flattenthefiletoreduceitssizeforfastertransferandprintingspeeds.Makesureyoukeepanunflattenedcopyoftheoriginalsoyoucanmakechangesorreusethecontentlater,ifnecessary.PhotoshoppromptsyoutomergelayerswhenyouconverttoCMYK.

•Soft-prooftheimagetoensurethecolorswillprintasyouexpectthemto.

GettingstartedYou’llpreparean11″×17″travelposterforprofessionalprinting.ThePhotoshopfileisquitelarge,becauseitcontainsseverallayersandhasaresolutionof300dpi,whichisnecessaryforqualityprinting.

First,startPhotoshop,andrestoreitsdefaultpreferences.

1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)or

Command+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)

3.ChooseFile>Open,navigatetotheLesson14folder,anddouble-clickthe14Start.psdfile.Becausethefileislarge,itmayopenslowly,dependingonyoursystem.

4.ChooseFile>SaveAs,navigatetotheLesson14folder,andsavethefileas14Working.psd.

Performinga“zoomtest”Whenyou’vefinishededitingyourimage,takeafewminutestomakesureeverythingisappropriateforyouroutputdeviceandthatyouhaven’toverlookedanypotentiallyproblematicdetails.Startwiththeimageresolution.

1.ChooseImage>ImageSize.

2.Verifythatthewidthandheightarethefinaloutputsize,andthattheresolutionisappropriate.Formostprinting,300dpiproducesgoodresults.

Thisimagehasawidthof11″andaheightof17″,whichisthefinalsizeoftheposter.Itsresolutionis300dpi.Thesizeandresolutionareappropriate.

3.ClickOKtoclosethedialogbox.

Next,you’lllookcloselyattheimageandcorrectanyproblems.Whenyouprepareyourownimagesforprinting,zoominandscrolltoviewtheentireimageclosely.

4.SelecttheZoomtoolintheToolspanel,andzoominonthephotosinthelowerthirdoftheposter.

Thephotooftouristsisflatandalittlemuddy-looking.

5.SelecttheTouristslayerintheLayerspanel,andthenclicktheCurvesiconintheAdjustmentspaneltoaddaCurvesadjustmentlayer.

6.ClicktheClipToLayerbutton( )atthebottomofthePropertiespaneltocreateaclippingmask.

TheclippingmaskensuresthattheadjustmentlayeraffectsonlythelayerdirectlybelowitintheLayerspanel.

7.InthePropertiespanel,selecttheWhitePointeyedroppertool,andthenclickthelightareaofthebuildingbehindthetouriststobrightenandcorrectthecolorintheimage.

Theimageoftouristslooksbetter.Buttheimageofthestatueappearsflatandlackscontrast.You’llfixthatwithaLevelsadjustmentlayer.

8.SelecttheStatuelayerintheLayerspanel,andthenclicktheLevelsiconintheAdjustmentspaneltoaddaLevelsadjustmentlayer.

9.ClicktheClipToLayerbuttonatthebottomofthePropertiespaneltocreateaclippingmask,sothattheadjustmentlayeraffectsonlytheStatuelayer.

10.InthePropertiespanel,clicktheCalculateAMoreAccurateHistogramicontorefreshthehistogramdisplay.

Cachedhistogramdatadisplaysmorequickly,butisoftenlessaccurate.It’sagoodideatorefreshthehistogrambeforeyoumakeeditsbasedoninformationinit.

11.Movethesliderstopunchuptheimage.Weusedthevalues31,1.6,235.

12.Savethefile.

RGBmodel

Alargepercentageofthevisiblespectrumcanberepresentedbymixingred,green,andblue(RGB)coloredlightinvariousproportionsandintensities.Wherethecolorsoverlap,theycreatecyan,magenta,yellow,andwhite.

BecausetheRGBcolorscombinetocreatewhite,theyarealsocalledadditivecolors.Addingallcolorstogethercreateswhite—thatis,alllightistransmittedbacktotheeye.Additivecolorsareusedforlighting,video,andmonitors.Yourmonitor,forexample,createscolorbyemittinglightthroughred,green,andbluephosphors.

CMYKmodel

TheCMYKmodelisbasedonthelight-absorbingqualityofinkprintedonpaper.Aswhitelightstrikestranslucentinks,partofthespectrumisabsorbed,whileotherpartsarereflectedbacktoyoureyes.

Intheory,purecyan(C),magenta(M),andyellow(Y)pigmentsshouldcombinetoabsorballcolorandproduceblack.Forthisreason,thesecolorsarecalledsubtractivecolors.Butbecauseallprintinginkscontainsomeimpurities,thesethreeinksactuallyproduceamuddybrown,andmustbecombinedwithblack(K)inktoproduceatrueblack.(KisusedinsteadofBtoavoidconfusionwithblue.)Combiningtheseinkstoreproducecoloriscalledfour-colorprocessprinting.

Identifyingout-of-gamutcolorsColorsonamonitoraredisplayedusingcombinationsofred,green,andbluelight(calledRGB),whileprintedcolorsaretypicallycreatedusingacombinationoffourinkcolors—cyan,magenta,yellow,andblack(calledCMYK).Thesefourinksarecalledprocesscolorsbecausetheyarethestandardinksusedinthefour-colorprintingprocess.

MostscannedphotographscontainRGBcolorswithintheCMYKgamut,sochangingthemtoCMYKmodeconvertsallthecolorswithrelativelylittlesubstitution.Imagesthatarecreatedoraltereddigitally,however,oftencontainRGBcolorsthatareoutsidethe

CMYKgamut—forexample,neon-coloredlogosandlights.

BeforeyouconvertanimagefromRGBtoCMYK,youcanpreviewtheCMYKcolorvalueswhilestillinRGBmode.

1.ChooseView>GamutWarningtoseeout-of-gamutcolors.Photoshopbuildsacolor-conversiontable,anddisplaysaneutralgrayintheimagewindowwherethecolorsareoutofgamut.

Becausethegraycanbehardtospotintheimage,you’llconvertittoamorevisiblecolor.

2.ChooseEdit>Preferences>Transparency&Gamut(Windows)orPhotoshopCC>Preferences>Transparency&Gamut(MacOS).

3.ClickthecolorsampleintheGamutWarningareaatthebottomofthedialogbox.Selectavividcolor,suchaspurpleorbrightgreen,andclickOK.

4.ClickOKtoclosethePreferencesdialogbox.

Thebrightnewcoloryouchoseappearsinsteadoftheneutralgrayasthegamutwarningcolor.

5.ChooseView>GamutWarningtoturnoffthepreviewofout-of-gamutcolors.

Photoshopwillautomaticallycorrecttheseout-of-gamutcolorswhenyousavethefileinPhotoshopEPSformatlaterinthislesson.PhotoshopEPSformatchangestheRGBimagetoCMYK,adjustingtheRGBcolorsasneededtobringthemintotheCMYKcolorgamut.

AdjustinganimageThenextstepinpreparinganimageforoutputistomakeanynecessarycolorandtonaladjustments.Inthisexercise,you’lladdsometonalandcoloradjustmentstocorrectanoff-colorscanoftheoriginalposter.

Sothatyoucancomparetheimagebeforeandaftermakingcorrections,you’llstartbymakingacopy.

1.ChooseImage>Duplicate,andclickOKtoduplicatetheimage.

2.ChooseWindow>Arrange>2UpVerticalsoyoucancomparetheimagesasyouwork.

You’lladjustthehueandsaturationoftheimagetomoveallcolorsintogamut.

3.Select14Working.psd(theoriginalimage)tomakeitactive,andthenselecttheVisitParislayerintheLayerspanel.

4.ChooseSelect>ColorRange.

5.IntheColorRangedialogbox,chooseOutOfGamutfromtheSelectmenu,andthenclickOK.

Theareasthatweremarkedasoutofgamutearlierarenowselected,soyoucanmakechangesthataffectonlythoseareas.

6.ChooseView>Extrastohidetheselectionwhileyouworkwithit.

Theselectionbordercanbedistracting.Whenyouhideextras,younolongerseetheselection,butit’sstillineffect.

7.ClicktheHue/SaturationbuttonintheAdjustmentspaneltocreateaHue/Saturationadjustmentlayer.(ChooseWindow>Adjustmentsifthepanelisn’topen.)TheHue/Saturationadjustmentlayerincludesalayermask,createdfromyourselection.

8.InthePropertiespanel,dothefollowing:

•LeavetheHuesettingatthedefaultvalue.

•DragtheSaturationslideruntiltheintensityofthecolorslooksmorerealistic(weused-14).

•DragtheLightnesstothelefttodarken(weused-2).

9.ChooseView>GamutWarning.Youhaveremovedmostoftheout-of-gamutcolorsfromtheimage.ChooseView>GamutWarningagaintodeselectit.

10.Closetheduplicateimagefilewithoutsavingit.

ConvertinganimagetoCMYKIt’sgenerallyagoodideatoworkinRGBmodeaslongaspossible.Convertingbetweenmodescausescolorvaluestoberounded—andthereforelessaccurateifyouconvertmultipletimes.Onceyou’vemadeanylast-minutecorrections,you’rereadytoconverttheimagetoCMYK.Ifyouthinkyoumaywanttooutputtheimagetoaninkjetprinterordistributeitdigitallylater,saveacopyinRGBmodebeforeconvertingtoCMYKmode.

1.ClicktheChannelstabtobringtheChannelspaneltothefront.

TheimageiscurrentlyinRGBmode,sotherearethreechannelslisted:red,green,andblue.TheRGBchannelisnotactuallyachannel,butacompositeofallthree.

2.ChooseImage>Mode>CMYKColor.

3.ClickMergeinthemessagethatwarnsyouthatyoumightlosesomeadjustmentlayers.

AdjustmentlayersarelostwhenyouconvertthecolormodefromRGBtoCMYK.Mergingthelayersensurestheadjustmentsyoumadearepreserved.

4.ClickOKinthemessageaboutthecolorprofileusedintheconversion.

You’lllearnmoreaboutcolorprofileswhenyouworkwithcolormanagement.

TheChannelspanelnowdisplaysfourchannels:cyan,magenta,yellow,andblack.Additionally,itliststheCMYKcomposite.Thelayersweremergedduringconversion,sothereisonlyonelayerintheLayerspanel.

AboutcolormanagementBecausetheRGBandCMYKcolormodelsusedifferentmethodstodisplaycolors,eachreproducesadifferentgamut,orrange,ofcolors.Forexample,RGBuseslighttoproducecolor,soitsgamutincludesneoncolors,suchasthoseyou’dseeinaneonsign.Incontrast,printinginksexcelatreproducingcertaincolorsthatcanlieoutsidetheRGBgamut,suchassomepastelsandpureblack.

ButnotallRGBandCMYKgamutsarealike.Eachmonitorandprintermodeldiffers,andsoeachdisplaysaslightlydifferentgamut.Forexample,onebrandofmonitormayproduceslightlybrighterbluesthananother.Thecolorspaceforadeviceisdefinedbythegamutitcanreproduce.

ThecolormanagementsysteminPhotoshopusesInternationalColorConsortium(ICC)-compliantcolorprofilestoconvertcolorsfromonecolorspaceintoanother.Acolorprofileisadescriptionofadevice’scolorspace,suchastheCMYKcolorspaceofaparticularprinter.Youspecifywhichprofilestousetoaccuratelyproofandprintyourimages.Onceyou’veselectedtheprofiles,Photoshopcanembedthemintoyourimagefiles,sothatPhotoshopandotherapplicationscanaccuratelymanagecolorfortheimage.

Forinformationonembeddingcolorprofiles,seePhotoshopHelp.

Beforeyoubeginworkingwithcolormanagement,youshouldcalibrateyourmonitor.Ifyourmonitordoesn’tdisplaycolorsaccurately,coloradjustmentsyoumakebasedonthe

imageyouseeonyourmonitormaynotbeaccurate.Forinformationaboutcalibratingyourmonitor,seePhotoshopHelp.

Specifyingcolor-managementsettingsInordertoaccuratelypreviewyourcolorsonscreen,youneedtosetupcolormanagementinPhotoshop.Mostofthecolor-managementcontrolsyouneedareintheColorSettingsdialogbox.

Bydefault,PhotoshopissetupforRGBaspartofadigitalworkflow.Ifyouarepreparingartworkforprintproduction,however,you’llwanttochangethesettingstobemoreappropriateforimagesthatwillbeprintedonpaperratherthandisplayedonascreen.

You’llcreatecustomizedcolorsettings.

1.ChooseEdit>ColorSettingstoopentheColorSettingsdialogbox.

Thebottomofthedialogboxinteractivelydescribeseachoption.

2.Movethepointerovereachpartofthedialogbox,includingthenamesofareas(suchasWorkingSpaces),themenunames,andthemenuoptions.Asyoumovethepointer,Photoshopdisplaysinformationabouteachitem.Whenyou’vefinished,returntheoptionstotheirdefaults.

Now,you’llchooseasetofoptionsdesignedforaprintworkflow,ratherthananonlineworkflow.

3.ChooseNorthAmericaPrepress2fromtheSettingsmenu.Theworkingspacesandcolor-managementpolicyoptionschangeforaprepressworkflow.ThenclickOK.

ProofinganimageYou’llselectaproofprofilesothatyoucanviewacloseonscreenrepresentationofwhatanimagewilllooklikewhenprinted.Anaccurateproofprofileletsyouproofonthescreen(soft-proof)forprintedoutput.

Aproofprofile(alsocalledaproofsetup)defineshowthedocumentisgoingtobeprinted,andadjuststheonscreenappearanceaccordingly.Photoshopprovidesavarietyofsettingsthatcanhelpyouproofimagesfordifferentuses,includingprintanddisplayontheweb.Forthislesson,you’llcreateacustomproofsetup.Youcanthensavethesettingsforuseonotherimagesthatwillbeoutputthesameway.

1.ChooseView>ProofSetup>Custom.TheCustomizeProofConditiondialogboxopens.MakesurePreviewisselected.

2.FromtheDeviceToSimulatemenu,chooseaprofilethatrepresentsthefinaloutputdevice,suchasthatfortheprinteryou’llusetoprinttheimage.Ifyoudon’thaveaspecificprinter,theprofileWorkingCMYK–U.S.WebCoated(SWOP)v2,thecurrentdefault,isgenerallyagoodchoice.

3.Ifyou’vechosenadifferentprofile,makesurePreserveNumbersisnotselected.

ThePreserveCMYKNumbersoptionsimulateshowcolorswillappearifthey’renotconvertedtotheoutputdevicecolorspace.

4.MakesureRelativeColorimetricisselectedfortheRenderingIntent.

Arenderingintentdetermineshowthecolorisconvertedfromonecolorspacetoanother.RelativeColorimetric,whichpreservescolorrelationshipswithoutsacrificingcoloraccuracy,isthestandardrenderingintentforprintinginNorthAmericaandEurope.

5.Ifit’savailablefortheprofileyouchose,selectSimulateBlackInk.Thendeselectit,andselectSimulatePaperColor;noticethatselectingthisoptionautomaticallyselectsSimulateBlackInk.

Todisplaythedocumentwithandwithouttheproofsettings,toggleView>ProofColors.

Noticethattheimageappearstolosecontrast.PaperColorsimulatesthedingywhiteofrealpaper,accordingtotheproofprofile.BlackInksimulatesthedarkgraythatactuallyprintstomostprinters,insteadofsolidblack.Notallprofilessupporttheseoptions.

6.TogglethePreviewoptiontoseethedifferencebetweentheimageasitisdisplayedonscreenandasitwillprint,basedontheprofileyouselected.ThenclickOK.

SavingtheimageasaCMYKEPSfileManyprofessionalprintersrequestthatPhotoshopimagesbesubmittedinEPSformat.You’llsavethisimageasanEPSfileinCMYKmode.

1.ChooseFile>SaveAs.

2.IntheSaveAsdialogbox,dothefollowing,andthenclickSave:

•ChoosePhotoshopEPSfromtheFormatmenu.

•UnderColor,selectUseProofSetup.Don’tworryaboutthewarningicon;you’llsaveacopy.

•Acceptthefilename14Working.eps.

3.ClickOKintheEPSOptionsdialogboxthatappears.

4.Saveandthenclosethe14Working.psdfile.

5.ChooseFile>Open,navigatetotheLessons/Lesson14folder,anddouble-clickthe14Working.epsfile.

Printingtoadesktopinkjet

Manyconsumer-levelinkjetprintersdoagoodjobprintingphotographsandotherimagefiles.Theprecisesettingsavailablevaryfromprintertoprinter,butwhenyou’reprintingimagesfromPhotoshoptoadesktopinkjetprinter,you’llgetthebestresultsifyoudothefollowing:

•Makesuretheappropriateprinterdriverisinstalled,andthatyou’veselectedit.

•Usetheappropriatepaperforyourintendeduse.Specialphotographicandcoatedpapersareagoodchoicewhenyou’reprintingphotosforframing.

•Selectthecorrectpapersourceintheprintersettings.Theprinterlaysinkdifferentlyondifferenttypesofpaper.Ifyou’reusingphotographicpaper,makesureyou’veselecteditintheprintersettings.

•Selecttheimagequalityintheprintersettings.Forframedprints,youprobablywanttoprintthehighestquality.Ifyou’reprintingaprooftogetasenseofthecolor,youmaywanttoselectalowerqualityforspeedierprintingandtouselessink.

PrintingaCMYKimagefromPhotoshopIfyou’reprintinganimagedirectlyfromPhotoshop,usethefollowingguidelinesforbestresults:

•Printacolorcomposite,oftencalledacolorcomp,toproofyourimage.Acolor

compositeisasingleprintthatcombinesthered,green,andbluechannelsofanRGBimage(orthecyan,magenta,yellow,andblackchannelsofaCMYKimage).Thisindicateswhatthefinalprintedimagewilllooklike.

•Settheparametersforthehalftonescreen.

•Printseparationstomakesuretheimageseparatescorrectly.

•Printtofilmorplate.

Whenyouprintcolorseparations,Photoshopprintsaseparatesheet,orplate,foreachink.ForaCMYKimage,itprintsfourplates,oneforeachprocesscolor.Inthisexercise,you’llprintcolorseparations.

1.Withthe14Working.epsimageopenfromthepreviousexercise,chooseFile>Print.

Bydefault,Photoshopprintsanydocumentasacompositeimage.Toprintthisfileasseparations,youneedtoexplicitlyinstructPhotoshopinthePrintdialogbox.

2.InthePhotoshopPrintSettingsdialogbox,dothefollowing:

•IntheColorManagementarea,chooseSeparationsfromtheColorHandlingmenu.

•ClickPrint.

ThislessonhasprovidedanintroductiontoprintingandproducingconsistentcolorfromPhotoshop.Ifyou’reprintingonadesktopprinter,youcanexperimentwithdifferentsettingstofindthebestcolorandprintsettingsforyoursystem.Ifyou’repreparingimagesforprofessionalprinting,consultwithyourprintserviceprovidertodeterminethebestsettingstouse.Formoreinformationaboutcolormanagement,printingoptions,and

colorseparations,seePhotoshopHelp.

ExtraCredit

SharingyourworkonBehance

IntegratedintoCreativeCloud,Behanceistheleadingonlineplatformforshowcasinganddiscoveringcreativework.PhotoshopmakesiteasytouploadandpostfilestoyourownportfolioonBehance.Makesureyou’vesignedupforaBehanceaccounttodothefollowingsteps.

1.Openthe14Working.epsfileinPhotoshop,ifitisn’talreadyopen.

2.ChooseFile>ShareOnBehance.

TheShareOnBehancedialogboxopens.

3.Youmayneedtosignin;ifyou’realreadysignedin,you’llseeapreviewofyourworkingfile.Ifyoudon’thaveaBehanceportfolio,youcansignupforfreewithyourCreativeCloudsubscription.

4.IntheUploadAWorkInProgresswindow,typeVisitParisforthetitle.

5.Typeparis,travel,eiffeltower,collageforthetags.

6.ChoosePrivatefromtheVisibleTomenuifyouwanttocontrolwhoseestheimage.ChooseEveryoneifyouwantittobepubliclyavailable.

7.ClickContinue.

Thedialogboxdisplaysalinktoyourartwork.Youcansharethelinkon

socialmediaorpasteitintoemailorablogpost.YoucanalsoclickViewAndShareOnBehancetosynctosocialnetworkssuchasTwitter,Facebook,andLinkedIn.

8.ClickClose.

Closethefilewithoutsaving.YourworkofartisavailabletobeadmiredonBehance.

Withcutting-edgeandtraditionaldesignersalikesharingtheirwork,Behanceisagreatsourceofinspiration.Youcanbrowseaswideornarrowagroupofworksasyoulike,withfiltersforpopularimages,fieldsofinterest,andcountriesoforigin.Oryoucanenteryourownsearchterm.Andwhenyoufindcontributorsyoulike,youcanfollowthemtokeepupwiththeirlatestwork.

Reviewquestions1.Whatstepsshouldyoufollowtoreproducecoloraccurately?

2.Whatisagamut?

3.Whatisacolorprofile?

4.Whatarecolorseparations?

Reviewanswers1.Toreproducecoloraccurately,firstcalibrateyourmonitor,andthenusetheColorSettingsdialogboxtospecifywhichcolorspacestouse.Forexample,youcanspecifywhichRGBcolorspacetouseforonlineimages,andwhichCMYKcolorspacetouseforimagesthatwillbeprinted.Youcanthenprooftheimage,checkforout-of-gamutcolors,adjustcolorsasneeded,and—forprintedimages—createcolorseparations.

2.Agamutistherangeofcolorsthatcanbereproducedbyacolormodelordevice.Forexample,theRGBandCMYKcolormodelshavedifferentgamuts,asdoanytwoRGBscanners.

3.Acolorprofileisadescriptionofadevice’scolorspace,suchastheCMYKcolorspaceofaparticularprinter.ApplicationssuchasPhotoshopcaninterpretcolorprofilesinanimagetomaintainconsistentcoloracrossdifferentapplications,platforms,anddevices.

4.Colorseparationsareseparateplatesforeachinkusedinadocument.Often,you’llprintcolorseparationsforthecyan,magenta,yellow,andblack(CMYK)inks.

15.Printing3DFiles

Lessonoverview

•Createasimple3Dobjectusingameshpreset.

•Use3DtoolsinPhotoshop.

•Manipulate3Dobjects.

•Adjustthecameraview.

•Prepare3Dfilesforprinting.

•Exportafileforremoteprinting.

PROJECT:3DLUGGAGETAG

Youcanprint3DobjectsdirectlyfromPhotoshop.Ifyouhavea3Dprinteronsite,youcanprintlocally.Otherwise,youcanexportyourfileforprintingbyanonlinevendor.

GettingstartedThislessonexplores3Dfeatures,whichareavailableonlyifyourvideocardhasatleast512MBofdedicatedVRAMandsupportsOpenGL2.0,andifOpenGL2.0isenabledonyourcomputer.Tolearnaboutyourvideocard,chooseEdit>Preferences>Performance(Windows)orPhotoshopCC>Preferences>Performance(MacOS).InformationaboutyourvideocardisintheGraphicsProcessorSettingsareaofthedialogbox.

FeaturescoveredinthislessonrequireMacOS10.7orlater,orWindows7orlater,andatleast512MBVRAM.FormorecompletePhotoshopsystemrequirements,visithttps://helpx.adobe.com/photoshop/system-requirements.html.

Inthislesson,you’llcreateathree-dimensionalluggagetag.First,you’llviewthefinishedtag.

5.Viewthe15End.psdfileinBridge.

The15End.psdfilecontainsa3Drenderingofaluggagetag.Inthislesson,you’llcombineelementstocreatetheluggagetag,andthenprepareitforprinting.Ifyouwantto,youcanprintitlocallytoa3Dprinterorexportittoanonlinevendorforprinting.(You’llseeestimatedcostsbeforeplacingtheorder.)

Beforeyoucreatetheluggagetag,you’llplaywiththe3Dtoolstobecomefamiliarwiththe3Denvironment.

6.ReturntoPhotoshop.

Understandingthe3DenvironmentTheadvantagetoworkingwith3Dobjectsis,obviously,thatyoucanworkwiththeminthreedimensions.Youcanalsoreturntoa3Dlayeratanytimetochangelighting,color,material,orpositionwithouthavingtore-createalotoftheart.Photoshopincludesseveralbasictoolsthatmakeiteasytorotate,resize,andposition3Dobjects.The3Dtoolsintheoptionsbarmanipulatetheobjectitself.TheCamerawidgetinthelowerleftcorneroftheapplicationwindowmanipulatesthecamerasoyoucanviewa3Dscenefromdifferentangles.

Youcanusethe3Dtoolswhenevera3DlayerisselectedintheLayerspanel.A3Dlayerbehaveslikeanyotherlayer—youcanapplylayerstyles,maskit,andsoon.However,a3Dlayercanbequitecomplex.

Unlikearegularlayer,a3Dlayercontainsoneormoremeshes.Ameshdefinesthe3Dobject.Forexample,inthefollowingexercise,themeshistheconeshape.Eachmesh,inturn,includesoneormorematerials—theappearanceofapartorallofthemesh.Eachmaterialincludesoneormoremaps,whicharethecomponentsoftheappearance.Thereareninetypicalmaps,andtherecanbeonlyoneofeachkind;however,youcanalsousecustommaps.Eachmapcontainsonetexture—theimagethatdefineswhatthemapsandmaterialslooklike.Thetexturemaybeasimplebitmapgraphicorasetoflayers.The

sametexturemightbeusedbymanydifferentmapsandmaterials.

Inadditiontomeshes,a3Dlayeralsoincludesoneormorelights,whichaffecttheappearanceof3Dobjectsandremaininafixedpositionasyouspinormovetheobject.A3Dlayeralsoincludescameras,whicharesavedviewswiththeobjectsinaparticularposition.Theshadercreatesthefinalappearancebasedonthematerials,objectproperties,andrenderer.

Thatmayallsoundcomplicated,butthemostimportantthingtorememberisthatthe3Dtoolsintheoptionsbarmoveanobjectin3DspaceandtheCamerawidgetmovesthecamerasthatviewtheobject.

You’llstartbycreatingasimple3Dobjectfromaplaincoloredlayer.

1.InPhotoshop,chooseFile>New.ClickOKtoacceptthedefaultvalues.

2.ChooseSelect>Alltoselecttheentirebackgroundlayer.

3.ChooseEdit>Fill.IntheFilldialogbox,chooseColorfromtheContentsmenu,andthenselectavividbluecolorintheColorPicker.ClickOKtoclosetheColorPicker,andclickOKagaintoclosetheFilldialogbox.

5.Choose3D>NewMeshFromLayer>MeshPreset>Cone.Ifyouseeamessageaskingwhetheryouwanttoswitchtothe3Dworkspace,clickYes.

IfyouseeanEmbeddedProfileMIsmatchmessage,clickOK.

Yourbluelayerbecomesabluecone.Photoshopdisplaysagrid,aSecondaryViewwindow,aCamerawidget,andother3Dresources.Nowthatyouhavea3Dobject,youcanusethe3Dtools.

6.IntheToolspanel,selecttheMovetool( ).

Allthe3DcapabilitiesareembeddedintotheMovetool,whichrecognizeswhena3Dlayerisselectedandenablesthe3Dtools.

7.SelectthePanthe3DCameratool( )inthe3DModeareaoftheoptionsbar.

8.Clicktheedgeofthecone,orjustoutsideit,anddragtomoveitfromsidetosideorupanddown.Returntheconetothecenter.(Ifyouclicktheconeitself,Photoshoprecognizesthe3DAxiswidget,andswitchestothetoolthatcorrespondswiththeactiveareaofthewidget,whichyou’lllearnaboutshortly.)

9.SelecttheOrbitthe3DCameratool( )intheoptionsbar,andthenclickanddragtheconetorotatetheview.Experimentwiththeothertoolstoseehowtheyaffecttheviewoftheobject.

10.WiththeMovetool,clicktheconetoselectit.

Whenyouselecta3Dobject,Photoshopdisplaysthecolorful3DAxiswidget,withgreen,red,andbluerepresentingdifferentaxes.Redrepresentsthexaxis,greenrepresentstheyaxis,andbluerepresentsthezaxis.(Hint:ThinkofRGBcolortoremembertheorder.)

Asyoumovetheobject,the3DAxiswidgetshifts,too.Forexample,thexandyaxisarrowsmaybeavailable,whilethezaxisispointingdirectlyintothescene.Theyellowcenterboxmayalsobeobscuredbyanaxis.

Ifyouhoverthemouseoverthecenterboxuntilitturnsyellow,youcanclicktheboxanddragtoscaletheobjectuniformly.Clickanarrowtomovetheobjectalongthataxis;clickthecurvedhandlejustbeforethearrowtorotateonthataxis;clickthesmallerhandletoscalealongthataxis.

11.Rotate,scale,andmovetheconeusingthewidget.

12.Right-click(Windows)orControl-click(MacOS)theCamerawidgetinthelowerleftcorneroftheapplicationwindow(ithastwoaxesvisible),andchooseTop.

OptionsintheCameramenudeterminetheanglefromwhichyouseetheobject.Thecameraanglechanges,buttheobjectitselfdoesnot.Don’tbefooledbyitsrelationshiptothebackground;thebackgroundisnot3D,soitremainsinplacewhenPhotoshopmovesthecameraforthe3Dobject.

13.Chooseothercameraviewstoseehowtheyaffecttheperspective.

14.Whenyou’redoneexperimenting,closethefile.Youcansaveyourcreationifyouwantto,orclosewithoutsaving.

Positioning3DelementsNowthatyou’vegottenafeelforthe3Dtools,you’llusethemtopositionthetextonaluggagetag.

1.ChooseFile>Open,navigatetotheLesson15folder,anddouble-clickthe15Start.psdfile.

IfyouseeanEmbeddedProfileMIsmatchmessage,clickOK.

Thefilecontainstwo3Delements:thetextandthetagitself.Currently,thetextisinanawkwardposition,overlappingthetag.You’llstartbycenteringit.

2.MakesuretheMovetoolisselectedintheToolspanel.

3.Clickthefrontofthe“VisitParis”texttoactivatethe3DAxiswidget.

4.HoverthecursoroverthetipofthegreenarrowuntiltheMoveOnYAxistooltipappears.

5.Clickthetipofthegreenarrow,anddragthetypedownuntilit’scenteredverticallyontheredtag.

6.Clickthetipoftheredarrow,anddragthetypetotherightsothatit’shorizontallycenteredontheredtag.

Yourtagisreadytoprint!

7.ChooseFile>SaveAs.NavigatetotheLesson15folder,andsavethefileas15Working.psd.ClickOKinthePhotoshopFormatOptionsdialogbox.

Printinga3DfileWhenyouthinkofprinting,youusuallythinkofproducingaflatpageoftwo-dimensionaltextandimages.Theymaybehigh-quality,amazingimages,butyoucan’tseethemfromdifferentangles,andwhatyouholdinyourhandremainsapieceofpaperorotherrelativelysimplemedia.

3Dprintersopenupawholenewworldofprintingopportunities.Insteadofprintinganimageofathing,youcanprintthethingitself.Thepossibilitiesareendless,includingmedicaluses,prototyping,andcreativeenterprisessuchasmakingjewelryandone-of-a-kindsouvenirs.

3Dprinterswereoncetheprovinceofwell-fundedlabs,buthaverecentlybecomemuchmoreaccessible.Inmanycities,youcanuseoneata“maker”ordo-it-yourself(DIY)space,asharedworkshopareawhere,forafee,youcanusemanyadvancedresources.Ifyoudon’thavea3Dprinteryourselforeasyaccesstoone,youcanalsosendyour3Dcreationstoonlinevendorswhowillprintthemusingthematerialyouspecifyandmailthemtoyou.

Youcancreate3DobjectsinPhotoshop—orimport3Dobjectsthathavebeencreatedelsewhere—andprintthemdirectlyfromPhotoshop.

Specifying3DprintsettingsYoudon’tusethestandardPrintdialogboxtoprint3DobjectsfromPhotoshop.Andbeforeyouprint,youneedtomakesurethesettingsareappropriate.

1.Choose3D>3DPrintSettings.

ThePropertiespaneldisplaysthe3Dprintsettings,andtheimagewindowshowsapreviewofyour3Dobject.Thepreviewshowsyouhowitwilllookwhenprinted,basedontheprinteryouselect.

2.ChooseShapewaysfromthePrintTomenuinthePropertiespanel.

Shapewaysisanonlinevendorthatprints3Dobjectsandmailsthemtoyouforafee.Thereareotheronlinevendors,butShapewaysiseasiesttousebecauseyoucanchooseitsprintersdirectlywithinPhotoshop.Ifyouuseanothervendor,askthemforinstructionsforprintingfromPhotoshop.

Ifyouowna3Dprinter,chooseLocalfromthePrintTomenu,andthenchooseyourprinterfromthePrintermenu.Ifyourprinterisn’tlistedinthemenu,chooseGetLatestPrintersfromthePrintTomenu,andthendownloadtheprofilesforallsupportedprinters.

3.ChoosePlastic-AlumidefromthePrintermenu.Plasticalumideisaplasticthatsimulatesmetal.

WhenyouchooseShapewaysfromthePrintTomenu,thePrintermenulistsdozensofmaterialoptions.Thematerialyouselectaffectstheappearanceandcostoftheobjectyouprint.

YoucanlearnmoreaboutthematerialsavailablethroughShapeways,andcomparecostsofvariousoptions,byvisitinghttp://www.shapeways.com/materials.

Thepreviewofthe3Dobjectchangesintheimagewindowtoreflectthechoicesyou’vemade.WhenyouchoosePlastic-Alumide,thepreviewshowsasilver-graytagwithextrudedtext.

4.MakesureInchesisselectedinthePrinterUnitsmenutospecifyhowprintervolumeshouldbemeasured.

3Dprintershavedifferentcapacities,andit’simportanttoconsiderwhetheryourobjectwillfitwithintheprinter’svolume.ThePrinterUnitsvaluesaredimmed,becauseyoucan’tchangethem;theydescribethevolumefortheprinteryou’vechosen.TheSceneVolumevaluesreflectthesizeofyour3Dscene(inthiscase,asingleobject).IftheShow

checkboxisselected,thepreviewshowsacubeoutlinetorepresenttheprintervolumethatthescenelieswithin.

Ifthescenevolumeislargerthantheprintervolume,clickScaleToPrintVolumeinthePropertiespaneltoreduceitssizesothatyourprintercanprintit.Inthiscase,thescenevolumeiscomfortablysmallerthantheprintervolume.

5.ChooseMediumfromtheDetailLevelmenu.Thisoptiondetermineshowdetailedthepreviewimageis.

TheSurfaceDetailoptionspreservebumpmapsandothertextureandopacitysettingswhenyouprint.Youcanleavethoseoptionsselected,thoughtherearenobumpmapsoropacitysettingsinthisobject.

You’rereadytoprint.

Exportinga3DobjectPrintinga3Dobjectisalittlemorecomplicatedthanprintingatwo-dimensionalimage.It’snotthatmuchmorechallengingforthepersondoingtheprinting,butPhotoshophastodoalotofbehind-the-scenescalculations.

3Dprintersbuildobjectsfromthebottom.Ifyou’reprintingacube,forexample,oranotherobjectwithasignificantbase,theprintercancreateitwithoutfurthersupport.However,many3Dobjectsareirregularlyshaped,andthebottomoftheobjectmayactuallybeasetofdisconnectedsurfaces.Forexample,thinkofamodelofananimal.Thebottomoftheanimaliscomposedofthefourseparatefeet.Inordertoprintsuchanobject,theprinterrequiresasupportstructure.Thatstructuretypicallyincludesaraft,whichprovidesabasetoprintfrom,andscaffolding,whichsupportsportionsoftheobjectsotheydon’tcollapsewhiletherestoftheobjectisbeingprinted.

Whenyouchoose3DPrint,Photoshoppreparestheobjectforprinting,andcalculatesanynecessaryraftandscaffoldingaswell.

1.Choose3D>3DPrint,orclicktheStartPrinticonatthebottomofthePropertiespanel.

Photoshopdisplaysaprogressbarasitpreparestheprintjob.

2.ClickOKinthedialogboxthatinformsyouthattheestimatedpricemaydifferfromthefinalpurchaseprice.

3.InthePhotoshop3DPrintSettingsdialogbox,reviewtheestimatedpriceandprintsize.

ClickoptionsinthePreviewareaofthedialogboxtoseethesize,shadows,raft,scaffolding,andotheraspectsofthejob.Thisobjectrequiresnoraftorscaffolding,sothoseoptionsaredimmed.

Usethe3Dtoolsatthetopofthedialogboxtoseeyourobjectfromdifferentangles.

Printingpricesvarydramaticallydependingonthematerialyouchoose.YoucanclickCancel,chooseadifferentprinter,andthenletPhotoshopcalculatethepriceagain.You’vemadenocommitmentsatthispointintheprocess.

4.ClickExport.

5.ClickSaveintheSavedialogbox.

Photoshopsavesthe3Dprintfileinformationinthe15Working.psdfile.

6.Whenyou’repromptedtouploadyourfiletotheShapewayssiteforprinting,clickYestocontinuetothesite,orclickNotostoptheprocess.

7.IfyoucontinuetotheShapewayssite,signinifyouhaveanaccount,orcreateoneifyoudon’t.(Creatinganaccountisfree.)

8.OntheShapewayswebsite,clickUpload.Whenprompted,selectthefileyoujustsavedandclickChoose.ItwillbeintheLesson15folder,called15Working.stl.zip.ThenclickUpload.

Youarenotcommittedtoapurchaseuntilyoucheckoutandpayfortheobject.

Shapewaysuploadsandunzipsthefile.Itdisplaystheobjectandlistspossiblematerialsandtheirprices.

9.ClickAddToCartnexttothematerialyouwanttoprint,andthenfollowtheonscreeninstructionstoplaceyourorder.Theprintedobjectwillbeshippedtoyou.

Reviewquestions1.Howdoesa3DlayerdifferfromotherlayersinPhotoshop?

2.Howcanyouchangethecameraview?

3.Whichcolorrepresentseachaxisonthe3DAxiswidget?

4.Howdoyouprinta3Dobject?

Reviewanswers1.A3Dlayerbehaveslikeanyotherlayer—youcanapplylayerstyles,maskit,andsoon.However,unlikearegularlayer,a3Dlayeralsocontainsoneormoremeshes,whichdefine3Dobjects.Youcanworkwithmeshesandthematerials,maps,andtexturestheycontain.Youcanalsoadjustthelightingfora3Dlayer.

2.Tochangethecameraview,youcanmovetheCamerawidget,orright-click(Windows)orControl-click(MacOS)thewidgettochooseacameraviewpreset.

3.Inthe3DAxiswidget,theredarrowrepresentstheXaxis;thegreenarrowrepresentstheYaxis,andthebluearrowrepresentstheZaxis.

4.Toprinta3DobjectfromPhotoshop,firstchoose3D>3DPrintSettings,andsetupyourprinteroptions.Thenchoose3D>3DPrint,orclicktheStartPrinticonatthebottomofthePropertiespanel.

Appendix:Toolspaneloverview

PhotoshopCCToolspanel

TheMovetoolmovesselections,layers,andguides.

Themarqueetoolsmakerectangular,elliptical,singlerow,andsinglecolumnselections.

Thelassotoolsmakefreehand,polygonal(straightedged),andmagnetic(snap-to)selections.

TheQuickSelectiontoolletsyouquickly“paint”aselectionusinganadjustableroundbrushtip.

TheMagicWandtoolselectssimilarlycoloredareas.

Thecroptoolstrim,straighten,andchangetheperspectiveofimages.

TheEyedroppertoolsamplescolorsinanimage.

The3DMaterialEyedroppertoolloadsselectedmaterialfroma3Dobject.

TheColorSamplertoolsamplesuptofourareasoftheimage.

TheRulertoolmeasuresdistances,locations,andangles.

TheNotetoolmakesnotesthatcanbeattachedtoanimage.

TheCounttoolcountsobjectsinanimage.

TheSlicetoolcreatesslices.

TheSliceSelecttoolselectsslices.

TheSpotHealingBrushtoolquicklyremovesblemishesandimperfectionsfromphotographswithauniformbackground.

TheHealingBrushtoolpaintswithasampleorpatterntorepairimperfectionsinanimage.

ThePatchtoolrepairsimperfectionsinaselectedareaofanimageusingasampleorpattern.

TheContent-AwareMovetoolrecomposesandblendspixelstoaccommodateamovedobject.

TheRedEyetoolremovesredeyeinflashphotoswithoneclick.

TheBrushtoolpaintsbrushstrokes.

ThePenciltoolpaintshard-edgedstrokes.

TheColorReplacementtoolsubstitutesonecolorforanother.

TheMixerBrushtoolblendsasampledcolorwithanexistingcolor.

TheCloneStamptoolpaintswithasampleofanimage.

ThePatternStamptoolpaintswithapartofanimageasapattern.

TheHistoryBrushtoolpaintsacopyoftheselectedstateorsnapshotintothecurrentimagewindow.

TheArtHistoryBrushtoolpaintsstylizedstrokesthatsimulatethelookofdifferentpaintstyles,usingaselectedstateorsnapshot.

TheErasertoolerasespixelsandrestorespartsofanimagetoapreviouslysavedstate.

TheBackgroundErasertoolerasesareastotransparencybydragging.

TheMagicErasertoolerasessolid-coloredareastotransparencywithasingleclick.

TheGradienttoolcreatesstraight-line,radial,angle,reflected,anddiamondblendsbetweencolors.

ThePaintBuckettoolfillssimilarlycoloredareaswiththeforegroundcolor.

The3DMaterialDroptooldropsthematerialloadedinthe3DMaterialEyedroppertoolontothetargetedareaofa3Dobject.

TheBlurtoolblurshardedgesinanimage.

TheSharpentoolsharpenssoftedgesinanimage.

TheSmudgetoolsmudgesdatainanimage.

TheDodgetoollightensareasinanimage.

TheBurntooldarkensareasinanimage.

TheSpongetoolchangesthecolorsaturationofanarea.

Thepentoolsdrawandmodifysmooth-edgedpaths.

Thetypetoolscreatetypeonanimage.

Thetypemasktoolscreateaselectionintheshapeoftype.

Thepathselectiontoolsmakeshapeorsegmentselectionsshowinganchorpoints,directionlines,anddirectionpoints.

TheshapetoolsandLinetooldrawshapesandlinesinanormallayerorshapelayer.

TheCustomShapetoolmakescustomizedshapesselectedfromacustomshapelist.

TheHandtoolmovesanimagewithinitswindow.

TheRotateViewtoolnondestructivelyrotatesthecanvas.

TheZoomtoolmagnifiesandreducestheviewofanimage.

Appendix:Keyboardshortcuts

MosttoolsandcommandsinPhotoshopcanbeaccessedthroughkeyboardshortcuts.Asyougrowmorecomfortablewiththesoftware,learningshortcutsfortoolsandcommandsyouusemostoftencansaveyoutime.

ToolsEachgroupoftoolsintheToolspanelsharesashortcut.PressShift+theletterkeyrepeatedlytocyclethroughhiddentools.

ApplicationmenusTheseshortcutsareforWindows.ForMacOS,substituteCommandforCtrlandOptionforAlt.

Symbols3DAxiswidget351

3Dfeatures348–359

3Dlayers349

3Dprintsettings353

3Dscenes

positioningelementsin352

printing353

3Dtools349

Aactions

batch-playing314

playing314

recording309–314

stoppingrecording313

actionssets310

Actionspanel309

AddAudiooption259

AddLayerMaskbutton139

AddMediabutton250

AddNoisefilter219

AdjustmentBrushtool(CameraRaw)297

adjustmentlayers97–98

Black&White50,255

Brightness/Contrast217

ChannelMixer217

Curves17,110–111,293

defined17

Exposure218

Hue/Saturation97,153

Levels119,152,154,284

usinginvideo254

AdobeBridge

addingfavorites37

Favoritespanel37

installing3

openingfilesinCameraRawfrom268

openingfilesinPhotoshopfrom36

AdobeBrushCC197

AdobeCameraRaw

adjustingwhitebalancein270

AdjustmentBrushtool297

Basicpanel274

Detailpanel276

openingimagesin268

OpenObjectbutton281

savingfilesin282

synchronizingsettingsacrossimages277

usingasafilter297–298

version266

workflow270

workspace269

AdobeColorCC197

AdobeGenerator316–320

creatingmultipleassetsperlayer319

parameters321

AdobeIllustrator

importingSmartObjectsfrom194

importingtextfrom194–195

AdobePhotoshopCC

installing3

newfeatures2

resettingthedefaultpreferencesfor10

starting3,10

workarea10–31

AdobePhotoshopCCClassroominaBook(2015release)1

accessinglessonfiles3

prerequisites2

AdobePhotoshopLightroom286–287

AdobePreviewCC322

AdobeShapeCC197

AdobeStock78

Alignedoption48

aligninglayers103

alphachannels138,148

about140,151

anchorpoints185,188

animating

position256

text252

anti-aliasing62

applicationframe,inMacOS11

ApplyLayerCompbox102

arrowkeys

nudgingselectionswith59–60

usingtheShiftkeywith59

artboards322

assets

importingforvideo249

resizingforvideo252

addingtoavideotimeline259

fading260

muting260–261

shorteningclips259

Audiotrack259

Auto-AlignLayers103,125

AutoEnhanceoption56

automatingtasks309–316

axes,3D351

Bbackgroundlayer74

convertingtoaregularlayer76,312

erasing79

overview76

barreldistortion,correcting120

Basicpanel(inCameraRaw)274

batch-playingactions314

Behance343

Bevel&Embosseffect195

bitmapimages

overview10,182

vectorgraphicsvs.182–183

blackandwhite,convertingcolorimagesinPhotoshop50

blackpoint274

Black&Whiteadjustmentlayer50,255

blemishes,removing44

BlendImagesTogetheroption117

blendingcolorswithaphotograph236

blendingmodes

achievingdifferenteffectswith93

applyingtolayers84

Color212

Luminosity222

Multiply84

Overlay84

overview82

BloattoolintheLiquifyfilter211

BlurEffectspanel115

BlurGallery112–115

causedbycameramotion,removing134

FieldBlur114

IrisBlur112–113,216

PathBlur114

restoringnoise115

SpinBlur114

surfaceblur294

Tilt-Shift114

borders

adding79,99

discarding39

Bridge.SeeAdobeBridge

brighteninganimage110–111,119

Brightness/Contrastadjustmentlayer217

bristletips226

BrowseInBridgecommand36

brushes

loadingwithcolor233

presets234

settings227

ShapeDynamicsoptions239

Brushpanel227

BrushPosesettings239

BrushPresetspanel235

Brushtool20

settingoptions145

buttons

creatinginPhotoshop303–309

duplicating308

Ccalibration,monitor337

cameralensflaws,correcting120–122

CameraRaw.SeeAdobeCameraRaw

camerarawimages

camerassupportedbyAdobeCameraRaw267

creating267

fileformatsforsaving282

histogram276

opening268–269

overview267

proprietary266

cameraraw

saving279–280

sharpening276

whitebalanceandexposureadjustment270–271

CameraShakeReductionfilter134

cameras,in3Dlayers349

changingtheangleof351

cameraviews351

Camerawidget351

CanvasSize312

centerpoint,selectingfrom66

channelmasks140

ChannelMixeradjustmentlayer217

channels

adjustingindividual150–152

alphachannels148,151

loadingasselections153

overview138,148

Channelspanel138

Characterpanel88

checkerboardtransparencyindicator79

chromaticaberration120

ClassroominaBook1

CleanBrushAfterEveryStrokeicon232

cleanbrush(MixerBrushtool)232

clippingmasks

about140,159

creating162–164

indicator164

inplacedvideoassets255

shortcut163

closedpaths183,185

closingaPhotoshopfile12

Cloudsfilter86

CMYKcolormode,convertingto332

CMYKcolormodel332

defined336

gamut336

collaborating,withlibraries197

additive332

adjustingoverall40

changingforeground18

convertingtoblackandwhite50

defaultforegroundandbackground216

defaulttext162

managedworkflow337–338

mixingwiththeMixerBrush231

out-of-gamut332

previewingCMYKvaluesinRGBmode332

sampling18,227

selectingby54

selectingusingtheSwatchespanel24–25

softeningedgetransitions62

Colorblendingmode212

colorcasts,removing40

colorcomp341

colormanagement337–338

ColorOverlay195

Colorpanel28

colorprofiles337

ColorRange,SkinTonesoption292

colorsettings

restoring5

saving5

ColorSettingsdialogbox337–338

colorspace337

deviceprofile337

combiningimages

inapanorama116–119

withdifferentperspectives130–134

commands,keyboardshortcutsfor365

CommitAnyCurrentEditsbutton99

CommitTransformbutton195

Content-AwareFill

withpanoramas116

Content-AwareMovetool126,128

Content-AwarePatchtool45

Contentpanel,inBridge37

contextmenus19

withtype166,169

ContrastsliderinCameraRaw274

ControlTimelineMagnificationslider251

ConvertforSmartFilters297

convertingimagestoblackandwhite50

copying

andanti-aliasing62

atsameresolution69

commands69

images101,333

images,andcentering77

layers77–79

selections68,69

settingsinCameraRaw277

CopyMergedcommand69

cornerpoints185

creases,repairing44

CreateVideoTimeline249

croppingimages38–39,69–70

croppingshield38

Croptool38

CrossFadetransition258

curvedpaths185

Curvesadjustmentlayer17–18,110,293

customizingtheuserinterface30

cutouts194–195

DDefaultForegroundAndBackgroundColors216

defaults,resetting4,10

DeleteCroppedPixelsoption38

depthoffield,adding123

deselectingselections57

DetailpanelinCameraRaw276

DifferenceCloudsfilter216

DirectSelectiontool185

discretionaryligatures173

displaying

documentsize101

layers78

multipledocuments77

distortions,correcting130

DNGfileformat282

dockingpanels27

documentsize,displaying101

Dodgetool291–292

draggingimagefilestoaddlayers87

DragThe3DObjecttool350

DropShadowlayerstyle306,312

dropshadows91–92,94

duplicating

areasofascene126

images334

layers308

durationofvideoclips,changing251

Dust&Scratchesfilter49

Eediting

shapes194

SmartFilters210

text167

EditInQuickMaskModebutton145

EllipticalMarqueetool54,222

centeringselection66

circularselectionswith58

EPSfileformat340

EraseRefinementstool144

Erasertool103

erodibletip230

exporting

3Dobjectsforprinting355

imagefilesfromlayers316

video261

Exposureadjustmentlayer218

Eyedroppertool18,227

eyeicon,intheLayerspanel75

FFadeWithBlacktransitions258

fadingaudio260

Favoritespanel,inBridge37

Feathercommand62

feathering62

FieldBlur114

fileformats

fromCameraRaw282

transferringimagesbetweenapplicationsandplatforms282

type173

filesize

flattenedvs.unflattened101

reducing101

files,saving18,101–104

color349

foregroundcolor100

gradient90

film.Seevideo

filters

addingcloudswith86

AddNoise219

CameraRawFilter297

CameraShakeReduction134

DifferenceClouds216

Dust&Scratches49

LightingEffects220

Liquify206–207

SmartSharpen49,311

FitOnScreencommand67

FlattenImagecommand41

flatteningimages101

focus,adjusting123

alternates173

changingintheoptionsbar23

OpenType173

previewingincontext161

selecting160

Foregroundcolorswatch24,86

four-colorprinting332

fractions173

FreeformPentool183

freehandselections63–64

FreeTransform198,204,206

Ggamut336

colorsoutsideof332–333

GamutWarning333–334

Generator.SeeAdobeGenerator

GeometricDistortionCorrectionoption117

GradientPicker90

gradients,listingbyname90

Gradienttool90

guides

adding159

ruler304

guides

SmartGuides198

HHandtool65

HDR,inAdobeCameraRaw296

HealingBrushtool44,289

Help,Photoshop6

hiding

layers78

selectionedges60

high-resolutionimages35

histogram

inLevelsadjustmentlayer41,285

histogram,inCameraRaw276

Historypanel215–221

HorizontalTypetool22,88,160,161

hue,adjustingforprinting333

Hue/Saturationadjustmentlayers17,146,153

IIllustrator.SeeAdobeIllustrator

images

centeringandcopying162

copying101

determiningscanresolution35

duplicating333

fittingonscreen65

flattening101–103

resolution35–36

sharpening276

sizeandresolution35–36

ImageSizecommand69

imagewindow12,14,14–15

fittingimageto67

scrolling16

importing

embeddedSmartObjects315

multiplefilesfromBridge203

InDesign.SeeAdobeInDesign

Infopanel303

inkjetprinters341

InnerShadowlayerstyle164

interface.Seeuserinterface

Invertcommand152

IrisBlur112–114,216

JJPEGfileformat

camerarawimagesand267

imagedegradationand287

Kkeyboardshortcuts

comprehensivelist364–365

customizing234

duplicating68

Movetool59

keyframes

appearanceof253

movingtothenextorprevious256

usingtoanimatetext252

Lassotools54,63–64

layercomps102

layereffects

adding91

updating99

layergroups303

layermasks140

layers

about74

adding86–87

aligning103

Background76

blendingmodes82–83

convertingBackgroundtoregular312

convertingtobackground76

copying77–79

copyingandcentering77,81

copyingandmerging69

duplicating82,308

effects89–92,91–94

erasing79–81

flattening101,102

generatingimagesfrom316

generatingmultipleassetsfrom319

hidingandshowing75,78,79

linking84–86

locking75

mergingvisible101

namingimageassetsin317

opacity82

overview74

painting211

rearranging80–82

removingpixelsfrom79–81

renaming77

resizing84–86

rotating84

showing79

thumbnails,hidingandresizing75

transforming84

transparency82–83

type88

Layerspanel

overview75–76

QuickMaskmodeindicator145

layerstyles

addingtotype164

applying89–92,91–94

Bevel&Emboss195

ColorOverlay195

DropShadow91,94,306,312

multipleinstancesofeffect96

overview89,91

Satin95

Stroke94,306

learningresourcesforAdobePhotoshopCC6

lengthofvideoclips,changing251

LensCorrectionfilter120–122

lessonfiles,accessing3

Levelsadjustmentlayers40–41,119,152,154,284

libraries,collaboratingwithCreativeCloud197

ligatures,discretionary173

lighteninganimage110–111,119

LightingEffectsfilter220

Lightroom.SeeAdobePhotoshopLightroom

lights,in3Dlayers349

lineargradients86–88

Liquifyfilter206–207

LiveTipBrushPreview229

LoadFilesIntoPhotoshopLayerscommand203

loading

brusheswithcolor233

channelsasselections153

low-resolutionimages35

upscaling221

Luminosityblendingmode222

MMacOS,differencesinworkarea11

MagicWandtool54

combiningwithothertools60–61

MagneticLassotool54,65–66

magnification13–14.SeealsoZoomtool

magnifyingglass.SeeZoomtool

marqueetools54

colorvaluesforediting138

creating139–142

inverting146

overview138

refining141

terminology140

materials,in3Dlayers349

MergeVisiblecommand102

merging

images103,123

imageswithdifferentperspectives130–134

layers101

multiplePhotoshopfiles203

meshes,in3Dlayers349

mistakes,correcting25–31

MixerBrushtool

about226

cleaningthebrush232

mixingcolors231

withaphotograph236

mobiledevices

designingwithartboards322

testingdesignswithAdobePreviewCC322

usingwithlibraries197

monitor

calibration337

resolution35–36

motionblurs115

Motiondialogbox252,255

Motionworkspace249

Movetool26

movingselections57

scissorsicon67

moving

3Dobjects351

objectsinanimage126

panels27

selections56–57

Multiplyblendingmode84

mutingaudio260–261

Nnavigating

usingScrubbyZoom15

usingtheNavigatorpanel16

withtheZoomtool13–14

Navigatorpanel16

noise,reducing49

nondestructivefilters206

Notespanel171

Oopacity,changing82–83

openingimagesinCameraRaw268

OpenObjectbutton(inCameraRaw)281

openpaths183,185

OpenTypefileformat158,173

optionsbar19

comparedtopanels29–30

overview22–23

settingtypeoptionsin23

organizingphotos286–287

out-of-gamutcolor332–333

outputresolution,determining36

Overlayblendingmode84

Ppainting

layers211

wetnessoptions228

withanerodibletip230

withtheMixerBrushtool224–239

panandzoomeffects,addingtovideo257–258

paneldock27

panels

Brushpanel227

comparedtooptionsbar29

docking27

expandingandcollapsing28–29

movingtoanothergroup27

overview26–27

resizing28

undocking27

workingwith24–26

panningwiththeNavigatorpanel16

panorama116–119

gettingthebestresults118

inAdobeCameraRaw296

Pan&Zoomoption252,257

PaperColoroption339

paper,simulatingwhite339

Paragraphpanel28

paragraphtype160

PasteIntocommand69,222

pasting

andanti-aliasing62

atsameresolution69

commands69

Patchtool45

PathBlur114

paths183–184

addingtypeto165–166

closing185

drawingcurved185

drawingstraight185

guidelinesfordrawing188

saving185,192

pathsegments185

Pathspanel185,186

vectormask194

PDF.SeePhotoshopPDF

Penciltool183

Pentool

asselectiontool184

drawingpaths184–188

keyboardshortcut183

overview183–184,185

settingoptions186–187

PerspectiveWarp130

photocorrection

resolutionandsize35–36

retouchingstrategy34

Photomerge116–117

bestpractices118

photorestoration,manual42–43

PhotoshopEPSfileformat333

PhotoshopPDF,savingas177

PhotoshopRawfileformat267

pincushiondistortion120

pixelmask140

pixels

defined10,35,182

imageandmonitor35–36

PlaceLinked195

placingembeddedSmartObjects315

planes,PerspectiveWarp131

playhead,intheTimelinepanel254

plug-ins10

pointtype160

distorting169–170

paragraphsvs.170

PolygonalLassotool21,54

Polygontool194

position,animatinginvideo256

PostScriptfonts158,173

preferences

gamut-warningcolor333

restoringdefaults4,10

Units&Rulers303

PreserveDetails(Enlargement)option221

PreserveNumbersoption338

presets

brush234

filmandvideo248

previewing

brushtips229

fontsincontext161

imagesinabrowser320

Printdialogbox342

printers,inkjet341

printing325–345

3Dfiles353

CMYKmodeland336–337

guidelines341

identifyingout-of-gamutcolor332–333

preparingimagesfor326

proofingimagesonscreen338–341

resolution36

savingimageasseparations340

printinginks,simulating339

processcolors34,332

ProofColorscommand339

proofingimages338–341

PSDformat282

PuckertoolintheLiquifyfilter211

PuppetWarp146

QQuickMaskmode145

quickmasks138,145

paintingcolor146

QuickSelectiontool54,55–56,139

Rrasterimages,overview182

recordingactions309–314

rectangles,rounded174

RectangularMarqueetool19,54,61,304

redeye,correcting108–110

RedEyetool109–110

RefineEdge62,149

RefineMaskdialogbox141

RefineRadiustool142

renderingvideo261

repositioningselections58

ResizeToFillCanvasoption252

resizing

layers84

panels28

videoassets252

resizingtheimagecanvas312

resolution35–36

retouching/repairing

overview34

removingblemishes44–45

settingcorrectresolution35–36

withtheHealingBrushtool289

withtheSpotHealingBrushtool44,289–291

RGBcolormode,convertingtoCMYK332

RGBcolormodel332,332–334

about332

gamut336

right-clickmenus19

RollThe3DObjecttool351

rotating

3Dobjects351

selections64

RoundedRectangletool174–175

rulerguides159,304

rulers160

Ssamplingcolors18,227

Satinlayerstyle95

saturation,adjustinginPhotoshop291–292

Saturationslider(inCameraRaw)274

saving

asPhotoshopPDF177

imagesasseparations340

scaling162

3Dobjects351

imagesup221

scanresolution35

scrubbing23

ScrubbyZoom15

selecting

alayerinamultilayerfile57

fromcenterpoint66–67

high-contrastedges65–66

inverseselection61–62

layers79

overview54

skintones292

text99

selections

bycolor54

circular66

copying69

duplicating68

elliptical57–65

featheringexisting62

freehand54

geometric54

hidingedgesof60

inverting16

moving56–57,59,67–68,68

rotating64–65

showingedges60

softening62

subtractingfrom61

selectiontools54–55

separations

printing342–344

savingimageas340

sepiaeffect,creating255

shaders,in3Dlayers349

shadows,creating148

ShapeDynamicsoptions,forbrushes239

shapelayers194–195

shapes,custom192–195

Shapewaysonline3Dprintvendor354

sharpeningimages

inCameraRaw276–277

inPhotoshop49–50

shortcutmenus19

shortcuts.Seekeyboardshortcuts

shorteningvideoclips251

Show/HideVisibilitycolumn79

ShowTransformControlsoption195

sidecarXMPfiles277

SingleColumnMarqueetool54

SingleRowMarqueetool54

skewinganobject150

skintones,selecting292

SmartFilter112

SmartFilters206–209

editing210

SmartGuides198

SmartObjects

automaticupdateonediting194

convertinglayersto206

embedded315

layerthumbnail195

linked195,197

overview194

SmartFiltersand206

SmartSharpenfilter49,311

smoothpoints185

snapping303

soft-proofing338–341

spellchecking166

SpinBlur114

SplitatPlayheadbutton259

Spongetool291–292

SpotHealingBrushtool44–45,289–291

stackingorder,changing80–82

Standardmode145

startingPhotoshop10

statusbar14

stickynotes171

StopRecordingbutton313

stopwatchiconintheTimelinepanel253

straighteninganimage38

strobeeffect115

Strokelayerstyle94,306

SubtractFromSelectionbutton61

SurfaceBlurfilter294

swashes173

Swatchespanel24–25,25

swatches,selecting24

synchronizingsettingsinCameraRaw277

Ttemperature,image271

text.Seealsotype

adding160

animating252

creating22,88–89

defaultcolor162

moving89

selecting99

textures,in3Dlayers349

thumbnails

layer75

SmartObject195

TIFF(TaggedImageFileFormat)

overview282

Tilt-ShiftBlur114

timeline,creating249

Timelinepanel

changingthemagnification251

overview247

returningtothefirstframe258

defined271

inBlack&Whiteadjustmentlayers255

ToleranceoptionfortheMagicWandtool60

tone,adjusting40–41

Brushtool20

Content-AwareMove126,128

Croptool38

EllipticalMarquee222

Eyedropper18,227

HealingBrushtool44

HorizontalTypetool22

keyboardshortcutsfor183,364

Lassotool63

MagicWandtool60

MagneticLassotool63,65

Movetool26

Patchtool45

PolygonalLasso21

PolygonalLassotool63

QuickSelectiontool55,139

RectangularMarquee304

RectangularMarqueetool19

RoundedRectangletool174–175

selectinghidden21–22

selection54–55

SpotHealingBrushtool44

using12–18

Toolspanel

comparedtootherpanels29–30

double-columnview13

selectingandusingtoolsfrom13–19

tooltips,displaying14

tracks,inatimeline249

trainingresources6

transformations,free-form84–85

transforming

layers84–86

SmartObjects195

transitions

addingtovideo258

changingthelengthof259

transparency

adjusting82–83

indicating79

TransparencyAndGamutdialogbox333

trimminganimage39

TrueTypefonts173

tutorialsforlearningPhotoshop6

type.Seealsotext

aligning160

clippingmask159,162–164

creating160–161

glyphs172

onapath165–166

overview158

resizing158

resolution-independent158

settingoptions160

swashes173

tricks166

truefractions173

vertical175–176

warping169–170

typefaces.Seefonts

formats158

selecting160

typelayers88

creatingnew166

selectingcontents166

Typetool22–23

Uundockingpanels27

Undocommand25

undoingactions25–26

withtheHistorypanel215–221

Units&Rulerspreferences303

upscalingimages221

userinterface

AdobeCameraRaw269

changingsettingsfor30

learning10–12

Vvectorgraphics

bitmapimagesvs.182

defined10

overview182

vectormasks140

VerticalTypetool175

addingaudioto259

addingpanandzoomeffects257–258

addingtransitions258–259

exporting261

groups250

importingassetsfor249

overview248

rendering261

resizingassetsfor252

usingadjustmentlayersin254

vignetting120

WWacomtablets226,239

warping

imageswiththeLiquifyfilter206

perspective132

type169–170

webbrowser,previewingimagesin320

wetnessoptions,inpainting228

whitebalance,adjusting270–271

WhiteBalancetool(inCameraRaw)271–273

whitepoint274

widgets,3D351

Windows,differencesinworkarea11

workarea10–31

workflows

color-managed337–338

forretouchingimages34

organizingfiles286–287

prepress338

WorkPath

overview185

workspaces

default11

Motion249

Xxaxis351

XMPfiles277

Yyaxis351

Zzaxis351

zooming

intotheTimelinepanel251

Zoomoptioninvideo255

zoomtest,beforeprinting328

Zoomtool13–14

shortcuts143

usingScrubbyZoom15

ProductionNotes

AdobePhotoshopCCClassroominaBook(2015release)wascreatedelectronicallyusingAdobeInDesignCC.ArtwasproducedusingAdobeInDesign,AdobeIllustrator,andAdobePhotoshop.TheMyriadProandWarnockProOpenTypefamiliesoftypefaceswereusedthroughoutthisbook.ForinformationaboutOpenTypeandAdobefonts,visitwww.adobe.com/type/opentype/.

Referencestocompanynamesinthelessonsarefordemonstrationpurposesonlyandarenotintendedtorefertoanyactualorganizationorperson.

ImagesPhotographicimagesandillustrationsareintendedforusewiththetutorials.

TeamcreditsThefollowingindividualscontributedtothedevelopmentofAdobePhotoshopCCClassroominaBook(2015release):

ProjectManager:LaurenDonohue

Writer:ConradChavez

IllustratorandCompositor:JeffBrown

CopyeditorandProofreader:WendyKatz

Indexer:ConradChavez

TechnicalReviewer:JeffBrown

Keystroker:MeganAhearn

Coverdesign:EddieYuen

Interiordesign:MimiHeft

ArtDirector:AndrewFaulkner

Designers:JeffBrownandLaurenDonohue

AdobePressExecutiveEditor:VictorGavenda

AdobePressProjectEditor:ConnieJeung-Mills

AdobePressProductionEditor:TraceyCroom

ContributorsJayGrahambeganhiscareerdesigningandbuildingcustomhomes.Hehasbeenaprofessionalphotographerformorethan25years,withclientsintheadvertising,architectural,editorial,andtravelindustries.Hecontributedthe“ProPhotoWorkflow”

tipsinLesson5.www.jaygraham.com

LisaFarrerisaphotographerbasedinMarinCounty,CA.ShecontributedphotographyforLesson5.www.lisafarrerphoto.com

GawainWeaverhasconservedandrestoredoriginalworksbyartistsrangingfromEadwardMuybridgetoManRay,andfromAnselAdamstoCindySherman.Hecontributedto“RealWorldPhotoRestoration”inLesson2.www.gawainweaver.com

SpecialThanksWeofferoursincerethankstoChristineYarrow,DanielPresedo,PeteFalco,StephenNielson,RussellBrown,andZoranaGeefortheirsupportandhelpwiththisproject.Wecouldn’thavedoneitwithoutyou!

Adobe photoshop cc classroom in a book 2015

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