AdobePhotoshopCC2015release
AlbertoSeveso
CLASSROOMINABOOK®TheofficialtrainingworkbookfromAdobe
AndrewFaulkner&ConradChavez
Adobe®Photoshop®CCClassroominaBook®(2015release)
©2016AdobeSystemsIncorporatedanditslicensors.Allrightsreserved.
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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
protectthecontentsfromdamageduringtransfer.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
GETTINGSTARTEDAboutClassroominaBookWhat’snewinthiseditionPrerequisitesInstallingAdobePhotoshopandAdobeBridgeStartingAdobePhotoshopAccessingtheClassroominaBookfilesRestoringdefaultpreferencesAdditionalresourcesAdobeAuthorizedTrainingCenters
1GETTINGTOKNOWTHEWORKAREAStartingtoworkinAdobePhotoshopUsingthetoolsSamplingacolorWorkingwithtoolsandtoolpropertiesUndoingactionsinPhotoshopMoreaboutpanelsandpanellocationsFindingresourcesforusingPhotoshopReviewquestionsandanswers
2BASICPHOTOCORRECTIONSStrategyforretouchingResolutionandimagesizeOpeningafilewithAdobeBridgeStraighteningandcroppingtheimageinPhotoshopAdjustingthecolorandtoneUsingtheSpotHealingBrushtoolApplyingacontent-awarepatch
RepairingareaswiththeCloneStamptoolSharpeningtheimageReviewquestionsandanswers
3WORKINGWITHSELECTIONSAboutselectingandselectiontoolsGettingstartedUsingtheQuickSelectiontoolMovingaselectedareaManipulatingselectionsUsingtheMagicWandtoolSelectingwiththelassotoolsRotatingaselectionSelectingwiththeMagneticLassotoolSelectingfromacenterpointResizingandcopyingaselectionCroppinganimageReviewquestionsandanswers
4LAYERBASICSAboutlayersGettingstartedUsingtheLayerspanelRearranginglayersApplyingagradienttoalayerApplyingalayerstyleAddinganadjustmentlayerUpdatinglayereffectsAddingaborderFlatteningandsavingfilesReviewquestionsandanswers
5QUICKFIXESGettingstartedImprovingasnapshotBlurringabackgroundCreatingapanoramaCorrectingimagedistortionAddingdepthoffieldMovingobjectswiththeContent-AwareMovetoolAdjustingperspectiveinanimageReviewquestionsandanswers
6MASKSANDCHANNELSWorkingwithmasksandchannelsGettingstartedCreatingamaskRefiningamaskCreatingaquickmaskManipulatinganimagewithPuppetWarpWorkingwithchannelsReviewquestionsandanswers
7TYPOGRAPHICDESIGNAbouttypeGettingstartedCreatingaclippingmaskfromtypeCreatingtypeonapathWarpingpointtypeDesigningparagraphsoftypeAddingaroundedrectangleAddingverticaltextReviewquestionsandanswers
8VECTORDRAWINGTECHNIQUESAboutbitmapimagesandvectorgraphicsAboutpathsandthePentoolGettingstartedDrawingwiththePentoolWorkingwithdefinedcustomshapesImportingaSmartObjectAddingcoloranddepthtoashapeusinglayerstylesReviewquestionsandanswers
9ADVANCEDCOMPOSITINGGettingstartedArranginglayersUsingSmartFiltersPaintingalayerAddingabackgroundUsingtheHistoryPaneltoundotasksUpscalingalow-resolutionimageReviewquestionsandanswers
10PAINTINGWITHTHEMIXERBRUSHAbouttheMixerBrushGettingstartedSelectingbrushsettingsMixingcolorsCreatingacustombrushpresetMixingcolorswithaphotographReviewquestionsandanswers
11EDITINGVIDEOGettingstartedAbouttheTimelinepanel
CreatinganewvideoprojectAnimatingtextwithkeyframesCreatingeffectsAddingtransitionsAddingaudioMutingunwantedaudioRenderingvideoReviewquestionsandanswers
12WORKINGWITHCAMERARAWGettingstartedAboutcamerarawfilesProcessingfilesinCameraRawApplyingadvancedcolorcorrectionReviewquestionsandanswers
13PREPARINGFILESFORTHEWEBGettingstartedUsinglayergroupstocreatebuttongraphicsAutomatingamultisteptaskSavingassetswithAdobeGeneratorReviewquestionsandanswers
14PRODUCINGANDPRINTINGCONSISTENTCOLORPreparingfilesforprintingGettingstartedPerforminga“zoomtest”Identifyingout-of-gamutcolorsAdjustinganimageConvertinganimagetoCMYKAboutcolormanagementSpecifyingcolor-managementsettings
ProofinganimageSavingtheimageasaCMYKEPSfilePrintingaCMYKimagefromPhotoshopReviewquestionsandanswers
15PRINTING3DFILESGettingstartedUnderstandingthe3DenvironmentPositioning3DelementsPrintinga3DfileReviewquestionsandanswers
APPENDICES
INDEX
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,aswellashowto
fororganizing,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,youwillneedtodownloadthe
lessonfilesfrompeachpit.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,dragthelessonfilesyoudownloadedintotheLessonsfolderonyourharddisk.
NoteAsyoucompleteeachlesson,youwillpreservethestartfiles.Incaseyouoverwritethem,youcanrestoretheoriginalfilesbydownloadingthecorrespondinglessonfilesfromyourAccountpageatpeachpit.com.
WebEditionThisbookcomeswithafreeWebEditionthatprovidesmanybenefits.YourWebEditioncanbeaccessedfromanydevicewithaconnectiontotheInternetanditcontains:
•Thecompletetextofthebook•Hoursofinstructionalvideokeyedtothetext•Interactivequizzes
Inaddition,theWebEditionwillbeupdatedwhenAdobeaddssignificantfeatureupdatesbetweenmajorCreativeCloudreleases.Toaccommodatethechanges,sectionsoftheonlinebookwillbeupdatedornewsectionswillbeadded.
added.
AccessingtheFreeWebEditionYourpurchaseofthisClassroominaBookinanyformatincludesaccesstothecorrespondingWebEdition.TheWebEditioncontainsthecompletetextofthebookaugmentedwithhoursofvideoandinteractivequizzes.
NoteRegisteringtoaccesstheWebEditiondoesnotautomaticallyprovideaccesstoyourlessonfiles,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/photoshopAdobeAdd-ons:creative.adobe.com/addonsisacentralresourceforfinding
tools,services,extensions,codesamples,andmoretosupplementandextendyourAdobeproducts.Resourcesforeducators:adobe.com/educationandedex.adobe.comofferatreasuretroveofinformationforinstructorswhoteachclassesonAdobesoftware.Findsolutionsforeducationatalllevels,includingfreecurriculathatuseanintegratedapproachtoteachingAdobesoftwareandcanbeusedtopreparefortheAdobeCertifiedAssociateexams.
AdobeAuthorizedTrainingCentersAdobeAuthorizedTrainingCentersofferinstructor-ledcoursesandtrainingonAdobeproducts.AdirectoryofAATCsisavailableattraining.adobe.com/trainingpartners.
1.GettingtoKnowtheWorkArea
LessonoverviewInthislesson,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:BIRTHDAYCARDDESIGNAsyouworkwithAdobePhotoshop,you’lldiscoverthatyoucanoftenaccomplishthesametaskinseveralways.Tomakethebestuseofthe
extensiveeditingcapabilitiesinPhotoshop,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.
NoteTypically,youwon’tneedtoresetdefaultswhenyou’reworkingonyourownprojects.However,you’llresetthepreferencesbeforeworkingonmostlessonsinthisbooktoensurethatwhatyouseeonscreenmatchesthedescriptionsinthelessons.Formoreinformation,see“Restoringdefaultpreferences”onpage4.
ThePhotoshopworkareaappearsasshowninthefollowingillustration.
A.MenubarB.OptionsbarC.Toolspanel
D.WorkspacesmenuE.Panels
OnMacOS,theapplicationframekeepstheimage,panels,andmenubartogether.
NoteThisillustrationshowstheMacOSversionofPhotoshop.ThearrangementissimilaronWindows,butoperatingsystemstylesmayvary.
ThedefaultworkspaceinPhotoshopconsistsofthemenubarandoptionsbaratthetopofthescreen,theToolspanelontheleft,andseveralopenpanelsinthepaneldockontheright.Whenyouhavedocumentsopen,oneormoreimagewindowsalsoappear,andyoucandisplaythematthesametimeusingthetabbedinterface.ThePhotoshopuserinterfaceisverysimilartotheoneinAdobeIllustrator®,AdobeInDesign®,andAdobeFlashProfessional®—solearninghowtousethetoolsandpanelsinoneapplicationmeansthatyou’llbefamiliarwiththemwhenyouworkintheothers.
familiarwiththemwhenyouworkintheothers.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.
NoteForacompletelistofthetoolsintheToolspanel,seetheAppendix,“Toolspaneloverview.”
You’llstartbyusingtheZoomtool,whichalsoappearsinmanyotherAdobeapplications,includingIllustrator,InDesign,andAcrobat.
1.ChooseFile>Open,navigatetotheLessons/Lesson01folder,anddouble-clickthe01Start.psdfiletoopenit.
The01Start.psdfilecontainsthebackgroundimageandaribbongraphicthat
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.
NoteYoucanuseothermethodstozoominandout.Forexample,whentheZoomtoolisselected,youcanselecttheZoomInorZoomOutmodeontheoptionsbar.YoucanchooseView>ZoomInorView>ZoomOut.Or,youcantypeanewpercentageinthestatusbarandpressEnterorReturn.
10.DeselectScrubbyZoomintheoptionsbarifit’sselected.Then,usingthe
Zoomtool,dragarectangletoenclosepartoftheroseblossom.
Theimageenlargessothattheareayouenclosedinyourrectanglenowfillstheentireimagewindow.11.ClickFitScreenintheoptionsbartoseetheentireimageagain.
YouhaveusedtheZoomtoolinfourdifferentwaystochangethemagnificationintheimagewindow:clicking,holdingdownakeyboardmodifierwhileclicking,draggingtozoominandout,anddraggingtodefineamagnificationarea.ManyoftheothertoolsintheToolspanelcanbeusedwithkeyboardcombinationsandoptionsaswell.You’llhaveopportunitiestousethesetechniquesasyouworkthroughthelessonsinthisbook.
ZoomingandscrollingwiththeNavigatorpanelTheNavigatorpanelisanotherspeedywaytomakelargechangesinthezoomlevel,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.Photoshopincludesmanykindsoflayers,someofwhichcontainimages,text,or
solidcolors,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.
NoteClickinganywhereintheworkareaclosesthecontextmenu.
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’t
positionedwell;you’llcorrectthatlater.
Thetextisthesamecolorasthebaryoutypediton.You’llfixthatnext.
TipYoucanplacethepointeroverthelabelsofmostnumericsettingsinthetooloptionsbar,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.)
NoteWhenyoumovethepointerovertheswatches,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.
NoteDon’tselecttheMovetoolusingtheVkeyboardshortcut,becauseyou’reintext-entrymode.TypingVwilladdthelettertoyourtextintheimagewindow.
UndoingactionsinPhotoshopInaperfectworld,you’dnevermakeamistake.You’dneverclickthewrongobject.You’dalwayscorrectlyanticipatehowspecificactionswouldbringyourdesignideastolifeexactlyasyouimaginedthem.You’dneverhaveto
designideastolifeexactlyasyouimaginedthem.You’dneverhavetobacktrack.Fortherealworld,Photoshopgivesyouthepowertostepbackandundoactionssothatyoucantryotheroptions.Youcanexperimentfreely,knowingthatyoucanreversetheprocess.
NoteTheUndocommandisn’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.
theEditmenu)tomovethroughmultiplesteps.3.Oncethenameisbacktothecoloryou’dlikeittobe,usetheMovetooltodragthenamesoit’scenteredinthebluebar.
4.Savethefile.Yourbirthdaycardisdone!
MoreaboutpanelsandpanellocationsPhotoshoppanelsarepowerfulandvaried.Rarelywouldyouneedtoseeallpanelssimultaneously.That’swhythey’reinpanelgroups,andwhythedefaultconfigurationsleavemanypanelsunopened.ThecompletelistofpanelsappearsintheWindowmenu.Checkmarksappearnexttothenamesofthepanelsthatareopenandactiveintheirpanelgroups.YoucanopenaclosedpanelorcloseanopenonebyselectingthepanelnameintheWindowmenu.Youcanhideallpanelsatonce—includingtheoptionsbarandToolspanel—bypressingtheTabkey.Toreopenthem,pressTabagain.
NoteWhenpanelsarehidden,athin,semitransparentstripisvisibleattheedgeofthedocument.Hoveringthepointeroverthestripdisplaysitscontents.
YoualreadyusedpanelsinthepaneldockwhenyouusedtheLayersandSwatchespanels.Youcandragpanelstoorfromthepaneldock.Thisisconvenientforbulkypanelsoronesthatyouuseonlyoccasionallybutwantto
convenientforbulkypanelsoronesthatyouuseonlyoccasionallybutwanttokeephandy.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.
NoteYoucancollapse,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.
ChanginginterfacesettingsBydefault,thepanels,dialogboxes,andbackgroundinPhotoshoparedark.Youcanlightentheinterfaceormakeotherchangesinthe
aredark.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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Understandimageresolutionandsize.•ViewandaccessfilesinAdobeBridge.•Straightenandcropanimage.•Adjustthetonalrangeofanimage.•UsetheSpotHealingBrushtooltorepairpartofanimage.•Usethecontent-awarePatchtooltoremoveorreplaceobjects.•UsetheCloneStamptooltotouchupareas.•Removedigitalartifactsfromanimage.•ApplytheSmartSharpenfiltertofinishretouchingphotos.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson02projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:VINTAGEPHOTOGRAPHRESTORATIONPhotoshopincludesavarietyoftoolsandcommandsforimprovingthequality
ofaphotographicimage.Thislessonstepsyouthroughtheprocessofacquiring,resizing,andretouchingavintagephotograph.
StrategyforretouchingHowmuchretouchingyoudodependsontheimageyou’reworkingonandyourgoalsforit.Formanyimages,youmayneedonlytochangetheresolution,lightentheimage,orrepairaminorblemish.Forothers,youmayneedtoperformseveraltasksandemploymoreadvancedfilters.
NoteInthislesson,youretouchanimageusingonlyPhotoshop.Forotherimages,itmaybemoreefficienttoworkinAdobeCameraRaw,whichisinstalledwithPhotoshop.You’lllearnaboutthetoolsCameraRawhastoofferinLesson12,“WorkingwithCamera
Raw.”
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.Thetermresolutionreferstothenumberof
smallsquares,knownaspixels,thatdescribeanimageandestablishitsdetail.Resolutionisdeterminedbypixeldimensions,orthenumberofpixelsalongthewidthandheightofanimage.
Pixelsinaphotographicimage
NoteTodeterminethenecessaryimageresolutionforaphotographyouplantoprint,followthecomputer-graphicsruleofthumbforcolororgrayscaleimagesintendedforprintonlargecommercialprinters:Scanataresolution1.5to2timesthescreenfrequencyusedbytheprinter.Forexample,iftheimagewillbeprintedusingascreenfrequencyof133lpi,scantheimageat200ppi(133×1.5).
Incomputergraphics,therearedifferenttypesofresolution:Thenumberofpixelsperunitoflengthinanimageiscalledtheimageresolution,usuallymeasuredinpixelsperinch(ppi).Animagewithahighresolutionhasmorepixels(andthereforealargerfilesize)thananimageofthesamedimensionswithalowresolution.ImagesinPhotoshopcanvaryfromhighresolution(300ppiorhigher)tolowresolution(72ppior96ppi).
NoteIt’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.
inches.InLesson1,youusedtheOpencommandtoopenafile.You’llstartthislessonbycomparingtheoriginalscantothefinishedimageinAdobeBridge,avisualfilebrowserthathelpstaketheguessworkoutoffindingtheimagefilethatyouneed.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)toresetthedefaultsettings.
NoteIfBridgeisn’tinstalled,you’llneedtoinstallitfromAdobeCreativeCloud.Formoreinformation,seepage3.
2.Whenprompted,clickYestoconfirmthatyouwanttodeletetheAdobePhotoshopSettingsfile.
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.
croppingdeletesthecroppedpixels.1.IntheToolspanel,selecttheCroptool( ).
TipDeselecttheDeleteCroppedPixelsoptionifyouwanttocropnondestructively,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.
TipYoucanchooseImage>Trimtodiscardaborderareaaroundtheedgeoftheimage,basedontransparencyoredgecolor.
7.PressEnterorReturntoacceptthecrop.Theimageisnowcropped,andthecroppedimagefillstheimagewindow,straightened,sized,andpositionedaccordingtoyourspecifications.
TipToquicklystraightenaphotoandcropoutthescannedbackground,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,anditadjustsallothercolors
thecolorthatPhotoshopdefinesaspurewhite,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”.Thisprintwasremovedfromitsmounttoremovethestainsandthenremounted.
“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-starchpastetocarefullyrepairandrebuildtornpaperbeforefinalizingtherepairwithsomeskillfulin-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.
issues.
NoteTheHealingBrushtoolworkssimilarlytotheSpotHealingBrushtool,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,andmake
surethatSampleAllLayersisselected.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’llusetheCloneStamptooltosmoothoutsomeirregularitiesintheheight
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
ConvertingacolorimagetoblackandwhiteYoucangetgreatresultsconvertingacolorimagetoblackandwhite(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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Makespecificareasofanimageactiveusingselectiontools.•Repositionaselectionmarquee.•Moveandduplicatethecontentsofaselection.•Usekeyboard-mousecombinationsthatsavetimeandhandmotions.•Deselectaselection.•Constrainthemovementofaselectedarea.•Adjustthepositionofaselectedareausingthearrowkeys.•Addtoandsubtractfromaselection.•Rotateaselection.•Usemultipleselectiontoolstomakeacomplexselection.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson03projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:SHADOWBOXCOLLAGELearninghowtoselectareasofanimageisofprimaryimportance—youmustfirstselectwhatyouwanttoaffect.Onceyou’vemadeaselection,onlythe
areawithintheselectioncanbeedited.
AboutselectingandselectiontoolsMakingchangestoanareawithinanimageinPhotoshopisatwo-stepprocess.Youfirstuseoneoftheselectiontoolstoselectthepartofanimageyouwanttochange.Thenyouuseanothertool,filter,orotherfeaturetomakechanges,suchasmovingtheselectedpixelstoanotherlocationorapplyingafiltertotheselectedarea.Youcanmakeselectionsbasedonsize,shape,andcolor.Whenaselectionisactive,changesyoumakeapplyonlytotheselectedarea;otherareasareunaffected.
NoteYou’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.)
2.Whenprompted,clickYestoconfirmthatyouwanttodeletetheAdobePhotoshopSettingsfile.
3.ChooseFile>BrowseInBridgetoopenAdobeBridge.4.IntheFavoritespanel,clicktheLessonsfolder.Thendouble-clicktheLesson03folderintheContentpaneltoseeitscontents.
NoteIfBridgeisn’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,theQuickSelectiontoolcreatesbetterquality
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.
MovetooltipIfyou’removingobjectsinamultilayerfilewiththeMovetoolandyousuddenlyneedtoselectoneofthelayers,trythis:WiththeMovetoolselected,movethepointeroveranyareaofanimage,andright-click(Windows)orControl-click(MacOS).Thelayersthatareunderthepointerappearinthecontextmenu.Choosetheoneyou’dliketomakeactive.
ManipulatingselectionsYoucanmoveselections,repositionthemasyoucreatethem,andevenduplicatethem.Inthissection,you’lllearnseveralwaystomanipulateselections.Mostofthesemethodsworkwithanyselection,butyou’llusethemherewiththe
thesemethodsworkwithanyselection,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.
NoteYoudon’thavetoincludeeverypixelintheplateofshells,buttheselectionshouldbetheshapeoftheplate,andshouldcontaintheshellscomfortably.
shellscomfortably.
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.
NoteYoucanreleasetheCtrlorCommandkeyafteryoustartdragging,andtheMovetoolremainsactive.Photoshoprevertstothepreviouslyselectedtoolwhenyoudeselect,whetheryouclickoutsidetheselectionorusetheDeselectcommand.
MovingaselectionwiththearrowkeysYoucanmakeminoradjustmentstothepositionofselectedpixelsbyusingthearrowkeys.Youcannudgetheselectioninincrementsofeitheronepixelortenpixels.WhenaselectiontoolisactiveintheToolspanel,thearrowkeysnudgetheselectionborder,butnotthecontents.WhentheMovetoolisactive,thearrowkeysmoveboththeselectionborderanditscontents.You’llusethearrowkeystonudgetheplateofshells.Beforeyoubegin,makesurethattheplateofshellsisstillselectedintheimagewindow.
1.PresstheUpArrowkey( )onyourkeyboardafewtimestomovetheovalupward.
Noticethateachtimeyoupressthearrowkey,theplateofshellsmovesonepixel.Experimentbypressingtheotherarrowkeystoseehowtheyaffecttheselection.
2.HolddowntheShiftkeyasyoupressanarrowkey.WhenyouholddowntheShiftkey,theselectionmovestenpixelseverytimeyoupressanarrowkey.Sometimestheborderaroundaselectedareacandistractyouasyoumake
Sometimestheborderaroundaselectedareacandistractyouasyoumakeadjustments.Youcanhidetheedgesofaselectiontemporarilywithoutactuallydeselecting,andthendisplaytheselectionborderonceyou’vecompletedtheadjustments.
3.ChooseView>Show>SelectionEdgesorView>Extras.Eithercommandhidestheselectionborderaroundtheplateofshells.
4.Usethearrowkeystonudgetheplateofshellsuntilit’spositionedoverthesilhouette,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’llusetheRectangularMarqueetooltoselecta
largerarea,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.
SofteningtheedgesofaselectionTosmooththehardedgesofaselection,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( ),andclickthemusseluntiltheviewenlargesto
100%.Makesureyoucanseetheentiremusselinthewindow.2.SelecttheLassotool( ).Startingatthelowerleftsectionofthemussel,dragaroundtheroundedendofthemussel,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.
NoteTomakesurethattheselectionistheshapeyouwantwhenyouusetheLassotool,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.
TipInlow-contrastareas,youmaywanttoclicktoplaceyourownfasteningpoints.Youcanaddasmanyasyouneed.Toremovethe
fasteningpoints.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.
headofthescrewfortheshadowboxcorners.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.
TipToselectaperfectcircle,pressShiftasyoudrag.HolddownShiftwhiledraggingtheRectangularMarqueetooltoselectaperfectsquare.
6.Ifnecessary,repositiontheselectionborderusingoneofthemethodsyoulearnedearlier.IfyouaccidentallyreleasedtheAltorOptionkeybeforeyoureleasedthemousebutton,selectthescrewagain.
ResizingandcopyingaselectionNowyou’llmovethescrewtothelowerrightcornerofthewoodenshadowbox,andthenduplicateitfortheothercorners.
Resizingthecontentsofaselection
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’llcopythescrew
Youcanmoveandduplicateaselectionatthesametime.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.
CopyingselectionsYoucanusetheMovetooltocopyselectionsasyoudragthemwithinorbetweenimages,oryoucancopyandmoveselectionsusingtheCopy,CopyMerged,Paste,andPasteIntocommands.DraggingwiththeMovetoolsavesmemory,becausetheclipboardisnotusedasitiswiththecommands.
isnotusedasitiswiththecommands.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.
TipTocropanimagewithitsoriginalproportionsintact,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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•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,givingyoutremendousflexibilityas
youcomposeandreviseanimage.
AboutlayersEveryPhotoshopfilecontainsoneormorelayers.Newfilesaregenerallycreatedwithabackgroundlayer,whichcontainsacolororanimagethatshows
throughthetransparentareasofsubsequentlayers.Allnewlayersinanimagearetransparentuntilyouaddtextorartwork(pixelvalues).Workingwithlayersisanalogoustoplacingportionsofadrawingonclearsheetsoffilm,suchasthoseviewedwithanoverheadprojector:Individualsheetsmaybeedited,repositioned,anddeletedwithoutaffectingtheothersheets.Whenthesheetsarestacked,theentirecompositionisvisible.
GettingstartedYou’llstartthelessonbyviewinganimageofthefinalcomposition.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridgetoopenAdobeBridge.
NoteIfBridgeisn’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.
automaticallyupdatedasyoueditthelayers.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.
TipUsethecontextmenutohideorresizethelayerthumbnail.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.”)
AboutthebackgroundlayerWhenyoucreateanewimagewithawhiteorcoloredbackground,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.
TipIfyouholddownShiftasyoudraganimagefromonefileintoanother,thedraggedimageautomaticallycentersitselfinthetargetimagewindow.
TheBeachlayernowappearsinthe04Working.psdfileimagewindowanditsLayerspanel,betweentheBackgroundandPineapplelayers.Photoshopalwaysaddsnewlayersdirectlyabovetheselectedlayer;youselectedtheBackgroundlayerearlier.
4.ClosetheBeach.psdfilewithoutsavingchangestoit.
TipNeedimagesforaprojectlikethisone?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’llseeathicklinebetweenthelayersinthepanel—andthenreleasethemousebutton.
TheBeachlayermovesuponelevelinthestackingorder,andthebeachimage
TheBeachlayermovesuponelevelinthestackingorder,andthebeachimageappearsontopofthepineappleandbackgroundimages,butunderthepostage,flower,andtheword“HAWAII.”
TipYoucanalsocontrolthestackingorderoflayeredimagesbyselectingthemintheLayerspanelandchoosingLayer>Arrange,andthenchoosingBringToFront,BringForward,SendToBack,orSendBackward.
ChangingtheopacityofalayerYoucanreducetheopacityofanylayertorevealthelayersbelowit.Inthiscase,thepostmarkistoodarkontheflower.You’lledittheopacityofthePostagelayertolettheflowerandotherimagesshowthrough.
1.SelectthePostagelayer,andthenclickthearrownexttotheOpacityfieldtodisplaytheOpacityslider.Dragthesliderto25%.Youcanalsotype25intheOpacityboxorscrubtheOpacitylabel.
ThePostagelayerbecomespartiallytransparent,soyoucanseetheotherlayersunderneath.NoticethatthechangeinopacityaffectsonlytheimageareaofthePostagelayer.ThePineapple,Beach,Flower,andHAWAIIlayersremainopaque.
2.ChooseFile>Savetosaveyourwork.
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.
BlendingmodesBlendingmodesaffecthowthecolorpixelsononelayerblendwithpixelsonthelayersbeneaththem.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.
5.ChooseFile>Savetosaveyourwork.
ResizingandrotatinglayersYoucanresizeandtransformlayers.
1.ClicktheVisibilitycolumnontheBeachlayertomakethelayervisible.
2.SelecttheBeachlayerintheLayerspanel,andchooseEdit>FreeTransform.
ATransformboundingboxappearsaroundthebeachimage.Theboundingboxhashandlesoneachcornerandeachside.First,you’llresizeandanglethelayer.
3.PressShiftasyoudragacornerhandleinwardtoscalethebeachphotodownbyabout50%.(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.
NoteYoucanalsocreateanewlayerbychoosingLayer>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.
TipYoucandragimagesfromaBridgewindowtoPhotoshopaseasilyasyoucandragfromtheWindowsorMacdesktop.
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.
NoteIfyoumakeamistakewhenyouclicktosetthetype,simplyclickawayfromthetypeandrepeatstep4.
5.SelecttheMovetool( ),anddragthe“IslandParadise”textsothatitis
centeredbelow“HAWAII.”
ApplyingagradienttoalayerYoucanapplyacolorgradienttoallorpartofalayer.Inthisexample,you’llapplyagradienttotheword“HAWAII”tomakeitmorecolorful.Firstyou’llselecttheletters,andthenyou’llapplythegradient.
1.SelecttheHAWAIIlayerintheLayerspaneltomakeitactive.2.Right-clickorControl-clickthethumbnailintheHAWAIIlayer,andchooseSelectPixels.
NoteMakesureyouclickthethumbnail,ratherthanthelayername,oryou’llseethewrongcontextmenu.
EverythingontheHAWAIIlayer(thewhitelettering)isselected.Nowthat
EverythingontheHAWAIIlayer(thewhitelettering)isselected.Nowthatyou’veselectedtheareatofill,you’llapplyagradient.
3.IntheToolspanel,selecttheGradienttool( ).
NoteThoughthelayercontainstheword“HAWAII,”itisnotatypelayer.Thetexthasbeenrasterized.
4.ClicktheForegroundColorswatchintheToolspanel,selectabrightshadeoforangeintheColorPicker,andclickOK.TheBackgroundColorshouldstillbewhite.
5.Intheoptionsbar,makesurethatLinearGradient( )isselected.
TipTolistthegradientoptionsbynameratherthanbysample,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.
TipYoucanalsoopentheLayerStyledialogboxbyclickingtheAddALayerStylebuttonatthebottomoftheLayerspanelandthenchoosingalayerstyle,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.
TipTochangetheGlobalLightsettings,chooseLayer>LayerStyle>GlobalLight.
Angledeterminesthelightingangleatwhichtheeffectisappliedtothelayer.Distancedeterminestheoffsetdistanceforashadoworsatineffect.Spreaddetermineshowgraduallytheshadowfadestowardtheedges.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.
TooltipsfromthePhotoshopevangelist
JulieanneKostisanofficialAdobePhotoshopevangelist.BlendingeffectsBlendinglayersinadifferentorderorondifferentgroupschangestheeffect.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
NoteBesuretoclickthewordSatin.Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.
TheSatinlayereffectappliesinteriorshadingtocreateasatinyfinish.Thecontourcontrolstheshapeoftheeffect;Invertflipsthecontourcurve.
Extracredit
UsinganeffectmorethanonceinalayerstyleAgreatwaytoaddvisualimpacttoadesignelementistoapplymultipleinstancesofeffectssuchasstrokes,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.
Addinganadjustmentlayer
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.
NoteBesuretoclickthelayername,notthethumbnail,toseetheappropriatecontextmenu.
4.Right-click(Windows)orControl-click(MacOS)thelayernameontheHue/Saturationadjustmentlayer,andchooseCreateClippingMask.
AnarrowappearsintheLayerspanel,indicatingthattheadjustmentlayerappliesonlytotheFlower2layer.You’lllearnmoreaboutclippingmasksinLessons6and7.
UpdatinglayereffectsLayereffectsareautomaticallyupdatedwhenyoumakechangestoalayer.You
Layereffectsareautomaticallyupdatedwhenyoumakechangestoalayer.Youcaneditthetextandwatchhowthelayereffecttracksthechange.
1.SelecttheIslandParadiselayerintheLayerspanel.2.IntheToolspanel,selecttheHorizontalTypetool( ).3.Intheoptionsbar,setthefontsizeto32points,andpressEnterorReturn.
Althoughyoudidn’tselectthetextbydraggingtheTypetool(asyouwouldhavetodoinawordprocessingprogram),“IslandParadise”nowappearsin32-pointtype.
TipYoucansearchforlayersintheLayerspanelbylayertype,layername,effect,mode,attribute,andcolor.Youcanalsodisplayonlytheselectedlayers:chooseSelect>IsolateLayers,orchooseSelectedfromtheKindmenuintheLayerspaneltoenterIsolationMode.
4.UsingtheHorizontalTypetool,clickbetween“Island”and“Paradise,”andtypeof.
Asyoueditthetext,thelayerstylesareappliedtothenewtext.
NoteYoudon’thavetoclicktheCommitAnyCurrentEditsbuttonaftermakingthetextedits,becauseselectingtheMovetoolhasthesameeffect.
5.Youdon’tactuallyneedtheword“of,”sodeleteit.6.SelecttheMovetool( ),anddrag“IslandParadise”tocenteritbeneaththeword“HAWAII.”
7.ChooseFile>Save.
AddingaborderTheHawaiipostcardisnearlydone.Theelementsarealmostallarrangedcorrectlyinthecomposition.You’llfinishupbypositioningthepostmarkandthenaddingawhitepostcardborder.
1.SelectthePostagelayer,andthenusetheMovetool( )todragittothemiddlerightoftheimage,asintheillustration.
2.SelecttheIslandParadiselayerintheLayerspanel,andthenclicktheCreateANewLayerbutton( )atthebottomofthepanel.
3.ChooseSelect>All.4.ChooseSelect>Modify>Border.IntheBorderSelectiondialogbox,type10pixelsfortheWidth,andclickOK.
A10-pixelborderisselectedaroundtheentireimage.Now,you’llfillitwithwhite.
white.5.SelectwhitefortheForegroundColor,andthenchooseEdit>Fill.6.IntheFilldialogbox,chooseForegroundColorfromtheContentsmenu,andclickOK.
7.ChooseSelect>Deselect.8.Double-clicktheLayer1nameintheLayerspanel,andrenamethelayerBorder.
FlatteningandsavingfilesWhenyoufinisheditingallthelayersinyourimage,youcanmergeorflattenlayerstoreducethefilesize.Flatteningcombinesallthelayersintoasinglebackgroundlayer.However,youcannoteditlayersonceyou’veflattenedthem,soyoushouldn’tflattenanimageuntilyouarecertainthatyou’resatisfiedwithallyourdesigndecisions.RatherthanflatteningyouroriginalPSDfiles,it’sagoodideatosaveacopyofthefilewithitslayersintact,incaseyouneedtoeditalayerlater.Toappreciatewhatflatteningdoes,noticethetwonumbersforthefilesizeinthestatusbaratthebottomoftheimagewindow.Thefirstnumberrepresentswhat
statusbaratthebottomoftheimagewindow.Thefirstnumberrepresentswhatthefilesizewouldbeifyouflattenedtheimage.Thesecondnumberrepresentsthefilesizewithoutflattening.Thislessonfile,ifflattened,wouldbe2–3MB,butthecurrentfileismuchlarger.Soflatteningiswellworthitinthiscase.
NoteIfthesizesdonotappearinthestatusbar,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,the
SaveAsdialogboxappears.7.MakesurethelocationistheLessons/Lesson04folder,andthenclickSavetoacceptthedefaultsettingsandsavetheflattenedfile.
Youhavesavedtwoversionsofthefile:aone-layer,flattenedcopyaswellastheoriginalfile,inwhichallthelayersremainintact.You’vecreatedacolorful,attractivepostcard.ThislessononlybeginstoexplorethevastpossibilitiesandtheflexibilityyougainwhenyoumastertheartofusingPhotoshoplayers.You’llgetmoreexperienceandtryoutdifferenttechniquesforlayersinalmosteverychapterasyoumoveforwardinthisbook.
TipIfyouwanttoflattenonlysomeofthelayersinafile,clicktheeyeiconstohidethelayersyoudon’twanttoflatten,andthenchooseMergeVisiblefromtheLayerspanelmenu.
AboutlayercompsLayercompsprovideone-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—to
Frenchlayer,andclicktheCreateNewLayerCompbutton—tocreateanEnglishlayercomp.Toviewthedifferentlayercomps,clicktheLayerCompboxforeachcompintheLayerCompspanelinturn.Layercompscanbeanespeciallyvaluablefeaturewhenthedesignisinfluxorwhenyouneedtocreatemultipleversionsofthesameimagefile.Ifsomeaspectsneedtostayconsistentamonglayercomps,youcanchangethevisibility,position,orappearanceofonelayerinalayercompandthensyncittoseethatchangereflectedinalltheotherlayercomps.
Extracredit
MergingphotosTaketheblinkingandbadposesoutofanotherwisegreatfamilyportraitwiththeAuto-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,Bring
Forward,SendToBack,andSendBackward.However,youcan’tchangethelayerpositionofabackgroundlayer.
4.Toapplyalayerstyle,selectthelayer,andthenclicktheAddALayerStylebuttonintheLayerspanel,orchooseLayer>LayerStyle>[style].
5.Tominimizefilesize,youcanflattentheimage,whichmergesallthelayersontoasinglebackground.It’sagoodideatoduplicateimagefileswithlayersintactbeforeyouflattenthem,incaseyouhavetomakechangestoalayerlater.
5.QuickFixes
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Removeredeye.•Brightenanimage.•Combineimagestocreateapanorama.•BlurthebackgroundofanimageusingIrisBlur.•Mergetwoimagestoextenddepthoffield.•Applyopticallenscorrectiontoadistortedimage.•Moveanobjectseamlessly.•UsePerspectiveWarptoplaceanobjectintoanimagewithadifferentperspective.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson05projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
SometimesjustoneortwoclicksinPhotoshopcanturnanimagefromso-so(orworse)toawesome.Quickfixesgetyoutheresultsyouwantwithoutalot
offuss.
GettingstartedNoteveryimagerequiresacomplicatedmakeoverusingadvancedfeaturesinPhotoshop.Infact,onceyou’refamiliarwithPhotoshop,youcanoftenimproveanimagequickly.Thetrickistoknowwhat’spossibleandhowtofindwhatyouneed.Inthislesson,you’llmakequickfixestoseveralimagesusingavarietyoftoolsandtechniques.Youcanusethesetechniquesindividually,orteamthemupwhenyou’reworkingwithanimagethatneedsjustalittlemorehelp.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.
ImprovingasnapshotIfyou’resharingasnapshotwithfamilyandfriends,youmaynotneedittolookprofessional.Butyouprobablydon’twantglowingeyes,anditwouldbegoodifthepictureisn’ttoodarktoshowimportantdetail.Photoshopgivesyouthetoolstomakequickchangestoasnapshot.
CorrectingredeyeRedeyeoccurswhentheretinaofasubject’seyeisreflectedbythecameraflash.Itcommonlyoccursinphotographstakeninadarkroom,becausethesubject’sirisesarewideopen.Fortunately,redeyeiseasytofixinPhotoshop.Inthisexercise,youwillremovetheredeyefromtheboy’seyesintheportrait.You’llstartbyviewingthebeforeandafterimagesinAdobeBridge.
1.ChooseFile>BrowseInBridgetoopenAdobeBridge.2.IntheFavoritespanelinBridge,clicktheLessonsfolder.Then,intheContentpanel,double-clicktheLesson05foldertoopenit.
3.Adjustthethumbnailslider,ifnecessary,sothatyoucanseethethumbnailpreviewsclearly.ThenlookattheBoy_Start.jpgandBoy_End.psdfiles.
NoteIfyouhaven’tinstalledBridge,you’llbepromptedtodosowhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
Notonlydoesredeyemakeanordinarypersonoranimalappearsinister,butit
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.
12.ChooseFile>Savetosaveyourworksofar.
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.
1.ChooseFile>BrowseInBridgetoopenAdobeBridge.2.IntheFavoritespanelinBridge,clicktheLessonsfolder.Then,intheContentpanel,double-clicktheLesson05foldertoopenit.
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,creatingagradualbutnoticeableblur.YoucanalsochangetheamountofblurbymovingtheBlursliderintheIrisBlurareaoftheBlurToolspanel.
12.ClickOKintheoptionsbartoapplytheblur.Theblurmaybealittletoosubtle.You’lledittheblurtoincreaseitslightly.13.Double-clicktheBlurGalleryintheEgretlayerintheLayerspanelto
openitagain.Adjusttheblurto6px,andclickOKintheoptionsbartoapplyit.
BecauseyouappliedthefiltertoaSmartObject,youcanhideitoredititwithoutaffectingtheoriginalimage.14.Savethefileandcloseit.
Theegretisaccentuatedbytheblur.
BlurGalleryTheBlurGalleryincludesfiveinteractiveblurs:FieldBlur,Iris
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.Clickthecenterpointanddragtochange
endpointtorepositionit.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.
TipYoucanalsoopenselectedimagesfromBridgedirectlyintoPhotomergebychoosingTools>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.ContentAwareFillTransparentAreasautomaticallypatchestheemptyareasbetweenthemergedimageedgesandthesidesofthecanvas.Photoshopcreatesthepanoramaimage.It’sacomplexprocess,soyoumayhavetowaitafewmomentswhilePhotoshopworks.Whenit’sfinished,you’llseethefullvistaintheimagewindowwithfivelayersintheLayerspanel.Thebottomfourlayersaretheoriginalfourimagesyouselected.Photoshopidentifiedtheoverlappingareasoftheimagesandmatchedthem,correctinganyangulardiscrepancies.Thetoplayer,containing“(merged)”inthelayername,isasinglepanoramaimageblendedfromalloftheimagesyouselected,combinedwithformerlyemptyareasfilledinbyContentAwareFill.Thoseareasareindicatedbytheselection.
indicatedbytheselection.
TipIfyouwanttoseehowthepanoramalookswithouttheareascreatedbyContentAwareFill,hidethetoplayer.
GettingthebestresultswithPhotomergeIfyouknowyou’regoingtocreateapanoramawhenyoutakeyourshots,keepthefollowingguidelinesinmindtogetthebestresult.Overlapimagesapproximately40%.YouwantenoughoverlapthatPhotomergecanassemblethepanoramabutnotsomuchthatitcan’tblendtheimages.Useaconsistentfocallength.Ifyouuseazoomlens,keepthefocallengththesameforallthepicturesinthepanorama.Useatripodifpossible.You’llgetthebestresultsifthecameraisatthesamelevelwhenyoutakeeachoftheshots.Atripodwitharotatingheadmakesthateasier.Takethephotosfromthesameposition.Ifyou’renotusingatripodwitharotatinghead,trytostayinthesamepositionasyoutakethephotossothattheyaretakenfromthesameviewpoint.Avoiddistortionlenses.TheycaninterferewithPhotomerge.(TheAutooptiondoesadjustforimagesyoutakewithfisheyelenses,though.)Usethesameexposure.Theimageswillblendmoregracefullyiftheyallhavethesameexposure.Forexample,eitheruseflashforalltheimagesornoneofthem.
Trydifferentlayoutoptions.Ifyoudon’tliketheresultsyougetwhenyoucreatethepanorama,tryagainusingadifferentlayoutoption.Often,Autoselectstheappropriateoption,butsometimesyou’llgetabetterimagewithoneoftheotheroptions.
9.ChooseSelect>Deselect.10.ChooseLayer>FlattenImage.
11.ChooseFile>SaveAs.ChoosePhotoshopfortheFormat,andnamethefileSkyline_Working.psd.SavethefileintheLesson05folder.ClickSave.
Thepanoramalooksgreat,butit’salittledark.You’lladdaLevelsadjustmentlayertobrightenitalittlebit.12.ClicktheLevelsiconintheAdjustmentspaneltoaddaLevelsadjustment
layer.13.SelecttheWhitePointeyedropper,andthenclickonawhiteareaofthe
clouds.
Theskygetsbluer,andtheentireimagebrightens.14.Saveyourwork.ClickOKinthePhotoshopFormatOptionsdialogbox
andclosethefile.It’sthateasytocreateapanorama!
CorrectingimagedistortionTheLensCorrectionfilterfixescommoncameralensflaws,suchasbarrelandpincushiondistortion,chromaticaberration,andvignetting.Barreldistortionisalensdefectthatcausesstraightlinestobowouttowardtheedgesoftheimage.
Pincushiondistortionistheoppositeeffect,causingstraightlinestobendinward.Chromaticaberrationappearsasacolorfringealongtheedgesofimageobjects.Vignettingoccurswhentheedgesofanimage,especiallythecorners,aredarkerthanthecenter.Somelensesexhibitthesedefectsdependingonthefocallengthorthef-stopused.TheLensCorrectionfiltercanapplysettingsbasedonthecamera,lens,andfocallengththatwereusedtomaketheimage.Thefiltercanalsorotateanimageorfiximageperspectivecausedbytiltingacameraverticallyorhorizontally.Thefilter’simagegridmakesiteasierandmoreaccuratetomaketheseadjustmentsthanusingtheTransformcommand.
1.ChooseFile>BrowseInBridge.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,correctingchromaticaberration,removingvignettes,andtransformingperspective.
TheLensCorrectiondialogboxincludesauto-correctionoptions.You’lladjustonesettingintheAutoCorrectiontabandthencustomizethesettings.
7.IntheCorrectionareaoftheAutoCorrectiontab,makesureAutoScaleImageisselected,andthatTransparencyisselectedfromtheEdgemenu.
8.SelecttheCustomtab.9.IntheCustomtab,dragtheRemoveDistortionslidertoabout+52.00toremovethebarreldistortionintheimage.Alternatively,youcouldselecttheRemoveDistortiontool( )anddragintheimagepreviewareauntilthecolumnsarestraight.Theadjustmentcausestheimageborderstobowinward.However,becauseyouselectedAutoScaleImage,theLens
Correctionfilterautomaticallyscalestheimagetoadjusttheborders.
TipWatchthealignmentgridasyoumakethesechangessothatyoucanseewhentheverticalcolumnsarestraightenedintheimage.
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.
1.ChooseFile>BrowseInBridge.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.MakesureContentAwareFillTransparentAreasisnot
selected,andthenclickOK.
11.Saveyourwork,andclosethefile.Boththewineglassandthebeachbehinditareinfocus.
MovingobjectswiththeContent-AwareMovetoolYou’veusedthecontent-awarefeaturesinsomeprettyimpressivewaysinearlierlessons,andtofillintheskyinthepanoramaprojectinthislesson.Nowyou’llusetheContent-AwareMovetooltomovesomethinginanimage(inthiscase,aduck)andhavePhotoshopconvincinglyfillintheareawheretheitemyoumovedusedtobe.YoucanalsousetheContent-AwareMovetooltoextendaportionofanimage,suchasastandoftreesorfenceposts,seamlessly.
1.ChooseFile>BrowseInBridge.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,whichrequiresstricteradherencetothe
pattern,andobservehowtheimagechanges.ThenchangetheStructuresettingto1,whichresultsinamuchlooseradaptation.YoucanalsoexperimentwithdifferentColorsettings,from0to10.
Nowthatyou’vecommittedtothemove,Photoshopfillsintheareatheduckleftbehind.HowitcreatestheareadependsontheStructureandColorsettingsintheOptionsbar.Youcantrydifferentoptionswhiletheselectionremainsactive.11.ChoosetheStructureandColoroptionsyouthinklookbest.Thenchoose
Select>Deselect.Savethefileandcloseit.Thethreeducksareinatighterformationnow,andyoucan’ttellthatthethirdduckusedtobeinadifferentposition.
MoreontheContent-AwareMovetoolTheContent-AwareMovetoolisveryimpressivewhenyou’reworkingwithsomeimages,andlessimpressivewithothers.Forbestresults,useitwhenthebackgroundisconsistentenoughthatPhotoshopwillbeabletorecognizeandreplicateapattern.Intheimageofducks,thegrassanddirtarefairlyconsistentandrepetitive.Youcanalsotrymovingobjectswithbackgroundssuchasmeadows,solid-coloredwalls,sky,woodgrains,orwater.It’sbesttoextendarchitecturalobjectsinphotosthathavebeenshotonaparallelplane,ratherthanatanangle.Ifyou’reworkingwithanimagethathasmultiplelayers,selectSampleAllLayersintheoptionsbartoincludethemallintheselection.TheStructureandColoroptionsdefinehowcloselytheresultsreflecttheexistingimagepatterns.IntheStructuresettings,1istheloosestand5isthestrictest.TheColorsettingsrangefrom0(no
loosestand5isthestrictest.TheColorsettingsrangefrom0(nocoloradaptation)to10(matchingthecolorascloselyaspossible).Experimentwiththeoptionswhiletheobjectisstillselectedtoseewhichgiveyouthebestresultsinaparticularimage.Youmaywanttohidetheselectionedges(chooseView>Show>SelectionEdgesorView>Extras)toseehowtheobjectintegratesintoitsnewposition.
Extracredit
TransformationswiththeContent-AwareMovetoolWiththeContent-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.
1.ChooseFile>BrowseInBridge.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,which
Asmallanimatedtutorialappears,showingyouhowtodrawaquad,whichdefinesaplane.
7.Watchtheanimation,andthencloseit.Inthefirststepoftheprocess,youwanttoenclosetheobjectinquadsthatrepresentthecurrentplanesoftheobject.
8.Drawthequadforthesideofthetrain:Clickabovethetopofthesmokestack,dragdowntotherailroadtiebelowthefrontwheel,andthendragacrosstotheendofthecaboose.Theplaneiscurrentlyarectangle.
9.Dragasecondquadforthefrontofthetrain,draggingacrossthecowcatcheratthebottomandintothetreesatthetop.Dragittotherightuntilitattachestotheleftedgeofthefirstquad.
10.Dragthecornersoftheplanestomatchtheanglesofthetrain.Thebottomlineofthesideplaneshouldrunalongthebottomofthetrainwheels;thetopedgeshouldborderthetopofthecaboose.Thefrontplaneshouldmirrorthelinesofthecowcatcherandthetopofthelight.
Nowthatthequadsaredrawn,you’rereadyforthesecondstepintheprocess:warping.11.ClickWarpintheoptionsbar.Closethetutorialboxthatshowsyouhow
towarptheplane.12.ClicktheAutomaticallyStraightenNearVerticalLinesbutton,nextto
Warpintheoptionsbar.
Thismakesthetrainappearproperlyvertical,makingiteasiertoadjusttheperspectiveaccurately.13.Dragthehandlestomanipulatetheplanes,movingthebackendofthe
traindownandintoperspecivewiththetracks.Exaggeratetheperspective
towardthecabooseforamoredramaticresult.14.Warpotherpartsofthetrainasneeded.Youmayneedtoadjustthefront
ofthetrain.Payattentiontothewheels;makesureyoudon’tdistortthemasyouwarptheperspective.
Thereisnopreciserightorwrongwaytoadjustperspective.Trustyoureyestotellyouwhenitlooksright.Rememberyoucanreturntotweakitagainlater,becauseyou’reapplyingPerspectiveWarpasaSmartFilter.15.Whenyou’resatisfiedwiththeperspective,clicktheCommitPerspective
Warpbuttonintheoptionsbar.16.Tocomparethechangedimagewiththeoriginal,hidethePerspective
WarpfilterintheLayerspanel.Thenshowthefilteragain.Ifyouwanttomakefurtheradjustments,double-clickthePerspectiveWarpfilterintheLayerspanel.Youcancontinuetoadjusttheexistingplanes,orclickLayoutintheoptionsbartoreshapethem.
ChangingtheperspectiveofabuildingIntheexercise,youappliedPerspectiveWarptoonelayertochangeitsrelationshipwithanother.ButyoucanalsousePerspectiveWarptochangetheperspectiveofanobjectinrelationshiptoothersinthesamelayer.Forexample,youcanshifttheanglefromwhichyouviewabuilding.Inthiscase,youapplyPerspectiveWarpthesameway:InLayoutmode,drawtheplanesoftheobjectyouwanttoaffect.InWarpmode,manipulatethoseplanes.Ofcourse,becauseyou’reshiftingangleswithinalayer,otherobjectsonthelayerwillmove,too,soyouneedtowatchforanyirregularities.
Inthisimage,astheperspectiveofthebuildingshifted,sodidtheperspectiveofthetreessurroundingit.
CameraShakeReductionEvenwithasteadyhand,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;andadjusttheSmoothingandArtifactSuppressionvaluestocorrectnoiseand
SmoothingandArtifactSuppressionvaluestocorrectnoiseandartifacts.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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Createamasktoremoveasubjectfromabackground.•Refineamasktoincludecomplexedges.•Createaquickmasktomakechangestoaselectedarea.•EditamaskusingthePropertiespanel.•ManipulateanimageusingPuppetWarp.•Saveaselectionasanalphachannel.•ViewamaskusingtheChannelspanel.•Loadachannelasaselection.•Isolateachanneltomakespecificimagechanges.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson06projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
Photography©ImageSource,www.imagesource.comPROJECT:MAGAZINECOVERIMAGE
Usemaskstoisolateandmanipulatespecificpartsofanimage.Thecutoutportionofamaskcanbealtered,buttheareasurroundingthecutoutis
protectedfromchange.Youcancreateatemporarymasktouseonce,oryoucansavemasksforrepeateduse.
WorkingwithmasksandchannelsInPhotoshop,masksisolateandprotectpartsofanimage,justasmaskingtapeprotectswindowpanesortrimfrompaintwhenahouseispainted.Whenyoucreateamaskbasedonaselection,theareayouhaven’tselectedismasked,orprotectedfromediting.Withmasks,youcancreateandsavetime-consumingselectionsandthenusethemagain.Inaddition,youcanusemasksforothercomplexeditingtasks—forexample,toapplycolorchangesorfiltereffectstoanimage.InPhotoshop,youcanmaketemporarymasks,calledquickmasks,oryoucancreatepermanentmasksandstorethemasspecialgrayscalechannelscalled
alphachannels.Photoshopalsouseschannelstostoreanimage’scolorinformation.Unlikelayers,channelsdonotprint.YouusetheChannelspaneltoviewandworkwithalphachannels.Akeyconceptinmaskingisthatblackhidesandwhitereveals.Asinlife,rarelyisanythingblackandwhite.Shadesofgraypartiallyhide,dependingonthegraylevels.
GettingstartedFirst,you’llviewtheimagethatyou’llcreateusingmasksandchannels.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridgetoopenAdobeBridge.
NoteIfBridgeisn’tinstalled,you’llbepromptedtoinstallitwhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
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%.
TipForhelpmakingselections,refertoLesson3,“WorkingwithSelections.”
3.Dragtoselecttheman.It’sfairlyeasytoselecthisshirtandface,butthehairistrickier.Don’tworryiftheselectionisn’tperfect.You’llrefinethemaskinthenextexercise.
4.AtthebottomoftheLayerspanel,clicktheAddLayerMaskbutton( )tocreatealayermask.
AboutmasksandmaskingAlphachannels,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.Itconfinestheinfluenceof
aneffecttospecificlayers,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.
TooltipsfromthePhotoshopevangelistJulieanneKostisanofficialAdobePhotoshopevangelist.
ZoomtoolshortcutsOftenwheneditinganimage,you’llneedtozoomintoworkonadetailandthenzoomoutagaintoseethechangesincontext.Hereareseveralkeyboardshortcutsthatmakezoomingfasterandeasier.•Withanytoolselected,pressCtrl(Windows)orCommand(MacOS)withtheplussign(+)tozoomin,orwiththeminussign(-)tozoomout.•Double-clicktheZoomtoolintheToolspaneltoreturntheimageto100%view.•WhenScrubbyZoomisselectedintheoptionsbar,justdragtheZoomtooltothelefttozoomoutordragittotherighttozoomin.•PressAlt(Windows)orOption(MacOS)tochangetheZoomIntooltotheZoomOuttool,andclicktheareaoftheimageyou
wanttoreduce.EachAlt/Optionclickreducestheimagebythenextpresetincrement.
9.Whenyou’resatisfiedwiththemaskaroundtheface,clickOK.Anewlayer,namedLayer0copy,appearsintheLayerspanel.You’llusethislayertoaddthespikestothemaskofthehair.10.WithLayer0copyactive,clickMaskEdgeinthePropertiespaneltoopen
theRefineMaskdialogboxagain.11.FromtheViewpop-upmenu,chooseOnWhite.Theblackhairshowsup
wellagainstthewhitematte.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( ),hiddenbehindtheRefineRadius
toolintheRefineMaskdialogbox.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.Thenewgreen
colorfillstheglassesframe.ClickOK.
12.ChooseSelect>Deselect.13.Saveyourworksofar.
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.
NoteBecarefulnottoAlt-clickorOptionclickthedotitself,oryou’lldeletethepin.
6.Whenyou’resatisfiedwiththerotation,clicktheCommitPuppetWarpbutton( )intheoptionsbar,orpressEnterorReturn.
7.Saveyourworksofar.
WorkingwithchannelsJustasdifferentinformationinanimageisstoredondifferentlayers,channelsalsoletyouaccessspecifickindsofinformation.Alphachannelsstoreselectionsasgrayscaleimages.Colorinformationchannelsstoreinformationabouteachcolorinanimage;forexample,anRGBimageautomaticallyhasred,green,blue,andcompositechannels.Toavoidconfusingchannelsandlayers,thinkofchannelsascontaininganimage’scolorandselectioninformation;thinkoflayersascontainingpaintingandeffects.You’lluseanalphachanneltocreateashadowforthemodel.Then,you’llconverttheimagetoCMYKmodeandusetheBlackchanneltoaddcolorhighlightstothehair.
UsinganalphachanneltocreateashadowYou’vealreadycreatedamaskofthemodel.Tocreateashadow,youwanttoessentiallyduplicatethatmaskandthenshiftit.You’lluseanalphachannelto
essentiallyduplicatethatmaskandthenshiftit.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,toacceptthe
transformation.
9.ChooseFile>Savetosaveyourworksofar.
AdjustinganindividualchannelYou’realmostdonewiththemagazinecoverimage.Allthatremainsistoaddcolorhighlightstothemodel’shair.You’llconverttheimagetoCMYKmodesoyoucantakeadvantageoftheBlackchanneltodojustthat.
1.SelecttheModellayerintheLayerspanel.2.ChooseImage>Mode>CMYKColor.ClickDon’tMergeinthedialogboxthatappears,becauseyouwanttokeepyourlayersintact.ClickOKifyou’repromptedaboutcolorprofiles.
3.Alt-click(Windows)orOptionclick(MacOS)thevisibilityiconfortheModellayertohidetheotherlayers.
AboutalphachannelsIfyouworkinPhotoshopverylong,you’reboundtoworkwithalphachannels.It’sagoodideatoknowafewthingsaboutthem.•Animagecancontainupto56channels,includingallcolorandalphachannels.•Allchannelsare8-bitgrayscaleimages,capableofdisplaying256levelsofgray.•Youcanspecifyaname,color,maskoption,andopacityforeach
channel.(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.
15.ChooseSelect>Deselect.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,whichcanbethoughtofasstorageareasforcolorandselectioninformationinanimage.
4.Youcanpaintonamaskinachannelusingblack,white,andshadesofgray.
5.Channelsareusedasstorageareasforsavedselections.Unlessyouexplicitlydisplayachannel,itdoesnotappearintheimageorprint.Layerscanbeusedtoisolatevariouspartsofanimagesothattheycanbeeditedasdiscreteobjectswiththepaintingoreditingtoolsorothereffects.
7.TypographicDesign
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Useguidestopositiontextinacomposition.•Makeaclippingmaskfromtype.•Mergetypewithotherlayers.•Previewfonts.•Formattext.•Distributetextalongapath.•Controltypeandpositioningusingadvancedfeatures.
Thislessonwilltakelessthananhourtocomplete.DownloadtheLesson07projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
Photography©ImageSource,www.imagesource.comPROJECT:MAGAZINECOVERLAYOUT
Photoshopprovidespowerful,flexibletexttoolssoyoucanaddtypetoyourimageswithgreatcontrolandcreativity.
AbouttypeTypeinPhotoshopconsistsofmathematicallydefinedshapesthatdescribetheletters,numbers,andsymbolsofatypeface.Manytypefacesareavailableinmorethanoneformat,themostcommonformatsbeingType1orPostScriptfonts,TrueType,andOpenType(see“OpenTypeinPhotoshop”laterinthis
lesson).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.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridgetoopenAdobeBridge.
NoteIfBridgeisnotinstalled,you’llbepromptedtodownloadandinstallit.Seepage3formoreinformation.
4.IntheFavoritespanelontheleftsideofBridge,clicktheLessonsfolder,andthendouble-clicktheLesson07folderintheContentpanel.
5.Selectthe07End.psdfile.Increasethethumbnailsizetoseetheimageclearlybydraggingthethumbnailslidertotheright.
You’llapplythetypetreatmentinPhotoshoptofinishthemagazinecover.AllofthetypecontrolsyouneedareavailableinPhotoshop,soyoudon’thavetoswitchtoanotherapplicationtocompletetheproject.
6.Double-clickthe07Start.psdfiletoopenitinPhotoshop.
NoteThoughthislessonstartswhereLesson6leftoff,usethe
07Start.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’llstartbyzoominginontheworkareaand
foundationforyourtypography.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.
NoteAfteryoutype,youmustcommityoureditinginthelayerbyclickingtheCommitAnyCurrentEditsbuttonorswitchingtoanothertoolorlayer.YoucannotcommittocurrenteditsbypressingEnterorReturn;doingsomerelycreatesanewlineoftype.
Theword“DIGITAL”isaddedtothecover,anditappearsintheLayerspanelasanewtypelayernamedDIGITAL.Youcaneditandmanagethetypelayerasyouwouldanyotherlayer.Youcanaddorchangethetext,changethe
youwouldanyotherlayer.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.
9.ChooseFile>Savetosaveyourworksofar.
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.Thisnewlayercontainstheimageofthecircuitboard,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( ).
TipYoucanalsomakeaclippingmaskbyholdingdowntheAlt
YoucanalsomakeaclippingmaskbyholdingdowntheAlt(Windows)orOption(MacOS)keyandclickingbetweentheCircuitBoardandDIGITALtypelayers.
ThecircuitboardnowshowsthroughtheDIGITALletters.AsmallarrowintheCircuitBoardlayerandtheunderlinedtypelayernameindicatetheclippingmaskisapplied.Next,you’lladdaninnershadowtogivethelettersdepth.10.SelecttheDIGITALlayertomakeitactive.Then,clicktheAddALayer
Stylebutton( )atthebottomoftheLayerspanel,andchooseInnerShadowfromthepop-upmenu.
11.IntheLayerStyledialogbox,changetheBlendModetoMultiply,Opacityto48%,Distanceto18,Choketo0,andSizeto16.ThenclickOK.
12.ChooseFile>Savetosaveyourworksofar.
ParagraphandCharacterStylesIfyoufrequentlyworkwithtypeinPhotoshop,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.
TooltipsfromthePhotoshopevangelistJulieanneKostisanofficialAdobePhotoshopevangelist.
Typetooltricks•Shift-clickintheimagewindowwiththeHorizontalTypetoolto
createanewtypelayer—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’snewwithgames?
8.Selecttheword“GAMES,”andchangeitsfontstyletoBold.ClicktheCommitAnyCurrentEditsbutton( )intheoptionsbar.
9.ClicktheLayerstabtobringitforward.IntheLayerspanel,selecttheWhat’snewwithgames?layer,andthenchooseDuplicateLayerfromtheLayerspanelmenu.NamethenewlayerWhat’snewwithmusic?,andclickOK.
Photoshopcreatesaduplicatetextlayer,hidingthetextyoutypedearlier.10.WiththeTypetool,select“GAMES,”andreplaceitwithmusic.Clickthe
CommitAnyCurrentEditsbuttonintheoptionsbar.11.ChooseEdit>FreeTransformPath.Rotatetheleftsideofthepath
approximately30degrees,andthenshiftthepathupabovethefirstpath,andalittletotheright,asintheimagebelow.ClicktheCommitTransformbuttonintheoptionsbar.
12.Repeatsteps9–11,replacingtheword“GAMES”withphones.Rotatetheleftsideofthepathapproximately-30degrees,andmoveitbelowtheoriginalpath.
13.ChooseFile>Savetosaveyourworksofar.
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.
Usingguidesforpositioning
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.
TipPressShiftasyoustarttodragatextboxtoensurethatPhotoshopcreatesanewtextlayer,insteadofselectinganexistingtextlayer.
5.PressCtrl+V(Windows)orCommand+V(MacOS)topastethetext.ThenewtextlayerisatthetopoftheLayerspanel,sothetextappearsinfrontofthemodel.
NoteIfthetextisn’tvisible,makesurethenewtypelayerisabovetheModellayerintheLayerspanel.
Thepastedtextis16pts,andit’sright-aligned,becausethosewerethelatesttextsettingsyou’dused.
6.Selectthefirstthreelines(“TheTrendIssue”),andthenapplythefollowingsettingsintheCharacterpanel:•FontFamily:MyriadPro(oranothersansseriffont)•FontStyle:Regular•FontSize( ):70pt•Leading( ):55pt•Tracking( ):50•Color:White
NoteLeadingdeterminestheverticalspacebetweenlines.
7.Selectjusttheword“Trend,”andchangetheFontStyletoBold.
You’veformattedthetitle.Nowyou’llformattherestofthetext.
TipUsetheGlyphspaneltoaccessthefullrangeofalternatecharactersinOpenTypefonts.Wheneditingtext,double-clickacharacterintheGlyphspaneltoaddittothetext.Ifyouseeablackdotinthebottomrightcornerofacharacter’sboxintheGlyphspanel,clickitandholddownthemousebuttontoseealternateversionsofthatcharacter,andthenchooseonetoaddittothetext.
8.Selecttherestofthetextyoupasted.IntheCharacterpanel,selectthefollowing:•FontFamily:MyriadPro•FontStyle:Regular
•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,inthe
Characterpanel,changethetextcolortoBlack.12.Finally,clicktheCommitAnyCurrentEditsbuttonintheoptionsbar.13.Saveyourchanges.
OpenTypeinPhotoshopOpenTypeisacross-platformfontfileformatdevelopedjointlybyAdobeandMicrosoft.TheformatusesasinglefontfileforbothMacOSandWindows,soyoucanmovefilesfromoneplatformtoanotherwithoutfontsubstitutionorreflowedtext.OpenTypeofferswidelyexpandedcharactersetsandlayoutfeatures,suchasswashesanddiscretionaryligatures,thataren’tavailableintraditionalPostScriptandTrueTypefonts.This,inturn,providesricher
PostScriptandTrueTypefonts.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.”Youwanttherectangle
tobelongenoughtocontainthetext.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.
8.ChooseFile>Savetosaveyourwork.Congratulations!You’veaddedandstylizedallofthetypeontheDigital
Congratulations!You’veaddedandstylizedallofthetypeontheDigitalmagazinecover.Nowthatthemagazinecoverisreadytogo,you’llflattenitandprepareitforprinting.
9.ChooseFile>SaveAs,renamethefile07Working_flattened,andclickSave.ClickOKifyouseethePhotoshopFormatOptionsdialogbox.
Keepingalayeredversionletsyoureturntothe07Working.psdfileinthefuturetoeditit.10.ChooseLayer>FlattenImage.11.ChooseFile>Save,andthenclosetheimagewindow.
SavingasPhotoshopPDFThetypeyou’veaddedconsistsofvector-basedoutlines,whichremaincrispandclearasyouzoominorresizethem.However,ifyousavethefileasaJPEGorTIFFimage,Photoshoprasterizesthetype,soyoulosethatflexibility.WhenyousaveaPhotoshopPDFfile,vectortypeisincluded.YoucanpreserveotherPhotoshopeditingcapabilitiesinaPhotoshopPDFfile,too.Forexample,youcanretainlayers,colorinformation,andevennotes.Toensureyoucaneditthefilelater,selectPreservePhotoshopEditingCapabilitiesintheSaveAdobePDFdialogbox.TopreserveanynotesinthefileandconvertthemtoAcrobatcommentswhenyousavetoPDF,selectNotesintheSaveareaof
commentswhenyousavetoPDF,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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Differentiatebetweenbitmapandvectorgraphics.•DrawstraightandcurvedpathsusingthePentool.•Savepaths.•Drawandeditshapelayers.•Drawcustomshapes.•ImportandeditaSmartObjectfromAdobeIllustrator.•UseSmartGuides.
Thislessonwilltakeabout90minutestocomplete.DownloadtheLesson08projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:COFFEESHOPSIGNUnlikebitmapimages,vectorimagesretaintheircrispedgeswhenyouenlargethemtoanysize.Youcandrawvectorshapesandpathsinyour
Photoshopimagesandaddvectormaskstocontrolwhatisshowninanimage.
AboutbitmapimagesandvectorgraphicsBeforeworkingwithvectorshapesandvectorpaths,it’simportanttounderstandthebasicdifferencesbetweenthetwomaincategoriesofcomputergraphics:bitmapimagesandvectorgraphics.YoucanusePhotoshoptoworkwitheithertypeofgraphic;infact,youcancombinebothbitmapandvectordatainanindividualPhotoshopimagefile.Bitmapimages,technicallycalledrasterimages,arebasedonagridofdotsknownaspixels.Eachpixelisassignedaspecificlocationandcolorvalue.Inworkingwithbitmapimages,youeditgroupsofpixelsratherthanobjectsorshapes.Becausebitmapgraphicscanrepresentsubtlegradationsofshadeandcolor,theyareappropriateforcontinuous-toneimagessuchasphotographsor
artworkcreatedinpaintingprograms.Adisadvantageofbitmapgraphicsisthattheycontainafixednumberofpixels.Asaresult,theycanlosedetailandappearjaggedwhenscaleduponscreenorprintedatalowerresolutionthantheywerecreatedfor.Vectorgraphicsaremadeupoflinesandcurvesdefinedbymathematicalobjectscalledvectors.Thesegraphicsretaintheircrispnesswhethertheyaremoved,resized,orhavetheircolorchanged.Vectorgraphicsareappropriateforillustrations,type,andgraphicssuchaslogosthatmaybescaledtodifferentsizes.
AboutpathsandthePentoolInPhotoshop,theoutlineofavectorshapeisapath.ApathisacurvedorstraightlinesegmentyoudrawusingthePentool,FreeformPentool,orashapetool.ThePentooldrawspathswiththegreatestprecision;shapetoolsdrawrectangles,ellipses,andothershapepaths;theFreeformPentooldrawspathsasifyouweredrawingwithapencilonpaper.
TooltipsfromthePhotoshopevangelistJulieanneKostisanofficialAdobePhotoshopevangelist.
AccessingtoolsquicklyEachtoolintheToolspanelhasasingle-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.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefault
preferences.(See“Restoringdefaultpreferences”onpage4.)2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridge.4.IntheFavoritespanel,clicktheLessonsfolder,andthendouble-clicktheLesson08folderintheContentpanel.
5.Selectthe08End.psdfile,andpressthespacebartoseeitinfull-screenview.
Tocreatethissign,you’lltracethecoffeecupinanimage,andusethattracingtomakeavectorlogo.You’llresizethatlogoandcombineitwithanIllustratortypographiclogoimportedasaSmartObject.First,you’llpracticemakingpathsandselectionsusingthePentool.
6.Whenyou’vefinishedlookingatthe08End.psdfile,pressthespacebaragain.Thendouble-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
CreatingpathswiththePentoolYoucanusethePentooltocreatepathsthatarestraightorcurved,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.UsetheDirectSelectiontooltoselect
apathtoedittheentirepath.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.
panel.
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,thepanelisempty,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,thecurvedsegmentsonbothsidesofthepathadjustsimultaneously.
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.OnlyonepathisinthePaths
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.
Tracingashapefromaphoto
TracingashapefromaphotoNowyou’rereadytodrawapatharoundthecoffeecupintheimage.You’llusethetechniquesyou’vepracticedtodrawapatharoundtheoutsideofthecupandanotheroneinsidethehandle.
1.Openthe08Start.psdfileinPhotoshop.
Theimageincludesthreelayers:thebackgroundlayerandtwotemplatelayerstoguideyouasyoudrawshapes.
2.ChooseFile>SaveAs,renamethefile08Working.psd,andclickSave.ClickOKinthePhotoshopFormatOptionsdialogbox.
3.WiththePentoolselected,chooseSubtractFrontShapefromthePathOperationspop-upmenuintheoptionsbar.
TipIfyou’dliketotrytracingthecupwithoutusingthedotstoguideyou,hidetheOutsideCuplayerintheLayerspanel.
OptionsinthePathOperationsmenudeterminehowmultipleshapesinteractwitheachotherinapath.Afteryoudrawthecupoutline,you’llsubtracttheinsideofthehandlefromit.
4.ClickpointA.Photoshopcreatesanewlayerfortheshape.5.ClickpointB,anddragthecursortothereddotontherighttocreatethe
initialcurve.
6.ClickpointC,anddragtothereddottoitsright.7.Continuetracingthecup,clickingeachpoint,anddraggingthecursortothecorrespondingreddotswhenyouneedtocreateacurve.
8.ClosetheshapebyclickingpointAagain.
9.Evaluateyourpath.Ifyouwanttoadjustanysegments,usetheDirectSelectiontooltoselectapoint,andthenmoveitsdirectionlinestoeditthesegment.
10.Saveyourworksofar.
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.
9.ChooseFile>Savetosaveyourwork.
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.
NoteBesuretoclickthewords“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
UsingCreativeCloudLibrarieswithlinkedSmartObjectsWhenyouorganizeandshareyourdesignassetsusingCreativeCloudLibraries,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.
Addingcolors1.WiththeEyedroppertool,clicktheredmuginthedocumentwindow.Then,deselectalllayersintheLayerspanel.
2.AtthebottomoftheLibrariespanel,clicktheAddForegroundColorswatch.Thataddsthecoloryousampledtothecurrentlibrary.Usethesamemethodtosamplealightbluefromtheskyinthebackground,andaddthatcolortoyourlibrarytoo.
CollaboratingWhenyoushareaCreativeCloudLibrary,yourteamalwayshasthecurrentversionofthoseassets.IntheLibrariespanelmenu,chooseCollaborate,andfillintheInviteCollaboratorsscreenthatappearsinyourwebbrowser.Collaboratorswillseethelibraryyoushared
inyourwebbrowser.CollaboratorswillseethelibraryyousharedintheirCreativeCloudapplications(toutilizethisfeature,youmusthaveaCreativeCloudaccountandbeloggedin).
AddingassetstolibrariesusingAdobemobileappsUseAdobemobileapps—suchasAdobeColorCC,AdobeShapeCC,andAdobeBrushCC—tocapturecolorthemes,shapes,andbrushesfromreallifeandaddthemtoyourCreativeCloudlibraries.LibraryassetsyouaddwithmobileappsareautomaticallysyncedtoyourCreativeCloudaccount,soyou’llseethenewassetsinyourLibrariespanelwhenyoureturntoyourcomputer.
SmartGuidesLet’stakethisdesigntothenextlevel.Youcanusethecoffeecuplogotomakearepeatedmotifatthebottomofthesign.SmartGuidescanhelpyoupositiontheimagesevenly.1.ChooseView>Show,andmakesureSmartGuidesareenabled.Ifthere’sacheckmarknexttoSmartGuides,they’reon.Ifthereisn’tone,selectSmartGuidestoenablethem.
2.SelecttheCoffeeCuplayer.ThenselecttheMovetool,andpressAlt+Shift(Windows)orOption+Shift(MacOS)asyoudragthecuplogotothelowerleftcornerofthesign.TheAltorOptionkeycopiestheselectedobject;theShiftkeyconstrainsitsmovement.ThemagentalinesthatappearasyoudragtheobjectareSmartGuides.
3.ChooseEdit>FreeTransform.ThenpressShifttomaintaintheproportionsasyouscalethecuptoaboutone-fourthitsoriginalsize.PressEnterorReturntoconfirmthetransformation.
4.WiththeCoffeeCupcopylayerstillselected,pressAlt+ShiftorOption+Shiftanddragtotherightuntilthemeasurements
displayedinpinkshowyouthattheimagesare3.5inchesapart.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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•ApplyandeditSmartFilters.•UsetheLiquifyfiltertodistortanimage.•Applycoloreffectstoselectedareasofanimage.•Applyfilterstocreatevariouseffects.•UsetheHistorypaneltoreturntoapreviousstate.•Upscalealow-resolutionimageforhigh-resolutionprinting.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson09projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
MonstermakeupimagerycourtesyofRussellBrown,withillustrationbyJohnConnell
PROJECT:MONSTERMOVIEPOSTERDESIGN
Filterscantransformordinaryimagesintoextraordinarydigitalartwork.SmartFiltersletyoueditthosetransformationsatanytime.Thewidevariety
offeaturesinPhotoshopletsyoubeascreativeasyouwanttobe.
GettingstartedInthislesson,you’llassembleamontageofimagesforamovieposterasyou
Inthislesson,you’llassembleamontageofimagesforamovieposterasyouexplorefiltersinPhotoshop.First,lookatthefinalprojecttoseewhatyou’llbecreating.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
NoteIfBridgeisn’tinstalled,you’llbepromptedtoinstallitwhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridge.4.InBridge,chooseFavoritesfromthemenuontheleft,andthenclicktheLessonsfolder.Double-clicktheLesson09folder.
5.Viewthe09_End.psdthumbnail.MovetheslideratthebottomoftheBridgewindowifyouneedtozoomintoseethethumbnailmoreclearly.
Thisfileisamovieposterthatcomprisesabackground,amonsterimage,and
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,resizetheforeheadtofitthespace,andpressEnterorReturn.
6.MaketheBoltslayervisible,andselectit.Dragtheboltssothey’repositionedoneithersideoftheneck.ChooseEdit>FreeTransform,andresizethemsothattheyfitsnuglyagainsttheneck.Whenyouhavetheminposition,pressEnterorReturntocommitthetransformation.
7.Lastly,maketheMonster_Hairlayervisible,andselectit.Moveitover
theforehead.ChooseEdit>Transform,andthenresizethehairsoitfitsproperlyagainsttheforehead.PressEnterorReturntocommitthechange.
8.Saveyourworksofar.
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.
TipTolearnmoreaboutblendingmodes,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.
TipTochangethebrushsizeasyoupaint,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-UpVerticaltodisplayboththemonster
andbackdropfiles.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,easilyreturntoyourstarting
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( )toreturntheforegroundcolortoblack.
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’llusethe
doesn’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,the
Historypanelhasaddedastateforthetaskyoujustperformed(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.
NoteTheLightingEffectsfilterisunavailableifUseGraphicsProcessorisnotselectedinthePerformancePreferencesdialogbox.IfyourvideocarddoesnotsupporttheUseGraphicsProcessoroption,skipsteps7–12.
12.ClickOKintheoptionsbartoaccepttheLightingEffectssettings.Thetombstoneisreadytojointheothersinyourmovieposter.13.Savethefile.
14.ChooseWindow>Arrange>TileAllVertically.15.DragthetombstoneyoujustcreatedtotheMovie-Poster.psdfile.Click
OKifyouseeacolormanagementwarning.16.Dragthetombstonetothebottomleftcorner,withthetopthirdofit
showing.17.ChooseFile>SavetosavetheMovie-Poster.psdfile.Thenclosethe
T1.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.
yourprintedposter.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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Customizebrushsettings.•Cleanthebrush.•Mixcolors.•Useanerodibletip.•Createacustombrushpreset.•Usewetanddrybrushestoblendcolor.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson10projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:DIGITALPAINTINGTheMixerBrushtoolgivesyouflexibility,color-mixingabilities,andbrush
strokesasifyouwerepaintingonaphysicalcanvas.
AbouttheMixerBrushInpreviouslessons,you’veusedbrushesinPhotoshoptoperformvarioustasks.TheMixerBrushisunlikeotherbrushesinthatitletsyoumixcolorswitheachother.Youcanchangethewetnessofthebrushandhowitmixesthebrushcolorwiththecoloralreadyonthecanvas.Photoshopbrusheshaverealisticbristles,soyoucanaddtexturesthatresemblethoseinpaintingsyoumightcreateinthephysicalworld.Whilethisisagreatfeatureingeneral,it’sparticularlyusefulwhenyou’reusingtheMixerBrush.Youcanalsouseanerodibletiptoachievetheeffectsyoumightgetwithcharcoalpencilsandpastelsinthephysicalworld.Combiningdifferentbristlesettingsandbrushtipswithdifferentwetness,paint-load,andpaint-mixingsettingsgivesyouopportunitiestocreateexactlythelookyouwant.
GettingstartedInthislesson,you’llgetacquaintedwiththeMixerBrushaswellasthebrushtipandbristleoptionsavailableinPhotoshop.Startbytakingalookatthefinalprojectsyou’llcreate.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridgetoopenAdobeBridge.4.InBridge,clickLessonsintheFavoritespanel.Double-clicktheLesson10folderintheContentpanel.
NoteIfBridgeisn’tinstalled,you’llbepromptedtoinstallitwhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
5.PreviewtheLesson10endfiles.You’llusethepaletteimagetoexplorebrushoptionsandlearntomixcolors.You’llthenapplywhatyou’velearnedtotransformthelandscapeimageintoawatercolor.
6.Double-click10Palette_Start.psdtoopenthefileinPhotoshop.
NoteIfyouplantodoalotofpaintinginPhotoshop,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( ).
NoteIfyouhaveOpenGLenabled,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.
NoteWhenyouAlt-clickorOption-clicktoloadpaint,thebrushpicksupcolorvariationsinthesamplearea.Tosampleonlysolidcolors,selectLoadSolidColorsOnlyintheCurrentBrushLoadmenuintheoptionsbar.
5.Paintabovethebluetube.Thepaintmixeswiththewhitebackground.
6.ChooseDryfromthemenuintheoptionsbar,andthenpaintagainabovethebluetube.Amuchdarker,moreopaqueblueappears,anddoesn’tmixwiththewhitebackground.
TipTheLiveTipBrushPreviewshowsyouthedirectionofthebristlesasyoupaint.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),andthenchoose
ErodiblePointfromtheShapemenu.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.
NoteDependingonthecomplexityofyourproject,youmayneedtobepatient.Mixingcolorscanbeamemory-intensiveprocess.
2.SelectthePaintmixlayerintheLayerspanel,sothecoloryoupaintwon’tblendwiththebrownpaletteontheBackgroundlayer.
TheMixerBrushtoolmixescolorsonlyontheactivelayerunlessyouselectSampleAllLayersintheoptionsbar.
3.UsetheEyedroppertooltosampletheredcolorfromtheredpainttube.Then,withtheMixerBrushtoolselected,selecttheroundbluntbrushintheBrushpanel(thefifthbrush).ThenchooseWetfromthepop-upmenuintheoptionsbar,andpaintinthetopcircleonthepalette.
4.ClicktheCleanTheBrushAfterEachStrokeicon( )intheoptionsbartodeselectit.
5.UsetheEyedroppertooltosamplethebluecolorfromthebluepainttube,andthenusetheMixerBrushtooltopaintinthesamecircle,mixingtheredwiththeblueuntilthecolorbecomespurple.
TipUsetheEyedroppertooltosamplethecolor,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.
TooltipsfromthePhotoshopevangelist
JulieanneKostisanofficialAdobePhotoshopevangelist.
MixerBrushshortcutsTherearenodefaultkeyboardshortcutsfortheMixerBrushtool,butyoucancreateyourown.Tocreatecustomkeyboardshortcuts:1.ChooseEdit>KeyboardShortcuts.2.ChooseToolsfromtheShortcutsFormenu.3.Scrolldowntothebottomofthelist.4.Selectacommand,andthenenteracustomshortcut.Youcancreateshortcutsforthefollowingcommands:•LoadMixerBrush•CleanMixerBrush•ToggleMixerBrushAuto-Load•ToggleMixerBrushAuto-Clean•ToggleMixerBrushSampleAll
CreatingacustombrushpresetPhotoshopincludesnumerousbrushpresets,whichareveryhandy.Butifyou
Photoshopincludesnumerousbrushpresets,whichareveryhandy.Butifyouneedtotweakabrushforyourproject,youmightfinditeasiertocreateyourownpreset.You’llcreateabrushpresettouseinthefollowingexercise.
1.IntheBrushpanel,selectthefollowingsettings:•Size:36px•Shape:RoundFan•Bristles:35%•Length:32%•Thickness:2%•Stiffness:75%•Angle:0°•Spacing:2%
NoteDuetoananomaly,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.Paintin
closetothetrees,andsmoothouttheentiresky.
Whenyou’resatisfiedwiththesky,moveontothegrassandtrees.8.Selectalightgreen(weusedR=92,G=157,B=13).ChooseDryfromthepop-upmenuintheoptionsbar.Thenpaintalongthetopsectionofthegrasstohighlightit.
9.Sampleadarkergreenfromthegrassitself.ChooseVeryWet,HeavyMixintheoptionsbar.Thenpaintusingdiagonalstrokestoblendthecolorsinthegrass.
TipRememberthatyoucanAlt-click(Windows)orOption-click(MacOS)tosampleacolorinsteadofusingtheEyedroppertool.Tosampleonlysolidcolorsusingthekeyboardshortcut,chooseLoadSolidColorsOnlyfromtheCurrentBrushLoadpop-upmenuinthe
SolidColorsOnlyfromtheCurrentBrushLoadpop-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.
TipFordifferenteffects,paintindifferentdirections.WiththeMixerBrushtool,youcangowhereveryourartisticinstinctsleadyou.
12.Sampleabrowncolorfromthetallgrasses,andthenselectVeryWet,HeavyMixintheoptionsbar.Paintalongthetopofthetallgrasswithup-and-downstrokesforthelookofafield.Acrossthebackarea,behindthesmallcentertree,paintbackandforthtocreatesmoothstrokes.
13.ChooseFile>Save,andclosethedocument.
Voilà!You’vecreatedamasterpiecewithyourpaintsandbrushes,andthere’snomesstocleanup.
BrushvariationsYoucangobeyondthesettingsintheseprojectstoexplorenumerousvariationsinbrushtipsandsettings.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.Whichoptionsareavailabledepend
createvarietyinbrusheffects.Whichoptionsareavailabledependonthebrushtipshapeyou’veselected.Formoreinformationaboutalltheoptions,seePhotoshopHelp.
PaintinggalleryThepaintingtoolsandbrushtipsinPhotoshopletyoucreateallkindsofpaintingeffects.Erodiblebrushtipsgiveanaddedrealismtoyourart.ThefollowingpagesshowexamplesofartcreatedwiththebrushtipsandtoolsinPhotoshop.
Image©JanetStoppeeform2media.com
Image©JohnDerry,www.pixelart.com
Image©VictoriaPavlov,pavlovphotography.com
Image©sholby,www.sholby.net
Image©sholby,www.sholby.net
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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•CreateavideotimelineinPhotoshop.•AddmediatoavideogroupintheTimelinepanel.•Addmotiontostillimages.•Animatetypeandeffectsusingkeyframes.•Addtransitionsbetweenvideoclips.•Includeaudioinavideofile.•Renderavideo.
Thislessonwilltakeabout90minutestocomplete.DownloadtheLesson11projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:FAMILYVIDEOFROMMOBILEPHONE
YoucaneditvideofilesinPhotoshopusingmanyofthesameeffectsyouusetoeditimagefiles.Youcancreateamoviefromvideofiles,stillimages,SmartObjects,audiofiles,andtypelayers;applytransitions;andanimate
SmartObjects,audiofiles,andtypelayers;applytransitions;andanimateeffectsusingkeyframes.
GettingstartedInthislesson,you’lleditavideothatwasshotusingacameraphone.You’llcreateavideotimeline,importclips,addtransitionsandothervideoeffects,andrenderthefinalvideo.First,lookatthefinalprojecttoseewhatyou’llbecreating.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridge.
NoteIfBridgeisn’tinstalled,you’llbepromptedtoinstallitwhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
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.
Creatinganewfile
CreatinganewfilePhotoshopincludesseveralfilmandvideopresetsforyoutochoosefrom.You’llcreateanewfileandselectanappropriatepreset.
1.ChooseFile>New.
NoteThevideointhislessonwasshotusinganAppleiPhone,sooneoftheHDVpresetsisappropriate.The720ppresetprovidesgoodqualitywithoutprovidingtoomuchdataforeasystreamingonline.
2.Namethefile11Start.psd.3.ChooseFilm&VideofromtheDocumentTypemenu.4.ChooseHDV/HDTV720p/29.97fromtheSizemenu.5.Acceptthedefaultsettingsfortheotheroptions,andclickOK.
6.ChooseFile>SaveAs,andsavethefileintheLesson11folder.
ImportingassetsPhotoshopprovidestoolsspecificallyforworkingwithvideo,suchastheTimelinepanel,whichmayalreadybeopenbecauseyoupreviewedtheendfile.
Timelinepanel,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.
NoteWhenyouusetheAddMediabuttonwithanunspecifiedcanvas,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.
NoteYou’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.
TipToquicklychangethedurationofavideoclip,clickthearrowintheupperrightcorner,andthentypeanewDurationvalue.Thisoptionisn’tavailableforstillimages.
Theclipsarenowtherightduration,butsomeoftheimagesarethewrongsizeforthecanvas.You’llresizethefirstimagebeforecontinuing.
5.Selectthe1_FamilylayerintheLayerspanel.TheclipisalsoselectedintheTimelinepanel.
TipThearrowontheleftsideofaclip(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,dragtheendpointofthetypelayerto03:00sothatithasthesamedurationasthe1_Familylayer.
7.ClickthearrownexttothethumbnailintheBEACHDAYcliptodisplaytheclip’sattributes.
8.Makesuretheplayheadisatthebeginningofthetimeruler.9.Clickthestopwatchicon( )nexttotheTransformpropertytosetaninitialkeyframeforthelayer.
Thekeyframeappearsasayellowdiamondinthetimeline.
10.SelecttheMovetool( ),anduseittodragthetypelayeroverthecanvassothatthetopofthelettersalignwiththelowerofthetwotopguidelines.Dragittotherightsothatonlytheleftedgeoftheletter“B”intheword“BEACH”isvisibleonthecanvas.Thekeyframeyousetensuresthatthetextwillbeinthispositionatthebeginningofthemovie.
11.Movetheplayheadtothelastframeofthefirstclip(02:29).
TipPhotoshopdisplaystheplayhead’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.
NoteIfyouhadimportedthevideofileusingthePlacecommand,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_Dogscliptorevealtheattributes
fortheclip.Therearetwokeyframes,oneforthebeginningoftheZoomIneffect,andonefortheend.
6.ClicktherightarrownexttotheTransformattribute(underVideoGroup1ontheleftsideoftheTimelinepanel)tomovetheplayheadtothelastkeyframeifit’snotalreadythere,andchooseEdit>FreeTransform.Thenenter120%forWidthandHeightintheoptionsbar.PressEnterorReturntoconfirmthetransformation.
TipYoucanmovetothenextkeyframebyclickingtherightarrownexttotheattributeintheTimelinepanel.Clicktheleftarrowtomovetothepreviouskeyframe.
7.Dragtheplayheadacrossthe4_Dogsclipinthetimerulertopreviewtheanimationagain.
8.ChooseFile>Save.
AnimatinganimagetocreateamotioneffectYou’llanimateanothertransformationtocreatetheappearanceofmotion.You
You’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.
TipYoucanalsoaddanaudiotrackbyclickingthe+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.
6.Saveyourworksofar.
MutingunwantedaudioSofar,you’vepreviewedportionsofthevideobymovingtheplayheadacrossthetimeruler.Nowyou’llpreviewtheentirevideousingthePlaybuttonintheTimelinepanel,andthenmuteanyextraneousaudiofromthevideoclips.
1.ClickthePlaybutton( )intheupperleftcorneroftheTimelinepaneltopreviewthevideosofar.
TipTocreateasmootherpreview,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,clicktheTransitionbuttonintheupperleftcornerof
theTimelinepanel,andthendragatransitionontoaclip.3.Torenderavideo,chooseFile>Export>RenderVideo,orclicktheRenderVideobuttoninthelowerleftcorneroftheTimelinepanel.Thenselectthevideosettingsthatareappropriateforyourintendedoutput.
12.WorkingwithCameraRaw
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•OpenaproprietarycamerarawimageinAdobeCameraRaw.•Adjusttoneandcolorinarawimage.•SharpenanimageinCameraRaw.•Synchronizesettingsformultipleimages.•OpenaCameraRawimageasaSmartObjectinPhotoshop.•ApplyCameraRawasafilterinPhotoshop.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson12projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:ADVANCEDPHOTORETOUCHINGRawimagesgiveyougreaterflexibility,especiallyinsettingcolorandtone.CameraRawletsyoutapintothatpotential.Itcanbeausefultoolevenwhenyou’restartingwithaJPEGorTIFFimage,orwhenyouapplyitasafilterin
Photoshop.
GettingstartedInthislesson,you’lleditseveraldigitalimagesusingPhotoshopandAdobeCameraRaw,whichcomeswithPhotoshop.You’lluseavarietyoftechniquestotouchupandimprovetheappearanceofdigitalphotographs.You’llstartby
touchupandimprovetheappearanceofdigitalphotographs.You’llstartbyviewingthebeforeandafterimagesinAdobeBridge.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
NoteWeusedAdobeCameraRaw8.5,whichwasthecurrentversionatthetimeofpublication.AdobeupdatesCameraRawfrequently;ifyou’reusingalaterversion,someofthestepsinthislessonmaynotmatchwhatyousee.
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridgetoopenAdobeBridge.
NoteIfyouhaven’tinstalledBridge,you’llbepromptedtodosowhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
4.IntheFavoritespanelinBridge,clicktheLessonsfolder.Then,intheContentpanel,double-clicktheLesson12foldertoopenit.
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.
NoteThePhotoshopRawformat(.rawextension)isafileformatfortransferringimagesbetweenapplicationsandcomputerplatforms.Don’tconfusePhotoshopRawwithcamerarawfileformats.
Youcanprocesscamerarawfilesobtainedfromsupportedcameras,butyoucanalsoopenTIFFandJPEGimagesinCameraRaw,whichincludessomeeditingfeaturesthataren’tinPhotoshop.However,youwon’thavethesameflexibilitywithwhitebalanceandothersettingsifyou’reusingaTIFForJPEGimage.AlthoughCameraRawcanopenandeditacamerarawimagefile,itcannotsaveanimageincamerarawformat.
ProcessingfilesinCameraRawWhenyoumakeadjustmentstoanimageinCameraRaw,suchasstraighteningorcroppingtheimage,PhotoshopandBridgepreservetheoriginalfiledata.This
orcroppingtheimage,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,bit
linkbelowthepreviewwindowdisplaystheselectedimage’scolorspace,bitdepth,size,andresolution.Toolsalongthetopofthedialogboxletyouzoom,pan,straighten,andmakeotheradjustmentstotheimage.Tabbedpanelsontherightsideofthedialogboxgiveyoumorenuancedoptionsforadjustingtheimage:Youcancorrectthewhitebalance,adjustthetone,sharpentheimage,removenoise,adjustcolor,andmakeotherchanges.Youcanalsosavesettingsasapreset,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.Thesecond
componentistint,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.
TipToundothesettings,pressCtrl+Z(Windows)orCommand+Z(MacOS).
8.Toseethechangesyou’vemade,clickthepreviewmodebutton( )atthebottomofthewindow,andchooseBefore/AfterLeft/Rightfromthepop-upmenu.
TipToexpandCameraRawtofillthescreen,clicktheToggleFull-ScreenModebutton( )onthefarrightsideofthetoolbar,orpressF.
CameraRawdisplaystheBeforeimageontheleftandtheAfterimageonthe
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.
TipForthebesteffect,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.
AbouttheCameraRawhistogramThehistogramintheupperrightcorneroftheCameraRawdialogboxsimultaneouslyshowsthered,green,andbluechannelsoftheselectedimage,andupdatesinteractivelyasyouadjustanysettings.
selectedimage,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.
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.
TipPressAlt(Windows)orOption(MacOS)asyoumovetheMaskingslidertoseewhatCameraRawwillsharpen.
Sharpeningtheimagegivesstrongerdefinitiontothedetailsandedges.TheMaskingsliderletsyoutargetthesharpeningeffecttothelinesintheimage,sothatartifactsdon’tappearinunfocusedorbackgroundareas.
TipIfyouhavedifficultyseeingtheeffectsofsharpening,changethezoomlevelto100%.
zoomlevelto100%.
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,andthenchooseLong
•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.
TipTomaketheOpenObjectbuttonthedefault,clicktheworkflowoptionslink(inblue)belowthepreviewwindowintheCameraRawdialogbox,selectOpenInPhotoshopAsSmartObjects,andclickOK.
If,instead,youhadclickedOpenImage,theimagewouldopenasastandardPhotoshopimage.PressingtheShiftkeychangestheOpenImagebuttontotheOpenObjectbutton.
6.InPhotoshop,chooseFile>SaveAs.IntheSaveAsdialogbox,choosePhotoshopfortheformat,renamethefileMission_Final.psd,navigatetotheLesson12folder,andclickSave.ClickOKifthePhotoshopFormatOptionsdialogboxappears.Thenclosethefile.
AboutsavingfilesinCameraRawEverycameramodelsavesrawimagesinauniqueformat,butAdobeCameraRawcanprocessmanyrawfileformats.CameraRawprocessestherawfileswithdefaultimagesettingsbasedonbuilt-incameraprofilesforsupportedcamerasandtheEXIFdata.YoucansavetheproprietaryfilesinDNGformat(theformatsavedbyAdobeCameraRaw),JPEG,TIFF,andPSD.AlloftheseformatscanbeusedtosaveRGBandCMYKcontinuous-tone,bitmappedimages,andallofthemexceptDNGarealsoavailableinthePhotoshopSaveandSaveAsdialogboxes.•TheDNG(AdobeDigitalNegative)formatcontainsrawimagedatafromadigitalcameraandmetadatathatdefineswhattheimagedatameans.DNGismeanttobeanindustry-widestandardformatforrawimagedata,helpingphotographersmanagethevarietyofproprietaryrawformatsandprovidingacompatiblearchivalformat.(YoucansavethisformatonlyfromtheCameraRawdialogbox.)•TheJPEG(JointPhotographicExpertsGroup)fileformatis
commonlyusedtodisplayphotographsandothercontinuous-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.
TipInadditiontoopeningfilesinCameraRawwhenyoustartthe
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.TheLevelscontrolsandahistogramappearinthePropertiespanel.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.
GoodhabitsmakeallthedifferenceAsensibleworkflowandgoodworkhabitswillkeepyouenthusedaboutdigitalphotography,helpyourimagesshine—andsaveyoufromthenightterrorsoflosingworkyouneverbackedup.Here’sanoutlineofthebasicworkflowfordigitalimagesfromaprofessionalphotographerwithmorethan25years’experience.Tohelpyougetthemostfromtheimagesyoushoot,JayGrahamoffersguidelinesforsettingupyourcamera,creatingabasiccolorworkflow,selectingfileformats,organizingimages,andshowingoffyourwork.
GrahamusesAdobePhotoshopLightroom®toorganizethousandsofimages.
“Thebiggestcomplaintfrompeopleisthey’velosttheirimage.Whereisit?Whatdoesitlooklike?”saysGraham.“Sonamingisimportant.”StartoutrightbysettingupyourcamerapreferencesIfyourcamerahastheoption,it’sgenerallybesttoshootinitscamerarawfileformat,whichcapturesalltheimageinformationyouneed.Withonecamerarawphoto,saysGraham,“youcangofromdaylighttoanindoortungstenimagewithoutdegradation”whenit’sreproduced.IfitmakesmoresensetoshootinJPEGforyourproject,usefinecompressionandhighresolution.StartwiththebestmaterialGetallthedatawhenyoucapture—atfinecompressionandhighresolution.Youcan’tgobacklater.OrganizeyourfilesNameandcatalogueyourimagesassoonafterdownloadingthemaspossible.“Ifthecameranamesfiles,eventuallyitresetsandproducesmultiplefileswiththesamename,”saysGraham.Use
producesmultiplefileswiththesamename,”saysGraham.UseAdobePhotoshopLightroomtorename,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).ConvertrawimagestoDNGItmaybebesttoconvertallyourcamerarawimagestotheDNGformat.Unlikemanycameras’proprietaryrawformats,thespecificationsforthisformatarepubliclyavailablesothatsoftwaredevelopersanddevicemakerscanmoreeasilysupportit.KeepamasterimageSaveyourmasterinPSD,TIFF,orDNGformat,notJPEG.EachtimeaJPEGisre-editedandsaved,compressionisreapplied,andtheimagequalitydegrades.ShowofftoclientsandfriendsWhenyouprepareyourworkfordelivery,choosetheappropriatecolorfileforthedestination.Converttheimagetothatprofile,ratherthanassigningtheprofile.sRGBisgenerallybestforviewingelectronicallyorforprintingfrommostonlineprintingservices.Adobe1998orColormatcharethebestprofilestouseforRGBimagesdestinedfortraditionallyprintedmaterialssuchasbrochures.Adobe1998orProPhotoRGBarebestforprintingwithinkjetprinters.Use72dpiforelectronicviewingand180dpiorhigherforprinting.BackupyourimagesYou’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.13.ChooseFile>Savetosaveyourworksofar.
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.Theselectedareasbecomelessred.Becarefulnottopullthecurvedowntoofar,oragreencastwillappear.Youcanseethedifferenceyou’vemadebyclickingtheToggleLayerVisibilitybutton.
BecauseyouselectedtheskintonesbeforeapplyingtheCurvesadjustmentlayer,theskincolorshiftsbutthebackgroundisunchanged.Theadjustmentaffectsslightlymoreoftheimagethantheskinitself,buttheeffectblendswellandissubtle.
Applyingsurfaceblur
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.
CameraRawtoperformdifferenttasksasyouenhanceandimproveanimage.
AboutHDRandpanoramasinCameraRawWhenyouselectmorethanoneimageinCameraRaw,youcanchooseMergetoHDRorMergetoPanoramafromtheFilmstripmenu.HDR(highdynamicrange)requiresdarkerandlighterexposuresofthesamecomposition,whileapanoramarequiresmultipleexposuresthatmakeupalargerscene.PhotoshopalsohasHDRorpanoramafeatures,butthenewerprocessinCameraRawissimpler,providesapreview,canprocessinthebackground,andproducesaDNGfilethatyoucaneditinCameraRawwiththeflexibilityofarawformatimage.
Extracredit
PaintingwithLight:UsingCameraRawasaFilterInadditiontoopeningfilesinCameraRawtostarttheeditingprocess,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.Continuebrushinguntilthefruitistoo
bright.
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?
Reviewanswers
1.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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Createandstylizeabuttonforawebsite.•Uselayergroups.•Optimizeimagesforthewebandmakegoodcompressionchoices.•Recordanactiontoautomateaseriesofsteps.•Playanactiontoaffectmultipleimages.•SaveassetsusingAdobeGenerator.•EvaluateassetsandrevisethemwithGenerator.•DesignformultiplescreensizeswithmultipleartboardsandtestthemwithAdobePreviewCC.
Thislessonwilltakeaboutanhourtocomplete.DownloadtheLesson13projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:MUSEUMWEBSITEOften,youneedtocreateseparateimagesforbuttonsorotherobjectsina
website.AdobeGenerator,builtintoPhotoshop,makesiteasytosavelayers,layergroups,andartboardsasseparateimagefiles.
GettingstartedInthislesson,youwillbuildbuttonsforthehomepageofaSpanishartmuseum’swebsite,andthengenerateappropriategraphicsfilesforeachbutton.You’lluselayergroupstoassemblethebuttons,andthencreateactionstoprepareasetofimagesforuseasasecondgroupofbuttons.First,you’llview
prepareasetofimagesforuseasasecondgroupofbuttons.First,you’llviewthefinalwebdesign.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridge.4.InBridge,clickLessonsintheFavoritespanel.Double-clicktheLesson13folderintheContentpanel.
NoteIfBridgeisn’tinstalled,you’llbepromptedtoinstallitwhenyouchooseBrowseInBridge.Formoreinformation,seepage3.
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.
9.ChooseSelect>Deselect.10.SelecttheHorizontalTypetool,andselectthefollowingsettingsinthe
optionsbar:•FontFamily:MyriadPro•FontStyle:Regular•FontSize:18pt•Anti-aliasing:Strong•Alignment:Center•Color:White
11.Clickinthecenteroftheblueband,andtypeGALLERYONE.UsetheMovetooltoadjustthepositionofthetypelayerifnecessary.
Thelabelisinplace.Nowyou’lladdadropshadowandstroketoimprovetheappearanceofthebutton.12.SelecttheImage1layerintheLayerspanel.Then,clicktheAddLayer
Stylebutton( )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.
NoteBesuretoclickthewordStroke.Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.
15.ClickOKtoapplybothlayerstyles.
Thebuttonlooksgood.Nowyou’llassembleallofitslayersintoasinglegroup.
16.SelecttheGALLERYONE,band,andImage1layersintheLayerspanel,andchooseLayer>GroupLayers.
PhotoshopcreatesagroupnamedGroup1.17.Double-clicktheGroup1layergroup,andrenameitGallery1.Then
expandthegroup.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,dragtheduplicate
bandlayerfromthefirstimagetothesecondone.
TipYoucanalsoduplicatelayersbydraggingalayerdowntotheNewLayericonintheLayerspanel.
5.SelecttheGALLERYONElayer,andchooseDuplicateLayerfromtheLayerspanelmenu.NametheduplicatelayerGALLERYTWO,anddragitintotheGallery2layergroupabovetheband2layer.
6.UsetheMovetooltodragtheduplicatetypefromthefirstimagetothebandonthesecondimage.ThenselecttheHorizontalTypetool,andchangethetypetoGALLERYTWO.
TipPresstheShiftkeyasyoumovethetypetodragitinastraightline.
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.
TipYoucancreateconditionalactionsthatchangetheirbehaviorbasedoncriteriayoudefine.
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.
NoteBesuretoclickthewordStroke.Ifyouclickonlythecheckbox,Photoshopappliesthelayerstylewithitsdefaultsettings,butyouwon’tseetheoptions.
12.ClickOKtoapplybothlayerstyles.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.
7.ChooseFile>Savetosaveyourworksofar.
SavingassetswithAdobeGeneratorWhenyou’repreparingfilesforawebsite,oftenyouneedtocreateseparateimagefilesforbuttonsandothercontent.WithAdobeGenerator,youcaneasilygenerateaJPEG,PNG,orGIFimagefromthecontentsofalayerorlayergroupinaPhotoshopfilesimplybyrenamingthelayerorlayergroup.Youcanappendtheappropriatefileextensiontosaveanimagewithdefaultsettings,butyoucanalsospecifyqualityandsizeparametersfortheimage,alldeterminedbyhow
alsospecifyqualityandsizeparametersfortheimage,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.)
NoteYourlayersmaybeinadifferentorder,dependingonhowyoucopiedthegalleryfoldersandplacedthegalleryfiles.Anylayerorderisfine.
3.RenametheNewWinglayernew-wing.gif.Whenyou’renaminglayersandlayergroupstogenerateassets,it’sagoodidea
Whenyou’renaminglayersandlayergroupstogenerateassets,it’sagoodideatousenamesthatdon’tincludespacesorspecialcharacters.
4.RenametheLogolayerlogo.jpg5.Youwon’tseeanychangesinthePhotoshopfileitselfwhenyougenerateassets.ButAdobeGeneratorhassavedtherenamedlayerorlayergroupinthespecifiedformattoasubfolderalongsidethesourcePSDfile.Inthiscase,theassetsyou’vegeneratedhavebeensavedtotheLesson13/13Working-assetsfolder.Ifyougenerateanassetfromalayergroup,thegroupisflattenedtoproducetheresultingimage.
EvaluatingandrevisinggeneratedassetsLookattheassetsthatweregenerated,toensuretheymeetyourneeds.YoucanquicklyevaluatethemusingBridge.
1.ChooseFile>BrowseInBridgetoopenAdobeBridge.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.GIFimagesare
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,andwebmastersconstructtheirsitesin
cellphonestodesktopcomputers,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.
SpecifyingqualityandsizeparametersingeneratedassetsWhenyourenamealayerorlayergroupwithjusttheappendedfileextension(.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.SpecifyingtheimagesizeTospecifytheoutputimagesize,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
DesigningformobiledeviceswithartboardsCreatinguserinterfacesandwebsitesformobiledevicesjustgoteasier,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,clicktheGetthe
Applinkandinstallit.2.Onyourdevice,opentheAdobePreviewCCapp.Ifnecessary,signintoyourCreativeCloudaccountintheapp.
3.ThePhotoshopdocumentshouldappearautomaticallyinPreviewCConyourdevice.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,clickthe
CreateNewActionbuttonintheActionspanel,nametheaction,andclickRecord.Thenperformthetasksyouwanttoincludeinyouraction.Whenyou’vefinished,clicktheStopRecordingbuttonatthebottomoftheActionspanel.
3.UseAdobeGeneratortogenerateassetsfromlayersandlayergroupsinPhotoshop.First,enableGeneratorforyourdocumentbychoosingFile>Generate>ImageAssets.Thenrenamelayersorlayergroupstoappendfileformatextensions(.jpg,.png,or.gif),aswellassizeandqualityparameters.
14.ProducingandPrintingConsistentColor
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•DefineRGB,grayscale,andCMYKcolorspacesfordisplaying,editing,andprintingimages.•PrepareanimageforprintingonaPostScriptCMYKprinter.•Proofanimageforprinting.•SaveanimageasaCMYKEPSfile.•Createandprintafour-colorseparation.•Understandhowimagesarepreparedforprintingonpresses.
Thislessonwilltakelessthananhourtocomplete.DownloadtheLesson14projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:TRAVELPOSTERToproduceconsistentcolor,youdefinethecolorspaceinwhichtoeditanddisplayRGBimages,andthecolorspaceinwhichtoedit,display,andprintCMYKimages.Thishelpsensureaclosematchbetweenonscreenandprinted
colors.
PreparingfilesforprintingAfteryou’veeditedanimagetogettheeffectyouwant,youprobablywanttoshareorpublishitinsomeway.Ideally,you’vebeeneditingwiththefinaloutputinmind,andyou’vemanagedfileresolution,colors,filesize,andother
outputinmind,andyou’vemanagedfileresolution,colors,filesize,andotheraspectsoftheimageaccordingly.Butasyoupreparetooutputthefile,youhaveanotheropportunitytomakesureyourimagewilllookitsbest.
NoteOneexerciseinthislessonrequiresthatyourcomputerbeconnectedtoaPostScriptcolorprinter.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.Makesureyoukeepanunflattenedcopyoftheoriginalsoyoucanmake
changesorreusethecontentlater,ifnecessary.PhotoshoppromptsyoutomergelayerswhenyouconverttoCMYK.•Soft-prooftheimagetoensurethecolorswillprintasyouexpectthemto.
GettingstartedYou’llpreparean11″×17″travelposterforprofessionalprinting.ThePhotoshopfileisquitelarge,becauseitcontainsseverallayersandhasaresolutionof300dpi,whichisnecessaryforqualityprinting.First,startPhotoshop,andrestoreitsdefaultpreferences.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.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,andthen
clickthelightareaofthebuildingbehindthetouriststobrightenandcorrectthecolorintheimage.
Theimageoftouristslooksbetter.Buttheimageofthestatueappearsflatandlackscontrast.You’llfixthatwithaLevelsadjustmentlayer.
8.SelecttheStatuelayerintheLayerspanel,andthenclicktheLevelsiconintheAdjustmentspaneltoaddaLevelsadjustmentlayer.
9.ClicktheClipToLayerbuttonatthebottomofthePropertiespaneltocreateaclippingmask,sothattheadjustmentlayeraffectsonlytheStatuelayer.
10.InthePropertiespanel,clicktheCalculateAMoreAccurateHistogramicontorefreshthehistogramdisplay.
Cachedhistogramdatadisplaysmorequickly,butisoftenlessaccurate.It’sagoodideatorefreshthehistogrambeforeyoumakeeditsbasedoninformation
goodideatorefreshthehistogrambeforeyoumakeeditsbasedoninformationinit.11.Movethesliderstopunchuptheimage.Weusedthevalues31,1.6,235.
12.Savethefile.
RGBmodelAlargepercentageofthevisiblespectrumcanberepresentedbymixingred,green,andblue(RGB)coloredlightinvariousproportionsandintensities.Wherethecolorsoverlap,theycreatecyan,magenta,yellow,andwhite.BecausetheRGBcolorscombinetocreatewhite,theyarealsocalledadditivecolors.Addingallcolorstogethercreateswhite—thatis,alllightistransmittedbacktotheeye.Additivecolorsareusedforlighting,video,andmonitors.Yourmonitor,forexample,createscolorbyemittinglightthroughred,green,andbluephosphors.
CMYKmodelTheCMYKmodelisbasedonthelight-absorbingqualityofinkprintedonpaper.Aswhitelightstrikestranslucentinks,partofthespectrumisabsorbed,whileotherpartsarereflectedbacktoyoureyes.Intheory,purecyan(C),magenta(M),andyellow(Y)pigmentsshouldcombinetoabsorballcolorandproduceblack.Forthisreason,thesecolorsarecalledsubtractivecolors.Butbecauseallprintinginkscontainsomeimpurities,thesethreeinksactuallyproduceamuddybrown,andmustbecombinedwithblack(K)ink
toproduceatrueblack.(KisusedinsteadofBtoavoidconfusionwithblue.)Combiningtheseinkstoreproducecoloriscalledfour-colorprocessprinting.
Identifyingout-of-gamutcolorsColorsonamonitoraredisplayedusingcombinationsofred,green,andbluelight(calledRGB),whileprintedcolorsaretypicallycreatedusingacombinationoffourinkcolors—cyan,magenta,yellow,andblack(calledCMYK).Thesefourinksarecalledprocesscolorsbecausetheyarethestandardinksusedinthefour-colorprintingprocess.MostscannedphotographscontainRGBcolorswithintheCMYKgamut,sochangingthemtoCMYKmodeconvertsallthecolorswithrelativelylittlesubstitution.Imagesthatarecreatedoraltereddigitally,however,oftencontainRGBcolorsthatareoutsidetheCMYKgamut—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).
•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.
CMYK.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)-compliantcolorprofilestoconvertcolorsfromonecolor
Consortium(ICC)-compliantcolorprofilestoconvertcolorsfromonecolorspaceintoanother.Acolorprofileisadescriptionofadevice’scolorspace,suchastheCMYKcolorspaceofaparticularprinter.Youspecifywhichprofilestousetoaccuratelyproofandprintyourimages.Onceyou’veselectedtheprofiles,Photoshopcanembedthemintoyourimagefiles,sothatPhotoshopandotherapplicationscanaccuratelymanagecolorfortheimage.Forinformationonembeddingcolorprofiles,seePhotoshopHelp.Beforeyoubeginworkingwithcolormanagement,youshouldcalibrateyourmonitor.Ifyourmonitordoesn’tdisplaycolorsaccurately,coloradjustmentsyoumakebasedontheimageyouseeonyourmonitormaynotbeaccurate.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,makesurePreserveNumbersisnot
selected.ThePreserveCMYKNumbersoptionsimulateshowcolorswillappearifthey’renotconvertedtotheoutputdevicecolorspace.
4.MakesureRelativeColorimetricisselectedfortheRenderingIntent.Arenderingintentdetermineshowthecolorisconvertedfromonecolorspacetoanother.RelativeColorimetric,whichpreservescolorrelationshipswithoutsacrificingcoloraccuracy,isthestandardrenderingintentforprintinginNorthAmericaandEurope.
5.Ifit’savailablefortheprofileyouchose,selectSimulateBlackInk.Thendeselectit,andselectSimulatePaperColor;noticethatselectingthisoptionautomaticallyselectsSimulateBlackInk.
TipTodisplaythedocumentwithandwithouttheproofsettings,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.
PrintingtoadesktopinkjetManyconsumer-levelinkjetprintersdoagoodjobprintingphotographsandotherimagefiles.Theprecisesettingsavailablevaryfromprintertoprinter,butwhenyou’reprintingimagesfromPhotoshoptoadesktopinkjetprinter,you’llgetthebestresultsifyoudothefollowing:•Makesuretheappropriateprinterdriverisinstalled,andthatyou’veselectedit.•Usetheappropriatepaperforyourintendeduse.Specialphotographicandcoatedpapersareagoodchoicewhenyou’reprintingphotosforframing.•Selectthecorrectpapersourceintheprintersettings.Theprinterlaysinkdifferentlyondifferenttypesofpaper.Ifyou’reusingphotographicpaper,makesureyou’veselecteditintheprintersettings.•Selecttheimagequalityintheprintersettings.Forframedprints,youprobablywanttoprintthehighestquality.Ifyou’reprintinga
prooftogetasenseofthecolor,youmaywanttoselectalowerqualityforspeedierprintingandtouselessink.
PrintingaCMYKimagefromPhotoshopIfyou’reprintinganimagedirectlyfromPhotoshop,usethefollowingguidelinesforbestresults:
•Printacolorcomposite,oftencalledacolorcomp,toproofyourimage.Acolorcompositeisasingleprintthatcombinesthered,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,andcolorseparations,seePhotoshopHelp.
ExtraCredit
SharingyourworkonBehanceIntegratedintoCreativeCloud,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.Youcansharethelinkonsocialmediaorpasteitintoemailorablogpost.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
LessonoverviewInthislesson,you’lllearnhowtodothefollowing:
•Createasimple3Dobjectusingameshpreset.•Use3DtoolsinPhotoshop.•Manipulate3Dobjects.•Adjustthecameraview.•Prepare3Dfilesforprinting.•Exportafileforremoteprinting.
Thislessonwilltakeabout30minutestocomplete.DownloadtheLesson15projectfilesfromtheLesson&UpdateFilestabonyourAccountpageatwww.peachpit.com,ifyouhaven’talreadydoneso.Asyouworkonthislesson,you’llpreservethestartfiles.Ifyouneedtorestorethestartfiles,downloadthemfromyourAccountpage.
PROJECT:3DLUGGAGETAGYoucanprint3DobjectsdirectlyfromPhotoshop.Ifyouhavea3Dprinteronsite,youcanprintlocally.Otherwise,youcanexportyourfileforprintingby
anonlinevendor.
GettingstartedThislessonexplores3Dfeatures,whichareavailableonlyifyourvideocardhasatleast512MBofdedicatedVRAMandsupportsOpenGL2.0,andifOpenGL2.0isenabledonyourcomputer.Tolearnaboutyourvideocard,chooseEdit>Preferences>Performance(Windows)orPhotoshopCC>Preferences>Performance(MacOS).InformationaboutyourvideocardisintheGraphicsProcessorSettingsareaofthedialogbox.
NoteFeaturescoveredinthislessonrequireMacOS10.7orlater,orWindows7orlater,andatleast512MBVRAM.FormorecompletePhotoshopsystemrequirements,visithttps://helpx.adobe.com/photoshop/system-requirements.html.
Inthislesson,you’llcreateathree-dimensionalluggagetag.First,you’llviewthefinishedtag.
1.StartPhotoshop,andthenimmediatelyholddownCtrl+Alt+Shift(Windows)orCommand+Option+Shift(MacOS)torestorethedefaultpreferences.(See“Restoringdefaultpreferences”onpage4.)
2.Whenprompted,clickYestodeletetheAdobePhotoshopSettingsfile.3.ChooseFile>BrowseInBridgetoopenAdobeBridge.4.InBridge,clickLessonsintheFavoritespanel.Double-clicktheLesson15folderintheContentpanel.
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.A
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.Thesametexturemightbeusedbymanydifferentmapsandmaterials.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.
4.ChooseSelect>Deselect.
5.Choose3D>NewMeshFromLayer>MeshPreset>Cone.Ifyouseeamessageaskingwhetheryouwanttoswitchtothe3Dworkspace,click
Yes.
TipIfyouseeanEmbeddedProfileMIsmatchmessage,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.)
TipAsyoumovetheobject,the3DAxiswidgetshifts,too.Forexample,thexandyaxisarrowsmaybeavailable,whilethezaxisispointingdirectlyintothescene.Theyellowcenterboxmayalsobeobscuredbyanaxis.
Ifyouhoverthemouseoverthecenterboxuntilitturnsyellow,youcanclicktheboxanddragtoscaletheobjectuniformly.Clickanarrowtomovetheobjectalongthataxis;clickthecurvedhandlejustbeforethearrowtorotateonthataxis;clickthesmallerhandletoscalealongthataxis.
11.Rotate,scale,andmovetheconeusingthewidget.12.Right-click(Windows)orControl-click(MacOS)theCamerawidgetin
thelowerleftcorneroftheapplicationwindow(ithastwoaxesvisible),andchooseTop.
OptionsintheCameramenudeterminetheanglefromwhichyouseetheobject.Thecameraanglechanges,buttheobjectitselfdoesnot.Don’tbefooledbyitsrelationshiptothebackground;thebackgroundisnot3D,soitremainsinplacewhenPhotoshopmovesthecameraforthe3Dobject.13.Chooseothercameraviewstoseehowtheyaffecttheperspective.14.Whenyou’redoneexperimenting,closethefile.Youcansaveyour
creationifyouwantto,orclosewithoutsaving.
Positioning3DelementsNowthatyou’vegottenafeelforthe3Dtools,you’llusethemtopositionthetextonaluggagetag.
1.ChooseFile>Open,navigatetotheLesson15folder,anddouble-clickthe15Start.psdfile.
TipIfyouseeanEmbeddedProfileMIsmatchmessage,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,andsavethefile
as15Working.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.
TipYoucanlearnmoreaboutthematerialsavailablethroughShapeways,andcomparecostsofvariousoptions,byvisitinghttp://www.shapeways.com/materials.
Thepreviewofthe3Dobjectchangesintheimagewindowtoreflectthechoicesyou’vemade.WhenyouchoosePlastic-Alumide,thepreviewshowsasilver-graytagwithextrudedtext.
graytagwithextrudedtext.4.MakesureInchesisselectedinthePrinterUnitsmenutospecifyhowprintervolumeshouldbemeasured.
3Dprintershavedifferentcapacities,andit’simportanttoconsiderwhetheryourobjectwillfitwithintheprinter’svolume.ThePrinterUnitsvaluesaredimmed,becauseyoucan’tchangethem;theydescribethevolumefortheprinteryou’vechosen.TheSceneVolumevaluesreflectthesizeofyour3Dscene(inthiscase,asingleobject).IftheShowcheckboxisselected,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.That
structuretypicallyincludesaraft,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.Youcan
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.
NoteYouarenotcommittedtoapurchaseuntilyoucheckoutandpayfortheobject.
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”aselectionusingan
adjustableroundbrushtip.
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.
TheErasertoolerasespixelsandrestorespartsofanimagetoapreviously
savedstate.
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.
Index
Symbols3DAxiswidget3513Dfeatures348–3593Dlayers3493Dprintsettings3533Dscenespositioningelementsin352printing353
3Dtools349
Aactionsbatch-playing314playing314recording309–314stoppingrecording313
actionssets310Actionspanel309AddAudiooption259AddLayerMaskbutton139AddMediabutton250AddNoisefilter219AdjustmentBrushtool(CameraRaw)297adjustmentlayers97–98Black&White50,255Brightness/Contrast217ChannelMixer217Curves17,110–111,293defined17Exposure218Hue/Saturation97,153Levels119,152,154,284
usinginvideo254AdobeBridgeaddingfavorites37Favoritespanel37installing3openingfilesinCameraRawfrom268openingfilesinPhotoshopfrom36
AdobeBrushCC197AdobeCameraRawadjustingwhitebalancein270AdjustmentBrushtool297Basicpanel274Detailpanel276openingimagesin268OpenObjectbutton281savingfilesin282synchronizingsettingsacrossimages277usingasafilter297–298version266workflow270workspace269
AdobeColorCC197AdobeGenerator316–320creatingmultipleassetsperlayer319parameters321
AdobeIllustratorimportingSmartObjectsfrom194importingtextfrom194–195
AdobePhotoshopCCinstalling3newfeatures2resettingthedefaultpreferencesfor10starting3,10workarea10–31
AdobePhotoshopCCClassroominaBook(2015release)1
accessinglessonfiles3prerequisites2
AdobePhotoshopLightroom286–287AdobePreviewCC322AdobeShapeCC197AdobeStock78Alignedoption48aligninglayers103alphachannels138,148about140,151
anchorpoints185,188animatingposition256text252
anti-aliasing62applicationframe,inMacOS11ApplyLayerCompbox102arrowkeysnudgingselectionswith59–60usingtheShiftkeywith59
artboards322assetsimportingforvideo249resizingforvideo252
audioaddingtoavideotimeline259fading260muting260–261shorteningclips259
Audiotrack259Auto-AlignLayers103,125AutoEnhanceoption56automatingtasks309–316axes,3D351
B
Bbackgroundlayer74convertingtoaregularlayer76,312erasing79overview76
barreldistortion,correcting120Basicpanel(inCameraRaw)274batch-playingactions314Behance343Bevel&Embosseffect195bitmapimagesoverview10,182vectorgraphicsvs.182–183
blackandwhite,convertingcolorimagesinPhotoshop50blackpoint274Black&Whiteadjustmentlayer50,255blemishes,removing44BlendImagesTogetheroption117blendingcolorswithaphotograph236blendingmodesachievingdifferenteffectswith93applyingtolayers84Color212Luminosity222Multiply84Overlay84overview82
BloattoolintheLiquifyfilter211BlurEffectspanel115BlurGallery112–115blurscausedbycameramotion,removing134FieldBlur114IrisBlur112–113,216PathBlur114
restoringnoise115SpinBlur114surfaceblur294Tilt-Shift114
bordersadding79,99discarding39
Bridge.SeeAdobeBridgebrighteninganimage110–111,119Brightness/Contrastadjustmentlayer217bristletips226BrowseInBridgecommand36brushesloadingwithcolor233presets234settings227ShapeDynamicsoptions239
Brushpanel227BrushPosesettings239BrushPresetspanel235Brushtool20settingoptions145
buttonscreatinginPhotoshop303–309duplicating308
Ccalibration,monitor337cameralensflaws,correcting120–122CameraRaw.SeeAdobeCameraRawcamerarawimagescamerassupportedbyAdobeCameraRaw267creating267fileformatsforsaving282histogram276
opening268–269overview267proprietary266
camerarawsaving279–280sharpening276whitebalanceandexposureadjustment270–271
CameraShakeReductionfilter134cameras,in3Dlayers349changingtheangleof351
cameraviews351Camerawidget351CanvasSize312centerpoint,selectingfrom66channelmasks140ChannelMixeradjustmentlayer217channelsadjustingindividual150–152alphachannels148,151loadingasselections153overview138,148
Channelspanel138Characterpanel88checkerboardtransparencyindicator79chromaticaberration120ClassroominaBook1CleanBrushAfterEveryStrokeicon232cleanbrush(MixerBrushtool)232clippingmasksabout140,159creating162–164indicator164inplacedvideoassets255shortcut163
closedpaths183,185
closingaPhotoshopfile12Cloudsfilter86CMYKcolormode,convertingto332CMYKcolormodel332defined336gamut336
collaborating,withlibraries197coloradditive332adjustingoverall40changingforeground18convertingtoblackandwhite50defaultforegroundandbackground216defaulttext162managedworkflow337–338mixingwiththeMixerBrush231out-of-gamut332previewingCMYKvaluesinRGBmode332sampling18,227selectingby54selectingusingtheSwatchespanel24–25softeningedgetransitions62
Colorblendingmode212colorcasts,removing40colorcomp341colormanagement337–338ColorOverlay195Colorpanel28colorprofiles337ColorRange,SkinTonesoption292colorsettingsrestoring5saving5
ColorSettingsdialogbox337–338colorspace337
deviceprofile337combiningimagesinapanorama116–119withdifferentperspectives130–134
commands,keyboardshortcutsfor365CommitAnyCurrentEditsbutton99CommitTransformbutton195Content-AwareFillwithpanoramas116
Content-AwareMovetool126,128Content-AwarePatchtool45Contentpanel,inBridge37contextmenus19withtype166,169
ContrastsliderinCameraRaw274ControlTimelineMagnificationslider251ConvertforSmartFilters297convertingimagestoblackandwhite50copyingandanti-aliasing62atsameresolution69commands69images101,333images,andcentering77layers77–79selections68,69settingsinCameraRaw277
CopyMergedcommand69cornerpoints185creases,repairing44CreateVideoTimeline249croppingimages38–39,69–70croppingshield38Croptool38CrossFadetransition258
curvedpaths185Curvesadjustmentlayer17–18,110,293customizingtheuserinterface30cutouts194–195
DDefaultForegroundAndBackgroundColors216defaults,resetting4,10DeleteCroppedPixelsoption38depthoffield,adding123deselectingselections57DetailpanelinCameraRaw276DifferenceCloudsfilter216DirectSelectiontool185discretionaryligatures173displayingdocumentsize101layers78multipledocuments77
distortions,correcting130DNGfileformat282dockingpanels27documentsize,displaying101Dodgetool291–292draggingimagefilestoaddlayers87DragThe3DObjecttool350DropShadowlayerstyle306,312dropshadows91–92,94duplicatingareasofascene126images334layers308
durationofvideoclips,changing251Dust&Scratchesfilter49
E
Eeditingshapes194SmartFilters210text167
EditInQuickMaskModebutton145EllipticalMarqueetool54,222centeringselection66circularselectionswith58
EPSfileformat340EraseRefinementstool144Erasertool103erodibletip230exporting3Dobjectsforprinting355imagefilesfromlayers316video261
Exposureadjustmentlayer218Eyedroppertool18,227eyeicon,intheLayerspanel75
FFadeWithBlacktransitions258fadingaudio260Favoritespanel,inBridge37Feathercommand62feathering62FieldBlur114fileformatsfromCameraRaw282transferringimagesbetweenapplicationsandplatforms282type173
filesizeflattenedvs.unflattened101reducing101
files,saving18,101–104fillscolor349foregroundcolor100gradient90
film.Seevideofiltersaddingcloudswith86AddNoise219CameraRawFilter297CameraShakeReduction134DifferenceClouds216Dust&Scratches49LightingEffects220Liquify206–207SmartSharpen49,311
FitOnScreencommand67FlattenImagecommand41flatteningimages101focus,adjusting123fontsalternates173changingintheoptionsbar23OpenType173previewingincontext161selecting160
Foregroundcolorswatch24,86four-colorprinting332fractions173FreeformPentool183freehandselections63–64FreeTransform198,204,206
Ggamut336
colorsoutsideof332–333GamutWarning333–334Generator.SeeAdobeGeneratorGeometricDistortionCorrectionoption117GradientPicker90gradients,listingbyname90Gradienttool90guidesadding159ruler304
guidesSmartGuides198
HHandtool65HDR,inAdobeCameraRaw296HealingBrushtool44,289Help,Photoshop6hidinglayers78selectionedges60
high-resolutionimages35histograminLevelsadjustmentlayer41,285
histogram,inCameraRaw276Historypanel215–221HorizontalTypetool22,88,160,161hue,adjustingforprinting333Hue/Saturationadjustmentlayers17,146,153
IIllustrator.SeeAdobeIllustratorimagescenteringandcopying162copying101
determiningscanresolution35duplicating333fittingonscreen65flattening101–103resolution35–36sharpening276sizeandresolution35–36
ImageSizecommand69imagewindow12,14,14–15fittingimageto67scrolling16
importingembeddedSmartObjects315multiplefilesfromBridge203
InDesign.SeeAdobeInDesignInfopanel303inkjetprinters341InnerShadowlayerstyle164interface.SeeuserinterfaceInvertcommand152IrisBlur112–114,216
JJPEGfileformatcamerarawimagesand267imagedegradationand287
Kkeyboardshortcutscomprehensivelist364–365customizing234duplicating68Movetool59
keyframesappearanceof253
movingtothenextorprevious256usingtoanimatetext252
LLassotools54,63–64layercomps102layereffectsadding91updating99
layergroups303layermasks140layersabout74adding86–87aligning103Background76blendingmodes82–83convertingBackgroundtoregular312convertingtobackground76copying77–79copyingandcentering77,81copyingandmerging69duplicating82,308effects89–92,91–94erasing79–81flattening101,102generatingimagesfrom316generatingmultipleassetsfrom319hidingandshowing75,78,79linking84–86locking75mergingvisible101namingimageassetsin317opacity82overview74
painting211rearranging80–82removingpixelsfrom79–81renaming77resizing84–86rotating84showing79thumbnails,hidingandresizing75transforming84transparency82–83type88
Layerspaneloverview75–76QuickMaskmodeindicator145
layerstylesaddingtotype164applying89–92,91–94Bevel&Emboss195ColorOverlay195DropShadow91,94,306,312multipleinstancesofeffect96overview89,91Satin95Stroke94,306
learningresourcesforAdobePhotoshopCC6lengthofvideoclips,changing251LensCorrectionfilter120–122lessonfiles,accessing3Levelsadjustmentlayers40–41,119,152,154,284libraries,collaboratingwithCreativeCloud197ligatures,discretionary173lighteninganimage110–111,119LightingEffectsfilter220Lightroom.SeeAdobePhotoshopLightroomlights,in3Dlayers349
lineargradients86–88Liquifyfilter206–207LiveTipBrushPreview229LoadFilesIntoPhotoshopLayerscommand203loadingbrusheswithcolor233channelsasselections153
low-resolutionimages35upscaling221
Luminosityblendingmode222
MMacOS,differencesinworkarea11MagicWandtool54combiningwithothertools60–61
MagneticLassotool54,65–66magnification13–14.SeealsoZoomtoolmagnifyingglass.SeeZoomtoolmarqueetools54maskscolorvaluesforediting138creating139–142inverting146overview138refining141terminology140
materials,in3Dlayers349MergeVisiblecommand102mergingimages103,123imageswithdifferentperspectives130–134layers101multiplePhotoshopfiles203
meshes,in3Dlayers349mistakes,correcting25–31MixerBrushtool
MixerBrushtoolabout226cleaningthebrush232
mixingcolors231withaphotograph236
mobiledevicesdesigningwithartboards322testingdesignswithAdobePreviewCC322usingwithlibraries197
monitorcalibration337resolution35–36
motionblurs115Motiondialogbox252,255Motionworkspace249Movetool26movingselections57scissorsicon67
moving3Dobjects351objectsinanimage126panels27selections56–57
Multiplyblendingmode84mutingaudio260–261
NnavigatingusingScrubbyZoom15usingtheNavigatorpanel16withtheZoomtool13–14
Navigatorpanel16noise,reducing49nondestructivefilters206Notespanel171
Oopacity,changing82–83openingimagesinCameraRaw268OpenObjectbutton(inCameraRaw)281openpaths183,185OpenTypefileformat158,173optionsbar19comparedtopanels29–30overview22–23settingtypeoptionsin23
organizingphotos286–287out-of-gamutcolor332–333outputresolution,determining36Overlayblendingmode84
Ppaintinglayers211wetnessoptions228withanerodibletip230withtheMixerBrushtool224–239
panandzoomeffects,addingtovideo257–258paneldock27panelsBrushpanel227comparedtooptionsbar29docking27expandingandcollapsing28–29movingtoanothergroup27overview26–27resizing28undocking27workingwith24–26
panningwiththeNavigatorpanel16panorama116–119
gettingthebestresults118inAdobeCameraRaw296
Pan&Zoomoption252,257PaperColoroption339paper,simulatingwhite339Paragraphpanel28paragraphtype160PasteIntocommand69,222pastingandanti-aliasing62atsameresolution69commands69
Patchtool45PathBlur114paths183–184addingtypeto165–166closing185drawingcurved185drawingstraight185guidelinesfordrawing188saving185,192
pathsegments185Pathspanel185,186vectormask194
PDF.SeePhotoshopPDFPenciltool183Pentoolasselectiontool184drawingpaths184–188keyboardshortcut183overview183–184,185settingoptions186–187
PerspectiveWarp130photocorrectionresolutionandsize35–36
retouchingstrategy34Photomerge116–117bestpractices118
photorestoration,manual42–43PhotoshopEPSfileformat333PhotoshopPDF,savingas177PhotoshopRawfileformat267pincushiondistortion120pixelmask140pixelsdefined10,35,182imageandmonitor35–36
PlaceLinked195placingembeddedSmartObjects315planes,PerspectiveWarp131playhead,intheTimelinepanel254plug-ins10pointtype160distorting169–170paragraphsvs.170
PolygonalLassotool21,54Polygontool194position,animatinginvideo256PostScriptfonts158,173preferencesgamut-warningcolor333restoringdefaults4,10Units&Rulers303
PreserveDetails(Enlargement)option221PreserveNumbersoption338presetsbrush234filmandvideo248
previewingbrushtips229
fontsincontext161imagesinabrowser320
Printdialogbox342printers,inkjet341printing325–3453Dfiles353CMYKmodeland336–337guidelines341identifyingout-of-gamutcolor332–333preparingimagesfor326proofingimagesonscreen338–341resolution36savingimageasseparations340
printinginks,simulating339processcolors34,332ProofColorscommand339proofingimages338–341PSDformat282camerarawimagesand267
PuckertoolintheLiquifyfilter211PuppetWarp146
QQuickMaskmode145quickmasks138,145paintingcolor146
QuickSelectiontool54,55–56,139
Rrasterimages,overview182recordingactions309–314rectangles,rounded174RectangularMarqueetool19,54,61,304redeye,correcting108–110RedEyetool109–110
RefineEdge62,149RefineMaskdialogbox141RefineRadiustool142renderingvideo261repositioningselections58ResizeToFillCanvasoption252resizinglayers84panels28videoassets252
resizingtheimagecanvas312resolution35–36retouching/repairingoverview34removingblemishes44–45settingcorrectresolution35–36withtheHealingBrushtool289withtheSpotHealingBrushtool44,289–291
RGBcolormode,convertingtoCMYK332RGBcolormodel332,332–334about332gamut336
right-clickmenus19RollThe3DObjecttool351rotating3Dobjects351selections64
RoundedRectangletool174–175rulerguides159,304rulers160
Ssamplingcolors18,227Satinlayerstyle95saturation,adjustinginPhotoshop291–292
Saturationslider(inCameraRaw)274savingasPhotoshopPDF177imagesasseparations340
scaling1623Dobjects351imagesup221
scanresolution35scrubbing23ScrubbyZoom15selectingalayerinamultilayerfile57fromcenterpoint66–67high-contrastedges65–66inverseselection61–62layers79overview54skintones292text99
selectionsbycolor54circular66copying69duplicating68elliptical57–65featheringexisting62freehand54geometric54hidingedgesof60inverting16moving56–57,59,67–68,68rotating64–65showingedges60softening62subtractingfrom61
selectiontools54–55separationsprinting342–344savingimageas340
sepiaeffect,creating255shaders,in3Dlayers349shadows,creating148ShapeDynamicsoptions,forbrushes239shapelayers194–195shapes,custom192–195Shapewaysonline3Dprintvendor354sharpeningimagesinCameraRaw276–277inPhotoshop49–50
shortcutmenus19shortcuts.Seekeyboardshortcutsshorteningvideoclips251Show/HideVisibilitycolumn79ShowTransformControlsoption195sidecarXMPfiles277SingleColumnMarqueetool54SingleRowMarqueetool54skewinganobject150skintones,selecting292SmartFilter112SmartFilters206–209editing210
SmartGuides198SmartObjectsautomaticupdateonediting194convertinglayersto206embedded315layerthumbnail195linked195,197overview194
SmartFiltersand206SmartSharpenfilter49,311smoothpoints185snapping303soft-proofing338–341spellchecking166SpinBlur114SplitatPlayheadbutton259Spongetool291–292SpotHealingBrushtool44–45,289–291stackingorder,changing80–82Standardmode145startingPhotoshop10statusbar14stickynotes171StopRecordingbutton313stopwatchiconintheTimelinepanel253straighteninganimage38strobeeffect115Strokelayerstyle94,306SubtractFromSelectionbutton61SurfaceBlurfilter294swashes173Swatchespanel24–25,25swatches,selecting24synchronizingsettingsinCameraRaw277
Ttemperature,image271text.Seealsotypeadding160animating252creating22,88–89defaultcolor162moving89
selecting99textures,in3Dlayers349thumbnailslayer75SmartObject195
TIFF(TaggedImageFileFormat)camerarawimagesand267overview282
Tilt-ShiftBlur114timeline,creating249Timelinepanelchangingthemagnification251overview247returningtothefirstframe258
tintsdefined271inBlack&Whiteadjustmentlayers255
ToleranceoptionfortheMagicWandtool60tone,adjusting40–41toolsBrushtool20Content-AwareMove126,128Croptool38EllipticalMarquee222Eyedropper18,227HealingBrushtool44HorizontalTypetool22keyboardshortcutsfor183,364Lassotool63MagicWandtool60MagneticLassotool63,65Movetool26Patchtool45PolygonalLasso21PolygonalLassotool63
QuickSelectiontool55,139RectangularMarquee304RectangularMarqueetool19RoundedRectangletool174–175selectinghidden21–22selection54–55SpotHealingBrushtool44using12–18
Toolspanelcomparedtootherpanels29–30double-columnview13selectingandusingtoolsfrom13–19
tooltips,displaying14tracks,inatimeline249trainingresources6transformations,free-form84–85transforminglayers84–86SmartObjects195
transitionsaddingtovideo258changingthelengthof259
transparencyadjusting82–83indicating79
TransparencyAndGamutdialogbox333trimminganimage39TrueTypefonts173tutorialsforlearningPhotoshop6type.Seealsotextaligning160clippingmask159,162–164creating160–161glyphs172onapath165–166
overview158resizing158resolution-independent158settingoptions160swashes173tricks166truefractions173vertical175–176warping169–170
typefaces.Seefontsformats158selecting160
typelayers88creatingnew166selectingcontents166
Typetool22–23
Uundockingpanels27Undocommand25undoingactions25–26withtheHistorypanel215–221
Units&Rulerspreferences303upscalingimages221userinterfaceAdobeCameraRaw269changingsettingsfor30learning10–12
Vvectorgraphicsbitmapimagesvs.182defined10overview182
vectormasks140
VerticalTypetool175videoaddingaudioto259addingpanandzoomeffects257–258addingtransitions258–259exporting261groups250importingassetsfor249overview248rendering261resizingassetsfor252usingadjustmentlayersin254
vignetting120
WWacomtablets226,239warpingimageswiththeLiquifyfilter206perspective132type169–170
webbrowser,previewingimagesin320wetnessoptions,inpainting228whitebalance,adjusting270–271WhiteBalancetool(inCameraRaw)271–273whitepoint274widgets,3D351Windows,differencesinworkarea11workarea10–31workflowscolor-managed337–338forretouchingimages34organizingfiles286–287prepress338
WorkPathoverview185
workspaces
workspacesdefault11Motion249
Xxaxis351XMPfiles277
Yyaxis351
Zzaxis351zoomingintotheTimelinepanel251out59
Zoomoptioninvideo255zoomtest,beforeprinting328Zoomtool13–14shortcuts143usingScrubbyZoom15
ProductionNotes
AdobePhotoshopCCClassroominaBook(2015release)wascreatedelectronicallyusingAdobeInDesignCC.ArtwasproducedusingAdobeInDesign,AdobeIllustrator,andAdobePhotoshop.TheMyriadProandWarnockProOpenTypefamiliesoftypefaceswereusedthroughoutthisbook.ForinformationaboutOpenTypeandAdobefonts,visitwww.adobe.com/type/opentype/.Referencestocompanynamesinthelessonsarefordemonstrationpurposesonlyandarenotintendedtorefertoanyactualorganizationorperson.
ImagesPhotographicimagesandillustrationsareintendedforusewiththetutorials.Lesson4pineappleandflowerphotography©ImageSource,www.imagesource.comLesson6and7modelphotography©ImageSource,www.imagesource.com
TeamcreditsThefollowingindividualscontributedtothedevelopmentofAdobePhotoshopCCClassroominaBook(2015release):ProjectManager:LaurenDonohueWriter:ConradChavezIllustratorandCompositor:JeffBrownCopyeditorandProofreader:WendyKatzIndexer:ConradChavezTechnicalReviewer:JeffBrownKeystroker:MeganAhearnCoverdesign:EddieYuenInteriordesign:MimiHeftArtDirector:AndrewFaulknerDesigners:JeffBrownandLaurenDonohueAdobePressExecutiveEditor:VictorGavendaAdobePressProjectEditor:ConnieJeung-MillsAdobePressProductionEditor:TraceyCroomContributorsJayGrahambeganhiscareerdesigningandbuildingcustomhomes.Hehasbeenaprofessionalphotographerformorethan25years,withclientsintheadvertising,architectural,editorial,andtravelindustries.Hecontributedthe“ProPhotoWorkflow”tipsinLesson5.www.jaygraham.com
LisaFarrerisaphotographerbasedinMarinCounty,CA.ShecontributedphotographyforLesson5.www.lisafarrerphoto.comGawainWeaverhasconservedandrestoredoriginalworksbyartistsrangingfromEadwardMuybridgetoManRay,andfromAnselAdamstoCindySherman.Hecontributedto“RealWorldPhotoRestoration”inLesson2.www.gawainweaver.com
SpecialThanksWeofferoursincerethankstoChristineYarrow,DanielPresedo,PeteFalco,StephenNielson,RussellBrown,andZoranaGeefortheirsupportandhelpwiththisproject.Wecouldn’thavedoneitwithoutyou!
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