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Creating a successful newsletter means spending less time on repetitive tasks and more time creating the design. In Designing a Newsletter, graphic designer and Adobe Certified Instructor Nigel French teaches effective design and production techniques. He uses Adobe InDesign, Illustrator, Photoshop, and Bridge to create an eight-page newsletter that's eye-catching and impactful. Nigel establishes an efficient workflow using multiple programs, examines the aesthetics of integrating text with images, and teaches best practices for outputting a final document. Exercise files accompany the course.
I just like to show some other things that we can do to fix any problems that there may be with our images and I'm using this one as a case in point. Two minor problems with this image and I have here my Layers panel where I have one fix on each of the two layers that I have added. One of them being an adjustment layer with the layer mask, the other one being an image layer. Now, if I turn those layers off, we can see the image in its original state and there are two problems here. One is that the dog's face is just too dark and the second is that we have this waste bin popping up over the top of the park bench. So to fix the dog's face first of all, I'm going to do this again. I'll leave the original layers there but turned off and I'll add new layers. This is how I did it. Numerous ways we could do this, this is how I did it and I think this is a good approach.
Add a Levels adjustment layer. So Levels are what we used to adjust the tonal quality of an image and I'm going to get the white point slider, which is going to adjust the highlights and I'm going to bring them over to the left, but more importantly and to have a bigger impact, I'm going to get the mid-point slider and I'm going to bring that over to the left. Now while I do that, that is lightening up the midtone areas of the whole of my image, which is not what I want. I only want to affect just that portion of the dog's face. So having done that, I'm then going to work on this area down here, the layer mask. Now the layer mask is currently white; there is nothing on it.
I'm going to fill it with black, meaning that I'll mask the change that I have just made. To fill it with black, I'll make sure that black is my foreground color. If necessary, press the D key to restore your foreground and background colors to black and white and if all, white and black, and if white is your foreground color then pressing the x key will toggle those two. So black is my foreground color. Hold down the Option key or the Alt key and then press Delete. Now what that has done is invalidate the change that I have just made. We see there a black mask on that adjustment layer. I'll now choose my Brush tool and an appropriate Brush size. So I'm going to need a bigger Brush size than that, I could come up to here and change it, but instead, I'm going to use the keyboard shortcut, right bracket. And I want to make sure that my brush is completely soft as well, has a Hardness of 0, which is right there, or if I wanted to use the shortcut for that, Shift+Left bracket.
And then I want to make sure that I'm painting in white. So I'm going to switch my foreground color to white, X will do that and now I can just paint over the dog's face and you can see that it's getting lighter. Okay, that's done. The next thing I want to do is remove the waste bin. For that purpose, I'm going to use the Clone Stamp tool, this one here, to clone an area of grass over the waste bin. But in case I go wrong, very easy to go wrong when you are retouching, I'm going to add the retouching to a separate layer. That way any mistake is going to be very easy to recover from. So I'll add a new empty layer, create new layer, I can name it if I wish, I'll call it retouch and then choose my Clone Stamp tool.
Now in order for this to work, in order for us to clone from one layer because we are going to be cloning from the background layer and paint to another to the retouch layer, then we have to make sure that we have this option chosen for the Sample option. It can be Current & Below or it could be this at this instance but I'm going to leave it at All Layers. And I'm going to zoom in on that area. Command+Spacebar-click and drag and just position my document in the center of my window.
Now the other thing I would like to do is just section that area off a bit by using the Polygon Lasso tool so that I can't apply any cloning outside of that area. I can clone from outside the area, but I can't clone anywhere but into that area. So using my Clone tool, choosing appropriate size Brush and Brush Hardness and then Alt-click or Option+ click to set a sample point and paint over that. All right, that looks good. Now zoom out, Command+0, Ctrl+0 to de-select my selected area. Command+D or Ctrl+D and there is my new and improved image.
There is the before, there is the after. Now this image, I have saved as a TIFF and I have saved it as a TIFF so that I can retain these layers. If I were to save as a JPEG, I would be compelled to flatten the layers into one background layer and I would lose the option of anytime afterwards coming back to the image and making further adjustments on the layers. So I want to maintain maximum flexibility and that's why I'm saving as a TIFF. It was already placed in the InDesign document as a TIFF. So when I'll now press Command+S or Ctrl+S to save, it will update in place in my InDesign document.
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