19. Layer Effects and StylesWelcome to Photoshop CS3 One-on-One: Advanced Techniques| 00:00 |
Hi, I'm Deke McClelland, graphics expert and glad-guru-about-town,
here to welcome you to part three of my epic, 27-chapter
| | 00:09 |
video bible on Photoshop, known to my friends
and lawyers as Photoshop CS3 One-on-One.
| | 00:15 |
Together, you and I stand at the brink of Chapter 19,
which is where we begin to address Photoshop's wealth of
| | 00:21 |
parametric operations, starting with layer effects.
| | 00:25 |
Layer effects are a collection of dynamic color and contour
attributes that let you add dimension, lighting, and texture to
| | 00:31 |
otherwise flat, drab objects. They serve
two opposing purposes: to set layers apart
| | 00:37 |
and to bring them together.
| | 00:38 |
For example, a layer effect that casts a shadow suggests that
the layer is raised above the surface of its surroundings.
| | 00:44 |
This calls attention to the perimeter of the layer and adds
depth to the image, both of which help to distinguish a
| | 00:50 |
layered element from a busy composition.
| | 00:52 |
Meanwhile, a layer effect can also blend the interior or
perimeter of a layer with its background. The independent layers
| | 00:59 |
appear not as disparate elements of a composition,
but as seamless portions of a cohesive whole.
| | 01:04 |
By the way,
| | 01:05 |
I should mention that although Photoshop has a tendency
to refer to layer effects and layer styles as if they were
| | 01:11 |
the same thing, they are different. A layer effect is an
individual effect, like a drop shadow or a glow or a stroke.
| | 01:18 |
A layer style is a collection of effects that
you can save and apply over and over again.
| | 01:23 |
Just so you know.
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Oh, and remember how at the end of part two I told you that
you'd have to sign a waiver before entering part three, because
| | 01:30 |
it was so dangerous and well-
| | 01:32 |
that was a bold-faced lie. Really layer effects are cute and
cuddly as teddy bears with valentines embroidered on their
| | 01:38 |
chests. If a layer effect could talk, it would say, "I wuv wu."
Layer effects are so cloyingly adorable they would nauseate the
| | 01:45 |
entire council of the National Association of Kerchief Enthusiasts,
which is why I can't wait to share them with you.
| | 01:52 |
Here, let's take a look.
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| Introducing layer styles| 00:00 | Woo hoo! It's time for layer effects and layer styles here
inside of Pho-shop. That's what I'm going to call it from now on,
| | 00:08 | Pho-shop, cause it's cooler.
| | 00:11 | I'd like to get cracking right away. Go ahead and open
this image right here, it's called Love signs.psd, and
| | 00:17 | it's found inside the 19 Effect Styles folder,
| | 00:20 | and it contains my very own hand here, fingers spelling the word
"love." And in case it looks like I got the L backwards, that's
| | 00:29 | because,
| | 00:30 | that's right, I'm left-handed. My old excuse that I use over
and over again. It's because I'm a minority as a left-hander,
| | 00:38 | but not so much as a Caucasian. I've got like, the palest
hands on the face of the planet. My hands don't get out much.
| | 00:45 | No, I don't know what that means either. Anyway, so we've got
these hands we're going to work with, and every modification that
| | 00:52 | we're going to make to this document is going to be a parametric
modification, meaning that it relies on numerical and
| | 01:00 | option oriented parameters, and we're not
going to change a single pixel inside of any layer.
| | 01:06 | Now I've got my Layer Comps palette visible onscreen here, and you
say hey, Deke, you changed your palettes around, you moved that
| | 01:12 | guy over on top of layers. Yes I did. I changed my mind about how
I want things to be organized here. I figured that now, at this
| | 01:20 | stage of the game, I've grown up a little bit here
inside of Photoshop CS3 and I'd like the Info palette and
| | 01:26 | Navigator to be off to the side. I'm now
considering them to be secondary palettes.
| | 01:30 | Get a load of me, how advanced I am.
| | 01:33 | Anyway, I'm looking at the raw elements comp right now. Why don't
we switch ahead a comp, so that we can just see where we're going
| | 01:39 | inside of this image. This is just a
little preview of upcoming events here.
| | 01:43 | So I'll click on the right-pointing arrowhead, and notice
how richly colored my hands are now. They're so beautiful,
| | 01:52 | and they have these nice drop shadows and they're set against
sort of a bordered sky, and the colors are popping a little
| | 01:58 | bit more in the sky I think,
| | 02:00 | and my sort of severed hands here, that look more 3-D
than ever, and this is all because of layer styles.
| | 02:08 | And by the way, I should tell you up front here.
The difference between layer effects and layer styles.
| | 02:13 | Layer effects are the individual effects, such as Bevel and Emboss,
and Stroke, and the Drop Shadow, and Glows, and all that jazz.
| | 02:22 | Each one of those items is a layer effect.
| | 02:24 | Then you can save groups of effects as styles. So that's
the difference between those two items. But they often get used,
| | 02:31 | the terms often get used interchangeably. Alright, let's advance
to the next layer comp right here, because layers comps,
| | 02:38 | you may notice, can save style states. Alright, so I'm going to click
the right arrowhead to advance to disco hands, which are sort of
| | 02:46 | differently colored versions of the hands with inner glows
going on here. Very nice I think. And then finally we have
| | 02:54 | the extremely understated love explosion right
here. A little over the top, I must admit,
| | 03:02 | but you know, just great for certain occasions.
| | 03:07 | Anyway, it's a little bit of grandstanding,
but it does show you how far you can go with layer effects
| | 03:13 | and layer styles inside of Photoshop. And we, together,
are going to go to the absolute extremes with this here
| | 03:19 | composition, starting in the next exercise.
| | 03:23 |
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| Color the hands, crop the sky| 00:00 | Now in this exercise, we're going to establish the base
composition. So we're going to do everything except apply
| | 00:07 | a few layer effects. So we'll start in on
the layer effects in the next exercise, OK?
| | 00:12 | Does that work for you?
| | 00:14 | Alright.
| | 00:14 | I like to pretend every once in a while that we're
having this little conversation, because we have a
| | 00:21 | relationship, let's face it.
| | 00:23 | It's a strange one, but it's there, you know. So I think
it's important to acknowledge it every once in while,
| | 00:28 | and share the love.
| | 00:30 | Alright, so let's advance. If you're working along with me,
| | 00:33 | if you're even there at all, I'd like you to go ahead and
advance to the first layer comp here, and I'm going to do that by
| | 00:38 | clicking on the right arrowhead, that's just going
to cycle me back around to the raw elements comp.
| | 00:44 | And I'll now hide the comps from view by clicking in this
little gray area there, so that I'm not seeing the comps inside
| | 00:51 | of the Comps palette, so that we have more room devoted to
the Layers palette, which is where stuff happens, all these
| | 00:58 | parametric effects happen inside of Photoshop,
| | 01:01 | oh I'm sorry, Pho-shop.
| | 01:03 | Now I'm going to go ahead and twirl open the group here,
so that we can see the individual love hands, there they are,
| | 01:09 | L-O-V-E. Wondrous. Every single one of
them isolated to a different layer,
| | 01:15 | because I masked them out ever so carefully.
| | 01:19 | Alright, actually I'm going to make this palette a little wider
here so that we can see the names of these adjustment layers
| | 01:25 | right there. Now adjustment layers is a topic that we're going
to visit very soon. It's coming up in a not-so-distant chapter.
| | 01:33 | But for now, I'll just tell you that I
got a couple of adjustment layers going on.
| | 01:37 | The first one is a levels adjustment layer
| | 01:40 | that darkens up everything below it. So if I turn on that
adjustment layer you can see that I'm not only darkening the hands,
| | 01:47 | which need some darkening because they're so darn pale, as you
may recall. Or you may witness right here onscreen actually.
| | 01:55 | But it also darkens, it also ends up darkening the background
as well. So this is without the adjustment layer, this is
| | 02:01 | with the adjustment layer.
| | 02:02 | Then I have this orange layer, what I'm calling orange. It's actually
a hue/saturation layer. I'm going to go ahead and turn it on
| | 02:09 | in order to colorize the hands. We're going to be discussing, when
we get to adjustment layers, I'll tell you all about how you apply
| | 02:15 | colorization effects, cause it's actually very useful, very cool stuff.
| | 02:20 | Alright, but the problem is that my adjustment layers are
leaking out into the background. Now you may recall,
| | 02:26 | if you were with me for the final exercise in the Blend Modes
chapter, you may recall how we solved this problem. Do you remember?
| | 02:32 | If not, here we go again. Go ahead and click on the love
group right here, on that love folder, and you'll see
| | 02:38 | that the blend mode is set to Pass Through, which is not a
blend mode at all. It's just Photoshop's way of telling you
| | 02:44 | that there is no specific blend mode assigned to
the group, and therefore all the blend modes that are
| | 02:50 | at work inside the group will be respected.
They're all set to Normal as it turns out.
| | 02:54 | If we use any other blend mode, then we will isolate the
adjustment layers inside the group so that they don't bleed
| | 03:00 | out into the background.
| | 03:02 | For example, I might apply the Multiply mode, one of my
favorites as you may recall, to multiply those hands into the
| | 03:08 | background. Isn't that awesome? You get that transparency
on transparency effect. Multiply: always, always a good mode.
| | 03:16 | Doesn't matter what the event is.
| | 03:18 | Check this out. I found a use for Exclusion.
I was telling you that I never use that mode, but watch.
| | 03:24 | It gives me ghost hands. Actually this is really cool,
I think is wildly cool. I think every boy can identify with this.
| | 03:30 | I have Frankenstein fingernails! Haven't you always wanted
Frankenstein fingernails? I know everybody has. Alright,
| | 03:37 | anyway I'm going to zoom back out here a little bit. We don't
want ghost hands for this example though, it saddens me to say.
| | 03:43 | I'm going to go ahead and switch from Exclusion back to Normal,
| | 03:47 | and even though my hands are anything but normal,
| | 03:49 | they are set to the Normal blend mode,
and so I can imagine, can't I?
| | 03:53 | Anyway, we have isolated these adjustment layers now to this
group, and we are ready to start applying layer effects to
| | 04:01 | each of the items inside the group. I should tell you one more thing.
I'm going to go ahead and close this group for a moment, twirl it closed
| | 04:06 | so we can see how the rest of the image is organized.
I'm going to turn off everything but the background layer.
| | 04:12 | The background layer is filled with this the blue here.
| | 04:15 | And then I have a layer of gray, and the
only reason that layer of gray is there,
| | 04:20 | is to serve as a clipping mask, so it's clipping the clouds.
Just because I wanted to be able to take those clouds, check
| | 04:27 | this out, I wanted to be able to take those clouds and move
them around inside of that group, in case I decided that I was
| | 04:33 | seeing the wrong portion of the clouds.
So it gives me this real-time cropping effect.
| | 04:39 | Is that not awesome? A very effective but very simple use
for clipping groups. I just had to show that to you.
| | 04:45 | Alright, let's go ahead and twirl open love once again,
| | 04:49 | and in the next exercise we are going to start applying our drop shadows.
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| The Layer Express| 00:00 | Alright, I know in the previous exercise I told you that
we were going to move on to the topic of layer effects inside
| | 00:06 | of this exercise, but actually I want to show you
one more thing, if you don't mind. Are you OK with that?
| | 00:11 | (Laughs.) See the great thing about this is I can
pretend you said yes, cause I can't hear you, see? Gotcha.
| | 00:18 | Alright so I want to show you this wondrous technique, though.
It is really really cool. I call it the Layer Express.
| | 00:23 | It's a way of going to a specific layer inside the image, without
using the Layers palette, going directly to that layer using
| | 00:30 | any old tool. Now I've shown you a few means for selecting
different layers. For example, let's say I want to switch to
| | 00:37 | the V as in victory hand here.
| | 00:39 | I could click on the V layer inside the Layers palette,
it's handy enough after all, but imagine that this is a much
| | 00:45 | more complicated document that's got like 50 layers,
60 layers, something along those lines, which is
| | 00:50 | not uncommon. I'm not giving you such huge documents
because they'd be a big pain in the neck to download.
| | 00:56 | You may find yourself creating complicated
images like that pretty quickly, actually.
| | 01:00 | And so you may find it useful to be able to just switch to a
layer by clicking on it, and I showed you, back in the Layers
| | 01:07 | chapter, I showed you how you can Ctrl + right-click on a layer
| | 01:11 | in order to see a list of all layers inside of a pop-up
menu here- this is a Cmd + right-click by the way on the
| | 01:17 | Macintosh side- and you'll see a pop-up menu that lists
all of the layers that have opaque pixels at your click point.
| | 01:24 | And then you can just go ahead and choose
the V command, right, to switch to the V layer.
| | 01:29 | I'm not going to do that. I'm going to escape out of there,
because I'm going to show you an even better way to work.
| | 01:34 | If you want to know another keyboard shortcut, and I love this
one I have to say, here's what you do. Any old tool is selected,
| | 01:40 | Ctrl + Alt + right-click.
| | 01:43 | Takes you right to that layer here on the PC. Again, that's
Ctrl + Alt + right-click on the layer, takes you right to it.
| | 01:50 | And Photoshop is even smart enough to take you right to the V
layer even though these adjustment layers, orange and darken,
| | 01:55 | are in front of it. It tries to take you
to the first pixel layer it can find.
| | 01:58 | So a very intelligent way of working on Photoshop's part
| | 02:02 | On the Macintosh side, you can Cmd + Option + right-click
if you want to, but for reasons I don't fully understand,
| | 02:09 | I find that there's an easier trick to use. The way
I work is that I press Ctrl + Option and Cmd + click.
| | 02:17 | So that's the other thing you can do, and I just find it easier
to remember. So because all those keys are right in a row
| | 02:22 | down there in the lower right-hand corner of your keyboard.
| | 02:25 | So that's Ctrl + Option + Cmd all at the same time,
and click on a layer and it will take you directly to that
| | 02:32 | layer. That is the Layer Express. In the next
exercise, we're going to talk about layer effects,
| | 02:37 | and you'll believe it when you see it. I know.
| | 02:40 |
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| Crafting a drop shadow| 00:00 |
Let's start things off by discussing the first of the layer effects,
the granddaddy of them all, the common drop shadow.
| | 00:07 |
Before going to the drop shadow here, I'm going to press
the F key, just so that I can move my image over to the
| | 00:14 |
left a little bit, so that I have more flexibility where scrolling
is concerned, because the dialog box we're about to see is
| | 00:20 |
mammoth. It takes up a huge amount of room onscreen,
and I still want to be able to see that V as in victory hand,
| | 00:26 |
which is selected here inside of the Love signs.psd file.
| | 00:30 |
In order to apply a layer effect, and I should tell you that
when building layer effects you can only apply them, you can
| | 00:36 |
only build a layer effect on a single layer at a time.
| | 00:39 |
You can later replicate them to multiple layers, which is
what we're going to do. You can build a core effect,
| | 00:45 |
our core style, on the V layer, and then we'll replicate
it to the other layers, in a future exercise of course.
| | 00:53 |
Also worth noting is that you can apply layer effects to
layers, but not to layer groups, and that's a big pity.
| | 01:01 |
I think that's an oversight, actually. It would be awesome
if you could apply them to layer groups, but you can't.
| | 01:06 |
Alright, so I've got the V layer active. I'm going to go
down to the little FX icon here, and I'm going to choose
| | 01:11 |
Drop Shadow.
| | 01:13 |
And that brings up the gargantuan Layer Style dialog box
and I say it's gargantuan because- well it is pretty massive
| | 01:20 |
onscreen, but there's bigger ones- it's just that I believe
this dialog box contains more options than any other dialog box
| | 01:26 |
inside Photoshop, because are so many panels. There's
effect after effect after effect after effect listed here
| | 01:32 |
as well as the overarching Advanced Blending options here,
and the Styles options you can get to as well.
| | 01:39 |
So there's a ton of different panels going on here.
| | 01:42 |
Alright, I'm going to switch back to Drop Shadow, and let's
take a look at what you can do with the Drop Shadow function.
| | 01:48 |
Notice by default the blend mode is set to Multiply, meaning
that you're going to darken up the background using your
| | 01:54 |
shadow, which only makes sense. So it's a good default
setting, you can change that however if you want to.
| | 01:59 |
We'll see a reason to change that setting, to change
the blend mode setting, in the very next exercise.
| | 02:05 |
I want you to click on the color swatch in order to bring
up the big Color Picker dialog box, another biggie,
| | 02:12 |
and you can, notice this, if you move your cursor outside
the dialog box you can click on a color in order to lift it
| | 02:20 |
into the Color Picker dialog box here. I'm going to change this
color slightly. I want it to be a Hue of 30 degrees, that's actually
| | 02:29 |
great, which is an orange,
| | 02:30 |
and I'm going to change the Saturation to 40%, so it's a low
saturation orange, kind of a brown, and I'm going to take the
| | 02:37 |
Brightness down, so it's a really dark chocolatey
brown here, to 20%. Then I'm going to click OK.
| | 02:43 |
So that's the color that we want to use. For now why don't
you go ahead and leave the Opacity value where it is, but you
| | 02:50 |
can make the shadow more or less opaque if you want to.
| | 02:53 |
This Angle value controls the angle of the light source,
the angle of the sun, as it were, in quotation fingers.
| | 03:01 |
So you'll notice that as I change this Angle value,
the shadow is moving in the opposite direction.
| | 03:08 |
You can also adjust the distance between the shadow and the
thing that's casting it, the hand in this case, by adjusting
| | 03:16 |
the Distance value. The Size value, all things being equal
here, that is according to the default settings, the Size
| | 03:22 |
value actually blurs the shadow. As you can see, it doesn't
make it bigger or smaller, it makes it blurrier or less blurry.
| | 03:29 |
If you want to take advantage of the sizing functionality
of drop shadows, then you have to increase the Spread value,
| | 03:37 |
and notice that that hardens up the shadow and makes it
fill up the entire Size space, as you make the spread bigger
| | 03:45 |
and bigger and bigger. And you can make a very hard, jagged,
sort of geometric shadow, if you want to, with a big Spread value.
| | 03:52 |
The Spread value is really what allows you to grow the shadow.
I'm going to go ahead and leave that down at 0% actually.
| | 04:00 |
You also have the option of adjusting the Contour so that
you have a different sort of edge. Right now we've just got
| | 04:06 |
a Linear Blur associated with this shadow.
| | 04:09 |
You can apply a Gaussian Blur instead by applying this Gaussian
contour, and by the way I clicked on the down-pointing
| | 04:14 |
arrowhead to display this little pop-up menu. If you clicked
inside the contour you would get something resembling a
| | 04:20 |
Curves dialog box, that allows you
to create your own custom contour.
| | 04:25 |
Now the Gaussian contour is pretty subtle. The difference
between it and a Linear contour is pretty subtle as it turns out.
| | 04:31 |
We have other ones that are much less subtle, like
Double Ring here, that creates this wah-wah-wah effect going on.
| | 04:37 |
By the way, you can change the placement of that effect
using that Spread value. Notice you can squish the effect
| | 04:43 |
if you want to, squish the contour, or spread it out.
I'm going to leave that Contour set to its default Linear setting.
| | 04:49 |
You also have this Anti-aliased option that supposedly
smooths out the contours. It doesn't really do much of
| | 04:56 |
anything, it's not a very useful option in my opinion.
You have Noise, that you can use to match the noise of the
| | 05:02 |
background if you want. And if all you want to do is match
the noise, you probably want to keep this value very small,
| | 05:07 |
something in the neighborhood of 2% to 3%, because just
a little bit of noise actually is a fair amount of noise.
| | 05:14 |
You could zoom in there and see it pretty good. I'm going to
take it down to 0%. Finally, we have this Layer Knocks Out Drop
| | 05:20 |
Shadow function. Let me go ahead and reduce the size a
little bit so that we have something of a harder shadow,
| | 05:26 |
and I'll increase the Opacity value,
| | 05:29 |
and I'm going to turn Layer Knocks Out Drop Shadow off.
I'll turn off this checkbox. Now it won't, for starters, do
| | 05:35 |
anything, not until we change the Fill Opacity. So I'm going to go
back to the Blending Options, and I'm going to reduce that Fill
| | 05:41 |
Opacity so that we can see through the hand, and notice that we're
seeing through the hand to the shadow. Alright, so this shadow is
| | 05:48 |
as opaque as ever, and we can see it through the hand. If you
don't want to be able to see the shadow through the hand,
| | 05:54 |
as you probably don't in most cases, then
you turn this checkbox back on in order to
| | 05:59 |
carve the hand out of the shadow. That's how that works.
| | 06:02 |
Alright, let's go ahead and restore the Fill Opacity to 100%,
and let's add some actual real useful drop shadow stuff here.
| | 06:08 |
Oh, except for one thing. I've gotta show you this, check
this out. You can drag the shadow around too. You can just
| | 06:15 |
drag inside the image window to change its position.
What I'm doing is changing the Angle and Distance on the fly.
| | 06:21 |
I just love that one. Alright, let's change the Opacity value to 75%,
and I want the Angle value to be set to 45 degrees. We want a
| | 06:31 |
Distance value of 13 pixels and a Size value of 13 pixels
as well. Leave the Spread set to 0%, leave the Noise value set
| | 06:38 |
to 0%, leave the Contour set to Linear, who cares about
that checkbox. This checkbox here should be on, and then
| | 06:45 |
finally we want Use Global Light to be on as well. What
that does is it ensures that all the directional effects,
| | 06:51 |
which include Inner Shadow and Bevel and Emboss,
| | 06:53 |
as well as Drop Shadow, all of those
directional effects use the same light source in
| | 06:59 |
terms of the Distance and Angle values. Alright, so this is
the drop shadow I want you to apply, these are the settings
| | 07:06 |
I want you to use. In the next exercise, we
will add an Inner Shadow to this hand as well.
| | 07:12 |
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| Adding a directional glow| 00:00 | In this exercise we're going to add an Inner Shadow
effect to this V for victory hand right here.
| | 00:07 | So what I'd like you to do is I'd like you to click on the
Inner Shadow item here inside the Layer Style palette, and that
| | 00:14 | switches you to the Inner Shadow panel,
| | 00:16 | and it turns on the Inner Shadow effect as well. The difference
between an inner shadow and a drop shadow, notice, is that
| | 00:23 | the drop shadow extends outside the boundaries of the layer
and the inner shadow stays inside the boundaries of the layer.
| | 00:31 | So it traces sort of the opposite side of the layer that the
drop shadow does when set to exactly the same settings.
| | 00:38 | The reason being, even though this light source is over here at
45 degrees, the effect that we're supposed to get from this is
| | 00:46 | that the hand is bowing away from us, and something is cutting
right along the edge of the hand and casting a shadow on
| | 00:53 | to the hand. So that's the idea there.
| | 00:56 | It can actually be very useful, this combination of inner shadow
with outer shadow, can be very useful for text and a lot of other
| | 01:01 | different things.
| | 01:02 | What we're going to be doing though, is converting our inner shadow
to an inner glow. I want to have a little glow tracing on the
| | 01:09 | inside of the hand. I'll tell you why we're working this way
in just a moment, we're creating a glow with the Inner Shadow
| | 01:15 | effect instead of Outer Glow or Inner Glow,
but let's start off by doing it.
| | 01:19 | And here's what I want you to do. I want you
to click on that color swatch once again,
| | 01:24 | and the values that I want to dial in this time around are these:
60 for Hue, so that's yellow, and then 35 for Saturation, so very
| | 01:33 | low-saturation color, but then very bright as well,
let's take that Brightness value up to 100%.
| | 01:39 | This way, with a low Saturation value, notice that we're
brightening the color as well, we're brightening the yellow.
| | 01:46 | A higher saturation value would be a
deeper yellow as it turns out, like so.
| | 01:51 | Anyway, we want 35% as I said. So 60, 35, 100, click OK
in order to accept that new color. Now it's not doing much
| | 01:59 | inside of the image anymore, not doing as much as it was,
as much as that dark shadow was doing, because we're multiplying
| | 02:06 | it into the background, and so we're
still getting a darkening effect.
| | 02:11 | This is without the Inner Shadow, this is with the effect there.
So you can see there's a little bit of darkening going on,
| | 02:16 | because the Multiply mode can darken things even using very
light colors. The only color that doesn't darken is white,
| | 02:22 | and it just turns transparent. But we don't want darkening,
we want lightening, we want some glow going on here, some
| | 02:30 | glow action, so I'm going change the blend mode from
Multiply to its effective opposite, which is Screen.
| | 02:37 | It's really its complement more than its opposite, I suppose.
Then we get this nice glow effect going right here. Now you
| | 02:44 | may at this point wonder, hey, why in the world are we using
an inner shadow to craft a glow? I mean, it's all very
| | 02:50 | interesting that we can do it. These blend modes can be
anything you want them to be. A glow can be a shadow, a shadow
| | 02:56 | can be a glow, it doesn't matter. But why are we working this way?
| | 03:00 | And the reason is because the real difference between Drop
Shadow and Inner Shadow, and their complements down here,
| | 03:05 | Outer Glow and Inner Glow, the real difference between the two
is that the shadows are directional effects and the glows
| | 03:11 | are omnidirectional. Meaning that the shadows go in a certain
direction, they're cast in a certain direction, away from the layer,
| | 03:20 | whereas the glows will trace all the way around the contours
of the layer, in all directions. So if you want an
| | 03:28 | omnidirectional shadow, you would go for one of the glow effects;
if you want a directional highlight, you would go for one
| | 03:34 | of the shadow effects. That's how it works.
| | 03:37 | Alright, you can play around with these values to your heart's
content actually, but here are the settings I want you to work with.
| | 03:43 | We're sticking with 45 degrees and we're sticking with an
Opacity value of 75%. I want you to take the Distance up to 13
| | 03:50 | once again, and the Size up to 13 as well. So we get this
diffuse glow going on. And check this out, you can drag the
| | 03:58 | inner glow around just like you can drag the outer glow around,
and because we've got Use Global Light turned on,
| | 04:04 | you're going to affect both of the shadows.
| | 04:08 | Notice that we're affecting both of the shadows
at once by dragging them around, because they have a
| | 04:14 | shared light source. And let me see, do I have...I do not have
an Undo inside of the Layer Style dialog box. That is too bad.
| | 04:22 | I'm going to have to reset my settings here, I'm going to have to
reestablish my settings manually by entering an Angle value of 45 degrees
| | 04:29 | and a Distance value of 13 pixels. Let's make sure that the Drop
Shadow is set that way as well, it is. So it went ahead and lifted
| | 04:36 | the same Angle and
| | 04:37 | Distance values thanks to Use Global Light. We only have one
more layer effect to apply to the V for victory hand, and
| | 04:44 | we're going to apply it in the very next exercise.
| | 04:49 |
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| Colorizing a layer| 00:00 | We have just one more effect to apply to this V for
victory hand here. I want a colorize the hand, so infuse it
| | 00:07 | with a little bit of color,
| | 00:08 | using the Color Overlay effect right here. But we're not going
to see the effect properly because of that orange color
| | 00:17 | adjustment layer that we have applied to all of the hands right
now. For example, if I turn on Color Overlay, check it out.
| | 00:24 | Even though the Color Overlay is set to red by default,
very bright red, it doesn't appear red at all inside of the
| | 00:31 | hand, it appears orange.
| | 00:33 | And if I change that color, I'm going to change it to a bright
lime green by changing the Hue value to 120 degrees and leaving
| | 00:41 | Saturation and Brightness set to 100% each.
| | 00:44 | Click OK. That's green for you. Also looks like orange,
because of that orange adjustment layer. So why don't we-
| | 00:52 | go ahead and leave the Color Overlay
effect turned on right now, but
| | 00:55 | click OK in order to escape out of the dialog box.
| | 00:59 | And let's go ahead for the moment and turn off this orange
adjustment layer, just by clicking on this eyeball, so we can
| | 01:05 | see what's really going on, and there it is. We have a nice
bright green hand going on, a lime green radioactive hand.
| | 01:13 | Alright, now let's modify the Color Overlay effect, now that
we can see what we're doing, by double-clicking on the words
| | 01:20 | "Color Overlay" here, below the V layer. Now, if you can't see
those words, if you can't see the list of layer effects here,
| | 01:27 | that's because you have the layer twirled closed. You've got,
notice this right here, I'm going to click on it, you've got this
| | 01:32 | little up/down arrowhead here. And if you click on the down
arrowhead, it will reveal all of the layer effects, and other
| | 01:39 | items as it turns out. There is some other stuff that you can apply
to layers. All the layer effects that are assigned to this layer.
| | 01:46 | Alright, then go ahead and double-click on Color Overlay in
order to revisit the Color Overlay panel, and I want you to
| | 01:53 | change the Blend Mode. Right now the Blend Mode is set to
Normal. So the color's just replacing the hand, we're just
| | 01:59 | replacing the entire hand with this lime green. I want you
to change the Blend Mode from Normal to Color, and then you
| | 02:06 | get a colorization effect, not surprisingly. So you keep
the original Luminosity values and you add this very bright,
| | 02:15 | sort of radioactive green once again.
| | 02:17 | That creates quite a weird effect actually. So let's back
it off a little bit. I think this way too much greenness.
| | 02:23 | Let's go ahead and take it down to about 30%.
| | 02:27 | And we get a much more reasonable colorization effect. Still
not reasonable, but you know, more reasonable. Alright,
| | 02:35 | you get the idea. Now click OK in
order to accept the modification.
| | 02:39 | Now I really don't want that much greenness. I just want each
hand to have a little bit of its own color flavoring, so I'm
| | 02:47 | going to turn the orange adjustment layer back on by clicking
on its eyeball once again. That completely replaces the color,
| | 02:53 | because this adjustment layer is currently set to 100%
Opacity. So why don't we back that off a little bit. Go ahead
| | 02:59 | and click on this adjustment layer to select it.
| | 03:02 | Then press the 7 key to reduce the Opacity value to 70%,
and this assumes that you don't have a paint or edit tool
| | 03:10 | selected. You've got one of the other tools selected. Then
you're going to change the Opacity to 70%, as I say, so that
| | 03:16 | you've got a little bit of a mix of the green and orange
going on, and this way we can color each hand slightly
| | 03:24 | different than its neighbor.
| | 03:25 | And that's what we're going to do. Starting in the next exercise
when we replicate, when we take all of these layer effects and
| | 03:32 | replicate them onto the other hand inside the composition.
| | 03:38 |
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| Replicating layer effects| 00:00 | Alright, if you've been working along with me, then you've
managed to apply the Drop Shadow, Inner Shadow, and Color Overlay
| | 00:07 | effects to the V layer, and if you're one of
those people who likes to monkey around,
| | 00:11 | you've probably got 17 other effects listed here as well.
| | 00:14 | In this exercise, I want to show you how to take those effects
and replicate them on to other layers inside of the Love signs
| | 00:21 | composition here.
| | 00:23 | I've alluded to ways to replicate layer effects inside of
a couple of other chapters in this series, but I want you
| | 00:32 | to know all of the various myriad ways
that are available to you right here
| | 00:37 | in this one central exercise. So here we go.
| | 00:41 | Some ways to move and copy styles around. For one thing,
you can drag the word "Effects" from one layer to
| | 00:48 | another layer, like so, and that will move all the effects
from the V layer in this case, to the O layer, and you
| | 00:55 | can see they've all been moved.
| | 00:57 | Or if you want to move all the effects you can also drag the
FX icon right there, drag it from one layer to another, to put
| | 01:04 | things back on the V layer, don't you know.
| | 01:06 | Or if you want to move a single layer effect, you can. Like
let's say I want to break the Drop Shadow on to a different layer,
| | 01:13 | I'd just drag the words "Drop Shadow" and move it onto O,
for example. There's no drop shadow associated with the
| | 01:19 | V anymore, just with the O.
| | 01:22 | And I don't want that to happen actually, so I'll press Ctrl+Z
or Cmd+Z on the Mac to undo that modification. What if you
| | 01:29 | want to, instead of moving these guys around, you want to
replicate them? Then you would press and hold the Alt key on
| | 01:35 | the PC or the Option key on a Mac. So for example,
if I Alt or Option + drag the FX logo,
| | 01:41 | I will copy the effects to the O layer.
| | 01:45 | But there's a better way to work. When you're trying to replicate
layer effects onto multiple layers at a time, there's a
| | 01:51 | simpler way to work. I'm going to go ahead and press
Ctrl+Z or Cmd+Z on a Mac to undo that most recent
| | 01:56 | modification, so I still have my effects only associated
with the V layer. I'm going to right-click on the FX logo,
| | 02:05 | then choose Copy Layer Style, and Photoshop is telling you
Copy Layer Style to indicate that you're going to copy all of
| | 02:12 | the effects at once. You can't just copy a single effect,
| | 02:15 | you're going to copy all of them, all the
effects that are associated with this layer.
| | 02:19 | So go ahead and choose that command in order to copy them,
and then I want you to click on the E layer and Ctrl + click
| | 02:27 | on the O and L layers. That would be Cmd + click on the O
and L layers on the Mac. Make sure you click someplace in
| | 02:35 | this empty area of the layer here, or you can click on the
layer name if you like. Do not click on the thumbnail though,
| | 02:41 | because if you Ctrl + click on the thumbnail
you're going to load its selection outline,
| | 02:45 | and that's not what we want to do. We want to select multiple
nonadjacent layers. So that's a Ctrl or Cmd + click on
| | 02:52 | an empty portion of the layer,
| | 02:54 | and that will select all three of those layers. Then right-click,
again not on the thumbnail, right-click out here and
| | 03:01 | then choose Paste Layer Style. If you right-click on the
thumbnail you get a different set of options for some reason.
| | 03:06 | Anyway, go ahead and choose Paste Layer Style,
| | 03:09 | and that will go ahead and apply these layer
effects to every single one of the hand layers.
| | 03:15 | They are all currently sort of this weird greenish color.
That's a problem. I want each of one of the hands to have
| | 03:21 | its own unique color flavoring, and we are going
to accomplish exactly that in the next exercise.
| | 03:28 |
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| Editing effects, one layer at a time| 00:00 | Alright, let's give each hand a nice color flavor of
its own here. I want the V as in victory hand to stay
| | 00:07 | sort of greenish like this, but I want the color
of the other hands to change ever so slightly.
| | 00:12 | So starting with the L hand, might as well, I figure.
| | 00:16 | Go ahead and double-click on the Color Overlay item
there, and notice that even though I just had multiple
| | 00:22 | nonadjacent layers selected, as soon as I double-clicked
on Color Overlay, it went ahead and selected just L, because
| | 00:29 | just as when building layer effects, you can edit
a layer effect associated with a single layer at a time.
| | 00:36 | Alright, I'm going to change the color.
| | 00:38 | In this case I'm going to change that color value to a Hue of
0 degrees, which is a bright red of course. I'll click OK, and
| | 00:45 | that does result in a slightly reddish hand here inside
the image window. The Opacity value is still set to a fairly low
| | 00:52 | value of 30%, works out pretty nicely
I think for this specific hand. So click OK.
| | 00:58 | Now let's go down to the O hand, double-click
on its Color Overlay effect, click on its color,
| | 01:03 | and then I want you to change this value to 270,
which is something of a violet color of course.
| | 01:11 | Not something of a violet color, it's a very violet color.
It's something of a violet color out here inside of the image
| | 01:17 | window, and we could go ahead and try to make it
more violet by increasing the opacity setting here,
| | 01:24 | or- I'm going to show you a different way to work in a moment.
So just go ahead and leave this Opacity value down at 30% and
| | 01:31 | click OK, because there's a more effective way to work as we'll see.
| | 01:35 | And then I want you to scroll down to the E hand. Double-click on
its Color Overlay effect, click on its color, that color swatch there,
| | 01:42 | change the value, the Hue value, to 60 degrees, which is
yellow. Click OK and click OK once again, and we have a
| | 01:50 | slightly yellowish tinge associated with this hand. It's actually
more orange than yellow right now, but that's because,
| | 01:56 | of course, of that orange Hue/Saturation adjustment layer
that is still in effect up here at the top of the love group.
| | 02:04 | So go ahead and click on it
| | 02:06 | to make it active, and looking at the hands, notice that
they're very different than each other, by the way. If I
| | 02:12 | turn off this orange adjustment layer here, this is what the
hands really look like. So they're terribly different. We've got
| | 02:17 | a very obviously red hand, a violet hand, a green hand, and
a yellow hand here. But things get very muted indeed when we
| | 02:25 | turn this orange adjustment layer back on. So I'm thinking
in retrospect that this Opacity value should be even lower.
| | 02:31 | So I'm going to press 4 for 40%, and that is the final
| | 02:35 | effect that we're going for inside of this specific project file.
| | 02:40 | You've got loads of other layer effects that are available to you.
You've got Bevel and Emboss, you've got a Gradient Overlay
| | 02:46 | that allows you to colorize an image using a gradient,
you have a Pattern Overlay, we saw an example of that in
| | 02:52 | a previous chapter. There's all kinds of stuff that you
can pull off here. I definitely, definitely encourage you to
| | 02:58 | investigate those various layer styles and play with them.
I'll also tell you that I go into a lot more detail about specific
| | 03:06 | layer styles, such as Bevel and Emboss, in my Photoshop CS3
| | 03:10 | One-on-One book from Deke Press/O'Reilly. I'm not
advocating you get it, I'm just telling you it's there,
| | 03:17 | in case you're curious.
| | 03:19 | But we are not done, I shouldn't imply that we're done
with this chapter. We're not done with the topic of layer effects
| | 03:25 | by any stretch of the imagination.
There's more to come starting in next exercise.
| | 03:31 |
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| Layer styles as artistic media| 00:00 | In the previous project, I showed you how you can use layer
effects in order to enhance or augment a composition,
| | 00:08 | but layer effects are much, much more than that.
They're actually full-fledged painting tools,
| | 00:14 | full-fledged creation tools inside of Photoshop.
| | 00:17 | Now by that, by the word "painting," I don't necessarily mean
that you brush them in or that they respond to the Brush tool,
| | 00:25 | although that's actually true, as we'll see.
| | 00:29 | What I mean is that the layer effects become the actual medium
with which you build a layered composition, with which
| | 00:36 | you build a Photoshop illustration.
| | 00:39 | To get a sense of what I'm talking about here, go ahead
and open the Tip icon.psd document that's included
| | 00:46 | inside of the 19 Effects Styles folder,
| | 00:51 | and we'll see this tip icon, at least the beginning of this
tip icon, that I was creating for a full-color version of
| | 00:59 | one of the Photoshop bibles back when I was working on that book.
| | 01:02 | And we ended up not using this particular variation on
the tip icon, but I like it so much that I just have to share
| | 01:09 | it with you. I've always loved this illustration.
| | 01:12 | Now you may wonder why, given that so far it
just looks like a gray splat or something.
| | 01:18 | The reason is that this is just the beginning, just the
very beginning of my composition. To see what the final
| | 01:26 | tip icon, or least my final tip sketch, looked like,
| | 01:30 | go up here to the Layer Comps palette, make sure it's open
on screen for you. Then I want you to click in front of the
| | 01:36 | first item that's called Finished icon, and this is the real
thing right here. So it is quite spectacular, it's all gooey
| | 01:44 | and glowy and beautiful and colorful and all that jazz. I just
love it, it sort of reminds me of an old iMac or something.
| | 01:50 | And it's all a function of layer effects. It's all parametric.
So it's based on layer effects and of course some blend modes
| | 01:57 | and Opacity values and all that jazz. But if you take
| | 02:00 | a look at the Layers palette, you can see it's just a
bunch a gray layers. Nothing special going on at all really.
| | 02:06 | They're just the framework that the layer effects
basically hang on, the layers themselves are sort of the
| | 02:14 | skeletal structure for this illustration.
| | 02:16 | To get a sense of what those layers would look like if there
were no layer effects inside of Photoshop, then click on this
| | 02:22 | right-pointing arrowhead inside the Layer Comps palette to
advance to the next layer, which is Base shapes, and this is
| | 02:28 | all there is to it. These are the base layers themselves.
| | 02:32 | You can see that they're all different shades of gray,
with the Tip layer, the word Tip, actually in white.
| | 02:37 | The only reason I've made the base shapes different shades
of gray, it has nothing to do with how they end up being
| | 02:42 | colored really. It's more just to keep them separate from
each other, so I can tell one layer apart from another.
| | 02:48 | So you can see there's this kind of starburst in the background,
and then there's the circle in front of it and then
| | 02:54 | clipped inside of the circle is this double spiral layer,
and a blurry version of the starburst layer in a lighter
| | 03:02 | shade of gray, and that's all that is going on.
| | 03:06 | So you may wonder, well how in the world do you get from
these base shapes to this gorgeous finished icon, Deke?
| | 03:12 | My gosh, it's so good-looking, how'd you manage to pull
that off? Well I'm going to tell you exactly how I did it,
| | 03:19 | coming right up.
| | 03:22 |
| | Collapse this transcript |
| Painting with layer styles| 00:00 | Alright, let's set about deconstructing this artwork here,
because in the process you're going to get a big sense of how
| | 00:06 | rockin' layer styles are, what you can do with them and how
you can use them to create full-blown photo illustrations.
| | 00:15 | We're really in Photoshop pixel-based
illustration territory here right now,
| | 00:19 | and this is the kind of stuff that you really
can't do in a typical vector illustration program.
| | 00:25 | Not that it's better, necessarily, because the stuff you can
do inside of Illustrator for example is fantastic,
| | 00:30 | but it's just different. It's just amazing,
it's unique. Alright, anyway.
| | 00:34 | I am looking at the Tip icon.psd document here
and I am of course looking at the final version,
| | 00:42 | the Finished icon layer comp.
| | 00:44 | Let's go ahead and switch to the
more prosaic Starting point comp,
| | 00:48 | which features the unadorned gray splat here onscreen.
| | 00:52 | I'm going to go ahead and hide the Layer Comps palette, just
to give myself more room to work, by clicking in this little
| | 00:57 | gray zone here above the Layer Comps tab.
| | 01:01 | And I'm also going to expand my Layers palette. Look how
narrow it is by default, so that when I'm looking at large
| | 01:08 | thumbnail icons, I can't even see a lot of my FX items
over on the right-hand side of the layers because of the
| | 01:16 | indentation that's going on with the clipping masks, and
because of the layer mask thumbnails as well. There's all
| | 01:24 | kinds of stuff jamming for attention here,
which is why I just love
| | 01:29 | this new Maximize mode here inside Photoshop CS3. I mean it's
so great that I can just go ahead and expand the palette,
| | 01:36 | and I'm doing that by dragging the left-hand side of palette
here, or I could drag that little scruffy dude here in the
| | 01:42 | dark gray area up at the top of the docking panel.
| | 01:46 | So that allows me to expand the palette, so that I can see
the names and the layer masks and the FX icons and everything,
| | 01:54 | without ever running the risk of covering up my artwork,
because, once again, I'm inside of that Maximize Screen Mode,
| | 02:01 | a lovely wonderful thing.
| | 02:03 | Alright, so we've got the spikes layer. It should be active for
you, it should be selected, it's at the bottom of the stack.
| | 02:09 | Go ahead and click the down-pointing arrowhead that's
next to the FX icon to reveal the list of layer effects.
| | 02:16 | I'm going to turn on the eyeball in front of Effects so that
I can see all of them, and just to get a sense of what they do,
| | 02:22 | I'm going to go ahead and turn them off. Notice what I just
did there, I just dragged over them. So I clicked on one and
| | 02:28 | just dragged over them, and that turned them off sequentially.
A great way to just turn off a bunch of layers, or layer effects
| | 02:34 | in this case, at a time.
| | 02:35 | I'm going to start at the bottom of the stack here. I'm going to
turn on Gradient Overlay, and you can see that it's a soft little
| | 02:40 | gradient. Not a lot to it, but it's slightly darkening
the starburst up at the top, and slightly lightening it
| | 02:47 | down here at the bottom.
| | 02:48 | And then there's the Color Overlay effect right there,
that colorizes the layer obviously. Then we've got a Bevel and
| | 02:54 | Emboss, that's adding shadows and highlights to the various
edges inside of the image, and I've got an Inner Shadow and a
| | 03:00 | Drop Shadow, finally. That's all that's going on.
You can double-click on any one of those items to check out
| | 03:07 | exactly what's happening there.
| | 03:09 | Now, you may recall that I was telling you that we are essentially
painting with styles, by which I mean that we're using
| | 03:16 | layer styles as the media for our illustration, but you
can also take that to mean that you can paint with layer
| | 03:26 | style, like actually using the Brush tool, and that's true as well.
| | 03:29 | So
| | 03:30 | make sure that your spike layer is active once again, make sure
that it's the layer portion that's active, not the layer mask,
| | 03:36 | which we'll come to in the next exercise.
| | 03:39 | And what I want to do is I want to go ahead and lift the shade of
gray that's associated with this layer and then I want to paint
| | 03:45 | with it, I want to show how wonderful it is to paint
inside of a layer that has layer effects associated with it.
| | 03:51 | So go grab your Brush tool by clicking it or pressing the B key,
and I've got a pretty small brush going on, it's a 20-pixel
| | 03:59 | brush and its Hardness setting is 100%, just by way of FYI,
so you have a sense of what I'm doing here. Now, I want to lift
| | 04:06 | the color, I want to lift the gray color that I'm using, but
if I grab my Eyedropper at this point, or there's a little trick
| | 04:12 | that you can use here, when you're using the Brush tool you
can get to the Eyedropper on the fly by pressing and holding
| | 04:18 | the Alt key or the Option key on a Mac.
| | 04:20 | But if I click with the Eyedropper, I'll go ahead and bring
up my Color palette here, notice that I lift that brown color,
| | 04:27 | that sort of yellowish brown color that's going on there.
So I'm lifting the composite effect of the layer and all of
| | 04:33 | its layer effects as well. If I want to lift the actual color
of the layer, which is what I need in this case, then I've
| | 04:39 | got to turn the effects off. Here's how I'm good to do it.
I'm going to click on the eyeball for Effects the turn them
| | 04:45 | all off.
| | 04:45 | And then, I need to make sure that the Fill Opacity value-
notice that the Opacity value is already set to 100%
| | 04:51 | and the mode is Normal, that's good- but the Fill Opacity value
is set to 70%, so I need to go ahead and raise it to 100%
| | 04:59 | for a moment here. I'm doing that manually because I have
the Brush tool active, so if I were to press a key it would
| | 05:05 | affect the Opacity or Flow value, if I pressed Shift and a
number it would affect the Flow value here in the Options bar.
| | 05:12 | Alright, so now I'm going to Alt + click, that's an Option
+ click with the Brush tool to get the Eyedropper on the
| | 05:18 | Mac, and I'll go ahead and lift 50% gray,
that's all there is to this one.
| | 05:23 | Now let's turn everything back on and I'll do that by backstepping
in the History palette. I'll bring up the History palette
| | 05:29 | for a moment, hide the Color palette from view. Keep an eye on
the foreground color, notice that it's gray down there at the
| | 05:34 | bottom of the toolbox. Now if you go to the bottom of
your History steps, you'll see that there was a Fill Opacity
| | 05:40 | Change, and this one is called Disable layer effects. Go back
those two steps, go back two steps there, and you reverse
| | 05:47 | the Fill Opacity change, so it's back to 70%, and you reverse
the disabling of the layer effects, so that they're all
| | 05:53 | visible onscreen. What you did not reverse was the lifting
of the foreground color, because Photoshop does not
| | 05:59 | track changing the foreground or background color as a step,
as an undoable step. So that means that you can undo
| | 06:07 | everything else. Alright anyway, let's go ahead and hide
the History palette so that we have more room once again
| | 06:14 | available for our Layers palette, and now I am ready to start
painting on the layer. Again, I have the layer thumbnail
| | 06:20 | active, not the mask, and I'm going to paint. Notice what happens.
| | 06:23 | You're painting with a layer style brush. Is that not totally
cool? I don't know why I ask you, I can't hear you
| | 06:31 | worth beans.
| | 06:33 | Alright anyway, now I'm going to go up to the
Mode menu and change it to the Clear setting, so
| | 06:38 | that I can erase with the tool, and check this out,
now I can erase a little eyeball here.
| | 06:44 | And now I'll switch back to the Normal mode by pressing Shift +
Alt + N or Shift + Option + N on the Mac, that switches the brush
| | 06:50 | mode of course. And then let's go ahead and add some eyelashes,
we're getting a really great eye at this point. Now we don't want to
| | 06:57 | do too much painting or we're going to wipe out our
History State steps, and we won't be able to get back to
| | 07:03 | the original version of the starburst here without reverting the image.
| | 07:07 | So anyway, this gives you a sense of what you can do, and
you can go nuts. You can actually...here, let me go to the
| | 07:12 | History palette, make sure that I'm backing up so that I don't
lose everything here, I'll go back to Enable layer effects
| | 07:24 | in order to reestablish this guy, so the step
before I started brushing away there,
| | 07:29 | and I'll hide the History palette again, and you can just start
from scratch too. You could assign a bunch of layer effects
| | 07:36 | to a blank layer, and then start painting in it. So I'll show
you that. I'll do a Ctrl + A or a Cmd + A on a Mac, and then
| | 07:43 | I'll press the Backspace key or the Delete key on the Mac, and
go ahead and deselect that by pressing Ctrl or Cmd + D, and
| | 07:48 | then check this out, you can just start painting in layer
style world there. You can even paint your name, so long
| | 07:53 | is it's the same as my name,
| | 07:55 | just like that. That's how it works. Anyway, let's go ahead
and backstep a million steps once again, go to the History
| | 08:02 | palette, go to this guy right there, Enable layer effects, so
right before I selected the canvas and cleared stuff out. So,
| | 08:10 | you get a sense. You can paint with layer styles for rizzle,
you can paint in addition to using the layer styles as your
| | 08:16 | primary illustration medium. In the next exercise we're going
to continue our tour of this composition here. We're going to
| | 08:24 | be turning on all the layer
| | 08:25 | masks, all the layers, check it out, everything
that's going on. By all means stay tuned.
| | 08:31 |
| | Collapse this transcript |
| Reconstructing the illustration| 00:00 |
In this exercise we're going to reconstruct the other layers
inside of this composition, and their layer masks.
| | 00:06 |
We're going to turn all the layer masks on. For example,
for the spikes layer you can turn on the layer mask either by
| | 00:12 |
right-clicking on it, and then choose Enable Layer Mask. That's
one way. Or you can just press the Shift key and click on it,
| | 00:19 |
in case you're interested in yet another keyboard shortcut.
Speaking of keyboard shortcuts, let's take a look at this
| | 00:25 |
layer mask by Alt + clicking on it or Option
+ clicking on it on the Macintosh side of things,
| | 00:30 |
and you may recall, wherever the mask is white
that indicates that the layer will be opaque, and
| | 00:37 |
wherever the mask is black will be transparent, and wherever
we see gray is some level of translucency in between.
| | 00:45 |
So what we basically have is a soft circle.
| | 00:48 |
It's got a nice sharp outline at the outer edges, but on
the interior is got a little bit of a gradient edge going on.
| | 00:56 |
If you Alt + click again on that layer mask, or Option
+ click on that layer mask on a Mac, you can see that
| | 01:01 |
that translates to a little bit of a circular
cutout all the way around the spikes shape.
| | 01:08 |
What's interesting about this is the way that Photoshop cuts
through the layer, but goes ahead and tries to wrap the layer
| | 01:15 |
effects around what's left over. If you don't want it to work that way,
if you want to cut through both the layer and the layer effects,
| | 01:22 |
then double-click on an empty portion of the layer to bring
out the Blending Options section of the Layer Style dialog
| | 01:28 |
box, and then you can turn on this Layer Mask Hides Effects
checkbox. I'll go ahead and move the dialog box over so that
| | 01:35 |
we can see what's going on in the background. I'll turn that
checkbox on and you can see that it's much more of a clean cut now.
| | 01:41 |
The layer mask is cutting through the layer and cutting
through the layer effects. When it's off, as by default,
| | 01:47 |
Photoshop tries to wrap the layer effects around the remaining
| | 01:52 |
portion of the visible layer, the remaining visible elements
of that layer. Alright, that's what I want in this case, I
| | 01:57 |
want the checkbox off, in other words, as by default. I just
wanted to show you that that option is there, in case
| | 02:04 |
you're curious, in case you want to take advantage of
it in the future. Now let's turn on the circle layer.
| | 02:09 |
Its layer effects are already turned on,
obviously, so that's a good thing.
| | 02:14 |
Then I'm going to turn on this layer, that twirly-poo coil
layer right there, and that does have that double spiral
| | 02:20 |
effect going on inside of it.
| | 02:22 |
I do need to turn on its layer effect though. They're turned off. So
I'll just go ahead and click the eyeball in front of the word "Effects"
| | 02:28 |
in order to turn them on. We should also Shift + click the layer
mask in order to enable it, so that we cut out that central portion
| | 02:35 |
there. The thing was, the central portion of the coil
was just too strong in my opinion. Check that out.
| | 02:41 |
It was way too distracting, so I wanted to get it out of there.
| | 02:45 |
And then we've got to another version, another variation on
the spikes. This one is very, very blurry, so that eventually
| | 02:52 |
it'll look like the spikes are showing through the circle,
and the circle is kind of blurring the spikes away.
| | 02:59 |
So we have some glasslike, plasticky distortion going on.
Let's see if we've got the layer effects turned on.
| | 03:06 |
We don't, so go ahead and click in front of the word "Effects"
in order to turn those effects on. Then Shift + click on
| | 03:11 |
the layer mask in order to activate it so that we have some
softness around the edges once again, so it looks like the
| | 03:18 |
plastic is more opaque around the edges.
| | 03:20 |
Or that it's refracting the spikes' information here.
| | 03:25 |
OK, so that's good. Let's go ahead and twirl these guys closed
for a moment just to save some room inside of the palette.
| | 03:31 |
Then finally I'm going to turn on the word Tip. And what's
interesting about the Tip player here, go ahead and click on it
| | 03:36 |
if you will, and then reveal the layer effects,
| | 03:39 |
and you'll see that there's a bunch of layer effects that
are applied to this layer that are invisible currently, that
| | 03:45 |
are turned off. So we've got the Drop Shadow, that's turned on,
and the Stroke is turned on, those are pretty obvious here.
| | 03:51 |
But I also had at one point in time an Inner Shadow, and
I had a Bevel and Emboss effect. That's pretty cool, and a
| | 03:57 |
little bit of a Color Overlay. Might be a little bit too much,
but pretty interesting, and a little bit of a Gradient
| | 04:04 |
effect going on as well. Now I kind of liked that at one
point in time. I liked the complementary color scheme
| | 04:09 |
that was going on, and I liked the
dimension associated with the text.
| | 04:13 |
But bear in mind, and I finally figured this out, that the
tip was going to get printed at about a quarter inch. It was
| | 04:19 |
a dinky little margin icon and the text just got gummed up,
and it wasn't legible anymore. So even if it was cool, too bad.
| | 04:27 |
So I went ahead and turned these guys off. Now I could have
thrown them away, I could have gotten rid of them. You can take
| | 04:33 |
one of these layer effects, and you can just throw it in the
trash if you want. Notice that? I just dragged the Inner Shadow
| | 04:39 |
effect into the trash. But why do that?
I'm going to undo that modification.
| | 04:43 |
Because if you throw it in the trash, you not only turn it off,
you not only deactivate it, you also throw away the settings,
| | 04:50 |
and you never know. You might want to come back to them. You might
say, well, I don't want that Color Overlay effect, that was too much,
| | 04:56 |
but I kind of like the Shadow. I kind of like the Inner
Shadow there, that was kind of nice, and I kind of like that Bevel.
| | 05:03 |
That kind of added a little extra dimension to the text,
a little bit of 3-D. So you can always come back to it that way,
| | 05:09 |
you can always change your mind, and these things don't take
up much space and memory. They're just these dinky little
| | 05:13 |
bundles of settings, just a few K and that's it. So might
as well keep them for future reference. Alright, in the
| | 05:20 |
next exercise, we're going to take a look at why things don't
really look right. This isn't the final effect we're going for.
| | 05:26 |
In fact, notice that the circle itself
is kind of gooey and gummy and murky.
| | 05:31 |
And we'll fix that, you and I together, very shortly-
depending on when you play the next exercise.
| | 05:38 |
| | Collapse this transcript |
| Master opacity and clip blending| 00:00 | Alright, so if you've been following along with me
throughout this entire series, think back. Think about this.
| | 00:07 | Think about something I taught you back
in the Blend Modes and Opacity chapter.
| | 00:12 | If we want to make this circle here less murky, we want to
get rid of some of the gray, which constitutes the pixels
| | 00:20 | inside the layer, but we want to keep the
fantastic layer effects themselves, we do what?
| | 00:26 | Raise your hand. I'm not going to call on you,
| | 00:29 | because we're separated by the vast distance of time.
I'm recording this years before you're watching it
| | 00:36 | actually, as it turns out, or months or weeks, I don't know.
| | 00:39 | But here's the deal. It's Fill Opacity, right? It's Opacity and Fill
Opacity. That's what's going on here. So I'm going to click on the
| | 00:45 | circle layer to make it active here inside the Layers palette.
| | 00:50 | And I'm going to start things off. I've got my Marquee tool
active once again, and I'm going to start things off by
| | 00:56 | pressing the 7 key to reduce the Opacity value
to 70%. And that does three things as it turns out.
| | 01:04 | It makes the pixels translucent, so that we can see through
the gray and it's not quite so murky as it was before.
| | 01:11 | It also makes all of the layer effects 70% opaque, or more
opaque than they were. So if we have a Drop Shadow that's set to
| | 01:19 | 70% for example, and then we pile on 70% from the layer itself, then
we go down to 70 times 70, which is 49% opacity as it turns out.
| | 01:28 | You don't have to know that, but you just have to bear in
mind that you are compiling these Opacity values on top of
| | 01:33 | each other, and that you're also affecting the contents of
the clipping mask. So these guys are affected by the Opacity
| | 01:41 | value as well, which is something I don't want, and we'll revisit
that in a moment. We'll take care of that problem in just a second.
| | 01:48 | In addition, let's compare that. Let's compare changing
the opacity value to 70%, which is the desirable change,
| | 01:53 | I want to leave it set that way,
| | 01:55 | to a Fill Opacity modification. I'm going to press the Shift
key and type 3-5 in order to change the Fill Opacity value
| | 02:03 | to 35%, and notice this time that strictly
affects the gray pixels. They become 35% opaque,
| | 02:10 | so they go down to a near transparent level as it turns out.
| | 02:14 | And the layer effects stay the way they were before I made
that modification. So here's the difference. Here is a Fill
| | 02:21 | Opacity value of 100%, and here's a Fill Opacity value of 35%.
So big difference, nice desirable difference as it turns out.
| | 02:32 | The one other thing that I need to take care of is the fact
that I have affected, with my 70% Opacity value, I have
| | 02:40 | affected the opacity of my spikes and my coil layers here.
| | 02:45 | And I'm going to fix that. I'm going to pop those guys back
to 100% opacity or at least as opaque as they were at the
| | 02:52 | outset of this exercise, by double-clicking here inside
the layer. I can either double-click an empty area or on the
| | 02:57 | layer thumbnail in this case, since it's a pixel-based layer. That
brings up the Blending Options section of the Layer Style dialog box,
| | 03:04 | and notice this checkbox right here. All of these checkboxes,
by the way, I'm not going to review how all of them work,
| | 03:09 | but all of these checkboxes are great
when you're working with layer styles.
| | 03:13 | They're great for taking care of problems, essentially.
| | 03:16 | So if things don't look the way that you want them to look,
you might want to visit this dialog box here and try
| | 03:22 | turning checkboxes on and off and see what happens.
| | 03:25 | At any rate, I'm going to go ahead and turn
off this one, Blend Clipped Layers as Group,
| | 03:30 | because that prevents Photoshop from treating all of the
clipped layers as a single mass of layers, and it goes ahead
| | 03:38 | and calculates each layer as a separately
opaque or translucent element,
| | 03:44 | and that's what I want in this case. I don't want all the
clipped layers to be affected by that base Opacity value,
| | 03:50 | so I'll turn the checkbox off, and then I'll click on the OK button
in order to accept that modification. Once again, here's the difference.
| | 03:57 | This is before and this is after.
| | 04:00 | Turning that checkbox on and off. And to give you a sense
of how far we've come over the course of this exercise,
| | 04:05 | let's go back here to the History palette.
| | 04:08 | And I'm going to click on this guy right here, right before
Master Opacity Change, because this one is really the master
| | 04:13 | Opacity option, and this one is the Fill Opacity option. I'm going to
click on this guy, Enable Layer Mask, just before Master Opacity Change.
| | 04:21 | And this is where we started things off. So big difference,
and this is where we are now, much much better in my estimation.
| | 04:29 | I hope it's much better in your estimation as well.
In the next exercise we're going to learn how to take
| | 04:34 | all of these layer effects and save
them out as a custom layer style.
| | 04:39 |
| | Collapse this transcript |
| Saving a layer style| 00:00 | Now let's say you want to save all of these layer effects
out as the layer style that you can then turn around and
| | 00:06 | apply to a different layer inside of this composition,
or to a completely different composition if you like.
| | 00:12 | You can even transfer styles to other machines, so
you can share them with your pals if you want to,
| | 00:18 | and I'll show you how that works. Let's go ahead and bring up the
Styles palette, which you can get to obviously by choosing the
| | 00:24 | Styles command here inside of the Window menu,
| | 00:27 | and it contains a series of tiny little thumbnails here, tiny
little buttons that indicate a bunch of predefined styles
| | 00:34 | that ship along with Photoshop, and you can try
them out just by clicking on them if you want to.
| | 00:38 | If you do, you will apply that style to the circle,
and you'll override the existing styles here.
| | 00:44 | But notice if I hover my cursor over an empty portion
of the Styles palette, I get a little bucket icon,
| | 00:51 | and if I click with it I'll create a new style.
| | 00:55 | I can also click on this little new icon down there,
the little page icon at the bottom of the Styles palette.
| | 01:00 | Let's go ahead and name the style Yellow trans, like this, and I
definitely want to include the layer effects, which are of course
| | 01:07 | Drop Shadow, Inner Shadow, Bevel and Emboss, all those guys, and
I want to include the layer blending options, which include the
| | 01:14 | 70% Opacity setting, the 35% Fill Opacity setting,
and the fact that Photoshop is not calculating
| | 01:22 | the clipped layers as a group, so that setting is in there as
well. Go ahead and click OK in order to accept that new style,
| | 01:30 | and it appears inside the Styles palette. Now the style
is not saved with the document, mind you. The effects are
| | 01:37 | saved with the document, but the style here inside
the Styles palette is not saved with the document.
| | 01:42 | It instead is saved with Photoshop's Preference settings
when you quit the application. Now let's say what you really
| | 01:49 | want to do is you want to be able to save that style out
and give it to somebody else or transfer it to a different
| | 01:55 | machine and use it elsewhere. How would you accomplish that?
| | 01:58 | You might think that you'd go up to the Styles palette menu
right here, and you would choose Save Styles. But if you do that,
| | 02:03 | you will save all styles that are available inside the Styles
palette. You can't just save a single style from here.
| | 02:10 | Instead, if you just want to save a single style, or you just
you want to be able to control exactly which styles you save and
| | 02:16 | which you don't, you need to go to the Preset
Manager. So choose the Preset Manager command,
| | 02:21 | then click on the style that you want to save. You can
Ctrl + click to select nonadjacent styles, you can Shift + click
| | 02:29 | in order to select a range of styles, all that jazz.
But in our case we just want to save one style, right?
| | 02:34 | Then you would go ahead and click on the Save Set button
and save that style to disk. Now if you put it in the default
| | 02:40 | location, it will be available to you from the palette
menu in the future when you relaunch Photoshop.
| | 02:46 | But you can also save it to a totally different location and
then load it later. Alright, I'm just going to go ahead and
| | 02:51 | cancel out of here by clicking the close box or clicking
the Done button, and later you could then load that style
| | 02:58 | by a choosing the Load Styles command.
| | 03:01 | So it's that simple, that's how it works. I'm not sure that it's simple.
It's a bit twisted that you have to go to the Preset Manager, but that is
| | 03:06 | how it works. The Preset Manager is where you can manage all
kinds of things, like brushes, and you can manage patterns, and
| | 03:13 | all different varieties of things that you can
save out on a global basis here inside Photoshop.
| | 03:19 | One last thing I'll tell you, just in case you're wondering.
What if you want to clean up your styles and get rid of some of them?
| | 03:24 | Well check this out. If you press and hold the Alt key
or the Option key on a Mac and hover over a style,
| | 03:29 | then you'll have a little pair of scissors icon. Click with those scissors and the style goes away. So that's a function of pressing
| | 03:35 | the Alt or Option key. In the next exercise, we're going to take
this new style that we just created, and we're going to apply it
| | 03:42 | to a layer inside of a totally different composition.
| | 03:46 |
| | Collapse this transcript |
| Fixing broken styles with Global Light| 00:00 |
In this final exercise of the chapter, we are going to take
the layer style that we saved out in the previous exercise
| | 00:06 |
and we are going to apply it to a layer inside of a different
composition, and this is the different composition.
| | 00:12 |
This is a saved version that I've included for you,
by the way. I've included this file, it's available to you.
| | 00:17 |
It's called Happy hands.psd,
| | 00:20 |
and it's inside the 19 Effects Styles folder, and it's a saved
version of the final state of that love signs image that
| | 00:29 |
we were working on at the outset of the chapter.
| | 00:32 |
I'd like to take that Yellow trans layer style, and I want to
apply it to this gray layer down here. So go to the Layers
| | 00:39 |
palette and click on the gray item, the second to bottom
layer, and notice that I've gone ahead and made my Layers
| | 00:45 |
palette narrower again onscreen, so that I have more
room devoted to this horizontal love signs image,
| | 00:51 |
or that is, Happy hands image, don't you know.
| | 00:54 |
And now we're going to apply a yellow tint to that layer.
Go ahead and click on it, that's all you have to do,
| | 00:58 |
click on Yellow trans in order to apply it,
| | 01:01 |
and you might think- let's go and press Shift + Tab in
order to hide those palettes so we can take in the effect-
| | 01:06 |
you might think, gosh, that's ugly. Because we
can see the yellow along the top and the sides,
| | 01:15 |
but what's with this gargantuan mass
of gray or bleck in the center here?
| | 01:18 |
Where did that come from? That wasn't part of the circle
back in a tip icon layer, was it? No, looking back at
| | 01:25 |
that image, it pretty clearly was not part of the problem.
| | 01:28 |
So where in the world did this come from? This is a function
the fact that the two images have different Global Light settings,
| | 01:34 |
and the layer styles were saved with global settings
turned on, with the Use Global Settings turned on,
| | 01:40 |
so we need to modify the global settings for
the document in order to make it look better.
| | 01:46 |
So I'm going to go up to the Layer menu, and we can check what
those global settings were, what those Global Light settings were,
| | 01:52 |
by going back to the tip icon image, going up to the Layer menu,
| | 01:56 |
choosing Layer Style, and then choosing this guy way
down here, Global Light. Go ahead and choose that option,
| | 02:03 |
and it's going to tell me that I had my Angle setting set to 75
degrees and my Altitude setting set to 68 degrees. Now you know what
| | 02:10 |
Angle is, that's the angle of the light source coming at the
layer and casting a drop shadow, for example.
| | 02:17 |
Altitude effects Bevel and Emboss, and Altitude
is the height of the sun in the sky. So if the
| | 02:24 |
Altitude is set to, let's say 0 degrees, it's on the horizon.
| | 02:29 |
And if it's set to 90 degree, it's high noon.
| | 02:32 |
If it's set to one of the other settings, you know if it's set to 42,
it's three o'clock in the afternoon. I don't know what time it is,
| | 02:38 |
but you get the idea. It's some place between the
horizon and straight up and down, and we definitely
| | 02:44 |
get different effects associated with
these different settings. All right.
| | 02:48 |
Let's try to remember what it was set to at the beginning here.
By Alt + clicking the Reset button or Option + clicking
| | 02:53 |
that Reset button, we'll get an Angle value of 75 degrees, that's it,
and an Altitude of 68 degrees. Good refresher. Alright, let's cancel
| | 03:00 |
out of there, we don't want to make a change to
this document because it looks so wonderful.
| | 03:04 |
Now let's Ctrl + Tab back to the Happy hands.psd
image, go up to Layer, go up to Layer Style,
| | 03:12 |
and choose Global Light
| | 03:14 |
in order bring up this dialog box, and you see it's totally different.
The Angle is 45 degrees and the Altitude is 20 degrees.
| | 03:20 |
Well, there's our problem.
| | 03:22 |
So let's go ahead and make the modification. Let's change the Angle
value to 75 degrees, and let's change the Altitude value to 68 degrees
| | 03:31 |
and see if things look any better. Now, they do look better.
I'm not sure they look the best though. Let's see what happens
| | 03:37 |
if I return the Angle value back to where
it was, 45 degrees. That looks pretty good.
| | 03:41 |
So we can get away with our original Angle values, so that
our drop shadows and our inner shadows look the way that we
| | 03:47 |
wanted them to look. It's only the Altitude that's changing, and
that just affects the Bevel and Emboss. I'm going to take this
| | 03:53 |
down a little bit, I'm going to click inside that value and press
Shift + down arrow a couple of times in order to take the altitude
| | 04:00 |
value down to 48 degrees, and now let's up arrow a little bit
and see what we end up coming up with.
| | 04:06 |
This is looking better and better I think. Maybe
about 54 degrees is something I can live with.
| | 04:11 |
You might want to try something else out, it's totally up to you.
I'm going to go ahead and click the OK button in order
| | 04:17 |
to accept that modification, and just so that you can see how
far we have come with this project since we started it way back
| | 04:25 |
at the outset of this chapter,
| | 04:26 |
I'm going to go over here to the right side of the screen
and hover so that I bring back up my Layer Comps palette,
| | 04:31 |
and I'm going to click in front of raw elements, so that we can
see that raw element state right there. And as soon as I move
| | 04:37 |
my cursor away from the palettes, they disappear again. That
wonderful Auto Hide function that's new to Photoshop CS3.
| | 04:44 |
And now I can just press Ctrl + Z. So this is the before
version of the image, Ctrl + Z to the after version of the image,
| | 04:50 |
that's Cmd + Z on a Mac.
| | 04:51 |
Thanks to a combination of parametric effects, specifically
layer effects and layer styles here inside Photoshop.
| | 05:00 |
What wonderful, wonderful artistic tools they are.
| | 05:05 |
| | Collapse this transcript |
|
|
20. Vector-Based ShapesPixels common, vectors strange (but cool)| 00:00 | Generally speaking, Photoshop brokers in pixels, or so
called raster art. But the program dabbles in vectors on the side.
| | 00:08 | Now, what are vectors? Well, they're not pixels, that's
for sure. A vector is a mathematically defined outline.
| | 00:15 | The outline traces the shape. Photoshop renders that shape
to pixels on the fly. But at its heart, it's just a bunch
| | 00:21 | of math. Meaning that can be scaled or otherwise
transformed without any degradation in quality.
| | 00:27 | One way to scale vectors is to print them to a PostScript-
compatible printer. Regardless of the resolution of the image
| | 00:33 | it might be like three pixels wide. The vectors
render at the full resolution of the printer.
| | 00:39 | But few of us own PostScript printers and other printers
don't work this way. For the rest of us there's the Image Size
| | 00:45 | command. Just upsample the image the vectors
scale away always remaining razor-sharp.
| | 00:51 | All right so you're naturally wondering what I'm talking about, and obviously I'll show you in the exercises, but here's the takeaway.
| | 00:57 | First vectors are a world apart from just about anything else inside Photoshop always rendering in the full resolution
| | 01:04 | of the image. Second in Photoshop
vectors go by the name of Shape layers.
| | 01:08 | And here's how they work.
| | Collapse this transcript |
| Font substitution and conversion| 00:00 | Through out this chapter we are going to be talking
| | 00:02 | about the many benefits afforded to us
by vector shapes inside of Photoshop.
| | 00:08 | We will be counting our vector base blessings as it were
and we are going to start counting those blessings inside
| | 00:14 | of a couple of images that I want you to open.
| | 00:16 | Now one of the images is going to give you a
problem and we are going to discuss that problem,
| | 00:21 | it is a font substitution problem are we
are going to address it inside this exercise
| | 00:26 | and then we will see just how great vector
based shapes are in the next exercise.
| | 00:32 | Alright so for starters open up this
image that's called Tip pixels.psd,
| | 00:35 | it is available to you inside the 20_vector_shapes folder.
| | 00:38 | It might be familiar to you if you were with me
for the previous chapter, it's that same tip icon,
| | 00:43 | don't even pretend you are sick of it, we have tested this image.
| | 00:47 | This image is impossible to get sick of, we have tested it
on white lab mice, that's right and they never ever got sick
| | 00:54 | of it ever, they are still looking at it to this day, true
story and that whole thing is a lie including the fact
| | 01:00 | that it is a true story, see, that is how lies work.
| | 01:02 | Alright so anyway go ahead and open up this image.
| | 01:05 | It is made entirely of pixels just like
it was back in the previous chapter.
| | 01:10 | So it is the same image the same final version
of the image just without the Layer Comps.
| | 01:15 | Now I want you to open another version of this image,
this is the one that is going to give you problems,
| | 01:20 | it is also inside the 20_vector_shapes
folder and it's called Vector tip.psd.
| | 01:24 | I want you to go ahead and open that guy inside of
Photoshop and you are going to get this message right here
| | 01:29 | that says some Text layers contain fonts that are missing.
| | 01:32 | Now you might not get this message on Macintosh
side of things because the font that we are looking
| | 01:38 | for here is the font called Myriad which is a common
font on the Mac but it is not a common font on the PC.
| | 01:43 | So it is going to tell you that the font is
entirely missing, this is not saying that it needs
| | 01:48 | to update the font to one of the font that are on your system.
| | 01:51 | In this case it is saying that the font just ain't there
at all and you are not going to be able to use the font
| | 01:56 | for vector based output to a PostScript printer
and you are not going to be able to scale the font,
| | 02:00 | you are not going to be able to edit it and all that good jazz.
| | 02:02 | So just click OK to say you understand, you get it
and then notice here at the top of the Layers Palette,
| | 02:08 | there is the Text layer it is still alive, Text layer
and it is warped as you can see because that is got
| | 02:14 | that little Warp icon associated with it
there but it also has a little warning icon,
| | 02:19 | a little cautionary icon that is
telling you that something is wrong.
| | 02:23 | What I want you to do is double click on
the T here in order to select the text
| | 02:27 | and it is going to say hey, you are missing a font buddy.
| | 02:31 | Here is the font you are missing Myriad Bold.
| | 02:33 | Some sort of font substitution will
occur do you want to continue?
| | 02:36 | And then sort of a gamble.
| | 02:38 | You want to say OK if you want to
edit the text but you are not sure,
| | 02:41 | you don't know at this point what kind
of font substitution is going to occur.
| | 02:45 | For only you know it is going to be substituted with
Courier, the worst font ever made, but go ahead and click OK
| | 02:51 | and we will see what happens and in my case I am in luck it
gets converted to Myriad Pro which is installed on this system.
| | 02:57 | It's one of the fonts that ships with
the full Creative Suite as it turns out.
| | 03:03 | So you might have it available to you as well, but if not you can
try something else like Arial Bold or some other San Serif font.
| | 03:11 | We do want bold though, we don't want regular.
| | 03:13 | So I am going to go ahead and switch to bold here
inside of the Type Style menu and then we get Bold text
| | 03:19 | and it looks really ultra groovy and gorgeous and everything.
| | 03:22 | Now I am going to press the enter key on the keypad in order
to accept that modification, in order to accept that new font
| | 03:29 | and you can see that the cautionary icon
has disappeared, that is a good thing.
| | 03:32 | Now let's say I want to provide this document to someone else.
| | 03:35 | I want to hand it off to someone else and I
don't want them to have this thing in problem.
| | 03:39 | I am comfortable with Myriad Pro, the font
pretty much looks the same as it did before.
| | 03:43 | So Myriad Pro and Myriad very similar
fonts but I don't want somebody else to run
| | 03:46 | into this conversion problem so what do I do?
| | 03:49 | Well two things I can do one is I can go to the Layer menu.
| | 03:52 | I can choose Rasterize which means convert to pixels and I can
choose type and that will go ahead and Rasterize that type,
| | 03:59 | convert it out to pixel, as it is
converted in the other document.
| | 04:03 | That is what I did for the text inside
the Tip Pixel.psd document.
| | 04:08 | If you go ahead and scroll to the top you will see it is a
Pixel layer that's called Tip, so it's not editable text at all.
| | 04:16 | So that's one option, but the better option is to go up to the
Layer menu and choose Type this time and choose Convert to Shape
| | 04:25 | and that will go ahead and convert that text
to shape outline, vector based shape outline
| | 04:30 | and notice there was a little bit of
a transition there, did you see that?
| | 04:33 | This is before and this is after.
| | 04:36 | So a little bit of skewing occurred right there.
| | 04:38 | That's not a problem you would see when converting to pixels.
| | 04:41 | The good news however is that this is now scalable and you have
all the benefits associated with full vector based outlines.
| | 04:49 | And we are going to see what those
benefits are in the very next exercise.
| | Collapse this transcript |
| The benefits of vectors| 00:00 | Alright, so we have gone ahead and converted the type.
| | 00:03 | After substituting the font we converted
the type to a Shape layer.
| | 00:07 | It's no longer editable as type but it's still high resolution,
it still has the full resolution just like the original text did.
| | 00:14 | Now it also has this outline going around it that you
might find distracting and if you want to hide it,
| | 00:20 | just go ahead and click on this Vector Mask thumbnail
where you see the word tip inside the Layers palette,
| | 00:26 | just click and that deactivates the vector based outline
and it also hides it from view here inside the Image window.
| | 00:34 | Now vector based outlines don't print, they never print.
| | 00:37 | They are just guidelines to show you what the vectors look
like and you can see them by clicking on the Vector Mask
| | 00:45 | and you can hide them by clicking on the Vector Mask as well.
| | 00:48 | There is a bunch of advantages, three big advantages
associated with vector based shapes inside Photoshop.
| | 00:54 | The first advantage is that this image will print at
high resolution, at the full resolution of a printer
| | 01:00 | if you are printing directly from
Photoshop to a PostScript based printer.
| | 01:05 | So that's advantage number one.
| | 01:06 | Now not everybody has a PostScript
based printer available to them.
| | 01:10 | in fact relatively few folks do but if you have got one available
then you can print directly from Photoshop at full resolution.
| | 01:16 | Advantage number two is that Vectors are
editable in the same way they are editable
| | 01:22 | on a point by point basis inside Adobe Illustrator.
| | 01:26 | In fact they are modeled after vectors inside Illustrator.
| | 01:29 | I am going to go ahead and expand open the Layers palette here
so that it's nice and wide and we can see the names of the layers
| | 01:37 | as well as notice this time we have got Layer
Content, we have got Layer Mask and we also have
| | 01:43 | and that's a pixel based layer mask
and we also have the Vector Mask.
| | 01:46 | So we have got three things going in a row in this case.
| | 01:49 | I am going to click on the Spikes Vector Mask in order to make
it active and then I am going to go to my tool box and I am going
| | 01:56 | to switch from this Arrow tool right here from
the black arrow tool to the white arrow tool.
| | 02:00 | The black arrow tool or path selection tool if you prefer
selects entire path outline and that's what these are.
| | 02:06 | These vector based shape outlines are called
path outlines and the Direct Selection tool
| | 02:11 | which I just called the white arrow tool and by the way it's
easy to remember the keyboard shortcut if you think of it
| | 02:17 | as the Arrow tool as well because it's
A after all, the Direct Selection tool
| | 02:21 | or white arrow tool selects individual
points, so that you can edit the shapes.
| | 02:25 | So for example I will click on the shape in
order to make it active and then I will click
| | 02:29 | on one of these points in order to select it.
| | 02:32 | You can see the difference between a selected point
which is black and a deselected point which is hollow
| | 02:37 | and then you can drag that point around in order to modify it.
| | 02:40 | So that's advantage number two.
| | 02:42 | Alright, I won't do that modification because
I really don't want to change it at this point.
| | 02:45 | Advantage number three is that this image is fully scalable.
| | 02:48 | Alright, so I am going to zoom in on it, right now I am seeing
the image at a 100% view size because it's a pretty small image,
| | 02:54 | it's only 500 by 500 pixels and if I zoom on it, you are
going to see all kinds of big chunky pixels appear just
| | 03:01 | as if this is a pixel based image and I am looking at the
Vector Tip.psd document just so you are clear on where I am.
| | 03:08 | So that doesn't look like we have any great resolution going on.
| | 03:11 | Well, here is the difference, this is
scalable the, Vector tip document is scalable,
| | 03:16 | whereas the Tip pixels document is not scalable and
I will show you what I mean inside the next exercise.
| | Collapse this transcript |
| Upsampling pixels vs. scaling vectors| 00:00 | At the end of the previous exercise I mentioned vectors.
| | 00:03 | One of the primary advantages of vectors
is that they scale along with an image,
| | 00:08 | and you may have sort of metaphorically scratched your
head and wondered what in the world I was talking about.
| | 00:12 | Sounds like so much mumbo-jumbo.
| | 00:15 | Well it's jumbo all right, but it's no mumbo.
| | 00:18 | And I'm going to show you what I mean by
all of that, right now inside this exercise.
| | 00:22 | I want to make sure that you still have Tip pixels.psd open,
as well as Vector tip.psd with the text converted to shapes.
| | 00:31 | And we're going to take both of these images and we're going
to scale them up using the Image Size command and we're going
| | 00:37 | to see the big, vast, huge, gianormous
difference between the two images.
| | 00:42 | Go to the Image menu and choose the Image Size command
or you can press Ctrl+Alt+I or Cmnd+Option+I on the Mac.
| | 00:48 | And then, go ahead and make sure
that Resample Image is turned on.
| | 00:52 | Make sure that Constrain Proportions is turned on.
| | 00:54 | Make sure that Scale Styles, this time we want to see Scale
Styles turned on, because after all we want to go ahead
| | 01:00 | and scale the layer styles along with the
layers because we have layer styles intact.
| | 01:06 | Alright, so you can go ahead and leave the interpolation methods
set to bicubic, and I'm going to change the size of this image
| | 01:14 | as a percent, and I'm going to change
it to, let's say, oh I don't know, 847%.
| | 01:20 | Something just totally weird and notice that
it's going to jump from 732KB image size,
| | 01:25 | which is dinky right, I mean it's a really tiny image.
| | 01:28 | It was only 500 pixels wide by 500 pixels tall.
| | 01:31 | And we're going to jump it up to 50
megs, which is pretty huge by the way,
| | 01:36 | and we can tell if you have the Width value active right here
| | 01:40 | and the Height value is not active then you can
change the Height value to pixels by itself.
| | 01:45 | See, that little tip there.
| | 01:46 | That tells you you can change it
independently by pressing the Shift key.
| | 01:49 | So go ahead to press the Shift key and
choose Pixels from this pop-up menu.
| | 01:54 | And you'll see that we're going to switch it to 4235 pixels wide.
| | 01:58 | So it's going to be huge.
| | 02:00 | 4200 x 4200, that's like a 16 megapixel image.
| | 02:04 | So that's pretty big.
| | 02:05 | So go ahead and click OK in order to send Photoshop on its way.
| | 02:09 | Now we'll take a moment to complete that transformation there.
| | 02:13 | And notice that the entire image is appearing white now for me.
| | 02:17 | That's because were zoomed in to
the upper left corner of the image.
| | 02:21 | We're still seeing the image at the 100% view size, note that.
| | 02:24 | I've got my Navigator palette up on screen, and I'm
going to click to over here in this sort of right hand,
| | 02:30 | upper right-hand portion of the image
so that we can see this transition.
| | 02:35 | We can see the edge of this curve right here, can also see
this spike and you can see how mushy and horrible it is.
| | 02:43 | It's just awful.
| | 02:45 | But did this is 100% view size.
| | 02:46 | I'm not zoomed in.
| | 02:47 | These are the real pixels inside this image.
| | 02:49 | So, ick. Well that's a function of upsampling.
| | 02:53 | I was telling you a long, long time
ago that upsampling's no good.
| | 02:57 | Well upsampling vectors is very good, my friends.
| | 03:01 | So let's go and Control+Tab to the other image.
| | 03:03 | Here it is.
| | 03:04 | Vector tip.psd.
| | 03:06 | And I'm going to run the exact same transformation.
| | 03:09 | I'm going to go up to the Image menu.
| | 03:10 | I'm going to choose the Image Size command.
| | 03:13 | I'm going to make sure that all the check boxes are turned on.
| | 03:15 | Bicubic interpolation is fine.
| | 03:18 | Interpolation does not affect vectors, so you can just as easily
change it to nearest neighbor, but I going to leave it set
| | 03:23 | to Bicubic because there is one pixel-based layer.
| | 03:27 | That's this fuzzy spikes layer because you can't express
fuzziness, you can't express softness using vectors.
| | 03:33 | You have to have pixels for that.
| | 03:36 | Alright, so anyway I'm going to change
the pixels to percent here next
| | 03:40 | to the Width value, and I'm going to switch to 847% once again.
| | 03:45 | And I'll click OK in order to transform that image.
| | 03:49 | Again we're up here in this nowhere zone
of the upper left-hand corner of the image.
| | 03:54 | So inside the Navigator palette I'll click in
approximately that same location as I clicked before and...
| | 04:00 | Oh my goodness.
| | 04:02 | Look at those sharp vectors.
| | 04:05 | Vectors rock, is basically what comes down to.
| | 04:08 | Now it's a totally different discipline than pixels.
| | 04:10 | It's not like pixels are no good.
| | 04:11 | It just that pixels are great for photographic
work, but if you're doing illustration work inside
| | 04:17 | of Photoshop then vectors are often times the way to go,
| | 04:20 | and you can trade vectors back-and-forth
between Illustrator and Photoshop.
| | 04:24 | I explore that whole topic in more detail in
my full Illustrator CS3 One-on-One series,
| | 04:31 | coming at you soon here at the Lynda.com Online Training Library.
| | 04:35 | It may be available already depending
on when you're watching this series.
| | 04:39 | Anyway, a lot of vector-based information in that series,
but you do want to know that's the benefit of working
| | 04:45 | with the vectors inside of Photoshop,
and especially with a graphic like this.
| | 04:49 | It's the better way to go because it affords you way
more flexibility than pixels ever thought they could.
| | Collapse this transcript |
| Vitruvian Man, king of the vectors| 00:00 | Now that we have a sense of how vector shapes work and
when and why you might want to use them, let's go ahead
| | 00:06 | and start drawing some vectors and because we are drawing
I figured we might as well quite literally take a page
| | 00:13 | from an old master's sketchbook and this is Leonardo
Da Vinci famous Vitruvian man.psd and that's right,
| | 00:21 | that's what he called it, he called Vitruvian man.psd.
| | 00:24 | The man was ahead of his time.
| | 00:26 | He invented helicopters and parachutes and file
ext ension as it turns out, few people know that.
| | 00:31 | And this file is found inside of the 20_vectors_shapes folder.
| | 00:36 | Now Vitruvian man, they are quite grumpy.
| | 00:38 | Vitruvian man as it turns out has all of his Phi proportions
intact, those 1.618 ratio or proportions that are at the heart
| | 00:47 | of everything in life, if Da Vinci code is to
be believed, what other incomplete non-sense.
| | 00:52 | But I have removed one of the proportions from this
image, a slight anatomical detail and that next
| | 00:59 | to this layer right here that's called the coverage here for
the squeamish, here for everyone's protection, don't you know.
| | 01:06 | If you can tolerate to look at the original art work then
gather around the children and turn the coverage layer off.
| | 01:12 | I am not going to turn it off though
because I am not going to make that decision
| | 01:15 | about when the children can see higher renaissance art
work, especially if that's smutty art work as this.
| | 01:22 | Alright, anyway, let's go to the Layer Comps palette
here that I have open on screen and right now it's set
| | 01:27 | to Semi Original, because of the operation, don't you know?
| | 01:32 | So it's not quite the original version of the Vitruvian
man.psd and we are going to walk through these Layer comps,
| | 01:39 | we have got quite a few shapes available to us.
| | 01:41 | If I click on this right arrow head icon here, we will see
this square because after all that's part of the illustration
| | 01:47 | because Vitruvian man is describing
something of a square with his hands I guess.
| | 01:52 | And then he is describing a circle with his feet and he
kind of just describes a star with his body don't you think?
| | 01:58 | And every body knows he describes a pumpkin face and
then finally after we get done with those goofy shapes,
| | 02:03 | I have got a modesty award that I have created at the bottom
here and then I just cite, you know what I am just going
| | 02:10 | to draw a detail that Leonardo should have added
in the first place and that's some underpants.
| | 02:16 | And that's where we are going, that's what we are going to be
doing over the course of the next few exercises we are going
| | 02:20 | to be drawing our own shapes, we are going to be
drawing the modesty award, playing with some underpants
| | 02:25 | and having a lot of fun here in side the Vitruvian man.psd.
| | Collapse this transcript |
| Drawing a shape layer| 00:00 | Alright, well there is no time like the present
to go ahead and draw a vector based shape.
| | 00:05 | We are going to start things off by drawing a very simple
shape which is the circle actually, but it will give us a sense
| | 00:11 | of how Shape layers, how you make
Shape layers inside of Photoshop.
| | 00:15 | Let's go ahead and switch back to the first layer comp here,
the Semi-original Layer Comp that reveals his shocking lack
| | 00:22 | of anatomy and I want to point you to the Shape tool right
down here, the Shape tools that are available directly
| | 00:29 | under the Arrow tool in the Single Column
tool box and they include the Rectangle tool,
| | 00:33 | Rounded Rectangle tool, Ellipse tool and so on and so on.
| | 00:36 | Let me introduce you to those tools in a slightly different
way, I will just select one of the occupants here doesn't matter
| | 00:41 | which one, so I will select a Rectangle tool and I
will show you all of the Shape tools that are available
| | 00:46 | to you including the Pen tool and the Freeform
Pen tool which in the tool box are located
| | 00:52 | above the Text tool here again inside the Single Column tool box.
| | 00:57 | Now, these are the most complicated of the tools,
actually the Freeform Pen tool isn't very complicated,
| | 01:02 | you just drag around inside of the image and it
manufactures a free formed shape automatically.
| | 01:07 | The Pen tool though is a highly exacting, highly complicated
tool, I don't really talk about it inside this series I am going
| | 01:14 | to allude to it ever so briefly when we draw the underpants but
other wise I am going to suggest you check out a different series
| | 01:21 | that goes into a lot of detail about the Pen tool.
| | 01:23 | This Pen tool is modeled after Illustrator's Pen tool which
is why I discuss it in detail inside of my Illustrator CS3 One
| | 01:32 | on One series that is available to you here at the lynda.com
Online Training Library or at least it will be available
| | 01:40 | if it's not already available as your listening to this.
| | 01:43 | Alright, so moving right along we go the simple
shape tools, these are much more simple to use,
| | 01:47 | they are geometric shape tools starting with the
Rectangle tool that draws rectangles and squares,
| | 01:51 | Rounded Rectangle tool that draws rounded
rectangles and squares with rounded corners,
| | 01:57 | then we have got the Ellipse tool which draws ovals and circles.
| | 02:00 | We have got the Polygon tool that draws regular
polygons like your pentagons and hexagons and octagons
| | 02:06 | and all those other gons, the only non-gon being
a triangle and you can also draw regular stars,
| | 02:13 | the most perfect shapes according to the
Da Vinci Code once again, if you want to.
| | 02:17 | It's a regular 5 pointed and 6 pointed
and as many point as you want in stars.
| | 02:22 | We have got the Line tool that actually draws a shape in the
shape of line, it draws an outline around the entire line.
| | 02:28 | You can also draw Arrowheads using this tool which is kind
of cool and we have got the Custom Shape tool that allows you
| | 02:34 | to draw predefined custom shapes and we will see how that
one works in an upcoming exercise but for now I want you
| | 02:40 | to select the Ellipse tool in order to make it active and
the tool is going to draw a shape in the foreground color
| | 02:47 | which right now is set to Gray a
left over from the previous chapter.
| | 02:51 | If you want to reset it to black
just press the D key, oh by the way,
| | 02:54 | we need to make sure that we are going to draw a Shape layer.
| | 02:56 | Right now, the Shape tools are set to draw Paths for me anyway
and all these tools can draw path outlines in the Paths palette,
| | 03:04 | you may recall Paths from when we created text
on a path inside the text inside the text chapter
| | 03:08 | but we don't want Paths and we also
don't want to just draw pixels.
| | 03:12 | If I click on the Fill Pixels item I would just
draw a circle filled with black pixels here
| | 03:17 | on the background layer and I certainly don't want to do that.
| | 03:20 | Instead I want to create a separate Vector based Shape layer,
| | 03:23 | so I am going to select this first option here inside the Options
bar which is Shape layers, go ahead and click on it as well.
| | 03:29 | Now, you can draw with the Shape tool in order to draw
the circle from corner to corner and that's corner
| | 03:36 | in quote fingers ("corners") of course
because there is no corner on a circle
| | 03:39 | but we are just drawing a circle inside
of an invisible bounding box essentially.
| | 03:45 | If you want to draw a perfect circle, press the Shift key as
you are drawing, if you want to draw out from the center press
| | 03:50 | and hold the Alt key or the Option key on the Mac and that
doesn't do us very much good from our current vantage point.
| | 03:56 | So I am going to undo that modification and I am going
to start at the belly button here and Alt drag outwards
| | 04:02 | and oh my gosh that's exactly, that's
almost exactly right, look at that.
| | 04:06 | The belly button is the center of Vitruvian
man, I didn't read about that in Da Vinci code.
| | 04:11 | Holy moly that's pretty cool, anyway.
| | 04:13 | So I am Alt+Dragging or Option+Dragging outward here.
| | 04:16 | But you can also use the Spacebar in order to move that
circle around as you are drawing into that ellipse around.
| | 04:23 | Now, I am not really, I am doing some auto-scrolling
at this point, I am going to just go ahead
| | 04:27 | and undo that modifications and start again here.
| | 04:29 | I will start from the belly button outward
once again, but you don't want to Alt+Drag,
| | 04:35 | I kind of mislead you there a moment ago or Option+Drag.
| | 04:38 | What you want to do is start dragging because if you
press and hold the Alt key you will get the Eye Dropper.
| | 04:43 | What you want to do, is you want to begin dragging and then
press and hold the Option or Alt key like I am doing right here
| | 04:50 | and ultimately you want to trace that circle with
your ellipse, you don't have to have the Shift key
| | 04:55 | down because it's not really a prefect circle.
| | 04:57 | Oh, I know, shame on Da Vinci, he didn't have Photoshop though,
he didn't have one of these computer programs to help him out,
| | 05:03 | he had to use like a pencil attached to a string or something
or whatever he was drawing with, some sort of an ink.
| | 05:08 | Anyway, this looks pretty good to me.
| | 05:10 | I will release in order to draw the shape and apparently
my shape came in under the coverage layer right there.
| | 05:17 | So, let's go in move it up by pressing Ctrl+Right Bracket or
Command+Right+Bracket on the Mac to move it up a step here
| | 05:24 | and let's go ahead and rename this shape circle
by double clicking on it and calling it a circle.
| | 05:28 | Photoshop is not smart enough to identify the
shape that it's drawing but it just goes in,
| | 05:32 | calls it Shape 1, Shape 2 that kind of thing.
| | 05:34 | Now, the shape currently has a path outline around it as you can
see we have a separate layer as well and this layer is modified
| | 05:42 | by a Vector Mask, so this is a special kind of mask as you
can see, a special kind of Layer Mask called a Vector Mask
| | 05:49 | because it uses a path, a vector based path in order to shave
away the edges of this shape, in order to mask away the color
| | 05:58 | and so I am going to go ahead and click on that
Vector Mask in order to hide that mask because of
| | 06:03 | that we are not seeing the path outline
just so that it's not visible on screen.
| | 06:07 | When you have a Shape tool active you can
also press the Enter or Return key in order
| | 06:11 | to show and hide that path outline if you like.
| | 06:15 | Alright, in the next exercise we are going to see how we fill
and stroke a shape, operations that are very common inside
| | 06:21 | of a vector based program like Illustrator but
handled in an unusual fashion inside of Photoshop.
| | Collapse this transcript |
| Filing and stroking a shape| 00:00 | In this exercise, we are going to
fill and stroke this Shape layer.
| | 00:04 | By fill I mean we are going to change the color of the interior
| | 00:06 | and by stroke I mean we are going
to change the color of the outline.
| | 00:10 | Right now, there is no outline and as things stand inside
the Layers palette, you really only have Fill control.
| | 00:16 | This little item right there, that little Swatch thumbnail there
represents a dynamic fill, meaning that if you double click
| | 00:24 | on that thumbnail you will bring up the color picker
dialog box and then you can dial in a different number.
| | 00:29 | For example if I dial in 210 and then 100 and 100 for
my R, G and B values I will get a shade of pink here
| | 00:39 | which is not really what I want but I am going to go
ahead and click OK in order to accept that modification.
| | 00:43 | The other way to change the fill of the layer and I
am going to go ahead and hide my Layer Comps palette
| | 00:49 | so that I have a little more room to work
and I am going to show my Color Palette.
| | 00:53 | The other way to work is to dial in a color, I am looking at
the HSB slider bars and you can do that as well by choosing HSB
| | 01:00 | from the Palette menu and I am going to dial in the
color, I really want 210, 100, 100 same values but instead
| | 01:07 | of RGB values they are HSB values, that's what I want actually.
| | 01:12 | It's is a nice bright cobalt color and once I have accepted that
value by pressing the Enter or Return key I can then assign it
| | 01:18 | to the selected Shape layer by pressing Alt+Backspace
or Option+Delete on the Mac and that goes ahead
| | 01:24 | and replaces what was formerly the Pepto-Bismol pink
fill color with this new bright blue fill color.
| | 01:31 | You can also fill shapes, by the way if you go up to
the Layer menu and you choose Change Layer Content,
| | 01:36 | you can switch to a Gradient if you prefer, you can switch
to a Pattern layer and you can even build a vector outline
| | 01:42 | with an Adjustment Layer and we are
going to take a look at adjustment layers
| | 01:45 | in the very next chapter, so get psyched for that.
| | 01:49 | Alright, but what I want to do in the case of this
layer, you may recall that the circle that I showed you
| | 01:54 | when we first opened this image, this composition,
had a translucent fill associated with it.
| | 02:00 | So it had a translucent blue fill and then it had a white
stroke around it and that's what we are going to do right now.
| | 02:06 | We are going to change the Blend mode from Normal to
good old Multiply, love it to tears don't you know?
| | 02:13 | Then I am going to reduce the Fill value to 20% by pressing
Shift+2 after I have escaped away from the Blend Mode there.
| | 02:21 | So, Shift+2 on both platforms of course.
| | 02:23 | So we have this nice light blue color
that's being assigned to Vitruvian man here.
| | 02:29 | Now, how do we get this stroke?
| | 02:30 | Well you get the stroke by applying a layer
style, every single one of the layers style.
| | 02:34 | Drop Shadow, Outer Glow, Bevel & Emboss
stroke every single one of them is applicable,
| | 02:40 | just as applicable to vector based
layers as it is to pixel layers.
| | 02:44 | So, what I want you to do is go down to the little
Fx icon at the bottom of the palette and I want you
| | 02:49 | to choose the Stroke command right here that's going to
bring up the whopping big old Layer Style dialog box,
| | 02:54 | let's move it off to the right side a little bit.
| | 02:58 | I am going to change the color here to white like that, you can
also dial in the 255, 255, 255 values if you want to for RGB
| | 03:09 | and I will click OK and I am going to
raise the size value up to 6 pixels here
| | 03:13 | and I want you to see how you have positioning control.
| | 03:15 | Actually let's that value up really
high to 40 pixels for a moment
| | 03:19 | so that you can see the different position
controls that are available to you.
| | 03:22 | Right now the Photoshop is stroking
outside the perimeter of the Shape layer.
| | 03:29 | If you want it inside you would choose the inside
command, notice that, that moves the stroke to the inside
| | 03:34 | of the shape or you can center it on the path.
| | 03:37 | So, it will go in this case since it's 40 pixels,
it will go 20 pixels in and 20 pixels out.
| | 03:42 | Alright, so I want to go ahead and center the
line and I am going to change the size value to 6.
| | 03:48 | I do have independent Opacity and Blend Mode, control if I
want it and I have also got the option of filling the stroke
| | 03:55 | with either a Solid Color like I
have got or Gradient or a Pattern.
| | 03:59 | So it's available to the stroke as well but I like a
white stroke, it looks great, I want it a 100% opaque,
| | 04:05 | I want it to set to the Normal blend mode, I am happy camper.
| | 04:08 | I will go ahead and click on OK in
order to accept that new stroke.
| | 04:12 | So, there we have it our first shape
layer filled and stroked inside Photoshop.
| | Collapse this transcript |
| Drawing an inset shape| 00:00 | Now let's draw that partially inset square that
traces around his fingertips and the base of his feet.
| | 00:07 | And in order to draw the square, I'm going to
switch over to the Rectangle tool of course,
| | 00:10 | by clicking on it here inside the Options bar or I can
choose the Rectangle tool from the Shape tool Flyout menu.
| | 00:16 | And notice that the tool is raring to create a Shape layer
of course, because that's the last setting that I selected
| | 00:22 | and it's going to create a new Shape layer as you'll see in a
moment, we have other options when another Shape layer is active.
| | 00:29 | Alright I'm going to draw from corner
to corner along this square.
| | 00:33 | I'm not pressing the Shift key, because it's not
a perfect square and if you look carefully there,
| | 00:36 | actually not even very carefully, you'll
notice at the corners are out of sync.
| | 00:40 | I don't think that's Leonardo's problem, I think
he probably knew how to draw a square just fine.
| | 00:45 | It's undoubtedly a problem with the way this
image was scanned or document shrinkage perhaps.
| | 00:51 | And you may see that Photoshop goes ahead and picks up
all the previous attributes, that it picks up the color.
| | 00:57 | It will at least pick up the foreground color,
and it may pick up the Multiply Blend mode
| | 01:02 | and the Fill, Opacity and the Stroke as well.
| | 01:05 | If it doesn't, for whatever reason, then you can right-click on
the circle layer and choose Copy Layer Style and then go here
| | 01:14 | to this shape one layer, the new rectangle layer
and paste a layer style and that will bring over,
| | 01:19 | incidentally that will bring over the Blend
mode and Fill and Opacity values as well.
| | 01:25 | Alright, but let's say that I really want to create some sort
of interaction between the new rectangle and the old ellipse.
| | 01:32 | How might I pull that off?
| | 01:34 | Well one way is to combine the two
layers as I'm creating the rectangle.
| | 01:37 | So I'll undo the creation of that rectangle right there.
| | 01:42 | And I want to switch to one of these other options.
| | 01:45 | Really what I want to do is I want
to switch to the Exclude option.
| | 01:48 | This guy right here.
| | 01:49 | So that I exclude the area where the two shapes
overlap and I keep the areas where they don't overlap,
| | 01:55 | that is, I fill the areas where they don't overlap.
| | 02:00 | But I can't select that option right now.
| | 02:01 | It's dimmed and the reason that it's dimmed
is because the ellipse is not active.
| | 02:06 | So I need to make sure that it's active by clicking
| | 02:08 | on it here inside the Layers palette, by
clicking on that Vector Mask thumbnail.
| | 02:14 | Then I'll select the Exclude function from the Options bar.
| | 02:19 | And then I'll go ahead and draw from
one corner to the other corner.
| | 02:22 | I'll go ahead and draw that rectangle like so.
| | 02:25 | And we create an exclusionary shape.
| | 02:27 | Notice that, isn't that awesome.
| | 02:29 | Now, I would like to match Leonardo's original document.
| | 02:33 | I don't want to call attention to the fact that his
square is out of alignment with real squareness.
| | 02:39 | So I'm going to go ahead and switch to the Wide Arrow tool.
| | 02:43 | And we saw the tool a little earlier, because
it allows me to edit points in a shape.
| | 02:48 | And now I'm going to click on this upper right point right there.
| | 02:51 | Click on it a couple times in order to make it active.
| | 02:54 | And I'll drag it into position so
that it exactly aligns to his corner.
| | 02:58 | And then I'll drag this lower left
corner as well to make it align.
| | 03:03 | And now we've got the two shapes aligning with each other.
| | 03:06 | A square inset inside of a circle.
| | 03:09 | I will now press the Enter key in because
I've got one of these tools selected.
| | 03:13 | When you have either the Arrow tool or Shape tool or Pen tool
selected you can just press the Enter key or the Return key
| | 03:18 | to hide those path outlines, and there we have it.
| | 03:20 | Pretty nice looking so far.
| | 03:22 | We'll see how we can make additional
adjustments, how we can take advantage
| | 03:25 | of other compound shape functions in the very next exercise.
| | Collapse this transcript |
| The compound shape options| 00:00 |
All right, let's say now you want to
change the relationship between your two
| | 00:04 |
inset shapes and notice that they
are sharing a common shape layer here
| | 00:07 |
inside the Layers palette.
| | 00:09 |
You can even see the inset rectangle
inside of the vector mask thumbnail.
| | 00:14 |
Let's say you want to change it to
some other relationship besides Exclude.
| | 00:18 |
Just go ahead and click
on one of the shape. Oops!
| | 00:20 |
I've got to click on an active vector mask here.
| | 00:23 |
So let's go and activate it.
| | 00:24 |
Turn it on and then I'll
click on one of these items.
| | 00:27 |
Now what's weird, notice that
the White Arrow tool selected.
| | 00:32 |
The White Arrow tool has no options
whatsoever in the options bar, which is highly unusual.
| | 00:38 |
Might be the only tool that suffers
from that predicament as it turns out.
| | 00:42 |
And it's really silly because the
Black Arrow tool has tons of options.
| | 00:46 |
And that's what we're going to have
to switch to in order to change the
| | 00:48 |
relationship between these two paths.
| | 00:50 |
We have to switch to the Black Arrow
tool and I'm going to do that by pressing
| | 00:53 |
the A key or if that doesn't work for
you press Shift+A and notice now we've got
| | 00:57 |
tons of options available to us
for switching out these two shapes.
| | 01:00 |
Now notice what the Black Arrow tool
does is it allows you to draw out the 2
| | 01:04 |
paths independently of each other.
| | 01:06 |
So you're moving the whole path at
a time or otherwise transforming it.
| | 01:10 |
Because you can enter the Free Transform
Mode and go that route as well if you want.
| | 01:15 |
All right, I'll undo that drag there.
| | 01:17 |
Here are our combination options right
there, our compound path options, so we
| | 01:21 |
can choose to add the two paths together.
| | 01:24 |
And there's a keyboard
shortcut for that as well.
| | 01:26 |
You just have to press the plus key.
| | 01:27 |
Or you can choose to subtract one
shape from the other so in this case I'm
| | 01:32 |
subtracting the rectangle from the circle.
| | 01:35 |
And then we can just keep the
intersection of the two shapes, like so, and then
| | 01:39 |
finally we can do an
exclude, which is what I've got.
| | 01:43 |
Now let's say you want to make this
exclusionary relationship here permanent.
| | 01:47 |
You could click on the Combine
button, which I'm going to do right now.
| | 01:51 |
And the paths aren't going to really
look terribly different at this point, but
| | 01:55 |
they have been subdivided into separate paths.
| | 01:58 |
Now I'm going to click on one of some
with the Black Arrow tool and it turns out
| | 02:01 |
that they are a compound path.
| | 02:03 |
They've all been joined together.
| | 02:05 |
So in order to move them independently
of each other I have to switch back to
| | 02:08 |
the Direct Selection tool.
| | 02:09 |
Now because all points are active, I
have to click off the paths in order
| | 02:14 |
to deactivate them.
| | 02:15 |
Then I'll click on the path and if you
want to select an entire path, an entire
| | 02:20 |
sub-path basically, one of these pathless,
here using the White Arrow tool, then
| | 02:25 |
you Alt+Click or Option+Click on it
and then you can move it around like so.
| | 02:30 |
So I can move these path outlines
independently of each other this way.
| | 02:33 |
So they are subdivided.
| | 02:35 |
Just wanted to see that.
| | 02:36 |
All right I don't want to really do
that though so I will backstop until my
| | 02:40 |
paths are once again independent
of each other as they are right now.
| | 02:44 |
So that gives you a sense of how you
can combine paths together, how you can
| | 02:47 |
draw some very simple paths.
| | 02:48 |
In the next exercise we're going to
move on to a couple the other Path tools,
| | 02:52 |
starting with the Polygon tool.
| | 02:56 |
| | Collapse this transcript |
| Polygons and starfish| 00:00 | In this exercise I'm going to show you how you use the
Polygon tool. Now none of these geometric shape tools is all that
| | 00:06 | difficult to use, but they do enjoy some
special options that I want you to be aware of.
| | 00:11 | So let's go ahead and switch over to the Polygon tool here.
| | 00:15 | And then drag from the navel outward because this tool always
draws from the center outward. You don't have to press the
| | 00:21 | Alt or Option key.
| | 00:22 | And you don't have to press the Shift key either because the
proportions are already constrained. If you press the Shift key,
| | 00:28 | you'll constrain the angle of the shape sometimes in very weird
ways. So I don't really recommend you do it; it's not going
| | 00:34 | to be the predictable way you'd like, I assure you. Anyway right now we're drawing a pentagon by default, a five sided shape
| | 00:40 | and in a program like Illustrator, you can change an number
of sides as you draw the shape by pressing the Up and
| | 00:46 | Down arrow keys, but that doesn't work inside Photoshop.
| | 00:49 | You have to specify the number of sides before you start
drawing the shape so let's go ahead and undo that polygon there.
| | 00:56 | Nice as it may look.
| | 00:57 | And let's change the Sides value. Now you can scrub the value,
you can enter a new value if you want to or you can press the
| | 01:04 | Right and Left bracket keys. So the Right bracket key raises the value;
the Left bracket key lowers the value. You can also press Shift along with
| | 01:12 | a bracket key to change the value in increments of 10.
| | 01:16 | If you raise the Sides value to something like 35 you're going to
end up with a buckyball very quickly there. You're going to have more
| | 01:22 | of a circle than a polygon as it turns out. So I'm going to take
this value back down a five because what I want to create is a star.
| | 01:28 | So I'm going to click the down pointing arrowhead and that
shows me the options for the active tool, in this case
| | 01:35 | the Polygon Options,
| | 01:37 | and I can create a star just by turning
it on here, by turning on the Star option
| | 01:41 | and a five pointed star with 50% Indents is your standard,
every day, average, you know pure as driven snow star.
| | 01:50 | The kind of perfect star that they talked about in Da Vinci Code,
but also you know your standard American star as well and if
| | 01:56 | you want a spikier star then you would raise this value
above 50%. So let's say I'm going to take it up to 90%,
| | 02:03 | for example, and then I'll draw a star and now whoa! There's a
very spiky horrible star. Luckily he's got that coverage layer or
| | 02:10 | I'd feel very bad for him at this point.
| | 02:13 | All right, let's go ahead and undo that juvenile joke there.
| | 02:16 | You can also lower this value in order to create more of an
obtuse star if you want to. I'm going to take it back down to 50%,
| | 02:23 | and I'm going to the turn on Smooth Corners which smoothes off
the outside edges of the spikes. You can also smooth out the
| | 02:28 | indents, which is the inside edges,
| | 02:31 | but I just want to smooth the corners
and I'm going to draw outward here.
| | 02:34 | And look! We've got a Patrick tool.
| | 02:36 | Patrick, from Sponge Bob, in case you're familiar with that fellow.
| | 02:40 | Actually that's the wrong color for him. Let's go ahead and change
the color. 210, 100, 100 are good values, if I was using RGB.
| | 02:47 | We saw that it was a nice pink color
earlier so that's what I'm going to do here.
| | 02:51 | RGB sliders. 210, 100, 100. Alt+Backspace
or Option+Delete to fill this shape
| | 02:58 | with Patrick Pepto-Bismol pink.
| | 03:01 | And now I'm going to grab my white arrow tool. The cool
thing I want to show you for real here is how curved
| | 03:07 | segments, like the ones associated with Patrick,
| | 03:10 | are uniquely editable inside Photoshop and inside other
programs that handle vectors as well. I'm going to get my white
| | 03:18 | arrow tool once again, and I'm going to click
on one of the segments and notice when I do
| | 03:23 | I get some control handles. Actually that's a poor place to
start, because we're running out of room over on that side of
| | 03:29 | the image so let's try it here instead.
| | 03:31 | And you can see that we've got some control handles here and
if you drag on those handles, they're like levers pulling at the
| | 03:37 | curvature of the segment.
| | 03:39 | And these levers only exist with curved segments inside Photoshop.
| | 03:46 | I'll go and drag the other one as well. So it's just hugging
at this segment sort of like it's taffy or something.
| | 03:52 | And you can also drag directly on the segment in order to
change its curvature if you want to, in order to stretch it
| | 03:59 | or bring it closer to the points. So that's kind of up to
you. Anyway gives you a sense of what you can accomplish
| | 04:06 | with this Shape tool. All right I'm going to undo that
modification, however, because after all Patrick was looking so good,
| | 04:12 | but this gives you a sense of what you can do not only
using the Polygon tool but also dragging curve segments
| | 04:19 | here inside Photoshop. Oh Patrick, thy name is divine proportion!
| | Collapse this transcript |
| Deleting path outlines| 00:00 | I'm just amazed at how closely Patrick matches Vitruvian man.
It's like some sort of cloning experiment or something like that,
| | 00:07 | he really is the perfect Fibonacci animal. Yeah, read
the book. Anyway, let's say you want to delete Patrick.
| | 00:16 | After celebrating him, it's time to delete him from this illustration
and there is a couple of ways you can go about doing that.
| | 00:21 | You can certainly just grab the layer and throw it in the trash
if you wanted to but it turns out there is kind of a cool way
| | 00:27 | to work here and there is some special stuff
where deleting path outlines is concerned.
| | 00:31 | So, I have got my white arrow tool selected still and I can
see the path outline. So I will just go ahead and click on it
| | 00:36 | and let's say I decide to select a specific point, and you can
select multiple points at a time by Shift+Clicking on them
| | 00:43 | incidentally so that you can move them around
and they don't have to be adjacent points either.
| | 00:48 | We could grab a non-adjacent point like this guy right here and move all
of these around and that's just a matter of Shift+Clicking once again.
| | 00:55 | Alright, but let's say I just have one point selected
| | 00:58 | and I'll go ahead and grab it and then I press the Backspace
key here on the PC or the Delete key on the Mac and that deletes
| | 01:05 | that point and gets rid of it and also notice
that it creates a hole in the path outline
| | 01:10 | but Photoshop goes ahead and connects the two points with a
straight segment of white according to my Stroke setting here.
| | 01:16 | Now, if I press the Backspace key or the Shift key again
then Photoshop is going, hey, what gives? This is the last path
| | 01:23 | outline associated with this shape, so what do you really
want me to do? Do you want to delete the entire Shape layer?
| | 01:29 | Which is an option. That's actually the default setting.
| | 01:31 | If you click OK, the entire layer is going to go away.
| | 01:34 | If you want to just delete the Vector Mask in which case
you get rid of this Vector Mask item here and you just leave
| | 01:39 | behind a solid sheet of pink here. Or do you want to delete
the Vector Mask contents? And I don't know why they
| | 01:46 | say it this way, what they really mean is the path
outline. Do you want to delete the path outline?
| | 01:51 | But leave that Vector Mask in place so you can add another path
outline later and that's what we are going to do, go ahead and
| | 01:56 | select this final option
| | 01:58 | and then click OK.
| | 01:59 | And because we have no shape here inside the
Vector Mask the entire color is masked away.
| | 02:05 | Alright, now let's go ahead and grab the Line tool, I want you
to select the Line tool from the Shape tool fly-out menu here
| | 02:12 | and we are going to go ahead and draw
a line inside the very next exercise.
| | Collapse this transcript |
| Drawing an arrow line| 00:00 |
Now, let's say that we want to add a line, I have got my Line
tool selected here and let's say I want to add a line inside
| | 00:08 |
of this Shape layer that used to contain Patrick but
now it's going to contain a line and I will go ahead
| | 00:13 |
and rename it line so that I know that's what I am going to do.
| | 00:17 |
Well, notice that when your Line tool is selected
that you have an option here that's called Weight
| | 00:22 |
which determines the thickness of the
line, Line Weight means thickness.
| | 00:26 |
But you can change it once again by pressing the Bracket key.
| | 00:29 |
So I am going to press Shift+Bracket for
this guy, I really want a thick line here,
| | 00:33 |
I am going to come up with a 45 pixel thick line and then
I want to go ahead and add the shape, I want to go ahead
| | 00:40 |
and marry this shape into the existing layer.
| | 00:43 |
So, I want to select one of these options, I am going to select
Subtract which wouldn't be the one you really want to select
| | 00:49 |
but I just want to show you what can go wrong so that you
know how to fix it, in case you run into the situation.
| | 00:54 |
Every once in a while you may draw something, any old
shape into a new layer and you may do one of these numbers
| | 01:00 |
where it actually cuts the gigantic
hole through this new layer item here.
| | 01:07 |
So, instead of drawing a filled line, you draw an unfilled
line and everything outside of it is filled and if you end
| | 01:13 |
up encountering that situation then just go ahead and grab your
black arrow tool and click on this shape in order to select it
| | 01:20 |
and switch it's mode from Subtract in this case to
Add from whatever it is pretty much to Add instead
| | 01:27 |
and you will get a filled shape instead of an unfilled shape.
| | 01:31 |
Alright, let's go ahead and delete
that guy though to get rid of him
| | 01:33 |
and once again we will delete just the
Vector Mask contents only and I am doing
| | 01:37 |
that by pressing the Backspace key here
on the PC or the Delete key on the Mac.
| | 01:41 |
Now, I am going to switch back to the Line tool
and I want to create an Arrowhead as it turns out.
| | 01:46 |
So I am going to click this down pointing arrowhead,
this little guy to bring up my Line tool options
| | 01:51 |
which are all Arrowhead options and I am going to say
I want to draw the Arrowhead at the start of my line,
| | 01:56 |
you can draw it either at the start or the end, up to you and I
am going to change the width value to 350% and the length value
| | 02:03 |
to 500% or otherwise I am going to get an
enormous Arrowhead and I don't want that.
| | 02:08 |
I am going to change the Concavity to- now
the Concavity determines whether the edges go
| | 02:13 |
into the Arrowhead, you will see what I mean in just a moment.
| | 02:16 |
Lets take this value up to 20% and then you can go ahead and
press the Return key or the Enter key and I am going to hide
| | 02:23 |
that little pop-up palette there and now I am going to switch
to the full screen mode so that I can move Vitruvian man
| | 02:29 |
down a little bit and I want to start this Arrowhead at his
navel so that it's pointing, the Arrowhead is actually pointing
| | 02:36 |
to his navel but notice that I have got this cross shaped cursor
with a little minus sign next to it that's telling me I am going
| | 02:41 |
to Subtract once again this shape, I don't want
to do that, I want to switch to the Add mode.
| | 02:45 |
So, I will go ahead and click on it or I could press the plus(+)
key to switch to that Add mode there and now I am going to drag
| | 02:52 |
from the navel upward like so and I am Shift+Dragging in order
to constrain the angle of this arrow, so that it's perfectly up
| | 03:00 |
and down, so that it's a vertical arrow and I get this nice
big Arrowhead here, why don't we go ahead and change some
| | 03:07 |
of these settings that are associated with it?
| | 03:09 |
I am going to switch it out to a Fill Opacity of a 100%
by pressing Shift+0 and because the Line tool is active
| | 03:17 |
that does affect the layer in this case and I might also
go ahead and make this line a little stronger shade of red.
| | 03:24 |
I will take that Saturation value up to a 100 and I am going
to take the Brightness value down to about 70 in this case
| | 03:30 |
and then I am going to press Alt+Backspace
in order to fill the line with red.
| | 03:35 |
Alright, so that's a pretty good Arrowhead as things go but
what I wanted to do, I wanted to fade into view as it comes
| | 03:43 |
down into the image here and that's something
I can do by adding a pixel based Layer Mask
| | 03:50 |
and I will show you how to do that next, so stay tuned.
| | 03:53 |
| | 03:55 |
| | Collapse this transcript |
| Combining vector and layer masks| 00:00 | In this exercise we are going to add a Gradient Layer Mask
to this existing vector based shape and you can do that just
| | 00:07 | by clicking on the Layer Mask icon down
here at the bottom of the Layers Palette.
| | 00:11 | So go ahead and do that.
| | 00:12 | But I am going to mention one other thing, if you have a shape
that is active and you want to add a vector mask to it just
| | 00:19 | in case, you should know that you can
press the Ctrl key or the Command key
| | 00:24 | and click on that Add Layer Mask item
there and that will add a vector mask.
| | 00:28 | Now we already have a vector mask in
this case so we can't add another one.
| | 00:31 | So instead we will just add a pixel based layer mask by clicking
here and notice now there is no more masking options available.
| | 00:39 | So it is giving me a dimmed view of that layer mask
icon there and what I want you to do is I want you
| | 00:46 | to grab the Gradient tool, so go ahead
and select it inside of the tool box.
| | 00:50 | And right now for me it's set to a
foreground to transparent gradient.
| | 00:55 | So I am going to go ahead and change that setting by clicking
on the first item there which is Foreground to Background
| | 01:01 | and I have got my foreground and background colors
set to white and black as they are by default
| | 01:06 | when you are working inside of the layer mask.
| | 01:08 | Go ahead and press the X key in order to switch those
around so we can draw a black to white gradient.
| | 01:13 | Make sure it's set to the Normal mode, Opacity of a 100%.
| | 01:16 | This first item here should be selected for a Linear Gradient,
Reverse should be off, these two guys should be on that's fine.
| | 01:23 | And then I am going to go ahead and drag from about the top
of the image down like so, over this pretty long distance here
| | 01:30 | and then I am going to release, at which point
you might think what in the world in going on?
| | 01:36 | We have this long line of white here at the
top of the arrow with a bunch of what --
| | 01:41 | this is what's surprising me here, with a bunch of molecules.
| | 01:45 | They are showing up inside of Leonardo's face and what's
going on here is that Photoshop is desperately trying
| | 01:53 | to stroke everything, it is trying to stroke this soft gradient
edge and then it's trying to stroke around the dither pattern
| | 02:00 | that we asked for, that we requested in
order to keep the gradient nice and soft.
| | 02:05 | That's not something we want.
| | 02:07 | Now remember, you may recall from the previous chapter
I was telling how there are those check boxes inside
| | 02:14 | of the Blending Options panel of the Layers Style
dialog box that you can use in order to fix problems
| | 02:21 | and this is one of those classics scenario as it turns out.
| | 02:25 | Now what would I normally do is I would
double click on a empty portion of this layer,
| | 02:29 | let me see if I can make it work by
double clicking below the Color swatch.
| | 02:33 | Now that doesn't work this time alright.
| | 02:34 | So there is really no empty area unless I expand this
Layers palette out quite a bit and double click over here.
| | 02:41 | If you are running out of empty area to double
click on then you can just go up to the Palette menu
| | 02:46 | and you can choose Blending Option and that will
bring up the big old Layer Style dialog box complete
| | 02:53 | with the blending options right here and here
are the checkboxes I was telling you about.
| | 02:57 | Now you could randomly turn items on and off but
really the one we want is the layer mask option
| | 03:03 | after all it was adding a layer mask that messed everything up.
| | 03:06 | So it's probably this layer mask item
right here that's going to fix things.
| | 03:10 | Turn it on and sure enough the problem goes away because what's
happening now is instead of trying to trace the layer style
| | 03:17 | around that layer mask, instead the layer mask is just masking
away the layer style, the layer effect along with the contents
| | 03:24 | of the layer and that's exactly what we want.
| | 03:27 | So go ahead and click on the OK button and everything is better.
| | 03:31 | Looks actually really, really great.
| | 03:32 | So Gradient arrows can be a fantastic tool.
| | 03:35 | I use these kinds of things a lot in my
screen shot in order to identify the portion
| | 03:40 | of the image that I want people to pay attention to.
| | 03:43 | Alright so that's it for that one.
| | 03:45 | In the next exercise we are going to take a look
at the Custom Shape tool here inside Photoshop.
| | Collapse this transcript |
| Drawing custom shapes| 00:00 |
Alright, I'm going to go ahead and turn off these goofy
layers here, the line layer and the blue circle layer.
| | 00:06 |
And I'm going to scroll up to the top where we have these
immensely useful layers like the shorts layer and the ribbon
| | 00:13 |
layer right here. How do we create such things here inside
Photoshop? And how do we get this amazing interaction, for example,
| | 00:21 |
between the ribbon layer and the background, where
they look like they really were both drawn by Leonardo,
| | 00:26 |
don't they? Well let's go ahead and zoom in here a little bit.
| | 00:29 |
Shield your eyes ladies. And we can see all these wonderful
little sort of groovelets here. This wonderful little tracing
| | 00:37 |
that's going on around the edges of this ribbon. And this is
all a function of the Layer effects that are applied to it,
| | 00:44 |
and there's really not that many Layer effects applied to this
ribbon layer. Let's go ahead and make it active here inside
| | 00:49 |
the Layers palette. And let's take a look at the Layer effects.
I'm going to double-click on the Inner Shadow here,
| | 00:55 |
so that you can see that it's just sort of a very light brown
color, and it's set to the Multiply mode. I've got some other stuff
| | 01:01 |
going on here that determines the angle
| | 01:04 |
of that Inner Shadow for example. And I can drag it around if
I wanted to. But here's the main thing. See that Noise option?
| | 01:11 |
I was showing you that before when we were taking a look at
Layer styles in a previous chapter, but if I crank that noise
| | 01:17 |
value all the way down to zero, it's way too smooth to match
the image. I want to have a little granularity in there and
| | 01:24 |
I added a lot. I have it up to 30 actually, but you might
not need it to be that high. I just wanted it to more or
| | 01:31 |
less match the granular quality of
this old-time illustration here.
| | 01:36 |
We've got a few other items to stroke the path. Notice that
I used an Outer Glow and an Inner Glow effect and you can
| | 01:43 |
take a look at how those are constructed.
| | 01:45 |
Notice this time I've Outer Glow. I've applied an Outer
Glow that's a gradient, which is one of the options that's
| | 01:52 |
available to you.
| | 01:53 |
Here's what the effect looks like without that gradient Outer Glow.
Here's what it looks like with that gradient Outer Glow.
| | 01:59 |
And then the other line is an Inner Glow also set up as a
gradient. And notice it's got a lot of transparency in it so
| | 02:05 |
that we have an nice gap
between the two strokes right there.
| | 02:09 |
So there is a lot of advanced work that you can do using Layer
Styles inside Photoshop if you get immensely clever with them.
| | 02:17 |
Alright I'm going to cancel out because I don't want to goof up
| | 02:19 |
that Layer Style that I had already applied.
| | 02:22 |
Alright, let's go ahead and see how I drew this ribbon and
it happens to be, even though it's the most complicated shape
| | 02:28 |
that we've seen so far, it happens to be one of the easiest
things to create because we actually have a Ribbon tool
| | 02:35 |
available to us inside Photoshop
| | 02:37 |
via the Custom Shape tool.
| | 02:39 |
So I'm going to turn on this path so that we can see it here.
And right now I've got my Marquee tool selected, notice that.
| | 02:46 |
Watch what happens if I press and hold the Control key on
the PC or the Command key on the Mac and I hover over the
| | 02:53 |
path outline. Notice that I'll get my white arrow tool. So I'll
switch from the Move tool to the white arrow tool automatically.
| | 02:59 |
Photoshop is so smart about this kind of stuff. And I
can either click on the path in order to select, for
| | 03:06 |
example, just a single point, or I can press Control+Alt
at the same time or Command+Option at the same time and
| | 03:13 |
click someplace to select the entire path.
| | 03:15 |
Now I'm going to go ahead and press the Backspace key. So go ahead and
select that Vector Mask Contents Only option so that you're going to
| | 03:21 |
delete the path outline
| | 03:23 |
and not the rest of the layer and I'll go ahead and click OK and...
| | 03:28 |
Oh Vetruvian Man, you Devil.
| | 03:30 |
Thank golly we've got that modesty layer going on there. Alright
let's go ahead and draw a new ribbon into this in existing layer
| | 03:37 |
right here. And so I've got the path outline,
I've got the Vector Mask, that is to say, active.
| | 03:42 |
So I can go to a different Custom Shape tool and this time
I'm going to select the bona fide Patrick tool. Notice it's
| | 03:49 |
Patrick once again, it's the Custom Shape tool.
| | 03:52 |
And I'm going to switch out the shape. Notice if you click
this down pointing arrowhead you can select a different shape
| | 03:58 |
that you want to draw. There's Patrick right
there, right next to a heart. That figures.
| | 04:03 |
And I'm going to click the right-pointing arrowhead because
I want to bring up some other path outlines. Now you can
| | 04:09 |
select all kinds of groups of custom shape outlines right
here or you can select All. That will bring up all the custom
| | 04:16 |
shapes that are available to Photoshop, period, that
ship along with Photoshop. And if you do select all
| | 04:22 |
I encourage you to go ahead and click OK as opposed to Append.
| | 04:28 |
Cause Append would add the custom shapes,
and it would duplicate a bunch of shapes
| | 04:31 |
that are loaded up by default. So just go ahead and click OK.
| | 04:35 |
And you'll see just this immense collection
| | 04:38 |
of custom shapes that are now available to you. It's a very
satisfying collection, as it turns out. And the only unsatisfying
| | 04:44 |
part is that it's a little difficult to locate the ribbon in this
list here, but there it is. It right there, it's this guy.
| | 04:49 |
Go ahead and click on it and then press the
Enter key in order to accept that new shape.
| | 04:55 |
And now make sure that the Add option is available here, that
it's selected that is. So click on it and then go ahead and
| | 05:02 |
draw your custom shape.
| | 05:04 |
And if you press the Shift key as you draw the shape then
you'll constrain it to its original proportions. Notice that
| | 05:09 |
you also have the option of pressing and holding that
Spacebar in order to move that ribbon around on the fly.
| | 05:15 |
As soon as you release, you will draw the ribbon, complete with
all of its effects intact. In the next exercise, we're going
| | 05:21 |
to create a custom shape of our own.
| | 05:25 |
| | Collapse this transcript |
| Crafting an underpants tool| 00:00 | Alright, in this exercise I am going to show you how to make
your own custom shape that you can draw over and over again.
| | 00:07 | Let us go ahead and turn off the ribbon layer and turn on
the shorts layer so that you can see those underpants there.
| | 00:14 | I drew the underpants using the Pen tool, the
most complicated of the Shape tool functions.
| | 00:20 | So I will go ahead and grab that Pen tool so you have a rough
sense of how it works, it is set up to draw a new Shape layer.
| | 00:26 | So that it is a good thing, right there.
| | 00:27 | I am going to go ahead and drag from this location because you
drag in order to create a curving segment and now I will drag
| | 00:37 | up here in order to match the curvature of his leg and then will
Alt+drag or Option+Drag to convert this point into a cusp point,
| | 00:45 | so a corner point that has curves coming out of it and then I
will drag over here and I will Alt+Drag once again or Option+Drag
| | 00:53 | and maybe drag right at this to create a little bit of a curve
there and drag at this location and so on and so on and so on.
| | 01:03 | As I say, if you want to know all about path drawing because
it really is something of a unique and fairly complex art,
| | 01:10 | then check out my Illustrator CS3 one on one series
available here at the lynda.com Online Training Library.
| | 01:17 | For now, I will just Undo the creation of this shape,
just back step until it all goes away and I don't want
| | 01:24 | to see the ribbon layer, I just want to see the shorts layer.
| | 01:26 | So I will go ahead and click on it and I have
made the Vector mask active, notice that.
| | 01:30 | I will go ahead and switch to Arrow tool and I
will click on the path in order to select it.
| | 01:36 | Now that you have a path selected inside of any old Vector
mask, it doesn't matter or even inside the Paths palette,
| | 01:43 | you go up to the Edit menu and you choose this command
right here Define Custom Shape and I am going to go ahead
| | 01:50 | and name this custom shape, Underpants of course, because
that is what them are and I will click OK in order to accept
| | 01:58 | that new custom shape and it has been added to the Shape library.
| | 02:01 | So what do we do now?
| | 02:02 | Well, go ahead and turn off this layer and we will draw
a new layer this time around and I am going to switch
| | 02:08 | to the Custom Shape tool and I am going to click
the down pointing arrow head next to the word shape
| | 02:13 | and I will scroll all the way to the bottom of the
list and you will see the underpants right there,
| | 02:18 | hover over it and it shows you the shape name.
| | 02:20 | Go ahead and click on it to select it press the
Enter key or the Return key in order to hide that Pop
| | 02:25 | up menu and accept the selection of the underpants.
| | 02:28 | Now draw and check it out.
| | 02:31 | You now have your own Custom underpants tool.
| | 02:34 | Haven't you always wanted an Underpants tool?
| | 02:37 | Of course you have.
| | 02:38 | What a ridiculous question that was.
| | 02:39 | Everybody wants that.
| | 02:41 | Alright, so I will go ahead and draw the underpants.
| | 02:43 | Now that is quite the wrong color
for the underpants as it turns out.
| | 02:46 | They are the kind of bright red bicycler's pant that Santa
Claus would wear and so we need to change these out a little bit
| | 02:53 | and I am going to do that by double clicking on this little red
swatch and now this is a left over as you can tell from that line
| | 03:00 | that we drew earlier, that arrowhead and with the color picker
up on screen I am going to click somewhere in the paper color,
| | 03:08 | in order to lift that paper color and substitute it
for the color of the underpants and then click OK,
| | 03:13 | so that the underpants match the
background here as well they should.
| | 03:17 | Oh, and I should rename this layer as well.
| | 03:19 | I am going to call it Underpants of course, I am
so creative today, but that helps distinguish it
| | 03:24 | from the shorts layer down here, don't you know.
| | 03:27 | We need to also lift the correct styles, I
don't know what is messed up about the styles.
| | 03:31 | I think they are left over from the ribbon layer as it turns out.
| | 03:34 | So why don't you go ahead and right click on the shorts layer
and then choose Copy Layer Style and if that doesn't come
| | 03:41 | up then make sure that you right click on the fx icon and then
choose Copy Layer Style and right click on the underpants layer
| | 03:48 | and choose Paste Layer Style in order to
paste that in to place and it should go ahead
| | 03:52 | and replace the existing effects that are there.
| | 03:55 | It looks really at home.
| | 03:57 | So it looks like he is really wearing these underpants.
| | 04:00 | In the next exercise, we are going to paint some
seams on to these underpants using the Brush tool
| | 04:04 | and you will see how this presents a special
problem that I assure you we will solve.
| | Collapse this transcript |
| Rasterizing and painting the shape's fill| 00:00 | In this, the final exercise of the chapter we
are going to paint some seams into the underpants
| | 00:06 | and I want you to see what those seams look like.
| | 00:08 | So turn off, if you are working along with me,
turn off your underpants layer, I will go ahead
| | 00:12 | and make the Layers palette a little
wider so that we can see that full word.
| | 00:15 | Turn off the underpants layer and turn on the shorts
layer, so that you can see what I am talking about.
| | 00:20 | See these little thin seams right
there that are tracing along the pants?
| | 00:25 | That is what I want to go ahead and paint in.
| | 00:27 | So I am going to get my Eye Dropper and I am going to lift
one of the colors that is already associated with these lines
| | 00:34 | that Leonardo drew, these light inclines here and then I will
turn off the shorts layer and I will turn on the underpants layer
| | 00:41 | and I am going to go ahead and get my
Brush tool, but notice what happens.
| | 00:45 | When I move my Brush tool over the underpants, I get the little
Ghost Busters icon that is telling me that I can't paint here.
| | 00:52 | What is the problem?
| | 00:53 | Why can't I paint in the pants?
| | 00:55 | If I try, if I try dragging, Photoshop is going to tell
me, hey, this shape must be rasterized before proceeding.
| | 01:02 | It will no longer have a Vector mask.
| | 01:04 | What? Rasterize the shape, should I Rasterize the shape?
| | 01:07 | If you say OK, sure enough your Vector
mask goes away and that is no good.
| | 01:11 | I don't want to lose the Vector mask at this point.
| | 01:13 | I have put too much work in to it.
| | 01:15 | It was a custom underpants tool after all, so I am going
to Undo that modification by pressing Ctrl+Z or Command+Z.
| | 01:22 | The problem is not the Vector mask, Photoshop has got it wrong.
| | 01:25 | The problem is this dynamic fill layer right here.
| | 01:28 | So that is what we need to rasterize and we can rasterize it
independently of the Vector if the Vector mask as it turns out.
| | 01:34 | With that layer selected, with the underpants layer
selected, go up to the Layer menu, choose Rasterize
| | 01:41 | and choose this guy right here Fill Content in order to
just rasterize the content of the layer and nothing more
| | 01:49 | and sure enough, you convert the dynamic fill to
pixels, to a solid zone of beige pixels as it turns out
| | 01:55 | and now you can paint inside of it as much as you want to.
| | 01:58 | Alright, so I am going to reduce the size of my brush quite a
bit, I am going to take it way, way down to a single pixel brush,
| | 02:05 | so it is just one pixel and that should be a hard brush as it
turns out, sure enough it is, a 100% hardness and we are ready
| | 02:12 | to go and you can paint anything you want to.
| | 02:14 | If you want to paint a smiley face on his pants, go for it.
| | 02:18 | I am going go ahead and paint my seam.
| | 02:19 | So I am doing it by clicking and Shift+clicking, notice this.
| | 02:22 | So I am doing little Shift+Clicks in order to simplify the
process, so I don't have the paint free form and make a bunch
| | 02:28 | of mistakes and then I am going to paint this direction
here, must be careful of the painting process at this point.
| | 02:36 | How much volume do I add there?
| | 02:38 | This looks pretty good actually and then finally, I will
paint over along this thigh in order to add another seam.
| | 02:44 | I think I got a little bit of a punch there.
| | 02:47 | It looks like I have got too much of a
dive going into the edge of the underpants.
| | 02:53 | So if that is a problem, if I deem that to be a problem,
then I can go ahead and expand the size of the brush,
| | 02:59 | Option or Alt+click inside this field of beige here in
order to lift that as a color and I can paint over that area
| | 03:06 | and I think I will paint over here too because I
have got the same problem going on the other side.
| | 03:10 | Then I would Alt or Option+Click inside that
little thigh area once again to lift the ink color.
| | 03:18 | I take my brush size down to one pixel.
| | 03:21 | Again, I am doing that of course, by pressing the left bracket
key several times and I will paint once again and I am doing
| | 03:27 | that again by clicking and then Shift+clicking with that brush.
| | 03:30 | So there you have it, the completed underpants
on the final version of the Vitruvian Man.
| | 03:37 | The way Leonardo would have created it, if he was alive today.
| | 03:42 | Thanks in large part to Vector based
shapes here inside Photoshop.
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|
|
21. Using Adjustment LayersA layer of color adjustment| 00:01 | Adjustment layers are insanely practical functions that
permit you to apply color modifications like Levels and
| | 00:08 | Hue/Saturation in an editable fashion
to multiple layers at a time.
| | 00:12 | Adjustment layers are so flexible that you can use them to
correct flat photographs if you want to. This way, if you
| | 00:18 | later decide to tweak the colors in an image to meet the
demands of the different screen or printing environment,
| | 00:23 | you always have your original photograph on hand, with the
last applied color corrections ready and waiting in the wings.
| | 00:30 | And because adjustment layers are fully functioning layers,
you can mix and match them, as well as combine them with
| | 00:36 | blend modes, layer masks, and even layer effects. Simply put,
they permit you to venture into creative territories that
| | 00:43 | static commands simply can't accommodate.
| | Collapse this transcript |
| Creating an adjustment layer| 00:00 | Now my favorite thing about adjustment layers is that
they're parametric, so that you can modify their settings long
| | 00:07 | after applying them.
| | 00:08 | And that means if you think better of a color adjustment,
you can change it without incrementally damaging the
| | 00:16 | colors inside of the image,
which makes adjustment layers great
| | 00:20 | for modifying the colors inside of a flat image like
this one here. So this is a standard flat JPEG photograph,
| | 00:27 | called Bronze & beautiful.jpg and it's
found inside the 21 Adjustment Layers folder.
| | 00:32 | It comes to us from photographer David Politi.
| | 00:35 | What we're going to be doing in these first few exercises
is we're going to convert the image to black and white and
| | 00:41 | then we're going to add a little bit of colorization
in order to create what's called a duotone effect.
| | 00:45 | To get a sense of how adjustment layers work,
I want you to go to the Layers palette,
| | 00:49 | and I want you to go down to this black/white icon here at
the bottom of the palette and click on it, and you'll see a
| | 00:55 | list of adjustment commands that are available
as adjustment layers. Now, not everybody's here.
| | 01:00 | The Variations command is missing, the Shadow/Highlights command
is missing, among a few others. We're going to see how you apply
| | 01:06 | those commands parametrically using
Smart Filters in an upcoming chapter.
| | 01:10 | But for now just notice that we have the core color adjustments
available to us, including for example this guy here,
| | 01:16 | which we haven't seen before, Channel Mixer.
| | 01:19 | I'd like you to go ahead and choose that
command in order to bring it up onscreen,
| | 01:22 | and in order to convert an image to grayscale using the
Channel Mixer command, you turn on the Monochrome checkbox.
| | 01:30 | Now I can dial in how much of each of the Red, Green,
and Blue channels are going to get mixed together in order
| | 01:36 | to create the final grayscale, or if you prefer,
the black-and-white version of the image.
| | 01:42 | Photoshop CS3 is kind enough to go ahead and add these
values together, 40 plus 40 plus 20, and tell us that the
| | 01:49 | sum is 100%, so that we know that we're not adding to the overall
brightness of the image. So I'm going to go ahead and reduce
| | 01:57 | the Blue value to zero for a second here by pressing Shift
+ Down arrow a couple of times, and you'll notice that the
| | 02:02 | total is now equal to plus 80%, thereby indicating that
you're darkening the image. If you go too high- for example
| | 02:09 | I'll add some Red by pressing Shift + Up Arrow
| | 02:12 | three times in a row- if you go too high then you'll get
a little warning that's telling you hey, the total's greater
| | 02:17 | than 100%, so you can expect some clipping, some white clipping,
some highlight clipping, inside of this image. And if you
| | 02:23 | want to test how much clipping is occurring, then go
up to the Window menu and choose the Histogram command
| | 02:29 | to bring up the Histogram palette.
| | 02:31 | You can see the palette even though you have
the Channel Mixer dialog box up onscreen.
| | 02:35 | Go ahead and click on that little warning guy right there to
update the histogram so that you can see that, sure enough,
| | 02:41 | you've got quite a few clipped pixels over here on the right-hand
side, so quite a few clipped highlights. Not really anything
| | 02:48 | in terms of clipped shadows yet, but you do have some very,
very dark shadows here inside the hair and pupils and so on.
| | 02:54 | Alright I'm going to take that Red
value down a little bit. Actually no,
| | 02:58 | I'm going to take it up. I'm going to take it up to 80%, I'm
going to take the Green value down to 20% in order to compensate.
| | 03:05 | So we're still looking at 100% total coverage here, so we shouldn't
be brightening the image, we shouldn't be over-brightening it.
| | 03:11 | Let's go ahead and check that out with the histogram by clicking
on the little warning icon again, the little caution icon there.
| | 03:17 | And we have a little extra range that we're not taking
advantage of over here in the far right side of the histogram.
| | 03:23 | Let's try taking the Red value up 1% by pressing the Up arrow
key, and then I'll click that little caution icon again.
| | 03:30 | That looks pretty good to me. If I take it up too far, like
to 82%, then I do end up with just a slight bit of clipping there
| | 03:37 | and I don't want that, so I'll take that back down to 81%.
| | 03:41 | So even though it's telling me, Hey! Warning, 101% brightness
inside of this image, you may be clipping. Well, we're not,
| | 03:47 | and we can see that here inside the Histogram palette.
Alright, so everything 's hunky-dory, I love it. I'll click
| | 03:52 | OK in order to accept the modification.
| | 03:55 | Now here's the advantages to working with an
adjustment layer. You can turn the adjustment off,
| | 03:59 | and you can turn it back on, in order to compare the before-and-
after versions. If you decide you want to change some settings,
| | 04:05 | you just double-click on a thumbnail, and you can decide
for example, to reduce the amount of red inside this grayscale
| | 04:11 | image, and then you could increase the green in order to
brighten that image slightly. And then of course update the
| | 04:17 | histogram to make sure that you're not doing
any damage. Update again. I'm trying to get it
| | 04:22 | to that point where we don't have any clipping,
just shy of clipping there. That looks pretty good.
| | 04:27 | So we got a total of 102%, that's hunky-dory. Once again, I'll
click OK in order accept that modification. So you can make
| | 04:33 | changes just by double-clicking on the thumbnail.
| | 04:36 | And finally, you can adjust the Blend Mode and Opacity settings.
For example, I'm going to click on Opacity here and
| | 04:42 | reduce the Opacity value just slightly, let's say I take it
down to 80% in order to create a soft coloring effect so that
| | 04:49 | we have just a little bit of coloring showing through. All
available to us because we applied the Channel Mixer function
| | 04:57 | as an adjustment layer here inside Photoshop.
| | Collapse this transcript |
| To mask or not to mask?| 00:01 | In this exercise I'm going to tell you about a little
bit of a pet peeve that I have with adjustment layers.
| | 00:05 | Notice by default when you create an
adjustment layer it includes a layer mask.
| | 00:10 | That's great in a way, because it means that
you can select the specific portion of the image
| | 00:15 | that you want to affect with the adjustment layer.
| | 00:17 | But what if you want to affect the entire image with
the adjustment layer, as I find I do most of the time?
| | 00:24 | Then you don't want that layer mask, it's
just taking up room inside the Layers palette.
| | 00:28 | So here's first of all how to get rid of them.
| | 00:30 | You can click on the layer mask thumbnail
in order to make it active.
| | 00:33 | Then Alt + click or Option + click on the
trash can icon down here at the bottom
| | 00:37 | of the Layers palette in order to make that layer mask go away.
| | 00:41 | Now in our case, the layer mask was empty,
so it didn't change the image at all.
| | 00:45 | Now I can see that this is the Channel Mixer layer, so
I see its layer name, which is actually quite useful.
| | 00:51 | The other thing you can do is you can make sure that adjustment
layers come in in the future to your images without layer masks
| | 00:58 | by going to the Layers Palette menu, choosing Palette Options,
| | 01:02 | and turning off Use Default Masks on
Adjustments, so turn off that checkbox.
| | 01:07 | Now I have mentioned this checkbox as an aside in a
previous exercise, but I want you to know about it,
| | 01:12 | at the risk of beating a dead horse here,
I do want you to notice that it exists,
| | 01:15 | because it's really great to turn it off, in my opinion.
| | 01:18 | Then click OK, and from now on when you create
a new adjustment layer, it won't have the mask.
| | 01:23 | Now at this point, you might say hey, what if I do
want to mask the adjustment layer, what do I do now?
| | 01:27 | Well, then all you have to do is click on the
layer mask icon to add that layer mask back
| | 01:34 | into the image, back into the adjustment layer.
| | 01:37 | And I might use it actually in this case.
| | 01:39 | I might go ahead and decide gosh, you know what, I want this
Channel Mixer layer to affect the central portion of the image,
| | 01:47 | but I want to be able introduce some color around the outside
edges, so I'm going to press Shift + Tab in order to get rid
| | 01:52 | of those palettes over there on the right side of
the screen, and I know that my layer mask is active.
| | 01:57 | Now I'm going to go to the Gradient tool right here,
and I'm going to change the gradient style from Linear
| | 02:03 | to Radial Gradient, so just go ahead and click on Radial
Gradient, make sure these other options are set the way
| | 02:08 | that you see them onscreen, Normal, 100%, Reverse off, and so on.
| | 02:12 | You should have a white to black gradient displayed up here
in the Options bar, and that's a function of two things.
| | 02:19 | First of all, you want to make sure that your foreground
color is white and your background color is black,
| | 02:23 | as are the default settings when working inside of a layer mask.
| | 02:26 | Then make sure that your Gradient Style here
is sent to Foreground to Background like so.
| | 02:30 | Alright having done that, I'm going to drag from
approximately the bridge of her nose down and to the left
| | 02:36 | until I go well outside of the image
like so, and then I'll release.
| | 02:40 | And I've just drawn a white to black gradient, so
white on the inside and black around the edges,
| | 02:45 | and black of course hides the contents of the adjustment layer,
| | 02:48 | so that I'm revealing the colored portion
of the image around the outside edges.
| | 02:54 | And that's thanks once again to having a layer mask in place.
| | 02:58 | Now I'll Shift + Tab the palettes back up onscreen
so that you can see what the layer mask looks like.
| | 03:02 | It is indeed a radial gradient, so there you have it.
| | 03:06 | By default I say let's not have layer masks associated with our
adjustment layers, but if you later decide you want to add one,
| | 03:13 | you always can just by clicking on this little add a layer
mask icon down here at the bottom of the Layers palette
| | 03:18 | and then masking away to your heart's content.
| | Collapse this transcript |
| The new Black & White command| 00:01 | In this exercise I'm going to show you a different
way to convert an image to black and white,
| | 00:05 | and that's using the Black & White
command, which is new to Photoshop CS3.
| | 00:08 | But before we do I want to take a closer
look at how the Channel Mixer command works.
| | 00:14 | So if you've been working along with me
you have open the Bronze & beautiful.
| | 00:17 | jpg image from the 21 Adjustment Layers folder,
and you've added a Channel Mixer layer right here.
| | 00:24 | I'm going to Shift + click on the
layer mask in order to deactivate it,
| | 00:27 | and I'm going to press the zero key in
order to reset the Opacity value to 100%.
| | 00:32 | Now go ahead and double-click on the Channel Mixer thumbnail
there in order to bring up the Channel Mixer dialog box,
| | 00:39 | and I'm going to change each one of these values, Red and Green
and Blue, to zero, and what you end up getting is a black image,
| | 00:45 | because you're not integrating any red, green,
or blue at this point, so you have blackness,
| | 00:50 | complete and utter blackness across the image.
| | 00:52 | Alright I'm going to cancel out.
| | 00:54 | That may seem like a weird thing to show
you, but there's a method behind my madness.
| | 00:58 | Go ahead and click Cancel.
| | 01:00 | And let's say now we want to take a different
approach, which is the Black & White command.
| | 01:04 | The beauty of having applied my Channel Mixer modification as
an adjustment layer is at this point I can just turn it off.
| | 01:10 | Instead of undoing the function or having to backstep inside of
the History palette, I can just turn off this adjustment layer,
| | 01:16 | and that also affords me the option of keeping those settings
for later if I want to, and each one of these adjustment layers
| | 01:22 | by the way takes up very little room
in memory and very little room inside
| | 01:27 | of the layered PSD document when you go to save the image.
| | 01:30 | Alright, so having turned this function off, I'm going to go back
here once again to the black/white icon and I'm going to click
| | 01:37 | on it and I'm going to choose Black & White to
bring up the new Black and White dialog box here.
| | 01:41 | And notice this time around I'm not
just mixing red, green, and blue.
| | 01:45 | I'm also mixing the other primaries,
the other 60degrees primaries
| | 01:49 | on the big hue wheel, which include yellows, cyans, and magentas.
| | 01:52 | And I'm going to see these six slider bars
regardless of what color mode I'm working in,
| | 01:56 | so whether I'm working with an RGB image or a CMYK image
or what have you, I will still see these six slider bars.
| | 02:02 | And notice that the values are no longer adding up to 100%.
| | 02:05 | Red, Green, and Blue by default add up to
100%, but the other ones, when you add them up,
| | 02:11 | take up 300% altogether, again assuming default settings here.
| | 02:15 | These options don't control how much of each color
channel you're adding to the monochrome image.
| | 02:22 | Instead they control how much influence each
one of the hues gets inside the final image.
| | 02:29 | Alright, so it's a different approach,
and just to show you how much
| | 02:32 | of a different approach it is, I'm
going to zero out all of these values.
| | 02:36 | So I'm going to change every one of these values to zero.
| | 02:39 | As you can see here, we still have a grayscale image,
we can still see it onscreen, albeit it's very dark,
| | 02:45 | but it's not gone the way it is with the Channel Mixer command.
| | 02:48 | In fact, if you take all these down to their bare minimum,
you should still see some highlights inside of the image.
| | 02:55 | I'm doing that just by way of demonstration, so you
know that this command takes a very different approach.
| | 03:00 | Alright I'm going to press the Alt key and click on that Reset
button, that would be an Option + click on the Macintosh side.
| | 03:06 | And now I'm going to click inside the Red value.
| | 03:08 | This is a portrait shot here, a portrait of
a person, so I want the reds to have a lot
| | 03:14 | of influence inside of my final black-and-white image.
| | 03:17 | So I'm going to press Shift + Up Arrow several times in a
row until I increase that value to 100%, let's say for now.
| | 03:24 | And I'll drag this dialog box down just a little bit
so that we can also see the Histogram palette onscreen,
| | 03:30 | go ahead and bring that guy up, so that we can
keep track of the histogram as we work, as again,
| | 03:35 | we don't want to clip any highlights
or shadows if we can avoid it.
| | 03:38 | Now I'm going to go to the Yellow value and raise
it about 20% so I get a Yellow value of 80%.
| | 03:44 | Green is fine the way it is, greens are integrated into flesh
tones, because green plus red equals yellow, don't you know,
| | 03:51 | and yellows are a very strong element of flesh tones.
| | 03:54 | Cyans and blues, however, don't really
factor into the equation too much.
| | 03:58 | So I'm going to take them down.
| | 03:59 | I'm going to take this Cyan value down to about
10%, and I'm going to take the Blues value...well,
| | 04:05 | I might raise that actually, I'll take that up to
50%, and I'll take the Magentas value up to 100%,
| | 04:11 | so that we have this balance of colors going on right here.
| | 04:14 | Now I'm going to update the histogram, just to see
if we have a little bit of clipping, which we do.
| | 04:18 | Notice that we're not clipping the shadows, and by the
way I should mention that's something I accomplished
| | 04:23 | by raising this Blues value.
| | 04:25 | Notice if I take that Blues value down too low, if I take it
down to zero for example, which might be what I want to do
| | 04:31 | because after all, I want to emphasize the flesh tones once
again, then I would get a lot of black clipping going on,
| | 04:37 | and if I update that histogram I can
still see tons of black clipping going on,
| | 04:41 | meaning that we're going to have some very black
hair details, some very black pupil details as well.
| | 04:47 | Alright, so if I take this value back to 50%, then
that black clipping goes away, which is a good thing.
| | 04:52 | Update that histogram once again just to make sure.
| | 04:54 | We've got a very very dark spike
going on, but it's no longer clipped.
| | 04:58 | Alright now let's take the Red value down incrementally here,
I'm just taking it down one percent at a time by pressing the
| | 05:05 | Down Arrow key, and I ultimately get it down to 95%,
and that's where I see the white clipping disappearing.
| | 05:12 | So, no white clipping, no black clipping, not
really very much, just a little tiny bit there,
| | 05:17 | and a nice range of Brightness values in between,
and a lot of emphasis going on in the flesh tones.
| | 05:23 | Now I'm going to go ahead and save this out as a preset by
clicking on this little icon there, that little menu icon.
| | 05:28 | I'll choose Save Preset.
| | 05:29 | I'll actually be saving this item into a predefined
folder here inside the of the Photoshop CS3 folders,
| | 05:37 | so there's a Presets folder and inside
there's a Black and White folder.
| | 05:41 | So go ahead and call this Portrait
emphasis, or something along those lines.
| | 05:46 | Then I'll click the Save button in order to
save that preset inside the Preset pop-up menu.
| | 05:51 | That allows me to switch between None, which
are the default settings, and Portrait emphasis,
| | 05:57 | so I can see what kind of modification I made, and then
I'll click OK in order to accept those new settings.
| | 06:03 | So a different approach to black-and-white photography,
newly available to us here inside Photoshop CS3.
| | Collapse this transcript |
| Tinting a monochrome photo| 00:01 |
The great thing about black-and-white
photography is that it allows you
| | 00:04 |
to increase the contrast between the shadows and highlights.
| | 00:08 |
It can make for a very dynamic image, luminance-wise
of course, but it can also make for a very cool image,
| | 00:14 |
the image lacks warmth because we have
just these neutral grays going on.
| | 00:19 |
And if you want to give the image warmth as well as give yourself
more latitude in terms of the dynamic range that's available
| | 00:27 |
to you inside of the photograph, so that you have
better transitions when you go to print the image,
| | 00:31 |
then you can convert the image to a duotone
by infusing color into it, infusing warmth.
| | 00:37 |
And we're going to do that.
| | 00:38 |
There's two ways to approach this, by the way.
| | 00:40 |
One is to go ahead and colorize the
image using the Black & White command,
| | 00:44 |
and the other way is to add a separate layer of gradient map.
| | 00:49 |
I prefer the latter method, as you'll see, but let's start
with the former, the automated colorization function here.
| | 00:55 |
Go ahead, if you've been working along with me inside the Bronze
& beautiful.jpg image, go ahead and double-click on the thumbnail
| | 01:01 |
for the Black & White adjustment layer to
bring up the Black and White dialog box.
| | 01:05 |
Notice way at the bottom here is an option called Tint.
| | 01:08 |
If you turn it on you colorize the
images using a Hue and Saturation value.
| | 01:13 |
Now these Hue and Saturation values are different than
colorizing the image using the Hue/Saturation command.
| | 01:20 |
Instead of strictly modifying the colorization of
the image, you're actually multiplying this color,
| | 01:25 |
whatever color you choose, into the image, is a little bit
of burning and a little bit of colorization mixed together.
| | 01:31 |
To give you a sense of what I'm talking about,
I'll just change this value to green here
| | 01:34 |
for a second, and I'll increase the Saturation to 100%.
| | 01:38 |
You can see now that really the lightest color inside the image
is this 100% green, at this point, this very bright bright green.
| | 01:47 |
Now we do have a little bit of lighter color inside of these
ultra highlights here, but it's really an overlay of color,
| | 01:55 |
so it's like we've put a translucent
slide of color over the entire image.
| | 01:59 |
Anyway, what you probably want to do is add a little bit of
color, which would be something along the lines of let's say,
| | 02:04 |
about 45degrees as a Hue value, and then take that Saturation
value way down to something in the neighborhood of let's say 15%,
| | 02:12 |
so something along these lines gives us a halfway decent sort
of sepia tone effect, which does provide a degree of warmth.
| | 02:19 |
I'm not that much of the fan however of this function,
for two reasons: a. I don't like the way it's dimming
| | 02:26 |
down the highlights inside the image, and secondly I'm
not crazy about the fact that we have this one pair of Hue
| | 02:32 |
and Saturation values that are covering
every single one of the details.
| | 02:36 |
So in other words, it's a monochromatic colorization effect.
| | 02:40 |
We're not able to colorize the shadows one way and the highlights
a different way and the midtones a third way and so on.
| | 02:47 |
So this is an easy way to tint an image, but not the best way.
| | 02:50 |
So here's what I'm going to suggest you do.
| | 02:52 |
Go ahead and play with these functions as much as you want,
but ultimately turn the Tint checkbox off when you're done,
| | 02:57 |
and click OK in order to accept the modifications that
you didn't apply, so it will remember those settings
| | 03:03 |
in the future if you decide to bring them back up.
| | 03:05 |
And, instead of using that approach, let's go ahead
and add a gradient map layer in the very next exercise.
| | 03:12 |
| | 03:13 |
| | Collapse this transcript |
| Making a true duotone with Gradient Map| 00:00 | Now that we've seen how you can tint an image using the
Tint controls inside the Black and White dialog box,
| | 00:06 | let's see how you can gain more control over the process of
converting an image to a true duotone or tritone or quadtone,
| | 00:13 | that is, a multicolor black-and-white image, if you can
imagine such a thing, using the Gradient Map function.
| | 00:20 | So here I am working along inside
the Bronze & beautiful.jpg file.
| | 00:24 | And I've added a couple of adjustment layers here,
a Channel Mixer layer and a Black & White layer.
| | 00:30 | And incidentally, all of these adjustments are
available as static modifications if you want them.
| | 00:35 | I can click on the Background layer, the pixel-based Background
layer, and I could go up to the Image menu and choose Adjustments
| | 00:42 | and you would see, there's Black & White, there's Channel
Mixer, and there's the one we're going to use now, Gradient Map.
| | 00:47 | But because we've started using adjustment layers, we
want to keep using adjustment layers, because after all,
| | 00:53 | if I was to apply Gradient Map and convert
this Background image to a duotone,
| | 00:57 | I'd still have the Black & White
adjustment layer sitting on top of it,
| | 01:00 | converting it back to black and white, which is not what I want.
| | 01:03 | So I'll go ahead and click on Black
& White in order to make it active.
| | 01:06 | At this point, go to the Image menu,
choose Adjustments, it's dimmed,
| | 01:10 | because you can't apply a static color
adjustment to an adjustment layer.
| | 01:14 | That doesn't even make sense.
| | 01:16 | These guys are applicable only to pixels.
| | 01:18 | Anyway, go back to the Black & White layer.
| | 01:21 | Because I started using adjustment layers, I need to continue to
use adjustment layers, so I'll go down to the black/white icon,
| | 01:27 | and I will choose Gradient Map Now initially you're
going to see this gradient bar here, not a lot to it,
| | 01:33 | and what it's telling you is that all of the
luminance values inside the image, from black to white,
| | 01:39 | are going to be mapped to this gradient right here,
starting with black and then ending with white.
| | 01:44 | So you're going to end up with a little
bit of a different distribution of blacks
| | 01:47 | and whites inside the image, but it's
still going to be black-and-white.
| | 01:50 | Now, if you want to switch to a different
gradient, you click on this down-pointing arrowhead,
| | 01:53 | and you select the gradient that you want to use.
| | 01:55 | For example, here's the violet to orange gradient, so it's
mapping the shadows to violet and it's mapping all the highlights
| | 02:02 | to orange, and the midtones to the sort of gray values in
between, the sort of merging of violet and orange in between.
| | 02:10 | You can select some other wacky effects too if you want to.
| | 02:13 | None of these default gradients works out particularly
well, and I would say I'm being kind actually,
| | 02:19 | none of them works worth a hill of beans when
you're trying to convert an image to a duotone.
| | 02:24 | You can dial in your own gradient by clicking on
the bar to bring up the Gradient Editor dialog box,
| | 02:29 | or you can load some gradients that I've created for you.
| | 02:32 | I think that's the easier way to work.
| | 02:33 | So click on the right-pointing arrowhead,
choose the Load Gradients command,
| | 02:37 | then go to the 21 Adjustment Layers folder
that's there inside your Exercise Files folder.
| | 02:42 | You will find a file called A few good
grads.grd, that's a library of gradients,
| | 02:48 | and there are our new gradients right
there, and you can click on them.
| | 02:51 | This guy right here is called Quadtone Deluxe,
meaning that we have four or more colors going on.
| | 02:56 | And it's a little light where this image
is concerned, and it's very cool as well,
| | 03:00 | it's not going to do anything to warm up the image after all.
| | 03:03 | This next guy is called Warm Palette, and that works pretty well.
| | 03:06 | It's a little light once again.
| | 03:07 | Then we have some kind of effecty gradients
going on here, some special effect gradients.
| | 03:12 | There's this one called Green Man,
and then this one called Wooden Boy.
| | 03:16 | The reason that they're called Man and Boy is because I
originally created them with a picture of a man open up onscreen,
| | 03:23 | actually it was a dummy, a sort of wooden dummy open up onscreen.
| | 03:26 | She's a woman, but that doesn't really matter, I
mean the effects are going to work out just as well.
| | 03:30 | And then finally we have this X-Ray
Invert function going on here.
| | 03:34 | So you can use whichever one you want.
| | 03:36 | I'm going to go with Wooden Boy, even
though she's not a boy, as I said.
| | 03:40 | And let's use that as a base for our duotone effects.
| | 03:44 | So go ahead and select it and then click inside
the gradient bar to bring up the Gradient Editor,
| | 03:49 | which will allow us to make a few modifications here.
| | 03:52 | Now notice that you can drag these color stops around in order
to darken up the image, if you drag a color stop to the right,
| | 04:00 | or lighten the image, if you drag it to the left.
| | 04:02 | So we're colorizing and making levels adjustments at the
same time here inside the Gradient Editor dialog box.
| | 04:09 | This dialog box is absolutely awesome in my
opinion, at least what it does is really awesome.
| | 04:15 | So I'm going to darken up this image a little bit, because
I want to create a high-impact, high-contrast effect.
| | 04:20 | Ultimately I'm going to move this color stop
right here until the Location value is 25%.
| | 04:26 | You can see this Location value down here in
the lower right-hand corner of the screen.
| | 04:29 | Then I'm going to drag this next guy until he's at about 60%,
I would say, actually works out pretty well for this image.
| | 04:37 | Then I'll drag this stop over to the right until it's at
about 90%, and then this final stop is at 100%, that's good.
| | 04:43 | Now to confirm that everything's looking the way we want
it, go ahead and bring up the Histogram palette once again.
| | 04:49 | And I can't actually see the Histogram palette at this point,
I wonder if I can click on it in order bring it up, I can.
| | 04:54 | If you're having problems bringing up the Histogram
command from the Window menu, you may have to click OK,
| | 04:59 | so that only the Gradient Map dialog box is up
onscreen, and then choose Histogram, like so.
| | 05:04 | Anyway, let's go back where we were.
| | 05:06 | I'm going to update that histogram so I can see what's
going on, and I do have a lot of blown highlights,
| | 05:11 | thanks to this Gradient Map that I've applied, and that's
because I'm really overemphasizing the reds inside of the image.
| | 05:18 | So I'm going to edit these final two color stops a little bit.
| | 05:21 | Let's go ahead and bring up the second to last
color stop first, by double-clicking on the stop,
| | 05:26 | and that brings up this big Color Picker
dialog box, and I'm going to reduce.
| | 05:30 | Notice right now that the Red value is up at 255, so already
we're blowing the highlights inside of the Red channel
| | 05:36 | at this point, so let's take that value down a couple of
clicks to Red 235, and then I'm going to take the Green value
| | 05:44 | down to 228, and I'm going to take the Blue value up to
218, so that I'm neutralizing this color a little bit.
| | 05:53 | Notice that I'm taking some of the warmth out of
this color, I want it to be a little more neutral,
| | 05:57 | so that we have fewer problems associated with the clipping.
| | 06:01 | And if I update the histogram now, you can
see that that clipping has largely gone away.
| | 06:05 | So you have independent colorization control over your shadows
and your midtones and your highlights and your quarter tones
| | 06:12 | and your three-quarter tones and so on, using
Gradient Map, which is really a great thing.
| | 06:17 | I'll go ahead and click OK in order to apply that modification.
| | 06:20 | Then let's modify this last color stop as well.
| | 06:23 | And I'm just going to neutralize things a little bit.
| | 06:25 | I'll take that Red value up to 255.
| | 06:28 | Notice that your color actually got darker
inside the Red channel at the end there.
| | 06:32 | That's kind of weird, but it's the way I set it up.
| | 06:34 | Then I'll take the Green value up to 252, and I'll take
the Blue value up to 250, and I'm just nudging those values
| | 06:41 | from the keyboard, then I'll click OK in order to accept
that change, I'll update that histogram again, looks spiffy.
| | 06:47 | I'll click OK in order to accept that modification, and OK again.
| | 06:52 | And I've now colorized this image, I've converted it
to a duotone using a special layer of Gradient Map.
| | 07:00 | Now at this point, you could change your mind about the Black &
White adjustment, because it's expressed as an adjustment layer.
| | 07:07 | You can now go back to it and say, you know
what, maybe I'm overemphasizing the reds
| | 07:10 | at this point, maybe I'm overemphasizing the yellows.
| | 07:13 | Maybe I just want to change my settings
a little bit, maybe I want to tweak them.
| | 07:16 | Double-click on that thumbnail.
| | 07:17 | I'm going to take my Reds value down to 75% at this point.
| | 07:21 | Notice that I am darkening up the image a
little bit, giving it a little more weight.
| | 07:26 | And I'm going to tab down the Yellows, I'm going to
Shift + Down Arrow that a couple of times as well.
| | 07:31 | Again, giving the midtones weight
especially inside of this image.
| | 07:35 | Now I'll update the histogram to see how it looks.
| | 07:37 | It looks great at this point, so always a great idea to
keep track of that histogram, keep an eye on that histogram
| | 07:42 | as you're working inside the Black and White and Gradient
Map dialog boxes, then click OK to accept that modification.
| | 07:49 | There it is.
| | 07:50 | I'll go ahead and hide the histograms now and drag the Layers
palette up a little bit so that we can see more of it onscreen.
| | 07:56 | This is the original version of the image, so a full-color
image, and this is the black-and-white duotone that I've created,
| | 08:03 | thanks to a combination of Black & White and Gradient
Map adjustment layers here inside Photoshop CS3.
| | Collapse this transcript |
| Adjustment layers as creative tools| 00:01 | Now that you have a sense of how you might use adjustment
layers to correct the colors or modify the colors inside
| | 00:06 | of a flat image, let's see how we might use
adjustment layers inside of a multi-layered image.
| | 00:11 | This will also give us a sense for some of the
myriad creative applications of adjustment layers.
| | 00:17 | They've been with us since Photoshop 4, but
they remain amazing, amazing powerful tools.
| | 00:24 | Now I'm looking at a mock book cover
that's included inside of a file called End
| | 00:29 | of road comp.psd that's found inside the 21 Adjustment Layers
folder, and you can see that I have a ton of layers available
| | 00:37 | to me here inside the Layers palette,
and by a ton I mean several.
| | 00:41 | I also have a bunch of layer comps here that
document my progress through this mock book cover.
| | 00:47 | We're going to be assembling this book
cover over the next few exercises,
| | 00:50 | but before we do let me just introduce you to what's going on.
| | 00:53 | This is the final book cover right here.
| | 00:55 | I'm now going to advance to the very first of my
layer comps, which shows a drive-in movie screen.
| | 01:01 | Now, I shot this image back in the late 1990s sometime,
using one of the early models of digital camera.
| | 01:08 | This happened to be a 1.5 megapixel Kodak
DC265, a wee little 1.5 megapixel camera.
| | 01:16 | So I think this is nearly the full
resolution image, maybe it's been cropped,
| | 01:20 | but you can see that we've got some wandering
colors, there's a lot of noise inside
| | 01:24 | of this drive-in movie screen, the
colors are hypersaturated, and so on.
| | 01:28 | That's OK, because we've got so much stuff going on inside
of this file, the viewer of our piece is never going
| | 01:35 | to know that we started with a ratty photograph.
| | 01:37 | Alright, the next layer features some big
type, and this is a line of editable type.
| | 01:41 | So when you open this image there's a chance that you'll
get that warning that asks if you want to update the type,
| | 01:46 | and of course you would click the Update button if so.
| | 01:49 | Next, I add that classic "shoot my own shadow" thing there.
| | 01:52 | I think this was the same road trip, actually.
| | 01:54 | Definitely the same camera.
| | 01:56 | Then I multiplied the shadow image into the other two layers
here, so that we get this sort of interaction going on.
| | 02:02 | I inverted the backdrop using an adjustment layer, then
I added some text elements, and you can see once again,
| | 02:09 | this is live editable text and has nice sharp outlines.
| | 02:12 | I mention that because in the next
layer comp we have blurry outlines.
| | 02:16 | Check that out.
| | 02:17 | I'm going to zoom in here on the word
Fustav, which is the author's name.
| | 02:21 | And let's say -- notice that it's blurry type, which is something
you're not supposed to be able to accomplish inside Photoshop,
| | 02:27 | you hear over and over again that you can't apply filters to live
type, or at least you used to inside Photoshop CS2 and earlier.
| | 02:34 | Now inside Photoshop CS3 you can turn the type into a
Smart Object, as we'll see, and then apply a layer to that.
| | 02:40 | But this effect that I'm about to show you,
it was possible in Photoshop CS2 and earlier.
| | 02:44 | You could do live blurred type.
| | 02:46 | And just to demonstrate that this is live
type, I'm going to go ahead and select it.
| | 02:50 | I mean, let's say my art director comes to me
and says, good god man, his name is not Fustav,
| | 02:55 | it's Vatsuf, you had his name totally backward!
| | 02:58 | Well, then I can just go ahead and enter the proper spelling
of his name if I want to, and then press the enter key,
| | 03:03 | and it's done, and the text is blurry on the fly.
| | 03:07 | I'll show you how that happens, just a preview, I'm just trying
to tease you here, we'll see how it happens in a future exercise,
| | 03:13 | you'll actually be able put that together yourself, in case
you have a mind to create live blurred text on your own.
| | 03:19 | Now the next layer comp shows some dark gradients that I
have at the bottom and the top of this mock book cover.
| | 03:26 | Then I went ahead and inverted the title, so I actually
use the title text in order to invert the layers below it.
| | 03:34 | So the text is serving as an adjustment layer, that's a
little bit of a weird one, I'll show you how that works.
| | 03:39 | And then I added some color to the title, and then finally I
added that scary blue man, and he is also expressed like just
| | 03:46 | about everything inside this image, he is
expressed as an adjustment layer as well.
| | 03:51 | Trippy stuff.
| | 03:52 | We are going to see how every single one of these
items works starting in the very next exercise.
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| Inverting and brightening the background| 00:00 | Alright, let's see how we go about constructing our mock
book cover. This is an old project that I've been doing for
| | 00:07 | years and years as warranted by these low resolution images
here, these old 1990 images, but this is one of those rare
| | 00:14 | projects that I've been doing for years and years that I
just love. I just get a total gas out of it. So that's
| | 00:19 | why I'm sharing the gas with you, man.
| | 00:22 | Alright, so here's what you've gotta do. You've gotta open up this
image, it's called Book cover.psd, and is included, like all the
| | 00:28 | files, in this chapter inside the 21 Adjustment Layers
folder, that's inside your Exercise Files folder,
| | 00:35 | and it contains the base images. Like I said, most of the stuff
that's going on inside of that composition that I showed you in
| | 00:42 | the previous exercise, most of it is adjustment layers, but
there are a couple of base images, and some text elements as
| | 00:49 | well, and they're all included inside this Book cover.psd
document. I'm going to go ahead and press the F key in order
| | 00:55 | to enter the Maximize mode here, so that we can see as much
of the image as possible on my relatively short screen here.
| | 01:02 | Now I'm going to turn on the end of road layer, which is an editable
Text layer as you can see, indicated by this T thumbnail here.
| | 01:09 | And then I'll click in front of the Shadow layer in order to
turn it on, and then I'll click on the layer to make it active,
| | 01:14 | and I'll switch the layer from the Normal mode to the Multiple
mode, and this is a pretty wonderful effect, actually.
| | 01:21 | The way that this relatively light image here with this shadow,
so that really the only thing that's dark at all on the
| | 01:27 | Shadow layer is the shadow itself, and the shadows
that are cast by the rocks and the gravel here,
| | 01:32 | and all of those shadow integrate into the text and the image
below, and this text of course remains editable the whole time,
| | 01:41 | so it's pretty miraculous, actually, how this works. Just
completely a function of a very simple, elegant, and popular
| | 01:49 | blend mode, very useful blend mode,
Multiply, as I've said many times.
| | 01:53 | Alright, but let's say at this point what you really want
is something scarier than this. You want to heighten the
| | 01:59 | scary factor of the drive-in background by- gasp!- inverting it.
So go to the Background layer, go ahead and click on it,
| | 02:06 | and then click on the black/white icon at the
bottom of the Layers palette, and choose Invert
| | 02:10 | in order to apply a layer of inversion to the image below.
| | 02:15 | Now this point, you might say, OK, I understand why a Black
& White and Channel Mixer and Gradient Map, I understand
| | 02:21 | why all those complex functions can
be expressed as adjustment layers,
| | 02:26 | but why in the world would you apply a layer of Invert,
| | 02:29 | instead of just applying the Invert command? Why would you
do that? And the reason is that you can modify the behavior
| | 02:36 | of this inversion. For example, I'm inverting all the luminance
levels, so all of the brightness values inside of the drive-in
| | 02:43 | layer, but I'm also inverting the colors. So what was formerly,
if I scroll down here a little bit, what was formerly
| | 02:49 | sort of this beige dead grass down here becomes blue,
and what was formerly blue sky becomes orangeish.
| | 02:56 | If I don't want that to happen, if I want to invert the brightness
values, but I don't want to invert the colors, then I
| | 03:02 | can change blend modes. I can go up to the Normal blend mode
here and I can switch it out to Luminosity, so that I'm only
| | 03:08 | inverting the luminance levels and I'm keeping the original
colors, like so. And that's not something that you can do
| | 03:15 | with the Invert function by itself. That's something that if you
want to pull that off, you need to use an Invert adjustment layer.
| | 03:21 | Anyway, I am now pretty convinced that this background here
is too dark, and that I'm going to lose my text as a result,
| | 03:29 | it's going to become somewhat illegible.
| | 03:31 | So I'm going to go ahead and lighten up the image, and I have
a couple of options for lightening up the drive-in screen,
| | 03:36 | I could click on the screen,
| | 03:38 | and I could go up to the Image menu, and I could choose Adjustments
and I could choose something like Levels, let's say, in order
| | 03:44 | to boost the brightness.
| | 03:46 | Or I could apply another adjustment layer, and since we're
working in the adjustment layer department here, that's what I'm
| | 03:51 | going to do. I'll just go ahead and apply an adjustment layer to the Background layer. And what I want you to do here is get in the
| | 03:56 | habit of using adjustment layers if you can, because they are so
| | 04:01 | darn flexible, and you'll see what I mean in just a moment here.
Let's go ahead and click on the black/white icon and
| | 04:06 | choose the Levels command,
| | 04:07 | and I want to boost the brightness values, and mostly I want
to boost the gamma value here, so I'm going to change the
| | 04:14 | gamma value from one to two.
| | 04:17 | So it's a big, huge modification. I just boosted the heck out
of the midtones inside of the image. I'll click OK in order
| | 04:24 | to accept that modification.
| | 04:26 | This is before, this is after. So the image is actually darker
as a result of having increased the brightness values
| | 04:34 | inside this image, what in the world happened? Well,
| | 04:37 | I'm in the crazy land of inversion right here, so because
I just lightened the drive-in screen and then inverted it,
| | 04:46 | that means that I went ahead and darkened the cumulative result.
| | 04:50 | So what do I need to do? I need to take that Levels adjustment
and apply it second. So I'm going to move it up above the
| | 04:56 | invert layer and then drop it and notice now that it's not being inverted now that the levels command is not being
| | 05:02 | Invert layer, and then drop it. And notice now that it's not
being inverted. Now that the Levels command is not being
| | 05:09 | boost, this is with that brightness boost, thanks to the incredible flexibility of adjustment layers here inside Photoshop.
| | Collapse this transcript |
| Blurring live, editable type| 00:00 | Alright, so far so good with our mock book cover here. Now
those of you who've been with me for last few exercises, you
| | 00:07 | you might be thinking, hey, clam up already and show us
that really cool thing where you can blur live editable type.
| | 00:14 | Alright, well turns out it has nothing whatsoever to do
with adjustment layers, but it is part of this project, so
| | 00:20 | I'm going to show it to you anyway. It's all about layer
effects, as it turns out, and it's really wicked cool.
| | 00:26 | Alright, so here we are inside of the Book cover.psd
document that's inside the 21 Adjustment Layers folder,
| | 00:31 | and I've added a couple of adjustment layers of course. Up at the
top of the Layers palette is a group that's called Text elements.
| | 00:38 | I want you to go ahead and turn it on so that we
can see the contents of the Text elements folder.
| | 00:43 | And you might want to go ahead and twirl it open as well. You can
see that altogether there are three independent editable type
| | 00:49 | layers that include a quote at the top here. So this is
this "old-fashioned suspensification" item right there.
| | 00:55 | And then the credit, Yikes! Magazine, and then down
below the name of the Fustav Javbar, it turns that
| | 01:02 | his name really is Fustav, it's not Vastuf. So anyway,
| | 01:05 | we want to take the top Text layer and the bottom Text layer
and convert them into blurry blue text, currently it's black.
| | 01:12 | So here's what I want you to do.
| | 01:14 | Go ahead and select the frontmost of the three live Text layers,
and then I want you to go down to the FX icon here and
| | 01:20 | choose Inner Glow,
| | 01:22 | and we'll start things off by setting the color of the inner glow.
Click on this little color swatch there, and I want you
| | 01:27 | to change your H, S, and B values to 220, 50,
| | 01:33 | and 100 respectively, in order to get this light sort of
baby blue color right here, and then click OK in order to
| | 01:40 | accept the modification,
| | 01:41 | set the Opacity value to 100%, and I'm going to
change my blend mode from Screen to Normal, so that I
| | 01:47 | just get a normal interaction of this color along with
everything below it, and you'll see what I mean in just a moment.
| | 01:59 | Change the Source to Center, so that the color is blurring
outward from the center, instead of inward from the edge like
| | 02:00 | that. So choose Center.
| | 02:02 | I want you to go ahead and raise the Size value to 6, so just a
little bit higher, and then raise the Choke value as well, to 30%,
| | 02:11 | so that we're getting a little firmer effect out of this text.
I'm going to go ahead and zoom in, so that we can see the text.
| | 02:17 | At this point you might think, alright, so the blue item
inside the text is blurry, but we still have black letters,
| | 02:23 | that's not blurry, Deke. What is going on?
| | 02:26 | Alright, well, here's what you do. Fill Opacity, remember
that one? Go back to your Blending Options, click on the
| | 02:32 | word Blending Options, and take that Fill Opacity value, look
at the letters as I'm doing this so you can see them disappear,
| | 02:38 | take that Fill Opacity value and reduce it, and the
letters ghost away. Is that not cool? I love doing that!
| | 02:47 | Notice the difference, by the way, if I take Fill Opacity
back up to 100% and I take the Opacity value down, everything
| | 02:53 | goes away, both the text and the layer effect together.
| | 02:56 | So what we really want is Fill Opacity to go down, so by
virtue of the fact that we can drop out the actual fill
| | 03:03 | associated with the letters, we can drop away the letters
themselves and just leave the layer effect behind,
| | 03:09 | we can create blurry type like we've got right here.
| | 03:13 | Alright, let's see it again in a slightly different order here.
Click OK, and let's move down to the author's name down
| | 03:19 | here at the bottom of the screen, and click on fustav javbar
here inside the text elements group, go ahead and click...
| | 03:26 | this time, actually, you know what I want you to do? I want
you to click on FX and I want you to choose Blending Options.
| | 03:32 | Let's start things off
| | 03:34 | by reducing the Fill Opacity value. Because if you know that
you're going to want to express the blurriness using a layer
| | 03:40 | effect, using an Inner Glow effect here, then you might as well get
rid of your text for starters, then you can see what you're doing.
| | 03:46 | So I'm going to reduce that Fill Opacity value to zero
so we're starting with totally invisible text. Where is it?
| | 03:52 | I don't know, it's invisible.
| | 03:54 | Anyway, go ahead and click on Inner Glow
| | 03:57 | in order to bring up that effect, and you can see now
we're applying the Inner Glow effect to invisible text.
| | 04:02 | It's so cool. It's cool a second time, isn't it? Now click
on the yellow swatch right there, and enter the same values,
| | 04:09 | so that's 220 for Hue and 50 for Saturation and then Brightness
of 100%, click OK. Raise that Opacity value to 100%,
| | 04:18 | click Center,
| | 04:19 | and then let's go ahead and take the Size value up higher this
time, and notice how blurry you can make that type, is that
| | 04:25 | not awesome? Oh my gosh it is. Alright,
I'm going to take it to 8 though.
| | 04:30 | And I'm going to increase the Choke value to 40% this time
around, and that rounds off those letters, so it's sort of a
| | 04:37 | combination of a little bit of Box blur, actually, as opposed
to Gaussian blur, with a little bit of Median as well,
| | 04:44 | so rounding off those corners.
| | 04:46 | And then finally I'm going to change the blend mode from Screen
| | 04:49 | to Linear Dodge right here. And this not only affects how
the layer effect interacts with its text, but in this case
| | 04:56 | because the text is missing, because it's invisible, this will
control how the layer effect interacts with the layers below.
| | 05:02 | So go ahead and choose Linear Dodge. It interacts beautifully, looks
so great. Click OK in order to accept that modification. As I said
| | 05:10 | before, this remains editable type, as you can see by
these T icons, so you can modify it at will, depending on
| | 05:18 | your preferences here. So,
| | 05:20 | ways to create blurry or otherwise modified type using layer
effects combined with a Fill Opacity of 0%, fantastic feature
| | 05:30 | available to us here inside Photoshop.
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| Hue, saturation, and darkness| 00:01 | Our new text element layers are really cool and everything,
but they don't stand out very well from the background.
| | 00:06 | So I want to darken the top and bottom of the book cover using an
adjustment layer once again, modified by a gradient layer mask.
| | 00:17 | So let's go ahead and twirl closed the Text
elements group here that we've been working on,
| | 00:21 | inside of the Book cover.psd document that's available
to you inside of the 21 Adjustment Layers folder.
| | 00:28 | Then I want you to go down a couple layers here.
| | 00:30 | Go ahead and click on the Levels 1 layer, and we're
going to add a Hue/Saturation layer this time,
| | 00:36 | but I want to show you a few keyboard shortcuts this time around,
because I haven't shown you any keyboard shortcuts in a while
| | 00:42 | and I'm figuring your brain has healed from
a last ones and you're ready for some more.
| | 00:46 | So here's what I want you to do.
| | 00:47 | Press and hold the Alt key or the Option key on the Mac, and
then I want you to click on the black/white icon right here
| | 00:54 | and choose Hue/Saturation, and now you can
go ahead and release the Alt or Option key.
| | 00:59 | What holding the Alt or Option key down does is
it allows you to name the layer as you create it.
| | 01:05 | So it forces the display of the New
Layer dialog box in other words.
| | 01:09 | Another way to work, I'll go ahead and cancel out of there, is to
go up to the Layer menu, and you can choose New Adjustment Layer,
| | 01:16 | and then choose Hue/Saturation, and you
can do this without having a key down,
| | 01:20 | and that will invoke the New Layer dialog box as well.
| | 01:23 | And it's handy to do that because that way, you
know, you kill a couple birds with one stone.
| | 01:27 | You can name that layer and create it at the same time.
| | 01:30 | And I'm going to go ahead and call this layer Color spin, because
that's what it's going to do, it's going to spin some colors
| | 01:35 | around here, and I'll click OK, and
here's the Hue/Saturation dialog box.
| | 01:40 | The first thing I want you to do is rotate the hues 180degrees.
| | 01:44 | Now, what I've done by rotating the hues 180degrees, that inverts
the hues, and you may recall that I was so careful a moment ago,
| | 01:52 | just a couple of exercises ago, I was so careful to make sure
that we had inverted, using this Invert adjustment layer,
| | 01:58 | that we inverted the Luminance levels, but we didn't
affect the colors at all, and now I'm turning around,
| | 02:04 | just a couple of adjustment layers higher
inside the image, and I am inverting the colors.
| | 02:10 | So what in the world gives?
| | 02:11 | Why am I doing that?
| | 02:12 | You'll see, just hold on.
| | 02:14 | It turns out we're just trying to focus on what's going to
make the text look better, the top text and the bottom text,
| | 02:20 | we don't care about anything else inside the image.
| | 02:22 | So this is going to make things look
better, by rotating those hues 180degrees.
| | 02:26 | I'm also going to take the Saturation
value up, believe it or not,
| | 02:31 | so we get some highly saturated horrible colors in this case.
| | 02:34 | We've got a lot of very sharp, junky color transitions
here, thanks to the copious JPEG compression artifacts
| | 02:40 | that have been heaped on top of this image, and
then I'm going to take that lightness value,
| | 02:44 | that I generally recommend you steer clear of, and I'm going
to reduce it to -50 in order to darken up that background.
| | 02:51 | So we're applying darkening on top of
lightening, we're inverting hues on top
| | 02:57 | of not inverting hues, just all kinds
of wacky stuff going on here.
| | 03:00 | Well, it's all going to work itself out, don't you worry.
| | 03:03 | Click OK in order to accept that modification.
| | 03:06 | Now we want to use a gradient layer mask in order to isolate
this color spin affect to just the text at the far bottom
| | 03:15 | of the image and the far top of the image up here.
| | 03:17 | We're going to do that by adding a layer mask,
so make sure that Color spin is still selected
| | 03:22 | and click on the Add a layer mask icon down here.
| | 03:25 | Then I want you to get the Gradient tool here inside the
toolbox, and we need to switch to a different style of gradient.
| | 03:32 | Notice that I've got Wooden boy selected right
here, and I've got a radial gradient as well.
| | 03:37 | I told you that I was warning you up front, I'm
going to throw a few keyboard shortcuts at you.
| | 03:41 | This is really cool.
| | 03:42 | Very few people know about these keyboard
shortcuts that are available to you
| | 03:44 | when you're using the Gradient tool,
but I figure you're ready now.
| | 03:48 | You can use the Bracket keys to switch between
these different gradient styles right here.
| | 03:53 | So if you press you go one direction,
Left bracket goes the other direction.
| | 03:57 | I want you to press Left bracket to go all
the way back to the Linear style of gradient.
| | 04:02 | You can also cycle between the gradients that you have available
to you by pressing the Comma and Period keys, believe it or not.
| | 04:11 | Comma moves left inside the gradient list, and
Period moves right inside the gradient list.
| | 04:18 | If you want to go all the way back to the very first
gradient you press Shift + , is that not bizarre?
| | 04:24 | But that is the way it works.
| | 04:25 | And Shift + .
| | 04:26 | will take you to the last gradient in the list.
| | 04:28 | Alright, so we want to go to the first one, so press Shift
+ , if you're so inclined, or you can just click here
| | 04:33 | and select the first guy, Foreground to Background,
that's the one we want, and you should, at this point,
| | 04:39 | you should see a white-to-black gradient reading left to
right, because you have white as your foreground color
| | 04:44 | and black as your background color, as by default,
as associated, that is, with your layer mask.
| | 04:49 | Then I want you to drag down, like so.
| | 04:52 | So start dragging just a hair bit
below the word "suspensification" here,
| | 04:57 | and drag down into my chest essentially, and then release.
| | 05:01 | So that isolates the Color spin layer
to this area at the top of the image.
| | 05:06 | We want it to appear down here behind the author name, so
I'm going to switch to the next style inside the list here
| | 05:13 | by pressing the Period key, which is going to take us to the
Foreground to Transparent gradient, and I'm going to drag up,
| | 05:21 | like so, and then release, in order to add the
gradient down there at the bottom of the screen too,
| | 05:26 | so that we have darkening both at the
top and at the bottom of our composition.
| | 05:33 | Now that's not quite dark enough, as it turns out, it's
pretty much roughly as dark as we need it to be at the top
| | 05:39 | of the screen, it's not nearly dark enough
at the bottom of this composition that is.
| | 05:43 | So let's change the blend mode from
Normal to Multiply once again,
| | 05:47 | in order to burn in this color adjustment into the background.
| | 05:52 | Now that's a nice darkening effect behind the author's
name, a very nice darkening effect behind the quote as well,
| | 05:59 | and we're ready to move on to the next step,
which is to address this very attractive,
| | 06:05 | as it turns out, but somewhat illegible book title.
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| Filling type with a color adjustment| 00:01 | So here we are, working inside the book cover.psd document,
| | 00:04 | the original version of which is found
inside the 21 Adjustment Layers folder.
| | 00:09 | We've made a fair amount of modifications
to this composition at this point.
| | 00:13 | We've added some adjustment layers, we've added
some layer effects to the Text layers as well.
| | 00:19 | Now at this point, the publisher says OK, the
main thing that you need to do is make sure
| | 00:24 | that the author's name is perfectly legible, that the
legendary Fustav Javbar can be seen from across the room,
| | 00:31 | so that his fans know that he has a new book out, very important.
| | 00:34 | After that you need to make sure that the title is legible
as well, but you can have some fun with it if you want to.
| | 00:39 | So let's have that fun.
| | 00:41 | One of the things I want to do is I want to take this title
and I want to turn it into an Invert adjustment layer,
| | 00:46 | so that the letters actually invert everything below them.
| | 00:50 | That's a little tricky as it turns out, because
you can't fill text with an adjustment layer.
| | 00:55 | So what do you do?
| | 00:56 | Well let me show you.
| | 00:58 | Go ahead and click on the end of the road layer here inside the
Layers palette, and because we're going to have to render it
| | 01:04 | out to something that's not text, I
want you to make a duplicate of it.
| | 01:07 | Go ahead and press Ctrl + J, or Cmd + J on the
Mac, to duplicate the layer, to jump the layer,
| | 01:12 | so that we have the editable text accessible to us later on here.
| | 01:17 | Let's go ahead and name this duplicate layer
Title invert, and then I'll press the Enter key
| | 01:21 | or the Return key on the Mac in order to accept the new name.
| | 01:24 | Now let's go ahead and take the original layer, end of road, and
let's pop it to the top of the stack by pressing Ctrl + Shift + .
| | 01:31 | That's Cmd + Shift + on the Mac.
| | 01:35 | In order to move it to the top, you could also just
drag it to the top if you prefer, and then turn it off.
| | 01:40 | This is just here so that we can come back to it if we need
it later on, and it's just a good practice as it turns out,
| | 01:45 | to keep your editable text items, to keep those
layers in case you need to come back to them.
| | 01:50 | Alright, now let's go to Title invert, and let me show you.
| | 01:54 | If you go up to the Layer menu and you choose Change Layer
Content, that's where we're going to ultimately need to go,
| | 02:00 | to switch out to a layer of inversion here, it's dimmed.
| | 02:05 | The command is dimmed because we have
an editable Text layer selected here.
| | 02:09 | So I'm going to have to render out that type,
and I could either choose Rasterize, Type,
| | 02:14 | like so, in order to convert the type to pixels.
| | 02:17 | Better yet though, let's keep it a vector object by
choosing type and then choosing Convert to Shape,
| | 02:23 | and that'll convert it to a Shape layer
with a vector mask outline right here,
| | 02:29 | so that we can scale the type later
on down the line if we need to.
| | 02:33 | It's no longer editable with the Type tool,
but it is editable with the Arrow tool
| | 02:37 | and all that jazz, we can edit it as a vector shape.
| | 02:41 | Alright anyway, having done that, notice that I now have
a dynamic color fill associated with this Shape layer,
| | 02:48 | which is the standard way of Shape layers inside Photoshop.
| | 02:52 | Now let's switch it out for an adjustment layer by going
up to the Layer menu, choosing Change Layer Content,
| | 02:58 | and then choosing this guy right here, Invert.
| | 03:02 | It goes ahead and converts that layer
into an Invert adjustment layer, like so.
| | 03:07 | And if I click on the vector mask in order to hide the outlines,
we can see that the text is indeed inverting everything below it,
| | 03:14 | and we can even move that text around if we
want to, and watch it invert things on the fly.
| | 03:19 | Alright I'm going to undo that modification,
because this is good.
| | 03:22 | It's not very legible, as it turns out,
but it is good, and we are having fun.
| | 03:26 | In the next exercise, we're going to have even more
fun, and we're going to start approaching legibility.
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| Using one adjustment to modify another| 00:00 | Alright, here's another wild thing you can do with
adjustment layers: you can use one adjustment layer
| | 00:05 | to modify another adjustment layer
and only that adjustment layer.
| | 00:11 | For example, let's say that I decide that
this "end of the road" text right here,
| | 00:15 | it's obviously cool but not the least bit legible at this point.
| | 00:19 | Let's say I'm thinking that one of
the ways to boost the legibility is
| | 00:23 | to convert everything inside the type to either black or white.
| | 00:27 | So I'm going to create a Threshold layer that
modifies the existing Invert layer right here,
| | 00:34 | and here's how we're going to do it.
| | 00:36 | We're going to make sure that the Title invert
layer that you created in the previous exercise,
| | 00:40 | make sure that that Shape layer is active, then I want you
to press and hold the Alt key or the Option key on the Mac,
| | 00:45 | click and hold the black/white icon,
and then choose Threshold right there.
| | 00:49 | That's going to force the display -- you
can now release Alt or Option by the way --
| | 00:53 | but that key did force the display of the New Layer dialog box.
| | 00:57 | Why don't we call this guy BorW to indicate Black or White.
| | 01:01 | Now I want you to turn on this option right
here, Use Previous Layer to Create Clipping Mask,
| | 01:05 | so that we're clipping the contents of
this Threshold function inside of the type.
| | 01:13 | Then click OK in order to accept that, and notice that the
Threshold Level is set to 128, so anything that's brighter
| | 01:20 | than medium gray is going to turn white, and anything
that's darker than medium gray is going to turn black,
| | 01:24 | and I'll click OK in order to accept that modification, because
it's fine the way it is, we don't have to make any changes.
| | 01:30 | And by virtue of the fact that this layer
is clipped, we're only affecting the type.
| | 01:36 | If it was not clipped, if I unclipped it by
pressing the Alt key or the Option key and clicking
| | 01:41 | on that horizontal bar right there,
you can see that all of the contents
| | 01:46 | of the layers below this layer are getting
converted to either black or white.
| | 01:51 | Alright, I'm going to undo that modification.
| | 01:53 | Now you may look at this and say, wait,
Deke, that's not really black or white.
| | 01:56 | That's black and gravel.
| | 01:58 | And the reason it's black and gravel is
because of the Shadow layer that's on top.
| | 02:02 | If I turn off the shadow layer, you can see that
we just have black-and-white text at this point,
| | 02:07 | thanks to this Threshold layer combined
of course with the Invert layer below it.
| | 02:12 | The fact that we have the Shadow layer set to Multiply
means that we're not affecting the black at all,
| | 02:16 | because you can't get any darker than black, but we're basically
filling the white of the letters with the Shadow layer.
| | 02:23 | Alright, so kind of a nice interaction actually, as it turns out.
| | 02:27 | So there you have it, a very simple effect.
| | 02:29 | You can use one adjustment layer to modify
the contents of another adjustment layer.
| | 02:33 | In the next exercise we're going to add a
couple of different layer effects in order
| | 02:38 | to breathe some new colors into this title text.
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| Breathing color into the title| 00:00 | In this exercise, we're going to breathe some
new color into this title text right here.
| | 00:05 | We're going to colorize the black regions of the text.
| | 00:09 | We've already added this gravel to the light
regions, we're now going to add some color
| | 00:13 | to the dark regions, to the black areas of the text.
| | 00:16 | Then we're going to add a drop shadow, and then
we're going to colorize the text overall, you'll see.
| | 00:21 | Pretty exciting stuff, as it turns out.
| | 00:23 | Alright, the first thing that I want you
to do is make sure that this Threshold,
| | 00:26 | this BorW layer right here, make sure that that's active.
| | 00:29 | Then I want you to go to the FX icon,
click on it, and choose Color Overlay,
| | 00:34 | and notice that that goes ahead and
colorizes all the type at this point.
| | 00:38 | The reason being that it's affecting all the type,
is because this Threshold layer is clipped inside
| | 00:45 | of the Shape layer that represents the outlines of the text.
| | 00:49 | Alright so...
| | 00:50 | and of course the Shadow layer is multiplied into the
text, that's why we're getting that gravel texture there.
| | 00:55 | I want you to start things off by changing
the color by clicking on that red swatch,
| | 01:01 | and at this point you should see a
Hue value of 0degrees, that's fine.
| | 01:05 | Let's change the Saturation value from 100 down
to 30%, and a Brightness value of 100% is fine.
| | 01:10 | So 0, 30, and 100 for H, S, and B. Then click
OK to accept that modification and we have sort
| | 01:16 | of some Pepto Bismol pink sort of rocks going on now.
| | 01:20 | Let's change the Blend Mode from Normal to Lighten, and what
that does is it ensures that we colorize only the black regions
| | 01:29 | of the type, and now we get an interaction between the gravel
and those formerly black regions, so we have an interaction
| | 01:37 | between the gravel and all of the text at this
point, which I think looks really really nice.
| | 01:41 | Now, you may question why I would go with such weird pink text,
but we'll see that ends up resolving itself out pretty nicely.
| | 01:47 | I'll click OK in order to accept that modification there.
| | 01:50 | Now I want to add a drop shadow to the text, and that
means I need to switch to the Title invert layer.
| | 01:56 | So let's click on that Title invert layer, make
sure that you're not seeing the path outlines,
| | 02:03 | so that you can better see what you're doing.
| | 02:05 | Click on the FX icon again, and this time choose Drop Shadow,
and the values that I want you to enter are pretty much these,
| | 02:12 | actually these are pretty close to the right values.
| | 02:15 | I'm going to change the Opacity value to 100%, an Angle value
of -90 works out great, that creates an underlighting effect
| | 02:22 | at this point, so that the light source looks like it's
underneath the characters, casting a shadow upward.
| | 02:28 | Then I'm going to increase the Distance
value to 10 pixels, and then I'm going to tab
| | 02:33 | down to the Size value and increase it to 10 pixels as well.
| | 02:36 | Alright, that looks pretty nice to me.
| | 02:37 | I'll click OK in order to accept that modification.
| | 02:40 | Now finally, I love the way these
letters look, actually, pink or not.
| | 02:44 | I like the way these letters look up close.
| | 02:47 | But if I was viewing this book cover
from across a busy airport, for example,
| | 02:53 | I wouldn't be able to read this text very well at all.
| | 02:55 | So we need to sacrifice some of the esthetics here for higher
legibility, and we're going to do that using the original end
| | 03:03 | of road layer that's up here at the top of the stack now.
| | 03:05 | So I'll click on that layer, I'll turn it on
so that we can see the original orange text,
| | 03:10 | and I'm going to change the Blend Mode
for this layer from Normal to Screen.
| | 03:15 | So the editable text is merging with the stuff below it,
and you can see that that pinkness completely resolves away,
| | 03:22 | because we're replacing it with the orange effect
here, as a result of applying the Screen blend mode.
| | 03:28 | So there you have it.
| | 03:29 | That is it.
| | 03:29 | That's it for the title in any case.
| | 03:31 | There's only one last thing to add here, and
that's that scary blue man in the background,
| | 03:39 | and we're going to do that using an adjustment layer
-- believe that or not -- inside the next exercise.
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| The Hue/Saturation humanoid| 00:00 | Now, admit it.
| | 00:01 | Don't you think it's just amazing, absolutely and completely
amazing, that you can assign layer effects to adjustment layers?
| | 00:08 | You can't apply them to layer groups, that would make too
much sense, but you can apply them to adjustment layers.
| | 00:14 | In this next exercise, we're going to add --
this is the final exercise, incidentally --
| | 00:19 | and we're going to add the blue man himself,
who is the antagonist inside of this famous
| | 00:26 | and very suspensifying Fustav Javbar novel here.
| | 00:31 | And before we do that, I want to clean up my layers a little
bit, so I can see more of my layers inside of the Layers palette.
| | 00:38 | So I'm going to click on the end of road layer here at the top,
and then I'm going to Shift + click on Title invert in order
| | 00:44 | to select that range of layers right
there, and I'm going to press Ctrl + J
| | 00:48 | or Cmd + J on a Mac to assemble them inside of a group.
| | 00:52 | Let's just call this guy Random tidiness because
all he's doing is just trying to clean things up so
| | 00:59 | that we can see the other layers inside the document.
| | 01:02 | Now I want you to click on Color spin, because we're going
to add the blue man directly above the Color spin layer here.
| | 01:09 | Then go to the Channels palette, and
notice here in the Channels palette
| | 01:13 | that I've created an alpha channel in
advance for you that's called petroglyph.
| | 01:16 | I want you to click on the petroglyph layer,
and you can see this scary dude right here.
| | 01:21 | This is actually based on a Native American
petroglyph that I photographed and then abused here,
| | 01:27 | applied a little bit of radial blurring, as
well as making a few modifications of my own.
| | 01:32 | Alright, let's go ahead and load this baby
here, as a selection outline, by Ctrl + clicking
| | 01:38 | or Cmd + clicking on that alpha channel thumbnail right there.
| | 01:42 | So we've loaded it as a selection, we can go
back to the RGB composite version of the image,
| | 01:48 | let's return to the Layers palette, make sure
that the Color spin layer once again is active,
| | 01:52 | and then we're going to add yet another adjustment layer.
| | 01:56 | Is such a thing possible?
| | 01:57 | Yes it is.
| | 01:58 | Go ahead and press the Alt key or the Option key on a Mac,
click on the black/white icon, and choose Hue/Saturation.
| | 02:04 | And we're going to use the Hue/Saturation layer
here in order to fashion the blue man himself.
| | 02:11 | We don't want this checkbox on this time, we
just want to be able the name this fellow.
| | 02:14 | Then click OK.
| | 02:16 | And I want you for starters to go ahead and turn on the
Colorize checkbox so that we're colorizing the layer underneath,
| | 02:23 | and for me it's gone ahead and it's automatically colorizing
everything underneath this layer in green for some reason.
| | 02:30 | But that's because the Hue value is set to 120.
| | 02:33 | I'm not sure why that is though.
| | 02:34 | I'm going to change the value to 220, so that we're matching
the blue, the baby blue color of the letters right here.
| | 02:40 | And then I'm going to change the Saturation value to 100%,
and I'm going to raise this Lightness value to +80 right here,
| | 02:48 | like so, so that we get this very
light blue man that's around my shadow.
| | 02:53 | What's that about?
| | 02:54 | I have no idea, ask Fustav.
| | 02:56 | He knows. Click OK.
| | 02:57 | Or read the book of course.
| | 02:58 | So we have now fashioned the blue man out of an adjustment layer,
thanks to the shape that was provided us by the alpha channel.
| | 03:06 | So that selection outline that we converted from the
alpha channel was automatically loaded as a layer mask
| | 03:11 | for our new adjustment, and this is the final effect, folks.
| | 03:14 | I'm going to go ahead and tab away the
palettes and press the F key a couple of times,
| | 03:18 | and I might as well center this guy
on the screen so that we can see him.
| | 03:21 | Here is the final version of the mock book cover.
| | 03:25 | Thanks to a series of adjustment layers and
layer effects as well, all totally parametric,
| | 03:31 | totally editable effects here inside of Photoshop.
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|
|
22. Smart ObjectsLess smart, more magic| 00:00 | Smart Objects earns my vote for the worst name
for one of the best features in all of Photoshop.
| | 00:06 | Why? Because the term Smart Objects gives you no sense of what
the feature is, and what it is is great. They should have
| | 00:12 | called them Magic Layers, because
everything about Smart Objects is magic.
| | 00:17 | OK,
| | 00:17 | let's start again. A Smart Object is a layer that remembers
its original appearance. The original version of the layer
| | 00:24 | is actually part of the layer composition. Not linked, but embedded.
It's there inside the layered PSD file, waiting for you
| | 00:31 | to call it again and again.
| | 00:33 | What does that mean? It means you can apply nondestructive
transformations. It means you can clone a layer and make changes
| | 00:39 | to all clones from a single source. And as we'll learn in
next chapter, new Photoshop CS3, it means you can apply a
| | 00:46 | filter without damaging the original layer. You can gain access
to everything anywhere, anytime. They really should have
| | 00:54 | called them Magic Layers.
| | 00:57 | Here's why.
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| The holiday composition| 00:00 |
Alright, before we can take advantage of the myriad
functions that are made available to us by Smart Objects,
| | 00:06 |
we need to create a Smart Object in the first place, and we're
going to do that in the context of this composition right here.
| | 00:12 |
It's called Holiday boys.psd, and it is found inside of the 22
Smart Objects folder, and it features an adorable photograph,
| | 00:21 |
you must admit, of my two adorable sons here, Max
over here on the left, and Sammy on the right.
| | 00:26 |
These are my progeny, I'm proud to say, and I've set them inside
of a kind of a holiday card, and this is celebrating the joy
| | 00:35 |
that is the nondenominational holiday Merrimas.
| | 00:38 |
What we have, if I Shift + Tab to bring up my enlarged Layers
palette here, you see that I have a chocolatey background layer,
| | 00:45 |
and then in front of that I have a layer called
warped that is the photograph of my sons,
| | 00:49 |
and then another one that's turned off called boys.
| | 00:51 |
I'll come to that in a second.
| | 00:52 |
And then we have this Santa hat that is
set on top of Sammy's head right here.
| | 00:57 |
And above that is a group that includes
the card title and a few other elements.
| | 01:01 |
Now what's going on with the warped and boys layer?
| | 01:04 |
Well if you turn off the Santa hat for a moment,
you will notice, you'll discover a bizarre element
| | 01:12 |
of Sammy's head, and that is that it's extremely dented.
| | 01:15 |
And you might think, oh gosh, sorry about that.
| | 01:18 |
Actually that was something that I did digitally, with
digital tools, I just did it to the pixels, not his real head!
| | 01:24 |
If you turn on the boys layer, you
will see that his head is just fine.
| | 01:28 |
The hair needs a little bit of combing, perhaps, and there's
not much hair there at this stage, this was a couple years ago.
| | 01:35 |
The reason that I warped the head inward, and I did
that incidentally using the Liquify command up here
| | 01:41 |
under the Filter menu, this guy right there, which
we saw a few chapters back, the reason I did that was
| | 01:47 |
because otherwise the hair shows through, and so does a little
bit of the head, shows through behind the Santa hat layer,
| | 01:54 |
so I had to dent that head inward in
order to tuck the hair into the Santa hat.
| | 02:00 |
Alright, so we don't want to see the boys layer.
| | 02:02 |
In fact, you can just go ahead and throw it away if you want to.
| | 02:04 |
We just want to see the warped layer
and the hat layer on top of it.
| | 02:08 |
Keep that hat layer on, otherwise you get this.
| | 02:11 |
Ahhh! Alright anyway, turn that back on.
| | 02:13 |
Now, how do we go about creating a
Smart Object inside of this composition?
| | 02:18 |
Well, I will show you in the very next exercise
| | 02:21 |
| | 02:22 |
| | Collapse this transcript |
| Placing a Smart Object| 00:00 | In this exercise, we're going to import a
snowflake into this layered composition,
| | 00:05 | and we're going to import the snowflake
as a Smart Object as it turns out.
| | 00:09 | I'm going to click on the hat layer to make
that hat layer active inside the Layers palette.
| | 00:14 | Then I'm going to press Shift + Tab
to make the Layers palette disappear,
| | 00:16 | because I'm going to need a little more room to work onscreen.
| | 00:19 | Then I'm going to go up to the File
menu and choose the Place command.
| | 00:22 | Now, the Place command allows you two things.
| | 00:24 | First of all, you can import an image that's
stored on disk into your ongoing composition here.
| | 00:31 | And the second function of the Place command
is to automatically generate a Smart Object.
| | 00:35 | So any time you import an image using the Place command,
then it becomes a Smart Object inside of the composition.
| | 00:42 | This command is so useful that I've
given you a keyboard shortcut.
| | 00:45 | If you loaded my DekeKeys shortcuts way back many chapters ago,
| | 00:49 | then you have a shortcut of Ctrl +
Shift + D or Cmd + Shift + D on the Mac.
| | 00:53 | The reasoning being, Ctrl + Shift + S gets you to the Save
As command, Ctrl + Shift + D allows you to import something,
| | 00:58 | because they're right next door to each other, don't you know.
| | 01:00 | So go ahead and choose that command, however you
decide to do it, and it click on Snowflake.psd inside
| | 01:06 | of the 22 Smart Objects folder, and then click on the Place
button in order to import the snowflake, and there it is.
| | 01:13 | Now initially you get an X along
with a frame around the snowflake,
| | 01:17 | and that shows you that Photoshop is giving you the opportunity
to scale and otherwise transform the snowflake as you import it.
| | 01:25 | Alright, so I could drag, for example, one of these
corner handles, or Shift + drag it in my case,
| | 01:31 | in order to scale the snowflake down to a
smaller size, and I could drag outside like this
| | 01:36 | to rotate the snowflake into a different orientation.
| | 01:39 | It doesn't really matter how you scale the snowflake
at this point in time, because you're always going
| | 01:45 | to have the opportunity, because it's a Smart Object, you're
going to have the opportunity to modify the transformation
| | 01:51 | to your heart's content later on down the line.
| | 01:53 | So once you've done this, just go ahead and press
the Enter key, or the Return key on the Mac,
| | 01:58 | don't worry about your specific settings,
just go ahead and press Enter
| | 02:00 | or Return in order to add that snowflake to the composition.
| | 02:04 | I'm going to move the snowflake by Ctrl +
dragging it or Cmd + dragging in on the Mac --
| | 02:09 | Ctrl or Cmd is giving me the Move tool on the fly there --
| | 02:12 | I'm going to move it to the upper
right-hand corner of the composition.
| | 02:15 | Then I'm going to press Shift + Tab
to bring back my Layers palette here,
| | 02:19 | and you can see that we have a new layer
that's automatically called Snowflake.
| | 02:24 | Photoshop is smart enough to just go ahead and lift
the layer name from the name of the image itself,
| | 02:29 | and since we imported an image that was called
Snowflake.psd, it went ahead and named this layer Snowflake.
| | 02:35 | And you can see this little tiny
page icon in the lower right corner
| | 02:39 | of the thumbnail, that indicates that this is a Smart Object.
| | 02:42 | So Photoshop employs kind of this little
page layout symbol here in order to indicate
| | 02:47 | that you have linked this layer to a Smart Object.
| | 02:51 | Now by linking I mean that it's linked internally,
so it's not linked to the file that's saved
| | 02:56 | on disk, it's not linked to that Snowflake.psd file.
| | 02:59 | Instead, it's linked to a file that's embedded into this
larger composition, inside the Holiday boys.psd composition,
| | 03:07 | and that'll become evident what that means a
little later, as we work inside of this chapter.
| | 03:12 | Anyway, you have successfully created a Smart Object.
| | 03:15 | Awesome, good job.
| | 03:16 | In the next exercise, we're going to clone
this Smart Object and transform it in order
| | 03:21 | to create a series of five snowflakes inside the Merrimas card.
| | Collapse this transcript |
| Non-destructive transformations| 00:00 | In this exercise, we're going to take this snowflake that
we imported as a Smart Object using the Place command,
| | 00:07 | and we're going to duplicate it several times inside of this
image, a total of five snowflakes is what we're looking for.
| | 00:12 | And every one of our snowflakes is going to be a different
size and a different angle, so we're going to be scaling
| | 00:18 | and rotating the snowflakes as we work along here.
| | 00:21 | Now I've got the Snowflake layer
active here inside the Layers palette,
| | 00:25 | and of course I'm working inside the Holiday boys.psd
image that's found inside the 22 Smart Objects folder.
| | 00:31 | You may recall that when I placed this image in the previous
exercise, I did a little bit of scaling and rotating
| | 00:38 | at that point, so I did scale it down and I did rotate it
as well, and Photoshop's going to remember that information,
| | 00:44 | because we're working with a Smart
Object, it's going to remember.
| | 00:47 | And you can see that it remembers by going up to the
Edit menu and choosing the Free Transform command,
| | 00:52 | or pressing Ctrl + T here in the PC or Cmd + T on the
Mac, and notice now, look up here on the Options bar,
| | 00:58 | we can see that the width and height values are set
to 60%, so 60% of its grand size, its overall size,
| | 01:04 | which is recorded as an embedded file here inside of
the composition, and it's been rotated -18.4degrees.
| | 01:11 | Normally, if this was just a standard
pixel layer, Photoshop would not remember
| | 01:14 | that information, we'd always be working anew from the pixels.
| | 01:18 | This time, however, we're working from an original embedded file.
| | 01:22 | Now I could just start in, dragging corner handles to scale
the snowflake, or dragging outside the boundary here in order
| | 01:28 | to rotate the snowflake like so, butt I've been through
these snowflakes before, and I know how big they need to be
| | 01:33 | and what angles they need to be, so I'm going to turn on the
link icon here, between the W and H values, the Width and Height,
| | 01:38 | and I'm going to change either one of them to 49%, like so, and
then I'm going to change the Angle value to -12degrees in order
| | 01:47 | to rotate it like this, and this is a nondestructive
transformation, meaning that I'm not heaping one transformation
| | 01:53 | onto another, I'm always working from that original
embedded file, I'm applying just a single transformation,
| | 01:59 | so all of my transformation modifications, all my
scalings and all my rotations are being concatenated.
| | 02:05 | This means that they're being added together
to form one single transformation equation,
| | 02:11 | so that we're not heaping a bunch of bad
transformations on top of each other.
| | 02:15 | Anyway, it's all good, is what it translates to, so go
ahead and press the Enter key a couple of times in order
| | 02:20 | to apply that transformation to the snowflake here.
| | 02:24 | I'm going to drag that guy out here just a little
bit, like so, and I'm of course pressing the Ctrl key,
| | 02:29 | or the Cmd key on the Mac, while I'm dragging in
order to temporarily invoke the Move tool here.
| | 02:34 | Now I'm going to press the Ctrl and Alt
keys, or the Cmd and Option keys on the Mac,
| | 02:40 | and drag the snowflake in order to create a duplicate of it.
| | 02:43 | Because I have the Ctrl key down, or the
Cmd key on the Mac, I get the Move tool,
| | 02:46 | because of the Alt key down, or the
Option key on the Mac, I'm cloning.
| | 02:50 | So Ctrl + Alt + drag or Cmd + Option + drag on a Mac to create
a duplicate of that snowflake, and notice that it's still,
| | 02:57 | it is a duplicate item here inside the Layers palette.
| | 03:00 | It's still a Smart Object, and these
guys are actually linked to each other.
| | 03:03 | They're really linked to the original embedded
Smart Object that's inside the composition,
| | 03:07 | and we'll come back to why that's going to be so groovy for us.
| | 03:11 | But just to keep things tidy, you might want
to call this guy Snowflake 2 or something,
| | 03:15 | and you can call the original one
down here Snowflake 1 if you want.
| | 03:19 | Alright, let's go back to Snowflake 2, Ctrl T or
Cmd + T on the Mac to enter the Free Transform mode,
| | 03:24 | and let's enter some predetermined transformation
values here, like 36% for the Width and Height values,
| | 03:31 | and we'll do 17degrees for the Rotate value,
and then press the Return or Enter key a couple
| | 03:37 | of times in order to apply that transformation.
| | 03:41 | Alright, let's move this snowflake up a little bit.
| | 03:43 | Make another duplicate by Ctrl + Alt +
dragging or Cmd + Option + dragging on the Mac.
| | 03:48 | Change the name of this new guy to Snowflake 3, Ctrl + T or
Cmd + T on the Mac in order to enter the Free Transform mode,
| | 03:57 | turn on the link icon, enter 21%, if you're
following along with me, for the W or H value,
| | 04:03 | then enter 10degrees for the Rotation value, and apply
| | 04:06 | that by pressing the Enter key a couple
times, or the Return key on the Mac.
| | 04:10 | Now I want this guy to be, oh in this region here I think,
kind of over Sammy's hand just a little bit, like so.
| | 04:17 | And now let's grab this tiny little snowflake here and Ctrl + Alt
+ drag it over to this region of the image, and that will create
| | 04:25 | yet another layer, yet another clone, which I'm going call
Snowflake 4, and then I'll press Ctrl + T or Cmd + T on the Mac
| | 04:33 | in order to once again invoke the Free Transform mode.
| | 04:36 | Now here's something that's really interesting.
| | 04:38 | You can make the snowflake bigger if you want to.
| | 04:42 | I'm going to turn on the link icon, and let's
say I decide to enlarge the snowflake to 100%.
| | 04:47 | That's going to be that original 100%.
| | 04:50 | I'll go ahead and apply that transformation value.
| | 04:53 | It's going to be working from the original snowflake, so
it all looks good, and I'm very zoomed in at this point,
| | 04:58 | I'm looking at the image at the 200% view size, so we're
going to see pixels at this point, but they're good pixels,
| | 05:03 | everything's still intact, we're not heaping one transformation
onto another transformation onto another transformation.
| | 05:10 | So feel free, what I'm trying to tell you is feel free to
transform your Smart Objects as many times as you want, in a row,
| | 05:17 | not in a row, however you want to work, you have
complete freedom now where transformations are concerned.
| | 05:22 | Witness, for example, that I'm going to press Ctrl +
T or Cmd + T yet again, without breaking a sweat even,
| | 05:28 | I'm not the least bit concerned about
it, and I'm turning on the link icon.
| | 05:31 | I'm changing the width or height value to 41% this time.
| | 05:34 | I'll make the rotate value 17degrees,
and I'll apply that transformation.
| | 05:39 | Let's go ahead and drag this out a
little bit to this region right there.
| | 05:42 | And a final -- you may think, gosh how many
snowflakes are we going to make, five is the answer --
| | 05:46 | a final clone by Ctrl + Alt + dragging,
or Cmd + Option + dragging,
| | 05:51 | and I'll call this final snowflake Snowflake
5 of course, because that's what it is.
| | 05:56 | Ctrl + T or Cmd + T on the Mac in order to enter
the Free Transform mode, turn on the link icon.
| | 06:01 | Let's change this guy to 26%, oops I didn't select
anything, let's go ahead and change this guy to 26%,
| | 06:07 | and let's change the Rotate value to -4degrees.
| | 06:11 | Press the Enter key a couple times in order to accept that
modification, and let's go ahead and drag this guy right there,
| | 06:16 | and now we have all the snowflakes that we need.
| | 06:19 | The only changes that I want to make are this guy here, I
believe he's Snowflake number 4, and then this guy here,
| | 06:25 | which is of course Snowflake number 1, they need to go
to the bottom of the stack, so click on Snowflake 4,
| | 06:30 | Ctrl + click on the empty region of Snowflake 1, not
inside the thumbnail, because that would select it,
| | 06:36 | so Ctrl + click out here, or Cmd + click on a Mac, and then I'm
going to press Ctrl + shift, or on a Mac Cmd + shift + in order
| | 06:45 | to move those guys down to the bottom of the stack
like so, so that they are in back of the image
| | 06:51 | of my sons, and this is what I end up coming up with.
| | 06:54 | These are all five of my snowflakes, created from a
single Smart Object, transformed as many times as I like,
| | 07:02 | thanks to the amazing power and flexibility
of Smart Objects inside of Photoshop.
| | Collapse this transcript |
| Converting a layer to a Smart Object| 00:00 | Alright, so far we have imported a Smart Object in the form of
this snowflake right here, we've cloned it several times inside
| | 00:08 | of the image, and we have applied a
series of nondestructive transformations
| | 00:13 | to the five snowflakes inside of this Merrimas composition.
| | 00:18 | Now, if you had problems keeping up with me with all of
those snowflakes, and your snowflakes are all over the place,
| | 00:23 | why then you can catch right up and be on exactly
the same page that I'm on, if you choose to do so,
| | 00:30 | if you desire, by opening up this image right here.
| | 00:32 | It's called Avec snowflakes.psd.
| | 00:35 | This time around, we're going to play with the hat,
the hat that's on top of Sammy's head right now.
| | 00:41 | Now, if you have children, you know that this would be a problem.
| | 00:44 | You can smell trouble inside of this image.
| | 00:47 | Why? Because Sammy's got a hat and Max doesn't have a hat.
| | 00:50 | That's not going to work.
| | 00:52 | That's just not going to fly.
| | 00:54 | We are going to have a lot of problems in that scenario.
| | 00:56 | So I'm going to go ahead and take Sammy's
hat and put it on Max's head as well,
| | 01:00 | and we're going to duplicate the hat and transform it.
| | 01:02 | So go ahead and bring up your Layers palette, and
I'm doing that by pressing Shift + Tab of course.
| | 01:07 | And I'm going to go to the hat layer.
| | 01:09 | Now, what's the problem right away?
| | 01:11 | The hat layer, is it a Smart Object?
| | 01:13 | No, it's not.
| | 01:13 | And how do we know it's not a Smart Object?
| | 01:15 | It doesn't have the little Smart Object doohickey right
here down in the lower right corner of the thumbnail.
| | 01:20 | It's a regular dumb pixel layer.
| | 01:23 | Alright, we need to change that.
| | 01:24 | Before we go cloning it and scaling it and rotating it and even
warping it to fit Max's head, we need to make it a Smart Object.
| | 01:32 | Well how do we go about doing that?
| | 01:33 | We don't want to import the hat.
| | 01:35 | I didn't give you the hat as a separate file for you to
import using the Place command, so that's not a option.
| | 01:40 | Instead, we need to take this layer
and convert it into a Smart Object.
| | 01:44 | Alright, that's another option, that's another way you can work,
but first I want to show you how this layer's put together.
| | 01:50 | Go ahead and twirl open the layer by clicking the down-pointing
arrowhead, what was formerly the down-pointing arrowhead
| | 01:56 | to the right of the layer name here, to reveal the layer effects,
Drop Shadow and Inner Shadow, notice those guys right here.
| | 02:02 | We can see the contribution.
| | 02:03 | Let's go ahead and turn them off, and I'll go ahead and
Shift + click on the layer mask to turn it off as well.
| | 02:09 | And this is what the Santa hat layer really looks like, because
I did a fair amount of painting in order to add a little bit
| | 02:16 | of shading to the hat, and I totally painted
outside the lines, I made a mess of it.
| | 02:20 | But because I have this layer mask right here,
it all gets clipped into place very nicely.
| | 02:25 | And then I added a Drop Shadow to create kind
of a little fakey cast shadow onto Sammy's head,
| | 02:31 | and then I added an Inner Shadow as well for some fakey depth.
| | 02:35 | And that's actually all OK, because it's a fakey card after all.
| | 02:38 | Nobody believes that the hat is really on Sammy's head, we
just want to make it look like it could be on Sammy's head.
| | 02:44 | Alright, let's take this layer and
convert it into a Smart Object.
| | 02:48 | How do we do that?
| | 02:49 | Well, a few ways.
| | 02:50 | You can go up to the Layer menu and you can choose Smart Objects
and then choose this guy right here, Convert to Smart Object,
| | 02:56 | or if you loaded my keyboard shortcuts, my DekeKeys keyboard
shortcuts way, way long ago, then you can press Ctrl + ,
| | 03:04 | or Cmd + , on the Mac, in order to
convert a layer to a Smart Object.
| | 03:07 | And then finally, you can right-click on
the empty portion of this layer, like so.
| | 03:13 | Alright, don't right-click on the thumbnail, you've
got to right-click over here in this empty region,
| | 03:17 | and then choose this command right
there, Convert to Smart Object.
| | 03:20 | Now before I do that, I want you to
look carefully at what's happening.
| | 03:24 | Go ahead and zoom into Sammy's face right
there, and pay attention to the drop shadow.
| | 03:29 | Watch that dark drop shadow that's on his face.
| | 03:32 | Now let's right-click again on the hat layer and choose
Convert to Smart Object, and notice what happened.
| | 03:38 | The shadow became sort of ickier.
| | 03:41 | It became more of a Normal mode shadow
instead of a Multiply mode shadow.
| | 03:45 | Now why would that be?
| | 03:46 | Well, let's take a look at this hat right here, the hat layer.
| | 03:49 | It is a Smart Object, as you can see, as witnessed by this
little Smart Object icon, but we're not seeing the layer mask,
| | 03:55 | even though it is in play, and we're not seeing
the layer styles either, the layer effects.
| | 04:00 | What gives?
| | 04:01 | Well they're all included inside of this one Smart
Object, and in order to see what those items look like,
| | 04:07 | go ahead and double-click on the Smart
Object thumbnail right there in order
| | 04:12 | to open the embedded Smart Object that's included inside
the file, that's embedded inside of this composition.
| | 04:18 | You'll get this elaborate warning here that's telling
you how to save your changes if you make changes
| | 04:24 | to the Smart Object, how to go about saving those changes.
| | 04:26 | And then there's this weird item about
having to flatten the image later on.
| | 04:30 | That sometimes comes into play, I'll show you that
later, but for now I want you to say Don't show again,
| | 04:35 | turn on the Don't show again checkbox and click OK
in order to bring up a separate window, there it is.
| | 04:41 | I'm going to press Shift + F so that I can
see these images at the same time here.
| | 04:46 | And this is an image called hat.psb.
| | 04:48 | It is the embedded Smart Object, and the PSB
extension indicates that it's a Smart Object.
| | 04:55 | That's one of the things that the PSB
extension can indicate at any rate.
| | 04:58 | And we can see everything that's associated with
the hat, that was formerly associated with it.
| | 05:02 | There's the pixels and there's the layer
mask and there are the layer effects.
| | 05:06 | Now the problem is that everything is being
subjected to the Normal mode at this point.
| | 05:12 | So we're not getting that shadow
interaction that we were looking for.
| | 05:16 | If you want to regain the Multiply Drop Shadow behavior,
and we do of course, we want this image to look right
| | 05:23 | on Sammy's head, why then here's what you need to do.
| | 05:26 | You need to right-click on Drop Shadow, on the words Drop
Shadow right there, and say Copy Layer Style in order to copy it
| | 05:33 | so we can later paste it back onto the Smart Object.
| | 05:36 | Then let's go ahead and just turn the Drop Shadow off, so
that it's not coming into play inside of the Smart Object.
| | 05:43 | We'll reapply it in just a moment.
| | 05:44 | So turn it off.
| | 05:45 | And then I want you to update your Smart Object
inside of the background, and you do that like so.
| | 05:51 | Go ahead and click on the Close box, which is on the right side
of the title bar here on the PC, or the left side on the Mac,
| | 05:57 | and when you're asked to save your
changes, click on the Yes button.
| | 06:01 | And that's going to go ahead and update the Smart Object and save
your changes here inside of the Avec snowflakes.psd composition,
| | 06:12 | so we're actually saving the changes to an
embedded file that's inside this composition.
| | 06:19 | I did not save the file to disk, so I didn't
actually perform a save of Avec snowflakes,
| | 06:24 | instead I saved the hat into memory inside
of this Avec snowflakes composition file,
| | 06:31 | if that makes any sense, that's what's going on.
| | 06:33 | Alright, now we need to add the Drop Shadow back.
| | 06:36 | So right-click on the hat layer and say Paste Layer Style, and
that goes ahead and assigns the Drop Shadow and the Inner Shadow,
| | 06:45 | which we don't need at this point, goes ahead
and assigns both of them to the hat Smart Object.
| | 06:50 | Just go ahead and turn off Inner Shadow, because we
don't need that one, that was already left turned
| | 06:54 | on inside the Smart Object, and now we have the proper
interaction, the interaction that we were looking for.
| | 07:00 | Alright, so that's how you take a layer that's already found
inside of the composition, and convert into a Smart Object.
| | 07:07 | We also saw how you go about modifying
the contents of a Smart Object.
| | 07:12 | In the next exercise we will take this hat and we will duplicate
it onto Max so we have a little bit of sustained brotherly love.
| | Collapse this transcript |
| Non-destructive warping| 00:00 | In this exercise, we're going to make a
couple of copies of Sammy's hat here,
| | 00:05 | which we have converted to a Smart Object here inside
the Layers palette, and we did that of course in the previous
| | 00:11 | exercise, you may recall. Now I do have the hat layer active,
I've gone ahead and twirled closed the layer effects, just for
| | 00:18 | the sake of tidiness.
| | 00:19 | Now I'm going to press Shift+Tab in order to make that Layers
palette go away, so I can focus in on the image once again.
| | 00:25 | I'm going to zoom in, to the 100% zoom ratio.
| | 00:29 | Now I'm going to Ctrl+Alt+drag that hat, or
Cmd+Option+drag it, in order to make a clone of the hat.
| | 00:36 | I'm going to press Ctrl+T or Cmd+T on the Mac in order to
invoke the Free Transform mode, and I'm going to make this hat
| | 00:43 | much smaller,
| | 00:45 | and put it on Max's shoe. I figure his shoe
needs a little bit of a hat, don't you know.
| | 00:51 | I really want Max to be happy, I don't want to have any
friction here, so if I give him an extra hat on his shoe,
| | 00:57 | maybe that will result in calm waters, don't you know. It might
make Sammy angry, but then I can tell him, hey, your shoes
| | 01:04 | aren't up. I couldn't put a hat on your shoe,
don't you see? I think he'll understand.
| | 01:10 | He's the second child, he's a much more understanding kid,
and I say that, by the way, I say that as a firstborn
| | 01:17 | myself, alright, so I'm being fair. So I'm going to press the
Enter key, or the Return key on the Mac, in order to apply that
| | 01:24 | transformation, so that we have that hat,
that tiny hat on top of his shoe there.
| | 01:29 | Now let's Ctrl+Alt+drag that hat
| | 01:32 | on to Max's head. That's a Ctrl+Alt+drag on the PC
or Cmd+Option+drag on the Mac. Press Ctrl+T or Cmd+T
| | 01:39 | in order to once again enter the Free Transform mode.
| | 01:42 | Let's enlarge the size of the hat, knowing full well that this
is a nondestructive transformation and we are not going to
| | 01:48 | hurt anything in doing this, we're always working
from that original embedded Smart Object file.
| | 01:54 | Let's go ahead and make the hat a little bigger as well, and we do have
a little bit of headroom inside the file, although this is going to get
| | 02:01 | cropped away, as it turns out, when
I actually print and cut these cards,
| | 02:05 | but I'm just trying to make sure
that it looks right on his head.
| | 02:08 | Now, I think it needs a little bit of warp, and it turns out
warping is something that you can apply to a Smart Object
| | 02:17 | as well. So not only do you have nondestructive scaling and
nondestructive rotations, but you've got nondestructive
| | 02:23 | distortions. To apply said warp, go up here to the Options
bar and click on this little warp icon over here on the
| | 02:30 | right-hand side of the Options bar,
| | 02:32 | and now I'm just going to drag up a little bit on that
handle, drag a little down here on this corner handle.
| | 02:40 | I might sort of move the hat upward and then downward here.
| | 02:45 | I'm trying to give it a little bit of a roll, like
that there, and that's going to mean that I need a big
| | 02:52 | warp, a big distortion at this point.
I'll drag this down a little bit,
| | 02:55 | and then I'll drag down on the hat, I'll drag maybe outward a little
bit, and inward right there, I don't want to drag so far inward
| | 03:03 | that I reveal Max's head,
| | 03:05 | but I do want a little bit of a dent right there.
I don't want it to look like something 's in there,
| | 03:10 | like there's a badger on his head or something along thoselines.
Where I came up with badger, I don't know. I don't know that.
| | 03:16 | I'm just thinking there might be something inside that hat, and
I don't want it to look that way, I want it to look empty, so a
| | 03:21 | little saggy, don't you know,
| | 03:23 | on top of his head, and that looks pretty good to me.
| | 03:26 | Alright, so I'll go ahead and escape out of
the Warp mode by clicking on this icon once again.
| | 03:31 | I'm now back in the standard Free Transform mode,
if I want to make some additional alterations.
| | 03:36 | But this looks pretty good to me. I'll just go ahead and
press the Enter key or the Return key on the Mac in order to
| | 03:41 | accept that modification. Now once again, bear in mind this is
a nondestructive modification, so if you change your mind about
| | 03:48 | anything, any of the transformations that you've applied to
this hat so far, just go ahead and press Ctrl+T, don't undo,
| | 03:54 | just press Ctrl+T or Cmd+T on the Mac,
| | 03:57 | and reenter that Free Transform mode if you want. All of your
Warp settings are still in place there, so you can do a few
| | 04:04 | more little drags, everything is live, dynamic,
| | 04:08 | wonderful. Exactly the way that it was meant to be. And it
just started happening, Smart Objects just came into being in
| | 04:16 | Photoshop CS2. How did we ever live
without them? They are so radically cool.
| | 04:20 | Alright I'm going to press the Enter key in order
accept that modification. So there we have it.
| | 04:25 | A bunch of Santa hats, all the way around. I'm going to press
Shift+Tab to bring back up my Layers palette. Notice that
| | 04:31 | we have hat, hat copy, and hat copy 2.
| | 04:33 | Let's rename these guys, hat 1-
| | 04:37 | again I'm just being the tidiness police here-
| | 04:39 | hat 2, and then finally of course hat 3, not 32,
hat 3, like that, and so we have a series of three hats,
| | 04:47 | five snowflakes.
| | 04:49 | a golden composition that we're working on here, thanks to Smart Objects so far, but it gets even better. So far it's
| | 04:56 | been cool. In the next exercise, I'm absolutely going to take your breath
way. I'm not even going to tell you what we're doing, but stay tuned.
| | Collapse this transcript |
| Changing all the snowflakes to stars| 00:00 | Alright, are you ready for some fireworks here?
| | 00:03 | And I mean literally, because we're going to be
transforming this card into something more patriotic.
| | 00:09 | I'll explain why in just a moment.
| | 00:11 | But first, you might want to catch up with me.
| | 00:13 | I'm working inside of a newly updated image, it's called
Merrimas card.psd, and it includes all the snowflakes,
| | 00:20 | all five snowflakes, and all three hats that I've
added over the course of the previous exercises.
| | 00:26 | I've taken the liberty of further
warping the hat on top of Max's head,
| | 00:31 | cause it still didn't look right to me,
and of course that's a no-worry warp.
| | 00:35 | I'm not a worrywarp, are you?
| | 00:37 | No, thanks to nondestructive transformations
here, thanks to Smart Objects,
| | 00:41 | we don't have to worry about our warps at
all, but we do have to worry about this.
| | 00:45 | Let's say that Merrimas has come and gone, and I failed
to get the cards out, I totally missed the holiday,
| | 00:51 | but thankfully Presidents' Day is coming up, and
I know that all my friends and neighbors are going
| | 00:56 | to be expecting Presidents' Day cards from me.
| | 00:58 | I already have this composition assembled, and I think I can
go ahead and automatically update several of the objects,
| | 01:06 | several of the layers here inside of this file
in order to create a Presidents' Day card.
| | 01:11 | So for example, I can change out all of
the snowflakes for, say, stars perhaps.
| | 01:17 | And I can change out all of the Santa
hats for sort of Uncle Sam hats,
| | 01:22 | and I can do that in a series of
single operations, as it turns out.
| | 01:26 | You'll see what I mean.
| | 01:27 | So go ahead and bring up your Layers palette
once again, as I'm doing by pressing Shift + Tab,
| | 01:32 | and if you twirl open this top group that's called Card
title, you'll not only notice that there's a title item,
| | 01:38 | which is Happy Merrimas right here, and there are
some crop marks, which are these guys in the corner,
| | 01:42 | these little crop marks that I added that mark
where I need to cut the card when I print it.
| | 01:47 | I want you to turn off the title layer to
make that Happy Merrimas thing go away,
| | 01:52 | and turn on the President's Day!,
which says Happy President's Day!
| | 01:56 | I've created it in advance for you, but
you know if we were working with live text
| | 02:01 | that we could warp, then we could just change that text out.
| | 02:03 | But it required a little bit of finessing,
so I thought I'd do it for you in advance.
| | 02:07 | Alright, so we got our text done, that's good news.
| | 02:09 | Now let's replace the snowflakes with
stars, how do we go about doing that?
| | 02:13 | Every single one of these snowflakes, as I was telling
you, because they're all cloned from a single layer,
| | 02:18 | every single one of those snowflakes is linked to
a single Smart Object file that's embedded inside
| | 02:25 | of this larger Merrimas card.psd composition, and so we can
double-click, in order to access that Smart Object file,
| | 02:33 | week can double-click on any one of the
Snowflake layers, it doesn't matter which one.
| | 02:38 | I'll just go ahead and double-click on Snowflake 3.
| | 02:40 | As I say, it doesn't matter which one
you use, any one is going to do fine,
| | 02:44 | and you'll open up a separate image here that's
called Snowflake.psd, and it's named, by the way,
| | 02:50 | it's named .psd after the original snowflake file,
which was called Snowflake.psd as you may recall.
| | 02:57 | Alright, now we can't see the snowflake very well
against the standard white and gray checkerboard,
| | 03:02 | and so I'm going to change the color of the checkerboard by
going to the Edit menu and choosing the Preferences command,
| | 03:09 | that would be the Photoshop menu and then
choose the Preferences command on the Mac,
| | 03:13 | and then I want you to choose this item right here, Transparency
& Gamut, in order to bring up the transparency colors
| | 03:20 | for the checkerboard, and the color of
the Gamut Warning, which tells you whether
| | 03:24 | or not you're working inside the CMYK
space, nothing to worry about right now.
| | 03:28 | Alright, I'm going to change out these colors by clicking
on white in order to bring up the transparency grid.
| | 03:33 | And I'm going to change it to sort of a low-saturation blue, like
so, so that I can just see this snowflake a little more easily.
| | 03:41 | Then I'll click OK.
| | 03:42 | Now I'll change the darker of the two colors
to something of a blue, a low-saturation,
| | 03:47 | darkish blue as well, like that, and then click OK.
| | 03:50 | And here's our new checkerboard pattern.
| | 03:53 | Now you might not want to use this kind of colored checkerboard
on a regular basis, because it can throw off your perception
| | 03:59 | of what the colors inside of a layer look like.
| | 04:03 | That's why it's a neutral gray by default.
| | 04:05 | But in our case we need a little bit
of color to offset that snowflake.
| | 04:08 | So I'll click OK, and of course the transparency
checkerboard is not something that prints.
| | 04:14 | This is just a temporary settings, it's a Preference setting
that Photoshop tracks for you, and if you wanted to reset it,
| | 04:19 | you would just have to go back into that Preference
panel there and change it back to one of the presets.
| | 04:25 | Alright, anyway, we can see what the snowflake
looks like very nicely I think at this point.
| | 04:29 | Now I"m going to press Shift + F to switch back to our
multi-window mode here, so that we can see the boys
| | 04:35 | in the background, so we can see that
Merrimas card.psd composition file
| | 04:39 | in the background, from whence the Snowflake.psd file came.
| | 04:43 | Now I'm going to open another file, I'm
going to press Ctrl + O or Cmd + O on a Mac,
| | 04:48 | and I'm going to open this file right here called Star.psd,
| | 04:51 | that's also found once again inside the 22
Smart Objects folder, and click the Open button.
| | 04:57 | And this is a little line drawing that I made with a Sharpie.
| | 05:02 | I actually took a piece of paper and got a Sharpie
out and drew this star, and then I scanned it
| | 05:06 | and then I used basically an alpha channel operation in
order to set it against a transparent background like this,
| | 05:13 | and if you're curious about how that kind of stuff works, you can
check out my full Photoshop Channels and Masks series that goes
| | 05:20 | into a huge amount of detail about
such alpha channel modifications.
| | 05:23 | Anyway, I've got the star, that's what counts,
and it's on an independent layer, that counts too.
| | 05:28 | Let's just go ahead and grab this guy, notice that
I've very intelligently named the layer Layer 4.
| | 05:34 | Why I did that, I don't know.
| | 05:36 | It apparently was the fourth layer inside
of this composition at some point in time.
| | 05:39 | Anyway, just go ahead and Ctrl + drag and drop it,
that's a Cmd + drag-and-drop on the Macintosh side,
| | 05:46 | in order to move it into the Snowflake composition
right here, inside the Snowflake window.
| | 05:51 | And then you can close Star.
| | 05:52 | We're done with it.
| | 05:53 | So go ahead and close that Star image
so we're not junking up our screen.
| | 05:56 | Now I'm going to press the F key to once again enter the Maximize
mode, and I'm going to zoom out from the image a little bit,
| | 06:02 | and I'm going to press Ctrl + T or Cmd + T on a
Mac in order to Transform this star into place.
| | 06:09 | Now notice, by the way, that the star is not a Smart Object.
| | 06:12 | You can have Smart Objects embedded inside Smart
Objects if you want, you can work that way.
| | 06:18 | In my case I'm choosing not to, just cause I want
to keep things a little simpler at this point.
| | 06:25 | But I do need to Transform this star so that
if fits inside of the Snowflake composition.
| | 06:31 | I'm going to go ahead and rotate the star so that it's as big as
it possibly can be, and then I'll make it a little larger there,
| | 06:39 | like so, actually the top is sticking
out, so let's take it down there.
| | 06:43 | Alright, this looks good to me.
| | 06:44 | Then I'll press the Enter key or the Return key
on a Mac in order to accept that modification.
| | 06:48 | Now I should say, because we're not working with a Smart
Object layer, we're working inside of a Smart Object,
| | 06:55 | but the layer itself, this star, is not a Smart Object,
we don't want to be applying multiple transformations,
| | 07:00 | multiple series of transformations, because
we're working with pixels at this point.
| | 07:05 | Alright, I'm going to rename Layer 1 "star," because
that's what it is after all, and then I'll just go ahead
| | 07:10 | and turn off the Snowflake layer, so that it's
just a star, and I'll go ahead and press Shift + F
| | 07:17 | to return to the Standard window mode at this point.
| | 07:20 | Let's go ahead and make the Star window a little smaller
so that it doesn't take up as much room onscreen,
| | 07:26 | and so that we can see what's going on in the background.
| | 07:28 | Alright, let's say that you want to be able to preview the
modification that you made, inside the larger composition,
| | 07:35 | without closing out of the Smart Object, how do you do that?
| | 07:40 | Well you just go up to the File menu and choose the Save command.
| | 07:43 | Don't use Save As, because that will break the link
between the Smart Object and its larger composition here,
| | 07:49 | so you've got to choose the Save command
to save it into the composition, in memory,
| | 07:54 | and you can press Ctrl + S or Cmd + S as well if you want to.
| | 07:57 | Alright, then wait for it, just give it
a few seconds to apply those changes,
| | 08:01 | and there you can see them applied inside
of the background composition right here.
| | 08:08 | So I have made those modifications.
| | 08:10 | The snowflakes have become stars, every single one of
them, because I modified the embedded Smart Object,
| | 08:17 | every instance of this Smart Object has modified as well.
| | 08:22 | Now you might say OK, that's great, it's really
cool that you're able to do that in one operation
| | 08:26 | like that, but the stars don't look good, do they.
| | 08:29 | They don't look good in their new homes.
| | 08:31 | They look kind of thin and icky and stuff like that compared
to those robust snowflakes that we had a moment ago.
| | 08:38 | Well, turns out that we will address
that problem in the very next exercise.
| | Collapse this transcript |
| Revising the stars| 00:00 |
In the last thrilling exercise, you may recall that we switched out all
of the snowflakes inside of this Merrimas card.psd document for stars.
| | 00:08 |
The stars look great if we're trying to go for a
Presidents' Day card, which is what we're trying to do.
| | 00:15 |
Remember we're switching out
| | 00:17 |
the Merrimas card for a Presidents' Day card at this point.
| | 00:20 |
The only problem is that the stars look a little light,
they look a little tentative, a little timid inside the
| | 00:28 |
composition. We need to bolster them up, make them more garish,
don't you know, and that's exactly what we're going to do.
| | 00:33 |
So I still have this Snowflake.psd Smart Object that's
embedded inside the Merrimas card.psd composition.
| | 00:41 |
I have it still open up onscreen, thanks to the actions that
I performed in the previous exercise. I still have the star
| | 00:48 |
layer active. So if you're working along with me, we're going
to be changing the color of that star layer. Bring up the Color
| | 00:54 |
palette, which you can do by pressing the F6 key
or choosing Color from the Window menu up there.
| | 00:59 |
And I'm going to change the color,
the foreground color here, using the HSB Sliders.
| | 01:06 |
So go ahead and choose HSB Sliders from the Palette menu.
| | 01:08 |
And then I'll change the H value to 240degrees, the Saturation
value to 100%, and the Brightness value to 50%, for a nice robust
| | 01:17 |
American blue, don't you know.
| | 01:19 |
And then I'll press Shift+Alt+Backspace or Shift+Option+Delete
on a Mac in order to fill that star- I'll go ahead and make it
| | 01:27 |
bigger there-
| | 01:28 |
in order to fill those star lines, the opaque contents of the
star layer, with the new foreground color. So once again, that's
| | 01:35 |
Shift+Alt+Backspace or Shift+Option+Delete.
| | 01:38 |
Now I want to add something of a gradient sunburst in back of
the star, and I'm going to do that by adding a new layer in back
| | 01:44 |
of the star, which you can do by pressing the Ctrl key and
clicking on this little page icon at the bottom of the Layers palette.
| | 01:49 |
You can also Cmd+click if you want to, on the Mac,
in order to add that layer behind the star layer.
| | 01:55 |
Let's name it, something like sunburst is probably going
to work out for us. Now let's get the Gradient tool,
| | 02:01 |
press the X key in order to swap the foreground and
background colors, so the foreground color is now white,
| | 02:06 |
and I want you to switch to the Foreground to Transparent gradient,
| | 02:10 |
a style of Radial,
| | 02:12 |
and then we'll drag from approximately
the center of the image upward, like so.
| | 02:17 |
I'm Shift+dragging just to make sure that I have a vertical
drag. I don't want you doing a corner drag like this, because
| | 02:22 |
your gradient will be too big, and it will be clipped by the
canvas size. so it'll have a sharp edge, you don't want that.
| | 02:28 |
So just drag upward, and leave yourself a little bit of
wiggle room at the top there, so come within, you know, a few
| | 02:34 |
pixels of the top in order to create this kind
of sunburst. We don't want to have any clipping,
| | 02:38 |
and I don't think we do at this point, looks pretty good.
| | 02:40 |
Now I'm going to add another layer, just by pressing Ctrl+
Shift+N, Cmd+Shift+N on the Mac, I'm just mixing it up,
| | 02:46 |
because I want to be able to name the layer as I create it, in
front of the sunburst layer, so I don't have to do that Ctrl+click
| | 02:52 |
trick. And now I'm going to enter "redness," because that's what it's
going to be, it's going to be a little bit of red as you'll see.
| | 02:58 |
Go ahead and grab yourself the Lasso tool at this point,
| | 03:02 |
and I want you to Alt+click or Option+click on the Mac to get
that Polygonal Lasso function, and I want you to draw a crude
| | 03:10 |
five-pointed star like so, just any old place.
You don't have the trace the existing star, just go like
| | 03:16 |
Alt+click, Alt+click, like so, I'm just keeping the Alt key
down this entire time, that would be the Option key on a Mac.
| | 03:21 |
Notice that they don't match exactly. That's kind of the point.
| | 03:24 |
I don't want them to match exactly.
| | 03:26 |
And so I've just drawn this nice five-pointed sort of a
haphazard star, and I have an empty redness layer. I'm going to
| | 03:34 |
fill it with red at this point.
| | 03:36 |
Now the easiest way to do that is to press the
X key to get blue back as the foreground color.
| | 03:40 |
Let's change that Hue value to 0degrees, and I'll change the Brightness
value to 100%, and press the Enter key in order accept that
| | 03:48 |
modification, that's the Return key on a Mac, and then press
Alt+Backspace or Option+Delete on the Mac in order to
| | 03:54 |
fill this redness layer with red.
| | 03:57 |
I think this might look good. It's pretty garish, as I said,
but Presidents' Day is a garish holiday, isn't it? The
| | 04:03 |
things people wear on Presidents' Day. It just shocks you,
don't you know. Alright, press Ctrl+D or Cmd+D on the Mac,
| | 04:09 |
I don't know what I'm talking about either, don't worry
about it, it's not part of the instructions at this point.
| | 04:14 |
Alright Ctrl+D or Cmd+D on the Mac in order to deselect the star.
| | 04:18 |
And then press Ctrl+S Cmd+S on a Mac in order to
update the composition in the background, and it looks
| | 04:25 |
great. Those garish stars look wonderful
against that chocolatey brown background.
| | 04:30 |
They don't really, but they will, it will look good.
| | 04:32 |
I'll go ahead and close this Smart Object,
| | 04:36 |
and notice that all of our snowflakes have now become stars.
They're still called snowflake layers, but they are in fact
| | 04:42 |
star layers here inside of the composition. I'll press the F key
to switch back to the Maximize mode, and I'll Shift+Tab away
| | 04:48 |
my palettes so that we can get a good look at our progress so
far. In the next exercise, we are going to switch out the Santa
| | 04:55 |
hats with vector-based Uncle Sam hats. My
instructions to you in the meantime: Get psyched.
| | 05:01 |
Ha ha ha. Or get bent, I don't know, one of them.
| | 05:05 |
| | Collapse this transcript |
| Placing a vector illustration| 00:00 | Alright, you crazy greeting card enthusiasts,
if you've been working along with me,
| | 00:04 | you know that we have been busily converting over
what used to be a nondenominational Merrimas card
| | 00:10 | into a Happy Presidents' Day card to wish
all the loved ones well during the wonderful,
| | 00:16 | pleasant Presidents' Day season, don't you know.
| | 00:19 | We all love to celebrate it so very very much.
| | 00:21 | Now, because this is a fairly complicated
project, I am saving steps for you.
| | 00:25 | So if you want to catch up or are at another catch-up point,
we;re working aside of an image called Stars & Santas.psd,
| | 00:30 | and that's available to you inside of the 22 Smart
Objects folder, so called because I have switched
| | 00:37 | out what were formerly snowflakes for some garish red and blue
and white star shapes here, but we still have the Santa hats.
| | 00:45 | We're going to swap out the Santa hats in just a moment, we're
going to swap them out for some patriotical Uncle Sam hats
| | 00:52 | that are saved and waiting for us as vector files, as Adobe
Illustrator files with smooth vector outlines, don't you know.
| | 01:00 | But before we swap out the hats, I want
to show you how a vector file works,
| | 01:04 | how you can place a vector file into Photoshop these days.
| | 01:07 | Notice that I've cleaned up my layers a lot here.
| | 01:10 | I've added a couple of groups and thrown some things
into the groups so that we can focus on the hat layers.
| | 01:15 | And we'll be coming back to the Background layer, because
this chocolatey Background layer isn't going to work so well
| | 01:20 | for us for a Presidents' Day card, I don't think.
| | 01:25 | Anyway, right now let's focus on the
vector hat that we're about to import.
| | 01:28 | Why don't you just go up, for now I just want to show you how
an Illustrator file behaves when we bring it into Photoshop.
| | 01:34 | Go up to the File menu and choose the Place command,
or you can press the keyboard shortcut that I gave you
| | 01:38 | if you loaded my DekeKeys shortcuts, and then I want you
to go into the 22 Smart Objects folder, but of course,
| | 01:46 | and you'll find there a file called PhotoSpin hat.ai.
| | 01:49 | It comes from the PhotosSpin image and illustration
library, www.photospin.com, wonderful people,
| | 01:58 | longtime supporters of my training personally, actually.
| | 02:01 | Wonderful folks over there.
| | 02:03 | Go ahead and select it and click on the Place button,
and notice that you will get this Place PDF dialog box,
| | 02:10 | and the reason is Illustrator, Adobe Illustrator, goes ahead and
saves, by default it saves a PDF version of the illustration.
| | 02:17 | Ever since Illustrator CS that's been the case,
actually, and Photoshop likes to see that PDF info.
| | 02:23 | Now you can change the Thumbnail Size
to something larger, like Fit Page here,
| | 02:27 | so that you can see what this illustration looks like.
| | 02:29 | Bear in mind that some of this is
white vectors that's going on over here
| | 02:33 | on the left-hand side, and some of it is white background.
| | 02:35 | So we're not always seeing the distinctions
properly inside this hat.
| | 02:39 | That's OK, we will in just a moment.
| | 02:41 | Click OK in order to import that big hat, and
it's importing a little low inside the file,
| | 02:47 | because I have the Background layer selected.
| | 02:48 | That's OK.
| | 02:49 | We're getting that same big X inside of the frame, who
cares, basically the reason I say who cares and I'm being
| | 02:55 | so cavalier is we don't need this point anymore.
| | 02:58 | We don't need Photoshop to ask us what size we want to place
the artwork at, because it's going to be a Smart Object,
| | 03:04 | and we always have the opportunity with a
Smart Object to resize again, nondestructively.
| | 03:08 | So, might as well just press the Enter key or the
Return key on a Mac to accept the placement of this art,
| | 03:14 | and then press Ctrl + Shift + , Cmd + Shift
+ on a Mac, in order to pop that sucker
| | 03:19 | up to the top layer so we can take a look at it.
| | 03:21 | Notice that it's nice and smooth.
| | 03:25 | So a placed illustration comes in automatically, because we used
the Place command, comes in automatically as a Smart Object.
| | 03:31 | You can see that here inside of the Layers palette,
| | 03:33 | you can see that little Smart Object indicator
there in the lower right corner of the thumbnail.
| | 03:38 | And this is just like the Shape layers, just like the
vector-based Shape layers that we saw a few chapters ago.
| | 03:44 | We always get smooth results.
| | 03:46 | We're going to see that artwork at
the full resolution of the image.
| | 03:50 | If we zoom in past 100%, we're just going to see pixels.
| | 03:52 | Well, we can go ahead and scale the artwork if we want to.
| | 03:55 | So if I were to, for example, press Ctrl + T or
Cmd + T on a Mac to enter the Free Transform mode,
| | 04:01 | right now we're seeing the illustration here at 90% of its
former size, of its full size inside Illustrator anyway.
| | 04:09 | But we could change that to anything we wanted.
| | 04:11 | If I wanted to change it to 300%, for example, and then press the
Enter key a couple of times in order to accept that modification,
| | 04:18 | then Photoshop will go ahead and re-render the
illustration at the full resolution of this composition.
| | 04:24 | So we're always going to get smooth results
when we're working with an Illustrator file.
| | 04:28 | Isn't that awesome?
| | 04:29 | I think it is, yeah.
| | 04:31 | Now I need to make it perfectly clear here what's going on.
| | 04:33 | If we were to double-click on this thumbnail, we would
launch Illustrator, if you have Illustrator available
| | 04:38 | on your machine you would launch Illustrator,
and then you would be able to edit this artwork,
| | 04:42 | and then if you clicked the Close box in order to close
the illustration from Illustrator, and then clicked Yes
| | 04:48 | or Save in order to save that illustration out, you would
save it back into this composition inside Photoshop.
| | 04:54 | So we're not linked to the AI file on disk, I
know I keep saying this, I'm a broken record here,
| | 05:00 | but I want to make this very clear, because it's
a big source of confusion for a lot of folks.
| | 05:03 | We aren't linked to the Illustrator file on disk.
| | 05:07 | So if we were to make a modification to that Illustrator file
on disk it would not be reflected inside the composition.
| | 05:12 | Instead, the illustration has become embedded inside
of the Stars & Santas.psd file here in memory.
| | 05:21 | It's a weird thing, but that's how it works inside of Photoshop
these days, especially where Smart Objects are concerned.
| | 05:26 | Alright, I'm going to undo that change, and I'm actually going
to backstep the introduction of that hat into this composition
| | 05:34 | in the first place, because what I really want to do is
I want to replace the Santa hats with that patriotic hat.
| | 05:40 | So rather than just placing the illustration into the larger
composition, I need to double-click on one of these hats
| | 05:47 | and replace that hat Smart Object with the vector hat, and
that's exactly what we're going to do if you care to join me,
| | 05:54 | which I invite you to do of course, inside of the next exercise.
| | Collapse this transcript |
| Replacing pixels with vectors| 00:00 | In this exercise, we really are going to swap
out the Santa hats for some Uncle Sam hats,
| | 00:06 | the Uncle Sam hat that we saw in the previous exercise.
| | 00:08 | And I'm showing you this because
it is different, it's really weird.
| | 00:12 | When you try to swap out a pixel-based Smart
Object for a vector-based Smart Object,
| | 00:17 | you run into some very strange behavior, in my humble opinion,
and I want you to see that strange behavior, because as wonderful
| | 00:25 | and powerful as Smart Objects are, they
are a little bit odd at times as well,
| | 00:30 | and I just want to show you a few
of the hitches you might run into.
| | 00:33 | So, if you want to catch right up with me,
I'm working inside the Stars & Santas.psd file
| | 00:39 | that is found inside the 22 Smart Objects folder.
| | 00:42 | I want you to double-click on any one
of the three hats, doesn't matter.
| | 00:46 | Eeny meeny miney mo, let's go with hat number 2 in my case,
| | 00:50 | because they all reference the exact same
embedded Smart Object, as you well know by now.
| | 00:54 | So there it is.
| | 00:55 | There's the Santa hat, with all of its stuff going on,
the layer mask, the layer effects, and so on and so on.
| | 01:01 | Let's go ahead and introduce the vector-based
Uncle Sam hat by going up to the File menu
| | 01:07 | and choosing the Place command, is the easiest way to go.
| | 01:09 | The only other way to go -- you'd have
to have Illustrator running to do this --
| | 01:12 | if you had Illustrator running at the same
time, then you could copy all the objects
| | 01:16 | to the Clipboard and then paste them into Photoshop as well.
| | 01:19 | So that's another way to work.
| | 01:21 | But we're just going to use the Place command, cause that
way all of us can do it whether you have Illustrator or not.
| | 01:26 | Go to the PhotoSpin hat.ai file that's found inside the
22 Smart Objects folder, and click the Place button.
| | 01:32 | You'll bring up that same Place PDF dialog
box that we saw in a previous exercise.
| | 01:36 | Just click OK, that's all you need
to do inside of that dialog box.
| | 01:39 | Then you will see that the hat is scaled inside of the
confines of the Santa hat, and it's automatically scaled,
| | 01:46 | for me at least, to a Width and Height value of 29.2%.
| | 01:50 | Who cares?
| | 01:51 | Nobody, that's who.
| | 01:52 | So press the Enter key or the Return key on a Mac to accept
the placement of the hat inside of the hat file right here.
| | 02:00 | The next thing I want to do is I want to go ahead
and move the effects, the Inner Shadow effect,
| | 02:05 | I want to move it onto the PhotoSpin hat right there.
| | 02:08 | Why don't we just call this Uncle Sam or something just so I
know what's going on, and notice that it is a Smart Object.
| | 02:14 | So the vector-based illustration is embedded inside of this Smart
Object, which is itself embedded inside the larger composition.
| | 02:22 | So we do have a Smart Object inside of a Smart Object.
| | 02:25 | You can do that kind of foolishness
inside of Photoshop if you want to.
| | 02:29 | But the foolishness that I really want you to perform is
I want you to grab these effects and move them on here.
| | 02:33 | Let's go ahead and copy them, just so
that the originals are maintained as well.
| | 02:36 | So Alt + drag the word Effects from the Santa hat onto
Uncle Sam hat, that would be an Option + drag on a Mac,
| | 02:42 | and you will clone one onto the other, like so.
| | 02:45 | We have a little bit of depth, thanks to that Inner
Shadow effect there, then turn off the Santa hat.
| | 02:51 | That's basically all we need to do.
| | 02:52 | Press Ctrl + W or Cmd + W on a Mac in order to close this
document, then click Yes or the Save button in order to save
| | 03:01 | out your changes into the Stars &
Santas.psd composition in memory here.
| | 03:07 | Once again, we're not saving the file to disk at this point.
| | 03:10 | It's automatically gone ahead and scaled these hats inside
of what used to be the area occupied by the Santa hats.
| | 03:17 | And we've even got this little hat on the shoe.
| | 03:20 | You know, that's getting old, I think.
| | 03:21 | I'm going to go ahead and turn that little hat off.
| | 03:24 | It was cute for a while, but it's nowheresville now.
| | 03:26 | So let's go ahead and get rid of that guy.
| | 03:28 | You can throw that away, we're not
going to use that number 2 anymore.
| | 03:30 | But let's do focus on hat 1 for a moment, the hat on
Sammy's head, because basically what's going on here is
| | 03:38 | that we've done a nice job of replacing what was formerly a
pixel-based Smart Object, and remains a pixel-based Smart Object,
| | 03:45 | as it turns out, because of the double embed that's
going on, the Smart Object inside of a Smart Object.
| | 03:49 | We've replaced it with a vector-based illustration, but we're
not getting the true benefits of that vector-based illustration,
| | 03:56 | and in order to show you what I mean by that, I'm going
to have to ask you to join me in the very next exercise.
| | 04:02 | Huh, won't you?
| | 04:03 | OK.
| | Collapse this transcript |
| Rasterizing a vector Smart Object| 00:00 |
At the end of the previous exercise, I was telling you
how now that we have a vector-based Smart Object inside
| | 00:07 |
of a pixel-based Smart Object, we're losing the benefits
of having the vector-based Smart Object in the first place.
| | 00:13 |
Well what in the world am I talking about?
| | 00:16 |
Well you may recall from the previous exercise,
we went ahead and replaced the Santa hats
| | 00:21 |
that were originally included inside
the Stars & Santas.psd composition,
| | 00:25 |
we replaced them with the vector-based Uncle Sam hats from the
PhotoSpin image library, and that's what we are seeing inside
| | 00:31 |
of hat 1 and hat 3, and I've got hat 2 turned off of
course, that's the little hat that's on top of the shoe.
| | 00:37 |
Now I've got the Sammy hat selected, and this is hat
1 right here, and I'm going to show you what I mean
| | 00:44 |
by making this hat larger, by pressing Ctrl + T or Cmd + T on
the Mac, and then I'm going to click on the link icon once again
| | 00:52 |
and change the Width value or the Height value, it doesn't matter
which one, to 400% and then I'll press the Enter key a couple
| | 00:58 |
of times in order to accept that modification.
| | 01:00 |
Now let's zoom in, and notice how chunky that star is.
| | 01:04 |
It looks just terrible, and the reason that it looks
just terrible is because we're not getting a direct feed,
| | 01:11 |
we're not getting a direct link to the embedded
vector-based information inside of this composition.
| | 01:16 |
Instead we're doing a link to the pixel-based Smart Object,
which is then linked in turn to the vector-based Smart Object.
| | 01:23 |
So in other words, the vector-based information has
already been rasterized before we're getting access
| | 01:29 |
to it here inside the larger composition.
| | 01:30 |
In other words, things are just messed up,
this is just totally the wrong way to work.
| | 01:35 |
So let's undo that transformation there, in order to
restore the hat onto Sammy's eyeballs right there.
| | 01:42 |
Actually I'm going to move it up, cause he just
looks like he's getting hurt by his hat here.
| | 01:46 |
Same with Max.
| | 01:47 |
Nobody needs to have a hat just resting
on their eyeballs, I don't think.
| | 01:51 |
Alright, so that still doesn't look exactly right,
but it's better for now, it looks more comfortable.
| | 01:56 |
Let's grab either one of these hats and double-click on it,
and this goes ahead and of course opens up the Smart Object
| | 02:02 |
that contains the vector-based Smart Object right there.
| | 02:05 |
So we still have the Santa hat sitting
there, we can throw it away if we wanted to,
| | 02:08 |
but I like to keep my old stuff available
to me in case I want to switch it back.
| | 02:12 |
Alright, so here's what I recommend you do.
| | 02:14 |
Let's go ahead and scale, first of all let's scale this vector
illustration up to a more reasonable size so we have plenty
| | 02:21 |
of pixels to work from, and then let's go ahead and rasterize
it out to pixels, might as well convert it from vectors
| | 02:27 |
to pixels because, you know, it's
basically a pixel-based Smart Object anyway.
| | 02:31 |
Alright, so here's what I mean.
| | 02:33 |
Press Ctrl + T or Cmd + T on a Mac in order to enter the
Free Transform mode with this Uncle Sam layer active,
| | 02:39 |
that's what I called it in the previous exercise
anyway, and notice that it is scaled to 29.2%.
| | 02:45 |
Well, 29.2% is about 30%, and if we were to scale that to
400%, so four times as large, which we did just a moment ago,
| | 02:53 |
we scaled to 400% out in the larger
composition, that would take us to 120%.
| | 02:58 |
So go ahead and enter 120 at this point
if you're following along with me,
| | 03:01 |
and then press the Enter key couple of
times in order accept that modification.
| | 03:04 |
I did link those values up there in order
to maintain a proportional resizing.
| | 03:10 |
I want to show you, notice how it's too big for the canvas now.
| | 03:13 |
If I press Shift + F to return to the Standard Window mode, and
I'll go ahead and press Ctrl + S or Cmd + S on a Mac in order
| | 03:21 |
to save out my changes into the larger composition and
memory here, you'll see that the hats are indeed cropped,
| | 03:28 |
just as they are inside of the Smart Object window, so that
we have not so much hats as these little pieces of paper taped
| | 03:35 |
to their heads or something along those lines.
| | 03:36 |
Kind of nice warping going on, but I don't want
little pieces of paper taped to their heads.
| | 03:41 |
I want hats.
| | 03:42 |
Alright, so go ahead and press the F key once again to enter
the Maximize mode, and let's go ahead and expand the canvas
| | 03:48 |
to include the entire hat, and we'll do that by going up
to the Image menu and choosing the Reveal All command,
| | 03:54 |
which will expand the canvas as much as needed in order
to include the far limits of the largest layer inside
| | 04:02 |
of this document, inside of this Smart Object.
| | 04:04 |
So we've gone ahead and scaled the heck out of
the hat, but we haven't scaled the layer effect.
| | 04:09 |
Notice that the Inner Shadow is as small
as it ever was, so it didn't get scaled.
| | 04:14 |
Now I could double-click on the Inner Shadow and modify
its settings, its distance and its size settings,
| | 04:19 |
in order to make it bigger, or I could just go
ahead and scale the shadow effect by right-clicking
| | 04:25 |
on the word Effects, and choosing Scale Effects right there.
| | 04:31 |
Then, once you get the Scale Effects dialog box up onscreen,
change it to 400%, because we went from 30% to 120%,
| | 04:38 |
so that was a 4x magnification, a 4x scaling of the image,
so we want to scale the layer effect in kind, so 400%.
| | 04:46 |
Click OK in oder to accept that modification, and that's it.
| | 04:49 |
Let's go ahead and I actually I'm going to press
Shift + F again so I can show you what happens here.
| | 04:53 |
This is a much larger hat, as you well know.
| | 04:57 |
Here's a little Santa hat, and I'll just pop it to
the top so that we can see how dinky it is compared
| | 05:01 |
to the big old, massive old Uncle Sam hat now.
| | 05:04 |
So I'll go ahead and turn off that hat because we don't want it.
| | 05:07 |
I just wanted you to see that this hat is indeed much bigger.
| | 05:10 |
But if I press Ctrl + S, or Cmd + S on the Mac, to update the
hats in the background, notice that they get little again,
| | 05:17 |
and that's because they have to fit inside of their original
transformation boundaries, so they go ahead and scale down.
| | 05:23 |
But we have a lot more information to work with right now.
| | 05:26 |
Alright, the final thing that I want to do.
| | 05:28 |
There's no reason to have a vector Smart Object embedded
inside of a pixel-based Smart Object, that's just silliness,
| | 05:34 |
and right now we've given ourselves
so many more pixels to work with,
| | 05:37 |
why don't we just go ahead and convert the vector to pixels.
| | 05:41 |
That's going to save a lot of processing time for
Photoshop, it's going to make for a simpler composition.
| | 05:45 |
So right-click on any empty portion of this layer right
here, and choose this guy right here, Rasterize Layer,
| | 05:52 |
in order to convert it to pixels, and the deed is done.
| | 05:54 |
Notice that the Smart Object icon went away.
| | 05:57 |
I'll go ahead and close this Smart Object
and click Yes in order to save the changes.
| | 06:02 |
Those of you on a Mac would click the Save button.
| | 06:04 |
It's not going to look any different actually
when it gets done, because it was already sized.
| | 06:08 |
Alright now let's press the F key, or at least I will,
| | 06:10 |
in order to enter the Maximize mode again,
and let's zoom back into Sammy's hat.
| | 06:15 |
I'll go ahead and click on the hat 1 layer, so it's active,
and I'll press Ctrl + T or Cmd + T on a Mac in order
| | 06:21 |
to enter the Free Transform mode, and I will change the
Width value, actually first I'll turn on the link icon,
| | 06:27 |
then I'll change the W value to 100%, which is the same as
magnifying it to 400% before, right, and then I will go ahead
| | 06:35 |
and press the Return key or the Enter key
here on the PC in order to scale that artwork.
| | 06:41 |
And you can see now that we have nice, smooth transitions.
| | 06:43 |
We don't have that weirdness, those
weird edges around the star anymore.
| | 06:47 |
Everything's as good as it should be.
| | 06:49 |
Alright, beautiful.
| | 06:50 |
Let's go ahead and undo that transformation,
because we don't really need the hat to be that big,
| | 06:54 |
but we do need it to be a little different than it is now.
| | 06:57 |
I want it to be at a jaunty angle, don't you know.
| | 06:59 |
So press Ctrl T, let's make it a little bigger.
| | 07:03 |
Something like that I think will work nicely, and then let's
go ahead and give it an angle, so Sammy looks a little carefree
| | 07:09 |
in his new hat there, and then press the Enter key or
the Return key on a Mac to accept that transformation.
| | 07:14 |
Now let's go to the Max hat, hat 3.
| | 07:17 |
Press Ctrl + T again, or Cmd + T on a Mac.
| | 07:19 |
I don't think that warp is working for us very well.
| | 07:21 |
So why don't you click on the warp icon, over here on the right
side of the Options bar when you're in the Free Transform mode,
| | 07:28 |
and change the warp pop-up menu setting from Custom to None to go
ahead and remove that warp, and then click the Warp button again
| | 07:34 |
to escape out of the Warp mode, back
into the Free Transform mode.
| | 07:38 |
Let's go ahead and scale this hat a little bigger as
well, make it at a jaunty angle in the other direction,
| | 07:43 |
so the hats are kind of nodding toward each other.
| | 07:45 |
Another little act of brotherly love
between the hats, don't you know.
| | 07:49 |
And then press the Enter key in order
to accept that modification.
| | 07:53 |
So there we have it, our well rendered hats.
| | 07:57 |
Originally they were vector art, and now they're pixel
art, and they look a lot better for it, as it turns out.
| | 08:02 |
In the next exercise we're going to swap out this chocolate
brown background for a patriotic and inspiring American flag.
| | 08:11 |
| | 08:13 |
| | Collapse this transcript |
| Swapping one Smart Object for another| 00:00 | Alright, we're in the home stretch of this project.
| | 00:02 | The last thing we need to do is replace this
milk chocolatey background that worked so well
| | 00:07 | for the nondenominational Merrimass card, we need to replace
it with something more inspirational, something that reminds us
| | 00:14 | of our heritage, of our founding fathers, and what could be more
indicative of all that jazz than an American flag, I ask you.
| | 00:23 | Either that or a powdered wig.
| | 00:24 | Well, I found American flag artwork, so that's what we're
going to use here, and it's some beautiful artwork too.
| | 00:29 | I am working inside of another version of the
composition so that you can catch up with me.
| | 00:34 | This one's called Patriotize me.psd and
it's inside the 22 Smart Objects folder.
| | 00:40 | I'm going to Shift + Tab back up my Layers palette,
and I want you to go down to the Background layer,
| | 00:45 | which is where the milk chocolatey background
is, and here's one way to switch it out.
| | 00:51 | There's a bunch of different ways to work.
| | 00:52 | We could just of course import the American flag as a Smart
Object if we wanted to, but I'm going to switch the background
| | 00:58 | out for that Smart Object, and here's how I'm going to do it.
| | 01:01 | First of all, double-click on this brown thumbnail
here in order to bring up the New Layer dialog box.
| | 01:07 | This is going to allow us to convert the background to a
layer, and I'll just go ahead and call this layer Flag,
| | 01:12 | and click OK in order to convert it to a layer.
| | 01:16 | So now it's an independent layer inside of the Layers palette.
| | 01:19 | Now right-click on an empty area, like so, and choose
Convert to Smart Object to make it a Smart Object.
| | 01:26 | So it's not much of a Smart Object at this point,
| | 01:28 | it just contains a bunch of brown
pixels, but still, it is a Smart Object.
| | 01:31 | Now check this out.
| | 01:32 | Once you have a Smart Object, you can replace one Smart
Object with another Smart Object by right-clicking again
| | 01:38 | in the empty portion of the layer, and choosing Replace Contents,
and that will allow you to completely switch out this layer
| | 01:44 | with something else, and I'm going to select this guy right
here, Flag-o-freedom.jpg, and go ahead and click the Place button
| | 01:51 | in order to replace that background art, and is that not cool?
| | 01:55 | It is some very, very stunning artwork, as it turns out.
| | 01:59 | This comes from the istockphoto.com image library,
| | 02:02 | and the name of the artist is Jared Delariman,
and he did just a fantastic job, I think.
| | 02:07 | However it does compete a little bit with the rest of the card.
| | 02:10 | It is sufficiently garish on its own to
compete with my garish stars and my garish hats
| | 02:15 | and everything else that's sort of garish about this card.
| | 02:17 | So I want to tone it down a little, and we're going
to tone it down inside the very next exercise.
| | Collapse this transcript |
| The multilayer Smart Object bug| 00:00 | In this last exercise of the chapter, we are going to take
this American flag background artwork here that's expressed
| | 00:07 | as a Smart Object called Flag-o-freedom, as you can
see down here at the bottom of the Layers palette.
| | 00:14 | And we imported this into the Patriotize
me.psd file in the previous exercise.
| | 00:19 | We're going to take that and we're going to darken it up
a little bit, so that it doesn't compete quite so much
| | 00:24 | with the garish stars and the garish type and the garish hats
| | 00:27 | and everything else that's truly,
wonderfully garish about this composition.
| | 00:32 | Now the easiest way to darken up this background would be
just go down here to the black/white adjustment layers icon,
| | 00:38 | choose the Levels command, and reduce this
final Output Levels value here down to something
| | 00:45 | like 140 luminance levels here, something along these lines.
| | 00:49 | That would be the easy way to work, and then if I click OK,
| | 00:52 | you can see that you can modify a Smart Object
using an adjustment layer if you want to.
| | 00:57 | However, we're not going to go the easy route, we're
going to make things harder, and the reason we're going
| | 01:01 | to make things harder is I want to show you a weird
little bug that's associated with Smart Objects
| | 01:06 | that you might run into, and I'll
show you the workaround as well.
| | 01:09 | So go ahead and undo the addition of the
adjustment layer if you were working along with me.
| | 01:14 | And I'm going to double-click on
Flag-o-freedom, on that Flag-o-freedom thumbnail,
| | 01:18 | in order to open up this stunning
artwork from artist Jared Delariman here.
| | 01:23 | Just amazing stuff, is it not?
| | 01:25 | Now notice something that's a little bit
peculiar, and I want to show you this.
| | 01:29 | The name of the Smart Object is Flag-o-freedom.jpg,
so it's named after the JPEG file that we imported.
| | 01:36 | Alright, so fair enough, interesting but not all that
interesting, and it's just a piece of background are right there.
| | 01:42 | I'm going to take a different approach this time.
| | 01:43 | I'm going to Alt + click on this black/white icon, or
Option + click on it on the Mac, and choose Solid Color.
| | 01:50 | That way I can name this layer, and I'm going to name it Black,
| | 01:52 | because I'm going to fill the layer
with black, and I'll click OK.
| | 01:54 | And then once I get into the Pick a solid color dialog box here,
I will go ahead and pick black in some way, shape, or form,
| | 02:02 | inside of the color picker, and then click
OK in order to apply a layer of black.
| | 02:08 | Now let's back it off a little bit.
| | 02:09 | I've got my Marquee tool selected, so I can just press
the 4 key in order to reduce the Opacity value to 40%.
| | 02:15 | Alright, so great.
| | 02:16 | Now press Ctrl + W, Cmd + W on a Mac to close the file, and
then click Yes because you want to save the changes, right,
| | 02:22 | that would be the Save button on the Mac, and you get this.
| | 02:25 | All of a sudden it wants you to save the file, it gives
you a Save As dialog box, that's a very worrisome thing
| | 02:30 | when you're working with Smart Objects and
it invites you to save the file elsewhere.
| | 02:35 | Right now for me in a Temp folder,
but wherever it wants to send you.
| | 02:38 | It's weird, because it's basically
telling you hey, it was a JPEG file,
| | 02:42 | now you've got to save it out as a layered PSD, which is a what?
| | 02:44 | It's not a JPEG file!
| | 02:46 | It's an embedded Smart Object inside of the larger composition.
| | 02:49 | So what are you doing?
| | 02:51 | Click Cancel.
| | 02:52 | If you see the Save As dialog box when you're trying to save
a Smart Object, click Cancel, alright, and then press Ctrl + W
| | 02:58 | or Cmd + W again and say No, you don't want to save
the changes, or Don't Save on the Macintosh side.
| | 03:03 | Just get out of that Smart Object so
we can figure out what's going on.
| | 03:06 | Now remember, there was an alert message.
| | 03:08 | The very first time we tried to edit a
Smart Object, we saw an alert message.
| | 03:12 | I want to show you the message again.
| | 03:13 | I'm going to press Ctrl + K or Cmd + K on a
Mac to bring up the Preferences dialog box,
| | 03:18 | and I'm going to click on this button right here, Reset
All Warning Dialogs, so that we can see that warning again.
| | 03:24 | And now all the warnings will come back
up, that's all it's telling me there.
| | 03:27 | Click OK in order accept that.
| | 03:29 | Notice I'm not reading that warning at all.
| | 03:31 | Even though I want to see this other
warning, I'm going to ignore that one.
| | 03:33 | Just cause I know what it says.
| | 03:35 | It's just telling me it's going to
do what I think it's going to do.
| | 03:37 | Then click OK in order to close the Preferences
dialog box there, and accept that change.
| | 03:42 | Now double-click once again on Flag-o-freedom
and notice what it says.
| | 03:46 | It tells me "After editing the contents,
choose File > Save to commit the changes."
| | 03:49 | Sorry, I showed you that, we know that.
| | 03:51 | "Those changes will be reflected
upon returning to Patriotize me.psd."
| | 03:55 | That's right, because it gets saved
inside the larger composition.
| | 03:58 | Great. "The file must be saved to the same location."
| | 04:02 | In other words, we don't want to see the Save As dialog box.
| | 04:04 | "If the Save As dialog box appears, choose
Cancel and flatten the image before saving."
| | 04:10 | What? Flatten the image before saving?
| | 04:12 | Oh, I see.
| | 04:13 | It's not a bug that it doesn't want
to save the layers, it's a feature.
| | 04:16 | Gimme a break.
| | 04:17 | So anyway, Don't show again, click OK.
| | 04:20 | Alright, so that's the problem.
| | 04:21 | It anticipates that if you were to import a JPEG file in
the first place you're not going to be able to save layers.
| | 04:26 | So let's just close out of it, alright,
Ctrl + W, Cmd + W on a Mac.
| | 04:30 | Here's what we're going to do.
| | 04:31 | I want you to right-click on this Flag-o-freedom layer
right here, I want you to choose Replace Contents,
| | 04:37 | and let's grab the exact same file, but
instead it's been saved as a .psd file.
| | 04:42 | Now, it's not linked to that file.
| | 04:44 | I need to make this perfectly clear.
| | 04:45 | It is not linked to that file.
| | 04:47 | But the way in which the file is imported can
determine whether you can save layers or not.
| | 04:52 | I consider it to be a bug.
| | 04:53 | I don't know, anyway.
| | 04:55 | Jared Delariman.psd.
| | 04:56 | All I did was take the Flag-o-freedom JPEG and save
it out as a layered PSD document, that's all I did.
| | 05:00 | Still a background layer, that's all.
| | 05:02 | But go ahead and place it.
| | 05:03 | So the artwork is going to look exactly
the same as it did before.
| | 05:07 | Now double-click on the thumbnail in order to open it up.
| | 05:09 | Now look at the title bar.
| | 05:11 | It's called Jared Delariman.psd.
| | 05:12 | Leads you to think that we're linked to that
file on disk, but we're not, I assure we're not.
| | 05:17 | And now, let's run through the exact same steps.
| | 05:20 | Alt + click on the black/white icon, Option + click on
it on the Macintosh side, choose the Solid Color command.
| | 05:26 | Let's go ahead and call it Black again,
just the exact same stuff we did before.
| | 05:30 | Make sure that black is selected here inside
the color picker dialog box, and click OK.
| | 05:35 | Then press the 4 key to reduce the Opacity value to 40% and
press Ctrl + W, Cmd + W on the Mac, in order to close the file.
| | 05:43 | Click Yes if you're on a PC, click
Save if you're on a Mac in order
| | 05:46 | to save the changes, and this time it saves out successfully.
| | 05:49 | Now if you want to test my theory that it did not change
the file on disk, go ahead and open up that file on disk.
| | 05:55 | All you have to do is open up the Jared Delariman.psd file,
| | 05:59 | and you'll see that it has not been
modified, that there's no link to that file.
| | 06:02 | So it's just craziness, is basically what's going on.
| | 06:05 | Now some of you are going to say well, why didn't
we just go the easy route with the adjustment layer?
| | 06:08 | Because I was just showing you the weirdness.
| | 06:10 | That's the only reason.
| | 06:11 | I just want to share the weirdness with you, man.
| | 06:13 | Alright, so this is the final version
of our Presidents' Day card.
| | 06:18 | Let's go ahead and Tab away those palettes
so we can focus in on the card itself.
| | 06:22 | I'm going to press the F key a couple of times
in order to switch to the Full Screen mode.
| | 06:26 | So this is where we started.
| | 06:27 | This is our original, finished -- midway into the
project -- the original, finished Happy Merrimas card.
| | 06:33 | And here are the snowflakes and hats swapped out, as
well as the background swapped out, thanks to be miracle,
| | 06:39 | the amazing if occasionally flawed, miracle
of Smart Objects inside of Photoshop CS3.
| | Collapse this transcript |
|
|
23. Non-Destructive Smart FiltersA terrific use for Smart Objects| 00:00 | A few years back, 2004 sometime, a bunch of us were testing what would
eventually be Photoshop CS2. There's this new feature, Smart Objects.
| | 00:09 | At the time, I'm not thrilled with it. We already have pixel layers,
adjustment layers, layer effects, and vector-based text and shape
| | 00:16 | layers. Now, for the sake of nondestructive transformations,
we're going to have yet another class of layer that behaves totally
| | 00:23 | differently than anything we've seen so far.
What in the heck is a new user to make of all this?
| | 00:28 | Then one of the main guys at Adobe writes me back and says,
"Listen, Deke, pipe down, because maybe you're going to
| | 00:34 | actually like what we have in store. The Smart Object takes
us into new territory," he assures me. "The Smart Object will
| | 00:40 | one day serve as a portal into any number of amazing, dynamic
modifications, and sometime soon, Smart Objects will make it
| | 00:47 | possible to apply nondestructive filters."
| | 00:51 | Well I have to say, that got me excited. Just as a live adjustment
layer ensures that you can modify color adjustment settings
| | 00:57 | anytime you like, a Smart Object combined with a nondestructive
filter might let you edit Unsharp Mask and other filter
| | 01:04 | settings ad infinitum.
| | 01:05 | All parametric, all the time. So that's when I stopped
complaining and drank the Kool-Aid and became a team player
| | 01:12 | and basically joined the Borg.
| | 01:14 | I've even been known to champion Smart Objects, that's how
shameless I am. And now, in Photoshop CS3, along comes my
| | 01:21 | reward: nondestructive Smart Filters.
| | 01:24 | Just as prophesied. Are they a little weird?
| | 01:27 | Yeah.
| | 01:28 | Is their implementation complicated and at times
logically impaired? Oh yeah. Will new users be confused?
| | 01:34 | I think that's a safe bet. On the other hand, will
Smart Filters provide you with more creative freedom?
| | 01:39 | Yes. Smart Filters rely on a series of secret handshakes
to get up and running, but once you come to terms with
| | 01:45 | that, it's all good. They are editable, expandable, and you
can even apply them to live text and vector art. Best of all,
| | 01:53 | I've uncovered a serious gold mine of
tips and tricks to help you on your way.
| | 01:57 | Here, let me show you.
| | Collapse this transcript |
| Applying a smart filter| 00:00 | Let's start things off fairly simply here
by applying a Smart Filter to a flat image.
| | 00:06 | I happen to be looking at an image that's called Soft
portrait.jpg, and it's found inside the 23 Smart Filters folder.
| | 00:13 | I'd like you to go ahead and open it up
as well, if you're working along with me.
| | 00:16 | This image comes to us from photographer Joey Nelson,
and the image was photographed a little bit soft,
| | 00:23 | but I have also rotated the photo from its original orientation,
and I have down-sampled the photo quite a bit, as you'll see.
| | 00:31 | We're looking at the photo at the 100% view
size, so this is a low resolution image.
| | 00:36 | The reason I'm giving you a low resolution image
is that Smart Filters can be a little bit slow,
| | 00:41 | and we're going to be heaping quite a few
filters onto this image as it turns out,
| | 00:45 | so I just don't want you to suffer any frustration at this
point, if you happen to be working on a slower computer.
| | 00:52 | Alright so anyway, we've got a little bit of softness.
| | 00:55 | Let's go ahead and firm up that focus, make it pop off the
screen here, by adding a pass of the Smart Sharpen filter.
| | 01:02 | As opposed to applying the Smart Sharpen filter permanently,
| | 01:06 | we're going to apply it temporarily using the
Smart Filter function here inside Photoshop CS3.
| | 01:12 | Now to make the image compatible with Smart Filters, we
need to convert this layer right here to a Smart Object,
| | 01:19 | and you can either go up to the Layer menu and choose Smart
Objects and choose Convert to Smart Object, just like so,
| | 01:26 | or you can press that keyboard shortcut, Ctrl + , or
Cmd + , on the Mac if you loaded my DekeKeys shortcuts,
| | 01:33 | way way back in an earlier chapter
of this series, back in Chapter 2.
| | 01:38 | Or, another way to work is to go up to the Filter menu
and choose this guy right here, Convert for Smart Filters,
| | 01:44 | and if you choose that command it'll also go ahead and convert
this layer, this background layer here, into a Smart Object.
| | 01:51 | Now notice that you get a message that tells
you that in order to use editable Smart Filters,
| | 01:57 | this layer will be converted to a Smart Object.
| | 02:00 | Fine, we know that, so go ahead and say
Don't show again, and click on the OK button
| | 02:04 | in order to convert the image to a Smart Object.
| | 02:06 | There it is, and if you want to call it smart
object or something along those lines, you can,
| | 02:11 | just so that you know what's going on inside of this layer.
| | 02:13 | I'll make that Layers palette just slightly
wider, so that we can see that name.
| | 02:17 | Alright, we are now ready to apply a Smart Filter.
| | 02:21 | At this point, what you need to do is go up to the
Filter menu and choose whatever filter you want to apply,
| | 02:27 | and in this case we're going to go to the Sharpen menu,
and we're going to choose the Smart Sharpen filter like so.
| | 02:33 | Brings up the familiar Smart Sharpen dialogue box right here.
| | 02:37 | And I'm going to go ahead and set the
Amount value to something very high.
| | 02:42 | Let's try out 400%.
| | 02:44 | We're going to apply an exaggerated effect for now.
| | 02:47 | And I'm going to increase the Radius value to 2
pixels, because this is a fairly low-res image,
| | 02:51 | and I'm going to change the Remove
option from Gaussian Blur to Lens Blur,
| | 02:57 | because after all we're trying to compensate for softness.
| | 02:59 | Mostly that's associated with the photography
process, although we do have a little bit of softening
| | 03:04 | from the interpolation process, from the rotation,
and from the resizing as well, from the resampling.
| | 03:12 | And if you want to, you can go ahead and save
out these settings to something specific,
| | 03:16 | so that you're protecting your default settings.
| | 03:18 | I'm going to be sloppy right now, I just want to move
through this process, so I'll go ahead and click OK in order
| | 03:23 | to just accept those new settings, and notice, if we go down here
to the Layers palette, you can see that we have- I'll go ahead
| | 03:30 | and make the Layers palette even wider- we have this
item right here, which happens to be a layer mask,
| | 03:35 | we'll come back to that later, this item that says Smart
Filters, and then underneath it is a list of the filters
| | 03:42 | that have been applied, and right now we just
have the Smart Sharpen filter and that's it.
| | 03:46 | And if you want to see the image as it is before you apply the
filter, you can just turn it off, just turn that filter item off.
| | 03:53 | You can also turn it back on if you want to.
| | 03:56 | So you can see, it is a temporary item, a temporary
filter item that has been heaped onto this image,
| | 04:03 | so we do have nondestructive, editable filters now inside
Photoshop CS3, and that is just the tip of the iceberg.
| | 04:10 | This feature is very, very big, and very cool, as we'll see.
| | 04:15 | In the very next exercise, I'm going to show you how we go
about modifying the filter, modifying the filter settings,
| | 04:22 | and modifying the Blend Mode and Opacity values.
| | Collapse this transcript |
| Changing filter and blending settings| 00:00 | Alright, so if you're working along with me, then you've got
your Soft portrait.jpg image from the photographer Joey Nelson
| | 00:07 | up onscreen, it's found inside the
23 Smart Filters folder of course.
| | 00:11 | And you've converted the one and only layer inside the image
to a Smart Object, and you've applied the Smart Sharpen filter.
| | 00:18 | At this point, I think we can all
agree that the image is oversharpened.
| | 00:23 | For example, we can see every single hair on her face,
every single pore, and we can even see a sharpened edge
| | 00:31 | to this nasal reflection right here, I dare say that's something
that we really don't want to bring out of this photograph.
| | 00:38 | So we probably want to modify the
settings to some extent or other.
| | 00:41 | And we can do that because this is an editable Smart
Filter at this point here inside Photoshop CS3,
| | 00:46 | we can modify our settings just by double-clicking on
the Smart Sharpen item here inside the Layers palette.
| | 00:54 | And I'm going to go ahead and reduce this Amount value to 350%.
| | 00:59 | I'll just take it down ever so slightly, so
it's a little lower now than it was before,
| | 01:05 | and then I'll click OK in order to invoke that modification.
| | 01:09 | So that's one way to work.
| | 01:11 | You can actually go in there and modify your settings, and
they will be applied on the fly to that Smart Object layer.
| | 01:19 | The other way to work is to change the Blend Mode settings.
| | 01:23 | Now in addition to the layer having a blend
mode, which is Normal, and an Opacity of 100%,
| | 01:28 | the individual filter has a blend mode associated with
it as well, and by default it's normal and 100% too.
| | 01:36 | But it's kind of hard to tell what's going on with
it, because you can't see those settings applied.
| | 01:41 | You can't actually click on the Smart Sharpen item to select it.
| | 01:45 | It's not sticky, so it doesn't stay
selected when you click on it.
| | 01:48 | Instead, you have to take it on faith until you open
up the Blend Options dialog box, as we're about to do.
| | 01:55 | There's two ways to open it up.
| | 01:56 | One is to right-click on the Smart Sharpen item and
choose this command, Edit Smart Filter Blending Options.
| | 02:02 | The other is to just double-click on
this little slider icon right there.
| | 02:06 | If you double-click on that, it will open up the
Blending Options for Smart Sharpen dialog box,
| | 02:12 | and now you can see exactly what mode is
applied and what the Opacity value is.
| | 02:17 | Now here's something I want you to check out.
| | 02:19 | I'm going to drag her hair over little
bit so that we can see it here onscreen.
| | 02:23 | I'm going to zoom in on it as well.
| | 02:25 | And you can see that we are bringing out sort of
these weird yellow striations inside of the hair,
| | 02:32 | and if I reduce the Opacity value to 0 for a moment,
you'll see what the original unsharpened hair looks like.
| | 02:38 | So it looks like your standard blonde hair.
| | 02:41 | But if I take the Opacity value up to
100%, not only do we have sharpening,
| | 02:45 | but we have yellow areas in the hair as
well, this hot yellow stuff going on.
| | 02:50 | And that's because the Blue channel is slightly out of
alignment, so we're seeing that complementary yellow.
| | 02:56 | We can get rid of it by switching
the mode from Normal to Luminosity.
| | 03:02 | I'll go ahead and choose the Luminosity option,
and notice that that yellowness disappears,
| | 03:06 | it drops out of view there inside of the image.
| | 03:09 | Alright, but the image is still oversharpened.
| | 03:11 | I'll go ahead and zoom out a little bit here
so that we can see the rest of her face.
| | 03:14 | It's way too sharp at this point, so let's go
ahead and take the Opacity value down as well.
| | 03:19 | I'm going to take it down to 40%, and that makes
the image look a heck of a lot better, I think.
| | 03:25 | Then I'm going to click the OK button
in order to accept that modification.
| | 03:28 | So there it is, that's how you modify a Smart Filter.
| | 03:32 | Double-click on the name of the Smart Filter in order to
modify its settings, double-click over here on the slider item,
| | 03:39 | on this little slider icon, in order to modify the Blend
Mode and Opacity settings, and notice that they do stay.
| | 03:45 | So I can see that I do have Luminosity
applied and I do have 40% Opacity.
| | 03:50 | So these are parametric adjustments
that I can come back to any time I like.
| | Collapse this transcript |
| Heaping on multiple smart filters| 00:00 | Now so far we've applied one Smart Filter to this Smart Object
that we've created here inside the Soft portrait.jpg image,
| | 00:09 | but we're about to apply a few more. You can
heap on basically as many filter as you like
| | 00:15 | onto a Smart Object, given enough memory and enough patience
with Photoshop doing the calculations on the fly there,
| | 00:20 | because it can be a little slow
| | 00:22 | as you start heaping on more and more Smart Filters.
| | 00:25 | Alright, just so that we know what we've done so far,
I'm going to turn off this eyeball right there that's in front
| | 00:31 | of Smart Filters, so we can see the before version of the image,
and here's the after version, thanks to a pretty big heaping
| | 00:39 | helping of the Smart Sharpen filter set to
the Luminosity blend mode and an Opacity of 40%.
| | 00:45 | Alright, now I want to smooth over a few of the details
ever so slightly, and I'm going to do that using the Median
| | 00:52 | command, the Median filter. I'll go up to the Filter menu I'll
choose the Noise command, and then I'll choose Median, like so,
| | 01:00 | and I'm going to enter a pretty high Radius value, something
on the order of 10 pixels. By default, you might see a tiny
| | 01:06 | Radius value of 1 pixel, but I'm going to take that up to 10,
as I say, and that's a ton of rounding and smoothing going
| | 01:13 | on there, much more than we'd really like to apply. But one
of the great things about Smart Filters is that of course you
| | 01:20 | can lessen the impact of these items
| | 01:24 | using blend modes and Opacity values on the fly. So anyway,
after I enter a value of 10 I'll click OK, and that goes ahead
| | 01:31 | and automatically adds Median to the list of filters here,
the list of Smart Filters inside the Layers palette.
| | 01:37 | Median, notice, is on top of Smart Sharpen,
| | 01:40 | and you read from the bottom upward when you're trying
to figure out how these filters are stacked on top of each
| | 01:45 | other. So the first one that gets applied is Smart
Sharpen, then Median on top of that, that's how it works.
| | 01:51 | Alright, now I'm going to double-click on this little slider icon
| | 01:55 | to bring up the Blending Options (Median) dialog box.
It tells me that we're working on the Median filter item here.
| | 02:02 | I'm going to change the Opacity value, I'm going to way
reduce it, down to 30%, so that we have just a little sort of
| | 02:10 | haze of Median on top of the image. I'll go ahead and move
my preview down so I can see the eye here. Then I'm going to
| | 02:17 | change the mode from Normal to Lighten,
| | 02:20 | so that we're only keeping the Median effect
where it's lighter, where the pixels are lighter
| | 02:26 | than the original pixels inside the image. Alright, so this
looks pretty good to me, this is without the filter, before my
| | 02:33 | modifications. This is after my modifications here inside
the Blending Options dialog box. I'll go ahead and click OK in
| | 02:40 | order to apply those blending options, and if you want to see
what the image looks like with and without a specific filter,
| | 02:47 | just go ahead and click on its eyeball.
So this is before I applied Median,
| | 02:52 | and this is after I applied Median. It's pretty subtle, so
let's go ahead and zoom in here so that we can see it a little
| | 02:57 | more closely, see that effect up close and personal. This is
before Median, and this is after Median. So just a little bit
| | 03:04 | of lightness inside some of the crevices there inside of her skin.
| | 03:09 | It actually helps out quite a bit,
I think, it looks pretty nice.
| | 03:12 | Alright, so that's the Median filter. Why don't we just go ahead
and add one more? I'm going to add another helping of sharpening.
| | 03:21 | So the idea is that in addition to applying a tight
Radius value of 2.0 and a large Amount value of 350%,
| | 03:29 | I might just want to increase the contrast of the image
by applying a high Radius value and a low Amount value.
| | 03:36 | And I could if I want to, I could apply a Smart Sharpen
once again. I could go to Sharpen submenu in the Filter
| | 03:42 | menu, and apply the Smart Sharpen command. So you can apply
the same filter over and over again, if you want to, so
| | 03:48 | multiple passes of a single filter.
| | 03:50 | But it gets hard to keep track of who's who if you have
Smart Sharpen, for example, listed more than once.
| | 03:55 | So I'm going to choose Unsharp Mask, because in this case a
removal of Gaussian Blur is fine with me. So let's go ahead and
| | 04:01 | then work with the Unsharp Mask command
instead, just to keep things straight.
| | 04:05 | I'm going to change the Amount value to 50%, and I'm going
to raise that Radius value to 25 pixels, so a big Radius
| | 04:13 | value, so that we're not really
getting a sharpening effect this time,
| | 04:16 | we're getting a high-impact, high-contrast effect here,
| | 04:20 | and I'll click OK to accept that modification.
| | 04:23 | Notice that Unsharp Mask is now listed at the top of the
stack, so Photoshop is applying Smart Sharpen first, then
| | 04:30 | Median, then Unsharp Mask. I want that order to be different.
I want to Unsharp Mask to be the first applied item,
| | 04:37 | so I want that heightened contrast first, then the sharpening,
| | 04:41 | and then the Median filter right there. So I'm going to take
Unsharp Mask, and I'm going to drag it until I see that horizontal
| | 04:48 | bar at that location, and then I'm going to release in order to
move on Unsharp Mask to the bottom of the stack, and do you see
| | 04:54 | the difference? This is before, when we had a Unsharp Mask on top,
and this is after, now that we have Unsharp Mask at the bottom.
| | 05:02 | In the next exercise, I'm going to modify the settings of this
Unsharp Mask item here, of the Unsharp Mask Smart Filter, and
| | 05:09 | we'll see how things behave a little differently, Photoshop behaves
a little differently, when we're modifying the settings for
| | 05:16 | filters that are listed lower inside the stack.
| | Collapse this transcript |
| Editing early filters in the stack| 00:00 | Now it's important to bear in mind that even though Photoshop
is a very mature program, right, it's Photoshop CS3,
| | 00:06 | which is essentially Photoshop version 10 in case you didn't
know, we're looking at a 1.0, a version 1.0 implementation
| | 00:15 | of Smart Filters, that is to say, they
don't always work the way we'd like them to.
| | 00:21 | For example, Photoshop currently gives higher previewing
priority to the filter that's located at the top
| | 00:28 | of the Smart Filter stack, meaning that we can preview anything
that's associated with the Median filter at this point,
| | 00:35 | but we can only preview Smart Sharpen
and Unsharp Mask on their own.
| | 00:38 | What am I talking about?
| | 00:39 | Well, let me show you.
| | 00:41 | I could either edit the settings for the Median filter,
| | 00:44 | or its Blend Mode settings here, by
double-clicking on one of these items.
| | 00:47 | I'll go ahead and double-click on the sliders to edit the
Blend Mode settings, and I'll take that Opacity value higher.
| | 00:54 | You can see not only the effects of
the Median filter applied to the image,
| | 00:59 | but we can also see how the Median filter is interacting
with Smart Sharpen and Unsharp Mask and so on.
| | 01:06 | So we're previewing the effects of all filters together.
| | 01:10 | Alright, I'll cancel out of there.
| | 01:12 | Let's see what happens if we try to adjust the settings that
are associated with Unsharp Mask, the guy at the bottom here,
| | 01:17 | because right now the Unsharp Mask
blend mode is too hot, I think.
| | 01:22 | I'd like to take the Opacity value down a little bit,
and I'll do that by double-clicking on its slider,
| | 01:28 | and the first thing I'll see is a nice big warning
onscreen that tells me that Smart Filters stacked on top
| | 01:34 | of this filter will not preview while this
filter, Unsharp Mask, is being edited.
| | 01:38 | So we'll basically see the effects of Smart Sharpen by itself.
| | 01:43 | Not the best solution, but it's the solution we got,
so I'll say Don't show again, and I'll click OK.
| | 01:49 | Notice that Median and Smart Sharpen just went away
onscreen, so I'm just previewing Unsharp Mask by itself.
| | 01:56 | I'm going to set that blend mode once again to Luminosity,
so that we're not exaggerating any of the color values inside
| | 02:03 | of the image, we're retaining the original color
values, and we're only sharpening the Luminance levels.
| | 02:09 | Then I'm going to take the Opacity value down to 50%,
just by entering 50% here, and then I'll click OK.
| | 02:16 | Now notice what the screen looks like at
this point, this is Unsharp Mask by itself,
| | 02:20 | set to Luminosity and an Opacity value of 50%.
| | 02:23 | As soon as I click OK and I wait for it here,
we'll see the other filters piled on top.
| | 02:29 | So now I can see what the image looks like
with Smart Sharpen and Median as well.
| | 02:35 | And that goes for editing Filter settings, not
only Blend Mode settings, but Filter settings.
| | 02:40 | Let's say at this point I'm still feeling like this
image is oversharpened, which it most certainly is.
| | 02:45 | So I'll double-click on the Smart Sharpen item to
bring up the Smart Sharpen dialog box, and again,
| | 02:51 | at this point we're only going to see Smart
Sharpen by itself, we're not going to see Median
| | 02:56 | and we're not going to see Unsharp Mask added.
| | 02:59 | We don't get a warning this time, because we said
Don't show again, but the warning remains intact.
| | 03:04 | I'll go ahead and lower the Amount value to 200% here, and then
click OK in order to apply that modification, and then we wait,
| | 03:12 | and we see Unsharp Mask and Median
heaped on top of the image as well.
| | 03:16 | So just bear in mind that any time that you're editing a
filter that is anywhere except at the top of the stack,
| | 03:23 | you're only seeing that filter by
itself so long as you're editing it.
| | 03:29 | In the next exercise, we're going to see how we can mask our
Smart Filters using this layer mask thumbnail right here.
| | Collapse this transcript |
| Masking smart filters| 00:00 | In this exercise, we're going to go ahead and mask these
filter effects, and if you look here inside the Layers palette,
| | 00:07 | you will notice that there is a layer mask thumbnail right
there, that big white thumbnail is the layer mask that's assigned
| | 00:14 | to the Smart Filters independently of the image layer itself.
| | 00:19 | And I should tell you that I'm working inside the Smart filter
comp.psd image, which you will find if you're working along
| | 00:26 | with me, you'll find it inside the 23 Smart Filters folder.
| | 00:29 | It's a bit of a catch-up file, so that
you can catch up with me if you like.
| | 00:34 | Notice that I have gone ahead and saved the image in the
layered PSD format, so if you save a layered PSD document,
| | 00:41 | all of your Smart Filters will remain
intact, along with your Smart Object.
| | 00:46 | Also notice down here in the bottom left corner of the window,
where it says Doc 2.21M/2.21M, that tells me that the image takes
| | 00:56 | up 2.21 megabytes in RAM when it is flattened, and also
takes up 2.21 megabytes of RAM with all of its layers.
| | 01:04 | So in other words, these layers take up very little room
in memory, just a few K here and there, as it turns out.
| | 01:10 | But while they don't take up much room in memory,
they do take a little bit of processing time
| | 01:14 | on Photoshop's part, so they do add to the complexity.
| | 01:18 | Alright, so let's go ahead and apply a
layer mask, and here's what I want to do.
| | 01:22 | I want to go ahead and isolate my sharpening effects in
particular to the darkest details inside of the image.
| | 01:30 | So I'm going to lift a luminance mask from the
existing channels, and here's how we're going to do it.
| | 01:36 | Go ahead and turn off all of the Smart Filters
by clicking on this eyeball right there,
| | 01:40 | the one that's in front of the layer mask, so that
turns off all the Smart Filters at the same time.
| | 01:45 | Then go to the Channels palette, and you'll notice your RGB
composite followed by your Red, Green, and Blue channels.
| | 01:51 | We'll go to the Red channel, which is going to be our
lightest channel of course, because of all the flesh tones,
| | 01:57 | and I want you to Ctrl + click on that Red channel thumbnail,
or Cmd + click on that thumbnail on the Macintosh side,
| | 02:03 | in order to load the brightest values
inside the image as a selection outline.
| | 02:08 | So we're really converting this channel to a selection outline,
on the fly here, just as if it were an independent alpha channel.
| | 02:15 | Alright, go back to the RGB composite by clicking on it, go
back to the Layers palette, turn on your Smart Filters again,
| | 02:22 | make sure that this layer mask is active by clicking
on it, so the layer mask is sticky, if you click on it,
| | 02:29 | it does become active, even though you can't make
Median or Smart Sharpen or Unsharp Mask active,
| | 02:34 | you can make the layer mask active, so go ahead and click on it.
| | 02:38 | Then I want you to check to see whether the
foreground or background color is set to black.
| | 02:43 | For me, it's the background color, it
probably will be that way for you as well.
| | 02:47 | Assuming that the background color is black, I want you to
press Ctrl + Backspace or Cmd + Delete on the Macintosh side,
| | 02:54 | and check out the appearance of that layer mask right there.
| | 02:57 | I'm going to press Ctrl + D, or Cmd + D on the Mac, in order
to deselect the image, and then I'm going to Alt + click
| | 03:04 | or Option + click on the layer mask icon there
in order to view the layer mask onscreen.
| | 03:09 | We can see that it looks like an
inverted version of the Red channel.
| | 03:14 | That's all we have going on.
| | 03:15 | And this is known, by the way, as a density
mask, because it's measuring ink densities.
| | 03:20 | Alright so anyway, this means that we're limiting our effects,
our filtered effects right here, to the brightest portions
| | 03:28 | of this layer mask, which are the darkest portions of the image.
| | 03:33 | Alright I'm going to Alt + click or Option + click once again
on that layer mask thumbnail, and just to give you a sense
| | 03:39 | of what kind difference this makes, I'll
zoom in on the eye a little bit right here.
| | 03:44 | If I Shift + click on the layer mask thumbnail, we can turn it
off and then turn it back on, so that's the big difference there.
| | 03:51 | This is with the layer mask off, it's a little
brighter, because we're increasing the contrast
| | 03:57 | of the light areas inside the image,
and this is with the layer mask on.
| | 04:02 | So it's a little darker, but at the same time we're
also not sharpening the light areas inside the image,
| | 04:08 | which means we're doing less to sharpen
the pores and the lip details and so on,
| | 04:13 | and we're doing more to sharpen the dark details, like the ridges
of the mouth and the eyelashes and the eyebrows and the nostrils
| | 04:20 | and so on, the good details, the details that
we really want to sharpen inside the image.
| | 04:25 | That's a function of applying this layer mask.
| | 04:28 | The only problem I have with this setup is that we have
to apply one layer mask and one layer mask only to all
| | 04:36 | of the Smart Filters at a time, to all the Smart
Filters that are assigned to this Smart Object.
| | 04:42 | What if we want to assign different layer
masks to each one of these filter effects?
| | 04:47 | Well that is a question that I will
answer in the very next exercise.
| | Collapse this transcript |
| A use for nested Smart Objects| 00:00 | Now as I was saying at the end of the previous exercise,
one of the problems with the way that Smart Filters are
| | 00:06 | constructed here inside Photoshop CS3
| | 00:08 | is that you can only apply a single layer mask to all of
the Smart Filters that are heaped onto a single layer.
| | 00:16 | Compare that to adjustment layers. With adjustment layers,
every single one of the adjustment layers gets its own layer
| | 00:22 | mask. So it's a much more flexible solution.
| | 00:25 | So what in the world do we do if one of these filters really
doesn't want to be masked by a this layer mask right here?
| | 00:33 | That's the situation that we actually have.
| | 00:35 | If you were to turn on and off every single one of these
filters, you would notice that Unsharp Mask and Smart Sharpen
| | 00:41 | are making a pretty big difference, a pretty big contribution
to the image still, because they do affect the darkest
| | 00:47 | regions inside of this photograph. However, Median
| | 00:52 | has been set to the Lighten blend mode, you may recall that.
I'll double-click on the slider icon right here in order to
| | 00:57 | bring up the Blending Options dialog box, and you
can see that the mode is indeed set to Lighten.
| | 01:03 | I'll go ahead and cancel out of there. But we're masking away the
light details inside of the image, so we're trying to relegate the
| | 01:10 | Median filter to just the darkest details, and that combination
doesn't work very well. The Lighten blend mode with the
| | 01:16 | darkest details just isn't really going to make much of a
difference. So if I turn off Median, notice that that's a
| | 01:22 | pretty subtle change there, I'd say, pretty darn subtle, if you even
saw it at all. I'll turn it back on. It's just not making the
| | 01:28 | contribution that it should add
to this layered composition here, to
| | 01:33 | this filtered composition at any rate. So what are we going to
do? Well, if you want to apply a different mask, and in my case,
| | 01:40 | I just want to get rid of the mask where Median is concerned,
but if you want to apply a different mask to a specific
| | 01:46 | Smart Filter, then you need to embed one Smart Object inside another.
So this is a pretty weird workaround that I'm going to show you,
| | 01:53 | but it does work.
| | 01:54 | And here's what we're going to do. With the Smart Object layer
selected, I'm going to go up to the Layer menu, and I'm going to
| | 02:01 | choose Smart Objects, and I'm good to choose Convert to Smart
Object. Now I know you're thinking, it already is a Smart
| | 02:07 | Object, Deke, what in the world are you doing?
Well, we're plopping all this junk into yet another
| | 02:13 | Smart Object container. So go ahead and do it.
| | 02:16 | You'll notice that it's just call smart object,
and all its other stuff disappears there.
| | 02:20 | And I'll go ahead and double-click on the smart object
thumbnail in order to bring up the smart object window itself,
| | 02:26 | which includes its own Smart Object along with the layer mask
and all of our Smart Filters. At this point we would turn
| | 02:33 | off Median, because we don't want median
to be applied inside of this container,
| | 02:38 | and then we would go ahead and click the Close box and
of course click Yes to update our image, or click the
| | 02:44 | Save button on the Macintosh side of things, in order to update that image, in order to update that Smart Object inside
| | 02:52 | of the larger composition right here.
| | 02:55 | Now I need to go back and apply a Median to this Smart
Object, so I'd have to go up to the Filter menu, choose
| | 03:02 | the Median command from the Noise submenu, apply that same
setting I applied before, I can't even remember what it is.
| | 03:07 | I think it was a Radius of 10 pixels, and then
change the blending options. There must be a way
| | 03:13 | to copy the other Median filter and paste it onto this item
right here, so that I can save myself a little bit of work.
| | 03:21 | Again, it's a workaround, but strictly speaking, you
can't really do a Copy and Paste, but you can do a drag
| | 03:27 | and a drop, and here's how. This is really wacky,
but it's a good thing to know. I want you to double-click
| | 03:33 | on this Smart Object thumbnail again to bring up this secondary
window right here, and this is what I'm going to have you
| | 03:39 | do. I'm going to have you drag the layer, the Smart Object,
and drop it into the other image. So we're dropping it from the
| | 03:48 | embedded Smart Object into the larger composition,
| | 03:51 | and that performs the standard drag-and-drop, meaning that
we just copied the layer into this other composition, and I
| | 03:57 | dropped it at a random location, so it's completely out of
register. I don't care about that, actually, as it turns out.
| | 04:03 | Let's go back to the Smart Object here and close it, because
we're done with it. So we've got the Smart Object not only
| | 04:10 | inside the embedded Smart Object, safe and sound, because when
you do a drag-and-drop, you duplicate the layer, you don't
| | 04:16 | move it, and now we'll take this Median
item right there, and drag-and-drop
| | 04:21 | it onto the larger Smart Object, the Smart Object that contains
the other Smart Object, if you're keeping up with me here.
| | 04:29 | Alright, then I'll click this Open button, this little twirly
Open button, to expand my smart object. I can see there's
| | 04:35 | the Median item, right now it's turned off, that's OK.
| | 04:37 | Now throw this guy away. Just drag it into the trash can to throw
it away, cause we don't need it anymore, we grabbed its Median
| | 04:44 | filter, that's all it was there for, that's all the good
it was doing us, and now click the eyeball to turn it on in
| | 04:50 | front of Median, and we now have the Median filter applied,
with its own blank layer mask, so that's affecting all
| | 04:58 | portions of the image. So this is without Median
| | 05:01 | and this is with Median. Again, it's a pretty subtle effect. I'll go
ahead and zoom in a little bit here. This is without Median, and this
| | 05:08 | is with Median. But now it is making a real contribution to
the image, thanks to the fact that it has its own unique and
| | 05:16 | as it turns out blank layer mask.
| | Collapse this transcript |
| The Shadows/Highlights filter| 00:00 | Alright, gang, if you want to catch up with
me, you can open this image right here.
| | 00:04 | It's called Nested smart objects.psd, it's
found inside the 23 Smart Filters folder,
| | 00:10 | and it's the image that contains the Smart Object inside
of a Smart Object that we created in the previous exercise.
| | 00:16 | Notice that there's a fair amount of
contrast going on inside this image.
| | 00:20 | She is very well lit over on the left-hand
side of the image, her right, of course.
| | 00:25 | And she's fairly dark over here on right-hand side of the image.
| | 00:28 | Let's say that we want to darken up the highlights
a little bit, and lighten up the shadows.
| | 00:32 | That's something that we can do using the Shadow/Highlight
function that we looked at oh so many chapters ago now.
| | 00:39 | Well, one of the problems is that even though you can
apply adjustment layers to a Smart Object if you want to,
| | 00:45 | to a Smart Filtered Smart Object even, the
Shadow/Highlight command is not available here
| | 00:51 | from the Adjustment Layer pop-up menu.
| | 00:54 | So what in the world do we do?
| | 00:55 | Well, we just go over to the static function.
| | 00:58 | Go to the Image menu, choose Adjustments, and
notice that two commands are available to you here.
| | 01:04 | One is Shadow/Highlight, and the other is Variations.
| | 01:07 | The reason that they are available to you
is because really truly they are filters.
| | 01:13 | They are filters that just got lost and went to
the wrong home, is essentially what's going on.
| | 01:18 | Because they so closely resemble color adjustment commands,
they're located here inside the Adjustments submenu,
| | 01:26 | but they're not really adjustment
commands, are they, they're filters.
| | 01:29 | Alright, so go ahead and choose Shadow/Highlight, and
it will get heaped on, just as Variations would as well,
| | 01:36 | it will get heaped on as a Smart Filter
listing here inside the Layers palette.
| | 01:41 | Alright, so I want you to reduce the Shadows value to 5%,
because we don't want to do all that much to the shadows.
| | 01:47 | Mostly we want to darken the highlights.
| | 01:49 | So I'll raise this value to 15%.
| | 01:53 | Notice that I don't have the other options visible,
but if you wanted to turn on Show More Options,
| | 01:58 | you can see the other settings that I've applied.
| | 02:01 | Alright, I'll go ahead and turn that
off now, just to keep things tidy.
| | 02:04 | I'm really just concerned about the Shadows
value and the Highlights value at this point,
| | 02:07 | and I'll click OK in order to apply my modifications.
| | 02:11 | So, just so you can see what we've done, this
is before, without that Smart Filter there,
| | 02:17 | and this is after, with the Shadow/Highlight Smart Filter.
| | 02:21 | Finally, I'm going to double-click on the Blending
Options item here, on that little slider icon,
| | 02:27 | and I'm going to change the mode from Normal
to Luminosity, the idea being that I don't want
| | 02:33 | that additional color saturation that
Shadow/Highlight adds by default.
| | 02:37 | So let's go ahead and change this blend mode to Luminosity, you
can reduce the Opacity value a little bit as well if you want,
| | 02:44 | but I'm perfectly happy with an Opacity value of 100%.
| | 02:47 | So I'm going click OK in order to accept that modification.
| | 02:51 | The only remaining problem, the only thing that's
still bugging me, is this darn line down the center
| | 02:58 | of the woman's nose right here, that
weird sort of reflection line.
| | 03:02 | I just feel like I got to get rid of it, and I'm
going to get rid of it in the very next exercise.
| | Collapse this transcript |
| Making pixel-level edits| 00:00 | Now I think it was a grand idea to add the Shadow/Highlight
command here as a Smart Filter inside that last exercise,
| | 00:08 | but it helped to ever increase this
weird line that's going down the center
| | 00:13 | of this model's nose, and I feel like we've got to get rid of it.
| | 00:16 | I want to heal that line away.
| | 00:19 | We don't really have a lot of options available to us.
| | 00:21 | I can't really select it and modify it independently of the rest
of the Smart Object, because Smart Objects don't let you do that.
| | 00:30 | So I'd like to go ahead and get my Healing
Brush and just paint that area away.
| | 00:34 | But if I grab my Healing Brush, and notice I have the
standard Healing Brush selected, I get the Ghostbusters icon,
| | 00:41 | the little no-can-do icon, because you can't edit
the pixels directly inside of a Smart Object.
| | 00:47 | That operation is forbidden.
| | 00:49 | You have all these wild parametric effects that are
available to you when you're working on Smart Objects,
| | 00:55 | but you don't have pixel-level control, at least not directly.
| | 00:58 | You have to enter the Smart Object.
| | 01:01 | Alright, so let's go ahead and double-click on the
smart object item, here inside the Layers palette.
| | 01:07 | Notice unfortunately, if I zoom in here a little bit, so that
we can see this version of the image up close and personal,
| | 01:14 | it's the one that contains the nested Smart
Object with a layer mask and Smart Sharpen
| | 01:19 | and Unsharp Mask turned on, Median turned off.
| | 01:21 | We could throw Median away if we wanted to.
| | 01:23 | If you want to get rid of a filter, by the way, a Smart Filter,
you can just right-click on it and choose Delete Smart Filter,
| | 01:30 | and as long as I'm here, what the heck,
might as well, might as well tidy things up.
| | 01:34 | But notice that I still can't heal, and
that's because this is still a Smart Object.
| | 01:39 | It's a Smart Object inside of a Smart
Object, but it's still Smart Object.
| | 01:42 | So double-click on it to go a level deeper.
| | 01:46 | You get the idea?
| | 01:47 | We're just sort of peeling away the onion
at this point, and now look at that.
| | 01:52 | My Healing Brush is available to me.
| | 01:55 | Yippee. So I've got my Healing Brush active.
| | 01:59 | All this stuff is going on inside the Options
bar, if you want to mimic what I'm up to.
| | 02:03 | I'm going to Alt + click or Option + click
just a little bit over from that line.
| | 02:09 | See that line?
| | 02:09 | I'll Alt + click or Option + click just a little
bit to the right of it, about 10 pixels over.
| | 02:15 | And then I'm going to reduce the size of
my cursor by pressing the Left bracket key,
| | 02:20 | so that I have a 10-pixel brush, a
10-pixel hard brush, incidentally.
| | 02:24 | Notice that Hardness is set to 100%,
Diameter is set to 10 pixels.
| | 02:28 | I just want a little dinky guy, and I'm
just going to paint up this line, like so.
| | 02:33 | Then I'm going to release, and it
should heal things pretty nicely.
| | 02:37 | Not a perfect healing, but it's pretty darn good.
| | 02:39 | Then I'm going to go up to the Edit menu,
and I'm going to choose Fade Healing Brush.
| | 02:43 | Old-school techniques here now, we're using static modifications.
| | 02:48 | Static modifications are still good modifications sometimes.
| | 02:52 | I'm going to choose Fade Healing Brush, and I'm going
to reduce that opacity value to say something like 70%.
| | 02:58 | I just want to make sure that I'm keeping a little bit of that
original texture in there, and mixing it up with the healed seam.
| | 03:08 | Click OK in order to accept that modification.
| | 03:11 | Now we have to update the Smart Objects, and here's how.
| | 03:14 | Go ahead and close this image, and
say Yes or Save on the Macintosh side.
| | 03:20 | And then that will update this Smart Object.
| | 03:24 | Now we have to update the other Smart Object
of course by closing this window and saying Yes
| | 03:29 | or clicking on the Save button on the Macintosh side.
| | 03:32 | Wait for it...
| | 03:33 | wow! it got healed away.
| | 03:35 | So that's just something you need to know.
| | 03:37 | If you want to make a pixel-level modification to a Smart Object,
then you have to open the Smart Object in an independent window
| | 03:43 | and heal or otherwise paint those pixels as you see fit.
| | 03:49 | This is the final version of our image, folks.
| | 03:52 | I'll go ahead and press the Tab key here, in
order to switch to the Maximize mode, like so.
| | 03:59 | Just to give you a sense of what some of the changes
look like, I'll turn off this Smart Filters eyeball.
| | 04:06 | This is what the image looks like sharpened, with just
the darkest areas inside the image sharpened that is.
| | 04:12 | This is what the image looks like with
Shadow/Highlight and Median applied as well.
| | 04:17 | Amazing stuff you can do, even to a single flat image
layer, using Smart Filters here inside Photoshop CS3.
| | Collapse this transcript |
| Creating a parametric wonderland| 00:00 | In this next project, we're going to try something a little more
ambitious. Rather than applying our Smart Filters to what is
| | 00:06 | essentially a flat image, as we saw before,
| | 00:09 | we are going to be building up a layered composition, and we're
going to be employing Smart Filters and adjustment layers
| | 00:16 | and layer effects. It's just going to be a parametric wonderland.
We are not going to harm a single pixel inside of our precious
| | 00:24 | images, God bless us every one.
| | 00:27 | Now I'll be telling you what image we're looking at in
just a moment, but for now just know that this is another
| | 00:33 | photograph from Joey Nelson.
| | 00:35 | It's that same model, shot under the same circumstances.
I believe it's the same photo shoot even.
| | 00:41 | And then I have some live text right here. We're going to
be assembling a movie poster, and the name of the movie-
| | 00:47 | notice it's a little bit derivative, but check out the comma-
| | 00:50 | it's not Kill Jill, it's Kill, Jill.
See, it's an instructional thing.
| | 00:56 | Alright, I just want you to note that, because here's
the final version of the movie poster that we're about to
| | 01:02 | create. We've got some Smart Filters applied to the line of
text, you can do that inside of Photoshop CS3, and we're
| | 01:09 | also mixing in a few layer effects. We've got some Smart
Filters applied to the image in the background, and we've got
| | 01:14 | an adjustment layer across her eyes. Notice the
tagline: "This time, Jill will be doing the killing."
| | 01:21 | Just in case you missed the comma,
the tagline tells you everything you need to know.
| | 01:27 | I kind of fooled around with this thing, you know
"Jill will be skillin' the killin'" but that hip-hop
| | 01:33 | stuff just didn't work, I thought. I was my own committee, don't
you know, on this project. Alright, so that's where we're going.
| | 01:39 | This is where we're starting.
Where are we? Well let me tell you.
| | 01:43 | I'll Tab back up my palettes and
switch to the Standard Window mode,
| | 01:48 | and we are working inside of a composition called Kill Jill
art.psd, and it's found inside the 23 Smart Filters folder.
| | 01:57 | You might want to go ahead and open it up. Notice that we're
seeing the image at the 100% view size. It's not a big image.
| | 02:02 | It's just 1024x768, so it's just a little guy.
| | 02:06 | The reason is because, once again,
Smart Filters are computationally intensive,
| | 02:12 | and I don't want any tears or frustration, I want all of
us to be able to work along at a pretty good pace here. If
| | 02:18 | you want to try out higher-res images on
your own, then definitely go for it, of course.
| | 02:23 | Alright, so let's see what's going on inside of this
composition. We have a black background layer. On top,
| | 02:29 | I have this layer called model,
| | 02:32 | and it has a layer mask assigned to it, so that we can see
through to the bottom of the image and the top of the image,
| | 02:37 | so we have that letterboxing.
| | 02:40 | Also notice that I've already put the image into a Smart
Object. If you double-click on the Smart Object, you'll
| | 02:47 | notice that she's bigger. So now we're seeing her at the 25% view
size, so she's a larger version of the image. The reason I put
| | 02:55 | her in a Smart Object in the first place is because I wanted to
apply a nondestructive transformation. I wanted to scale her down.
| | 03:02 | So I'm doing everything as smart as I can here.
| | 03:05 | Notice that not only do we have layer
| | 03:08 | that's the Joey Nelson photograph, but we also have an
adjustment layer called reduce contrast. If I turn that
| | 03:14 | layer off, you can see that she's a higher contrast image in
the first place. This layer right there reduces the contrast a
| | 03:20 | little bit. It's a curves layer. If you double
-click on it, you'll see how I assembled it.
| | 03:24 | It's a curve that slopes up at the beginning, so we're raising
those shadows and we're dipping down in the highlights there,
| | 03:30 | so we're darkening the highlights a little. We would expect
to see some grays in this flattened area right there.
| | 03:36 | We're not really getting grays. Why is that? Because- I'll cancel
out of there- because I cleverly used an adjustment layer and I
| | 03:43 | set it to the Luminosity mode. Check out the difference.
Let me zoom in on this image a little bit so we can see what
| | 03:50 | this blend mode does for us. I'll switch it back
to the Normal mode, which is the effect you'd
| | 03:54 | get if you just applied a static color adjustment, a static
application of the Curves command there, and you can see
| | 04:02 | that we've got some grays across the bridge of her nose, here
in this region, whatever that thing's called, basically all
| | 04:08 | the midtones are grainy out on us. So we've got
some gray midtones under her eyes, inside of her eyes.
| | 04:13 | It just doesn't look right at all.
| | 04:15 | If we want to gain back those original colors, see how bright
those colors were in the first place, if we want to regain
| | 04:21 | those original colors, we switch the Color Adjustment effect
so that it's only modifying the Luminosity values and
| | 04:28 | letting the color values show through from underneath.
| | 04:32 | Wonderful, wonderful way to work by the way.
| | 04:34 | Alright I just wanted you to see that. I'm going to close out of
this image, I'm not going to save the changes, because we didn't
| | 04:39 | do anything, did we?
| | 04:41 | So no sense in waiting for the image to update. There's our
live text, Kill, Jill. We're going to keep it live. You may
| | 04:48 | have gotten a warning when you opened this image that said you
needed to update the fonts. Of course you would have clicked the
| | 04:53 | Update button in that case. This is a font called Impact,
which is a really common font available on all systems.
| | 04:59 | Then we have the tagline and the headliner text right here.
I went ahead and rasterized those guys, because they were set in
| | 05:06 | Lucinda Bright, and you might not have that font on your system,
and we're not going to be doing anything with them anyway, so
| | 05:12 | I decided to convert them to pixels. You can turn them
on to check them out if you want to. Finally we have a
| | 05:17 | couple of adjustment layers that you can check out at your leisure.
We will be introducing them into the composition later on.
| | 05:25 | Alright, I'm going to Shift + Tab away those palettes, and switch
to the Maximize mode, the Maximize screen mode, so that we
| | 05:32 | have a little more room to work, and we will begin working on
this image. We're going to start applying some Smart Filters
| | 05:38 | in the very next exercise.
| | Collapse this transcript |
| Working with the Filter Gallery| 00:00 | In this exercise, we're going to begin applying
filters to this photograph layer right here.
| | 00:06 | Note that this time around we are applying some creative filters.
| | 00:12 | We're not going to be going for a corrective
filtering effect the way we did in previous exercises,
| | 00:17 | when we were applying Smart Sharpen an Unsharp
Mask and Median and even Shadows/Highlights.
| | 00:22 | Those commands are a little more
predictable, we know what to expect from them,
| | 00:25 | we know what we're trying to accomplish with them.
| | 00:28 | But when we go into freeform creative territory, Smart
Filters really begin to shine, because they're so flexible,
| | 00:34 | you can turn them on and off, you can change your mind.
| | 00:37 | So we'll see how that all works.
| | 00:40 | Let's go ahead and make sure that we
have the Kill Jill art.psd document open,
| | 00:44 | if you're working along with me,
then bring up the Layers palette.
| | 00:47 | I want you to switch to that model layer.
| | 00:50 | Now, a little bit of a sidebar.
| | 00:52 | Another difference, yet another difference, between Smart Filters
and adjustment layers: adjustment layers, by their very nature,
| | 00:59 | like this guy right here, which is a gradient map layer -- it's
actually a really cool gradient map layer if you turn it on --
| | 01:05 | so it's colorizing all of the Luminance levels inside
of the layers below it, using this gradient right here.
| | 01:15 | If I double-click you can see here it's a black-to-white
gradient, with a bunch of red tones and orange tones in between.
| | 01:21 | So we have very specific control over exactly how our colors
map out, and we can create gorgeous effects like this one here.
| | 01:29 | Now, the adjustment layer affects every
layer below it, and that means that you can,
| | 01:35 | by the very nature of adjustment layers,
you can affect multiple layers at a time.
| | 01:39 | Compare that to -- I'll go ahead and turn that layer off for a
moment here -- compare that to the behavior of Smart Filters.
| | 01:44 | Smart Filters want to affect a single Smart Object at a time.
| | 01:48 | So what do you do if you want to
affect multiple layers at a time?
| | 01:51 | Why then you have to group those layers together inside of a
single Smart Object, and we've already done that in this case.
| | 01:58 | If you double-click on that Smart Object, you may recall
| | 02:00 | that it contains not only the base photograph
layer, but also this curves adjustment layer.
| | 02:05 | Both of those layers are going to be affected on a composite
level by any Smart Filters we applied to this Smart Object.
| | 02:14 | Alright, so let's go ahead and close out of that Smart Object
so that we're back inside of the Kill Jill art.psd document.
| | 02:21 | Make sure the model layer is active and that
we're working on the Smart Object itself.
| | 02:26 | Then go up to the Filter menu, and notice that you
don't have Convert for Smart Filters this time around.
| | 02:31 | Because we already have a Smart Object in
place, we are able to apply Smart Filters
| | 02:36 | to it automatically just by choosing
commands from the Filter menu.
| | 02:39 | Now I'm going to go ahead and apply
one of the creative filters here.
| | 02:43 | I'm going to choose this guy right here, called Cutout.
| | 02:46 | That's going to bring up the Filter
Gallery, the big old Filter Gallery.
| | 02:51 | You can either choose the Filter Gallery if you want to,
I don't recommend you work that way this time around,
| | 02:55 | or you can choose the specific filter that you want to apply.
| | 02:59 | Those filters, the Filter Gallery
filters, reside in a few locations here.
| | 03:03 | They mostly reside inside the Artistic submenu, the Brush
Strokes submenu, the Sketch submenu, and the Texture submenu.
| | 03:11 | That's mostly where they are.
| | 03:12 | There's a couple of others scattered elsewhere
inside the program, but those are the main ones.
| | 03:16 | I'm going to choose Artistic and then Cutout.
| | 03:19 | That brings up the big old Filter Gallery dialog box
right here, which likes to take up your entire screen.
| | 03:26 | You can see a preview, over on the left-hand side, of the image.
| | 03:31 | You can see all of the different filters represented as
thumbnails here that you can apply inside of the Filter Gallery.
| | 03:36 | Note that that is a subset of the larger realm of filters.
| | 03:40 | Notice that there's no Unsharp Mask or
Smart Sharpen or Gaussian Blur or Median.
| | 03:45 | None of the core filters are represented here.
| | 03:47 | They're all wacky effects filters as it turns out.
| | 03:50 | These are our Artistic filters that I was telling you about.
| | 03:53 | Here's Brushstrokes, here's Sketch, and here's Texture.
| | 03:56 | I was telling you there's a couple of others.
| | 03:57 | There's one filter that's in the Stylize
submenu, and I think there are two or three,
| | 04:02 | turns out to be three, inside of the Distort menu.
| | 04:04 | Now let's focus on the Cutout effect right here.
| | 04:08 | I'm going to leaves the Number of Levels.
| | 04:11 | It's actually probably just fine here at 6 or
7, but I don't want this much Edge Simplicity.
| | 04:17 | I'm going to turn the Edge Simplicity value down
so that we get a little more reticulation going on,
| | 04:22 | which makes for sort of a weird effect inside of her face.
| | 04:25 | She looks like she's been turned into a scarecrow or
something, but her hair ends up looking pretty darn cool.
| | 04:31 | Once we apply a blend mode and an Opacity value, we'll
be able the mix this effect in with the original layer
| | 04:37 | and get something that I think is a little more appealing.
| | 04:39 | Finally you can mess around with this Edge Fidelity option,
| | 04:43 | which tracks how closely these weird little
edges track the real edges inside of an image.
| | 04:50 | It's more useful when you have Edge Simplicity cranked way up.
| | 04:53 | Now in the old days, there were a lot of
folks who were big fans of the Filter Gallery.
| | 04:59 | I've never been a fan of this command.
| | 05:01 | That's why I didn't discuss it in our main
filter discussions, because I actually think...
| | 05:05 | well, there's a lot wrong with it, I won't go into everything
that's wrong with it right now, but it's not nearly as cool
| | 05:11 | as something along the lines of Smart Filters.
| | 05:13 | You can -- I'll show you something that's kind of nifty
about it -- you can add a new effect if you want to,
| | 05:18 | and you can say alright, before I apply the Cutout effect, I
want to apply an Underpainting effect, so that I create something
| | 05:25 | of a canvas layer underneath this Cutout layer and
we can see what that Underpainting layer would look
| | 05:31 | like if we turn off the Cutout layer for a moment.
| | 05:33 | So they kind of behave like they're
adjustment layers of filtering, or something.
| | 05:39 | Problem is, they only work inside of this dialog box.
| | 05:42 | They're actually static effects, all that's happening
is first the dialog box is applying Underpainting,
| | 05:46 | and then it's applying cutout.
| | 05:48 | You can change the order if you want
to, but it only lasts so long
| | 05:51 | as you're inside this dialog box, so it's a little bit of fakery.
| | 05:54 | You can't change the blend mode, and you can't
change the Opacity value, and you don't nearly have
| | 05:58 | that level of control, and they're not editable.
| | 06:01 | If you come back into the Filter Gallery,
if you were using Photoshop CS2 or earlier,
| | 06:05 | back when you didn't have Smart Filters, why then there
was no editing these settings once you had applied them.
| | 06:11 | Alright, I'm just going to get rid of Underpainting.
| | 06:13 | I don't recommend that you heap multiple filters
on top of each other inside of the Filter Gallery.
| | 06:18 | If you want to mix multiple filters together, apply one at a time
inside the Filter Gallery, and then apply them as Smart Filters,
| | 06:25 | so that you have more mixing opportunities there.
| | 06:28 | Alright, here are the Cutout settings that I'm going to
apply, you can go your own way if you want to of course.
| | 06:33 | I'm going to click the OK in order to accept that modification.
| | 06:37 | And there it is.
| | 06:38 | Looks pretty darn good, I think, insofar as effects go.
| | 06:41 | I'm going to double-click on the slider
option right there, that slider icon,
| | 06:45 | in order to bring up the Blending Options dialog box,
something we didn't have of course inside the Filter Gallery.
| | 06:52 | I'm going to change the mode to Linear Light,
so that we're mixing these two images together,
| | 06:57 | and I'm going to take this Opacity value down to something in the
neighborhood of 30%, like so, so that we're getting a better mix
| | 07:05 | of this Cutout effect and the original image.
| | 07:08 | That's a pretty hot mix, as it turns out, meaning
we're blowing a lot of highlights, but it's cool.
| | 07:13 | I kind of like it, for now anyway.
| | 07:15 | Notice this Opacity value inside the Blending Options
dialog box is behaving a lot more like the Fill value
| | 07:22 | when combined with the special Liner Light mode.
| | 07:25 | Remember way back when we were talking about blend modes, some
blend modes behave differently when you apply the Opacity value
| | 07:33 | versus the Fill Opacity value here inside the Layers palette?
| | 07:35 | Well in this case, this Opacity value
tends to mimic the Fill value instead.
| | 07:40 | Interesting thing, just kind of a good thing to know.
| | 07:43 | It means that you end up getting better
mixes with your special Smart Filter effects.
| | 07:48 | Alright, so I'll click OK in order to accept that modification.
| | 07:51 | We have applied, we have successfully applied,
our first creative Filter Gallery effect,
| | 07:58 | as a Smart Filter, to this model Smart Object.
| | 08:01 | We will be heaping on even more effects,
starting with the very next exercise.
| | Collapse this transcript |
| Experimenting with creative filters| 00:00 | In this exercise, we're going to do something
that I don't recommend you do on a regular basis,
| | 00:05 | and that is we are going to engage in a
bit of freeform filter in experimentation.
| | 00:12 | Now the great thing about Smart Filters inside Photoshop
CS3 is that they do permit you to experiment like crazy,
| | 00:20 | because you can apply as many filters as you want, you
can turn them on and off, you can change their order,
| | 00:25 | you can change the blend mode, the Opacity values, and so on.
| | 00:29 | The problem with this amount of creative control
is that if you don't know where you're going,
| | 00:34 | you can spend an awful lot of time getting there.
| | 00:37 | In our case, for example, I know that I
want something of a stressed effect applied
| | 00:43 | to this background photograph, but I don't know exactly what.
| | 00:47 | That can be a little dangerous, because I don't have a
specific plan of approach, which means I can spend an awful lot
| | 00:53 | of time playing with filters and getting frustrated.
| | 00:56 | So it can be a lot of fun, but once you look up at the
clock and you notice that you've wasted the last five hours
| | 01:01 | and you haven't gotten anywhere, that's
when the frustration really sets in.
| | 01:04 | So if you're going to engage in freeform experimentation, I
recommend, really honestly, that you have an alarm clock set up,
| | 01:11 | because otherwise you can really waste a lot of time.
| | 01:14 | Now if you want to waste time, great, that's fine.
| | 01:16 | I mean, if you have that time to waste, it's better than sitting
in front of the TV or something along those lines, I guess.
| | 01:20 | Up to you of course.
| | 01:22 | In our case though, I have an idea of
where we're going, so that's a good thing,
| | 01:26 | and I'm right here by your side, I'm your guide.
| | 01:29 | I'm taking you through the world of experimentation here,
I've been here before, more times than I can tell you.
| | 01:36 | But if you decide as I'm guiding you along, if you
decide to go your own way and walk out into the forest,
| | 01:42 | all I've got to tell you is remember the
breadcrumbs, because you can get mightily lost.
| | 01:50 | Alright, so I've got the model layer selected here inside the
Kill Jill art.psd document, and we have applied a Cutout effect.
| | 01:57 | Now my problem thus far with the Cutout effect is
that I'm once again torturing this poor woman's nose.
| | 02:05 | This time it looks like she's got some clown stripes
going on, and I really don't like that effect.
| | 02:10 | It's really flattening off the nose, and
just making it look unattractive, I think.
| | 02:15 | I want to get rid of a little bit of that striping.
| | 02:17 | It occurs to me that Photoshop uses noise,
uses digital noise, to get rid of the stripes,
| | 02:23 | or if you prefer, banding, inside of gradients.
| | 02:27 | So we might be able to use noise to get rid of
some of the striping here with this Cutout effect.
| | 02:32 | So with the model layer selected, go
up to the Filter menu, choose Noise,
| | 02:37 | and choose Add Noise right there, and
that brings up the Add Noise dialog box.
| | 02:41 | We're not inside the Filter Gallery this time.
| | 02:43 | Most of Photoshop's core filters
do not call on the Filter Gallery,
| | 02:47 | and notice that we're seeing just
the Add Noise effect and the image.
| | 02:52 | Inside of your version of the program, that might change.
| | 02:55 | I'm working inside of a pre-release, so the
Cutout effect is getting the slip for now,
| | 02:59 | but that's OK, because I know where we're going.
| | 03:01 | I want you to increase the Amount value to 20%.
| | 03:04 | We're going to switch from Uniform to Gaussian Distribution,
so that we end up getting a higher contrast version
| | 03:11 | of the Noise effect, because we're smooshing
those colors out to the shadows and highlights
| | 03:16 | and getting rid of a lot of our midtones here.
| | 03:18 | And then I don't want so much color noise going
on, so I'm going to switch to Monochromatic,
| | 03:22 | which will result in exclusively luminance noise, and
then I'll click OK in order to accept that new filter.
| | 03:29 | Now notice we're still not seeing the posterization effect here.
| | 03:32 | So if you end up running into that issue as well, turn
off the Add Noise filter, and that will force Photoshop
| | 03:39 | to regenerate the screen preview, and we'll be able
to see both filters heaped on top of each other.
| | 03:44 | Alright now I want you to grab the Cutout effect, I
want it on top of Add Noise, so grab the Cutout effect,
| | 03:50 | drag it up the stack like so, drag
it to the top until you can see
| | 03:54 | that horizontal bar on top of the word Add Noise, then release.
| | 03:58 | You may have to be very deliberate
about your actions, by the way.
| | 04:01 | And then in a moment you should see Cutout pop up on
top of Add Noise, and so we're generating the noise
| | 04:07 | and then applying the Cutout filter in this case.
| | 04:09 | Now the noise is still too prominent, so let's go ahead
| | 04:11 | and click on the slider icon there to
bring up the Blending Options dialog box.
| | 04:16 | Take that Opacity value down to 30% and then click OK.
| | 04:21 | Now, because we're working on one of the earlier filters,
now that we dragged it down, it's getting applied earlier.
| | 04:26 | We're not seeing Cutout on top, That's
standard behavior this time around.
| | 04:30 | So click OK with 30% Opacity, wait for it, and then you'll
see both of the filters blended together, and that's good.
| | 04:38 | Alright now I want to add a little bit of a canvas texture
to this image, so it has something of a painterly effect,
| | 04:45 | I'm thinking, or a photograph rendered on canvas paper.
| | 04:49 | We're going to do that using a filter that happens to generate
a black-and-white effect, assuming that the foreground
| | 04:56 | and background colors are set to black and white.
| | 04:58 | So please go ahead and press the D key for your default colors,
so that you see black is foreground, white is background.
| | 05:05 | You should still have the model layer selected.
| | 05:07 | I want you to go up to the Filter menu, I want you
to choose Sketch, and all of these commands work
| | 05:12 | with the current foreground and background
colors, so if they're black and white,
| | 05:17 | then all of these effects are going
to result in black-and-white effects.
| | 05:21 | I'll choose Conte Crayon, and whether it really delivers a
Conte Crayon effect or not is a topic for argument I suppose,
| | 05:31 | but it does definitely generate a black-and-white effect, as you
can see, thanks to the fact once again that I had my foreground
| | 05:36 | and background colors set to black and white.
| | 05:38 | If they were some other colors, we'd be seeing
some other colors here inside of the preview.
| | 05:43 | And of course, Conte Crayon is one of the filters
that brings up the Filter Gallery right here,
| | 05:47 | and you can see how they're all set
to black and white at this point.
| | 05:51 | We are getting a canvas texture involved,
and we can switch out that texture if we want
| | 05:56 | by selecting a different texture from this list.
| | 05:58 | I'm actually happy with Canvas, and
I'm happy with the default settings.
| | 06:02 | I don't want to turn this into a discussion
of how this very specific filter works.
| | 06:06 | So I'll click OK in order to accept those default settings.
| | 06:10 | What I'm more concerned about is the fact that we're getting
rid of all of the color in the underlying image here,
| | 06:18 | and I don't want to move the filter up and down the stack,
because it still will have removed the colors from the original,
| | 06:25 | we'll still end up with black and white,
unless we change out the blending options.
| | 06:29 | So why don't we just go ahead and do that.
| | 06:31 | Double-click on the slider icon right here
to bring up the Blending Options dialog box.
| | 06:37 | One way we could get back the colors is of
course to choose the Luminosity blend mode
| | 06:41 | so that we're mixing the Luminance levels
from the effect with the underlying colors.
| | 06:46 | I don't really necessarily think I want to do that.
| | 06:49 | Let's go ahead and take the Opacity value down to
40% so that we're weakening the Conte Crayon effect,
| | 06:55 | and that looks pretty great, but the colors are a
little hypersaturated at this point for my liking,
| | 07:00 | so I'm going to change this mode back to Normal, and
we'll end up leaching out some of the saturation here,
| | 07:07 | which I think actually produces a pleasant effect.
| | 07:10 | Now click OK in order to accept that modification.
| | 07:13 | So there's a little bit of creative filtering for you.
| | 07:16 | Not really an experimentation free-for-all, necessarily,
because we would've been at it for a lot longer,
| | 07:21 | but of course I had already experimented in
advance for you, so that saved us a lot of time.
| | 07:27 | I reserve the right to change my mind,
as I will in the very next exercise.
| | Collapse this transcript |
| Swapping Filter Gallery filters| 00:00 | Now let's say after a bunch of work on this image,
after spending maybe half an hour or 45 minutes creatively
| | 00:07 | experimenting with the filters and coming
up with the effect that we see before us,
| | 00:11 | I wander away from the computer, take a little bit of a break,
sit back down and look at this effect and think, you know what,
| | 00:17 | this is kind of cool, but it doesn't really
make me think Kill Jill, you know, it
| | 00:23 | makes me think I've taken an image and I've put it on
some canvas, and I threw it in the mud, and I let it
| | 00:29 | wear out for awhile, and I retrieved it and I tried to
restore the photo, but that's not what this movie is about.
| | 00:35 | This movie has more of a gritty feel to it. So not like
an old-timey, canvasy, romantic photograph, or whatever
| | 00:41 | we have here. So I want to switch out my effects. Now, normally,
you can't switch one filter for another. For example, if
| | 00:49 | I decide that I don't want Add Noise, I can, if I want to,
I can double-click on it and I can change its settings,
| | 00:56 | but there's no method available to me here inside
Photoshop to swap it out for a totally different filter.
| | 01:02 | So I'll cancel out of there and I'll say, you know what?
| | 01:05 | Forget about Add Noise. Or I could turn it off, or I could throw
it away if I wanted to, but in our case I'm just going to turn
| | 01:11 | it off, because maybe I want to bring it back later.
| | 01:13 | There is, however, a method for swapping filters
if they emanate from the Filter Gallery in the first
| | 01:20 | place, because you can swap one Filter Gallery filter for another.
So Add Noise is not a Filter Gallery filter so we can't switch it.
| | 01:27 | The same goes for Smart Sharpen and Unsharp Mask and
Gaussian Blur and Median and Shadows/Highlights and
| | 01:32 | Variations and all those guys.
| | 01:34 | But where the sort of effect filters are concerned, the
painterly artistic filters, those we can swap. So let's take
| | 01:41 | Conte Crayon, cause that's our biggest offender, that's the one that's
setting the image against this canvas effect here, we don't want that.
| | 01:47 | So let's double-click on it in order to change its settings,
| | 01:51 | and that brings up the big old Filter Gallery dialog box here,
with its in-dialog-box preview that's just showing us
| | 01:58 | one effect and nothing more.
| | 02:00 | I'm going to switch the Conte Crayon to Reticulation. Now I
could switch to anything anywhere inside of this dialog box.
| | 02:06 | I could switch to one of the Artistic effects or one of the
Texture effects or what have you. But I'm going to stick
| | 02:10 | inside the Sketch effects, and I'm going
to go with Reticulation right here.
| | 02:14 | And I'm going to enter some different values this time.
I want a lower Density. You can experiment with these to see
| | 02:21 | exactly what they do on any given image, but I'm just going to
enter these values here, of 20 for Density, 50 for Foreground level,
| | 02:29 | and 30 for Background level. Now I like this effect where
this grittiness is concerned here, but I don't like how
| | 02:38 | the Reticulation effect is mixing in with the Cutout
filter effect, and that might just be the Cutout
| | 02:44 | filter's problem. In fact, it think it is. Alright, so
for now I'll just go ahead and accept this modification,
| | 02:49 | and I'll wait for it to apply, and that looks pretty nice actually.
It doesn't look nearly as bad as it looked inside of the
| | 02:55 | Filter Gallery dialog box,
| | 02:56 | but I'm still not a big fan of the clown striping over her
nose. There must be some other filter we can use at this
| | 03:03 | location here. So I'm going to double-click on Cutout,
| | 03:06 | and I'm going to switch from Cutout- actually I'll drag her over
so I can see what I'm doing just a little bit, so I can see
| | 03:12 | that nose that I want to keep an eye on there-
| | 03:15 | and I'll switch to Poster Edges, this guy right there. Still
a little bit of striping going on, it's actually a related
| | 03:22 | filter to Cutout, but it introduces some other stuff
that I think looks awfully darn nifty. So, the settings I
| | 03:29 | recommend you apply at this point, in case they're not applied
by default, are 2, 1, 2. So 2 for Edge Thickness, 1 for Edge
| | 03:35 | Intensity, and 2 for Posterization.
| | 03:38 | If you don't want that much posterization,
you can round things off by increasing that value.
| | 03:43 | In fact, why don't we actually increase that valuable a
little bit. I'm changing my mind on the fly here. 2, 1, 5
| | 03:49 | looks better and gets rid of that clown striping across the nose.
How about 4? We're starting to see some banding there, let's not
| | 03:54 | see any banding. I'll click OK with 2, 1, 5, in order
to apply that to the image, and we'll see how these two
| | 04:00 | filter effects merge together, and they look awfully darn nice.
They look so nice that I don't really see any purpose in
| | 04:07 | changing the underlying blending options right
here. We certainly could, if you wanted to,
| | 04:13 | adjust those blending options. You could go for it. But I'm
thinking the blending options I have in place are working out
| | 04:18 | just fine for me.
| | 04:19 | Now notice that Photoshop is even thoughtful enough to
go ahead and rename each of these effects for me. So
| | 04:25 | Cutout has become Poster Edges, and Conte Crayon has become
Reticulation. That's not necessarily always going to be the case.
| | 04:32 | You may run into situations where Photoshop does not keep
up with your modifications inside the Filter Gallery,
| | 04:38 | because there's a lot of weird stuff that you can do
inside that dialog box, but in our case everything's A-OK.
| | 04:44 | And the next thing that I'm going to do is
turn on that colorize layer right there, that
| | 04:50 | layer of gradient map, in order to- if I go ahead
and press F7 to hide my Layers palette there onscreen-
| | 04:56 | in order to basically come up with a more homogeneous set
of colors, so that we're not working with the original colors
| | 05:04 | inside of the image,
| | 05:05 | and of course to focus more on these blood reds and that
kind of thing, that are more in keeping with the Kill, Jill
| | 05:12 | theme of our movie poster.
| | 05:15 | In the next exercise, we're going to see how we can add
adjustment layers and layer effects to our existing Smart Filters
| | 05:24 | in order to mix and match parametric effects.
| | Collapse this transcript |
| Mixing all varieties of parametric effects| 00:00 | In this exercise, we're going to see how we can mix and match
various parametric effects, including not only Smart Filters,
| | 00:06 | but also adjustment layers, layer effects, and even layer masks.
| | 00:10 | If you want to catch up with me, which might be a good idea,
I'm working inside the image that's called Photo filters.psd,
| | 00:17 | that's found inside the 23 Smart Filters folder.
| | 00:19 | The idea is that I've applied all the filters that I'm going
| | 00:22 | to to this photographic layer, but we
have everything else left to do here.
| | 00:27 | So press F7, if you need to, to bring up the Layers palette, and
you can see that I've got this model layer, she's a Smart Object.
| | 00:35 | I've applied a series of Smart Filters to her,
and I've also turned on the gradient map layer,
| | 00:40 | which colorizes everything below it, colorizes everything
that's going on inside this photo layer, sort of a blood red,
| | 00:48 | and I think that creates a nice effect,
and it's entirely replacing the colors.
| | 00:52 | Notice that the blend mode is set to Normal, and the Opacity
values, both Opacity and Fill Opacity, are both set to 100%.
| | 00:58 | We're going to leave them that way.
| | 00:59 | I want to completely replace those colors, cause I don't want
the original colors inside this image to compete with the rest
| | 01:05 | of this movie poster, including the type and
other elements that we're about to assign.
| | 01:10 | Now, I do want to create a cool effect over her eyes, over this
woman's eyes, and I'm going to create that effect using a couple
| | 01:18 | of things, starting with an adjustment layer right there.
| | 01:21 | Notice this eyes adjustment layer.
| | 01:23 | Go ahead and turn it on in order to lighten up the image.
| | 01:26 | So this is a levels adjustment.
| | 01:28 | If you double-click on its thumbnail, you'll see the Levels
dialog box, and you'll see that I've raised the Gamma value
| | 01:33 | to 1.9, so I've dramatically increased
the brightness of the midtones.
| | 01:38 | Alright, I'll cancel out of there,
because we don't want to make any changes.
| | 01:41 | I just want to limit this effect.
| | 01:43 | There's a few things I want to do.
| | 01:44 | This effect just looks weird and sort of washed out at this
point, but it's going to look awfully darn cool in just a moment.
| | 01:50 | I want to limit this effect to just the eyes.
| | 01:53 | I've already created a layer mask for you, all you need to do
is Shift + click on it in order to turn that layer mask on,
| | 02:00 | so that you're limiting the effect to just the eyes.
| | 02:03 | Now that might not, cause you to gasp in amazement,
in fact I'd say so far it just looks worse.
| | 02:09 | Well, we're going to get rid of the filter effect inside of these
areas, so we want the filter to be outside of the eyes mask,
| | 02:18 | and we don't want the filter to creep into the internal area,
to go inside the eye mask, so we're going to load the eye mask
| | 02:25 | by pressing the Ctrl key or the Cmd key on the Mac, and clicking
on that layer mask thumbnail for the eyes layer right there,
| | 02:32 | and you'll just load this very simple rectangular selection.
| | 02:36 | Now go down to the Smart Filters mask and
click on it in order to make it active,
| | 02:42 | and then I want you to check out your
foreground and background colors.
| | 02:45 | By default, you should see that your background color is set to
black, so I want you to press Ctrl + backspace or Cmd + delete
| | 02:53 | in order to fill that selection with black, so that
you're not filtering the area inside of the selection,
| | 03:00 | and you are filtering the area outside the selection.
| | 03:03 | Alright, so far so good.
| | 03:05 | You can get rid of the selection now by
pressing Ctrl + D, or Cmd + D the on the Mac.
| | 03:10 | Then go back to this eyes layer.
| | 03:12 | I'm not happy with the blend mode I've assigned.
| | 03:14 | I'm happy with the effect, but I need to
increase the contrast dramatically here,
| | 03:19 | and I'm going to do that by changing the
blend mode from Normal to Vivid Light.
| | 03:24 | Notice we get this extremely heightened
contrast and heightened color effect as well.
| | 03:28 | Now I want to reduce the impact of that
effect, and you may recall when we were looking
| | 03:33 | at blend modes several several chapters ago now, I could
reduce the Opacity value, but if I do I just get kind
| | 03:41 | of a wan effect here, something that
doesn't look very good at all.
| | 03:45 | So instead I'm going to raise that Opacity value back up
to 100%, and I'm going to reduce the Fill Opacity to 50%,
| | 03:52 | in which case we get a higher impact low-impact
effect, if that makes any sense to you whatsoever.
| | 03:58 | If it doesn't, this is the effect I want, is basically what
it comes down to, and again, this is a result of a fair amount
| | 04:03 | of experimentation on my part, as it's going to be
when you're working with blend modes in this way.
| | 04:08 | Now, let's go ahead and add a layer effect.
| | 04:11 | I want to create...
| | 04:12 | you may recall in the final movie poster I had some sort of
horizontal lines that were accenting the eyes and the top
| | 04:21 | and bottom edges of the photograph, and
those were the result of layer effects.
| | 04:25 | Go ahead and twirl open the layer by clicking on
this down-pointing arrowhead for the eyes layer here,
| | 04:30 | and notice that the Drop Shadow is turned off by
default, but it is there waiting for you to turn it on.
| | 04:35 | Go ahead and turn it on by clicking the eyeball in
front of the word Effects, and this is the Drop Shadow.
| | 04:40 | Now this may seem like a very weird Drop
Shadow that's this kind of double line effect,
| | 04:44 | but if you double-click on the Drop Shadow item there inside
of the palette, you'll bring up the Drop Shadow dialog box,
| | 04:49 | and you can see that it's a function of this custom contour that
I've created, and also the fact that I spread the Drop Shadow
| | 04:57 | out pretty significantly, see that Spread right there,
| | 05:00 | this is what I can do with the Spread,
and I had the Spread up to ultimately 80.
| | 05:05 | The Distance value is fairly low compared with the Size value.
| | 05:09 | So the Size value now really does allow
me to modify the size of this shadow.
| | 05:14 | I say "shadow" in quote fingers because I don't know
that this looks anything like a shadow at this point.
| | 05:19 | And then Distance allows me to determine
how the shadow is centered on the eyes.
| | 05:24 | Isn't that crazy?
| | 05:25 | The things that you can do with layer effects are just amazing.
| | 05:28 | Again, another area of Photoshop in which
you can experiment until your eyes cross.
| | 05:34 | Alright, I'm going to click the Cancel button in order to
restore the original Drop Shadow that I gave you there.
| | 05:39 | Now finally I've got a similar effect around the
photograph, but it's colored in red, not in black,
| | 05:46 | and you can check it out by going
down to the model layer right here.
| | 05:49 | Notice that there's an Effects item, which is turned off.
| | 05:51 | Once again, turn it on, and you'll see this tiny little
red line right at the top, and then if you go to the bottom
| | 05:56 | of the image, you'll see a double red effect.
| | 05:59 | However, it's kind of a lukewarm red.
| | 06:01 | Why is that?
| | 06:02 | Because of the colorize gradient map layer right there.
| | 06:06 | This gradient map is affecting the colors
that are going on inside of the Drop Shadow.
| | 06:12 | If I turn it off for a moment, you'll
see that the Drop Shadow is bright red.
| | 06:16 | And that's a function -- I'll go ahead and
double-click on the Drop Shadow so you can see it --
| | 06:19 | it's again another one of these custom contours.
| | 06:22 | This I think is one that's a preset, which is Ring,
on which I based the other custom one that I made.
| | 06:28 | You can modify these by just clicking inside of there
and editing these contour points to your heart's content.
| | 06:33 | That's all I did.
| | 06:34 | I just kind of grabbed these things and
started moving them around like this in order
| | 06:37 | to create my custom one in the previous example.
| | 06:40 | Anyway, I'm going to go ahead and cancel out of
there, cause I don't want to change this contour.
| | 06:44 | I set the color to red, I set the blend mode to Normal,
so there's no interaction, we're just seeing the red,
| | 06:49 | and I did the same thing with raising the Spread value,
| | 06:52 | increasing the Size value, and moving
the Distance back-and-forth.
| | 06:55 | Alright, I'll click OK, actually I'll click Cancel,
cause I don't want to accidentally modify anything.
| | 06:59 | I do want to prevent the colorize
adjustment from affecting this layer effect.
| | 07:05 | So I will turn colorize back on, I will click on it in order
to make it active, and then I'll go up to the Layer menu,
| | 07:12 | and I will choose Create Clipping Mask in order to clip the
colorize layer to the contents of the model layer right here.
| | 07:21 | Notice what that did.
| | 07:22 | That ruled this exterior effect, Drop Shadows happen
outside the layer, so it ruled out the Drop Shadow
| | 07:28 | so that it's restored to its original bright red.
| | 07:32 | Is that not nifty?
| | 07:33 | I would say yes, but I created the effect.
| | 07:35 | I think it's cool.
| | 07:36 | Notice that this effect drills right through the bottoms of
the letters in Jill here, so that there's a nice interaction
| | 07:43 | between the image items inside of
this composition and the text as well.
| | 07:50 | In the next exercise, we're going to see how we go about
applying Smart Filters to live text inside Photoshop CS3.
| | Collapse this transcript |
| Applying a smart filter to live type| 00:00 | In this exercise, we're going to be applying Smart
Filters to live type here inside Photoshop CS3.
| | 00:07 | I am still working inside of the Photo filters.psd
document that's found inside the 23 Smart Filters folder.
| | 00:14 | I have made some changes, however, inside the previous exercise.
| | 00:18 | If you're working along with me, I
invite you to make those changes as well.
| | 00:21 | The live type in question is this text right here, "KILL, JILL."
| | 00:25 | We will be applying some filters to it.
| | 00:28 | So I'm going to press Shift + Tab
to bring back my Layers palette,
| | 00:31 | very essential of course to working inside this layered
composition, and then I'm going to click on the KILL,
| | 00:36 | JILL layer, which is filled with this weak orange color.
| | 00:40 | Turns out to be exactly what we need to pull off this effect.
| | 00:44 | I've been of course reverse engineering some
of this stuff to make it work exactly right,
| | 00:48 | but you can investigate that on your
own at your leisure some other time.
| | 00:52 | Right now I want you to apply a filter.
| | 00:54 | Now, if you were to select some live type, and
you can tell it's live because it has this T icon.
| | 01:00 | If you were to select yourself some live type and then go up to
the Filter menu and then choose a filter, such as, let's go ahead
| | 01:06 | and apply the Motion Blur filter in this case.
| | 01:09 | Photoshop would say hey, wait a second
here, before I can apply this filter I need
| | 01:13 | to rasterize this type, I need to convert it to pixels.
| | 01:16 | Is that OK by you?
| | 01:18 | If so, click OK.
| | 01:19 | Well of course it's not OK by you.
| | 01:21 | We would no longer have live, editable type anymore.
| | 01:24 | So go ahead and click on the Cancel button to say absolutely not.
| | 01:27 | So click on cancel, and then I want you
to instead, before you apply this filter,
| | 01:33 | I want you to go up to the Filter menu,
and choose Convert for Smart Filters.
| | 01:38 | Or of course you can go over to Layer menu and choose
Smart Objects and choose Convert to Smart Object.
| | 01:43 | It does exactly the same thing either way.
| | 01:46 | And notice that you see the letters, with a little Smart
Object icon, in the lower right corner of the thumbnail.
| | 01:52 | If I want to edit this text for whatever reason, I can now
double-click on the thumbnail to bring up a separate window
| | 01:59 | of the text that contains the live, editable text.
| | 02:03 | I could then grab my Type tool, and I could drag
across this type, and change it to anything I wish.
| | 02:09 | Of course I'm very happy with Kill, Jill at this point
in time, so I'm not going to make a modification,
| | 02:13 | I'm just going to close this window in order
to return to the larger layered composition.
| | 02:18 | But that's how you will need to make changes to your
type from now on, because it's not going to be available
| | 02:24 | to you directly inside the larger composition window.
| | 02:28 | Alright, I'm going to switch back to my Marquee
tool here, just so that I my little cross cursor,
| | 02:32 | and then I'm going to go up to the Filter menu, and I'm
going to choose Blur and I'm going to choose Motion Blur.
| | 02:38 | I'm going to go with an awful lot of motion blur as it turns out.
| | 02:43 | I'm going to change this value to -90, and
then I'm going to change the Distance value
| | 02:47 | to 200 pixels in order to completely wipe out this text.
| | 02:51 | Notice the degree to which Photoshop is
blurring these letters at this point.
| | 02:56 | Now click OK in order to accept that modification, and it's just
amazing that you can apply an effect like this to live type.
| | 03:04 | Once again, if I want to modify the type, all
I have to do is double-click on the thumbnail,
| | 03:08 | then make the changes here inside the Smart Object window, then
close that window, and then of course save my modifications.
| | 03:16 | Alright so anyway, here are my big blurry layers.
| | 03:18 | I'm going to go over to the KILL, JILL
item here inside the Layers palette.
| | 03:23 | Here is my Smart Filters layer mask,
and there's my Motion Blur item.
| | 03:27 | Let's go ahead and double-click on the slider icon
there to bring up the Blending Options dialog box,
| | 03:32 | and the options that I want you to apply
in this case are Linear Dodge (Add).
| | 03:36 | And I'm going to go ahead and leave the Opacity
value set to 100%, I'm actually very happy with that.
| | 03:44 | Notice that restores the original letters there and goes
ahead and dodges the Motion Blur effect on top of them,
| | 03:50 | which I think just looks hunky-dory,
actually, I think this looks great.
| | 03:53 | I'll click OK in order to accept that modification.
| | 03:56 | While I do think it looks great, I don't think
it looks exactly the way that I want it to look,
| | 04:01 | and we're going to add a few more filter effects in order to
get exactly the look I'm looking for, in the very next exercise.
| | Collapse this transcript |
| Smart filters vs. layer effects| 00:00 | Now at this point I'd like to take a small
break in order to answer a question that you may
| | 00:04 | or may not have rattling around in your brain.
| | 00:07 | I think we can all safely agree that it's flat-out amazing
| | 00:11 | that you can apply Smart Filters to
live type here inside Photoshop CS3.
| | 00:15 | And in this case we've managed to invoke a
Motion Blur effect, which is just outrageous.
| | 00:21 | It might make you think back to this example right here,
| | 00:24 | we saw this a couple of chapters ago, this
is the End of the Road mock book cover.
| | 00:29 | Now you may recall that we were able to take
the author's name, Fustav Javbar down here,
| | 00:34 | and we were able to blur that live Text layer using a combination
of an Inner Glow effect, along with a Fill Opacity setting of 0%,
| | 00:43 | and I'm going to go ahead and scroll up the Layers palette here.
| | 00:47 | Here is the fustav javbar layer, you can see that it's
a live Text layer, and if I click on it sure enough,
| | 00:53 | the Fill Opacity is set to 0%, so we're seeing right through
those letters, and all we're seeing is the Inner Glow effect.
| | 00:58 | If I turn it off, it would go away, if
I turn it on, the letters come back,
| | 01:02 | and so all we're seeing is the Inner Glow effect emanating
from the center outward, and so it's a blurry effect
| | 01:08 | of course, and that's giving us blurry letters.
| | 01:11 | Now I could've pulled off something similar using a Smart Filter.
| | 01:15 | I could have converted this text to a
Smart Object and then applied Gaussian Blur
| | 01:18 | or Box Blur or one of the other blur functions.
| | 01:20 | So why in the world didn't I?
| | 01:22 | Well two reasons, that would have been a somewhat
irresponsible teaching technique, given that we didn't even know
| | 01:27 | about Smart Filters a couple of chapters ago, but
also because it wouldn't have been the best approach.
| | 01:33 | If you can get away with not converting your text
to a Smart Object, that's the better way to work,
| | 01:38 | because with your text live, direct inside the main
composition window, you can edit it anytime you want to.
| | 01:45 | For example, I can just double-click on this T icon to
select all that text, then I could just Shift + arrow
| | 01:51 | over the first name here, and then spell his name backwards,
since we're never exactly sure how we're supposed to spell
| | 01:57 | that name, and we're able to make those changes on the
fly, in the composition, in the context of the composition,
| | 02:03 | and we're able to see the effects
applied to the letters as we type them.
| | 02:07 | That's a very different experience -- I'll go
ahead and switch back to our current composition --
| | 02:12 | that's a very different experience than grabbing my
Type tool, double-clicking on the word JILL here,
| | 02:18 | and let's say I've got her name backwards as well,
so it's KILL, LIJJ, or something along those lines.
| | 02:23 | I then press the Enter key in the keypad in order to accept
that modification, I close the Smart Object by pressing Ctrl + W
| | 02:30 | or Cmd + W on a Mac, I click Yes, or on the
Macintosh side I would click the Save button,
| | 02:35 | and then I have to wait for my modifications
to appear here inside the larger composition,
| | 02:42 | and I have to wait for the effects to be applied too.
| | 02:46 | In other words, what I'm suggesting here
-- I'll go ahead and undo that modification
| | 02:49 | because her name is spelled Jill, and
it rhymes better with Kill, I think.
| | 02:53 | So the moral of the story, basically, is that if
you can get away with not converting your text
| | 02:59 | to a Smart Object, it's the better way to go.
| | 03:01 | However, when you're talking about a
unique filter effect like Motion Blur,
| | 03:06 | which is not something you can achieve using any layer effect
that I know of anyway, then you've got to go with a Smart Object.
| | 03:12 | The beautiful thing, however, is that the Smart
Object does retain the legibility of the layer,
| | 03:17 | and it also retains those wonderfully smooth vector outlines.
| | 03:22 | In the next exercise we really are going to apply some
additional unique effects to this live Smart Object text.
| | Collapse this transcript |
| Choking the letters with Maximum| 00:00 | Alright, let's rejoin the ongoing composition here.
| | 00:03 | We're going to apply a couple more Smart Filters to
this live type that's been converted to a Smart Object.
| | 00:09 | If you're working along with me, then you can go ahead
| | 00:12 | and open the Motion type.psd document that's
included inside the 23 Smart Filters folder,
| | 00:18 | and in this exercise we're going to choke the letters.
| | 00:21 | We're actually going to choke these letters inward, by which
I mean we're going to contract the edges of the letters,
| | 00:28 | of the letter forms, so that we can
create a hotspot in the middle of each
| | 00:33 | and every one of these letters in the title of the movie.
| | 00:36 | Just so you can see what I mean by that, I'm going to
go ahead and tab away my palettes and show you what's
| | 00:44 | in my mind's eye high, man, by pressing
the F key a couple of times.
| | 00:48 | So this is a document that we're working
on, the Motion type.psd document.
| | 00:52 | This is my mind's eye document, this is the final
version of the composition that I'm going for.
| | 00:58 | And you can see that it's not all that different, but we
do have some different stuff going on inside of the text.
| | 01:03 | We have these very hot white spots that are drilled into
the centers of each and every one of the letterforms.
| | 01:11 | And that's a function of applying a filter that
contracts the letters, that chokes them inward.
| | 01:16 | Another thing to notice, by the way, a difference
between these two images that I have open here,
| | 01:21 | notice that the reticulation pattern
changes from one document to the next,
| | 01:27 | and that's not because I have different
Reticulation filter settings applied,
| | 01:31 | that's because a reticulation pattern
applies random effects every time you use it.
| | 01:36 | Alright, I'm going to press Shift + F a couple
of times to go back to the Maximize screen mode,
| | 01:40 | and I'm going to tab in my palette, so that I
can get to the all-important Layers palette here.
| | 01:46 | Now if I want to contract these letters,
I have to go up to the Filter menu,
| | 01:49 | I've got to choose Other, and I've
got to choose one of these guys.
| | 01:52 | You may recall from the vanishing point discussion, if you
were with me back then, that the Maximum filter goes ahead
| | 01:58 | and expands, inside of a mask, it expands the white
area, because that's the maximum brightness value.
| | 02:04 | Minimum goes ahead and expands the
minimum brightness value, which is black.
| | 02:08 | So Maximum makes a selection bigger and Minimum makes it smaller.
| | 02:12 | Well you would think then, in that case, that Maximum would make
the letters bigger and Minimum would make the letters smaller,
| | 02:19 | so in our case we would need to choke
the letters, so we'd apply Minimum.
| | 02:22 | So if you go ahead and choose the Minimum filter,
notice that makes the letters inexplicably bigger,
| | 02:28 | way bigger when I've got a Radius value of the 11 going here.
| | 02:32 | The reason is because these filters are being applied to
the transparency mask that's associated with the layer.
| | 02:39 | Minimum is making the transparency mask
smaller, so it's making the letters bigger,
| | 02:43 | whereas Maximum makes the transparency mask bigger,
so it cuts into the letters, so everything's opposite.
| | 02:49 | Anyway, you could see that pretty quickly, you've
got the wrong command going, so just cancel out
| | 02:54 | and choose the other one is the advice I would give you,
| | 02:57 | as opposed to trying to wrap your
mind around the way Photoshop works.
| | 03:00 | Just go ahead and choose Maximum, and
you can see that as I raise this value,
| | 03:04 | sure enough my letters are getting
smaller and smaller and smaller.
| | 03:07 | I'm going to take this value up to 15
pixels, so we get very small letters indeed,
| | 03:12 | and I'm going to click OK in order to accept that modification.
| | 03:16 | Now here's that problem again that you
might experience every once in a while,
| | 03:19 | where Photoshop is not previewing
the effects of all the Smart Filters.
| | 03:23 | So I'm going to go ahead and turn the eyeball for Maximum
off, and then I'm going to turn it back on in order to see all
| | 03:30 | of the filters applied, both Maximum
and Motion Blur applied to this image.
| | 03:35 | That's still not the effect I'm looking for, so I need
to modify the Blend Mode settings by double-clicking
| | 03:40 | on the little slider icon there, and changing the mode from
Normal to Screen, and that goes ahead and updates the text
| | 03:47 | to exactly the way I want it to look
here inside of the Image window.
| | 03:50 | That's fantastic.
| | 03:51 | Alright, so I'll go ahead and click the OK button in order
to apply that modification, and there is my choked text,
| | 03:58 | looking just the way I want it to look so far.
| | 04:01 | In the next exercise, we will see how we can increase
the intensity of our Motion Blur effect right here
| | 04:08 | by duplicating it, right there inside the Layers palette.
| | Collapse this transcript |
| Duplicating a smart filter| 00:00 |
Now if you recall the final version of the
movie poster that we're going for here,
| | 00:05 |
you may remember that it has a much stronger Motion Blur
associated with it than the current version of the composition.
| | 00:13 |
So my thinking is that I'm going to take the current
Motion Blur effect, and I'm going to duplicate it
| | 00:19 |
so that we have two Motion Blurs
essentially running on top of this image.
| | 00:24 |
I'll press Shift + F a couple of times, and I'll press the
Tab key in order to return to the Maximize screen mode.
| | 00:31 |
I am working inside that Motion type.psd document
that's found inside the 23 Smart Filters folder.
| | 00:38 |
I did go ahead and add the Maximum Smart
Filter to it in the previous exercise.
| | 00:43 |
Alright, now we're going to take Motion Blur
and we're going to go ahead and duplicate it.
| | 00:47 |
Now you recall, you can drag filters up and down the list
here in order to determine who's first and who's second.
| | 00:55 |
The lower filters are applied earlier, so first
Motion Blur is applied, then Maximum is applied.
| | 01:01 |
I want to, however, take Motion Blur
and duplicate it on top of Maximum,
| | 01:06 |
so that the Maximum filter is sandwiched
between two Motion Blur filters.
| | 01:10 |
So I'm going to press and hold the Alt key, or the Option
key on a Mac, and I'm going to drag Motion Blur up the list
| | 01:16 |
until I see a black horizontal bar above the word Maximum.
| | 01:19 |
Now you may have to be very careful and
deliberate here, but go ahead and drag it up.
| | 01:24 |
Make sure it appears above the word Maximum,
that horizontal bar, and then release.
| | 01:27 |
And of course you've got to have that Alt
key down, or the option key down on the Mac,
| | 01:31 |
in order to duplicate the Motion Blur effect.
| | 01:34 |
This goes for moving filters across layers as well.
| | 01:38 |
I could drag one of these filters to a different
layer, and if I did I would move the filter.
| | 01:43 |
If I want to duplicate it, I would Alt or Option
+ drag the filter from one layer to another.
| | 01:48 |
Alright, in our case, I think we've gone a little bit too far.
| | 01:51 |
We've certainly strengthened the Motion Blur effect
here, but we've blown out our letters entirely.
| | 01:56 |
They're ultra white, and if I were going
for that effect I'd be ultra happy.
| | 02:00 |
But I'm not, I want to downplay this Motion Blur effect a little
bit, so I'm going to double-click on the slider icon once again
| | 02:07 |
to bring up the Blending Options dialog box, and
I'm going to take that Opacity value down to 20%,
| | 02:13 |
so I'm going to reduce the heck out of it, because otherwise if
I take it any higher than that, notice that I'm really starting
| | 02:18 |
to blow out the centers of those letters, and I don't
want to do that because it leaves behind the base items.
| | 02:26 |
Like for example, the base of the Ls are darker, and
this little extender here on the J is darker as well.
| | 02:33 |
So that's not an effect I'm looking for.
| | 02:35 |
I'm going to take that Opacity value
down to 20%, and then I'm going to click
| | 02:38 |
on the OK button in order to accept that modification.
| | 02:41 |
But here's the deal.
| | 02:43 |
It's not really heightening the Motion Blur effect that much.
| | 02:46 |
If I turn off that top Motion Blur item, and then
turn it back on, take a look at those letters.
| | 02:51 |
The letters get hotter, but the Motion Blur areas
outside the letters actually disappear a little bit.
| | 02:58 |
So this is before, without that Motion Blur item, a
big, strong, relatively strong, Motion Blur up here.
| | 03:03 |
This with that item, it's starting to go away, and
the reason is Motion Blur on top of Motion Blur,
| | 03:09 |
we're starting to spread those pixels out
so thin that they're disappearing from view.
| | 03:13 |
So what in the world do we do?
| | 03:16 |
Well it turns out we can heighten this
Motion Blur out here using a layer effect.
| | 03:22 |
And that layer effect turns out, of all things, to be an Inner
Shadow, go figure, and we'll apply it in the very next exercise.
| | 03:30 |
| | 03:31 |
| | Collapse this transcript |
| Enhancing a filter with a layer effect| 00:00 | Alright, as you may recall from the previous
exercise, we're trying to figure out a way
| | 00:04 | to intensify these Motion Blur trails right here without blowing
out the letters, without blowing out the interior of the letters.
| | 00:12 | This is a really strange thing, it
may seem like at the beginning here,
| | 00:15 | we're going to solve this problem by
applying an Inner Shadow layer effect.
| | 00:21 | I'll explain how and why that is in just a moment.
| | 00:23 | But first of all, if you want to catch up with
me, open up this image called 95 percent.psd,
| | 00:28 | so called because we're 95% done with this composition.
| | 00:32 | If you've been working along with me, of course
just stay inside your current composition.
| | 00:37 | Alright, so I've got the KILL, JILL layer selected,
which is that live Text layer that's been converted
| | 00:43 | to a Smart Object, has a bunch of Smart Filters assigned to it.
| | 00:46 | I am now going to go down here to the FX item at
the bottom of the palettes, and I'm going to click,
| | 00:52 | well for starters I'll choose the Stroke
command, just so you can get a sense
| | 00:56 | of what a layer effect is going to do to this here layer.
| | 01:01 | Let's go ahead and take a look at the default settings,
which are a Size value of 3 and Color set to red.
| | 01:07 | Notice what's happening.
| | 01:08 | Actually I'll just take that Size value down to 1, as if it's
going to make much difference in terms of what we see here.
| | 01:14 | Notice that along the edges, along the right and left
edges of the letters, we have very thin Stroke effects,
| | 01:22 | and they turn out to be about one pixel wide.
| | 01:25 | But at the tops and bottoms of the letters, we have these
ultra-tall stroke effects, and that's because Photoshop is trying
| | 01:32 | to stroke the entire length of the Motion Blur.
| | 01:35 | Alright so that means that first of all Stroke is the wrong
thing to choose, but also it means that we can add color
| | 01:42 | to the Motion Blur effect using one of
these other tracing functions right here.
| | 01:47 | Inner Shadow happens to be a great tracer.
| | 01:50 | So let's go ahead and turn Stroke
off and then turned Inner Shadow on.
| | 01:55 | Notice we're now stroking with a darkening effect.
| | 01:57 | We're going to change that actually.
| | 01:59 | Go to the Inner Shadow item, and let's go ahead and click
on the color swatch here, and select white, why don't we.
| | 02:06 | Then click OK to accept that modification.
| | 02:09 | When we set white to the Multiply mode, white totally drops out,
| | 02:13 | so we're going to switch the mode to
Screen here, and notice what's happening.
| | 02:18 | That is looking pretty darn good, I'd say.
| | 02:21 | Right now Use Global Light is turned on,
and that means we've got an Angle value
| | 02:25 | of 130degrees inside this document, and that's fine.
| | 02:28 | I'm going to increase the Opacity value to 100%.
| | 02:32 | I'm going to also increase the Distance value to 8 pixels,
and otherwise these options are OK Choke of 0 and Size of 5.
| | 02:41 | We definitely want a Choke of 0, because we want
a nice soft drift inside of this Motion Blur.
| | 02:47 | If we start increasing the Size, we'll
add more lightness inside the Motion Blur,
| | 02:51 | but we'll also add more lightness inside
of the letters, and we don't want that.
| | 02:55 | And if we were to choke, we would end up adding
sharpness inside of these letterforms as well.
| | 03:01 | Alright, so let's take Choke down,
let's take Size down to 5 pixels.
| | 03:06 | Finally, you could mess around with the Angle setting if you
wanted to, but I kind of like this highlight that's going
| | 03:12 | on the top and the left sides of the letters right now.
| | 03:15 | So I'm going to leave it the way it is.
| | 03:17 | So these are the options I like.
| | 03:19 | You of course can choose your own.
| | 03:21 | I'll click OK in order to apply that modification.
| | 03:25 | This is what the layer looks like without the Inner Glow
effect, this is what it looks like with the Inner Glow effect.
| | 03:30 | The Inner Glow is primarily affecting the Motion Blur
trails, which is entirely what we wanted in the first place.
| | 03:37 | Now the only thing I don't like about this, I
must say, if we turn on the other Text layers,
| | 03:42 | which I suggest we do at this point, go ahead and turn on
headliner, which is the name of the star of course at the top
| | 03:47 | of the screen, and then turn on the tagline as well,
which is "This time, Jill will be doing the killing."
| | 03:52 | Notice that I am very scrupulously
avoiding having the ellipsis, the ...,
| | 03:58 | go into the Motion Blur trail, so we
are successfully avoiding that area.
| | 04:03 | However, I don't like the way that
the Motion Blur dips up into her eyes.
| | 04:07 | So I'm going to go ahead and mask that out.
| | 04:12 | Now, I could apply the mask to just the Smart Filters
here, which would mask the Motion Blur of course,
| | 04:19 | but it would not mask the Inner Shadow effect.
| | 04:21 | So we would still have a little bit of a
problem with an Inner Shadow drifting up there.
| | 04:25 | So instead I'm going to apply my mask to the entire layer.
| | 04:29 | I'm going to do it by grabbing my Marquee tool.
| | 04:31 | I'm going to drag, starting right about here, over
to the right-hand side of the image window like this,
| | 04:38 | and I might move things down just a little bit.
| | 04:41 | So I press the spacebar and move that marquee down just slightly.
| | 04:45 | Now I want to give myself a little bit of softness, because you
can see this drop shadow line right here is a little bit soft.
| | 04:52 | So I'll go up to the Select menu and I'll choose Modify
and I'll choose Feather, because Feather has been moved
| | 04:58 | into that Modify submenu there, and a Radius of about
I'd say 1.5 pixels should work pretty nicely for us here.
| | 05:05 | So I'll click OK, and then because I've selected the area that
I actually want to mask out, I'm going to press the Alt key
| | 05:13 | or the Option key on a Mac, and click on that layer mask icon.
| | 05:16 | So that's an Alt or Option + click at that location in order
to mask the Motion Blur away at that first shadow line.
| | 05:24 | Now if I don't want it at the first line for whatever reason,
notice that it's not connected, these two items are not linked
| | 05:31 | to each other, the layer mask and the Smart Object.
| | 05:34 | So I could just go ahead and move the layer mask, which
is highlighted right now, I would move it independently
| | 05:39 | by Ctrl + dragging it upward like so, so that the
Motion Blur ends up going into the second area
| | 05:47 | of that little drop shadow, that
horizontal drop shadow line, instead.
| | 05:51 | And that's really up to you where you want
to put it, I leave that to your taste.
| | 05:55 | I could also, if I wanted more of a drift right there,
a little more softening, I'd go to the Filter menu,
| | 06:01 | I'd choose Blur, and I'd choose Gaussian Blur.
| | 06:04 | Or I could even choose Motion Blur.
| | 06:05 | Why don't we go ahead with Motion Blur actually,
so that we can keep it just vertical right there.
| | 06:10 | So I'll go Blur, Motion Blur, and I'm going
to leave the Angle value at 90degrees,
| | 06:15 | that's good, but the Distance value is way too high.
| | 06:17 | Let's try something like 2 at this point.
| | 06:19 | And let's just raise it incrementally and keep an eye on
what's happening here inside of the larger image window.
| | 06:25 | Now at this point I'm just masking the Smart Filter effects,
because I'm masking everything associated with this layer.
| | 06:33 | I'm masking the layer itself, I'm masking the
Inner Shadow effect, I'm masking the Smart Filter.
| | 06:38 | So everything is getting masked in one fell swoop.
| | 06:41 | This is a static adjustment at this point.
| | 06:44 | Bear in mind I'm not adding another Smart Filter, because
I'm filtering the mask, so it's a static adjustment.
| | 06:50 | I'll just keep raising it till I feel good about
it, and something around 14 looks pretty good to me,
| | 06:54 | so a Distance value of 14 pixels that is, then
I'll click OK in order to accept that modification.
| | 07:00 | And now we have the blur lines disappearing
into the drop shadow area underneath her eyes,
| | 07:06 | so we're not covering up that eye band
right there, and that is it, people.
| | 07:10 | This is the final version of the
movie poster so far as I'm concerned.
| | 07:14 | I'm going to tab away my palettes, I'm
going to press the F key a couple of times.
| | 07:19 | And here we have it, the final version of the movie poster.
| | 07:22 | It's achieved entirely using parametric effects,
an exquisite combination of Smart Filters
| | 07:29 | and adjustment layers, layer effects, layer masks...
| | 07:32 | and not a single pixel harmed inside the original photograph.
| | 07:37 | Nor did we have to rasterize so much as a single letter of type.
| | 07:41 | Good for our team.
| | Collapse this transcript |
|
|
24. Working with Camera RawWhat's new in Camera Raw 4?| 00:00 | Like its recent predecessors, Photoshop CS3 ships with
the plug-in called Camera RAW, which allows you to process
| | 00:06 | images captured with a mid-range or professional level
digital camera and saved in the camera's so-called RAW format.
| | 00:12 | This RAW file represents the unprocessed data captured by
the camera's image sensor. Such a file is typically several
| | 00:20 | times larger than an equivalent JPEG file, but it also contains
more information including a wider range of luminance data.
| | 00:27 | All this adds up to a lot more flexibility
when you're correcting the image in Photoshop.
| | 00:32 | Like Channels and Masks, Camera RAW is one of those big topics
you can spend an awful lot of time with. Hence my in-depth series,
| | 00:39 | Photoshop Mastering Camera RAW, available to lynda.com
subscribers as part of the Online Training Library.
| | 00:46 | So rather than getting too detailed here, I'll focus on Camera
RAW's essentials and fill you in on new capabilities, which are
| | 00:53 | fairly numerous. Photoshop CS3 includes Camera RAW 4,
which adds new Highlight Recovery and Fill Flash options,
| | 01:00 | better controls for mixing black and white images, Split Toning
options for independently colorizing shadows and highlights,
| | 01:06 | and get this,
| | 01:07 | built-in red-eye removal and healing tools.
Plus if you like Camera RAW's controls and
| | 01:12 | frankly what's not to like, you can open
JPEG and TIF images inside the plug-in.
| | 01:17 | And you can import RAW images into Photoshop as Smart Objects,
permitting you to recall Camera RAW controls any the time you like.
| | 01:24 | I've shown you a lot of really cool stuff so far, but I've got to tell you,
these next exercises are some of the most amazing in the whole series.
| | 01:32 | Enjoy.
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| Opening Camera Raw 4| 00:01 | Alright let's take a look at Camera
RAW 4 inside of Photoshop CS3.
| | 00:04 | Notice that I'm working inside of the bridge.
| | 00:08 | And I have the bridge trained on the 24_Camera_Raw
folder here inside the Exercise Files folder.
| | 00:14 | And you will see inside this folder a series
of images from our very own Chris Orwig,
| | 00:20 | a fellow trainer here at Lynda.com, a
heck of a guy as well, I have to say.
| | 00:25 | Just an excellent guy, an excellent teacher.
| | 00:28 | I can't recommend him enough.
| | 00:29 | So if you want to check out his series why after to you get done
with mine of course, then I release you and you can go ahead
| | 00:35 | and check out his, Alright, I would like you to go ahead and
grab Sunset Girl.dng and these images were originally captured
| | 00:45 | as CR2 files, as Canon CR2 files, and I converted them over to
Adobe Digital Negative Files using the free Adobe DNG converter
| | 00:55 | that you can download from www.adobe.com/dng and if you like.
| | 01:01 | I go into all variety of details about how .dng works
and why you might want to use the Digital Negative Format
| | 01:08 | in my full Camera RAW series - Photoshop Mastering Camera RAW.
| | 01:12 | But for now just notice that we are working with .dng files here.
| | 01:15 | Alright, I'm going to click on Sunset Girl.dng and Shift+Click
on Sunset Triplets in order to select that range of images.
| | 01:22 | So you have Sunset Girl.dng, Sunset Tribe.dng,
and Sunset Triplets.dng all selected here.
| | 01:30 | Then I want you to open the images inside the Camera
RAW plug-in and you can do that in one of two ways.
| | 01:35 | The Camera RAW plug-in runs directly inside
the bridge, and it also runs inside Photoshop.
| | 01:40 | So you can use it either inside Photoshop
or the bridge and that's your choice.
| | 01:44 | It just depends on which program you
want to lock up with Camera RAW there.
| | 01:48 | I'm going to go up to the File menu and show you that if you
choose the Open command or you press Control+O or Command+O
| | 01:53 | on a Mac, then you will open Camera RAW inside Photoshop
| | 01:56 | and that's called hosting the Camera RAW
plug-in in Photoshop, for what it's worth.
| | 02:00 | It means that Photoshop's tied up with Camera RAW and the bridge
is still free to do other things or you can switch that scenario
| | 02:08 | and you can occupy the bridge with Camera RAW and leave Photoshop
free to do other things by choosing this command right here.
| | 02:14 | Open in Camera RAW.
| | 02:15 | That goes ahead and hosts the camera plug-in inside the bridge.
| | 02:18 | I suggest you generally work that way.
| | 02:20 | Do that just based on my experience.
| | 02:21 | I prefer to go ahead and open that can run correctly inside the
bridge and I can do other things with Photoshop anytime I like.
| | 02:27 | And you can do that from the keyboard by
pressing Control+R or Command+R on a Mac.
| | 02:31 | And that does go ahead and open the Camera RAW plug-in.
| | 02:35 | This is it right here.
| | 02:36 | We will dig in to the interface starting
in the very next exercise.
| | Collapse this transcript |
| The Camera Raw 4 interface| 00:01 | OK. Now even though Camera RAW is a plug-in, meaning that it
has to run inside the bridge or it has to run inside Photoshop
| | 00:08 | or one of the other Adobe applications, it's a very complicated
plug-in and it really is its own independent utility.
| | 00:14 | So there's a lot going on, and I'd
like to introduce you to the interface.
| | 00:18 | But before I go there I just want to let you know,
those of you who are working with a pre-release version
| | 00:22 | of Photoshop CS3, with a Photoshop CS3 public beta.
| | 00:26 | Just note that my version of Camera
RAW may be farther along than yours.
| | 00:32 | You may be seeing features that haven't been quite
worked out inside your version of Camera RAW.
| | 00:37 | Just take, it as a sign of the wonderful things to come.
| | 00:41 | Alright, now we went ahead and opened three
images, three of these Chris Orwig images
| | 00:45 | from the 24_camera_raw folder into the Camera RAW plug-in here.
| | 00:51 | And that's why we're seeing a strip, a filmstrip
of those images over here on the left-hand side.
| | 00:56 | And that's one of the most amazing
powerful things about Camera RAW is
| | 00:59 | that it does allow you to process multiple images at a time.
| | 01:03 | Up here at the top of the screen is a list of
tools that you can use to manage the current image.
| | 01:08 | For example, we've got these Navigation tools that
work just like they do inside Photoshop proper.
| | 01:13 | You can zoom into the image and you can
pan it around to your heart's content.
| | 01:18 | You can also take advantage of the same keyboard shortcuts,
| | 01:21 | which is I should tell you, the Spacebar
to get the Hand tool of course.
| | 01:25 | And then you can click in order to Zoom in with the Zoom tool.
| | 01:28 | And you can Alt+Click to zoom out.
| | 01:30 | That's an Option+click on a Mac.
| | 01:32 | Another note about this toolbar at the top of the screen
here, we've got this little item that's new to Camera RAW 4,
| | 01:38 | and it allows you to toggle into the full screen mode so
you can click on it in order to focus just on Camera RAW,
| | 01:45 | which frequently is going to be something you want to do.
| | 01:47 | You can get that toggle from the keyboard by pressing the F Key.
| | 01:51 | Alright so that's the F key right there
that switches you between those two modes.
| | 01:56 | Down here at the bottom of the screen are options for opening
the image inside Photoshop and we'll come to those later.
| | 02:02 | And then over here on the right side of the screen are
the myriad sliders and other options that allow you
| | 02:09 | to Color Correct the images and there's just tons and
tons of different panels available to you right here.
| | 02:15 | And we'll see most of them over the course of this chapter.
| | 02:19 | Alright so there's the interface.
| | 02:21 | You have a basic sense for how it works.
| | 02:23 | In the next exercise we're going to start
correcting the colors inside of these images.
| | Collapse this transcript |
| Adjusting the white balance| 00:01 | OK let's try our hand at correcting
the colors inside of these images.
| | 00:05 | Now I wasn't at the photo shoot, but I imagine
the reason that these images are so very warm,
| | 00:11 | that they're trending so heavily toward the oranges
and the yellows, is because they were shot at sunset
| | 00:17 | and we're getting the sun at a very
direct angle here along the horizon.
| | 00:22 | It's having to cut through a lot of the Earth's atmosphere.
| | 00:25 | And as a result it's warming up these kiddos like crazy.
| | 00:29 | Its a nice look, actually as it turns out, but
I think we might be able to get a better luck
| | 00:34 | if we go ahead and cool the image down a little bit.
| | 00:38 | And we're going to do that using these White Balance
controls up here at the top of the basic panel.
| | 00:43 | Alright now I want you to Color Correct all three images at
the same time, and the simplest way to do that is to go ahead
| | 00:49 | and click on the Select All button right there.
| | 00:52 | Or you can press Control+A, or Command+A on the Mac, to
make sure that you have all three thumbnails selected
| | 00:57 | and therefore you are modifying all three images.
| | 01:01 | Now let's take a look at the White Balance controls.
| | 01:03 | Notice that in addition to some light sources
here that you can select, for example,
| | 01:08 | I could say, you know, this was shot on a cloudy day.
| | 01:10 | So let's compensate by warming up the image
because a cloudy day is a cool light source.
| | 01:16 | That's a bad idea because this image
wasn't really shot on a cloudy day.
| | 01:20 | It was shot under daylight, which is going to cool things
down a little bit, because that's a warmer light source.
| | 01:26 | But really it's an even warmer light source than that.
| | 01:29 | As it turns out we don't have an
option for selecting sunset here.
| | 01:34 | So we're going to have to make a manual temperature adjustment.
| | 01:37 | And here's our Temperature slider right
there and we can actually drag over.
| | 01:41 | Notice that it is, now inside Camera
RAW 4, it is now a colorized slider,
| | 01:46 | so that we have a sense of what we're going to do to the image.
| | 01:49 | If you drag the slider triangle over to the right you're
going to make the image oranger, or yellower if you like.
| | 01:56 | And if you drag it over to the left
you're going to make the image bluer.
| | 01:59 | And you're going to cool that image down.
| | 02:01 | In our case it's working out pretty nicely
to cool the image down just a little bit.
| | 02:05 | You can also adjust the Tint.
| | 02:07 | Now the Tint is an independent axis of color modification.
| | 02:11 | So if you think of the Temperature slider as
going back-and-forth from the left to the right,
| | 02:17 | then think of the Tint slider as perpendicular going up and down.
| | 02:21 | And then sort of think of the big color wheel how that works, and
you might get a sense for how Tint and Temperature are cutting
| | 02:28 | through each other in order to represent colors differently.
| | 02:31 | At any rate, you can also just imagine what you see here.
| | 02:34 | You can make the image more magenta by
dragging over to the right hand side
| | 02:38 | or more green by dragging over here to the left hand side.
| | 02:42 | And I'll clue you in that the easier thing to think about is not
whether you want to make the image more magenta or more green
| | 02:49 | because you probably don't want to do either of those things.
| | 02:52 | What you want to do instead is drag over to
the magenta side if you want to subtract green.
| | 02:57 | If there's too much green in the image then
drag over to the magenta direction here.
| | 03:00 | And if there's too much short of pink inside
the image then drag over to the green side.
| | 03:05 | And the same goes for Temperature.
| | 03:07 | If the image is too warm, too orange
and too yellow, then go bluer with it.
| | 03:12 | If it's too cool, too blue, then go warmer with it.
| | 03:16 | Alright, another tool that you might find useful for
editing White Balance here is this little guy right there.
| | 03:22 | He's the White Balance tool.
| | 03:24 | Click on it and then click on a color
that you think ought to be neutral.
| | 03:28 | That is it ought to be a low saturation color.
| | 03:31 | A nice sort of light gray as it turns out.
| | 03:34 | You can try this white dress, if you want to.
| | 03:36 | But that ends up making the image look too cool for me.
| | 03:38 | It doesn't always though.
| | 03:39 | Sometimes it ends up making the image
look a little warmer than this.
| | 03:42 | A better thing to click on is this little
bit of surf in the background here.
| | 03:46 | If you click right there for example, you'll end up creating
a pretty nice balance of warms and cools inside of this image
| | 03:54 | and then you can just adjust the Temperature a little more
if you want to in order to fine-tune that White Balance.
| | 04:01 | So just bear in mind that these controls right here, these
White Balance controls are all about trying to compensate
| | 04:07 | for the lighting environment that
was in play when the image was shot.
| | 04:12 | So if it's too warm, we want to cool it down.
| | 04:15 | If it's too cool, we want to warm it up
and you can use this White Balance tool
| | 04:19 | to automatically set the White Balance as well.
| | Collapse this transcript |
| Saving your changes| 00:00 | Now we've been editing three images at the same time here,
Sunset girl.dng, Sunset tribe.dng and Sunset triplets.dng.
| | 00:10 | What I like to call the sunset triad right here from photographer
Chris Orwig and I've made some White Balance adjustments.
| | 00:19 | But what I'm wondering here is do the White Balance adjustments
that I've applied work well for all three of these images?
| | 00:26 | And I need to check that out by pressing the Down Arrow key.
| | 00:29 | Notice if I use the Up or Down Arrow keys actually I
can advance from one selected image to another here.
| | 00:36 | You can see that I'm switching images in these thumbnails.
| | 00:40 | Alright so I'm going to advance down to this guy right here.
| | 00:43 | And then I'm going to press the Spacebar in drag over
so that we can see the people that are part of the shot.
| | 00:49 | And did you notice there was a little cautionary icon
up there in the upper right-hand corner for a moment.
| | 00:54 | It's gone now, but that indicated
to us that Camera RAW was working
| | 00:58 | on updating the image and applying our modifications to it.
| | 01:02 | So until you see that cautionary icon go away you
shouldn't really judge the colors inside the image.
| | 01:08 | Now this one I think looks pretty darn good.
| | 01:10 | I'll go ahead and press Control+Minus, or Command+Minus
on a Mac, in order to zoom out a little bit.
| | 01:14 | I think that's nice.
| | 01:15 | I could go ahead and, I could go ahead and
cool it down to even farther if I wanted to.
| | 01:20 | But notice that if I were to cool down this image by let's
say clicking in there and pressing the Down Arrow key a couple
| | 01:28 | of times in order to reduce that Temperature value incrementally,
I would cool down all of the images at the same time.
| | 01:35 | So I do still have all three images selected here.
| | 01:39 | And I think actually part of my bigger problem is the image is
looking a little pink to me so I'm going to take that Tint value
| | 01:45 | down as well, to more into the green area
there and if I feel like I go too far,
| | 01:49 | obviously I could raise it again incrementally
by using my Up and Down Arrow keys.
| | 01:55 | Alright so that image looks pretty good.
| | 01:57 | I'd like to go ahead and press the Up Arrow
key now to advance back to this image to see
| | 02:01 | if it still looks good, but this option is highlighted here.
| | 02:05 | So the Up and Down Arrow keys are
now affecting this Tint value instead
| | 02:09 | of these thumbnails over on the left-hand side of the screen.
| | 02:13 | So, what you do in that case?
| | 02:14 | Well here's another trick you can take advantage of.
| | 02:16 | If you press the Alt key, or the Option key on
the Mac, and click on one of the thumbnails,
| | 02:21 | then you'll switch to that thumbnail
without deselecting the other ones.
| | 02:25 | So that's an Option or Alt+Click right there.
| | 02:27 | And yeah, she looks pretty good.
| | 02:28 | She still looks awfully darn good.
| | 02:30 | These two images right here Sunset girl and
Sunset tribe are definitely similarly lit images.
| | 02:37 | But the other one, Sunset triplets
definitely has its own lighting going on.
| | 02:41 | Oh, and there's that cautionary icon I was telling you about.
| | 02:45 | We want to wait until that goes away.
| | 02:46 | There it did.
| | 02:47 | I didn't click on it or anything, I was just waiting for it.
| | 02:50 | Notice that this image does have its own lighting going on.
| | 02:53 | So we'll probably want to edit it independently and
I'm going to do that by clicking on the thumbnail.
| | 02:59 | Notice because I don't have the Option or Alt key
down, if I just click on that Sunset triplets.dng item,
| | 03:05 | I will deselect the other two and select it independently.
| | 03:08 | So I'm only modifying the colors inside of this image.
| | 03:12 | Now still armed with my White Balance tool, click
inside of one of the neutral areas of this image
| | 03:18 | and that definitely cools that image on down, which it needed.
| | 03:21 | It needed an awful lot of cooling.
| | 03:23 | Perhaps not that much though, so I'm going
to click inside the Temperature value,
| | 03:27 | and I'm going to raise it a little bit cause I want
to restore some of the warmth inside of this image,
| | 03:32 | and that's starting to look really, really nice to me.
| | 03:35 | Alright, once you get a group of White Balance settings.
| | 03:38 | We're just focusing on White Balance for now.
| | 03:39 | Once you get a group of White Balance
settings that you're happy with and you feel
| | 03:42 | like your images are dramatically improved,
I want you to go down here to these buttons.
| | 03:48 | Notice that we've got Open Image which would
open whatever thumbnails you have selected.
| | 03:52 | It would open those thumbnails inside Photoshop.
| | 03:55 | We have Cancel, which of course cancels
out of the entire thing here.
| | 03:59 | Way over here on the left-hand side,
we have Save Image which will go ahead
| | 04:02 | and save these images out to a different file format.
| | 04:05 | So it'll save the process versions
of the images, if you so desire.
| | 04:09 | And then finally we have this button over in
the lower right corner that's called Done.
| | 04:14 | That will go ahead and save our changes as Metadata.
| | 04:18 | So it still saves our changes, but
it will return us to the Bridge.
| | 04:22 | And check this out.
| | 04:22 | That's what I want you to do.
| | 04:23 | I just want you to click the Done button.
| | 04:25 | So we're not going to open these images inside Photoshop at all.
| | 04:28 | And then wait for these thumbnails to update here inside of the
Preview area and over here inside the Filmstrip area as well.
| | 04:36 | Now that updating should happen automatically.
| | 04:39 | If it doesn't happen automatically, now are seeing it actually
update on the fly here, it just took a moment for it to happen.
| | 04:45 | But if you don't see this update happen automatically
on your screen, then you can go up to the tools menu.
| | 04:52 | You can choose Cache and you can say
Purge Cache For Folder "24_camera_ RAW".
| | 04:57 | And that will rebuild the cache and show you new
versions of these thumbnails as they actually look.
| | 05:03 | So we have actually updated every single
one of these items just to make that clear.
| | 05:09 | I'm going to press Control+Shift+A, Command+Shift+A on the Mac,
to deselect all the thumbnails and then click on any one of them,
| | 05:15 | so we're seeing each one of the images on
its own in this large Preview area here.
| | 05:20 | So this Sunset girl of course, this is
Sunset tribe, and this is Sunset triplets.
| | 05:26 | A big difference between what we saw before.
| | 05:29 | And not a single pixel inside the image has been modified.
| | 05:33 | So these are all parametric modifications.
| | 05:36 | Camera RAW always works parametrically.
| | 05:38 | And if you want to see what modifications have occurred,
you can go to the Metadata area inside of the Bridge.
| | 05:45 | Twirl open the Camera RAW item right
there and you'll see a series
| | 05:49 | of Camera RAW settings that have been applied to this image.
| | 05:52 | Also, you know that the settings have been modified at some
point in time, because there's this little modification,
| | 05:57 | this little slider bar icon down here below the
image, below each one of the thumbnails in fact,
| | 06:03 | to show that each one of them has been modified.
| | 06:06 | But again I stress, the original image has not been harmed.
| | 06:10 | These are all parametric modifications, meaning that you
can edit them at any time just by going back into Camera RAW
| | 06:17 | by pressing Control+R, or Command+R on the Mac in order to
open the Camera RAW plug-in, make whatever changes you want.
| | 06:24 | For example I could say, you know what I want them
go ahead and take that Temperature value even higher.
| | 06:29 | Maybe not quite that high actually.
| | 06:31 | I pressed Shift+Up Arrow, which raised it by a 5x increment.
| | 06:34 | And then I might go ahead and take some of the pink out of
the images or might change my mind and add some pink actually.
| | 06:41 | Looking at this image, looks like it needs
pink because when I was trying to take it
| | 06:44 | out I was not getting the results I wanted to.
| | 06:46 | Then once you're done, just go and click Done again.
| | 06:49 | And that thumbnail will eventually update inside
the Bridge and your new changes will take effect.
| | 06:55 | The Metadata information will be updated and your
parametric modifications will be registered with the Bridge
| | 07:03 | and with any other application that
understands Camera RAW Metadata.
| | Collapse this transcript |
| Using the exposure controls| 00:00 |
Next, let's turn our attention to the Exposure
options inside the Camera RAW plug-in.
| | 00:05 |
We are looking at the contents of the 24_camera_raw folder.
| | 00:08 |
This folder full of Chris Orwig images right here.
| | 00:11 |
And I want you to grab this one image, a single image that's
called Hot Highlights.dng and then press Control+R or Command+R
| | 00:19 |
on the Mac, in order to open it inside the Camera RAW plug-in.
| | 00:23 |
You can, by the way, if you prefer to open these images
inside the Camera RAW plug-in as hosted by Photoshop.
| | 00:29 |
You can press Control+O, Command+O,
Double Click on the image that's fine.
| | 00:32 |
That works too.
| | 00:33 |
And you can still follow along with me.
| | 00:34 |
The reason I'm choosing to do things the way I am is when
I click Done, I'm automatically returned to the Bridge
| | 00:40 |
which for me is just turning out to be a simpler way to work.
| | 00:43 |
Alright, here are the Exposure options.
| | 00:45 |
A bunch of different sliders that are available to us including a
couple of new ones, Recovery and Fill Light, new to Camera RAW 4.
| | 00:52 |
As you work with these options you need to keep an eye on the
histogram up here at the top right corner of the dialog box.
| | 01:00 |
It is always showing you a separate histogram
for each of the proposed color channels.
| | 01:06 |
And I say proposed color channels, because
the color channels aren't actually generated
| | 01:10 |
for real until you open the image into Photoshop.
| | 01:13 |
But this the color channels as they will
appear assuming that you are opening the image
| | 01:18 |
into the Adobe RGB space and we'll discuss that later.
| | 01:21 |
Anyway I'm seeing a blue histogram, a red histogram,
and a green histogram all overlapping each other.
| | 01:28 |
Any place we see white is all three histograms overlapping.
| | 01:32 |
Yellow is a combination of green and red.
| | 01:34 |
Magenta is red and blue.
| | 01:36 |
And then cyan is blue and green overlapping.
| | 01:39 |
Now the reason I tell you to keep an eye on the histogram is
| | 01:42 |
because the histogram can help you understand
what each one of these options does.
| | 01:46 |
Notice the Exposure value, that's our first
value here, is going to allow us to recover some
| | 01:51 |
of the blown highlights inside of this image.
| | 01:53 |
Notice that it's quite washed out here inside of the highlights.
| | 01:57 |
Now that doesn't mean that those highlights are actually gone.
| | 02:00 |
Because were working with a high bit-depth Camera RAW image.
| | 02:03 |
We're for working with the golden
information direct from the image sensor.
| | 02:07 |
It's possible that there's actually detail here that
we can recover and if I darken the exposure value.
| | 02:15 |
Notice the histogram.
| | 02:16 |
Look at the histogram in the upper
right-hand corner of the image.
| | 02:18 |
Notice that we are recovering highlights.
| | 02:21 |
So before at an Exposure value of zero we
had a bunch of blown highlights as indicated
| | 02:27 |
by a huge spike over here on the right hand side.
| | 02:30 |
But as I darken that Exposure value,
which is talking to me in terms of F stops
| | 02:35 |
by the way, I'm able to recover those blown highlights.
| | 02:38 |
Now that comes at the expense of the shadow
and midtone information inside of this image.
| | 02:43 |
So we're squishing the entire histogram
over to the left hand side.
| | 02:47 |
The Exposure value by itself is not going to clip
shadows, but it is to end up compressing the histogram
| | 02:52 |
to the left hand side, to the darker
range if you take it too low.
| | 02:56 |
Which is why, I'll go ahead and move this back up a
little, why we have this Recovery option right here.
| | 03:01 |
Recovery and Fill Light are based on the highlight and
Shadow controls inside of the Shadows Highlights command.
| | 03:08 |
So Recovery allows you to actually darken your
highlights and pull them back in and reign them in.
| | 03:14 |
And notice how I've done that by bringing
this Recovery value up to 31 here.
| | 03:19 |
I've recovered a bunch of these highlights here inside of the
histogram, and it is actually performing an edge calculation,
| | 03:27 |
just like the Shadows Highlights command does.
| | 03:29 |
So it's not strictly speaking a Color Correction.
| | 03:31 |
Instead it's more of a Filtering correction.
| | 03:33 |
It's looking at neighboring colors and deciding how they should
be modified in order to sort of scrub in darker colors there.
| | 03:41 |
Having taken that Recovery value up to 31 in this case.
| | 03:44 |
Might actually take it down to 30,
just to stick with round numbers.
| | 03:48 |
Then I could take that Exposure value down a little bit,
in order to help out the Recovery, the brightness recovery
| | 03:56 |
and to make sure that we don't have too many flattened colors.
| | 03:59 |
So that were keeping our vibrancy inside of the
image and were not losing that color saturation.
| | 04:06 |
Alright if you're having problems with your shadows filling
in, then you can apply this Fill Light correction right there,
| | 04:12 |
which is going to make the shadow information brighter.
| | 04:15 |
And notice that it controls the shadow information
right in this left-hand region of the histogram.
| | 04:20 |
So Recovery was just affecting the right-hand portion of the
histogram, pretty much independently of the left-hand area,
| | 04:27 |
where Fill Light is affecting the left-hand
area independently of the right-hand area.
| | 04:31 |
So in other words it's concentrating on the shadows.
| | 04:34 |
Blacks is your Black clipping control, just like that
Black slider triangle inside the Levels dialog box.
| | 04:41 |
It operates exactly the same way and in
fact, it uses the same nomenclature as well.
| | 04:45 |
It's talking to us in terms of Brightness levels.
| | 04:48 |
in this case I'm saying zero is black.
| | 04:50 |
If I raise that value I could just
clip off a couple of Brightness levels.
| | 04:54 |
I could say anything with a Brightness level of two or
darker becomes black, so just a little bit of clipping.
| | 05:00 |
And I think I'm taking that Fill Light value way too high.
| | 05:02 |
So I'm going to take it down a little bit.
| | 05:04 |
And then I think I might go ahead and increase the Brightness.
| | 05:08 |
This is our midtone control here
inside of the Camera RAW dialog box.
| | 05:13 |
So it's analogous in a way to the Gamma
control inside the Levels dialog box.
| | 05:17 |
It's going to move this clump of colors
in the center of the histogram around.
| | 05:21 |
And then finally we can either spread that histogram out so that
we have more highlights and shadows by increasing the Contrast
| | 05:28 |
or we can collect those colors into the center
of the histogram by reducing the Contrast value
| | 05:34 |
so that we have more midtone action inside this image.
| | 05:36 |
And you may recall I was telling you one of the great
additions to Photoshop CS3 is its reconstruction,
| | 05:43 |
its revamping of that Brightness Contrast command.
| | 05:46 |
And I believe I mentioned this, but
if I didn't I'm going to tell you now.
| | 05:49 |
Those Brightness Contrast controls are based on
these Brightness and Contrast controls right here.
| | 05:54 |
The Brightness and Contrast controls that
are at work inside the Camera RAW dialog box.
| | 05:59 |
Now the final thing I might do, and
actually I might have done this up front.
| | 06:03 |
It can be a little helpful to get the White
Balance stuff out of the way right up front.
| | 06:06 |
But I'm going to do it after the fact here.
| | 06:09 |
I need to warm up this image, because
it's way to cool the way it was before.
| | 06:13 |
And I could actually add a little pink to the image as well,
but I think we have a nice pink-green distribution going on.
| | 06:20 |
So I don't need to change the Tint value too much.
| | 06:22 |
So here's a collection of values.
| | 06:24 |
You may decide to go a different way.
| | 06:26 |
If you do, by all means go your different way.
| | 06:28 |
In light of what I'm seeing here, I'm going to take
that Brightness value down just a smidgen down to 45.
| | 06:34 |
So here are the values that I end up determining
as the best values for this specific image.
| | 06:40 |
Once I'm done I can go ahead and preview the modification
that I've made to see a before-and-after version
| | 06:47 |
by going up to this Preview checkbox right here.
| | 06:49 |
And notice that you can toggle that Preview
checkbox by pressing the P key if you like.
| | 06:53 |
So this is the before version of the image.
| | 06:55 |
This is the way looked when we originally
entered this dialog box.
| | 06:58 |
This is the after version.
| | 06:59 |
A big huge difference with a lot of
recovered highlights and shadows.
| | 07:04 |
Much better White Balances going on here.
| | 07:06 |
And much better midtone balance going
on thanks to the amazing controls
| | 07:10 |
that you have available to you here inside of Camera RAW.
| | 07:13 |
Now I'm going to go ahead and click on the
Done button in order to return to the Bridge.
| | 07:17 |
Then go ahead and wait for those parametric modifications
to be applied to the image here inside the Bridge.
| | 07:24 |
Again I stress not a single pixel harmed
inside of the original RAW image file.
| | 07:30 |
| | 07:32 |
| | Collapse this transcript |
| Automatic exposure adjustments| 00:01 | Interestingly enough, Camera RAW is capable
of applying automatic exposure adjustments.
| | 00:07 | Now it doesn't always get the automatic exposure
adjustments exactly right, but it gets a real A for effort,
| | 00:13 | because it's capable of addressing multiple images at
the same time and addressing each image independently.
| | 00:19 | Now in our case to want you to go to the 24_camera_raw folder.
| | 00:22 | Grab Hot highlights.dng, which is the image
that I corrected in the previous exercise.
| | 00:28 | And I also want you to grab Oldsmobile.dng.
| | 00:31 | Notice that these images could not be much
different in terms of their composition
| | 00:35 | and in terms of their lighting situations, and so on.
| | 00:38 | And yet Camera RAW is able to address them both at the same time.
| | 00:42 | Alright so select them both like so, then
press Control+R or command+R on the Mac,
| | 00:47 | in order to open up that Camera RAW dialog box there.
| | 00:51 | And I'm going to go ahead and zoom in on this little kiddo here
and notice that I have gone and applied the custom settings
| | 00:58 | to the first eight slider bars inside
of course the previous exercise.
| | 01:03 | Meanwhile, the Oldsmobile image is set to its default settings.
| | 01:07 | So these are the default settings where
Exposure through Contrast are concerned.
| | 01:12 | Temperature and Tint will vary by default
according to the As Shot settings.
| | 01:18 | So these represent the settings the Temperature
and Tint settings, that were applied automatically
| | 01:23 | by the digital camera when the image was captured.
| | 01:26 | Now if we select to both of the images, both of the thumbnails
over here, then the first eight fields will become empty,
| | 01:33 | because those values differ from one selected image to the next.
| | 01:36 | Now I could go in and start adjusting these White
Balance settings, but I don't recommend you do
| | 01:40 | that because you would then compensate the
White Balance for both images the same.
| | 01:45 | And of course both images were shot under totally
different circumstances, so that's a bad idea.
| | 01:49 | But what we ought to do in this case is
skip down to Exposure through Contrast.
| | 01:54 | And what I'd like you to do is click
on this Auto button right here.
| | 01:57 | It doesn't look like an Auto, it looks like a hyperlink
or something along those lines, but it is a button.
| | 02:02 | Go ahead and click on Auto.
| | 02:04 | And then it will automatically adjust the Exposure,
Recovery, Fill Light etc. settings for each
| | 02:11 | of the images differently, which
is why we have still empty fields.
| | 02:16 | All six of these fields remain empty because they
are still different from one image to the next.
| | 02:21 | Now what's terribly ironic about this, I think,
is even though I clicked on the Auto button,
| | 02:26 | it didn't really do a very good job of fixing the Auto, did it?
| | 02:30 | Let's check out how it did with Hot highlights here.
| | 02:33 | This is the Hot highlights.dng guy that I've
already corrected inside the previous exercise.
| | 02:38 | He looks pretty good actually.
| | 02:39 | I think the Auto button did a good job of compensating for him.
| | 02:43 | But just to get a sense of what he looks like
compared to what we'd have him look like.
| | 02:47 | I'll turn the Preview checkbox off.
| | 02:49 | This is what he'd look like according to
my modifications and this is what he looks
| | 02:53 | like according to Camera RAW's Auto modifications.
| | 02:56 | I'll think about that.
| | 02:58 | In the meantime let's go back to Oldsmobile
here and let's adjust its settings.
| | 03:02 | Now, you can see that we have an nicely
distributed histogram after clicking on Auto.
| | 03:08 | This is what the histogram looked
like before, if I turn Preview off.
| | 03:11 | So it was a pretty bad histogram.
| | 03:12 | We left a lot of highlights.
| | 03:13 | But the car, I think, looked better.
| | 03:16 | But because we have a better distribution to
the histogram, it might be a good idea to start
| | 03:21 | with the Auto settings as a leaping off point.
| | 03:24 | And often that is a very good idea, by the way.
| | 03:26 | I'm going to take the Exposure value down to zero.
| | 03:29 | I think that works best for this image.
| | 03:31 | And then I'm going to reduce the Brightness
value quite precipitously as well.
| | 03:35 | I'm going to take it down to 50, which
is the default setting incidentally.
| | 03:39 | And then I'm going to take the Contrast
value fairly through the roof here.
| | 03:43 | Actually pretty darn high, up to about 90.
| | 03:46 | And normally I don't go with such a high Contrast
value, but for this image I think it's going to benefit.
| | 03:51 | I think something of a high key effect
is going to look pretty good.
| | 03:54 | Now let's just go ahead and take that Exposure value back up
a little bit so that we have a nice, bright car going here.
| | 04:02 | Now, if you're worried about all
these clip shadows you could go ahead
| | 04:05 | and fill in those shadows using the
Fill Light control right there,
| | 04:09 | as if we added a little bit of a fill flash to the environment.
| | 04:12 | And that ends up looking pretty darn good and then I
might tweak that Brightness value down just a hair.
| | 04:18 | And it's worth noting that every one of these
values has a certain amount of dependency going on.
| | 04:25 | So you may find yourself going back-and-forth between
values to get the image looking its absolute best.
| | 04:30 | Alright so this is the way it looked before, a
little washed out, a little sort of undersaturated.
| | 04:35 | This is the way it looks now, thanks to my modifications.
| | 04:39 | Alright let's go back to Hot highlights.
| | 04:41 | Back to the kiddo here and let's think about this image.
| | 04:44 | I'm thinking looked better subject to my modifications,
the modifications I applied in the previous exercise.
| | 04:51 | And there they are, if I click on Preview,
you can see that's what I came up with.
| | 04:54 | That's what Camera RAW came up with.
| | 04:57 | So how do we go about restoring settings
from inside the Camera RAW dialog box?
| | 05:01 | Well there's two ways to restore pre-existing settings.
| | 05:04 | One is the big way and one is the more selective way.
| | 05:07 | The big way is to press and hold the Alt key, or the
Option key on the Mac, and click on this Reset button.
| | 05:12 | Cancel changes to Reset when you press Alt or Option.
| | 05:16 | That brings up this alert message and notice that it says:
Reset all changes including changes to non- selected images?
| | 05:22 | No, I don't want to change the Oldsmobile
image, so I better say in no way at this point.
| | 05:27 | Alright instead, in order to restore
just this guy to his previous settings,
| | 05:33 | you go over to this little icon right there,
which indicates the Camera RAW plug-in menu.
| | 05:38 | And then you click on it and you choose this fellow right there.
| | 05:42 | Image Settings, which will load the previous saved
Metadata settings that are already part of the image
| | 05:48 | which would get replaced if we clicked on the
Done button, but they're not replaced yet.
| | 05:52 | So let's go and load them back and notice that
that restores the settings that I applied.
| | 05:57 | Now we're done because the Oldsmobile
image is still looking good.
| | 06:01 | It's still modified compared with the previous settings.
| | 06:04 | Alright, so I'm going to click on the Done button,
| | 06:05 | and then we can watch our settings be
applied to the images here inside the Bridge.
| | 06:11 | Of course Hot highlights, that image is going to stay the same.
| | 06:14 | But the Oldsmobile image will go ahead and update.
| | 06:17 | It just did.
| | 06:18 | It's a subtle little modification, so just keep your eye on it.
| | 06:22 | In any case pretty nifty of that Camera RAW is capable of making
those automatic adjustments just by clicking on that Auto button.
| | Collapse this transcript |
| The new and improved clipping warnings| 00:01 | Camera RAW provides you with some much-needed guidance
when you're adjusting the exposure of an image
| | 00:06 | by previewing the whether the highlights and shadows
are getting clipped and this is a feature that's been
| | 00:12 | around for a while inside of Camera RAW, but it's been
enhanced in a really interesting way inside Camera RAW 4.
| | 00:18 | I'd like you to open the image says called Depths Of Pebbles.dng.
| | 00:22 | It's inside the 24_camera_raw folder.
| | 00:24 | I'm going to press Control+R, or Command+R on the Mac, in
order to open that image inside the Camera RAW plug-in.
| | 00:30 | Now, we used to have Shadows and Highlights
check boxes up here near the Preview checkbox.
| | 00:35 | Those options have been moved into the histogram.
| | 00:39 | So we've got our shadow warning this triangle
on the left-hand side of the histogram.
| | 00:43 | And the highlight warning over here on
the right-hand side of the histogram.
| | 00:46 | Now check this out.
| | 00:48 | I'm going to go ahead and increase the Exposure value.
| | 00:50 | I want you to watch this little guy right there.
| | 00:53 | The right-hand triangle.
| | 00:55 | And notice that right now it's black, so it's saying
well you don't have much in the way of clipping going on.
| | 00:59 | And then it turns red, and it's telling
you got a lot of clipping now,
| | 01:03 | a significant amount clipping going on, inside the red channel.
| | 01:06 | Too much I think.
| | 01:07 | And then it turns magenta and it's saying, OK, buddy, now you've
got a ton of clipping going on inside the red and blue channel.
| | 01:15 | What do you want?
| | 01:16 | And then when he turns white, it means all
three channels are being affected, alright.
| | 01:20 | And same with the black item right there.
| | 01:22 | There's the Shadow Clipping triangle right
there on the left-hand side of the histogram.
| | 01:26 | I'm going to increase the Blacks value.
| | 01:28 | And first I'm clipping in the red
channel, then I'm clipping in blue
| | 01:31 | and red at the same time, and then finally I'm clipping in white.
| | 01:34 | Now, the fact that it went from red, magenta to white on both
sides may make you think, well that's some kind of warning thing,
| | 01:40 | where red is a little bit of clipping and
magenta is more and white is even more.
| | 01:45 | But actually it is trying to show you the channels
in which you're clipping and you can find that out
| | 01:49 | by adjusting the Temperature slider right here.
| | 01:52 | Notice now I'm getting yellow on the right-hand side, and cyan
over here in the left-hand side, because it's telling me that red
| | 02:00 | and green are clipping in the Highlights, and over
in the Shadows, I've got blue and green clipping.
| | 02:07 | And it's not necessarily that only blue and green
are clipping, just that Camera RAW has decided
| | 02:13 | that those are the significant areas of clipping.
| | 02:16 | So you can just keep an eye on the
colors of these triangles if you want,
| | 02:20 | or you can preview where the clipping
is occurring here inside the image.
| | 02:25 | And you do that by turning these guys on.
| | 02:27 | And you turn them on by clicking on them
or by pressing their keyboard shortcuts.
| | 02:31 | Now the Shadow Clipping warning has a
keyboard shortcut of U for underexposure.
| | 02:36 | So I went ahead and turned that one on.
| | 02:38 | Now I'll click on the Highlight Clipping warning
which has a keyboard shortcut of O for overexposure.
| | 02:43 | And the blue areas here inside the image.
| | 02:45 | Blue means Shadow Clipping and red means Highlight Clipping.
| | 02:49 | Now there's one other way to work.
| | 02:51 | I'm going to turn these options off at this point so
that we can still see the colors that are being clipped
| | 02:57 | but we're not tracking where the clipping is occurring,
which pixels are being clipped inside the image window.
| | 03:02 | If we do want to preview that clipping on the fly,
another way to work, just in case you're interested,
| | 03:08 | is to Alt drag that Exposure triangle, that's an Option
drag the Exposure triangle on the Macintosh side,
| | 03:16 | and as you drag any colors that are not
black are clipping in the highlights.
| | 03:21 | So anywhere where we see red is clipping in the red channel.
| | 03:25 | Anywhere where we see yellow is clipping
in red and green at the same time.
| | 03:30 | Alright we can also Alt+Drag the Blacks.
| | 03:33 | Notice that to preview the Shadow Clipping and anywhere
we see Black is clipping in all three channels.
| | 03:39 | Anywhere we see white is not clipping at all.
| | 03:41 | Yellow means we're clipping in the blue channel.
| | 03:43 | So we're seeing complementary colors at this point.
| | 03:46 | And then finally you can also Alt+Drag
the Recovery slider right there.
| | 03:50 | That's another slider triangle that responds to Alt+Dragging
and once again that's Option+Dragging on the Mac.
| | 03:57 | Alright, this was just for purposes of demonstration here.
| | 04:00 | I don't really want to mess up the image quite to this extent.
| | 04:04 | So I will back off of my edit so that
I don't have any clipping going on.
| | 04:08 | I want a nice, safe and black icon there.
| | 04:10 | Nice, safe, black highlight triangle that is, up
there in the upper right-hand corner of the screen.
| | 04:15 | And I'll drag up until I don't see any clipping at all.
| | 04:19 | Alright so right before it turns red.
| | 04:21 | And then I will go ahead and drag down my Blacks value too,
until I see the color of that left-hand triangle turn black.
| | 04:30 | And now presumably I'm not getting any
significant amount of clipping inside the image.
| | 04:34 | I will take that Brightness value down a little bit
in order to create this serene scene right here.
| | 04:40 | Then I'll click on the Done button in order to return to the
Bridge and update that image inside of the Preview panel.
| | Collapse this transcript |
| Vibrance and Saturation| 00:01 | In this exercise I'm going to show you a new control
inside Camera RAW 4 called Vibrance and we'll see how it
| | 00:06 | compares to its close cousin, Saturation.
| | 00:10 | I want you to once again grab the Sunset triplets.dng
file that's inside the 24_camera_RAW folder.
| | 00:16 | And we'll press Control+R, or Command+R on the Mac,
to open these girls inside of the Camera RAW interface.
| | 00:23 | And we're still inside the basic panel right here, which
is the main panel of controls inside Camera RAW of course.
| | 00:30 | We're going to skip past Convert to Grayscale. We'll see how
that works in the subsequent exercise, and we'll skip down here to
| | 00:36 | Vibrance and Saturation.
| | 00:39 | Now we've had Saturation for a while inside of Camera RAW and
what it does is it allows you to increase the Color Saturation,
| | 00:46 | you know how Saturation works from our discussion way back when
| | 00:50 | of the Hue/Saturation dialog box.
| | 00:53 | But whereas inside Hue/Saturation, if you raise the
Saturation value to 100% as I've done here, you would just be
| | 01:00 | blowing out these colors all over the place and you'd
be calling attention to a bunch of compression artifacts
| | 01:05 | and any other weirdnesses inside of your image.
| | 01:07 | In this case,
| | 01:09 | we still have some reasonable colors going on inside the image.
Yes, they're way too orange and way too saturated,
| | 01:17 | as it turns out. Quite unrealistically so.
| | 01:19 | But not completely blown out,
| | 01:22 | and so we have some nice sculptural transition still left
inside of this image. Now I'm going to do myself a favor by going
| | 01:30 | up to this Temperature value.
| | 01:31 | And I'm going to take it down to 3150 which tends to look better
| | 01:35 | when we start raising these values down here.
| | 01:39 | Alright notice just for a moment what Saturation looks like.
Try to remember that, although we'll come back to it
| | 01:44 | and I'll sort of compare the effects of the two
| | 01:47 | before we're done with this exercise.
| | 01:49 | But note that we are increasing the Saturation
values of all colors inside the image uniformly,
| | 01:56 | which means that we increase the flesh tones saturation
values and the background saturation values and these rocks in
| | 02:02 | the background as well.
| | 02:03 | And that's not necessarily what we always want but it does
ensure that we have some smooth transitions left over inside
| | 02:10 | the image. Alright compare that, I'm
going to take Saturation back down to zero.
| | 02:14 | Compare that to a Vibrance value of 100,
| | 02:18 | and here's what it looks like. A very different effect
especially inside of the skin tones. We're not blowing those
| | 02:24 | skin tones up nearly to the extent we were before.
We are raising the background blue to a very high degree.
| | 02:31 | A lot more noise than we did before inside that background blue,
| | 02:34 | and we have something of a weird edge
going on between the blue and the rocks.
| | 02:39 | But it's all about trying to preserve the colors inside
the flesh tones, so that we don't totally blow them out.
| | 02:45 | We don't totally turn the girls' skin orange and so on.
| | 02:49 | And just so you can see how these two
options compare to each other side-by-side,
| | 02:55 | I'm going to switch over to Photoshop here,
| | 02:58 | where I've got the image opened up and it's two
different states. So here it is with 100% Saturation,
| | 03:05 | and here it is with 100% Vibrancy side-by-side so you can get
a sense of exactly what kind of modifications you're making.
| | 03:12 | Now here's my recommendation. If you're trying to expand the
saturation values inside portrait shots, you may very well
| | 03:20 | want to focus on Vibrancy more than Saturation.
| | 03:24 | If you want to expand the Saturation values uniformly over
the entire image, you want to avoid getting nasty sort of
| | 03:31 | edge artifacts, then Saturation remains your better setting.
| | 03:35 | However, it does mean you're getting get some very orange
and some screaming reds inside of your flesh tones.
| | 03:41 | If you pump them up to this degree. Bar in
mind that these are extreme settings of 100% each.
| | 03:47 | Alright, just so you know, and you can make your own determinations
about what's going to work, and you can combine them
| | 03:52 | together if you like. That is perfectly acceptable.
| | 03:56 | And notice even if I send both values up to 100%
| | 03:59 | I still haven't done the kind of damage to the
image I would if I just raised Saturation on its own
| | 04:04 | inside the Hue/Saturation dialog box up to 100%.
| | 04:08 | So, by comparison, these guys are subtle modifications.
Now if I were to take Saturation all the way down to zero,
| | 04:15 | then I reduce this image to grayscale, even if I have
Vibrance cranked up to plus 100 here, because Vibrance has
| | 04:22 | nothing to work with any more.
| | 04:23 | Compare that- I'll take Saturation back up to zero for a moment
| | 04:27 | and I'll take Vibrance down to -100,
| | 04:32 | and you can see how there is a little bit of color
left over even when you take Vibrance all the way down.
| | 04:38 | And you can, if you're feeling kind of weird and wacky and
you want to do some interesting things to the image, you can
| | 04:44 | combine a Vibrance of -100, along with a Saturation
value of +100 in order to get a unique effect.
| | 04:51 | Alright, I'm not suggesting you'd ever do that in a million years.
| | 04:53 | In the case of this image I would probably
take the Vibrance value up to about +20
| | 04:58 | and maybe take that Saturation value up to about +5.
| | 05:02 | In order to get a pretty uniform effect but of course,
| | 05:06 | not blow out the skin tones and bring
out some of the background colors and so on.
| | 05:10 | Alright, so there we have it.
| | 05:12 | That's how Vibrance and Saturation work. Again remember
Vibrance is great for skin tone. Saturation is good for
| | 05:19 | consistent adjustments over the entire color range.
| | Collapse this transcript |
| The new Tone Curve adjustment sliders| 00:00 |
Alright let's take a look at the new
slider bar controls that are associated
| | 00:04 |
with the Tone Curve panel inside of the Camera RAW 4 interface.
| | 00:09 |
And notice that I have the Strip Lights.dng file
selected here inside the 24_camera_raw folder.
| | 00:16 |
This is of course the Las Vegas strip,
that's opposed to say Paris.
| | 00:20 |
Then press Control+R, or Command+R on the Mac,
in order to open Camera RAW and we're now moving
| | 00:26 |
from the Basic panel over to be Tone Curve panel.
| | 00:29 |
Now for a while, we've had this tone curve, and
we've had this point by point control right here.
| | 00:35 |
And it's modeled after the Curves dialog box of
course, and if you'd like to learn more about it,
| | 00:39 |
cause there are a few special things
going on, but they haven't changed.
| | 00:42 |
This area hasn't changed since Camera RAW 3.
| | 00:45 |
You can learn all about it inside of my
Photoshop Mastering Camera RAW series.
| | 00:49 |
Right now I want to focus on the new stuff,
which are these Parametric controls right here.
| | 00:53 |
Now so called Parametric.
| | 00:55 |
Everything about Camera RAW, of course, is
parametric meaning it's all stored in Metadata
| | 01:00 |
and you don't harm a single original pixel inside of that image.
| | 01:05 |
But the way that Camera RAW is using the word Parametric here is
| | 01:08 |
to indicate the slider bar controls down
here underneath the big curve graph.
| | 01:13 |
And notice that the Highlights slider controls
the lightest colors inside of the image.
| | 01:19 |
You can see this region right here bowing up and down, because
the midtone is basically right through the center of this graph.
| | 01:27 |
Everything to the right of the center is
Highlights and everything to the left is Shadows.
| | 01:33 |
So we have this independent Highlight adjustment.
| | 01:36 |
We can make the Highlights brighter
or we can make the Highlights darker.
| | 01:39 |
I'm going to choose to make the Highlights darker, in this case.
| | 01:41 |
Not quite that much darker.
| | 01:43 |
You also, by the way, can adjust
exactly where the Highlights are.
| | 01:47 |
What is the center of the Highlights?
| | 01:50 |
Right now it's set to 75%, essentially.
| | 01:54 |
You can make those Highlights lighter.
| | 01:56 |
You can compress that Highlights zone, so
that you are looking at a center of 90%.
| | 02:00 |
So that you're dragging those Highlights
over to the right a little bit,
| | 02:03 |
which means effectively that you're editing fewer
colors at a time, fewer Highlight values at a time.
| | 02:09 |
Or you can broaden your Highlights by dragging
this slider triangle over to the left instead,
| | 02:14 |
to incorporate more light colors inside the image.
| | 02:17 |
I want to incorporate a fair amount of light colors actually.
| | 02:21 |
So I'll move this value to 65 and then I
will reduce my Highlights value to say -40.
| | 02:27 |
And you can see that this has indeed dimmed some
of the overly hot highlights inside the image.
| | 02:32 |
This is before, and this is after.
| | 02:35 |
But it makes a pretty big difference to the image.
| | 02:37 |
Next we have the Lights and the Darks,
and these are a greater area.
| | 02:42 |
Basically Lights incorporates both midtones and highlights,
| | 02:46 |
whereas Darks incorporates both the
darker midtones and the shadows.
| | 02:50 |
And you have independent control over those areas as well.
| | 02:52 |
So if you want to continue to take those Light colors
down, as I do, you could go ahead and reduce the Lights
| | 02:58 |
of value, and I've set it down to -25, at this point.
| | 03:01 |
And then I going to take the Darks
down just a little bit as well to -10.
| | 03:07 |
You can now use this 50% marker right there
to determine the center of the division
| | 03:13 |
between the Lights and the Darks inside the image.
| | 03:16 |
So if you want to incorporate more colors into the
definition of the Lights then go ahead and drag this value
| | 03:23 |
over to the left, which is what I want to do.
| | 03:25 |
And finally we have control over the Shadows which are
the darkest quarter of the colors inside the image.
| | 03:32 |
And in my case I'm going to raise the Shadows slightly.
| | 03:35 |
I'm going to go and take that value up a little bit to about +25.
| | 03:40 |
And if you want to control exactly where the Shadows are located
inside the image, you can drag this marker back and forth.
| | 03:46 |
So I'm going to set it to about 20.
| | 03:48 |
Alright, so let's check out what we've done.
| | 03:51 |
This is the before version of the strip image.
| | 03:53 |
A little too hot, I think.
| | 03:55 |
I want to make it less garish, that would
be the last thing you want from this image.
| | 03:59 |
So anyway, let's go ahead and turn on Preview,
so that we can see the results of our changes.
| | 04:04 |
I think these more muted tones suit the strip much better.
| | 04:08 |
And by the way and should mention
something about this Preview checkbox.
| | 04:11 |
It only turns on and off the settings in the current panel.
| | 04:16 |
So any settings that you may have at
work inside other panels remain intact.
| | 04:22 |
Pretty interesting thing about it.
| | 04:23 |
Alright I'm done with these changes so I'm going to go
ahead and click on the Done button in order to return
| | 04:29 |
to the Bridge and update my view of the strip here.
| | 04:32 |
All thanks to those so-called Parametric slider controls that
are new to the revamped Tone Curve inside of Camera RAW 4.
| | 04:42 |
| | 04:43 |
| | Collapse this transcript |
| The absolutely amazing HSL controls| 00:00 | Alright I really have a treat ready
for you inside of this exercise.
| | 00:04 | We're going to check out the new HSL controls that
give us independent control over various colors,
| | 00:11 | various attributes associated with
various colors inside the image.
| | 00:15 | So we have color by color control inside of Camera
RAW and it fairly rocks, I have to tell you.
| | 00:22 | Alright, so I want you to select three images inside
the 24_camera_raw folder that features all those images
| | 00:28 | from fellow trainer here at Lynda.com, Chris Orwig.
| | 00:33 | And these images include the following: Big Sky.
| | 00:35 | So go and click on that one.
| | 00:37 | Then scroll down here and Control+Click or
Command+Click on the Mac, on Flowers.dng.
| | 00:42 | And then scroll close to the bottom here, where I
want you to Control or Command+Click on Wing.dng.
| | 00:48 | That's Control+Click on the PC and Command+Click on the Mac.
| | 00:52 | So you should select these three images right here,
then press Control+R, or Command+R on the Mac,
| | 00:58 | in order to open up the Camera RAW dialog box.
| | 01:01 | Now we're going to be editing each one
of these images independently here.
| | 01:05 | I just want to make sure that you have
them all ready to go inside Camera RAW.
| | 01:10 | Go ahead and click on Flowers.dng
in order to select it for starters.
| | 01:14 | And I'm going to zoom in on this image a
little so that it takes up more of the screen.
| | 01:19 | Then I'm going to switch to this
panel, right there HSL/Grayscale.
| | 01:24 | We're skipping detail because detail
hasn't changed here inside Camera RAW.
| | 01:28 | So you can check out how all those controls work
in my Photoshop Mastering Camera RAW series,
| | 01:34 | available here at the Lynda.com Online Training Library.
| | 01:37 | I'm going to scoot ahead here to HSL/Grayscale and
for now we're going to focus on the color element HSL.
| | 01:44 | In the next exercise will see the grayscale stuff,
which is also molto cool, I have to tell you.
| | 01:50 | Alright notice that you have independent control over Hue,
Saturation and Luminance attributes that are associated
| | 01:57 | with these ranges of colors: Reds, Oranges, Yellows,
Greens, Aquas, Blues, Purples, and Magentas.
| | 02:03 | Now you may recall the big color wheel from way back
when, where reds and yellows and greens and then cyans,
| | 02:11 | which aren't represented here, and then blues
and then magentas are all spaced 60 degrees away
| | 02:18 | from each other around that circle.
| | 02:20 | Well, we have different controls
here inside the HSL/Grayscale panel.
| | 02:24 | And these are more subjective controls so that
were focusing on the colors that matter most
| | 02:30 | to us as photographers, is what it turns out.
| | 02:33 | So we've got a lot of control over the Reds, Oranges,
and Yellows, all of which factor into portrait shots
| | 02:40 | and were not really focusing all that
much attention on the background colors.
| | 02:44 | We just divide those into three groups
as well: Greens, Aquas, and Blues.
| | 02:48 | And then we have some offset colors,
Purples and Magentas, available to us.
| | 02:53 | Alright in this case, check this out.
| | 02:54 | I can modify the colors in those flowers because currently
they're located in more or less the Orange range.
| | 03:00 | I could say, No, I want these flowers to look more yellow.
| | 03:03 | Then I'd leave the other colors, the
background colors inside the image, alone.
| | 03:07 | Or I'd say, No, I'd like them to look more red instead.
| | 03:10 | And notice the degree of control that I have.
| | 03:12 | And the whole time, that green in the background is
staying put, which I think is just a fantastic thing.
| | 03:19 | If we want to bring around some of these other yellow colors
| | 03:23 | that are inside the flower then we would
start playing with the Yellow control as well.
| | 03:27 | And just fantastic that you have that kind of
selective control over the Hues inside of this image.
| | 03:34 | Alright let's check out the selective control
that you might apply to Saturation values.
| | 03:38 | I want you to switch to the Wing.dng image, which is
this beautiful gorgeous butterfly wing right here.
| | 03:45 | And say that I'm pretty happy with the
Saturation values in this green background.
| | 03:48 | Now I might say, Gosh I want that green
background to be a little bluer, let's say.
| | 03:54 | Then I would go down here to Greens and I might start
dragging those Greens over into the blue range a little bit.
| | 03:59 | And then I would take my Aquas over into the blue as well.
| | 04:04 | And that's going to make those colors a little bit bluer.
| | 04:07 | We're not going to be able to rotate
them all the way around the spectrum,
| | 04:09 | but we are going to be able to give them a little more heft.
| | 04:12 | Now in terms of Saturation, as I say,
I'm very happy with the background.
| | 04:16 | I think it's plenty saturated enough.
| | 04:18 | So I don't want to go to the main Saturation value
here inside the Basic area and start messing with it,
| | 04:24 | and I don't really want to play with Vibrance either.
| | 04:26 | That's not going to give me the results I want.
| | 04:28 | Instead I'm going to go back to HSL/Grayscale.
| | 04:31 | I'm going to switch over to the Saturation mini tab here.
| | 04:35 | Notice that we're tabbing into a
panel inside of a panel effectively.
| | 04:39 | And now I'm going to go to my Oranges, which
represent the colors inside of the butterfly wing,
| | 04:44 | and I'm going to increase those Saturation values And notice
how I'm able to increase the saturation of those wings,
| | 04:52 | without affecting the saturation of the background colors.
| | 04:55 | Now, if I'm worried that I am bringing out some saturation
values there, then I can reduce the saturation of the green.
| | 05:02 | So basically, I'm ending up with a more muted background and a
more vibrant foreground, thanks to these controls right here.
| | 05:10 | And to give you sense what we've done, here's
the before version of the butterfly wing.
| | 05:14 | Here's the after version, and I think that
after version is a much more interesting,
| | 05:19 | higher contrast image, where the colors are concerned.
| | 05:22 | Finally, check this one out.
| | 05:24 | You guys are going to love this one.
| | 05:26 | Really a wonderful control where
skies, in particular, are concerned.
| | 05:31 | So here's this Big sky image.
| | 05:33 | I'm going to zoom in on it just a little bit, so that
we're filling the screen with the image once again.
| | 05:37 | Alright, so let's say, you know, I might want to bring out
some of the greens, some of those grass greens right there,
| | 05:44 | and imbue them with some higher Saturation values.
| | 05:47 | I might bring out the yellows as well.
| | 05:49 | Now where the sky is concerned, I think it's plenty
saturated, but let's say I want to deepen the sky a little bit.
| | 05:55 | No problem, just go over to the Luminance area this time.
| | 05:59 | And say, OK, I bet those guys fall into the Blue range.
| | 06:03 | I'll go ahead and darken those Blues.
| | 06:05 | Oh, can you believe that.
| | 06:08 | Is that not cool?
| | 06:11 | That one just, oh, oh, I can't believe how long I've wanted that.
| | 06:15 | That is just the most amazing control
on earth, where skies are concerned.
| | 06:20 | So remember, if you remember nothing else about Camera RAW,
remember that you can switch over here to HSL/Grayscale.
| | 06:28 | You can go to Luminance and you can darken the blues in your sky.
| | 06:32 | What a fantastic effect that turns out to be
thanks to the new HSL controls inside Camera RAW 4.
| | Collapse this transcript |
| Mapping colors to black and white| 00:01 |
Now I'm going to show you the amazing degree of control you
have over converting full-color images to black-and-white.
| | 00:08 |
It's just stunning.
| | 00:10 |
Now in the old days, what you'd do
is you'd go over to the Basic panel.
| | 00:14 |
You'd reduce your Saturation value to -100, and then
you'd adjust your Temperature and Tint values in order
| | 00:21 |
to emphasize one area of the image or another.
| | 00:24 |
And it was pretty great as it turns out, but it
wasn't anything compared to what you can do now.
| | 00:30 |
So I'm going to go back here to the HSL/Grayscale panel.
| | 00:33 |
I still have open the Big sky.dng image, as well as Flowers
and Wing.dng that are located inside the 24_camera_raw folder.
| | 00:43 |
Currently I have Big sky.dng selected, and I'm
going to turn on Convert to Grayscale, like so.
| | 00:50 |
Now you'll either see the Default settings right here, which
are all zeroes for these various subject of colors here.
| | 00:56 |
Or you're going to see the Auto settings, which represent
whenever auto balance that Camera RAW comes up with.
| | 01:03 |
And you'll see if you select one of the other images, like
if I switch to Flowers, and I click on Convert to Grayscale.
| | 01:09 |
You'll see that the Auto settings are totally different.
| | 01:12 |
So these are the various Auto settings here for the flower image.
| | 01:15 |
And these are the Auto settings here for the Big sky image.
| | 01:20 |
So every time, in other words, Camera RAW is
trying very hard to get the balance exactly right.
| | 01:26 |
But that doesn't mean you have to accept things the way they are.
| | 01:28 |
And you can choose which areas you want to make dark and
which areas you want to make light, on a color by color basis.
| | 01:35 |
So for example, I know that I want
the ground to be lighter than this.
| | 01:40 |
So I'll go ahead and raise those Green values
and I'll also raise my Yellow values quite a bit.
| | 01:45 |
Notice that.
| | 01:46 |
So I'm brightening the ground fairly dramatically.
| | 01:48 |
And the reason I chose Yellows, by the way, is
that yellows hang out in grass tones quite a bit.
| | 01:54 |
So if you're looking at a field of grass, and some of that
grass is going to be green, but more of it's going to be yellow
| | 02:00 |
because of the dying grass and just
because grass trends toward yellow as well.
| | 02:05 |
Just something you know by working inside of images.
| | 02:07 |
Alright I might take up the Oranges a
little bit, in order to emphasize that road.
| | 02:12 |
And then I'm going to take down that Blue.
| | 02:16 |
Oh, can you believe that.
| | 02:18 |
That Blue slider control is something else.
| | 02:20 |
I'm telling you.
| | 02:23 |
Where sky images are concerned, it's
all about this guy right there.
| | 02:27 |
Alright, I do want to take the Aquas down a little bit.
| | 02:29 |
I might take my Purples down as well.
| | 02:32 |
What I'm trying to do at this point is make sure
that I don't have too much noise up in that sky.
| | 02:36 |
And incidentally, if you want to devote more horizontal
real estate to your central image, then you can double click
| | 02:43 |
on this little vertical bar right there, to make those
thumbnails disappear on the left-hand side of the window.
| | 02:49 |
Alright so you can see how we've got a
little bit of noise going on in the sky.
| | 02:53 |
So I just want to play around with the
sliders until it starts going away.
| | 02:57 |
And it looks like if I take that Purples value down a little
bit, I'm going to start eliminating some of the sky noise.
| | 03:04 |
And perhaps I'll take my Blues up a tad bit, as well, so
that they're not quite is dark because the darker I go
| | 03:10 |
with those Blues, the more noise I bring out.
| | 03:13 |
I could also try to compensate for the noise by going into
the Detail area and switching up that Luminance value there,
| | 03:20 |
in order to smooth over some of the luminance transitions.
| | 03:24 |
Alright, let's go back to HSL/Grayscale.
| | 03:26 |
I'm going to bring back up my thumbnails.
| | 03:29 |
I'm going to switch over to Flowers.dng and zoom out from it a
little bit so that I can take in more of the flowers at a time.
| | 03:36 |
I might also hide those thumbnails so I
have more room devoted to the flowers.
| | 03:40 |
And again, I still have that same kind of independent control.
| | 03:44 |
So if I really want to highlight the flowers.
| | 03:46 |
I could drag up on that Oranges slider,
and I might drag up on Yellows as well.
| | 03:52 |
So when I say drag up, I mean I'm lifting the value by
dragging the slider triangle over to the right hand side.
| | 03:58 |
And then if I wanted to dim down that
background, why then I could take Aquas down,
| | 04:03 |
I could take Greens down, I could take Blues down as well.
| | 04:06 |
So an amazing amount of selective control over the
conversion from full color image to black-and-white image,
| | 04:15 |
thanks to the HSL/Grayscale controls, combined with
this check box right here, Convert to Grayscale.
| | 04:22 |
| | 04:23 |
| | Collapse this transcript |
| Colorizing with the Split Toning options| 00:01 |
Now you may recall from the Adjustment Layers chapter, how
there's this command called Gradient Map that allows you
| | 00:06 |
to selectively colorize an otherwise black-and-white image.
| | 00:10 |
It also factored into that ambitious project that
we created inside of the Smart Filters chapter.
| | 00:16 |
Well that command still reigns supreme, and it's
actually one of my favorite commands in all Photoshop.
| | 00:21 |
I think it's absolutely awesome.
| | 00:24 |
But Camera RAW 4 does have something
that very nearly, in a way matches it.
| | 00:30 |
It's about half as good I would say.
| | 00:32 |
And it's not too shabby in general.
| | 00:34 |
If you just want to rely on it, you
certainly can and it's called Split Toning.
| | 00:38 |
It allows you to independently assign colors to
the Highlights and Shadows inside of an image.
| | 00:44 |
So a little less control than Gradient Map, but not half bad.
| | 00:49 |
Alright, so I still have open my Big sky, Flowers,
and Wing images here inside of the Camera RAW plug-in.
| | 00:56 |
And these images of course, come
to us from photographer Chris Orwig
| | 01:00 |
and they are available to you inside of the 24_camera_raw folder.
| | 01:04 |
I currently have a black-and-white
variation of the Flowers.dng file selected.
| | 01:10 |
And it lacks weight inside of the
dark regions, inside the shadow.
| | 01:14 |
So I'm going to darken up those shadows, by going back
to Basic and raising that Black value to about 20,
| | 01:21 |
and then I'm going to reduce the Brightness value as
well, in order to darken up the image a little bit.
| | 01:27 |
And I might increase the Exposure, actually at this point,
in order to increase the Saturation a little bit as well.
| | 01:34 |
Alright, so this looks pretty good to me.
| | 01:35 |
Now I'm going to go over to this panel, the
Split Toning panel, new to Camera RAW 4.
| | 01:41 |
And notice that it does allow me to associate Hue and
Saturation values with Highlights, the lightest colors of course.
| | 01:48 |
And then Hue and Saturation values
with those Shadows, the darkest colors,
| | 01:52 |
and then I can determine a balance between those colors.
| | 01:55 |
How many of the luminance levels are
integrated into the Highlights color,
| | 02:00 |
and how many of the luminance levels
are integrated into the Shadows color.
| | 02:04 |
Now, for starters I'm going to modify the Highlights.
| | 02:06 |
I'll go ahead and assign a Hue, but notice as I'm assigning my
Hue, I'm not making any difference inside of the image here.
| | 02:14 |
Let's make that image bigger by double clicking on the vertical
bar and zooming in, actually into this flower right here
| | 02:21 |
by pressing Control+plus, or Command+plus on a Mac.
| | 02:25 |
Alright, that looks pretty good to me, but I'm not assigning any
Hue to it whatsoever, and that's because the Saturation value's
| | 02:30 |
down here at zero Well, two ways I could work.
| | 02:33 |
I could bring that Saturation value up if I wanted to,
| | 02:36 |
and then start monkeying around with the Hue
value until I get it to the proper setting.
| | 02:42 |
Or there's another way to work.
| | 02:44 |
You can leave the Saturation value set to
zero and here's this really great trick.
| | 02:49 |
Notice this.
| | 02:50 |
If you press and hold the Alt key, or the Option key on
the Mac, and you drag that slider triangle right there,
| | 02:57 |
you will preview a 100% saturated version of the Hue.
| | 03:01 |
So a full saturation version of that Hue.
| | 03:04 |
Obviously it doesn't need to be nearly that saturated, but
Camera RAW just wants to help you out as much as it can
| | 03:10 |
by showing you what the Hue is going to
look like for this flower image here.
| | 03:13 |
I happen to like a Hue value of 185.
| | 03:16 |
As soon issue release the slider triangle,
you will restore the black-and-white version
| | 03:20 |
of the image, the low saturation version of the image.
| | 03:23 |
So let's go ahead and increase the Saturation
value now to about, I'd say something along lines
| | 03:28 |
of about 40 where these Highlights are concerned.
| | 03:31 |
Alright, now let's move down to Shadows and we'll
Alt+drag once again, or Option+drag once again,
| | 03:37 |
on the Hue slider triangle here, in order to figure out
what Hue value, what specific Hue value we want to associate
| | 03:44 |
with those background colors, and something along the lines
of 30 for a sort of a deep orange is going to work for us.
| | 03:50 |
And then I'll take that Saturation value up,
not too high as it turns out maybe to about 30%.
| | 03:57 |
And then finally, you can see the distinction
between the sort of brownish background there
| | 04:02 |
and the bluish sort of cyan flowers in the foreground.
| | 04:05 |
So do we want to emphasize the cyans across
the wider range of the image like so,
| | 04:12 |
or do we want to end up emphasizing
the brown tones and bring those
| | 04:16 |
into the flower shadows, which is what I think we want to do.
| | 04:19 |
So, I think these settings end up
looking pretty darn good as it turns out.
| | 04:24 |
And we can get a sense of before
and after by clicking on Preview.
| | 04:28 |
So this is the black-and-white version of the image
and this is the colorized version of the image.
| | 04:33 |
Bear in mind, preview is always just
turning on the current panel of options,
| | 04:37 |
and that is thanks to these new Split
Toning functions here inside Camera RAW 4.
| | 04:43 |
| | 04:44 |
| | Collapse this transcript |
| The nondestructive Retouch tool| 00:00 | In this exercise I'm going to show you another one of
those jaw dropping new features inside of Camera RAW 4 and
| | 00:06 | that's the Retouch tool. Just an amazing function. You
may have heard about it. Now you're going to experience it.
| | 00:12 | I've got two images selected here inside the 24_camera_RAW
folder. They're Boat & beach.dng and Sunset girl.dng.
| | 00:20 | We've seen Sunset girl before, but we're going
to see another thing that we can do to her here.
| | 00:25 | Alright, so click on one, Control or Command+click on the
other. Press Control+R, or Command+R on the Mac, in order to
| | 00:31 | open up the big old Camera RAW dialog box.
| | 00:34 | I have Boat & beach selected first, and I'm going to go ahead
and hide those thumbnails by double clicking on that vertical bar.
| | 00:41 | And I'm going to go ahead and automatically
adjust the Exposure settings inside of this image,
| | 00:46 | because the Camera RAW does a pretty good
job where this specific image is concerned.
| | 00:51 | And I might go ahead and recover a few more of those
Highlights out here in this bright portion of the sky.
| | 00:57 | But here's what I'm more concerned about. These tiny little birds,
can you see them up here in the sky? Go ahead and zoom in, if not.
| | 01:04 | You'll see that there are these little flecks in the sky
| | 01:07 | and they're so far away and so out of focus that it takes a
moment to even figure out that they are birds. So your initial
| | 01:14 | reaction is that the lens is dirty. So might as well get rid
of those birds entirely, might as well take them out of the
| | 01:20 | scene, I figure.
| | 01:22 | So I'm going to zoom in on a bird, to the 100% zoom level.
| | 01:26 | And I'm going to grab this guy right here, the new Retouch
Tool, totally awesome function as it turns out. Go ahead and
| | 01:32 | click on it.
| | 01:33 | And notice that you can set the tool to two different types,
either to Heal away the problems or to just Clone one
| | 01:40 | area on to the other.
| | 01:41 | I'm going to go with the healing technology here to ensure
that we have nice smooth transitions between our source and
| | 01:48 | destination areas.
| | 01:50 | Then I'm going to move my cursor into the image. You draw circles
with this tool and you draw them from the center outwards.
| | 01:57 | So I'm going to go ahead and encircle that bird right there.
| | 02:01 | And Camera RAW automatically goes
ahead and tries to Heal that bird away
| | 02:06 | by lifting a source of its own. It tries to find a good source
inside the image, much like that Spot Healing brush inside of
| | 02:13 | Photoshop, except the difference is, you can change that
source on the fly by dragging it to a different location.
| | 02:20 | So your destination is in red and your source is in green there.
| | 02:25 | If you want to change the size of either
of these pieces, both of them actually,
| | 02:29 | then you can adjust the radius value to make the painted
area bigger or to make that painted area smaller. Now
| | 02:36 | notice if we make it too small we're going to reveal some of
the bird in the background so we want to keep it fairly big.
| | 02:41 | So we just cover up that bird.
| | 02:44 | And you can drag the destination area around as well if you want to.
| | 02:48 | Notice that it makes the change after you release the mouse button.
| | 02:52 | Alright, so I'll go ahead and drag around this guy as well.
And then let Camera RAW make a determination and change
| | 02:58 | things if I want to, and I'd just keep dragging around each
one of these birds, in order to get rid of it and then let
| | 03:05 | Camera RAW do its thing. I think I'd like to keep the
source a little farther away from the destination there.
| | 03:10 | Alright, and you just plop down those points where
you see fit inside the image, and they are saved again
| | 03:17 | parametrically inside the Metadata. This is the only
incarnation of healing technology throughout Photoshop that is
| | 03:24 | entirely parametric, does not affect a single pixel
inside the image. Very, very cool technology.
| | 03:32 | Now notice that you have the Show Overlay check box that
allows you to toggle the visibility of those circles there.
| | 03:38 | So I'll go ahead and turn off that Show Overlay check box so
that I can see the transitions inside of my image without those
| | 03:45 | circles getting in the way.
| | 03:46 | And at this point, if I want to scroll around here on the window
side because the Show Overlay check box just got highlighted,
| | 03:53 | I'm going to have to switch manually over to the Hand tool, which
I'll go ahead and do. And notice when I switch over to a different
| | 03:59 | tool, all those options go away on screen,
so we just saw them disappear for a moment.
| | 04:04 | Now if I were really correcting this image, I would want
to get rid of these little blotches down here as well.
| | 04:09 | But instead I want a show you another use for the tool.
So one of the great uses is to Retouch away dust and stuff on
| | 04:17 | the camera lens and stuff that looks
like it might be stuff on the camera lens.
| | 04:21 | The other use for the tool is to Retouch away blemishes.
Very slight blemishes in the case of Sunset girl here.
| | 04:27 | Go ahead and click on her
| | 04:29 | and then we're going to zoom in on this image by clicking on her
forehead with the Zoom tool and I'll go ahead and zoom her in
| | 04:36 | until we can see these very slight blemishes right there.
| | 04:40 | But they are the kinds of things that we might want to get
rid of. So I'll go over to the Retouch tool once again.
| | 04:46 | And I'll drag from the center outward at this point, and
| | 04:50 | Photoshop goes ahead and heals that area away. Now I have Show
Overlay turned off. So I'll turn it on, so I can see what I'm doing.
| | 04:57 | and it's gone ahead and cloned from an area that I don't
really care for. That was kind of a weird destination, I think.
| | 05:03 | And I might make that radius a little bit bigger.
| | 05:07 | Now I'm going to drag around this item here,
| | 05:10 | let camera RAW make its determination, override Camera
RAW's determination if I don't care for it, like so.
| | 05:17 | Alright that's about it. Otherwise I think we've done some
nice work on this forehead. Slight but meaningful, don't you
| | 05:23 | know. Alright now I'll go ahead and zoom out from this image by
Alt+clicking with the Zoom tool here and everything is looking
| | 05:30 | very, very nice I think. Thanks to the new
parametric Retouch tool here inside Camera RAW 4.
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| Opening JPEGs and TIFFs in Camera Raw| 00:00 | Alright here's another absolute mindblower for me.
If you're using Photoshop CS3, Bridge 2.0, Camera RAW 4,
| | 00:07 | you can choose to open up
| | 00:09 | JPEG and TIFF files inside Camera RAW.
| | 00:13 | Now that just might seem on face value, Whoa, why in
the world would you want to do that? I mean, Camera RAW
| | 00:19 | for RAW digital images, that makes complete sense. I mean
that's what it's there for, but why for JPEGs and TIFFs.
| | 00:26 | What's going on there?
| | 00:27 | Well, three advantages. One: If you like the way that Camera
RAW works, and who wouldn't? If you like the powerful color
| | 00:34 | correction controls it gives you,
| | 00:36 | then you can apply those controls to JPEG and TIFF files as well.
| | 00:39 | Two: The process is totally nondestructive. So in exactly
the same way that you apply your Camera RAW modifications
| | 00:46 | parametrically to RAW digital images, you apply them para-
metrically to your JPEG contents so that those changes are
| | 00:54 | nondestructive and you can edit them eons into the future.
And then third: You can trade the settings back-and-forth
| | 01:01 | between Photoshop CS3, the Bridge 2.0,
Camera RAW 4 and Adobe Light Room.
| | 01:09 | Really Cool.
| | 01:10 | Anyway, it really is. It just blows my mind.
| | 01:15 | Go down here to Yellow letters.jpg
inside of the 24_camera_RAW folder,
| | 01:20 | and in order to open it, we're inside the Bridge, in order
to open this file inside Camera RAW, just go up to the File menu
| | 01:26 | and choose Open in Camera RAW.
| | 01:28 | It's that simple.
| | 01:30 | And that's going to bring up the Camera RAW dialog box,
here it is. I'm working on a JPEG file, folks.
| | 01:36 | Nothing up my sleeve. This is the way it works now.
| | 01:39 | And notice though, right off the bat there's something different
going on. Notice that the Temperature and Tint values, even
| | 01:45 | though it's set to As Shot, that's meaningless in this case,
because Camera RAW has no idea how this image was shot, because
| | 01:51 | it's basically a flat JPEG file.
| | 01:54 | So instead, it just goes ahead and sets Temperature and Tints
to 0 so these sliders no longer represent absolute controls,
| | 02:00 | they represent relative control. So in my case I'm going to
take this Temperature value down to -25 in order to scoot
| | 02:08 | things way over into the blue range,
| | 02:11 | so that I'm making my in neutral whites way to blue, which
may seem like craziness. But A - it provides kind of a
| | 02:18 | cool amount of contrast here.
| | 02:20 | And B - I'm going to use that contrast in order to further
neutralize these colors. You'll see that in just a moment.
| | 02:27 | Now, the image to me looks way too dark and we don't have
a lot of highlights going on, so I'm going to increase
| | 02:33 | the Exposure value a little, until we start clipping
those highlights just a little bit up there.
| | 02:38 | And then I'll go ahead and set my
Recovery value to 15 which is going to
| | 02:45 | draw the colors away from Highlight, sort of
scrunch this area together, is what it's doing.
| | 02:50 | And finally I'm going to take my Brightness value down to
-20, so we restore some of the deep colors, some of the deep
| | 02:58 | midtones inside this image.
| | 03:00 | Alright, as I say I'm not too happy with these blue
shadows. So let's go over to our HSL/Grayscale controls.
| | 03:07 | And let's switch to the Saturation mini panel here and
I'm going to reduce my Blues down to -90 and notice how
| | 03:16 | those blues are going away, those nasty blues
that I really didn't want in the first place,
| | 03:20 | are being drawn away from the image.
| | 03:22 | And as a result I'm essentially fabricating a grayscale image
with the exclusion of the letters and the red bricks and
| | 03:31 | this little orange rust spot right there.
| | 03:34 | And that's exactly what I wanted to do. Now had I not, I'll
go back to basics here, had I not adjusted that Temperature
| | 03:40 | value over to the left a little bit, then I wouldn't have had
that degree of control over this area that I wanted to make
| | 03:46 | neutral gray.
| | 03:48 | So there was, once again, there was a
method behind my madness. Go figure.
| | 03:52 | Anyway, I'm going to go over here. I'm
going to return to the HSL/Grayscale area,
| | 03:56 | because I want to max out a few these warm values. I'm going
to change Reds and Oranges and Yellows all to 100% apiece
| | 04:04 | in order to exaggerate the rust,
| | 04:07 | which is orange, the letters, which is a combination of yellows
and oranges, and of course the bricks in the background
| | 04:12 | which are mostly reds with a little bit
of oranges thrown in for good measure.
| | 04:16 | And that's it.
| | 04:17 | Beautiful, wunderbar, awesome. I'm going to click on the Done button
because I made my changes, didn't I? This is the way you save things
| | 04:25 | essentially, out of Camera RAW, is to click on that Done button.
| | 04:28 | And then inside the Bridge, watch for it. This
preview will update in just a moment. There it this.
| | 04:34 | And I've made my modifications. How many pixels did I
change? Zero. How many Camera RAW settings did I apply?
| | 04:40 | Plenty. We're not seeing all of them here inside the Metadata panel.
| | 04:44 | But everything is done via Metadata inside
this image. So it's entirely parametric,
| | 04:50 | it's entirely nondestructive and it's entirely editable.
All I have to do is open that image inside Camera RAW again
| | 04:58 | and make those modifications. If I do want to make changes
inside Photoshop all I have to do is double-click on that file
| | 05:04 | and Photoshop will respect the modifications that I've made so far.
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| Camera Raw Smart Objects| 00:00 |
Alright the final new thing you can do with Camera RAW 4,
| | 00:04 |
is you can automatically convert an image
over into a Smart Object inside Photoshop.
| | 00:10 |
The idea being that from that point on, you can recall Camera
RAW 4 whenever you want to from inside your layered composition,
| | 00:18 |
just by double-clicking the Smart Object layer inside the
Layers palette, and I'll show you how that works right now.
| | 00:24 |
Make sure that you're inside the 24_camera_raw folder.
| | 00:27 |
We're working inside the Bridge once again.
| | 00:29 |
I have the modified version of my Flowers.dng file selected.
| | 00:33 |
And this time instead of pressing Control+R or Command+R to open
Camera RAW inside of the Bridge, I'm going to press Control+O,
| | 00:40 |
or Command+O on the Mac, in order to open Camera RAW inside of
Photoshop and you saw how we switched over to Photoshop there.
| | 00:47 |
We are now running the plug-in inside of Photoshop.
| | 00:50 |
I could make whatever changes I want to.
| | 00:52 |
I figure for now, though I have made
as many changes as I need to.
| | 00:56 |
Not because any more changes are going
to be destructive because they're not.
| | 00:59 |
We're always working from the original Camera RAW data.
| | 01:03 |
I've stressed this a million times.
| | 01:05 |
I'm going to keep stressing it until I'm
blue in the face because it's so important.
| | 01:08 |
This is all parametric, all nondestructive.
| | 01:10 |
We're not harming a single pixel on
this precious flower's face here.
| | 01:15 |
Alright, notice this Open Image button down there.
| | 01:18 |
Notice what happens when I press and hold the Shift key.
| | 01:21 |
It switches to Open Object.
| | 01:23 |
And by the way, if you like that functionality and you
always want to be able to open an image as a Smart Object,
| | 01:29 |
why then click on this button right here, the thing that looks
like a link, in order to bring up these Workflow Options.
| | 01:35 |
I discuss Workflow Options in a great deal of detail
inside of my full Photoshop Mastering Camera RAW series
| | 01:42 |
because these are some very important options here.
| | 01:45 |
But none of these guys are new except for this check box.
| | 01:48 |
Notice it says Open in Photoshop as Smart Objects.
| | 01:50 |
Click that, turn on that check box
and it becomes the default behavior.
| | 01:54 |
Alright, I'm not going worry about that.
| | 01:55 |
I'm going to cancel out cause I'm just
going to take advantage of this trick here.
| | 01:58 |
So press the Shift key and then click
on the Open Object button in order
| | 02:04 |
to convert the image here inside Photoshop,
and open it on its own Smart Object layer.
| | 02:11 |
Alright and here it is.
| | 02:12 |
Now I've got my Channels palette up on screen, so I'm going
to go ahead and switch over here to the Layers palette
| | 02:18 |
so that we can see the new Smart Object layer,
isolated by itself here, with no background whatsoever.
| | 02:26 |
I'm going to go ahead and zoom in on my image so
that it takes up a little bit more screen real estate
| | 02:31 |
and switch into that wonderful maximized mode there.
| | 02:34 |
Now, let's say a few hours later I've been
working inside this image and it occurs to me
| | 02:38 |
that I really don't want this black-and-white treatment.
| | 02:41 |
For what ever reason, I want to restore
the original colors inside of this image.
| | 02:46 |
No problem whatsoever, all I do is I go over to the Layers
palette double-click on that Smart Object layer right there
| | 02:54 |
in order to revisit the Camera RAW
plug-in, so I'm calling it up again.
| | 02:58 |
I'm still referencing that original Camera RAW data
that is now embedded inside my layered composition.
| | 03:04 |
And I will turn off Convert to Grayscale to restore my
original colors, make whatever modifications I feel like I need
| | 03:11 |
to to those colors in order to make them look better, and
I'll go ahead and raise my Brightness value a little bit
| | 03:17 |
to add some brightness to the image of course.
| | 03:20 |
And then I'll click on Done.
| | 03:22 |
And that goes ahead and edits that Smart
Object, that Camera RAW Smart Object inside
| | 03:28 |
of the layered composition here inside Photoshop CS3.
| | 03:32 |
It's that easy to do, and it really is the way to work.
| | 03:36 |
Now there is some overhead associated
with using Smart Objects in this way.
| | 03:40 |
It does result in bigger images and it takes
longer to process those images as well.
| | 03:45 |
But if you've got a fast machine and you have a lot of memory and
a lot of hard disk space, then it's a great flexible way to work.
| | 03:52 |
So remember that you can directly import images as Camera
RAW Smart Objects using Camera RAW 4 and Photoshop CS3.
| | 04:01 |
| | 04:03 |
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|
|
25. Auto-Align, Auto-Blend, and PhotomergeAnother rotten feature much improved| 00:00 | You know what digital panoramas are? You go out and shoot
a sequence of pictures all from the same vantage point.
| | 00:06 | You shoot one, rotate a little, shoot another, rotate a
little, shoot another and so on, taking care to make sure
| | 00:12 | that you have some overlap from one photo to the next.
| | 00:15 | Then you import the images into a photo
stitcher, which merges them together.
| | 00:19 | There are a lot of stitchers out there. Photoshop even has a
stitching function that it inherited from Photoshop Elements
| | 00:24 | called Photo Merge. Well for years Photo Merge has
been one of the worst stitching utilities on the planet.
| | 00:30 | Now wait, I take that back. It was the worst. My four-year old
could do better work with a handful of Polaroids and a box of crayons.
| | 00:37 | But Sammy, that's my four-year old, he's very skilled,
and crayons are his medium of choice. So I have to say,
| | 00:43 | he does some OK stitches. Better
than Photo Merge, that's for sure.
| | 00:46 | Now comes along a new Photo Merge and
wouldn't you know it, it's really good.
| | 00:51 | Not only can you stitch a sequence of images shot in horizontal
succession, but you can add pictures shot above and below,
| | 00:57 | as long as they were captured from a single point.
Plus Photoshop has broken up Photo Merge into a couple of
| | 01:02 | subfeatures called Auto Align and Auto Blend that let you
merge shots of people and seamlessly blend their colors.
| | 01:09 | It's all really great. So here's my
problem. What am I going to tell my son?
| | 01:14 | For years, he's known that he was better than Photo Merge.
Look at me, daddy, he says. Look at me stitch photos.
| | 01:20 | Very nice, Sammy, I say.
| | 01:21 | Now what can I say? Nice work, Sam, but I'll
stick with Photo Merge, thanks all the same.
| | 01:27 | Oh Adobe, you've broken a little boy's heart.
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| The Auto-Align Layers command| 00:00 | We're going to start things off with a command called Auto-Align
Layers inside Photoshop CS3 which, not surprisingly I must say,
| | 00:08 | automatically aligns multiple selected layers inside of an image.
| | 00:13 | What are the chances?
| | 00:14 | A command called Auto-Align Layers
actually automatically aligns layers.
| | 00:17 | Go figure.
| | 00:18 | We're going to check out how this absolutely amazing
command functions inside this image right here.
| | 00:24 | It's called The dancers.psd.
| | 00:26 | It's a file of unbridled romance
found inside the 25_auto_align folder.
| | 00:32 | And these images come to us from a fellow who
goes by the handle Mao Design at istockphoto.com.
| | 00:39 | Of course, you can always check out information about
these photographers by going up to the File menu
| | 00:43 | and choosing the File Info command right there.
| | 00:46 | I've got a series of layers, if you look your Layers palette.
| | 00:49 | Alright, so I'm going to go ahead and
switch to the full screen mode right here.
| | 00:53 | So that I can focus in on my image and
move it back and forth freely as I like.
| | 00:58 | And notice that I've got a series of
layers here inside the Layers palette.
| | 01:02 | They're called 1, 2, 3, and 4.
| | 01:04 | They're all variations on this same
couple dancing against the sky.
| | 01:09 | They are capable of levitation.
| | 01:11 | And I only have one layer visible right now.
| | 01:13 | It also happens to be the selected layer.
| | 01:15 | So you can cycle through the other layers inside the image
by pressing Alt or Option, along with the bracket keys.
| | 01:22 | So I'm going to press Alt+Right bracket
to move up one layer at a time here.
| | 01:27 | So you can see as I cycle around
my palette this is layer number 1.
| | 01:31 | This is number 2.
| | 01:32 | This is number 3, and this is number 4.
| | 01:34 | Notice what changes from one layer to the other.
| | 01:37 | Everything.
| | 01:39 | So there is a consistent sky going on, but the sky moves.
| | 01:43 | And of course the sky isn't moving, it's the photographer
that's moving in order to capture these images right here.
| | 01:49 | What I'd like to do is align the skies automatically
align all of these images so the skies exactly match,
| | 01:56 | or as exactly as possible, given that there's probably
some movement going on with the clouds in the background.
| | 02:01 | So here is how we accomplish that.
| | 02:03 | Go up to the Select menu and choose the All Layers command
right there, in order to select all the layers in the palette.
| | 02:10 | You can also press Control+Alt+A or Command+Option+A on the Mac.
| | 02:14 | That selects all layers except the background layer.
| | 02:16 | There is no background layer here so ergo we select all layers.
| | 02:20 | Isn't that grand?
| | 02:21 | Alright, now go up to the Edit menu and choose
this command right there, Auto-Align Layers,
| | 02:27 | or just so that you know everywhere
where you can find this command.
| | 02:31 | I'll go and click off the Edit menu for the moment.
| | 02:33 | If you switch to the Move tool you'll see up here
in the Options bar, this little guy right there.
| | 02:39 | See it's a couple of heads next to each other and
that's the Auto-Align Layers function as well.
| | 02:44 | So either way, however you want to accomplish it.
| | 02:46 | I'm going to do what I'll like to do, which is
go to the Edit menu just choose the command.
| | 02:51 | And then you'll get this dialog box asking
you what kind of alignment you want to apply.
| | 02:56 | Do you just want to distort the images into
perspective, so that they align with each other?
| | 03:03 | Do you want to wrap the images around cylinders, so
that you can avoid this perspective bow tie effect here?
| | 03:09 | Or do you just want to reposition the images, which is
the least likely by the way, to produce good results.
| | 03:14 | I would not go with Reposition Only because that's
just going to move the images and it's not going
| | 03:19 | to distort them in order to ensure proper alignment.
| | 03:22 | In this case, I suggest we go with Auto which
will do a combination of everything here.
| | 03:28 | Whatever is necessary to get it done right.
| | 03:30 | So go ahead and select Auto then click OK.
| | 03:32 | And then wait for a few moments for this command to apply.
| | 03:36 | Now it's doing a bunch to work in the background.
| | 03:38 | So we do see a progress bar, then after a few moments,
of course depending on the speed of your machine,
| | 03:43 | you will see this which is to say, you will see all of the
layers sort of switched around and you'll see some transparency
| | 03:49 | in the background, because we're only looking at one
layer right now, the layer that's numbered 1 here.
| | 03:55 | Alright I'm going click on that layer to make it
active, since it happens to be the visible layer for me.
| | 03:59 | Then I'm going to press Alt, along with the Right bracket
key again in order to switch from one layer to the other.
| | 04:05 | Notice that.
| | 04:07 | Is that not amazing?
| | 04:10 | The sky is just sitting there throughout the movement
of these dancers, so every cloud is in alignment.
| | 04:17 | And when I say every cloud, I mean darn near every cloud.
| | 04:21 | There is a little tiny bit of cloud motion going on
in the background, but the fact that Photoshop is able
| | 04:27 | to handle this alignment that successfully just blows my mind.
| | 04:32 | Again with the mind blowing functions here inside Photoshop 3.
| | 04:36 | I'm very, very impressed with this command and it tends
to be useful for lots of situations as it turns out.
| | 04:43 | Alright, so I've gone ahead and aligned
all of these layers together.
| | 04:47 | In the next exercise I'm going to start
assembling them into a seamless composition.
| | Collapse this transcript |
| Setting weighted Opacity values| 00:00 | Alright, just to catch you up, here we are
inside of an image called The Dancers.psd,
| | 00:05 | which is found inside the 25_auto_align folder.
| | 00:09 | And all I've done to this file is select all of the layers
inside of the Layers palette and then go to the Edit menu
| | 00:15 | and choose Auto-Align Layers and let her rip.
| | 00:18 | Now there's a few different ways I could
start blending these layers together.
| | 00:21 | The way that I don't want you to blend the
layers together is to choose Auto-Blend Layers.
| | 00:26 | That's not the purpose of this command and chances
are good that you might end up crashing the program,
| | 00:32 | actually if you try to apply that command to this image.
| | 00:35 | That's been my experience anyway.
| | 00:37 | And one of the reasons that it's so
ill-suited to this particular image,
| | 00:40 | even though it's a fantastic command is
because the people are moving here, alright.
| | 00:46 | Where the Auto-Align command is perfectly comfortable
with seeing some movement inside of an image,
| | 00:50 | the Auto-Blend function doesn't want to see movement.
| | 00:53 | It wants to see as little movement as possible.
| | 00:56 | It's all about trying to create seamless panoramas.
| | 00:59 | It's not about blending moving people together with each other.
| | 01:02 | Alright, so what are we going to do instead?
| | 01:04 | Well we're going to do a little manual work.
| | 01:05 | I could go ahead and turn on one of the layers and
then reduce its opacity or try a different blend mode,
| | 01:12 | but as we start adding layers on top of each other
| | 01:15 | and mixing their opacity values we're going
to start getting something of a mess here.
| | 01:19 | It's kind of interesting.
| | 01:20 | And by the way, what I'm doing here in order to maintain
a consistent opacity to each one of these layers,
| | 01:28 | is I'm turning on the layer and then reducing its opacity value
proportionately to its contribution to the overall composition,
| | 01:37 | by which I mean the background layer is set to 100% opacity.
| | 01:41 | The next layer up this 50% opacity,
because that way we get a 50-50 mix here.
| | 01:46 | The next guy up is one third of the image now, so he's
33% opacity and so you mix 33 with the remaining 66,
| | 01:53 | which is divided into two pieces and
you get 33 and 33 for each of them.
| | 01:57 | And then this guy, he's a quarter of the
overall file, so he's set to 25% opacity
| | 02:03 | and so all of them are mixed together or equally.
| | 02:05 | If I was to add a fifth layer it would be a 20% contribution.
| | 02:09 | A sixth layer would be 1 sixth, what ever that is,
I think that's 16.7% or something along those lines.
| | 02:15 | Anyway, you'd enter 17% up there and so on and so on.
| | 02:18 | That's how you get an even mix of layers.
| | 02:21 | Not really what I want.
| | 02:23 | I'm just experimenting at this point to
try to decide what it is I really do want.
| | 02:26 | I'm going to go ahead and set layer 4 back to 100%.
| | 02:29 | Now layers 4 and 1 and seem to have the least amount of overlap.
| | 02:34 | I'll go ahead and set 4 to 100% opacity.
| | 02:38 | I'm going to turn 3 and 2 off.
| | 02:40 | It was interesting having them here for a moment,
but I'm thinking I don't want them anymore.
| | 02:44 | I'm thinking I just want to focus on layers 4 and 1
for the present and create a mix of these two together.
| | 02:51 | And this is one of the really great use for
Auto-Align, is that you can automatically align a scene
| | 02:56 | that has very little in the way of overlapping elements.
| | 03:00 | So in other words, you have different people, but
those people don't overlap each other very much,
| | 03:05 | and then you can mask them together.
| | 03:07 | Now I have a real great example of this in my
Photoshop CS3 Beta One-on-One Preview series.
| | 03:13 | There's an exercise that's devoted to the Auto-Align
function, and it's all about merging two people
| | 03:19 | that were shot independently in the same scene.
| | 03:21 | So that's one thing you can do.
| | 03:22 | But in this case we're going to try something a little more
sophisticated actually, because it involves a more complex mask
| | 03:28 | and we're going to begin creating that more
complex mask in the very next exercise.
| | Collapse this transcript |
| Masking the couples together| 00:00 | So here we are looking at the amazingly
aligned version and of The Dancers.psd file,
| | 00:06 | which is located inside the 25_auto_align folder and all I
did to get to this state was open up that Dancers.psd file
| | 00:14 | from photographer Miroslaw Oslizlo, who goes
by the handle Mao Design at istockphoto.com.
| | 00:22 | All I did to get to this state was to select
all the layers inside the Layers palette,
| | 00:25 | go up to the Edit menu and choose Auto-Align Layers.
| | 00:28 | After that I just let Photoshop figure it out and
Photoshop did an amazing job as it so happens.
| | 00:35 | Now I'm, in this exercise, going to
blend layers 1 and 4 using a layer mask.
| | 00:41 | I ruled out the other layers here.
| | 00:42 | 2 and 3 are just too close to each other.
| | 00:46 | They overlap layer 1 far too much.
| | 00:49 | So I'll go ahead and turn those guys off.
| | 00:51 | Turn 4 on.
| | 00:52 | Click on 1 to make it active.
| | 00:54 | Then go up to Layer menu, choose Arrange and choose Bring
to Front, or you can press Control+Shift+Right bracket,
| | 01:00 | Command+Shift+Right bracket on the Mac, in order
to pop that layer to the top of the stack there.
| | 01:05 | Now I want to create a little bit of a mask,
and it's not a difficult mask, as it turns out,
| | 01:09 | because they're against a blue sky background.
| | 01:12 | So we have a lot of contrast here and we can
use a fairly simple blue screening technique.
| | 01:17 | Notice also that we really have to concern
ourselves only with a small portion of the overlap.
| | 01:22 | If I press the 5 key to reduce the opacity value of this layer
to 50%, you can see that the area of overlap is really limited
| | 01:29 | to the woman's forearm, their combined hands - ain't
that romantic, and then this guy's shoulder right here.
| | 01:36 | And so that's what we have to focus on.
| | 01:38 | We don't have to worry about her blouse, which is little
more difficult to mask and a few other items here.
| | 01:42 | She's got some translucent areas in
her dress that we can safely ignore.
| | 01:46 | Alright, so I'll pop that guy back to
100% opacity by pressing the zero key.
| | 01:51 | And then I'm going to go up to the Image menu,
and I'm going to choose the Calculations command.
| | 01:56 | So we're trying to create a mask that suits
the forearm down through the shoulder here.
| | 02:00 | And we're going to do that by first
making sure that Layer is set to layer 1,
| | 02:06 | because that's the only layer that we're concerned about.
| | 02:08 | We want to limit our calculations to the contents of Layer
1, and I'm going to leave the first Channel set to Red,
| | 02:13 | and I'm going to set the second Channel to Blue, Invert and
then I'm going to set the Blending option to the Add mode
| | 02:20 | and then I'm just going to scrub this value here down to -90
Luminance levels, which works pretty nicely for this image here.
| | 02:28 | And once I've set these settings, the settings that you see on
screen right before you, then I'm going to click the OK button
| | 02:34 | in order to apply them, in order to accept them.
| | 02:37 | And Photoshop just got done generating a new Alpha
channel right here and you can rename it if you want to.
| | 02:42 | I'm not going to worry about it.
| | 02:43 | I am going to press Control+L, or Command+L on
the Mac, in order to enter the Levels dialog box.
| | 02:49 | And I'm going to raise this Black slider triangle to about
95, works pretty nicely for clipping away these shadows.
| | 02:56 | And then I'll move the White slider over to a brightness
value of 170 in order to keep the arm and the hands
| | 03:04 | and most of the shoulder as white as possible.
| | 03:07 | Then I'll click OK.
| | 03:09 | Now let's zoom in on this mask in progress
here, the mask that we're working on.
| | 03:14 | And I will grab my Brush tool.
| | 03:16 | Pretty simple masking techniques, we saw these when we
looked at masking, way back when in a previous chapter.
| | 03:21 | So go ahead and select that Paintbrush.
| | 03:23 | We're going to change the Brush's Blend mode from
Normal to Overlay and I'm painting with White,
| | 03:28 | so that means I'm going to lighten the highlights
inside of the image like so, if I paint in his shoulder.
| | 03:35 | That's about all we need to paint
there and a little bit into her dress.
| | 03:39 | Then I'm going to press the X key in
order to make Black the foreground color
| | 03:43 | and I'm going to paint this portion of the dress away.
| | 03:46 | Cause we just don't need to worry about it.
| | 03:47 | It doesn't really contribute to the final composition.
| | 03:50 | And then we'll paint the clouds away over here, as well so that
we can reveal the other version of the couple quite nicely.
| | 03:59 | And then that's about all though
we need to concern ourselves with.
| | 04:02 | So there's the mask as I want you to create it.
| | 04:05 | Actually I'll press the X key and
paint a little more into his body here,
| | 04:10 | because we want to make sure to keep all of this couple.
| | 04:12 | So I'm going to paint him like so.
| | 04:14 | Now I'm pretty well done.
| | 04:15 | You know what, I'll call this shoulder or something like that,
| | 04:18 | just so that I know what part of the
image I'm really trying to mask in.
| | 04:22 | Now I'm going to go back to the Layers palette and click
on layer 1 to restore the composite version of the image.
| | 04:30 | Let's go create a layer mask for this layer like so,
just by clicking on the Add Layer Mask icon right there.
| | 04:36 | And I'm going to zoom out, so I can see what
I'm doing a little better here on screen.
| | 04:40 | And then I'm going to draw a short
gradient between these two couples here.
| | 04:47 | And right now it's set to be a White
to Black gradient by default for me.
| | 04:51 | You want to make sure that it is set to White to Black,
like so and then make sure the other options are set
| | 04:57 | to their default settings: a Linear Gradient
mode Normal, Opacity 100%, and so on.
| | 05:02 | And then I want you to drag like so, just a short drag
away from her shoulder in order to reveal the other couple.
| | 05:09 | And I'm going to go grab the PaintBrush tool right here.
| | 05:12 | I'm going to set it now to the Normal mode this time around,
and I'm going to start painting in a few different areas.
| | 05:19 | First of all, let's see, I'm painting with White that's good.
| | 05:22 | So I'm going to add the Mask up here into the
sky so we need to fill out this sky region.
| | 05:27 | I'm going to switch to a Hard Brush
inside this palette right here,
| | 05:31 | inside this little micro Brush palette, and
I've got my Master Diameter pretty high.
| | 05:36 | So I have a Hard Brush.
| | 05:38 | I'm going to click here and Shift+Click up this slope, in
order to fill in this area with sky and then I'll paint
| | 05:45 | around her head too, cause I just want to make sure -
| | 05:47 | even though she's getting her head sliced off there's really
nothing we can do about that, unless we want to rebuild it -
| | 05:51 | I just want to make sure we're painting the
sky into that region, so as close as possible.
| | 05:56 | And we'll paint over around on this side a little bit too.
| | 05:59 | Now go ahead and reduce the Hardness of the Brush, like so.
| | 06:03 | Go ahead and take it all the way down to zero.
| | 06:04 | And then I'm going to swap the foreground
and background colors by pressing the X key.
| | 06:09 | So now I'm painting with Black.
| | 06:10 | Still inside the Layer Mask incidentally.
| | 06:13 | And we're just painting it in order to
establish some softer transitions right there.
| | 06:18 | Now then, we should make sure - whoops I'm
painting with the wrong color on her head.
| | 06:22 | Let's press the X key in order to
make sure I'm painting with White.
| | 06:24 | Cause I'm noticing over here, if I Alt+Click on
the Layer Mask or Option+Click on the Layer Mask,
| | 06:29 | I can see that there's a little bit of gray going on in
this region and we should paint that white to make sure
| | 06:37 | that we're covering this area up as much as possible.
| | 06:39 | And we want to fill in that sky region,
of course, from the active layer.
| | 06:44 | Alright let's get out of the Layer Mask, or at
least let's view the composite image once again,
| | 06:49 | by Alt+Clicking on that Layer Mask
icon, that's Option+Clicking on the Mac.
| | 06:53 | And I'm going to go with a Harder Brush this time by
pressing Shift+Right bracket a few times in a row.
| | 06:59 | And I'm going to switch the foreground color to Black by pressing
the X key and I'm going to paint into this couple like this.
| | 07:06 | Alright, so I'm trying to reestablish this couple,
because we already have a nice mask around these guys,
| | 07:12 | that we're going to bring into play in just a moment here.
| | 07:14 | But I want to bring this couple back in and I'm going to
make the brush softer again by pressing Shift+Left bracket
| | 07:21 | and then I'm going to paint into the sky region, just
to make sure that we have a nice blur from one portion
| | 07:26 | of the sky into the other portion of the sky.
| | 07:29 | Because they're so well aligned by Photoshop,
you can get away with murder with the sky.
| | 07:34 | You can have some very harsh edges and a viewer
of your image probably isn't even going to notice.
| | 07:40 | Alright, now let's go back to the Channels palette.
| | 07:42 | I want you to Control+Click or Command+Click on that shoulder
channel like so, in order to convert it to a Selection outline.
| | 07:51 | Let's grab the Marquee tool and I want you to just Shift+Alt+Drag
or Shift+Option+Drag around this region right here,
| | 07:59 | in order to find the intersection
of those two selection outlines.
| | 08:03 | So we just have this area selected and if any of this is
coming as news, if it's feeling like I'm going very fast
| | 08:08 | through this portion of the project, it's
because it's all familiar information.
| | 08:12 | We discussed Masking and Selection Outlines
in a previous chapter, and you can go back
| | 08:16 | and review those if you're getting a little bit lost.
| | 08:19 | Alright now, let's go back to this Layer Mask here.
| | 08:23 | Make sure that it's active inside the Layers palette
and then assuming that your background color is white,
| | 08:28 | I want you to press the Backspace key or the Delete key
to go ahead and fill that selection with White, like so.
| | 08:34 | Now, one problem I'm noticing, if I press Control+H
is that I do have a little bit of an edge going on.
| | 08:40 | Not too bad, but just a little bit
of a light edge around those arms.
| | 08:44 | So I'm going to undo the filling of that
area with white inside the Layer Mask.
| | 08:50 | I'm going to press Control+H so we can see the Selection
Outline once again that's Command+H on the Mac.
| | 08:54 | And I'm just going to press the right arrow key once and only
once, in order to nudge the Selection Outline over to the right
| | 09:01 | and then I'm going to press Control+H or Command+H
again, and I'm going to press the Backspace
| | 09:06 | or Delete key again, and that looks pretty good to me.
| | 09:09 | We've done a nice job of getting rid of that edge.
| | 09:12 | Just cause I scooted that Selection Outline over one
pixel before I filled it with White inside the Layer Mask.
| | 09:18 | Alright now let's press Control+D, Command+D
on the Mac, in order to deselect that area.
| | 09:23 | And I want you to go back to your Paintbrush right there.
| | 09:28 | And I want you to make sure the foreground color
set to White this time, by pressing the X key.
| | 09:32 | You need to make the Brush smaller, so go ahead and
reduce the Brush size, and then paint her arm back in,
| | 09:37 | the top portion of her arm so that we have a nice
transition between one version of the couple and the other.
| | 09:44 | In the next exercise we're going to crop
this image so that looks absolutely stellar.
| | 09:49 | Join me, if you please.
| | Collapse this transcript |
| Cropping the composition| 00:00 | In this exercise, we're going to be finishing off that
Auto-Align Layers composition that we've been working on.
| | 00:05 | If you're working along with me, then I recommend
you open this file right here Couple O'Couples.psd.
| | 00:10 | And it features a modified version of The
Dancers, from photographer Miroslaw Oslizlo.
| | 00:17 | And we are going to finish off this composition very
simply by cropping it, so that we eliminate the appearance
| | 00:24 | of this woman's head being chopped off, and
this fellow's body being chopped off and so on.
| | 00:29 | So grab that Crop tool, and I'm going to
press F key a couple of times to switch
| | 00:34 | into the full screen mode, so that
I have a little more room to work.
| | 00:37 | One of the things that I get a little irritated with
about the Crop tool, is that it doesn't allow you
| | 00:41 | to switch screen modes after you begin using it.
| | 00:44 | I mean, you know, what's that about?
| | 00:46 | Anyway I'm going to go ahead and drag with the Crop tool
like so, in order to establish a base cropping boundary.
| | 00:53 | Then I'm going to drag outside of
it in order to rotate that boundary.
| | 00:56 | And I'm to rotate it fairly significantly,
cause I want to chop her head off,
| | 01:02 | the missing portion of her head I want to clip away.
| | 01:05 | But I don't want to clip away any of
the right-hand version of the head.
| | 01:10 | I want that right-hand version of
the head to remain completely intact.
| | 01:14 | And then I'm going to take the Crop boundary in a little
bit on the right-hand side, and I'm going to take it way
| | 01:19 | out on the left-hand side, so that we leave ourselves a lot
of empty sky over here in the left-hand side of the image.
| | 01:25 | You'll see why in a moment.
| | 01:26 | Now that ends up cropping off the guy quite a bit, but that's OK.
| | 01:31 | He's just a pedestal for her anyway.
| | 01:33 | Aren't we all?
| | 01:34 | But in this specific case he really is,
because this image is all about her.
| | 01:39 | So cropping him is just fine.
| | 01:41 | This looks good.
| | 01:41 | Make sure that you've cropped tight enough so
that you aren't revealing any transparency.
| | 01:47 | We want to see sky throughout.
| | 01:49 | Once you've drawn the Crop boundary
to your heart's content there,
| | 01:52 | make sure that the Cropped Area option, up
here in the Options bar, is set to Hide.
| | 01:57 | And then press the Enter key on the keyboard or the
Return key on the Mac, in order to accept that Crop.
| | 02:03 | Doesn't that look great?
| | 02:05 | And I have one more little surprise for you.
| | 02:07 | Go to the Layers palette and you'll notice that I've gone
ahead and cleaned out Layer 2 because we didn't need it.
| | 02:12 | Layer 3 remains here with a Layer Mask.
| | 02:14 | Go ahead and turn it on it and click
on that layer to make it active.
| | 02:18 | And I'm going to hide the Layers palette
once again, and I'm going to go ahead
| | 02:21 | and switch to the Move tool by pressing the V key.
| | 02:24 | And I'm going to drag this couple over to the left, like so.
| | 02:28 | And I might drag her up just a little bit as well.
| | 02:31 | Now, by dragging her to a new position, I ensure that the
skies no longer exactly align the way that they did before
| | 02:38 | and because Layer Mask and Layer are linked together and
they're moving together, I ensure a nice, smooth transition.
| | 02:45 | And it's because I spent a long time
on that mask getting it exactly right.
| | 02:49 | And this is the final version of that composition.
| | 02:52 | I'm going to go ahead and Tab away those pallets and
I'm going to switch to the ultra-full-screen mode here.
| | 02:57 | Isn't it Romantic?
| | 02:59 | Isn't it just great?
| | 03:00 | Also thanks to a combination of the Align Layers function
which allowed us to exactly match the skies and a little bit
| | 03:09 | of layer masking in order to blend these
various versions of the couples together.
| | Collapse this transcript |
| The Load Files into Stack script| 00:00 | Now let's take our first stab at creating a stitched panorama
inside Photoshop and we're going to do it one step at a time
| | 00:08 | here. And there's basically three steps in this process that
I'll outline and this in the next two exercises. First we're
| | 00:14 | going to assemble our images, the images that we want to stitch,
| | 00:18 | into a layered composition, like this one right here.
Then we'll go ahead and apply the Auto-Align Layers command.
| | 00:24 | And then in the exercise after that
we'll apply the Auto-Blend Layers feature.
| | 00:28 | All of this stuff is new to Photoshop CS3, by the way.
| | 00:32 | Alright, I'm going to go ahead and
make my History palette smaller there.
| | 00:35 | And reveal all six layers inside of this document that
I have open on-screen that's called St Pauls pano.psd.
| | 00:43 | Not St Pauls piano. St. Pauls pano.psd that's found
inside the 25_auto_align folder. And it contains
| | 00:50 | a sequence of six images that I shot from St. Paul's Cathedral
in London. And I'm going to cycle through them, because
| | 00:56 | just the bottommost image is selected and visible.
| | 01:00 | I'm going to cycle through these layers
by pressing Alt and the Right bracket key.
| | 01:05 | And you can see that I've taken a sequence of six pictures
in all from one pivot point. So I just sat there and
| | 01:11 | pivoted on this balcony and shot each one of these photos.
How do we go about assembling a document like this?
| | 01:17 | Because, after all the Auto-Align Layers
function likes to see all of the images
| | 01:22 | inside of a single layered composition. How do we make something
like this? Well of course, you could open in each one of
| | 01:29 | your six original photographs
| | 01:31 | and drag them and drop them into a composition. That would
be a drag and a Shift+Drop in order to make sure they're
| | 01:37 | registered. But that's a big pain in neck, frankly. So what's
a better way? Well Photoshop CS3, whether you know it or
| | 01:43 | not, ships with this script that many or may not be hidden
from you. If you go to the File menu and choose Scripts,
| | 01:50 | you'll see a list of automated JavaScript routines. There
should be one called Load Files into Stacks. Now you may
| | 01:57 | or may not see it. If you see it just go ahead and choose that command.
| | 02:01 | And again it'll be called Load Files into Stacks. If you don't
see it, as I'm not seeing it, then go ahead and click on the
| | 02:07 | Browse command here, in order to browse through the scripts
that ship along with Photoshop, and here I am inside the
| | 02:14 | Scripts folder. Let me show you the entire path to get to
this folder. You basically have to find your copy of Adobe
| | 02:19 | Photoshop CS3, which by default on the PC is going to be on the
C drive inside a Program Files folder, inside of an Adobe folder,
| | 02:27 | inside of an Adobe Photoshop CS3 folder. But you might have
installed it elsewhere. On the Macintosh, by default, it's going to
| | 02:34 | be on your main hard drive and inside the Applications folder
and then you skip ahead to this one, the Adobe Photoshop CS3
| | 02:41 | folder. Wherever your application resides, go there and then
go two folders deeper, into the Presets and then into
| | 02:49 | Scripts. And those are your JavaScript, your predefined
JavaScript routines that ship along with the program.
| | 02:55 | So go to the Scripts folder here
and then find this guy right there
| | 02:57 | Load Files into Stack
| | 02:59 | and then click Load in order to load it, and to run that JavaScript
routine. And notice what it's going to do, is its going
| | 03:06 | to take whatever files you tell it to look for, and it's going
to assemble them all into a single layered composition, into
| | 03:12 | a stack here in the Layers palette. It's where that word stack
comes from. So Use should be set to Files. I then want you
| | 03:19 | to click on the Browse button. I want you to go into the
St Pauls pano pieces folder that's located inside of the
| | 03:26 | 25_auto_align folder, and then I want you to
| | 03:29 | select these six images: Pivot point-1 through Pivot point-6. So
I clicked on one, Shift+Clicked on the other. Don't select the
| | 03:36 | Slight Movement images for now. Just select these Pivot point
images, and then click OK in order to load them all in here.
| | 03:43 | Now notice check box right here. It allows you to automatically
align the source images with each other just as if you
| | 03:49 | had chosen the Auto-Align Layers function. But I'm going to tell
you to leave that turned off, because you're not going to have
| | 03:55 | the control, the kind of control we need,
| | 03:57 | if you turn it on. We'll go ahead and apply that step manually
in a separate exercise. But for now, just make sure that these
| | 04:03 | six images are open, both check boxes off and click OK
| | 04:07 | in order to assemble the images into a single layered composition.
| | 04:11 | Check out the Layers palette, all that work that's going on there, automatically, without you having to help out Photoshop at all.
| | 04:17 | That is an outrageously useful script, quite frankly.
Anyway we do have a six image composition now. Every
| | 04:25 | single one of the images are assembled onto a different layer,
just like we expected, just like they were inside of the
| | 04:32 | St Pauls pano.psd document that I gave you,
| | 04:35 | which we don't really need, if you've been following
along with me. So I'm going to close that document.
| | 04:39 | Not save the changes. All I did was wander through
the layers, but Photoshop still thinks I made changes.
| | 04:44 | And then I'm just going to Zoom in on this
| | 04:47 | version of the composition
| | 04:49 | in which all six images are inside the document, and they're are
all visible as well. Doesn't really matter for our next step.
| | 04:56 | In the next exercise we are going to merge these images
into a panorama using the Auto-Align Layers command.
| | Collapse this transcript |
| Auto-aligning a panorama| 00:00 | In this exercise, we're going to go ahead and take that six
layer stack here and we're going to assemble it into a panorama,
| | 00:08 | into a wide format panorama, by applying
the Auto-Align Layers command.
| | 00:13 | Now, if you were with me in the previous exercise then
you already have your layered composition assembled.
| | 00:19 | If not, go ahead and open up the preassembled document here.
| | 00:22 | It's called St Pauls pano.psd and it's
found inside the 25_auto_align folder.
| | 00:27 | Now currently just the bottom layer is visible.
| | 00:30 | That's actually OK, in my case anyway.
| | 00:32 | If you assembled your own document you
may be seeing all of your layers together.
| | 00:36 | But I do need to make sure that all of
my layers are selected and so do you.
| | 00:41 | So go up to the Select menu and choose All Layers or
press Control+Alt+A, or Command+Option+A on the Mac.
| | 00:48 | Now go over to the Edit menu and I want you
to choose the Auto-Align Layers function.
| | 00:54 | And let's go with Auto Projection
right now, which as it turns out,
| | 00:58 | is going to result in this Perspective
style distortion right there.
| | 01:02 | That's more or less the default setting
that Photoshop generally goes with.
| | 01:06 | And you can see how it's going to result in
sort of a bow tie distortion right there.
| | 01:10 | But for now let's let it do its thing
by clicking on Auto and clicking OK.
| | 01:15 | Now this point we're going to have to wait
for the command to run its calculations.
| | 01:19 | It's doing a lot of stuff, so we
will see a progress bar on screen.
| | 01:23 | We're, on our side, we're going to edit this
down a little bit to make it a little shorter,
| | 01:26 | so things may run a little slower
for you then you're seeing them here.
| | 01:31 | And after a few moments, you will see
something along the lines of this.
| | 01:35 | Now I'm pretty far zoomed into my document, and I'm only seeing
a single layer, and that layer looks pretty weird at this point.
| | 01:43 | It's very skewed and it sort of mapped into 3D space.
| | 01:47 | Let's take a look at what each one of
the layers looks like independently.
| | 01:51 | I'm going to go ahead and Shift+Tab away my
Layers palette, after I click on the bottom layer.
| | 01:56 | I need to make sure just that bottom
layer is selected and visible.
| | 02:00 | Then I'll Shift+Tab away the Layers palette and I'll go ahead,
| | 02:03 | and expand my window a little bit
by zooming in and then back out.
| | 02:07 | Now I'm going to press Alt and Right bracket
in order to switch to the next layer.
| | 02:12 | And here's the layer after that, and there's the
layer after that, and there's the layer after that.
| | 02:17 | That's layer number five, and there's layer number
six, all the way over to the right-hand side.
| | 02:22 | So again that's an Alt+Right bracket
or an Option+Right bracket on a Mac.
| | 02:25 | I'm going to do it again, just so that we can
see these things in more rapid succession.
| | 02:29 | Here's each one of them mapping into the next.
| | 02:33 | So it's a pretty good arrangement even though
there's that weird bow tie distortion going on.
| | 02:37 | Now I'm going to press Shift+Tab in order
to show all of the layers in the document.
| | 02:43 | Oftentimes you can just Alt+Click or Option+Click on an eyeball
in order to see all the layers, but in this case I'm going
| | 02:48 | to have to drag down this list of
eyeballs in order to turn them all on.
| | 02:53 | And this is the effect that we're achieving at
this point, this is the total perspective effect.
| | 02:59 | Don't worry about the choppy transitions.
| | 03:01 | That's because so far all we've done is align the images.
| | 03:03 | We've just distorted to them into place, we
haven't blended them for seamless transitions yet.
| | 03:09 | So you will see some weird transitions,
you will see some seams inside the image.
| | 03:13 | The larger problem at this point, I think, is
that we have this extreme perspective distortion.
| | 03:18 | Now Photoshop has to do something to reconcile the
differences in the real world in 3D space here.
| | 03:24 | And so what it's choosing to do by default, is more or less
simulate the effect of mapping these images on a concave surface,
| | 03:32 | as if we're inside one of those movie theaters.
| | 03:35 | You know, one of those 360 degree theaters that go all
around you and you just sort of look at it and wonder.
| | 03:40 | I hate those things, but anyway.
| | 03:41 | That's what it's trying to simulate here.
| | 03:44 | So basically the edges are coming out like at
you, and then the center area is blowing away.
| | 03:49 | Well, I don't like it.
| | 03:50 | I don't really care for this style of distortion.
| | 03:52 | You can go with it if you want, but if you want to join
me here, let's go ahead and undo that modification.
| | 03:57 | So we go back to the original non-aligned version of the image.
| | 04:01 | And let's bring up the Layers palette once again, make
sure that all the layers are selected, which they are.
| | 04:06 | Then go back to the Edit menu, once again choose Auto-Align
Layers, and this time I want you to select Cylindrical.
| | 04:13 | We don't want to go with Reposition Only because
once again, that will give us no distortion
| | 04:17 | and the edges of these images will not line up.
| | 04:21 | And we've already seen what Perspective looks like, so let's try
Cylindrical instead, which tries to wrap each one of the images
| | 04:27 | on an independent convex cylinder,
something that's coming out toward us.
| | 04:32 | Alright, so I'll go ahead and click
OK in order to start that in motion.
| | 04:36 | And again it will take a few moments to apply.
| | 04:38 | We're going to edit our progress bar down.
| | 04:40 | Thanks to the miracle of editing,
everything happens faster on our computer.
| | 04:46 | So after what might seem like an interminable
wait, you will see this wrapped image.
| | 04:52 | And right now I'm only seeing one because just
the background layer is visible on screen.
| | 04:57 | But we'll go ahead and walk through these layers
once again by clicking on the bottom layer.
| | 05:02 | So making sure that it's selected and visible, and
that it's the only one that selected and visible.
| | 05:06 | Once again for this little weird keyboard shortcut to work,
that Alt+Right bracket keyboard shortcut I'm so fond of.
| | 05:12 | And then I'm going to go ahead and zoom out actually a
little, so that we can take in more of our scene at a time.
| | 05:17 | So this is the first layer, then Alt+Right bracket for
the next one, that's Option+Right bracket on the Mac.
| | 05:22 | Then Alt+Right bracket again.
| | 05:23 | There's layer four, there's layer five, and there's layer six.
| | 05:27 | So there they are in a little bit more rapid succession.
| | 05:31 | I'll Shift+Tab back up my palette here, my Layers palette.
| | 05:34 | And I'll drag across the empty eyeballs to
show all of the layers, and here they are.
| | 05:39 | Each one of them, notice each one of them has
a separate cylindrical distortion going on,
| | 05:44 | again in order to reconcile the perspective
that's inherent in the scene.
| | 05:50 | So we have arranged our images now.
| | 05:53 | We've successfully arranged our images in sequence.
| | 05:56 | Photoshop knows what's going on inside the scene, bless it.
| | 05:59 | And it's automated the entire experience thus far.
| | 06:01 | In the next exercise, it will automate the final step,
which is the blend the images into a seamless composition.
| | Collapse this transcript |
| The Auto-Blend Layers command| 00:00 | Alright so here we are inside of the
automatically-aligned version of the St Pauls pano.psd image.
| | 00:08 | I went ahead and opened the image, selected all the layers
| | 00:10 | and applied the Auto-Align Layers
function here inside of the Edit menu.
| | 00:15 | We also chose Cylindrical distortion
in order to arrive at this effect here.
| | 00:19 | Now, all of the layers are properly aligned.
| | 00:22 | They're all properly positioned and they're all properly
distorted in order to more or less match each other.
| | 00:27 | However, they are not yet blended, meaning that we have some
gnarly transitions between one photograph and its neighbor.
| | 00:35 | Now Photoshop used to have a heck of a time
reconciling these transitions, back in the old days.
| | 00:40 | It especially had problems if you allowed your exposure
settings to wander from one photograph to the next.
| | 00:47 | So if you allowed the shutter speed to change or if you allowed
the aperture to change, and if you were in full auto mode
| | 00:54 | for example, as I was when I shot these photographs, then
Photoshop really couldn't get the seams to blend away.
| | 01:01 | Now inside Photoshop CS3 it can and here's how.
| | 01:05 | Go ahead and make sure your Layers palette is
up, then press Control+Alt+A or Command+Option+A
| | 01:09 | on the Mac, in order to select all those layers.
| | 01:12 | And then go up to the Edit menu and choose Auto-Blend Layers.
| | 01:15 | Now notice the command does not have an ellipsis.
| | 01:18 | It doesn't have a ..., so there will be no dialog box.
| | 01:21 | Instead it just tries to do its thing and there's no
way for you to modify its settings, it just happens.
| | 01:27 | Now it's going to do two things, in this big amount of time
takes here because it does have quite a progress bar ahead of it.
| | 01:34 | It's going to first modify the colors inside of each
and every one of these images to make them match.
| | 01:41 | And this is a static color adjustment that is
applied, it's not applied with an adjustment layer,
| | 01:46 | it's just applied to every single pixel in
every single layer that you have selected.
| | 01:50 | Then the Auto-Blend Layers function goes ahead and
automatically draws Layer Masks across each one of these layers.
| | 01:58 | So it keeps the layers, it doesn't get rid of
them, and it merges them using Layer Masks.
| | 02:03 | It's really something to behold and here it is right there.
| | 02:06 | You can see all the Layer Masks inside of the Layers palette
| | 02:10 | that are automatically generated, and
check out what an amazing job it does.
| | 02:13 | Alright, so I'm going to Alt+Click or Option+Click on the
bottom eyeball here, and I'm going to click on this layer
| | 02:20 | to make it active and only it active, so
that we can wonder through these layers using
| | 02:25 | that wonderful Alt+Right bracket trick,
or Option+Right bracket on a Mac.
| | 02:28 | I'm going to press Alt+Right bracket to move to the second image.
| | 02:31 | Now it doesn't always do what you think it might do.
| | 02:33 | That's the second image.
| | 02:34 | So it just got the sky and this little bit of the building over
here, and these buildings and this crane from the second image.
| | 02:41 | Then it merges that with the third image
right here, and of course by the way,
| | 02:45 | the first image sort of crept into this under space as well.
| | 02:49 | There's the fourth image, it's the
wedge like Vermont or something.
| | 02:53 | There's the fifth image, that's our New Hampshire.
| | 02:55 | And then I'm going to go to the sixth image right
there, there it is in the far right side of the screen.
| | 03:01 | Finally I'll go ahead and bring back my
Layers palette and Alt+Click or Option+Click
| | 03:06 | on that eyeball again, in order to show all of the images.
| | 03:10 | Alright, now it's a pretty darn seamless
composition, meaning that we don't have, you know,
| | 03:16 | big jarring transitions from one image to the next.
| | 03:19 | Now that's not always true.
| | 03:21 | Every once in a while you are going to see a seam.
| | 03:24 | And in fact we're seeing a seam right
here along this hill in the background.
| | 03:28 | So what do you do about that?
| | 03:30 | Well sometimes you can fix it, other times not so easy to fix.
| | 03:35 | When it's fixable you can usually fix
it using the Layer Masking function.
| | 03:40 | This is where the fifth and sixth layers blend
together, these guys of the top of the stack here.
| | 03:45 | So there's layer 5, off and then back on.
| | 03:48 | And then there's layer six, off and back on.
| | 03:50 | So why don't we erase into layer six a little bit
and add stuff in from layer five and see how it goes.
| | 03:56 | I'll make sure that the Layer Mask for layer six
is turned on, then I'm going to grab my Paintbrush,
| | 04:02 | make sure that the foreground color is set to Black,
so that I can paint away, so I can erase here.
| | 04:07 | I'll reduce the size of my Bush and I'll paint
these mountains away just ever so slightly.
| | 04:12 | Alright now let's go into layer five's Layer Mask here.
| | 04:16 | And we'll press the X key to switch to White
so that we can paint this layer back in,
| | 04:20 | and I will paint away and see what I end up coming up with.
| | 04:23 | It looks like I can fill that in pretty nicely.
| | 04:25 | Now that's still not perfect, actually it's pretty smooshy,
right there Let's go back to layer six and I will reduce the size
| | 04:33 | of my Brush, maybe paint a little bit of
cloud up here and in this region as well.
| | 04:38 | And then I'm going to sharpen my Brush a little bit by pressing
Shift+Right bracket maybe three times in a row, so that I have,
| | 04:46 | let's check, I should have 75% Hardness,
that'll probably work pretty well here.
| | 04:50 | And then I'm going to paint this mountain down like
this, so it has sort of a strange gradual decline to it.
| | 05:00 | Then I'll press the X key and paint
that little thing I added away,
| | 05:03 | so that we have something resembling a nice
transition this looks pretty good, I would say.
| | 05:10 | Not perfect and if we were standing there actually
examining the scene, and comparing it to our photo,
| | 05:14 | we would probably find that that hill
doesn't doesn't go down at that angle.
| | 05:19 | But who cares I bet people who live in London don't know that.
| | 05:22 | Alright so, point is, you can do some editing if you want to.
| | 05:27 | If you want to leave things alone, that's quite fine too.
| | 05:30 | Here's a problem I'm not even going to attempt.
| | 05:32 | We have the second building here.
| | 05:33 | That's a lot harder to get rid of, and in
this case I wouldn't attempt it that is,
| | 05:38 | using the Layer Masks because you're not going to
get a good reconciliation between those buildings.
| | 05:42 | Instead I would paint that away by healing it.
| | 05:45 | But I'll let you do that on your own, if you're so inclined.
| | 05:47 | What I'm going to do with you is I'm
going to go ahead and Crop this scene.
| | 05:51 | So let's go ahead and grab the Crop tool.
| | 05:53 | Let's Tab away the palette so that we can focus in on our
image, and then I'm going to drag across the image like so,
| | 06:01 | and we'll do little bit of auto-scrolling
to the other side there.
| | 06:04 | I'll drag down in order to crop into the image, so that
we're not having to make up any detail around the corners.
| | 06:13 | Then I'll crop inward over here as well.
| | 06:16 | That looks pretty darn good to me actually.
| | 06:18 | Doesn't look like I have any transparent areas in the corners.
| | 06:21 | And then I'll go ahead and press the Enter key or the Return
key on a Mac in order to accept my cropped composition.
| | 06:27 | And there it is.
| | 06:28 | This is the final version of this image I'm
going to switch to the full-screen mode here,
| | 06:33 | move my image up so that we can see it on screen.
| | 06:35 | Here is the final, more or less seamless composition
thanks to a combination of Auto-Align Layers
| | 06:43 | and Auto-Blend Layers here inside Photoshop CS3.
| | Collapse this transcript |
| What to do when Auto-Align fails| 00:00 | Now unless you mistake Auto-Align Layers and Auto-Blend Layers
for miracle workers, I should mention that there are occasions
| | 00:07 | where those commands will fail, and here's one of them.
| | 00:11 | We're working inside of an image
called The wandering photographer.psd,
| | 00:15 | which is a combination of the slight movement images
that are also found inside of the St. Paul Panos folder,
| | 00:23 | but rather than making you combine those images
yourself, I've just created this wandering photographer.
| | 00:28 | psd image inside of the 25_auto_align folder.
| | 00:32 | And notice that the rearmost of the four
layers is selected and active as well.
| | 00:37 | Alright, I'm going to Shift+Tab away
that palette, so that we can see each one
| | 00:41 | of these layers by pressing Alt+Right bracket of course.
| | 00:44 | So let me start with the first one.
| | 00:46 | This is on the other side of St Paul's by the
way, the exact same day I shot these photos.
| | 00:50 | The heartbreaking thing is the side of St. Paul's is actually
cooler, because you've got your London Eye over there
| | 00:56 | and you've got the Thames and you've got
this tower that's part of St. Paul's.
| | 01:01 | This is the next photo in sequence, and there's
the third one, and there is the fourth one.
| | 01:06 | There's two towers right there.
| | 01:08 | And we're looking down the street between
the two of them in this third shot.
| | 01:12 | So there's one tower, a little fragment of one tower on
the left and another fragment of the tower on the right.
| | 01:18 | Alright let's try to align them.
| | 01:20 | I'll Shift+Tab back up my palette and
I'll go ahead and press Control+Alt+A,
| | 01:24 | or Command+Option+A on the Mac, in
order to select all those layers.
| | 01:28 | Then I'm going to go up to the Edit menu, and I'm going to
choose Auto-Align Layers, just like we have in the past,
| | 01:34 | and I'm going to stick with Cylindrical, doesn't
really matter which one of these I select,
| | 01:40 | but I'll stick with Cylindrical just
because it usually produces the best output.
| | 01:44 | And it'll take a moment or two for
this command to complete of course.
| | 01:48 | And then when you're done, if you're only seeing one
layer like I am, you may not really see it any place.
| | 01:52 | Actually it turns out to be at the bottom of the image.
| | 01:55 | Something really interesting about this command is
that every time I apply it, I get a different result.
| | 02:01 | It must, you know, probably a lot
of really complicated math going on.
| | 02:05 | But at any rate, here are my layers.
| | 02:07 | I'm going to go ahead and click on this layer, the
one that's a visible in order to make it active,
| | 02:12 | so that we can do our Alt+Right bracket technique here.
| | 02:15 | Here's the fourth layer since I started
with the third one, it's up at the top.
| | 02:18 | Here's the first one, and here's the second one,
here's the third one, and here's the fourth one.
| | 02:25 | So it did a miserable job, I dare say.
| | 02:27 | And basically what it's kind of trying to
tell you, is I think that this one here,
| | 02:32 | the first one and the fourth one
might go together in some fashion.
| | 02:35 | And then I think maybe the second and third ones go together.
| | 02:39 | And actually what it's done in this
case is it said, I know that second
| | 02:42 | and three can be mapped together and I've done my best to do it.
| | 02:45 | I don't know what to do with one and four.
| | 02:47 | It usually takes the ones that it doesn't know
what to do with, and it places them at the bottom.
| | 02:51 | And in this case it's placed them at the top because
there's no distortion assigned to either of those images.
| | 02:56 | What a kerfuffle.
| | 02:57 | This isn't what we want at all, I don't think.
| | 02:59 | So I'm going to go ahead and press Control+Z, Command+Z
on the Mac, in order to undo that modification.
| | 03:04 | What you can do in these situations,
well first of all, why did it fail?
| | 03:08 | Let's take a look at that, and the reason that it failed.
| | 03:10 | I'll go ahead and click on this third layer because
it's the visible one and we'll switch our way
| | 03:15 | to the first player here let's go ahead and zoom and so we can
see what's going on inside of each and every one of these images.
| | 03:22 | Notice the appearance of the tower and
what's next to the tower on the right side.
| | 03:27 | Not much of anything right, just a series of buildings down here.
| | 03:30 | Check out the second layer, if I press Alt+Right bracket.
| | 03:34 | It's revealed a little bit of trees
over in this area next to the tower.
| | 03:38 | So we're seeing a gap of trees followed by this building
this time around, and then Alt+Right bracket again in order
| | 03:45 | to see this far side of the tower,
this far right side of the tower
| | 03:49 | and there's a little green dome down
there, that has been revealed.
| | 03:53 | And the problem is, I'm wondering.
| | 03:55 | I'm moving ever so slightly across this
balcony in order to get these shots.
| | 04:00 | And that's totally creating a different angle, a different
perspective angle, and it's throwing off the Auto-Align function.
| | 04:06 | Also check out this tower and how it has is building
next to it right there, and then check out this tower
| | 04:12 | and how that building over there disappeared.
| | 04:14 | It just only went away because again I'm
wandering rightward here, as I'm taking the shots.
| | 04:19 | Shame on me.
| | 04:21 | It's totally ruined everything.
| | 04:22 | Alright, but the amazing thing is, check this out.
| | 04:25 | I'm going to go ahead and assemble this is scene myself.
| | 04:29 | I'm going to manually align the images
since I can't get Photoshop to do it for me.
| | 04:33 | I'll go to the Image menu.
| | 04:35 | I will choose the Canvas Size command, or I could
press Control+Alt+C Command+Option+C on the Mac.
| | 04:39 | Turn on the Relative check box if you're
working along with me, and enter 4000 pixels.
| | 04:44 | You should be working in pixels of course.
| | 04:46 | And then 500 pixels in Height, so we're going to add
4000 pixels Wide and we're going add 500 pixels tall.
| | 04:53 | So this is going to be a pretty big image here.
| | 04:55 | I'll click OK in order to accept that modification.
| | 04:58 | Then I'll zoom out from my image so
that we can see more of it at a time.
| | 05:01 | I'm going to turn all these layers on here.
| | 05:04 | They're right now stacked one on top of the other.
| | 05:07 | I'll go grab the Slight movement layer, make it active.
| | 05:10 | And using my Move tool I'll go ahead and drag
that layer over far to the left so that it snaps
| | 05:17 | against the left edge, might as well to give myself room to work.
| | 05:19 | Then I'll take this fourth image right here,
layer four, and move it all the way to the right.
| | 05:25 | And then I'll grab layer 3 and I'll move it into alignment.
| | 05:29 | I'm working this way, so I can see what I'm doing, by the way.
| | 05:31 | And I'll move it more or less into alignment.
| | 05:33 | I may need to move it up and down
a little bit, to get it reconciled.
| | 05:36 | But you can see that building is still causing me troubles there.
| | 05:39 | But what can I do?
| | 05:41 | You know, I took the shots now I got to live with them.
| | 05:43 | And I'll go to the Slight Movement 2 layer
and I'll drag that down and over to the left.
| | 05:48 | Then I'll go back to Slight Movement 1.
| | 05:50 | I'll move it back into alignment like so.
| | 05:53 | It tucks in pretty far underneath this image.
| | 05:56 | There's also an irregular amount of overlap
between these images, but that doesn't really tend,
| | 06:01 | on a regular basis, to give Photoshop too many problems.
| | 06:03 | Now I'm going to select all the layers and I'm just
going to kind of center them here inside of my space.
| | 06:08 | Alright, so I've got all the layers selected.
| | 06:10 | I've manually aligned them to the best of my ability.
| | 06:14 | I could go in and manually distort them as well, if
I though I had a prayer of making it work properly.
| | 06:20 | Instead though, I'm just going to go up to the
Edit menu and I'm going to say hey, you know what?
| | 06:24 | Auto-Align Layers, that failed.
| | 06:26 | I wonder what Auto-Blend Layers is going to do for me.
| | 06:29 | I'll go ahead and choose that command, and I'll put my faith in
Photoshop's ability to automatically recolor every single one
| | 06:36 | of these images, and automatically assign Layer Masks as well.
| | 06:41 | And when it's completed this is what we end up with.
| | 06:44 | Now I would say, based on what we went through there,
and how these images really don't line up properly.
| | 06:49 | I'll Shift+Tab away my layers palette.
| | 06:51 | I think it's been a pretty brilliant job.
| | 06:53 | It certainly gets an A for effort.
| | 06:55 | And, you know, one might be led to believe there
aren't really many seams inside of this image.
| | 07:00 | There's a lot of duplication going on, you can see
two versions of this building here and two versions
| | 07:08 | of that little tower back there,
and two versions of this building.
| | 07:12 | So there's a lot of stuff getting repeated especially
down this thoroughfare here, but you know Photoshop tried.
| | 07:18 | It didn't say, No, I can't do it.
| | 07:20 | It said, You know what?
| | 07:21 | I'm going to do my best for you buddy, even though you
totally messed up when you were taking the photographs.
| | 07:25 | I'm going to do my best in post and I have to say
that makes me you really, really proud of Photoshop.
| | Collapse this transcript |
| The new Photomerge command| 00:00 | Alright now for the piece de resistance.
| | 00:03 | The new Photo Merge function inside Photoshop CS3.
| | 00:06 | Now I have to admit I have roundly criticized Photo Merge
for years now, and taken a great deal of glee in it actually,
| | 00:14 | because it was one of those commands that was really jarring.
| | 00:16 | It was just so bad inside of such a good program.
| | 00:20 | Now it's so good.
| | 00:21 | It actually works quite, quite well, as we're about to see.
| | 00:24 | So I've got a collection of photographs I want you
to take a look at if you're working along with me.
| | 00:29 | We're inside the 25_auto_align folder
inside the Bruce Heavin pics subfolder.
| | 00:34 | And this is Bruce of Bruce and Lynda, who
run this here company that I'm working for.
| | 00:39 | And these are Bruce's photos of his yard essentially,
looking away from his house at his front yard.
| | 00:46 | And he was photographing these guys working on all this
foliage that he has, at work here in Ojai, California.
| | 00:52 | Alright, altogether there are 20 different
photographs inventively named by me.
| | 00:58 | I wanted to keep these names nice and
short, so when these names are cluttering
| | 01:01 | up the Layers palette we can still tell them apart.
| | 01:04 | Let's go to the Filmstrip mode that I set up way, way long
time ago when we were discussing Bridge in the first place.
| | 01:11 | And I'll click on Pic-01, so we can get a sense of
what's going on inside of these photographs here.
| | 01:15 | And I'm going to double-click this bar to make that area
go away, so that we see a big preview of our images.
| | 01:22 | And notice that there is some movement
going on inside of these images.
| | 01:25 | Now I was advising that you don't try
to use Auto-Blend on pictures of people,
| | 01:30 | but if the people are pretty small elements
of the photo, it sometimes can make it work.
| | 01:34 | And in this case we've got some workmen in the
background, we have a Sears truck that's driving by.
| | 01:39 | That's sort of interesting, because what's
going to happen to that Sears truck?
| | 01:42 | It's not parked there, it's actually driving by,
because it disappears in the next photograph.
| | 01:46 | We are shooting a little higher this time but there's
where the Sears truck used to be approximately.
| | 01:52 | There's that guy for example, still working.
| | 01:54 | And this is a higher exposure shot.
| | 01:56 | There is a shot up in the sky.
| | 01:58 | There's a shot down lower.
| | 02:00 | There's this shot over here of this wall.
| | 02:02 | So we're going over to left here, Then we're going up
and then we're going to over to the right this time.
| | 02:08 | So Bruce is basically pointing the
camera in all different directions.
| | 02:11 | Sometimes he's panning back-and-forth horizontally.
| | 02:14 | Sometimes he's panning up and down.
| | 02:15 | He is always panning from a single spot, however.
| | 02:19 | It's not like he was clamped down or he was working on a tripod,
but he didn't wander around, he wasn't moseying like I was
| | 02:25 | in those St. Paul shots that we saw in the previous exercise.
| | 02:28 | So they might work out.
| | 02:30 | Let's go ahead and see.
| | 02:31 | Let's switch over to Photoshop, and I'm going to take you to
the File menu, then down to Automate, then down to Photo Merge.
| | 02:40 | Photo Merge is still located in the Automate submenu,
even though now it's a scripting routine, as it turns out.
| | 02:46 | So by all rights it ought to be in the Scripts submenu, but
you know, for old time's sake, because a lot of people are used
| | 02:52 | to it being here, it's now inside of this command
and we'll see what a difference a Script makes.
| | 02:57 | Actually in just a moment, but before we choose that
command, I need you to make a change to your History States.
| | 03:02 | So I'd like you to go over to the Edit menu and
choose Preferences and then choose Performance.
| | 03:09 | On the Macintosh side you would go to the Photoshop menu,
then choose Preferences, then choose Performance in order
| | 03:15 | to bring up this panel of the Preferences dialog box.
| | 03:18 | I want you to change your History States from 20 to 1000.
| | 03:22 | Might as well just crank it through the ceiling, or if you're
concerned like you're going to accidentally leave it set
| | 03:27 | that way, you can get away with just 100 States for now.
| | 03:30 | Go ahead and set it to 100.
| | 03:31 | Just remember that you're doing this because you
want to come back and lower it back to 20 again.
| | 03:36 | Leaving your History States set to 100 is a pretty bad
idea since it's 100 per each open image and that ends
| | 03:42 | up cluttering up your memory something fierce.
| | 03:45 | Alright so I'll click OK in order to
accept those hundred History States.
| | 03:48 | Now I'll go to the File menu and
choose Automate and choose Photo Merge.
| | 03:54 | And you'll get this Photo Merge dialog box right
here that offers these familiar layout options.
| | 04:00 | I am going to say Cylindrical once again.
| | 04:02 | You can just let it rip with whatever you want.
| | 04:04 | It's probably going to choose Cylindrical by
default on this one, but I'm going to ask for it.
| | 04:09 | Then I'm going to set Use to Folder.
| | 04:11 | I'm going to click on the Browse button, and I'm going to
browse my way to the exercise files folder that's on my desktop.
| | 04:19 | You might have one too if you went
ahead and installed these files.
| | 04:22 | Inside the 25_auto_align folder is
the Bruce Heavin pics subfolder.
| | 04:27 | Go ahead and select it, then click OK in order to load the those
files, in order to populate this list inside of the dialog box.
| | 04:34 | There they are, Pics 01 through 20.
| | 04:37 | Advanced Blending leave that turned on for the best results,
and then click OK in order to start the process off.
| | 04:44 | Now you can see that this is a Script
because you can see things happening.
| | 04:48 | That's what I meant by the difference
between a Script and an Automation function.
| | 04:51 | In the old days, in Photo Merge you would bring up
this dialog box that allowed you to move things around,
| | 04:57 | and you can still get that with the Final option.
| | 05:00 | There was a Final option that was inside that
Photo Merge dialog box just a moment ago.
| | 05:04 | I don't recommend it because it takes you
to the old style bad Photo Merge function.
| | 05:09 | Instead, I recommend you stick with the Scripting
function that goes ahead and runs through all
| | 05:14 | of these operations automatically on the fly.
| | 05:17 | So basically what it's doing is it's building up all those
layers, just like we did using the Load Files into Stack script,
| | 05:24 | and then it's applying the Auto-Align
Layers command right here, as you can see.
| | 05:29 | So it's really running through, it's
automatically running through the steps
| | 05:32 | that we ran through manually a few exercises ago.
| | 05:35 | Now you'll have to wait for the progress bar of course,
because it takes a while to automatically align 20 images.
| | 05:41 | We're making quick work of this,
thanks to the miracle of video editing.
| | 05:47 | Then after it gets done auto-aligning those layers,
| | 05:50 | it sets about automatically blending the
layers using the Auto-Blend Layers function.
| | 05:57 | And when it's through, you should see an image
that more or less resembles this one right here,
| | 06:01 | with the exception of your transparency checkerboard
pattern being colored differently than mine.
| | 06:07 | Now let's take a look at the layers that we have available to us.
| | 06:10 | I'm going a click on this bottommost layer
and I'm going to Alt+Click on its eyeball.
| | 06:14 | And there is the first guy, and of course I'm going to use
that Alt+Right bracket technique or Option+Right bracket
| | 06:19 | on the Mac, to switch between these various layers.
| | 06:22 | And one thing I want to note here, I'm going to make
this palette wider so that you can see these layer names.
| | 06:27 | Notice that they are arranged in
the order in which they were named.
| | 06:31 | So they're arranged in alphabetical order from the bottom on up.
| | 06:35 | That doesn't mean that they're necessarily in the right
reference order, the right geographic order, but that's OK.
| | 06:40 | Photoshop seems to have dealt with that just fine.
| | 06:43 | So I'll keep advancing through these layers
here, because at some point in time I'm bound
| | 06:49 | to find somebody who's behaving quite
strangely, because Photoshop isn't always able
| | 06:54 | to figure out what to do with all the layers.
| | 06:56 | There's the first and only example inside of
this image for me anyway, which is Pic-19.
| | 07:01 | So why don't we check out what Pic-19 is?
| | 07:04 | Cause there's Pic-20 and it's fine.
| | 07:06 | So let's Alt+Click on the eyeball or Option+Click
on a Mac, in order to show all the layers.
| | 07:12 | Then let's switch down to Pic-19 and let's see where it is.
| | 07:15 | Well if I turn off and on, it's not really going to make
a difference, because it's Layer Mask is totally blacked
| | 07:20 | out right now, meaning that the layer is essentially invisible.
| | 07:22 | I'm going to Shift+Click on that Layer Mask.
| | 07:24 | There it is.
| | 07:25 | Right there is that layered item.
| | 07:28 | I can drag it up here and sort of move it into the right
position, but it's not going to be blended properly.
| | 07:33 | What might I do about that?
| | 07:34 | Well sometimes, it turns out sometimes you can fix that problem.
| | 07:37 | You can either just say, Well, you know, Photo Merge
did great on 19 out of the 20 layers, God bless it.
| | 07:43 | I think I'll just accept we came up with.
| | 07:45 | That's one option and the other option
is to try to fix the problem,
| | 07:49 | which is what we're going to do in the very next exercise.
| | Collapse this transcript |
| Fixing Photomerge problems| 00:00 | Now you may recall the previous exercise, we went ahead and
used the Photo Merge command in order to combine 20 images shot
| | 00:08 | by Lynda.com big shot himself, Bruce Heavin, and these
images came together almost completely seamlessly.
| | 00:16 | Photoshop did an amazing job of bringing
these together except for,
| | 00:21 | for me anyway may be different for
you, except for Pic-19 up here.
| | 00:25 | And I went ahead and moved Pic-19 into the proper position.
| | 00:28 | I also turned off its Layer Mask, you might notice.
| | 00:31 | But it just deposited Pic-19 in the middle of everything.
| | 00:35 | It wasn't in the proper location at all.
| | 00:37 | So I was telling you, you can either just accept
what Photo Merge comes up with and say, Well gosh,
| | 00:43 | it did the best that it could, or you can try to fix the problem.
| | 00:46 | And I'm going to show you how to fix the problem right now.
| | 00:49 | Now recall the previous exercise, I had you crank up your
History States value inside the Preferences dialog box,
| | 00:55 | and I'm going to go ahead and click open History by clicking
in this gray area above the tab in order to make it big.
| | 01:03 | And I want to show you why I had you go with 100 States,
| | 01:06 | because there's a ton of States associated
with the Photo Merge command here.
| | 01:11 | Because it is a script, it's gone ahead and
applied a series of modifications to our image.
| | 01:19 | Mostly when you will apply a command, a standard command inside
of Photoshop, you get one and only one History State out of it,
| | 01:25 | but when you apply a script you get a bunch of different
History States that you can review if you like to.
| | 01:31 | So let's go back to item number one, just to see what happened.
| | 01:34 | That's when it created a new image.
| | 01:36 | Then it set the Layer Properties, then it duplicated
a layer, meaning that it added a layer to the stack
| | 01:41 | and it changed its name to the name of the image, and then
it added another image, and it changed its name, and so on.
| | 01:48 | Alright, I think we can safely fast-forward through those steps.
| | 01:51 | So it's just making the document in the first place.
| | 01:54 | It's applying that Load Files into Stacks script.
| | 01:57 | Then we end up getting to this point here at which
it's finished creating the 20th layer, notice that.
| | 02:04 | And at that point it goes down and deletes the bottom layer.
| | 02:07 | There used to be a Photo Merge layer there.
| | 02:09 | It went ahead and deleted it and then
it applied the Align Content function,
| | 02:14 | which is the Auto-Align Layers command
under the Edit menu, same thing.
| | 02:18 | So it went ahead and applied Auto-Align Layers,
subject to Cylindrical wrapping as I requested.
| | 02:24 | And notice that's when things went wrong.
| | 02:26 | That's when it plopped this tree
image in totally the wrong location.
| | 02:29 | Then it goes through a series of these little moves, I don't know
exactly what those are about, but it basically feels like it has
| | 02:36 | to move each and every single one of these images.
| | 02:39 | If you were to tweak through every single one
of those states, I doubt you'd see any movement
| | 02:43 | at all, but it gets recorded as a Move state.
| | 02:45 | And then finally it applies Auto-Blend layer, so it goes ahead
and applies the Auto-Blend Layers function under the Edit menu.
| | 02:52 | Alright, that's the point at which we can make our modification.
| | 02:55 | So l |
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