IntroductionWelcome| 00:04 | Hi! I am Deke McClelland.
| | 00:05 | Welcome to Adobe Photoshop!
| | 00:08 | Many folks regard Photoshop as a
photography program, which it is.
| | 00:13 | But more than half the people who use
Photoshop identify themselves as designers.
| | 00:18 | And it's no surprise.
| | 00:20 | Photoshop offers more art creation and
modification tools than any other image editor.
| | 00:25 | The purpose of the following movies is
to get you up and running with Photoshop
| | 00:29 | in the shortest amount of time possible.
| | 00:32 | I make no attempt to cover every
feature in the software. Far from it.
| | 00:36 | Instead I show you just those
features that you need to know to create
| | 00:41 | photorealistic artwork and designs.
| | 00:43 | My goal is to help you succeed.
| | 00:47 | Specifically I show you how to make the
most of such revered features as layers,
| | 00:52 | filters, and blend modes.
| | 00:54 | I show you how to integrate
text and vectors into your artwork.
| | 00:59 | And I show you how to select an image
captured against one background and set
| | 01:03 | it against another.
| | 01:05 | Note that I assume no prior knowledge
of Photoshop. If you do happen to know a
| | 01:10 | thing or two about the program, great.
| | 01:12 | if not, that is not a problem.
| | 01:15 | If you've ever felt like you wanted
to combine art with imagery but weren't
| | 01:19 | entirely sure what questions to
ask, this is the place to start.
| | 01:24 | In the end if you feel like there is
more you would like to learn, I will point
| | 01:27 | you in a couple of directions.
| | 01:29 | In the meantime here's how
to make the most of Photoshop.
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1. Understanding the Image FileStarting an image| 00:00 | In this exercise I will explain how to
start a new image inside a Photoshop.
| | 00:05 | Altogether there are
three different ways to work.
| | 00:07 | You can open an image directly from
inside the application, you can open an
| | 00:12 | image from inside a different
program called the Adobe Bridge that ships
| | 00:16 | with every single copy of Photoshop out
there, or you can create a new image from scratch.
| | 00:21 | I will show you how each of
these options work inside this movie.
| | 00:25 | Let's start here inside Photoshop by
going up to the File menu and choosing the
| | 00:29 | Open command or press Ctrl+O on
the PC or Command+O on the Mac.
| | 00:34 | That brings up the Open dialog box.
| | 00:37 | If you are a premium member then you
have access to my downloadable exercise files,
| | 00:41 | in which case after downloading those
files go to the Exercise Files folder.
| | 00:46 | Inside you will find a subfolder
called DT_banners. Go ahead and enter
| | 00:50 | that and you'll see a
total of nine different files.
| | 00:54 | Now you may or may not see image
previews of each one of these files.
| | 00:58 | If you don't see a preview, then you
should be able to click on a file and see
| | 01:02 | a preview elsewhere inside the dialog box.
| | 01:05 | Once you see the file that you want to
open either go ahead and double-click on
| | 01:09 | a thumbnail or filename or you can
click on the Open button in order to open
| | 01:13 | that image inside Photoshop.
| | 01:15 | What if you want to open more than
one image at a time? Why then you go back
| | 01:19 | to the File menu, choose the Open
command again and there's a couple of
| | 01:22 | different ways to work.
| | 01:23 | You can click on one image and then
Shift+Click on another to select an entire
| | 01:28 | range of files, like so, or if you
want to select non-sequential images, then
| | 01:34 | go ahead and click on one and then Ctrl+Click
or Command+Click on the Mac on another file name.
| | 01:39 | I will go ahead and do that a couple of
times like so, in order to select three
| | 01:44 | non-sequential files and then I'll go
ahead and click on the Open button in
| | 01:49 | order to open all three of
those images here inside Photoshop.
| | 01:53 | If you're working on the Mac, then by
default you'll see each of the images open
| | 01:57 | inside of a separate floating image
window. Just click on one of those windows
| | 02:01 | in order to switch between your open images.
| | 02:04 | Here on the PC you switch between
images by clicking on these tabs up here at
| | 02:09 | the top of the screen.
| | 02:11 | You can also switch
between images from the keyboard.
| | 02:14 | To do so on the PC you press Ctrl+Tab,
on the Mac you press Command+Tilde, and
| | 02:21 | the Tilde key by the way is a key in
the upper-left corner of an American
| | 02:24 | keyboard, just to the left of
the 1 key and above the Tab key.
| | 02:29 | If you want to close an image you can
either click on its close box, like so, or
| | 02:34 | you can go to the File menu
and choose a Close command.
| | 02:37 | Notice that you also have the option
of choosing Close All in order to close
| | 02:41 | every single one of your open images.
| | 02:44 | Now let's say that I want to
preview my images before opening them.
| | 02:48 | A better way to work is to go to the
Bridge, which is that separate program that
| | 02:52 | ships along with Photoshop.
| | 02:54 | Go up here to the application bar, and
notice this icon that appears orange when
| | 02:58 | I hover over it. I also get
this hint that says Launch Bridge.
| | 03:01 | If you click on that icon,
then you bring up the Bridge.
| | 03:06 | In my case the Bridge was already
running in the background. If it wasn't for
| | 03:09 | you it may take a moment or two to launch.
| | 03:12 | Then go to the Folders tab and
navigate your way to the DT_banners subfolder
| | 03:17 | inside the Exercise Files folder and
you'll see previews of every single one of
| | 03:22 | the images inside that folder.
| | 03:25 | If you want the previews to appear
larger here inside the Content panel then
| | 03:29 | drop down to the slider bar in the
bottom-right corner of the screen and go
| | 03:34 | ahead and drag that slider
triangle over to the right.
| | 03:38 | You also can zoom in and out from the
keyboard. For example with the content
| | 03:43 | area active-- and it may help by the
way to go ahead and click on a file in
| | 03:48 | order to select it.
| | 03:49 | Press Ctrl+Plus or Command+Plus on the
Mac in order to zoom in. Pess Ctrl+Minus
| | 03:55 | or Command+Minus on the Mac to zoom out.
| | 03:58 | When you select a file you'll also see
its preview over here inside the Preview
| | 04:03 | panel, if you want that preview to be
larger then you can go ahead and expand
| | 04:07 | the panel by for example dragging on
this vertical divider line right there.
| | 04:12 | I also have the option of
dragging on the horizontal divider.
| | 04:16 | Now let's say I like this file. This
is exactly the one I want to open.
| | 04:21 | At this point I can select more files
just as I could inside the Open dialog
| | 04:25 | box by Shift+Clicking to select a range
of images, or you can click on one file
| | 04:30 | and Ctrl+Click or Command+Click on another
one in order to select it non-sequentially.
| | 04:34 | For example I am going to select this
file called Deke's_Techniques 009.psd.
| | 04:41 | I could then double-click on its
thumbnail to open it inside of Photoshop or
| | 04:46 | if could go to the File menu and
choose the Open command or press that same
| | 04:49 | keyboard shortcut that works
inside of Photoshop, Ctrl+O on the PC or
| | 04:53 | Command+O on the Mac.
| | 04:54 | Either way the Bridge will switch me
over to Photoshop and Photoshop will go
| | 04:58 | ahead and open up that image.
| | 05:00 | The final way to start an image is to
make one from scratch, by going up to
| | 05:04 | the File menu and choosing the New command
or pressing Ctrl+N or Command+N on the Mac.
| | 05:10 | That brings up the New dialog box, at
which point you can go ahead and assign a
| | 05:14 | name to your image, especially if you
happened to know sort of the purpose of
| | 05:18 | the image upfront, this might be a good idea.
| | 05:21 | Then you can define a
size and resolution as well.
| | 05:24 | Now one word of advice here. You'll want
to work as large as possible. Even if
| | 05:30 | you're creating a tiny web image you
might as well start very big in the first
| | 05:34 | place and then size it down later on
down the line because you never know.
| | 05:39 | You might want to take that
same art and print it one day.
| | 05:42 | So here's when I tend to do.
| | 05:44 | I will go up to the Preset menu and
instead of choosing something like U.S.
| | 05:48 | Paper or International Paper, all of
which are dependent upon physical paper sizes,
| | 05:53 | I will choose something like Photo.
| | 05:55 | That's device independent essentially.
| | 05:57 | And then I will set the Size option
to something large, such as Landscape 8x10.
| | 06:02 | That's going to create a large horizontal image.
| | 06:05 | And finally, I'll go ahead and confirm that
that Resolution value is 300 pixels per inch.
| | 06:11 | That's the professional grade
industry standard and it gives you plenty of
| | 06:14 | pixels to work with.
| | 06:16 | You will probably want to leave Color
Mode set to RGB Color. The other option
| | 06:20 | set to 8 bit and white as by default,
and then click the OK button in order to
| | 06:25 | create a blank new image.
| | 06:27 | Now you may look at this thing and
think, gosh, it's small, but if you take a
| | 06:31 | look up here in the title tab or in the
title bar in a Mac you'll see 16.7% or
| | 06:37 | something along those lines, which
indicates that you're zoomed way out from the
| | 06:41 | image. I will show you how to zoom in
and pan around in the very next exercise,
| | 06:46 | and that friends is how you start
a new image here inside Photoshop.
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| Getting around the image| 00:00 | In this exercise I'll show you
how to get around inside an image.
| | 00:04 | Specifically you will need to know how
to zoom in, zoom out, and pan around.
| | 00:08 | Along the way I am going to be sharing
with you quite a few keyboard shortcuts
| | 00:12 | and tips and tricks.
| | 00:14 | Now you can choose to ignore those if you like.
| | 00:16 | However, if you take a few moments to
memorize things then you'll find yourself
| | 00:20 | moving around a lot more fluidly inside
an image, so you can devote your creative
| | 00:24 | energies to Photoshop and the image itself.
| | 00:28 | I'm working inside a file called
Pencil sketch.psd found inside the
| | 00:31 | Exercise Files folder.
| | 00:33 | It's based on an image by Warren
Goldswain of the Fotolia Image Library about
| | 00:38 | which you can learn more at fotolia.com/deke.
| | 00:41 | Now when you first open an image you're going
to see the entire thing zoomed out on screen.
| | 00:46 | To figure out how far zoomed out you are
take a look at the title tab up here in
| | 00:51 | the upper left-hand corner on the PC.
| | 00:53 | It's going to be up center on the Mac.
| | 00:55 | You'll see a percentage value.
| | 00:56 | In my case it says 25%.
| | 00:59 | That tells me I am seeing one out of
four pixels horizontally and one out of
| | 01:02 | four pixels vertically.
| | 01:04 | That's one out of four of four pixels,
so in other words I can only see one out
| | 01:08 | of every 16 pixels inside this image.
| | 01:11 | That's great for taking in the entire
image at a time, but if I want to see the
| | 01:15 | detail and resolution of
the image I need to zoom in.
| | 01:18 | And you do that by going to the View
menu and choosing the Zoom In command or
| | 01:22 | you can take advantage of the keyboard
shortcut Ctrl+Plus or Command+Plus on the Mac.
| | 01:27 | Notice every time you press Ctrl+Plus or
Command+Plus you zoom in incrementally.
| | 01:32 | To zoom out go to the View menu and
choose the Zoom Out command or you can press
| | 01:38 | the keyboard shortcut Ctrl+Minus here
on the PC or Command+Minus on a Mac, and
| | 01:42 | that also goes ahead and
zooms out incrementally.
| | 01:45 | Now the great thing about these
commands is they are easy to use, the shortcuts
| | 01:49 | are easy to remember; however you're always
zooming in or out from the center of the image.
| | 01:54 | For example let's say I zoom in to
300% which means I'm devoting three screen
| | 02:00 | pixels horizontally and
vertically to every image pixel.
| | 02:03 | That's 9 pixels per image pixel, so the
image is looking pretty chunky on screen.
| | 02:09 | But even assuming I want to be zoomed
this far in, I probably don't want to be
| | 02:13 | zoomed in on the guy's nose.
| | 02:14 | To control your zoom, here is what you do.
| | 02:16 | I am going to start out by zooming all
the way out from my image, which you can
| | 02:20 | do by going to the View menu and
choosing Fit on Screen, or you can take
| | 02:24 | advantage of its keyboard
shortcut, Ctrl+0 or Command+0 on a Mac.
| | 02:29 | And now I will zoom in on let's save
this guy's eye using the Zoom tool which is
| | 02:34 | located down here at the bottom of the toolbox.
| | 02:36 | You can select the tool and click with
it if you like, but here is a better way
| | 02:40 | to work. You can get to the tool from
the keyboard by pressing and holding the
| | 02:44 | Ctrl+Spacebar keys. That would be the
Command+Spacebar keys on the Mac, then go
| | 02:50 | ahead and click to zoom in and as long
as you have those keys down as you click
| | 02:55 | you'll zoom in on that specific
click point inside of the image.
| | 03:00 | Then just go ahead and release
the keys in order to return to the
| | 03:03 | previously selected tool.
| | 03:04 | To zoom out you press and hold Alt+
Spaceabar or Option+Spacebar in the Mac and
| | 03:10 | click inside of the image.
| | 03:12 | Notice that both of those
tricks zoom in and out incrementally.
| | 03:15 | What if you want to zoom in or out more fluidly?
| | 03:18 | While then go ahead and press Ctrl+
Spacebar here on the PC. That'd be
| | 03:22 | Command+Spacebar on the Mac, and then
drag immediately to the right to zoom in or
| | 03:27 | drag to the left in order to zoom out.
| | 03:30 | And notice that we're
zooming fluidly in each case.
| | 03:33 | Once I release I find out that I'm
zoomed in to 202%, which is not one of the
| | 03:38 | normal incremental zoom levels.
| | 03:41 | Another way to zoom is to click-and-hold.
I'll press Ctrl+0 or Command+0 on the
| | 03:45 | Mac to fit the image on screen, and
then I will press Ctrl+Spacebar at the same
| | 03:50 | time, that'd be Command+Spacebar on the
Mac and then click-and-hold and notice
| | 03:55 | that you zoom in in real-time.
| | 03:57 | If you want to zoom back out, you
present and hold the Alt key or the Option key
| | 04:01 | on the Mac and then go ahead and
release that key to zoom back in.
| | 04:06 | Then I will go ahead and release the
mouse button in order to land at whatever
| | 04:09 | zoom levels here inside the image.
| | 04:12 | Now of course when you are zoomed in
this far you are not going to see all
| | 04:15 | of the image at a time, so you are going to
need to scroll or if you prefer pan around.
| | 04:19 | You can do that using the scroll
wheel or button or whatever mechanism is
| | 04:24 | available on your mouse or
on your tablet. However,
| | 04:27 | the easiest way to pan around is to
take advantage of the Hand tool, which you
| | 04:32 | can get by selecting it manually here
inside the toolbox, but again there is a
| | 04:36 | better way to work. You can get the
Hand tool on the fly by pressing and
| | 04:39 | holding the Spacebar, just the
Spacebar by itself, and then you can drag the
| | 04:44 | image to a different location.
| | 04:45 | For example, I can pan from one of
this guy's eyes to the other one just by
| | 04:49 | pressing the Spacebar and dragging.
When I release the Spacebar I return to the
| | 04:53 | previously selected tool.
| | 04:56 | You can also toss the image. For
example let's say I zoom way in on this image
| | 05:01 | and now I want to toss the image to a
different location. I would just go ahead
| | 05:05 | and Spacebar+Drag and release, like so,
and that will flick the image around on
| | 05:11 | screen, which is a great way to move
from one side of the image to another when
| | 05:16 | you're zoomed way in.
| | 05:18 | If you want to see the actual pixels
inside the image, that is 1 screen pixel
| | 05:22 | devoted to each and every image pixel,
then go up to the View menu and choose
| | 05:26 | Actual Pixels or you press Ctrl+1,
that's Command+1 on the Mac, and you'll see
| | 05:31 | that the title tab or title bar says 100%.
| | 05:36 | Finally I want to review the screen
modes that are available to you. To get to them
| | 05:40 | you go out to the application bar
and click on the Screen Mode icon and
| | 05:44 | notice that you have three screen modes
in all. Currently we are looking at the
| | 05:48 | Standard Screen mode in which the
image is housed inside of an image window.
| | 05:52 | If you want to open things up a little
bit, then choose Full Screen mode with
| | 05:55 | menu bar and notice you lose the image
window and the image appears essentially
| | 06:00 | in back of the interface items. The
toolbox is over here on the left-hand side, the
| | 06:04 | panels over here on the right, and the
menu and Option bar are up here at the top.
| | 06:09 | If you want to focus in on the image
exclusively and get rid of the interface
| | 06:13 | entirely then go back up to that Screen
Mode icon there in the application bar,
| | 06:18 | click on it and choose Full Screen mode.
| | 06:20 | That's going to generate an alert
message that tells you, hey, you are going to
| | 06:24 | get rid of everything, all you are
going to see is the image. If you want to
| | 06:27 | escape from that mode all you
need to do is press the Escape key.
| | 06:31 | Then go ahead and click on Full Screen
and the interface disappears entirely.
| | 06:36 | You can still go ahead and zoom in
and zoom out as well as pan around using
| | 06:41 | those same techniques I told you.
| | 06:43 | You can even work on the
image inside of this mode.
| | 06:46 | It's primarily useful however for showing off
an image to a client, coworker, or what have you.
| | 06:52 | Then to bring back the interface, just
press the Escape key which takes you back
| | 06:56 | to the Standard Screen mode.
| | 06:58 | You can also cycle through those screen
modes from the keyboard by pressing the
| | 07:01 | F key, F for Full Screen.
| | 07:03 | So the first time you press F, you get
rid of the image window, the second time
| | 07:07 | you get rid of the entire interface,
and the third time you return to the
| | 07:11 | Standard Screen mode.
| | 07:13 | And that's how you get
around inside of an image.
| | 07:15 | That is to say zoom in, zoom out,
pan around and switch screen modes here inside Photoshop.
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| Understanding selections and layers| 00:00 | In this exercise I am going to
introduce you to two concepts that go to the
| | 00:04 | heart of using Photoshop and
those are selections and layers.
| | 00:09 | We are going to start things off in
this file called Faces flat.jpg, found
| | 00:13 | inside the Exercise Files folder.
| | 00:15 | Anytime you open a JPEG image you are
opening a flat file, that is to say it
| | 00:20 | contains no layers whatsoever, and
to confirm that go over here to Layers
| | 00:25 | panel, which by default exists in the
lower-right corner of the screen. If you
| | 00:29 | don't see it you can go up to the
Window menu and choose the Layers command or
| | 00:33 | you can press the F7 key.
| | 00:35 | That shortcut, F7, carries across many of
the Adobe Creative Suite applications.
| | 00:41 | Assuming that you have the Layers panel
on screen, notice there's just one item
| | 00:45 | at work inside this image
and it's called Background.
| | 00:49 | The background by
definition is not actually a layer.
| | 00:52 | It's a rectangle that measures so
many pixels wide by so many pixels tall.
| | 00:57 | But that's all it contains pixels and
only pixels, which makes it a little bit
| | 01:02 | tricky to work inside of your image.
| | 01:04 | For example, we are looking at an
image that contains five differently
| | 01:07 | colored spheres. If this were some
sort of strange real-world scene and I
| | 01:12 | were to ask you to select the blue
sphere, then you would reach out and touch
| | 01:16 | this sphere right here. In fact any
child or infant could distinguish the
| | 01:21 | blue sphere from the ones around it.
| | 01:23 | However, Photoshop is not so capable
as a child or infant and it doesn't see
| | 01:29 | that definition nearly as well, and here is why.
| | 01:32 | Let's say I decide to go ahead and zoom
in on this transition between the blue
| | 01:36 | sphere and the green sphere and
I'll do so by pressing Ctrl+Spacebar or
| | 01:41 | Command+Spacebar on the Mac
and then dragging to the right.
| | 01:44 | Once I've zoomed in sufficiently far,
and I happened to have zoomed into 2600%,
| | 01:48 | I will see the pixel grid on screen,
which are these white lines that distinguish
| | 01:54 | one square colored pixel from its
neighbor, but even at this area of rapid
| | 01:59 | contrast which is known as an edge
inside of Photoshop, you can see that 1 pixel
| | 02:05 | is remarkably like its neighbor. So we
have a light blue pixel right there, next
| | 02:10 | or we have a kind of medium blue pixel,
then above it is a darker blue, but
| | 02:15 | we're still looking at blue ultimately
and it takes a couple of more pixels to
| | 02:20 | start transitioning over to green.
| | 02:23 | This is what's known as a
continuous tone image inside of Photoshop.
| | 02:27 | In other words, we're not seeing
objects the way we would in Illustrator or
| | 02:31 | InDesign. We are seeing
gradually transitioning pixels.
| | 02:35 | I will go ahead and press Ctrl+0
or Command+0 on the Mac to zoom out.
| | 02:40 | Let's say that I want somehow to select his
blue sphere and remove it from its background.
| | 02:45 | Well I might have a fair amount of luck
using this Elliptical Marquee tool and
| | 02:50 | you can get to this tool by clicking
and holding on the Rectangular Marquee
| | 02:53 | tool second down in the toolbox and
then choosing the Elliptical Marquee tool
| | 02:58 | from the fly-out menu.
| | 02:59 | Then I might drag around that sphere like so.
| | 03:03 | I am not going to nail the sphere just
by dragging with this tool; fortunately
| | 03:08 | you can register your selection
outline on the fly as you drag it by pressing
| | 03:12 | and holding the Spacebar.
| | 03:14 | That allows you to move the
selection outline independently of the image
| | 03:17 | as you're making it.
| | 03:19 | With the Spacebar down I will go ahead
and register the top and left edges of
| | 03:23 | that selection outline like so, then I
will release the Spacebar and continue
| | 03:27 | dragging until I've surrounded that blue sphere.
| | 03:31 | Now at this point I have selected the image.
| | 03:33 | If I were to set in dragging this
selection to a different location I'd move
| | 03:37 | the selection outline not the selected pixels.
| | 03:40 | If I want to move the selected pixels
instead, I will press Ctrl+Z, Command+Z on
| | 03:44 | the Mac to undo that modification and
then I will switch to this very first tool
| | 03:48 | in the toolbox, the Move tool.
| | 03:51 | Then I'd go ahead and drag inside the
selection outline to move it and you can
| | 03:55 | see the problem. Even though I've done
a pretty darn good job of moving that
| | 03:59 | selected sphere to a new location, I
have left a hole in the background and
| | 04:04 | there's no context for that hole.
| | 04:06 | Photoshop goes ahead and automatically
fills it with the background color, which
| | 04:09 | is this bottom color in the toolbox,
which by default is white, because it has no
| | 04:14 | way of knowing what should be behind
that sphere. For example it doesn't know
| | 04:18 | what the right edge of the screen
sphere should look like or the left edge of
| | 04:21 | the red sphere or what have you.
| | 04:24 | Let's go ahead and compare that to layers.
| | 04:26 | I am going to switch over
to this image right here.
| | 04:28 | It's called Face layers.psd.
| | 04:31 | It's the exact same image.
| | 04:33 | It looks just the same as
the other one on screen.
| | 04:35 | However, it's put together very different.
| | 04:38 | This is a native Photoshop or PSD
document and PSD files can contain layers
| | 04:44 | and you can see what those layers look
like by going over to Layers panel once again.
| | 04:48 | We've got a background item, which is
the big flat rectangle that measures so
| | 04:53 | many pixels wide by so many pixels tall,
and then we have a series of floating
| | 04:57 | layers sitting on top, beginning with
violet at the back and going all the way up
| | 05:01 | to blue toward the front.
| | 05:04 | Now when I'm working with a layer,
I don't necessarily need to create a selection
| | 05:08 | outline in advance. Using my Move tool,
which is still selected at the top of the
| | 05:12 | toolbox, I could just go
ahead and grab the active layer.
| | 05:16 | So first thing I need to do is click on
the layer here inside the Layers panel
| | 05:20 | that I want to modify, I'll go ahead
and click on blue, and then I would drag it
| | 05:25 | to a different location like so,
and notice now that I'm not leaving a
| | 05:30 | background colored hole in my wake;
instead I'm revealing in this case the right
| | 05:35 | edge of the green sphere, the left
edge of the red sphere, and so forth.
| | 05:39 | I can even move layers up and down the stack.
| | 05:42 | So if I go ahead and put the blue sphere
right there let's say, now I want it to
| | 05:46 | appear behind the red sphere, and I
could just go ahead and grab the blue sphere
| | 05:50 | and move it behind the red
sphere here inside the Layers panel.
| | 05:55 | Now I don't mean for a second to
imply that somehow selections are inferior
| | 05:59 | to layers; in fact you oftentimes need
selection outlines to create layers in the first place.
| | 06:05 | But now that you have a sense for
how selections and layers work inside
| | 06:09 | Photoshop, you're ready to
begin using the program in earnest.
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|
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2. Selecting and CompositingUsing the Marquee and Lasso tools| 00:00 | In this exercise, I am going to
introduce you to the most basic of the Selection
| | 00:04 | tools inside of Photoshop, which
are the Marquee and Lasso tools.
| | 00:08 | I'm working inside of a file called
Ripped paper effect.psd and if you take a
| | 00:14 | look at the Layers panel, you can
see that we have two layers in all.
| | 00:17 | I have got a background layer
and then this layer of text that's
| | 00:21 | currently turned off.
| | 00:23 | So we are actually not seeing the text
layer, which may surprise you since we
| | 00:27 | can see some text here inside the image window.
| | 00:30 | That text was included with the original
stock image file that I downloaded as a
| | 00:35 | JPEG image from the Fotolia Image Library.
| | 00:39 | And as a result, the text and the
gradients in the background were fused
| | 00:43 | together as pixels, which means that I
can't really easily replace this text.
| | 00:49 | If I try to put new text in front of the
existing text, I end up with this effect here.
| | 00:56 | So what I've done is I've turned on my
text layer at the top of the Layers panel
| | 01:01 | and I can see that I do have some more
text, but it is different than the text
| | 01:05 | behind it and as a result,
it's one big illegible mess.
| | 01:10 | So what I need to do is turn
that layer back off for a moment.
| | 01:13 | Then with the background layer selected,
I need to somehow wipe out the text
| | 01:18 | that's set against this gradient,
and I am going to do so using the
| | 01:22 | Rectangular Marquee tool.
| | 01:24 | So go ahead and select that tool.
| | 01:26 | Notice it has a keyboard
shortcut of M for marquee.
| | 01:29 | You can access most of Photoshop's tools
by pressing a letter key on the keyboard.
| | 01:34 | The next thing I am going to do is
go ahead and draw a selection outline
| | 01:39 | around this text like so.
| | 01:41 | Notice by the way that you can register
the rectangle just as you can register
| | 01:46 | an Elliptical Marquee by pressing
the spacebar as you drag with a tool.
| | 01:52 | So make sure that that rectangle is
registered in place, then release the
| | 01:55 | spacebar and you can continue scaling
the rectangles as you see me doing here.
| | 02:00 | Go ahead and slightly surround the
text as you see me doing and then
| | 02:04 | release your mouse button.
| | 02:06 | Now I am going to go ahead and drag
this marquee downward like so and I'm also
| | 02:10 | pressing the Shift key to ensure that
I move the selection outline exactly
| | 02:15 | vertically in this case.
| | 02:16 | That way this gradient will align
exactly over the text so we'll have a smooth
| | 02:22 | continuous gradient throughout.
| | 02:23 | Now notice that I've moved my Marquee
to an empty portion of the gradient, that
| | 02:28 | is there is no text in this location.
| | 02:31 | Now I need to copy those pixels
and I can do so using my Move tool.
| | 02:36 | So go ahead and select the Move
tool at the top of the toolbox.
| | 02:39 | You could just drag the selection like
so, but if you do that you will leave a
| | 02:43 | background colored hole.
| | 02:45 | We don't want that, of course.
| | 02:46 | So I will go ahead and press
Ctrl+Z, Command+Z on the Mac.
| | 02:49 | To copy this selection instead of
moving it, press and hold the Alt key or the
| | 02:53 | Option key on the Mac and when you do
that, notice your cursor changes from an
| | 02:57 | arrowhead with a tiny pair of scissors
next to it to a double arrowhead, which
| | 03:02 | shows you that you will copy this selection.
| | 03:04 | So I am going to go ahead and Alt+drag or
Option+drag this selection upward like so.
| | 03:09 | I'm also going to press the Shift
key to ensure that I am dragging this
| | 03:12 | selection exactly vertically.
| | 03:14 | As soon as I've completely cover the
text, I'll release the mouse button and
| | 03:18 | then I will release my Shift
and Alt or Shift and Option keys.
| | 03:21 | We are done with the selection outline
so you can now go to the Select menu and
| | 03:25 | choose the Deselect command or press
Ctrl+D on the PC or Command+D on the Mac.
| | 03:31 | And notice the old text is gone.
| | 03:32 | Now I will turn on my new text
layer and it's perfectly legible.
| | 03:36 | It also happens to be editable, so I
can change this text using the Type tool
| | 03:41 | if I like, and we will be discussing
editable type in more detail in a future exercise.
| | 03:46 | Now let's go ahead and
switch over to another image.
| | 03:49 | It's called Photoshop for design.psd and I
will show you how to use a couple of other tools.
| | 03:54 | Let's say I want to take this top-left
corner of the P in Photoshop and enlarge
| | 03:59 | it inside of the magnifying glass.
| | 04:01 | The first thing I'll do is go ahead and
switch from the Rectangular Marquee tool
| | 04:05 | to the Elliptical Marquee tool, which
I can select from this fly-out menu and
| | 04:10 | then I'll go ahead and draw
around that magnifying glass.
| | 04:12 | I will use the spacebar in order to
register my Elliptical Marquee along with a
| | 04:17 | background image and then I'll go
ahead and draw the selection like so.
| | 04:21 | I will go and zoom in and click here.
| | 04:23 | So notice that the selection
traces inside that metal edge.
| | 04:27 | So in other words, you don't have to
exactly trace the outside of the magnifying
| | 04:30 | glass or exactly trace the inside.
| | 04:32 | You can sort of fudge in between.
| | 04:35 | Now with the background layer selected
here inside the Layers panel, I want you
| | 04:39 | to go onto the Edit menu and choose the
Copy command or you can press Ctrl+C or
| | 04:43 | Command+C on the Mac.
| | 04:45 | Then we are going to turn right around,
go back to the Edit menu, choose Paste
| | 04:49 | Special, and choose Paste Into and that
goes ahead and takes that image we copied
| | 04:55 | and pastes it back into the selection outline.
| | 04:57 | So we end up with an independent
layer here inside the Layers panel.
| | 05:00 | We might as well go ahead and name the
layer while we're here and you do that
| | 05:04 | by double-clicking on its current name,
Layer 1, and let's replace that name
| | 05:09 | with a big P, let's say.
| | 05:11 | Press the Enter key or the Return key on
the Mac in order to accept that change.
| | 05:15 | Now I want to scale the P inside the
selection and I am going to do that by
| | 05:19 | going to the Edit menu, choosing the
Transform command, and then choosing Scale.
| | 05:24 | Now I will be showing you how to
scale layers in an upcoming exercise, but
| | 05:28 | for now, we're going to work with these
numerical options up here in the Options bar.
| | 05:33 | Go ahead and select the bottom-right
point in this reference point location matrix.
| | 05:39 | Then I want you to turn on this little
chain icon between W and H so that we
| | 05:43 | scale the image proportionally and I am
going to change the W value to 142 like
| | 05:48 | so and then press the Enter key a
couple of times, the Return key a couple of
| | 05:53 | times on the Mac, in order
to accept that modification.
| | 05:56 | Now go ahead and grab your Move tool
and let's drag that P down a little bit so
| | 06:01 | that it snaps into alignment with the
inside of the magnifying glass, and we end
| | 06:06 | up getting this effect here.
| | 06:07 | I am going to zoom back out.
| | 06:09 | Notice that I've drawn this
brushstroke on the background layer incidentally.
| | 06:14 | So go ahead and select it and I drew it
using the Brush tool, but I want to move
| | 06:19 | it underneath my text, and I am going to
do that using my Lasso tool, which I can
| | 06:24 | get by pressing the L key.
| | 06:25 | There are a couple of
ways to use the Lasso tool.
| | 06:28 | One is to just drag around the image
element like so, but notice that the lasso
| | 06:33 | doesn't automatically
contract to fit the brushstroke.
| | 06:37 | So as a result, if I move this brushstroke up
over the text then I will end up covering it.
| | 06:42 | For example, I will go ahead and grab
my Move tool and drag that underline
| | 06:46 | upward and I cover up the text that's
on that same layer. So that's no good.
| | 06:51 | I will press Ctrl+Z, Command+Z
on the Mac, to undo that change.
| | 06:54 | A better way to work is this.
| | 06:56 | I will go ahead and switch back over
to the Lasso tool. I will click in the
| | 07:01 | image in order to deselect it
and then try this technique out.
| | 07:04 | It's really useful.
| | 07:05 | If you press the Alt key or the Option
key on the Mac when nothing is selected
| | 07:10 | inside Photoshop, just hold that key
down and then click and notice you create
| | 07:15 | corners in a selection outline.
| | 07:18 | This allows you a lot better control
in my opinion and I'll go ahead and
| | 07:22 | Alt+click or Option+click my way around.
| | 07:24 | As soon as you get back to the
beginning of your selection outline, release
| | 07:28 | the Alt key or the Option key on the Mac, and
that'll go ahead and complete the selection.
| | 07:32 | Now go ahead and grab that Move tool
once again and drag the underline up.
| | 07:37 | I am pressing the Shift key as I do
so to constrain the angle of my drag
| | 07:40 | to exactly vertical.
| | 07:42 | And once I get close to the letters, not
too close because I don't want to start
| | 07:45 | covering them up, I will go ahead and
release and then I'll go to my Select menu
| | 07:50 | and choose the Deselect command or
press Ctrl+D on the PC, Command+D on the Mac,
| | 07:55 | to deselect the image. And that's how
you use the most basic selection tools,
| | 07:59 | the Marquees and the
Lasso, here inside Photoshop.
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| Selecting areas of color| 00:00 | In this exercise, I am going to show
you how to select regions of colors inside
| | 00:04 | of an image using two different options.
| | 00:06 | One is the easy-to-use Magic Wand tool
and the other is a more sophisticated
| | 00:11 | Color Range command.
| | 00:13 | Our goal is to take this glove
holding the saw and move it into another
| | 00:17 | background, specifically
this ad composition here.
| | 00:21 | We will start off in the image
called Saw with mask.tif found inside the
| | 00:25 | Exercise Files folder.
| | 00:27 | I will go over to the Quick Selection
tool, click and hold on it, and then choose
| | 00:31 | the Magic Wand tool from the fly-out menu.
| | 00:33 | Notice that both tools share a shortcut
of W. That means that you can switch
| | 00:37 | between the tools from the keyboard by
pressing Shift+W. Notice that takes me
| | 00:41 | back to the Quick Selection tool.
| | 00:43 | If I press Shift+W again, I
switch back to the Magic Wand.
| | 00:47 | The Magic Wand tool allows you to
click inside of a region of color to select
| | 00:51 | everything that Photoshop
considers to be similar.
| | 00:54 | Then you can select other colors
by Shift+clicking inside of them.
| | 00:58 | Shift+clicking or Shift+dragging
always adds to a selection incidentally.
| | 01:02 | But you can see how it might take us
a while to select this glove and the
| | 01:06 | saw and so forth because there are
so many different colors and luminance
| | 01:10 | levels, that is highlights and shadows
going on, whereas this background of
| | 01:15 | sky is fairly uniform.
| | 01:17 | So it's easier to select the sky and then
reverse the selection to grab the hand and saw.
| | 01:22 | Notice that gets us a pretty big region
and then I will Shift+click in another
| | 01:26 | region of sky in order to
more or less isolate the saw.
| | 01:30 | The problem with the Magic Wand tool
is that it doesn't give you that much
| | 01:33 | control and it generates fairly jagged edges.
| | 01:36 | That is, edges between the selected
region and the deselected region of the image.
| | 01:41 | The better way to work is to take
advantage of a command that gives you all the
| | 01:45 | functionality of the Magic Wand and
better performance and that's Color Range.
| | 01:50 | So I'm going to go up to the Select
menu and choose the Deselect command or
| | 01:54 | press Ctrl+D, Command+D on the Mac, to
deselect the image so that we can start
| | 01:58 | things over by going up to the Select
menu once again and choosing Color Range.
| | 02:03 | You can think of this command as
being the better Magic Wand tool.
| | 02:07 | Now it's a little off-putting at first
because it brings up this dialog box but
| | 02:11 | doesn't really indicate what in the
world is going on, but notice, if you move
| | 02:14 | your cursor out into the Image
window you get an Eyedropper.
| | 02:18 | That is your Magic Wand tool.
| | 02:20 | Now click inside of the image in order
to select that region and notice you'll
| | 02:26 | get a preview of your
selection here inside the dialog box.
| | 02:30 | Here's how to read the preview.
| | 02:31 | Anywhere that you see white indicates
selection; anywhere that you see black
| | 02:36 | indicates a deselected region.
| | 02:38 | So we want this saw, this little
silhouette of the saw, to appear entirely black
| | 02:43 | and the background to appear
entirely white, which means that we need to
| | 02:46 | Shift+click inside of the image.
| | 02:49 | So I'll go ahead and press the Shift key.
| | 02:50 | Notice that I get a little plus sign
next to my Eyedropper cursor and I will
| | 02:54 | click again and that makes more of
that background here inside the dialog box white;
| | 02:59 | however not enough.
| | 03:01 | Here is a great thing you can do with this tool.
| | 03:03 | You can Shift+drag.
| | 03:04 | So, press the Shift key and drag inside
of the sky to add colors on the fly and
| | 03:10 | that pretty much takes care of
the entire sky as you see here.
| | 03:14 | The Fuzziness value should
be set to 40 as by default.
| | 03:17 | If so, go ahead and click OK
in order to select that sky.
| | 03:21 | Now notice that doesn't entirely select
everything outside the glove and the saw.
| | 03:25 | This little bit of foliage here in
the upper right corner is still deselected.
| | 03:29 | So I'll go ahead and grab my Rectangular
Marquee tool just by clicking on it and
| | 03:34 | then I will press the Shift key,
once again to add to the selection.
| | 03:38 | So you can mix and match selection
tools inside Photoshop as much as you want
| | 03:42 | and then go ahead and drag around that
region with the Shift key down in order
| | 03:47 | to select everything outside the saw.
| | 03:49 | Now let's reverse this selection by
going up to the Select menu and choosing
| | 03:53 | the Inverse command and that will exchange
the selected area with the deselected area.
| | 03:59 | Now it looks like I still have a little
bit of stuff in the sky that is now selected.
| | 04:04 | In order to deselect that region, you
press and hold the Alt key or the Option
| | 04:09 | key on the Mac and notice that
gives me a little minus sign.
| | 04:12 | Now I will go ahead and drag around
that area and that goes ahead and deselects
| | 04:15 | that outstanding area.
| | 04:17 | We still have a problem though.
| | 04:18 | I will go ahead and Spacebar+drag
over to the left side of the image.
| | 04:22 | Notice that the saw blade
is not entirely selected.
| | 04:25 | Also, if you look very carefully,
I will go ahead and zoom in.
| | 04:28 | We have got a little bit of a color
fringe around the saw, that little bit
| | 04:32 | of blue edge there.
| | 04:34 | We want to get rid of that and so I
will go up to the Select menu, choose
| | 04:37 | Modify, and then choose Contract and I am
going to change that Contract value to 4 pixels.
| | 04:43 | This is something I just discovered by
working inside the image. So trial and error.
| | 04:47 | I will go ahead and click OK
and that retracts the selection.
| | 04:51 | It may look like we are retracting it
too far but in these kinds of cases, it's
| | 04:55 | better to select too little
of the image than too much.
| | 04:58 | That way you won't have any color
fringing against the new background.
| | 05:02 | Now we need to select that blade and
we are going to do that by getting a
| | 05:05 | variation of the Lasso tool here.
| | 05:07 | So click and hold on the Lasso tool and
select the Polygonal Lasso tool like so.
| | 05:13 | Then press the Shift key so that
we are adding to the selection.
| | 05:16 | I want you to start by dragging inside
the saw like so and then go ahead and
| | 05:21 | release the mouse button and start clicking.
| | 05:23 | Keep that Shift key down just to ensure
that you're adding to the selection and
| | 05:27 | then click around the saw blade.
| | 05:29 | Now once we get to the actual blade area,
it might seem like we have quite a bit
| | 05:33 | of work on our hands.
| | 05:34 | What I want you to do is just click in
that corner and then go all the way down
| | 05:38 | in a straight line and click here and
now you can release the Shift key and
| | 05:43 | double click with the tool in
order to complete that selection.
| | 05:46 | All right, now we are ready to copy
this selection and paste it into its new
| | 05:50 | background and you do that by going up
to the Edit menu and choosing the Copy
| | 05:54 | command or you can press
Ctrl+C, Command+C on the Mac.
| | 05:57 | Now let's move over to the image called
Ad composite.psd found again inside the
| | 06:02 | Exercise Files folder.
| | 06:04 | Then go up to the Edit menu and
choose the Paste command or press
| | 06:07 | Ctrl+V, Command+V on the Mac, and
that goes ahead and pastes the saw into
| | 06:12 | its new background.
| | 06:13 | And things look pretty darn good,
especially for that small amount of work
| | 06:17 | that we put into it.
| | 06:18 | Now you might think at this point
that I'm telling you that the Color Range
| | 06:22 | command is always better
than the Magic Wand tool.
| | 06:25 | Generally, it is, especially when
you're working inside of a continuous tone
| | 06:29 | photograph like we were just a moment ago.
| | 06:32 | But here is a great trick for using
the Magic Wand that I want to pass along.
| | 06:36 | It's called Magnified P.psd.
| | 06:39 | And let's say I want to once again
select that brushstroke down here at the
| | 06:42 | bottom of the image and move it upward,
but I want to collapse the selection so
| | 06:47 | it grabs the brushstroke
and only the brushstroke.
| | 06:50 | I have already got my
Polygonal Lasso tool active.
| | 06:52 | So I will just go ahead and click
around the brushstroke to enclose the
| | 06:55 | entire thing like so.
| | 06:57 | Once I have managed to surround the
entire brushstroke, I will double-click with
| | 07:01 | the tool to complete the selection.
| | 07:03 | I was telling you that the Lasso tool does not
automatically collapse around the brushstroke.
| | 07:07 | You can make it collapse using the Magic Wand.
| | 07:10 | So go ahead and grab the Magic Wand tool
there in the toolbox, then go up to the
| | 07:15 | Options bar and I want you to reduce the
Tolerance value to 0, so that we get rid
| | 07:20 | of just the white pixels and nothing
more and then turn off that Anti-alias
| | 07:24 | checkbox, which otherwise gives you a soft edge.
| | 07:28 | Then move your cursor down into
the image window inside the selection
| | 07:32 | outline specifically.
| | 07:33 | Press and hold the Alt key or the
Option key on the Mac, which allows you to
| | 07:37 | deselect an area and click inside
of that region of white like so.
| | 07:42 | So that's an Alt+click or an Option+
click inside the white that collapses the
| | 07:46 | selection exactly around the brushstroke.
| | 07:49 | Now go ahead and grab your Move tool
at the top of the toolbox and then drag
| | 07:54 | that brushstroke upward, while pressing
the Shift key to ensure a vertical drag,
| | 07:58 | and now you can move the brushstroke very
close to the letters indeed if you so desire.
| | 08:02 | I am going to give it a little room
like so and then I'll go up to the
| | 08:06 | Select menu and choose the Deselect
command or press Ctrl+D, Command+D on
| | 08:10 | the Mac to deselect the image.
| | 08:13 | And that's how you select and deselect
regions of color using the Magic Wand tool
| | 08:17 | and the Color Range
command here inside Photoshop.
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| Refining selected edges| 00:00 | In this exercise, I am going to show
you how to refine your selection outlines
| | 00:04 | and preview your adjustments on the fly.
| | 00:06 | Along the way, we are going to select some hair.
| | 00:09 | Now I'm not going to guarantee you that
this approach is going to work for every image.
| | 00:13 | In fact most likely, it's not.
| | 00:15 | Some images are much more
complicated than others.
| | 00:18 | However, this image is fairly
straightforward because we have a high degree of
| | 00:22 | contrast and the model is set
against to plain background.
| | 00:26 | The image in question is also Sunny.jpg
found inside the Exercise Files folder.
| | 00:31 | Comes to us from Jason Stitt of the
Fotolia image library about which you can
| | 00:35 | learn more at Fotolia.com/deke.
| | 00:38 | And I am going to start things off
by selecting the background using the
| | 00:41 | Color Range command.
| | 00:42 | So I will choose Color Range from the
Select menu and then I'll click in the
| | 00:46 | background with my Eyedropper.
| | 00:48 | Notice that that selects most of the background.
| | 00:51 | As you can see here inside the
preview much of the background turns white.
| | 00:55 | She remains black which is exactly what we want.
| | 00:58 | I am going to go ahead and move the
Color Range dialog box a little bit out of
| | 01:01 | the way and I will Shift+drag into this
upper right corner like so and that goes
| | 01:05 | ahead and selects all the remaining
portions of the background. A Fuzziness
| | 01:09 | value of 40 is just fine.
| | 01:11 | Go ahead and click OK in
order to accept that modification.
| | 01:15 | Now I am going to reverse the
selection by going up to the Select menu and
| | 01:18 | choosing the Inverse command.
| | 01:21 | Now so far we really don't have
an idea of whether we have a good
| | 01:23 | selection outline or not and whether
this image is going to work against a
| | 01:27 | different background.
| | 01:28 | To test things out you go up to the Select
menu and you choose the Refine Edge command.
| | 01:33 | The great thing about this
command is it serves two purposes.
| | 01:36 | First of all, you can preview the
quality of your selection and secondly, you
| | 01:40 | can adjust that quality.
| | 01:42 | I will go ahead and choose the command
to bring up the Refine Edge dialog box.
| | 01:45 | You want View to be set to its default,
which is all On White, so that we can see
| | 01:50 | the model against a white background.
| | 01:52 | That just gives us the most contrast
in the case of this specific photograph.
| | 01:57 | Next you have these Adjust Edge
options and they allow you to apply basic
| | 02:01 | adjustments on the fly.
| | 02:03 | As I say, you can preview what you're doing.
| | 02:05 | So for example, if I increase the
Smooth value that's going to smooth off
| | 02:09 | those jagged edges, but it's also going to round
off the corners, which isn't something we want.
| | 02:14 | So I will go ahead and
return that Smooth value to 0.
| | 02:17 | The Feather value allows
you to soften your edges.
| | 02:19 | So you create a kind of vignetting effect.
| | 02:22 | That's not what we want either, but it's
helpful for demonstrating the next two options.
| | 02:26 | Contrast will go ahead and
restore a sharper transition.
| | 02:30 | A combination of Feather and Contrast
working together gives you an effect very
| | 02:33 | similar to smooth by itself.
| | 02:35 | I will go ahead and take Contrast down.
| | 02:38 | Now if I wanted to expand or contract the
selection, I could use the Shift Edge option.
| | 02:43 | If I increase the value,
I will expand the edges like so.
| | 02:46 | if I reduce the value, I will contract
the edges, which would have been great for
| | 02:49 | that saw image in the previous exercise.
| | 02:52 | It doesn't really work out here very well.
| | 02:54 | So I am going to go ahead and
restore all these values to 0.
| | 02:57 | Instead what we want to do is
take advantage of this Edge Detection
| | 03:01 | feature right there.
| | 03:02 | What this allows you to do is
reevaluate the edges inside of an area around
| | 03:08 | those edges, which is defined by a radius,
and to get a sense of what I mean I am
| | 03:13 | going to turn on the Show Radius checkbox.
| | 03:15 | Now initially we are not going to
see anything; everything is going to
| | 03:17 | turn white in our case.
| | 03:19 | But as I increase that Radius value,
you'll see some edges come into play here
| | 03:24 | and those are the edges around the
selection outline that are being reevaluated
| | 03:28 | by Photoshop on the fly.
| | 03:30 | So the larger the Radius value the
bigger the area that gets reevaluated.
| | 03:35 | I am going to take that value up to 70
pixels because we have all that loose
| | 03:38 | hair to work with and then
because not everything is hair--
| | 03:42 | We have these big areas of hair up
toward the top of the image then we
| | 03:45 | have these crisply defined edges
around the fingers and some softness
| | 03:49 | around the sweater.
| | 03:50 | So we need to turn on the Smart
Radius checkbox, which will reevaluate
| | 03:55 | that radius on the fly.
| | 03:57 | So Photoshop goes ahead and keeps the
radius thick where it needs to be thick
| | 04:00 | and keeps it thin where it needs
to be thin. A very good way to work.
| | 04:04 | Now I am going to go ahead and turn off Show
Radius so we can better see what we're doing.
| | 04:08 | And notice what a great job
that is done on that hair.
| | 04:11 | I will go ahead and turn on Show Original,
which is the opposite of a preview checkbox.
| | 04:16 | So in other words, if I turn on Show
Original, I'm turning off the preview.
| | 04:20 | So this is the way the selection looked
before we chose the Refine Edge command.
| | 04:24 | If I turn off Show Original, I'm
turning on the preview so that we can see how
| | 04:29 | much better the detail looks.
| | 04:30 | However, it doesn't look so
good inside of these fingers.
| | 04:33 | Notice right there that I have got a brush
cursor that just works inside the image window.
| | 04:38 | If you want to increase the size of that
cursor, which you do, then go ahead and
| | 04:42 | press the Right Bracket key and by
Bracket key I mean those two square brackets,
| | 04:46 | which are to the right of the P as in
Paul key on an American keyboard, and I am
| | 04:51 | going to increase the size
my cursor to about yeigh big.
| | 04:54 | And then you can either add to
the area that's being reevaluated by
| | 04:58 | painting inside the image.
| | 04:59 | So I might paint inside the hairs over
on the left side of the model in order to
| | 05:03 | manually paint in some radius.
| | 05:05 | If you want to remove some radius, for
example, the area inside the fingers used
| | 05:09 | to be in better shape before we applied
the command, then you press the Alt key
| | 05:13 | or the Option key on the Mac and paint
right there, for example, in order to
| | 05:17 | reestablish that good edge, and I am
going to Alt+drag or Option+drag inside
| | 05:22 | this area as well on the inside edge of
that finger next to the face in order to
| | 05:27 | reestablish that edge.
| | 05:28 | Then I'll paint inside this bad blue hair
there to see if I can make it look a little better.
| | 05:34 | That's slightly better but not best.
| | 05:36 | I will go ahead and Spacebar+drag up
into the hair toward the top of the image.
| | 05:40 | Increase the size of my cursor some more.
| | 05:43 | Go ahead and paint inside of this
region to see if I can remove some of that blue.
| | 05:47 | That looks pretty good but notice
we still have some residual blue, which
| | 05:51 | is why you have this checkbox
right there, Decontaminate Colors.
| | 05:55 | If you turn that checkbox on then
Photoshop will actually recolor some of the
| | 05:59 | pixels and it may deliver better results.
| | 06:02 | In our case, it definitely does.
| | 06:04 | Now I am not going to tell you
that the results are perfect.
| | 06:06 | We do have some stray blue edges
here and there, but they're a lot better
| | 06:10 | than they were before.
| | 06:11 | For example, if I turn on Show
Original, this is how the selection looked
| | 06:14 | before we chose the command, and if I turn
off the checkbox, this is the way it looks now.
| | 06:19 | So a dramatic improvement, again without
a lot of work, once you know what's going
| | 06:24 | on inside this dialog box.
| | 06:26 | Now I will click OK in order to apply
the effect and notice that Photoshop goes
| | 06:30 | ahead and duplicates the layer and
automatically assigns a layer mask.
| | 06:34 | I will explain what's going on with
that in an upcoming exercise, but as a
| | 06:38 | result, you see the model set
against the checkerboard background and
| | 06:41 | checkerboard represents transparency.
| | 06:44 | That is temporarily deleted pixels.
| | 06:46 | And that's how you refine a selection
outline and preview the effects on the fly,
| | 06:51 | not to mention select high
contrast hair set against a plain background
| | 06:56 | here inside Photoshop.
| | Collapse this transcript |
|
|
3. Working with LayersCreating layers| 00:00 | In this exercise, I'm going to show
you how to create a layered composition
| | 00:04 | inside of Photoshop.
| | 00:06 | We're going to start with this file.
| | 00:07 | It's called Layered elements.psd,
found inside the Exercise Files folder.
| | 00:12 | Currently, we can just see the
background image, but there are about a dozen
| | 00:15 | layers that are ready and waiting for
us to turn them on and we'll ultimately
| | 00:19 | arrive at this final composition. And
by composition, I just mean multi-layered
| | 00:24 | image inside of Photoshop.
| | 00:26 | Along the way, I'll be sharing a
fair amount of information with you.
| | 00:30 | But my primary goal is to convey three
ways to create a layer inside Photoshop.
| | 00:35 | Now these are not the only ways to make
layers. There are all sorts of ways to
| | 00:39 | achieve layers inside the program.
| | 00:41 | These are just the primary three methods.
| | 00:44 | One is to select a portion of an image
and then press Ctrl+J or Command+J on the
| | 00:48 | Mac to jump it to a new layer.
| | 00:51 | And that's the same by the way as going
up to the Layer menu, choosing the New
| | 00:55 | command, and then choosing Layer Via Copy.
| | 00:58 | It's just that the keyboard shortcut of Ctrl
+J or Command+J is so much more convenient.
| | 01:03 | Another method is to create a new blank
layer by choosing the New Layer command
| | 01:08 | from the Layers panel flyout menu.
| | 01:10 | And then finally, you can copy a selection
from one image and paste it into another.
| | 01:15 | So let's go ahead and get started.
| | 01:17 | I'm going to turn off that text layer
and turn on a few of the others, starting
| | 01:21 | with the Towels layer and then the Collar layer.
| | 01:23 | And you turn on these layers is by clicking in
that blank area to the left of the layer name.
| | 01:28 | And you not only see this eyeball, but
you'll also see the contents of the layer
| | 01:32 | here inside the image window.
| | 01:33 | To turn on multiple layers at the same
time, just go ahead and click and drag up
| | 01:38 | or down the list like so.
| | 01:40 | If you're working along with me,
I'd like you to turn on the Towels
| | 01:43 | through Chili layers.
| | 01:45 | Now I'm going to return to my final
composition for a moment so that you can
| | 01:48 | see that this guy's face is actually a
football carved into a kind of cartoon profile.
| | 01:54 | I'm going to go ahead and switch
back to my image in progress here.
| | 01:57 | There's the Football layer.
Go ahead and turn it on.
| | 02:00 | A couple of problems with it though.
| | 02:01 | First of all, it's not shaped like a face.
| | 02:03 | It's shaped like a football.
| | 02:05 | And secondly, it's covering
up a bunch of other details.
| | 02:08 | Now we can take care of that second
problem very easily just by grabbing the
| | 02:12 | football and moving it down the stack,
and I want to move it between the
| | 02:15 | scruff and hayseed layers.
| | 02:16 | Once you see that thick horizontal bar, you
can go ahead and drop the layer into place.
| | 02:21 | The other problem though
requires a selection outline.
| | 02:24 | As it turns out, you can save a
selection for later use inside Photoshop.
| | 02:29 | So for example, if I were to draw just
a rectangular marquee, I could go up to
| | 02:34 | the Select menu and choose
the Save Selection command.
| | 02:37 | Obviously, you'd want to use this
command when you have a selection that you
| | 02:41 | spent a little bit of time on, as
I have in the case of this profile.
| | 02:45 | So in order to load that, just go ahead
and choose this Load Selection command.
| | 02:50 | Then set the Channel option to Face
Outline, make sure the Invert checkbox is
| | 02:55 | turned off, Operation should be set to
New Selection, then go ahead and click
| | 02:59 | OK, and you'll load that selection outline.
| | 03:03 | The next step is to take advantage of
method number one for creating a new layer.
| | 03:07 | I'll press Ctrl+J or Command+J on the Mac in
order to jump that selection to a new layer.
| | 03:13 | The selection outline
notice goes ahead and disappears.
| | 03:16 | It also seems as if nothing has really happened.
| | 03:19 | That's because the
Football layer is still turned on.
| | 03:22 | Go ahead and turn that Football layer
off and you'll see that you've gone ahead
| | 03:25 | and carved this layer in the
shape of that profile selection.
| | 03:28 | Now don't worry about the fact
that you lost that selection outline.
| | 03:31 | You can always regain access to it
anytime you like whether you would save
| | 03:36 | the selection or not.
| | 03:37 | And I'll show you how that works in a moment.
| | 03:39 | But for now, I'd like you to go ahead
and rename this new layer Profile by
| | 03:43 | double-clicking on its old name, entering
the new one, and then pressing Enter or Return.
| | 03:47 | Notice that we have this layer effect.
| | 03:49 | That's because the layer that we copied
here Football had a layer effect applied to it.
| | 03:54 | If I click the triangle, I'll go ahead and
expand that layer so you can see what I mean.
| | 03:59 | So the layer effect just got
copied along with the new layer.
| | 04:02 | Now I'm going to click those up
arrowheads to collapse both of those layers.
| | 04:06 | Now I want to create a yellow outline
around this guy's face and I'm going to do
| | 04:09 | that using the Stroke
command under the Edit menu.
| | 04:12 | But first I need a new layer to contain
that outline and I'll make the new layer
| | 04:17 | by going to the Layers panel,
clicking on the flyout menu icon in the upper
| | 04:20 | right-hand corner, and then choosing
the New Layer command, or you can press
| | 04:24 | that keyboard shortcut Ctrl+Shift
+N, Command+Shift+N on the Mac.
| | 04:28 | And I'll go ahead and call
this Outline and then click OK.
| | 04:32 | Now I need a selection outline to define
my stroke and I'll go ahead and lift it
| | 04:36 | from my existing layer here.
| | 04:39 | Remember how I was telling you it's not
a problem when you lose that selection
| | 04:42 | outline because you're
going to always regain it?
| | 04:44 | You get that selection outline back by
pressing the Ctrl key or the Command key
| | 04:48 | on the Mac and clicking
the thumbnail for the layer.
| | 04:52 | So I just Ctrl+Clicked or Command+
Clicked on that little thumbnail for the
| | 04:56 | Profile layer in order to regain that selection.
| | 04:59 | And because I'm working on the Outline layer,
I can use this selection on this new layer.
| | 05:04 | Now I want my stroke to match the
color of these chili peppers here.
| | 05:08 | So I'm going to go ahead and switch
over to my Eyedropper tool, which you can
| | 05:11 | get by pressing the I key.
| | 05:13 | The Eyedropper allows you to
lift colors inside of an image.
| | 05:16 | If I click here inside a pale yellow at
this chili, and I'm clicking and holding
| | 05:20 | so that you can see this eyedropper
ring, which shows you the old foreground
| | 05:24 | color at the bottom, black, and the
new foreground color, pale yellow, at the top,
| | 05:28 | and then I'll go ahead and release
in order to change the foreground color
| | 05:32 | shown down here at the bottom
of the toolbox to that yellow.
| | 05:36 | Now go up to the Edit menu and choose
the Stroke command, and let's go ahead and
| | 05:40 | dial in a Stroke value of 13 pixels,
make sure Location is set to Center, the
| | 05:46 | Blending options should be set as you
see them on screen, go ahead and click OK
| | 05:50 | in order to create that stroke.
| | 05:52 | And then you can deselect the image by
pressing Ctrl+D or Command+D on the Mac.
| | 05:57 | Now the outline isn't
really where it needs to be.
| | 05:59 | Notice that some of this scruff
layer is covering it up down here at the
| | 06:02 | bottom of the guy's face.
| | 06:04 | So I'll go ahead and drag the Outline layer
up one so it appears between scruff and Chili.
| | 06:10 | Now let's go ahead and add the guy's eyes.
| | 06:12 | I'm going to do that by turning on the
Eyes layer, but the name of the layer is
| | 06:15 | currently a little bit deceptive,
because after all it contains just one eye.
[00:06:19.6]
We need to add the other.
| | 06:20 | Now you might figure we could just go
ahead and duplicate that existing eye,
| | 06:24 | which of course we could if we wanted
to, but the 8 is actually acting like
| | 06:29 | the iris of the eye.
| | 06:30 | In other words, it's pointed toward us
and I want to make sure that the 8 in the
| | 06:33 | other eye is pointed toward us as well.
| | 06:36 | So I'm going to grab a slightly
different offset version of this pool ball
| | 06:40 | and copy it into my existing composition, by
switching to Eight ball.tif which I've got open.
| | 06:46 | Another file inside the Exercise Files folder.
| | 06:49 | It also contains a selection, so I'll
go up to the Select menu, choose the Load
| | 06:53 | Selection command, and then Channel
should be set to Circle automatically.
| | 06:57 | If so, go ahead and click OK
to load that selection outline.
| | 07:01 | Now let's take advantage of method
number three for creating a layer inside
| | 07:05 | Photoshop by going up to the Edit menu
and choosing the Copy command or pressing
| | 07:09 | Ctrl+C or Command+C on the Mac.
| | 07:12 | Now I'll go ahead and switch
back to my image in progress here.
| | 07:15 | Click on the Eyes layer to make it
active and let's go ahead and load its
| | 07:19 | selection outline so that we can
register the new pool ball right into place.
| | 07:24 | And I'll do that by Ctrl+Clicking or
Command+Clicking on the Mac on that little
| | 07:28 | thumbnail for the Eyes layer.
| | 07:30 | It goes ahead and loads the selection,
and as a result, when I go up to the Edit
| | 07:34 | menu and choose the Paste command or
press Ctrl+V or Command+V on the Mac, I go
| | 07:39 | ahead and paste the new eyeball
exactly on top of the old one.
| | 07:43 | Now let's go ahead and move the new
eyeball into place by switching to the Move tool.
| | 07:47 | Now drag the eyeball over while
pressing the Shift key so that you constrain
| | 07:51 | the angle of your drag to exactly horizontal,
and I want to position the eye right about there.
| | 07:57 | And then I want to make my new
eye look exactly like the one below.
| | 08:02 | That is to say it should be translucent
like this, have this drop shadow and so forth.
| | 08:06 | I'm going to show you how opacity and
layer effects work in future exercises,
| | 08:11 | but for now, check this out.
| | 08:13 | When you've got a layer set in front of
another one, for example, my new Layer 1
| | 08:17 | in front of Eyes, you can merge those
two layers together by going up to the
| | 08:21 | Layer menu and choosing the Merge Down command.
| | 08:24 | So in other words, instead of creating a
new layer, we're getting rid of a layer.
| | 08:28 | We're fusing two layers into one.
| | 08:30 | When I choose that command, not only
am I left with one Eyes layer which now
| | 08:34 | contains both the eyes, but that new eye
takes on the attributes of the old one.
| | 08:38 | All right, we're nearly done.
| | 08:40 | We just need to turn on a couple of more layers.
| | 08:43 | We've got the Headband layer near the
top of list, and then at the very top
| | 08:46 | turn on the Hat layer.
| | 08:48 | And now you know at the very least
three ways to create layers and assemble a
| | 08:52 | multi-layered composition here inside Photoshop.
| | Collapse this transcript |
| Blending layers| 00:00 | In this exercise, I'm going to show you
how to blend layers inside of Photoshop,
| | 00:04 | by which I mean you can see through
one layer to the contents of another.
| | 00:09 | Now this goes well beyond the simple
concept of translucency because there
| | 00:13 | are all sorts of blending options that
you can apply and you can change your
| | 00:17 | mind any time you like.
| | 00:19 | I'm working inside a file called
Paper pushers.psd found inside the
| | 00:23 | Exercise Files folder.
| | 00:24 | And in addition to this arm wrestling
couple, from the Fotolia Image Library,
| | 00:28 | I'll go ahead and turn that Wrestlers layer off.
| | 00:30 | Behind that we have the Stars layer
which I created using a few filters inside
| | 00:35 | of Photoshop and behind
that we have a paper texture.
| | 00:38 | I'll go ahead and turn on Stars for
the moment so that we can blend the stars
| | 00:41 | and background layers together.
| | 00:43 | And now I'll reduce the Opacity value,
which I can do by selecting that value and
| | 00:48 | dialing in a new one.
| | 00:49 | If I dial in a value of 70%, that mixes
70% stars with 30% background so that we
| | 00:55 | have a translucent layer like so.
| | 00:57 | You can also drag or scrub directly on
the word Opacity to reduce the value or
| | 01:03 | increase it on the fly.
| | 01:05 | Another shortcut is to just
press a number key in the keyboard.
| | 01:08 | For example, if you press the 3 key,
then you'll reduce the Opacity value to 30%.
| | 01:12 | 4 will take it to 40%, all
the way up to 0 for 100%.
| | 01:17 | You can even dial in two numbers in a row.
| | 01:19 | For example, Alt+Tab+55 to
change the Opacity value to 55%.
| | 01:25 | Let's go ahead and reinstate that value to
100% so I can show you the option next door.
| | 01:30 | This is the blend mode option.
| | 01:32 | By default it's set to Normal which
turns the blend mode off, so you're seeing
| | 01:36 | the layer subject to just the Opacity value.
| | 01:39 | But if you click on this option, you
can see that there are lots more blend
| | 01:43 | modes to choose from.
| | 01:44 | We're going to review the most practical
of the blend modes starting with Multiply.
| | 01:48 | If you chose the Multiply mode, then
you're burning one image into another.
| | 01:52 | So think for a moment of toast.
| | 01:54 | When you burnt toast, you darken it, and
that's the same thing that happens when
| | 01:58 | you burn images using Multiply.
| | 02:01 | Anything that was formerly white inside
the active layer becomes transparent, so
| | 02:06 | you can see right through the
stars to the paper texture below.
| | 02:09 | Anything that was black burns
absolutely, so it becomes as dark as you get.
| | 02:14 | And all the other colors
darken to some degree in between.
| | 02:17 | If you want the opposite effect,
then switch from Multiply to Screen.
| | 02:22 | In the case of Screen, you
create a uniform lightening effect.
| | 02:25 | So anything that was black in the
active layer, such as this background sky,
| | 02:29 | that drops away, becomes invisible so you
can see directly through to the paper texture.
| | 02:35 | Anything that's white such as the
stars or the lens flare, that lightens
| | 02:38 | absolutely, and then the other
colors lighten to some degree in between.
| | 02:43 | What if you want a combination of
Multiply and Screen working together?
| | 02:47 | Then you'd switch to the Overlay mode.
| | 02:49 | When you apply Overlay, the darkest
colors burn into the background, the
| | 02:53 | brightest colors lighten, and the
other colors lighten or darken to
| | 02:57 | varying degrees in between.
| | 02:59 | And as a result, you end up getting
a higher contrast effect with higher
| | 03:03 | saturation values as well.
| | 03:06 | And by that, I mean the
colors become that much more vivid.
| | 03:09 | The final blend mode I want to show
you is the very last one, Luminosity.
| | 03:14 | When you apply Luminosity, you
keep the luminance levels, that is the
| | 03:18 | brightness values in the active layer, and you
mix those in with the colors from the layer below.
| | 03:23 | So in our case, that paper texture is
kind of orange and as a result the blend
| | 03:28 | of the two layers appears orange.
| | 03:30 | But we're not seeing any of the
texture from the paper texture because that's
| | 03:33 | all luminance information.
| | 03:35 | Instead, we're seeing the stars and the lens
flare and the darkness of the active layer.
| | 03:40 | Now all of the effects we've seen my
favorite is Overlay, so I'm going to go
| | 03:44 | ahead and switch back to the Overlay
mode, then I'm going to turn on the
| | 03:47 | Wrestlers layer, and
click on it to make it active.
| | 03:50 | Let's say in this case I want the white
of the background to drop out and I want
| | 03:54 | the other colors to uniformly darken
the background. Why then I would start
| | 03:58 | things off with Multiply.
| | 04:00 | But let's say I look at the results of
the Multiply mode and I think it just
| | 04:04 | doesn't have enough oomph.
I want a higher impact effect.
| | 04:08 | In that case, I can
investigate one of the other blend modes.
| | 04:11 | Now here's how you start experimenting.
| | 04:13 | I'm going to go ahead and bring
up the Blend Mode popup menu again.
| | 04:16 | Notice that these modes
are organized into groups.
| | 04:19 | So Multiply is in the darken group,
Screen is in the lighten group, and then
| | 04:24 | Overlay is in the so-called contrast group.
| | 04:28 | If any of these modes doesn't quite do it
for you, then try out one of the others.
| | 04:32 | For example, if Overlay wasn't
succeeding, you could amp things up by
| | 04:36 | switching to Hard Light.
| | 04:38 | In our case, we want to amp up
Multiply, so I'll move down two to Linear
| | 04:43 | Burn and I'll go ahead and choose that
and notice that we get more darkness,
| | 04:47 | more contrast in this case, and we get more
saturation, that is higher vibrancy, as well.
| | 04:53 | Now let's turn on the final layer, the
one at the top here called scanned logo,
| | 04:57 | and I'll go ahead and click on
that layer as well to make it active.
| | 05:00 | Now I'm going to zoom in on this layer
and you can see what we have is a scanned
| | 05:05 | logo, which is a pretty typical design scenario.
| | 05:08 | You end up getting a scanned logo or
other piece of artwork and then you have to
| | 05:11 | integrate it into a larger image composition.
| | 05:14 | In this case, let's say that we just
want the logo to appear in black against
| | 05:18 | the image in the background.
| | 05:19 | And you might figure the thing to do is
to grab the Magic Wand tool and then go
| | 05:24 | ahead and click in that white
background and then delete it like so.
| | 05:27 | If you do that, however, I'll go ahead
and press Ctrl+D or Command+D on the Mac
| | 05:31 | to deselect the image, notice that
we have these really ratty edges.
| | 05:35 | Worse yet, we've applied what's
known as a destructive modification.
| | 05:39 | That is we permanently deleted those
pixels and there's no going back after a point.
| | 05:44 | We can go back right now and we're
going do so by going up to the Window menu
| | 05:48 | and choosing the History
command to bring up the History panel.
| | 05:53 | And notice that Photoshop keeps track of
the last 20 operations applied to this image.
| | 05:58 | I'm going to go back to before I applied
the Magic Wand, so to the last blending
| | 06:02 | change like so, and that goes ahead and
reinstates the white and we're going to
| | 06:07 | apply a blend mode instead.
| | 06:08 | So go ahead and get your Move tool if
you're working along with me, and then
| | 06:12 | let's go ahead and zoom out here a little bit.
| | 06:15 | And I'm going to drag this MunGrafiks logo.
| | 06:17 | Problem is that the wrong
layer is selected. Notice that.
| | 06:20 | If I want to switch to the scanned logo
layer, here's a little bit of a trick.
| | 06:24 | Go ahead and right-click with the Move
tool directly on that logo and then you
| | 06:29 | will see a list of layers
that appear at that click point.
| | 06:31 | And I can choose scanned logo to make it active.
| | 06:34 | Now I'll go ahead and drag the logo to
a different location and if we want to
| | 06:38 | drop away the white and just keep the
black, we apply a mode I've already
| | 06:42 | shown you twice now.
| | 06:44 | We'll go up to the Blend Mode pop-up
menu and choose Multiply, and notice what
| | 06:48 | a great job that does. And that's a
temporary modification and we get smooth results.
| | 06:54 | However, that doesn't really look
very good with the logo covering up that
| | 06:58 | woman's head like that.
| | 06:59 | So I want the opposite effect.
| | 07:01 | I want to go ahead and reverse the logo
against the dark portion of the image.
| | 07:05 | So here's what I'm going to do.
| | 07:06 | Let's go ahead and scroll down to the
lower left region of the image like so and
| | 07:10 | I'll drag the MunGrafiks
logo down to this location.
| | 07:14 | Obviously, it's getting lost in the darkness.
| | 07:16 | So let's reverse the colors by going up
to the Image menu, choosing Adjustments,
| | 07:21 | and then choosing the Invert command.
| | 07:23 | Very useful for this kind of work.
| | 07:25 | You press Ctrl+I or Command+I on the Mac
and that goes ahead and reverse this logo.
| | 07:30 | Just to see what that means we've
got a black background and we're seeing
| | 07:34 | through the letters because they're now
white and subject to the Multiply mode.
| | 07:38 | However, if we want to reverse that
effect so we keep the white and we drop out
| | 07:42 | the blacks, then we choose Multiply's
opposite which is Screen, and we end up
| | 07:47 | getting this effect here.
| | 07:48 | And now if we drag this logo down to
the lower right region of the image,
| | 07:51 | it appears perfectly legible like so. All right!
| | 07:54 | I'm going to end things by centering the image.
| | 07:57 | So remember those blend modes, in
particular Multiply and Screen, as well as
| | 08:01 | Overlay and Luminosity, when you're
blending layers here inside Photoshop.
| | Collapse this transcript |
| Working with adjustment layers| 00:00 | In this exercise, I'm going to show
you how to use a special kind of layer
| | 00:04 | known as an adjustment layer to correct the
luminance and color of a scanned piece of artwork.
| | 00:10 | For example, let's say I want to
add a light bulb to the center of this
| | 00:13 | composition to indicate how a conflict
between co-workers can sometimes lead to innovation.
| | 00:19 | I've got this light bulb image right here.
| | 00:22 | So I found this light bulb, I went ahead
and printed it out, and drew some lines
| | 00:26 | around it using a Sharpie.
| | 00:27 | And then I didn't even scan it. I just
photographed the darn thing on a desktop,
| | 00:32 | and yet it's going to look
absolutely great in the final composition.
| | 00:36 | But first we have to make some
corrections, because if we're going to take
| | 00:39 | advantage of blending modes which we
are, then we need absolute blacks and
| | 00:43 | absolute whites and so forth.
| | 00:45 | And we don't really have any.
| | 00:46 | these sharpie lines are very dark gray but not
quite black and the paper is very dark indeed.
| | 00:52 | To fix things, I want you to drop down
to the bottom of the Layers panel and
| | 00:56 | notice this Black-White icon right there.
| | 00:58 | If you click on it, you're going to
bring up a list of color adjustments, all of
| | 01:03 | which will be applied as independent layers.
| | 01:05 | Now there are a lot of different
adjustments available to us, but the best one
| | 01:09 | for adjusting luminance
levels is the Levels command.
| | 01:13 | Go ahead and choose that command to
create a new layer called Levels 1 here
| | 01:16 | inside the Layers panel.
| | 01:18 | You'll also bring up the Adjustments panel.
| | 01:20 | Notice right here in the center of the
panel, we have this thing called a Histogram.
| | 01:25 | It's actually a bar graph and it
shows you the distribution of existing
| | 01:30 | luminance levels inside the image.
| | 01:32 | Blacks are shown over here on the far left side.
| | 01:34 | whites are shown on the far right side.
| | 01:37 | Also notice that a numerical value of 0
indicates black and a numerical value of
| | 01:42 | 255, I know that seems strange but
that's the way it works, indicates white.
| | 01:48 | Right now we have a very brief graph
which is indicating to us that we don't
| | 01:53 | have a lot of luminance
levels inside this image.
| | 01:56 | We have some dark colors over here, but
we don't have anything resembling black.
| | 02:01 | And then we have almost no highlights.
| | 02:04 | That is to say, bright colors.
| | 02:05 | About the brightest color
inside this image is medium gray.
| | 02:09 | We need to brighten things up and you
can do so by dragging the white slider
| | 02:13 | triangle over to the left.
| | 02:15 | And notice that that goes ahead and
brightens up the image like crazy.
| | 02:19 | At this point, I have a white point
value of 139, which is saying anything with
| | 02:24 | a luminance level of 139 or
brighter is going to become white.
| | 02:28 | That's a lot of different luminance
levels becoming white inside this image.
| | 02:32 | I could also drag the black slider
triangle over to the right and that's going
| | 02:36 | to darken up the colors.
| | 02:38 | At this point I'm saying anything with
the luminance level of 15, which is quite
| | 02:41 | dark or darker, is going
to become absolute black.
| | 02:45 | Now at this point, the paper looks
bright but it's not absolutely white.
| | 02:49 | One of the great things about Levels
is that you can preview the colors that
| | 02:53 | are turning white by pressing the Alt
key or the Option key on the Mac and
| | 02:57 | dragging that white slider.
| | 02:59 | And notice when we to get to a value of
about 100 over there on the right-hand side,
| | 03:04 | this value right there, when we
get to that value and I'm Alt+Dragging or
| | 03:08 | Option+Dragging that white slider
triangle once again, that the paper around the
| | 03:13 | light bulb, which is all we really
care about, is turning absolutely white.
| | 03:17 | Let's use that same trick
on the black slider triangle.
| | 03:20 | I'll Alt+Drag it or Option+Drag it in
order to turn those sharpie lines around
| | 03:25 | the light bulb absolutely black.
| | 03:27 | And at a value of about 40, this
value right there, that happens.
| | 03:32 | Now notice that the resulting
light bulb appears washed out.
| | 03:35 | we don't have much detail around the
perimeter of the light bulb for example.
| | 03:40 | Another great thing about Levels is
that you can adjust the midtones and we can
| | 03:44 | darken them up using this central,
what's known as a Gamma value.
| | 03:48 | I'm going to select that value and I'm
going to press Shift+Down Arrow several
| | 03:52 | times, four times in all in fact,
in order to reduce that value to 0.6.
| | 03:57 | And that ends up giving me the
contrast that I'm looking for.
| | 04:00 | Now let's go ahead and get rid of
everything around the light bulb that's
| | 04:04 | not white and we'll do that using that Magic
Wand trick that I showed you a few exercises ago.
| | 04:09 | I'll go ahead and select the Magic
Wand tool here inside the toolbox.
| | 04:13 | Make sure that the Tolerance value is
still set to 0, this is very important by
| | 04:17 | the way, and that Anti-alias is turned off.
| | 04:20 | Then click in some area that's white,
close to the light bulb like so, and that
| | 04:24 | will go ahead and select all those white pixels.
| | 04:27 | Now I want to reverse that selection,
so just the non-white pixels are
| | 04:31 | selected, and I'll do that by going up to the
Select menu and choosing the Inverse command.
| | 04:37 | Now all of the non-white pixels are
selected. I want to keep just those
| | 04:41 | non-white pixels that contribute to
the light bulb itself and I'm going to do
| | 04:45 | that using the Lasso tool.
| | 04:47 | Now here's a special trick
where these tools are concerned.
| | 04:50 | I could Shift+Drag with a tool in
order to add to the selection like so, or
| | 04:56 | I could press the Alt key or the
Option key on the Mac, that gives me a
| | 04:59 | little minus sign next to my Lasso
cursor, and I could drag around some
| | 05:03 | pixels to deselect them.
| | 05:05 | And then finally, you can press
both Shift and Alt at the same time.
| | 05:10 | that would be Shift and Option on the Mac.
| | 05:12 | And notice that you get a little x
for intersection next to the cursor.
| | 05:17 | And now I'll drag around the bulb like
this, and I'm being kind of careful to
| | 05:22 | avoid those little sort of animated
dots that are appearing close to the bulb
| | 05:27 | and I'll go ahead and ultimately
surround the entire bulb like this.
| | 05:31 | And then I'll release and
just the bulb is selected.
| | 05:35 | Now then I want to get rid of
everything that is not selected currently and
| | 05:40 | I'm going to do that by going back to the
Select menu and choosing the Inverse command again.
| | 05:45 | That's going to reverse that selection
so everything that's not part of the
| | 05:49 | light bulb is selected.
| | 05:51 | Now I want to fill
everything that's selected with white.
| | 05:53 | However, we're currently working on
the adjustment layer and that's not
| | 05:56 | going to do us any good.
| | 05:57 | So we need to create yet another new
layer by going to the Layers panel flyout
| | 06:02 | menu right there and then choosing the
New Layer command or you can press that
| | 06:06 | keyboard shortcut Ctrl+Shift+N, Command
+Shift+N on the Mac, and I'll go ahead
| | 06:10 | and call this layer white
and then I'll click OK.
| | 06:15 | Now the next step is to confirm that my
background color is white, which it is.
| | 06:19 | you can see that at the bottom of the toolbox.
| | 06:21 | But just to make sure, you can click
on this little icon right there, the one
| | 06:24 | below the magnifying glass, and
that will reinstate the default colors.
| | 06:28 | You can also press the D key.
| | 06:30 | Now that my background color is white,
I can fill the selection with that
| | 06:34 | background color by pressing the
keyboard shortcut Ctrl+Backspace or
| | 06:38 | Command+Delete on the Mac.
| | 06:40 | Then press Ctrl+D or Command+D on
the Mac in order to deselect the image.
| | 06:46 | And the end result is that we've now
managed to clean up this scanned or in
| | 06:50 | this case photographed artwork using an
adjustment layer here inside Photoshop.
| | Collapse this transcript |
| Scaling and rotating| 00:00 | In this exercise, I'm going to show
you how to scale and rotate a layer
| | 00:04 | inside of Photoshop.
| | 00:05 | Specifically we're going to take this light
bulb which I'm calling Cleaned up artwork.psd.
| | 00:11 | It's found inside the Exercise Files
folder, and we're going to integrate it so
| | 00:15 | that it's upright and it's smaller in
size, inside this composition which is
| | 00:19 | called Blended layers.psd.
| | 00:22 | I'll switch back to the light bulb image,
and let's go ahead and select it using
| | 00:26 | the simplest of the selection
tools, which is the Rectangular Marquee.
| | 00:30 | Go ahead and select at least all of
the light bulb with a generous amount of
| | 00:34 | background, bearing in mind that we can
drop out that background using a blend mode.
| | 00:39 | Then let's go ahead and copy the
image by going up to the Edit menu and
| | 00:43 | choosing not the Copy command,
because if we use it we'll just copy the
| | 00:47 | contents of the active layer white.
| | 00:49 | instead, we want to copy a merged
version of all the layers working together,
| | 00:54 | and we'll do that by choosing the
Copy Merged command which you can get by
| | 00:58 | pressing Ctrl+Shift+C or
Command+Shift+C on the Mac.
| | 01:02 | Then with that image in the clipboard,
I'll go ahead and switch over to the
| | 01:06 | composition in progress and I'll go to
the Edit menu and choose the standard
| | 01:10 | Paste command, or press Ctrl
+V or Command+V on the Mac.
| | 01:14 | Now obviously the light bulb is
too darn big and it's at an angle.
| | 01:18 | We'll solve that problem in a moment, but
first we need to be able to see what we're doing.
| | 01:23 | In other words, we need to see the light bulb
and the underlying artwork at the same time.
| | 01:28 | So I'm going to switch the blend
mode and the blend mode that's going to
| | 01:30 | work best in this case is Multiply
because that will go ahead and drop out
| | 01:35 | all of those whites.
| | 01:36 | And notice that the light bulb, even
though it's totally the wrong size, is
| | 01:40 | beautifully integrated into
the background composition.
| | 01:44 | Let's go ahead and rename this layer as well.
| | 01:46 | I'll call it light bulb and
press the Enter or Return key.
| | 01:49 | Now let's scale and rotate the artwork
by going up to the Edit menu and choosing
| | 01:54 | the Free Transform command.
| | 01:55 | Now the reason I'm using this command
is that both scaling and rotating are
| | 02:00 | varieties of transformation.
| | 02:02 | Free Transform allows you to apply
all varieties of transformations inside
| | 02:07 | Photoshop, both scale and rotate and
some distortion as well, as you'll see.
| | 02:12 | And you can get to this command by
pressing Ctrl+T or Command+T on the Mac.
| | 02:16 | And that will bring up is
bounding box around the image.
| | 02:19 | I'll drag a corner handle and as I
do, I'll press the Shift key in order
| | 02:24 | to constrain the proportions of the
light bulb and I'm going to take it
| | 02:27 | down to around 40%.
| | 02:29 | Now how do I know that it's 40%?
| | 02:32 | I can see these Width and Height
values up here in the Options bar.
| | 02:35 | So sometimes it pays to keep an eye on
those, but of course I'm just eyeballing
| | 02:40 | things at this point.
| | 02:41 | I'll go ahead and drag the
light bulb between the two models.
| | 02:44 | Now it's at an angle. I need to rotate it.
| | 02:46 | Notice if you move your cursor outside
the bounding box, it appears as a little
| | 02:50 | double-arrow rotate cursor.
| | 02:52 | Go ahead and drag in order to
make that light bulb upright like so.
| | 02:56 | Now I shot that light bulb art at an
angle, so it's got a little perspective.
| | 03:01 | I need to reverse the effects of that
perspective by applying a little bit of distortion.
| | 03:05 | And you can do that by pressing the
Ctrl or Command key on the Mac and then
| | 03:09 | dragging one of these handles.
| | 03:11 | So I'm going to Ctrl+Drag or Command
+Drag the upper right handle just a
| | 03:15 | little bit like so.
| | 03:17 | And then I need to skew things down
by Ctrl+Dragging or Command+Dragging
| | 03:21 | this right side handle.
| | 03:23 | This looks pretty darn good.
| | 03:25 | I might want to go ahead and reduce
the size of the light bulb even more by
| | 03:29 | Shift+Dragging one of
the corner handles like so.
| | 03:32 | Then I'll drag that into place and then
I might want to skew the left side up by
| | 03:36 | Ctrl+Dragging or Command+
Dragging that left handle.
| | 03:39 | And about here it looks good. So you can
resize and skew and rotate and distort to taste.
| | 03:45 | Once you've got things looking the way
you like, go ahead and press the Enter
| | 03:48 | key or the Return key on the Mac
in order to apply that modification.
| | 03:53 | Now I want to take those little
Sharpie lines right there and I want to make
| | 03:57 | them white instead of black.
| | 03:59 | So I'm going to get my Lasso tool and
I'm going to drag around this area like so,
| | 04:04 | just taking care that I'm
staying inside of that gutter between the
| | 04:08 | Sharpie lines and the light bulb, and
I'll ultimately select this generous
| | 04:12 | area around the lines.
| | 04:14 | And then I'm going to go ahead and pop
that art onto a new layer using a command
| | 04:18 | that we haven't seen before.
| | 04:20 | I'll go ahead and show it to you.
| | 04:21 | It's under the Layer menu.
| | 04:23 | You go to New and then instead of
choosing Layer via Copy, which makes a copy of
| | 04:27 | that artwork, we're going to choose
Layer via Cut, which goes ahead and cuts that
| | 04:31 | portion of the layer to a new layer.
| | 04:34 | Notice you have a keyboard shortcut
once again of Ctrl+Shift+J this time or
| | 04:39 | Command+Shift+J on the Mac, so you just
add Shift to the normal jump shortcut.
| | 04:44 | I'll go ahead and choose that command.
Notice I get a new layer called Layer 1.
| | 04:48 | Let's go ahead and name it
Lines or something like that.
| | 04:50 | Then press the Enter key and I
want to make those lines white.
| | 04:54 | So I'll go up to the Image menu and
choose Adjustments and then choose Invert,
| | 04:59 | or press Ctrl+I, Command+I on the Mac.
| | 05:02 | Subject to the Multiply mode, we
end up getting a black background
| | 05:05 | and translucent lines.
| | 05:07 | We want the opposite effect of that, so
we choose Multiply's opposite, which is
| | 05:11 | the Screen mode, and we end up
getting this bright effect here.
| | 05:15 | Just one more change I want to make.
I'm going to click on the light bulb.
| | 05:18 | Multiply is not quite enough. I was
telling you if Multiply is not giving you
| | 05:23 | the impact you need, then go ahead and
switch from Multiply down to Linear Burn,
| | 05:28 | and we'll add just a little
bit of extra heft to that effect.
| | 05:32 | And that, my friends, is how you
scale, rotate, and distort a layer here inside Photoshop.
| | Collapse this transcript |
| Duplicating a series of layers| 00:00 | In this exercise, I'm going to
show you how to duplicate layers.
| | 00:04 | Not only can you move and copy a layer,
but you can also copy a layer as you
| | 00:09 | scale or otherwise transform it, and
you can repeat that last duplication.
| | 00:14 | I'm working inside of file called
Martini Hour.psd. It's found inside the
| | 00:18 | exercise files folder.
| | 00:20 | And before we start here, I want to
change something about the Layers panel.
| | 00:24 | Notice that we're working inside a banner
image which is much wider than it is tall.
| | 00:28 | As a result we have very tiny
thumbnails inside the panel.
| | 00:32 | If you want to increase the size of
the thumbnails, then go down here to an
| | 00:36 | empty portion of the Layers panel, right-
click, and then choose Large Thumbnails.
| | 00:41 | And notice that we have much more
generously sized thumbnails to work with.
| | 00:45 | I'm going to go ahead and select glass
_1, which currently is the only glass
| | 00:50 | inside of this artwork.
| | 00:51 | However, we're going to
duplicate it to create some more.
| | 00:55 | Now normally you move layer using the Move tool.
| | 00:58 | However, here is a way to get to the
Move tool on the fly. You just press and
| | 01:02 | hold the Ctrl key or the Command key
on the Mac and notice that allows you to
| | 01:06 | move the layer around.
| | 01:08 | I'm going to undo that movement by
pressing Ctrl+Z or Command+Z on the Mac.
| | 01:13 | If I want to duplicate the layer
instead of move it, then press the Ctrl+Alt keys,
| | 01:18 | that would be Command+Option on
the Mac, and then go ahead and drag the
| | 01:22 | layer, and notice that you end up
with a new layer called glass_1_copy.
| | 01:27 | I'm also going to undo that, because I
want to show you yet another keyboard
| | 01:31 | trick that's available to you.
| | 01:33 | You press Ctrl+Shift+Alt.
| | 01:36 | That is Command+Shift+Option on the Mac.
| | 01:38 | So all the modifier keys and then you
drag and not only do you create a copy of
| | 01:43 | the layer, but you also constrain the
angle of your drag to in this case exactly
| | 01:48 | horizontal and we end up with a copy like so.
| | 01:52 | What I want however is a series of
declining glasses, so they get smaller and
| | 01:56 | smaller as they descend away.
| | 01:59 | I'm going to press Ctrl+Z, or Command+
Z on the Mac to undo that modification.
| | 02:04 | Then because we want to scale you go
out to the Edit menu and choose the Free
| | 02:08 | Transform command, or you press Ctrl+T, or
Command+T on the Mac. But here is the thing.
| | 02:14 | We don't just want to scale the artwork;
we want to copy it and scale it in one operation.
| | 02:20 | Just as we added the Alt or Option key
when moving the layer, you can add the Alt
| | 02:25 | or Option key to this shortcut in order
to both transform and copy that layer.
| | 02:31 | But the best way to work is to
do it entirely from the keyboard.
| | 02:34 | So here is what we'll do, go ahead and
press Ctrl+Alt+T or Command+Option+T on
| | 02:40 | the Mac and then drag that layer while
pressing the Shift key over to the right hand side.
| | 02:45 | Now we have a new layer
called glass_1_copy, and we're actively
| | 02:50 | working inside the Free Transform mode.
| | 02:53 | I'm going to go ahead and zoom out a
click so that I can get to my corner handles.
| | 02:56 | And I'm going to press the Shift key
and drag one of the handles. Of course,
| | 03:00 | pressing Shift constraints the
proportions of our scaling, but in this case
| | 03:04 | notice that I'm scaling with respect
to the opposite corner handle, so I'm
| | 03:08 | starting to lose sight of the glass.
| | 03:10 | I'm going to go ahead and press Ctrl+Z
or Command+Z on the Mac to undo that
| | 03:15 | last transformation applied.
| | 03:17 | However, I'm still inside the free
transform mode, because let's say instead of
| | 03:22 | transforming with respect to the
opposite corner, I want to transform with
| | 03:26 | respect to the center of the artwork.
| | 03:28 | Then I would add yet another key.
This time I'm going to press Shift+Alt, or
| | 03:33 | Shift+Option on the Mac, and then I'll
go ahead and drag a corner handle like so,
| | 03:37 | and I end up scaling
with respect to that center.
| | 03:41 | Now I ultimately want to take the size
of this glass down to about 68% and I can
| | 03:47 | see that's what I've got up here in the
Options bar. Both the width and height
| | 03:51 | values, in my case they are set
to 68.18 that will do me just fine.
| | 03:56 | And now I'm going to nudge my artwork
up just a little bit by pressing the Up
| | 03:59 | Arrow key, maybe nudge it to the right
as well by pressing the Right Arrow key,
| | 04:03 | and I'm going to zoom back in so I
can better see what I'm doing.
| | 04:06 | And then to accept that modification
I'll press the Enter key or the
| | 04:10 | Return key on the Mac.
| | 04:12 | Now what I'd like to do is exactly
repeat that last transformation and you can
| | 04:18 | do that by adding yet another key to
that Free Transform keyboard shortcut.
| | 04:23 | So if you just want to transform a
layer, scale, rotate, or what have you, you
| | 04:27 | press Ctrl+T, Command+T on the Mac.
| | 04:29 | If you want to both transform and
copy a layer that's Ctrl+Alt+T or
| | 04:34 | Command+Option+T on a Mac.
| | 04:35 | If you want to repeat the last
transformation, you press all the modifier keys.
| | 04:40 | So that's Ctrl+Shift+Alt+T on the PC,
Command+Shift+Option+T on a Mac, and you
| | 04:46 | get this result there.
| | 04:47 | So that's all it takes.
| | 04:48 | Just that one keyboard shortcut.
Mash your fist, as I like to say, on those
| | 04:52 | modifier keys press all of them along
with T and you get yet another copy.
| | 04:57 | Now in our case, notice that this
newest glass is called glass_1_copy_2.
| | 05:02 | That's a little bit much.
| | 05:04 | So I'll go ahead and rename it, glass_3
like so, and I'll rename the one before,
| | 05:09 | currently called glass_1_
copy. I'll call it glass_2.
| | 05:12 | Now take a look at the fact that I'm
integrating these pieces of artwork,
| | 05:16 | because they're bright against black
backgrounds, which they are, I've gone
| | 05:21 | ahead dropped out the
backgrounds using the Screen mode.
| | 05:24 | Now remember how it was telling you
that if the Multiply mode doesn't have
| | 05:27 | enough impact, you drop down two modes
to Linear Burn and you get more impact.
| | 05:33 | If I go ahead and click on the Blend
Mode pop-up menu and drop down from Screen
| | 05:37 | to lower to Linear Dodge (Add),
normally that would brighten up the layer.
| | 05:42 | However, in our case that
didn't produce any different effect.
| | 05:45 | So there are cases where the blend
mode logic is going to break down.
| | 05:49 | If you end up experiencing something
like this, here is another way to work.
| | 05:53 | Let's take that glass_2 layer.
| | 05:54 | It's still selected and we'll duplicate it
by pressing Ctrl+J or Command+J on a Mac.
| | 06:00 | And notice that gives us a much
brighter effect, because we have two glasses
| | 06:05 | working together in order
to brighten the background.
| | 06:08 | Now check this out.
| | 06:09 | I don't want this kind of clutter
inside my Layers panel, so I'm going to merge
| | 06:13 | these two layers together by going up
to the Layer menu and choosing Merge Down.
| | 06:17 | And notice now that we're
left with one ultra-bright layer.
| | 06:21 | Let's do the same for glass_3 by
clicking on it, pressing Ctrl+J or Command+J
| | 06:26 | on the Mac, and now let's merge those
two layers together by going up to the
| | 06:30 | Layer menu and choosing Merge Down.
| | 06:32 | And we'll do the same thing for glass_
1, the forward glass here, by pressing
| | 06:37 | Ctrl+J or Command+J on the Mac,
then going out to the Layer menu and
| | 06:42 | choosing Merge Down.
| | 06:43 | And notice you've got a keyboard
shortcut of Ctrl+E, Command+E on the Mac.
| | 06:48 | Now my feeling is that the forward
glass is a little too bright at this point.
| | 06:52 | So I'm going to take down its opacity
by pressing the 7 key which will reduce
| | 06:57 | that opacity to 70%.
| | 06:59 | Now just so we can see the final
version of the artwork, I'll press F key a
| | 07:03 | couple of times in order to switch to
that Full Screen mode, and that's how you
| | 07:07 | move and duplicate, as well as
transform and duplicate, and even create
| | 07:11 | duplication series here inside Photoshop.
| | Collapse this transcript |
| Moving a layer into a new background| 00:00 | In this exercise, I am going to show
you a few more powerful ways to create
| | 00:04 | layers inside Photoshop.
| | 00:06 | Specifically, we are going to take an
image set against one background and we
| | 00:10 | are going to move her into an
entirely different background.
| | 00:13 | I have opened a couple of images. One
is called Sea and sky.jpg, the other one
| | 00:18 | is called Extracted model.psd, and they're
both found inside the Exercise Files folder.
| | 00:23 | Now you may recall from a few
exercises back that we've already managed to
| | 00:27 | select this woman, with her hair intact,
using a combination of the Color Range
| | 00:32 | and Refine Edge commands.
| | 00:34 | And the results of those commands are
found on this layer here. It's called Extract.
| | 00:38 | Go ahead and turn it on and select
that layer and turn off the Background
| | 00:42 | layer, so that we can see the
transparency checkerboard in the background.
| | 00:46 | Now the Refine Edge command
automatically generated a layer mask.
| | 00:50 | I am going to demonstrate layer masks
in more detail in an upcoming exercise.
| | 00:54 | But basically what they do is they
make certain portions of the layer
| | 00:58 | transparent, without actually
deleting those pixels from the image.
| | 01:02 | If you want to see what that layer
mask looks like, you press the Alt key or
| | 01:05 | the Option key on the Mac and click on that
layer mask thumbnail there inside the Layers panel.
| | 01:11 | So wherever we are saying white, inside
the layer mask, those are Opaque pixels
| | 01:15 | in the layer, wherever we see black,
those are transparent pixels, and wherever
| | 01:20 | we see gray, those are
varying levels of translucency.
| | 01:24 | To return to the image, just go ahead
and click on the image thumbnail there
| | 01:27 | in the Layers panel.
| | 01:28 | All right, so let's say we want to
move for against the other background,
| | 01:32 | where we have been doing so far, is going up
to the Edit menu and choosing the Copy command.
| | 01:37 | But in this case the Copy command is
dimmed, and that's because we don't have
| | 01:41 | anything selected inside of this image.
| | 01:43 | If we wanted to select the image, you
would go up to the Select menu, and choose
| | 01:47 | the All command, or you can press Ctrl
+A, or Command+A on a Mac, and then you
| | 01:52 | would go ahead and copy the image, you
switch to the other image window and you
| | 01:57 | go up to the Image menu
and choose the Paste command.
| | 02:00 | That doesn't do us any good though,
because it doesn't bring over the layer mask.
| | 02:03 | It just brings over the image and we
would have to reselect it, which would
| | 02:06 | be ultimately pointless, because we don't
need to do the same work twice inside Photoshop.
| | 02:11 | So I will press Ctrl+Z or Command+Z
on the Mac to undo that modification.
| | 02:15 | Instead what we need to do is perform a drag
and drop, and let me show you how that works.
| | 02:21 | I will go and switch back to the
image of the model and press Ctrl+D or
| | 02:25 | Command+D on a Mac in order to deselect it.
| | 02:27 | That's very important by the way.
| | 02:29 | Now on the Mac, you'll have two floating
independent windows. You just move them
| | 02:33 | apart from each other so you can see
the contents of both at the same time.
| | 02:37 | Here on the PC, because we are working
in this tabbed window interface, I have to
| | 02:41 | go up to the applications bar, click on
the Arrange Documents icon, and switch
| | 02:46 | to this option right there, Two Up.
| | 02:48 | And that way I will see the Extracted model
on one side, and the Sea and sky on the other.
| | 02:53 | Now I can go ahead and drag and drop the
image from one background into the other.
| | 02:57 | But I need to make sure first that I'm
going to get both the image and its layer
| | 03:02 | mask at the same time, and you do
that by making sure that you see a little
| | 03:05 | chain icon between the two thumbnails.
| | 03:08 | That shows you that they are linked
together. If you don't see it-- I will go and
| | 03:11 | click to turn it off--
| | 03:12 | then you just click in
that space to turn it back on.
| | 03:16 | Now I would go ahead and grab my Move
tool and then I would drag the image from
| | 03:20 | one image window and drop it into the other.
| | 03:23 | That doesn't really put the
image where I want it to be.
| | 03:26 | sometimes this is a great way to work,
because the image appears exactly where you drop it.
| | 03:30 | However in our case, what we want to do
is register the image exactly in place.
| | 03:35 | So I will press Ctrl+Z or Command+Z
on a Mac to undo that modification,
| | 03:40 | return to the model image by
clicking inside of it, and then perform that
| | 03:44 | drag again, but before you drop, press
and hold the Shift key and then drop
| | 03:50 | the image in the place.
| | 03:51 | If the images are exactly the same
size, as they are in our case, then the
| | 03:56 | dropped image will exactly
register into its new background.
| | 03:59 | So in other words the two images align.
| | 04:02 | If the images are different sizes, then
pressing the Shift key on a drop will
| | 04:06 | go ahead and center the imag
inside of its background.
| | 04:08 | All right so, that's the way to a work.
| | 04:10 | I will go ahead and press Ctrl+Z or Command+Z
on a Mac again in order to undo that change.
| | 04:15 | If you're working on a PC and you have
this kind of real estate on screen, in
| | 04:20 | our case it works just fine because
both of the images are vertical on a
| | 04:23 | horizontal screen, but let's say you
are working with a couple of horizontal
| | 04:27 | images and you just don't want to
be able to see both at the same time,
| | 04:31 | here's what you do.
| | 04:32 | Go back up to the application's bar,
click on that Arrange Documents icon, and
| | 04:36 | switch back to Consolidate All, and
notice that Photoshop has change the order
| | 04:40 | of the tabs. If you want to write things
again just go and drag the left one to
| | 04:44 | the right of the other like so.
| | 04:46 | And now let's go ahead and switch
back to the Extracted model image.
| | 04:49 | And here's what you do. Again, this is
specifically a PC trick by the way.
| | 04:53 | Using your Move tool you go ahead and drag
the image onto the tab of the other image
| | 04:59 | window and then wait a moment for that
window to come to front, and then move
| | 05:03 | your cursor back inside the image window.
| | 05:06 | And in our case, because we want to
center the image, you go ahead and press the
| | 05:10 | Shift key and then drop it in the place.
| | 05:13 | All right, one more method that I want
to show you here, so you're armed with a
| | 05:17 | few different ways of working.
| | 05:19 | That way you can pick and choose
the best approach for a given job.
| | 05:22 | I will go ahead and press Control+Z, Command
+Z on a Mac, and switch back to the model.
| | 05:27 | Then go to the Layers panel, you have
to have both images open once again for
| | 05:31 | this to work, right-click on an empty
portion of the layer, and when I say empty
| | 05:35 | portion, I mean somewhere above or
below the layer name. Go ahead and right-
| | 05:40 | click and then choose the
Duplicate Layer command.
| | 05:43 | You get this dialog box that expects
you to just go ahead and duplicate this
| | 05:47 | layer inside the current composition.
| | 05:49 | That's not what you want. You want to
go ahead and change the Document from
| | 05:53 | Extracted model.psd in this case to
Sea and sky.jpg, the other open image.
| | 05:58 | You can go ahead and name that layer
something different if you like, then click OK.
| | 06:03 | Now, this may seem a little confusing
because Photoshop does not automatically
| | 06:07 | switch you to the other image.
| | 06:09 | It just leaves you in the one you were in.
| | 06:11 | So now you have to switch over to the
other image file and you will now see
| | 06:15 | that Photoshop has followed your
instructions and moved the Extract layer
| | 06:18 | against the background.
| | 06:20 | I am going to go ahead press the F key a
couple of times and zoom in, just so we
| | 06:24 | can see how beautifully
these images merge together.
| | 06:27 | Thanks to that work we have done using
the Color Range and Refine Edge commands
| | 06:31 | a few exercises ago, plus our ability
to move a layer along with its layer mask
| | 06:36 | intact, from one image into a
different background, here inside Photoshop.
| | Collapse this transcript |
|
|
4. Working with Type and EffectsCreating and formatting type| 00:00 | In this exercise I'm going to show you how
to create and format type inside Photoshop.
| | 00:05 | Now, a couple of interesting things
to note about type inside the program.
| | 00:08 | First of all if you create so much as
single letter of type, it's going to
| | 00:13 | appear on an independent layer inside
the Layers panel, which allows you to edit
| | 00:17 | that type in the future.
| | 00:18 | Secondly, type is always vector-based,
just like it is in Illustrator or
| | 00:23 | InDesign so even though Photoshop is a
pixel-based image editor, you can resize
| | 00:29 | your text any time you like and have
it look super smooth and match the full
| | 00:34 | resolution of the image.
| | 00:36 | I'm working inside a file called
Wood background.psd found inside the
| | 00:40 | Exercise Files folder, and I'm going
to drop down and select the type tool
| | 00:44 | midway down the toolbox.
| | 00:45 | I can also get to it by pressing the T key.
| | 00:48 | Now there are two ways to
create type inside the program.
| | 00:51 | If you're looking to crate full
paragraphs of type in which a word wraps down to
| | 00:55 | the next line when it reaches the end
of a column, then go ahead and drag to
| | 01:00 | create a text frame, and then
enter some text from the keyboard.
| | 01:04 | I've created some text in advance
and copied it to the clipboard, so I'll
| | 01:08 | retrieve it by going to the Edit menu
and choosing the Paste command or pressing
| | 01:12 | Ctrl+V or Command+V on the Mac.
| | 01:14 | Now at this point let's imagine you
want to change the size of the frame.
| | 01:18 | Then just go ahead and hover your
cursor over one of these handles that
| | 01:22 | surrounds this dotted bounding box and
drag the handle as desired, and notice
| | 01:27 | that your text will rewrap.
| | 01:29 | To accept your modifications to the
text, go ahead and press the Enter key on
| | 01:33 | the numerical keypad. That's very important.
| | 01:36 | Now if your keyboard doesn't offer a
keypad, then press Ctrl+Enter on the PC or
| | 01:41 | Command+Return on the Mac.
| | 01:43 | Now what if instead of accepting your
modifications you want to abandon them?
| | 01:47 | Well, I'll go ahead and get rid of my
existing text layer, which you can see
| | 01:51 | gets automatically a name by
Photoshop after the first few words of type.
| | 01:55 | Press the Backspace key or
the Delete key on the Mac.
| | 01:58 | That's always your method for
deleting a layer inside Photoshop.
| | 02:02 | Now we'll go ahead and re-create that
textframe and press Ctrl+V or Command+V again.
| | 02:07 | Now I'm making this point because in
Illustrator and InDesign, you can accept
| | 02:12 | modifications made to text
by pressing the Escape key.
| | 02:15 | However, if you press Escape inside
Photoshop then you will abandon all
| | 02:20 | changes made to that text.
| | 02:21 | In my case I abandoned the creation
of the text frame in a first place.
| | 02:26 | Most of the time my guess is you'll
be creating large display type inside
| | 02:30 | Photoshop, in which case just go ahead
and click to set an alignment point and
| | 02:35 | then enter your type from the keyboard.
| | 02:37 | Now my text is much too small, so I'll
go ahead and press Ctrl+A or Command+A
| | 02:42 | on the Mac in order to select it, then I'll
dial in a new type size up here in the Options bar.
| | 02:47 | Well, that's not nearly big enough.
| | 02:49 | And frankly it's hard to enter a
numerical type size that's going to work.
| | 02:52 | Luckily you can scale your type
incrementally using a keyboard shortcut.
| | 02:57 | If you press Ctrl+Shift+Period, which
is the same thing as Ctrl+Shift+> on an
| | 03:02 | American keyboard ,that would be
Command+Shift+> on the Mac, then you will
| | 03:07 | increase your type size in
increments of two points.
| | 03:10 | To work more quickly,
specifically in 10 point increments, press
| | 03:14 | Ctrl+Shift+Alt+> or Command+
Shift+Option+> on the Mac.
| | 03:19 | To reduce the size of the type, you
press Ctrl+Shift+Comma, that is to say
| | 03:24 | Ctrl+Shift+< or Command+Shift+<
on the Mac. To move more quickly,
| | 03:30 | that's Ctrl+Shift+Alt+< or
Command+Shift+Option+< on the Mac.
| | 03:35 | I'm going to increase my
type size to about 64 point.
| | 03:39 | Now let's say you want to change
the font. Then go ahead and select the
| | 03:42 | Font from the pop-up menu and you'll see
little previews of the fonts next to the font name.
| | 03:47 | I'm going to select let's say Rockwell, which
is one of the fonts installed on this machine.
| | 03:52 | And let's say you really don't know
what font you want to use. You can cycle
| | 03:56 | between the fonts installed on your
system by pressing the down arrow key to
| | 04:00 | advance to the next font in
alphabetical order or to move to the previous font,
| | 04:04 | press the up arrow key.
| | 04:06 | You can also type in the
first few letters of a font name.
| | 04:09 | For example, I'll type in STN for
stencil. Now I'm really looking for stencil
| | 04:14 | standard, which is the next font down,
so I'll press the down arrow key.
| | 04:18 | You can select the style you want to use,
such as Bold, Italic, what have you,
| | 04:22 | from the next pop-up menu over.
| | 04:24 | In my case however, this
font offers just one style, Bold.
| | 04:28 | Now notice that you're not going to
see all of the formatting options up here
| | 04:31 | in the Options bar. To see the others,
| | 04:33 | go to the Window menu and for the
character-level formatting attributes, the
| | 04:37 | one's that affect just selected
letters of type, choose the Character option.
| | 04:41 | For the paragraph-level formatting
attributes, that is things like justification
| | 04:45 | that affect entire paragraphs at a
time, choose the Paragraph option.
| | 04:49 | However, I'm going to choose
Character to bring up the Character panel.
| | 04:53 | Right next door is Paragraph, notice
that, and here's where you get to your
| | 04:56 | application-specific style options,
things like All Caps and over here
| | 05:01 | you've got Underline.
| | 05:02 | However, stencils always
all caps as you can see.
| | 05:05 | The one modification I want to make is
to change this horizontal scale value to
| | 05:09 | 94%, just to make my type a little
thinner. Then I'll press the Enter key on the
| | 05:14 | numerical keypad a couple of times
in order to accept that modification.
| | 05:18 | All right now I want to go ahead and
center the type inside the image and I'm
| | 05:23 | going to do so by first selecting the
area in which I want to center the type.
| | 05:27 | So if you wanted to center the type
inside the whole image, you'd just press
| | 05:30 | Ctrl+A or Command+A on the Mac.
| | 05:32 | I'm going to go ahead and grab my
Rectangular Marquee tool however, and select
| | 05:36 | this region that pretty much defines
this central slot right here, and then I'll
| | 05:42 | switch to the Move tool and with the
type layer still selected-- notice that
| | 05:46 | Photoshop names the layer Carving automatically--
| | 05:48 | I'll go ahead and click on these two
icons, the one that says Align Vertical
| | 05:53 | Centers, and then I'll click on Align
Horizontal Centers, and that will exactly
| | 05:58 | center my type inside that region.
| | 06:00 | And now I press Ctrl+D or Command+D on the Mac
in order to deselect the image. You know what?
| | 06:05 | I might press the down-arrow key a
couple of times in order to nudge the
| | 06:09 | text slightly down.
| | 06:10 | Now let's say I want to color the type
and I want the text to match the ambient
| | 06:14 | colors inside the image.
| | 06:16 | So I'll go ahead and get my Eyedropper
tool, which I can get by pressing the I key,
| | 06:20 | and then I'll click a color inside
of this knot in the wood there and that
| | 06:25 | lists a shade of brown.
| | 06:26 | Now notice I've changed the foreground
color down here at the bottom of the toolbox.
| | 06:30 | To assign that foreground color to the
active text, I'll press Alt+Backspace or
| | 06:35 | Option+Delete on the Mac.
| | 06:36 | Now I want to burn that text into the
background, so I'll go ahead and change
| | 06:40 | the blend mode from Normal to Multiply
in order to achieve this effect here.
| | 06:45 | So any modifications that you can
apply to standard layers are applicable to
| | 06:50 | text layers as well.
| | 06:51 | One final tip. If you want to edit
your text, the easiest way to select it
| | 06:56 | regardless of which tool is active,
is to go over to the Layers panel and
| | 07:00 | double-click on the thumbnail, the one
with the T in it, and that goes ahead
| | 07:04 | and automatically switches you to the
Type tool, as you can see here, and selects
| | 07:08 | all of the type inside the layer.
| | 07:10 | Now in my case I don't want to do
anything to that type, so I'll just go ahead
| | 07:13 | and press the Escape key to return to my
previously selected tool, which happens
| | 07:18 | to be the Eyedropper.
| | 07:20 | And that's how you create and format
text, whether you're working with small type
| | 07:24 | in paragraphs or large
display type, here inside Photoshop.
| | Collapse this transcript |
| Adding a drop shadow| 00:00 | In this exercise I'm going to show you
how to apply an automated drop shadow.
| | 00:05 | We'll be assigning the shadow to this
editable text layer, but you can apply
| | 00:09 | drop shadows to any layers inside the program.
| | 00:12 | This is also our introduction to layer
effects, which are amazingly powerful
| | 00:16 | features inside Photoshop.
| | 00:18 | I'm working inside of the file
called Editable text layer.psd. It's found
| | 00:23 | inside the Exercise Files folder and
with the text layer active I'll dropped
| | 00:27 | down to the fx icon at the bottom of
the Layers panel click on it and then
| | 00:31 | choose Drop Shadow.
| | 00:33 | Then inside this big Layer Style
dialog box notice you can change to the
| | 00:37 | opacity of the drop shadow to anything you like.
You can also assign any of the blend modes.
| | 00:44 | Generally speaking you want to stick
with Multiply, because Multiply goes ahead
| | 00:48 | and burns that shadow into the
background regardless of its color.
| | 00:52 | Now in our case the color is black.
Let's go ahead and override that and match
| | 00:56 | one of the indigenous colors inside
the image, by clicking on that color
| | 00:59 | swatch to bring up a color picker
dialog box, and then I'm going to click on
| | 01:03 | this scene between the panels like so in order
to lift the color using the Eyedropper tool.
| | 01:09 | And this shade of brown looks pretty
good to me, so I'll go ahead and click the
| | 01:13 | OK button in order to accept that
modification. I'm going to restore the
| | 01:17 | Opacity value to 75%.
| | 01:18 | Now notice that we have Angle and
Distance values and they allow you to specify
| | 01:24 | the angle of the drop shadow and of
course its distance from the layer.
| | 01:28 | However you can modify those
attributes just by dragging inside of the image
| | 01:33 | window as well, so I can just drag
that shadow around to any place I like.
| | 01:38 | Now notice as I do so I'm affecting
some other layer effects inside the image.
| | 01:42 | For example I have a bevel that I've
assigned to the background layer and the
| | 01:46 | reason that all the effects are changing
is because Use Global Light is turned on.
| | 01:51 | The Use Global Light checkbox ensures
that the Drop Shadow, Inner Shadow, and
| | 01:56 | Bevel and Emboss effects all go in
the same direction, so that you have the
| | 02:00 | effect of a universal light source
inside of your image, I'm going to go
| | 02:04 | ahead and restore the Angle value to 135
degrees which is where it was before and then
| | 02:10 | I'll go ahead and take a Distance
value up to 30 pixels and let's change the
| | 02:14 | Size value which effects the softness
of the shadow. We'll change that Size
| | 02:19 | value to 30 pixels as well.
| | 02:21 | Now I do this because this is the way
most people work inside of Photoshop.
| | 02:25 | They match their Distance and their Size
values to each other. I would like to see
| | 02:29 | you get in the habit of not working
that way, because you can achieve some
| | 02:32 | interesting effects by making the
Distance and Size values different.
| | 02:37 | For example by taking the Distance
value down while I still have large size
| | 02:40 | value, I'm able to create a
very slightly soft drop shadow.
| | 02:44 | If you want to make this shadow a
little sharper and grow the shadow as well,
| | 02:49 | then you'll increase this Spread value.
| | 02:51 | For example I could take it up to 50%
in order to achieve this effect here
| | 02:55 | That's not really what I'm looking for
however, so I'll take that Spread value
| | 02:59 | down to let's say about 20% looks pretty good.
| | 03:02 | Now I want to introduce you to this
other option that works in combination with
| | 03:06 | layer effects. Click on Blending
options up here at the top of the list and
| | 03:10 | notice this Fill Opacity value. It's the
exact same thing as the Fill value over
| | 03:16 | here inside the Layers panel.
| | 03:18 | If I reduce that value and I'm going
to take it all the way down to 0% like so,
| | 03:23 | then I reduce the opacity of the
layer without affecting the opacity of
| | 03:28 | the layer effect that's assigned to
it. I'll go ahead and take that Fill
| | 03:32 | Opacity backup to 100%.
| | 03:34 | Compare that to reducing the Opacity
value, which changes the opacity of
| | 03:39 | the layer as a whole, not only the
layer itself, but the layer effects that
| | 03:43 | are assigned to it.
| | 03:44 | All right let's go ahead and take that
Opacity value back up to 100%, reduce
| | 03:49 | the Fill Opacity to 0%, and notice how
you now have invisible letters that are
| | 03:54 | still casting a shadow,. This gets even
more interesting if you switch back to
| | 03:58 | Drop Shadow and now I'm going to turn
off this checkbox that's says Layer
| | 04:02 | Knock Out Drop Shadow.
| | 04:03 | That's goes ahead and gets rid of the layer.
| | 04:06 | So we're just seeing the shadow behind
it and as a result we have this blurry text.
| | 04:11 | I'll go ahead and click OK in
order to except that modification and notice
| | 04:16 | this is still an editable text layer,
so I can double-click on the T and change
| | 04:21 | the text to anything I like.
| | 04:23 | I'll go ahead and press the Escape key
however, because I want my text to read the same.
| | 04:27 | Now notice here in the Layers panel
below the layer name is the word Effects
| | 04:31 | and a list of any effects that have
applied, in our case just Drop Shadow.
| | 04:35 | If you want to edit that drop shadow
double click on the words Drop Shadow to
| | 04:39 | bring up the drop shadow settings.
| | 04:41 | Another word you can edit your drop
shadow anytime you like. I'm going to go
| | 04:45 | ahead and turn on the Layer Knocks Out
Drop Shadow checkbox, so I can once again
| | 04:50 | see my sharply defined letters, and I'll
go ahead and raise Fill Opacity value to
| | 04:54 | something like 20% looks pretty good.
| | 04:57 | Return to the drop shadow settings and
I'm going to take my Size value down to
| | 05:01 | 20 pixels and click OK.
| | 05:04 | The result is a subtle translucent
type that still manages to cast a shadow,
| | 05:09 | thanks to the power of layer effects,
specifically drop shadows, here inside Photoshop.
| | Collapse this transcript |
| Carving type into a background| 00:00 | In this exercise I'm going to show you
how to create the effect of letters that
| | 00:04 | are carved out of a background.
| | 00:06 | I've save my progress as Drop shadow.psd
found inside the Exercise Files folder.
| | 00:11 | With that text layer active I'll drop
down to the fx icon and choose the next
| | 00:15 | layer effect down, Inner Shadow, in order
to bring up the Layer Style dialog box.
| | 00:21 | An Inner Shadow works almost
exactly like Drop Shadow except that the
| | 00:24 | shadows cast on the inside of the
edges of the layer, which means you can go
| | 00:29 | ahead and drag an Inner Shadow around
just as you can a Drop Shadow, directly
| | 00:33 | inside the Image window.
| | 00:35 | In my case however I'm going to
reinstate that original Angle value of 135 degrees, so
| | 00:41 | I don't upset the other layer effects.
| | 00:43 | Then I'm going to take my Distance
value down to 10 pixels, I'll press Tab a
| | 00:47 | couple of times to advance to the
Size value, and I'm going to raise that
| | 00:51 | value from the keyboard.
| | 00:52 | Now you can press the up arrow key in
order to raise the value in one pixel
| | 00:57 | increments. The down arrow key
lowers the value in one pixel increments.
| | 01:01 | If you want to move more quickly you
can press Shift along with an arrow key.
| | 01:05 | So I'll Shift+Up arrow a couple of
times in order to take that Size value to
| | 01:09 | 25 pixels and now I'm going to press Shift+
Tab in order to move back to the Choke value.
| | 01:15 | Now Choke works just like Spread
inside of the Drop Shadow options, that is to
| | 01:20 | say it increases the sharpness of the
effect, and I'm going to take that value
| | 01:25 | up to 30%. Again I'm pressing Shift+Up
arrow to nudge that value up from the
| | 01:29 | keyboard. I'm also going to change the
color of the shadow by clicking on this
| | 01:34 | black color swatch.
| | 01:35 | Now I'll move my eyedropper into the
image window and I'll click once again
| | 01:39 | on that seam between the panels and
that goes ahead and creates a pretty
| | 01:43 | similar color. It looks like I got
something that was a little too light, so I'll
| | 01:46 | try clicking again and those guys look a lot
better to me, so we have a nice rich brown.
| | 01:51 | I'll go ahead and click OK in order to
except that modification, and then I'm
| | 01:56 | going to increase the Opacity
value to let's say about 90% should work.
| | 02:01 | Now the interior of the letters is
definitely producing a kind of carved effect.
| | 02:05 | However it doesn't make any sense
that the letters are carved into the
| | 02:08 | background when they're
casting these drop shadows.
| | 02:11 | However if I turn off the Drop Shadow
checkbox to get rid of it, then we end
| | 02:16 | up with these really sharply defined letters,
which doesn't really make any sense either.
| | 02:20 | So what I'm going to do is reduce the
Drop Shadow so the letters appear a bit
| | 02:24 | burnt around the edges. I'll go ahead
and turn on the Drop Shadow checkbox and
| | 02:28 | click on it once again to select it
and I'm going to reduce the Size value to
| | 02:33 | 10 pixels. I'll press Shift+Tab and
take this Spread value down to 0% and then
| | 02:38 | I'll press Shift+Tab again to select a
Distance value and take it down to just one pixel.
| | 02:43 | Notice now we get the softer
letterforms, so they appear to be carved.
| | 02:47 | I'll go ahead and click OK in
order to except that modification.
| | 02:51 | Now the final thing I want to do is
raise the Fill value. The 20% is just too low.
| | 02:55 | You can change the Fill value
from the keyboard, if you press a number key.
| | 03:00 | Like let's say I press the 5 key.
That changes the Opacity value. That's no good,
| | 03:05 | because we're lowering the
opacity of the effects as well.
| | 03:08 | So I'll press 0 to reinstate an Opacity of 100%.
| | 03:12 | If you press Shift along with a
number you'll change the Fill value.
| | 03:16 | So watch the Fill value over here. If
I press Shift+0, that will take the Fill
| | 03:20 | value all the way up to 100%.
| | 03:23 | If I press Shift+3 however I'll
take that Fill value down to 30%.
| | 03:27 | Now I'll press the F key a couple of
times in order to switch to the Full
| | 03:31 | Screen mode and I'll zoom in on
letters which now appear carved into the
| | 03:34 | surface of the wood.
| | 03:36 | Now I hasten to add that even though
we've been working with live editable text,
| | 03:39 | and I of course could modify my type if
I wanted to, you can achieve this effect
| | 03:44 | using any kind of layer, which just goes
to show the power of combining different
| | 03:48 | layer effects inside Photoshop.
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| Making beveled type| 00:00 | In this exercise I'll show you how to
create beveled type inside of Photoshop.
| | 00:04 | Now this is just one way to go. There's
all sorts of beveling effects that you
| | 00:08 | can achieve, but we're going to create
the effect of this type chiseled out of
| | 00:13 | the background with these deep
grooves around the letterforms.
| | 00:16 | Notice that I've also created an
enhanced burning effect around each one of the
| | 00:19 | letters. We'll be starting inside this
file. It's called Slight shadow.psd, found
| | 00:24 | inside the Exercise Files folder.
| | 00:26 | With the type layer active, go ahead and
drop down to the fx icon click on it and
| | 00:31 | notice that we have just one layer
effect assigned, which is Drop Shadow.
| | 00:35 | I want you to go ahead and choose
Bevel and Emboss to bring up the most
| | 00:39 | complicated of the layer
effects inside Photoshop.
| | 00:42 | Notice that the Depth effects how
deeply groove these letters appear.
| | 00:46 | I'm going to go ahead and set that
value to 150% and then I'll take the Size
| | 00:51 | value up to 20 pixels.
| | 00:52 | And you already know about the Angle value.
| | 00:55 | That's the angle which the
light is hitting the layer.
| | 00:58 | The Altitude affects the angle of the
light source in the sky, so if you set it
| | 01:02 | to 90 degrees, that light is going to be
shinning down from directly above.
| | 01:06 | I'm going to take that altitude value
down to its original setting, which is 50 degrees.
| | 01:10 | Now let's go ahead and
change the Highlight and Shadows.
| | 01:14 | I'm going to click on the color swatch
for Highlights, in order to bring up the
| | 01:17 | Color Picker dialog box, and then I'll
click with my eyedropper in one of these
| | 01:22 | pale oranges over here in the left-hand
side of the image. Then I'm going to go
| | 01:26 | ahead and tweak these values a little bit.
| | 01:28 | I'll take that Hue value up to 350, and
incidentally Hue is all of the colors of
| | 01:34 | the rainbow mapped on to a circle.
| | 01:36 | So 0 degrees is red and about 30 degrees is orange,
60 degrees is yellow, and so on, all the way back
| | 01:43 | to 360 degrees, again for red.
| | 01:46 | The S value, which stands for
Saturation, affects how vivid the color is.
| | 01:51 | I want to take it down a little bit to
35%, so we have more of a pale orange.
| | 01:55 | A B value, which is brightness, of 100% is
just fine, then I'll go ahead and click OK.
| | 02:01 | Now notice that by default the
Highlight mode is set to Screen.
| | 02:04 | I want something with a little more
impact so I'm going to bring up my Blend
| | 02:08 | Mode pop-up menu and I'm going to
advance two down from screen to Linear Dodge Add,
| | 02:13 | and you'll notice that gives us
harder highlights inside the image.
| | 02:17 | I'm going to leave the Opacity value set to 75%.
| | 02:20 | I'm going to leave the Color of the
Shadow set to black and its opacity set to
| | 02:24 | 75% as well, but I'm going to advance
the blend mode from Multiply to its more
| | 02:28 | extreme cousin, Linear Burn, and we'll
end up with this higher saturation effect
| | 02:33 | that you see on screen.
| | 02:34 | Now the next thing I want to do is
create those grooves inside the letters in
| | 02:38 | order to turn on that Contour effect.
| | 02:41 | Now Contour is not in and
of itself a layer effect.
| | 02:44 | It's an additional ingredient that's
associated with Bevel and Emboss and right
| | 02:48 | now we have diagonally sloping contours
on the edges of our letters because the
| | 02:53 | Contour option is set to Linear.
| | 02:55 | Go ahead and click on that down
pointing arrowhead to the left of Contour
| | 02:59 | in order to bring up a pop-up menu of
additional Contour settings, and the
| | 03:02 | one I want you to select is Rounded Steps
and we'll get this grooved effect right here.
| | 03:07 | And that's not quite when I'm looking
for. The grooves are little too tight.
| | 03:11 | To loosen them up I'll increase
the Range value all the way to 100%.
| | 03:15 | That's still not really what I want,
because we end up with these rounded
| | 03:19 | grooves, which doesn't look right at all.
| | 03:21 | So I'll switch back to Bevel and
Emboss and I'll change the technique from
| | 03:25 | Smooth to Chisel Hard, and we'll end
up getting this deeply grooved effect.
| | 03:30 | Now it's a little bit too jagged, so
I'm going to raise that Soften value right
| | 03:34 | there by clicking inside of it and
pressing the up arrow key until I increase
| | 03:38 | the value to 4pixels.
| | 03:40 | Now I want to create a burn effect all
the way around the letterforms and I'm
| | 03:44 | going to do that using Outer Glow. So go
ahead and click on Outer Glow to make it active.
| | 03:49 | Now most folks associate Outer Glow
with a straightforward glow effect.
| | 03:53 | In other words, if you take the Size
value up and you get these glowing letters.
| | 03:57 | However, bear in mind that you have
this Blend Mode setting here, so you can
| | 04:00 | take a glow and turn it into a shadow.
| | 04:03 | the difference between Outer Glow and
Drop Shadow is that a glow goes all the
| | 04:08 | way around the letters, whereas a
Drop Shadow goes in a single direction.
| | 04:12 | So let's go and take that Size value
down to 10 pixels, then I'm going to click
| | 04:16 | inside the Color Swatch to bring up the
Color Picker dialog box, and once again
| | 04:20 | lift the color from the scene
between the two panels right there.
| | 04:24 | And these Hue/Saturation and
Brightness values look just fine. Click OK
| | 04:28 | to accept that change.
| | 04:29 | Now change the blend mode from Screen
to something entirely different, in our
| | 04:34 | case Linear Burn, and we end up
getting this uniform darkening effect.
| | 04:38 | Now just one more change. I'm going to
click on Drop Shadow, currently set to Multiply.
| | 04:43 | That's not enough. We
want a higher impact effect.
| | 04:46 | So let's go ahead and advance from
Multiply to Linear Burn and we end up
| | 04:50 | achieving this stronger Drop
Shadow that you see on screen.
| | 04:53 | Now I'll click OK in order to accept
that effect. Now just a couple of more
| | 04:57 | changes I want to make.
| | 04:58 | Notice the panel down below, which
is this rectangular area around the letters.
| | 05:04 | I'll turn it off for a moment
so you can see its contribution, then
| | 05:07 | I'll turn it back on.
| | 05:09 | Notice that the panel has a few layer
effects assigned, but it does not include
| | 05:14 | Outer Glow or Drop Shadow.
| | 05:15 | I want to add those same Drop Shadow
and Outer Glow effects to the panel, so
| | 05:20 | here is what you do. You can either
drag the Drop Shadow from one layer to
| | 05:24 | another, then drop it into place like so.
| | 05:27 | That will actually move the effect from
one layer to the other, so I no longer
| | 05:32 | have a Drop Shadow assigned to
the letters. That's no good.
| | 05:35 | So I'll press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 05:39 | If you want to duplicate a layer effect,
press the Alt key or the Option key on
| | 05:43 | the Mac and then drag for example Drop
Shadow down onto the other layer, drop it
| | 05:48 | in the place, and now let's
do the same with Outer Glow.
| | 05:51 | I'll drag the Outer Glow effect from the
Carved layer and drop it onto the panel layer.
| | 05:56 | That would be an option drag on the Mac
and then we end up with this final effect.
| | 06:00 | Press the F key a couple of times in
order to switch to the Full Screen mode
| | 06:04 | and zoom in on my text, and that's how
you achieve the effect of beveled type,
| | 06:08 | again, applicable to any kind
of layer here inside Photoshop.
| | Collapse this transcript |
| Creating true 3D type| 00:00 | In this exercise, I'll show you how to
create 3D type inside Photoshop Extended.
| | 00:05 | Now, this is the only exercise in
this course that requires you to own the
| | 00:09 | extended version of the software.
| | 00:11 | You'll know that you have Photoshop
Extended if you see the 3D menu next to the
| | 00:16 | View menu up here in the menu bar.
| | 00:18 | If you don't see that menu, no problem.
| | 00:20 | Just go ahead and skip to the
next exercise in the course.
| | 00:24 | For those of you who do have Extended,
I'm going to show you how to convert this
| | 00:27 | plain type into this final 3D type
effect right here, complete with a beveled
| | 00:33 | edges, the textured surfaces, and this
true cast shadow that's being created by
| | 00:37 | light shining on the letters.
| | 00:40 | I'll switch back to the image called
3D starter file.psd, found inside the
| | 00:44 | Exercise Files folder.
| | 00:46 | When you convert text to 3D,
it's no longer editable.
| | 00:50 | So you may want to go ahead and create
a copy of your text layer in case you
| | 00:53 | need to come back to it, by
pressing Ctrl+J or Command+J on a Mac.
| | 00:58 | I'll go ahead and turn off the
original 3D layer and now I'll call this new
| | 01:02 | layer extrusion, because we're going
to be extruding the letters in 3D space.
| | 01:07 | You do that by going up to the 3D
menu and choosing the Repousse command
| | 01:11 | which is Photoshop's way of creating 3D
objects and then go ahead and choose Text Layer.
| | 01:17 | Photoshop will warn you that the
text will no longer be editable.
| | 01:21 | We know that by now, so go
ahead and click on the Yes button.
| | 01:24 | A moment later you'll see
the Repousse dialog box.
| | 01:27 | I'll go ahead and move it over a little
bit so we can better see what we're doing.
| | 01:30 | Notice that we have this huge
amount of extrusion going on.
| | 01:34 | That is these big sides
associated with these letters.
| | 01:38 | In order to reduce the size of the
extrusion, change the Depth value to 0.1.
| | 01:42 | I also want you to change the Bevel value,
so the Height is 1 and the Width value is 3.
| | 01:49 | That gives us these slight beveled edges.
| | 01:52 | Let's change the contour by clicking in
the square, the square that contains the
| | 01:56 | white and gray triangles.
| | 01:58 | That will bring up the
Contour Editor dialog box.
| | 02:01 | Click on this line in order to add a
point to it and then drag that point down
| | 02:05 | to the bottom of the graph.
| | 02:07 | So the Input Level value says 95%
and the Output says 1%. Then click OK.
| | 02:14 | The next thing I want you to do is
go up to this All option, click the
| | 02:17 | down-pointing arrowhead, and we need to
load a material that I've created for you.
| | 02:22 | Go ahead and click that right-
pointing arrowhead and then choose the
| | 02:25 | Load Materials command.
| | 02:27 | Photoshop will tell you that
you can find materials online.
| | 02:30 | Go ahead and click OK.
| | 02:31 | Then navigate your way to the exercise
files folder, and you'll find a file
| | 02:35 | called Paper texture.p3m.
| | 02:38 | Go ahead and click on it, then click
the Load button in order to add it to
| | 02:41 | Photoshop's Materials Library.
| | 02:43 | Now click the down-pointing arrowhead
again, scroll all the way to the bottom
| | 02:47 | of the list, and click on the sphere
that reads paper texture in order to apply
| | 02:51 | that texture to all surfaces of the letters.
| | 02:54 | Now, click the OK button in
order to apply that modification.
| | 02:58 | Now, eventually we want to be able to cast
shadows from the letters onto the background.
| | 03:03 | And to do that, you need to go to the
3D menu and turn on this thing called the
| | 03:07 | Ground Plane Shadow Catcher.
| | 03:09 | Photoshop is going to tell you that you
need to raytrace the scene to see the shadows.
| | 03:13 | Click OK, because we'll
do that in just a moment.
| | 03:16 | Then I want you to switch to this
tool directly above the Hand tool.
| | 03:20 | It's the Camera Rotate tool.
Go ahead and click on it.
| | 03:23 | Then I want you to go to the Window menu and
choose the 3D command to bring up the 3D panel.
| | 03:29 | Now, drop to the bottom of the panel.
| | 03:31 | You'll see this icon that reads Toggle
Miscellaneous 3D Extras. Click on it and
| | 03:35 | choose 3D Ground Plane in order
to make the ground visible like so.
| | 03:39 | Now notice the ground plane
is declining away from us.
| | 03:42 | We want it to be parallel to the background.
| | 03:45 | You do that by going over to this red,
green, blue widget right here and notice
| | 03:50 | that each one of these little colored
sticks ends in an arrowhead and right
| | 03:54 | next to that is a kind of arc.
| | 03:56 | If you hover over the blue arc,
you'll see this yellow circle.
| | 03:59 | I want you to go ahead and drag down
from that arc, so that you see a vertical
| | 04:03 | green line on screen.
| | 04:05 | Now, go up to the Orientation values
here and change the X value just to
| | 04:09 | be sure to 190. A Y value of 360 and a Z
value of -180 are exactly what we're looking for.
| | 04:17 | Notice the text however is upright and
it's pretty far away from us, so we need
| | 04:21 | to make some modifications
using the Object Rotate tool.
| | 04:25 | So select the next tool up inside the
toolbox and then notice this red, green,
| | 04:30 | blue widget is at a different angle.
| | 04:32 | I want you to hover over that tiny
little bit of blue there which is that blue
| | 04:37 | arc that we're modifying before.
| | 04:39 | You'll see a yellow line going up and down.
| | 04:42 | That's the circle even
though we can barely see it.
| | 04:44 | Then drag up from it in order to rotate
the letters upward and then do it again.
| | 04:49 | Try to find that arc and drag on it a
second time in order to move the letters
| | 04:54 | so they look like they're
parallel to the ground plane.
| | 04:57 | Then hover over the red arc and drag up
on it to rotate the letters like so, and
| | 05:02 | hover over the blue arrowhead and
drag up on it to lift the letters.
| | 05:06 | Now, let's check out some of the
numerical options here in the Options bar.
| | 05:10 | Where the Orientation values are
concerned, I want you to change the X value
| | 05:14 | to 90, then tab over to the Y value, change
it to 0, and finally change the Z value to -10.
| | 05:21 | Now, switch over to this icon.
| | 05:23 | When you hover over it, it
will say Drag the 3D Object.
| | 05:26 | Click on that icon in order to
bring up the Position values.
| | 05:30 | We're going to change the X value to 480,
then change the Y value to 200, and I
| | 05:36 | want you to change the Z value to -610 like so.
| | 05:40 | You'll end up with this effect here.
| | 05:42 | Now, the letters are not only low on
the screen, we'll solve that problem in a
| | 05:46 | minute, but they're too small.
| | 05:48 | So click on this final icon, the one
that says Scale The 3D Object, and I want
| | 05:53 | you to change the X, Y, and Z values to 1.33.
| | 05:56 | You're going to have to change each one of
these values independently like so. All right!
| | 06:02 | Let's go ahead and raise the
letters by lowering our view of the scene.
| | 06:06 | So go back to the Camera Rotate tool,
click-and-hold on it, and then choose
| | 06:10 | the 3D Pan Camera tool.
| | 06:12 | We're going to need to
change a couple of values here.
| | 06:15 | An X value of 450 is just fine,
but I want the Y value to be -70.
| | 06:20 | I'll go ahead and press the Return
key or the Enter key on the Mac to see
| | 06:23 | what that looks like.
| | 06:24 | Finally, I'm going to change the Z value to
986 which will zoom slightly in on the scene.
| | 06:29 | All right!
| | 06:30 | Let's go ahead and turn off that
ground plane by dropping down to the Toggle
| | 06:33 | Miscellaneous 3D Extras option and
turning off 3D Ground Plane like so.
| | 06:39 | To get rid of the 3D widget on screen,
and ensure that I don't mess anything up,
| | 06:43 | I'm going to switch back to
the Rectangular Marquee tool.
| | 06:46 | Now, in order to properly render out
the highlights, and shadows, we need
| | 06:50 | to raytrace the scene.
| | 06:51 | So make sure the Scene option is
selected here at the top of the 3D panel.
| | 06:56 | Then drop down to this Quality option,
and change it from Interactive Painting
| | 07:00 | to Raytrace Draft and Photoshop
will begin rendering out the shadows.
| | 07:04 | Now these look terrible and that's
because I haven't really set the light source.
| | 07:09 | Go ahead and press the Escape key
in order to interrupt the render.
| | 07:13 | Then I want you to click the fly-out
icon in the upper-right corner of the 3D
| | 07:16 | panel and choose Replace Lights Presets.
| | 07:20 | Navigate your way to the exercise files
folder, find the file called White type
| | 07:25 | light.p3l, and click the Load button and
Photoshop should begin re-rendering the
| | 07:30 | scene automatically.
| | 07:31 | Now raytracing is a fairly time-
consuming process, because Photoshop has to
| | 07:36 | calculate the angle of the lights, and
the shadows, and the reflections, and so
| | 07:40 | forth, but just give it a bit of time.
| | 07:42 | Now, if you're at all interested in
learning more about 3D inside Photoshop,
| | 07:46 | you can check out my course which is called
Photoshop Extended One-on-One: 3D Fundamentals.
| | 07:53 | It's a total of five hours of spine-
tingling information and it's available
| | 07:57 | here at the lynda.com Online Training Library.
| | 08:00 | Once you get a sense of what the
scene looks like, you can go ahead and
| | 08:03 | press the Escape key in order to cancel the
raytracing process and this is the final scene.
| | 08:09 | Thanks to the amazing power of Photoshop 3D!
| | Collapse this transcript |
|
|
5. Using the Paint and Pen ToolsWorking with the Brush tool| 00:00 | In this exercise, I will introduce
you to the Brush tool, which is an
| | 00:04 | exceedingly practical free-form
painting tool inside Photoshop, and along the
| | 00:08 | way we will transform this basic
circle into this finished piece of artwork.
| | 00:13 | About half of what you're seeing
here is the result of the Brush tool.
| | 00:16 | The other half is the result of the
fills and gradients that we will apply in
| | 00:20 | an upcoming exercise.
| | 00:21 | We will start things off inside
this file that's called Circle.psd.
| | 00:25 | And before we set about making that
fish eye, let's get a sense of what's going
| | 00:29 | on with the Brush tool.
| | 00:30 | Anytime you want to paint inside of
Photoshop, I recommend that you paint on a
| | 00:34 | new layer so that you can paint and
erase without harming the rest of the image.
| | 00:38 | And the easiest way to create a
new layer is to press Ctrl+Shift+N or
| | 00:42 | Command+Shift+N on the Mac and I
will go ahead and call this new layer
| | 00:45 | Painting and click OK.
| | 00:47 | Now I will switch to the Brush tool,
which you get by clicking on the brush icon
| | 00:50 | here in the toolbox or you can press the B key.
| | 00:53 | The brush always paints in the foreground
color, which is by default set to black.
| | 00:57 | And so I will go ahead and paint.
| | 00:59 | Now I happen to be working with
a drawing tablet outfitted with a
| | 01:03 | pressure sensitive stylist.
| | 01:05 | This is a Wacom Intuos 4 for what is worth.
| | 01:08 | And if you're serious about painting
inside of Photoshop, I definitely recommend
| | 01:12 | you pick up a drawing tablet.
| | 01:13 | They cost anywhere from 100 bucks at
the low-end to $500 or more, depending on
| | 01:18 | the features that you want.
| | 01:20 | And notice when I press softly I get
a small brushstroke, a very thin one,
| | 01:23 | and when I press harder, I get a thicker brush
stroke, but throughout it's pretty darn soft.
| | 01:29 | Now the thickness and softness of a
brush stroke are dependent upon two
| | 01:33 | attributes called Size and Hardness that
you can get to by right clicking inside
| | 01:38 | of the image window.
| | 01:39 | I am going to go ahead and change that
Size value to let's say 75 pixels and
| | 01:43 | then I will increase the Hardness
value all the way from 0%, which gives you
| | 01:46 | very soft brush strokes indeed, to
100%, which gives you sharp brushstrokes
| | 01:51 | without being jagged.
| | 01:52 | Then I will press the Enter key in
order to hide that panel and I will go ahead
| | 01:56 | and paint another brushstroke and
you can see that's much thicker.
| | 01:59 | It's also much sharper.
| | 02:00 | Now the great news is you can modify
both of those attributes from the keyboard
| | 02:04 | without bringing up a panel by
pressing the square bracket keys.
| | 02:08 | Those are the keys to the right of the P
as in Paul key on an American keyboard.
| | 02:12 | If you press the Right Bracket key and
keep an eye on my cursor here, you'll
| | 02:15 | make the brush incrementally larger.
| | 02:18 | If you press the Left Bracket key
you'll make it incrementally smaller.
| | 02:21 | If you get impatient with those increments,
you can press and hold one of those keys.
| | 02:25 | So this is the result.
| | 02:26 | I am going to move my cursor to the center.
| | 02:28 | Pressing and holding the Right Bracket
key makes the brush monstrously large,
| | 02:32 | as you can see here, and this is a result of
pressing and holding the Left Bracket key.
| | 02:36 | You can change the hardness of
the brush as well by adding Shift.
| | 02:40 | I am going to go ahead and press
Ctrl+A or Command+A on the Mac to select the
| | 02:43 | entire layer and then press the
Backspace key or the Delete key on the Mac to
| | 02:47 | get rid of the contents of that layer.
| | 02:49 | Notice the layer goes ahead and
hangs in there because there is a
| | 02:52 | selection outline active.
| | 02:53 | Now I will press Ctrl+D or Command+
D on the Mac to deselect the image.
| | 02:57 | Currently I have a sharp brush.
| | 02:58 | I will go ahead and click to
show you what it looks like.
| | 03:00 | If I press Shift+Left Bracket
key, it gets slightly softer.
| | 03:03 | That's actually 25% softer.
| | 03:06 | I'll press Shift+Left Bracket
again and that's a 50% hardness brush.
| | 03:10 | Press Shift+Left Bracket again, click,
that's a 25% hardness brush. Shift+Left
| | 03:15 | Bracket again, click, that's a 0% hardness brush.
| | 03:18 | To go the other way then you press
Shift+Right Bracket, there's a 25% brush,
| | 03:23 | Shift+Right Bracket for 50% hardness
brush, Shift+Right Bracket again for 75%
| | 03:28 | hardness brush, and Shift+Right Bracket a
fourth time for 100% hardness brush. All right!
| | 03:33 | So I was telling you what
a practical tool this is.
| | 03:35 | Let's go ahead and put it to work.
| | 03:36 | I am going to turn off the painting layer,
click on the sphere layer to make it active.
| | 03:40 | It doesn't look much like a sphere right now,
but it will by time we are done with it.
| | 03:44 | Go ahead and click the down pointing
arrowhead next to the fx icon in order to
| | 03:48 | reveal the layer effects.
| | 03:49 | Notice that I have two effects
ready and waiting, both of which are
| | 03:52 | currently turned off.
| | 03:53 | I will turn on the Inner Shadow effect.
| | 03:55 | That goes ahead and adds
the shadow to the sphere.
| | 03:58 | If you want to see the specific values I
applied, just go ahead and double click
| | 04:01 | on the words Inner Shadow. Check it out.
| | 04:03 | Now that's still not quite a sphere.
| | 04:05 | I need to add a highlight.
| | 04:06 | So I am going to right-click with my Brush tool.
| | 04:09 | I am going to change the Size value
to 200 and the Hardness value to 0%.
| | 04:13 | Press the Enter key a couple of
times in order to hide that panel.
| | 04:15 | I want my foreground color to be white.
| | 04:18 | So I will click this little switch icon
or I could press the X key for exchange.
| | 04:22 | And then I want to paint
exclusively inside the sphere.
| | 04:26 | Let me show you what I am talking about.
| | 04:27 | I will turn off the background
layer so that we can see that
| | 04:29 | checkerboard pattern.
| | 04:30 | And notice if I start painting inside the
sphere layer, I make more or less a mess of things.
| | 04:36 | So I am painting both inside the
circle and outside of it and you may wonder
| | 04:39 | how in the world is it that I am painting with
white and I'm getting these dark brushstrokes?
| | 04:44 | Well, that's entirely a
function of the Inner Shadow effect.
| | 04:47 | If I were to turn it off, we would
have whiteness all over the place.
| | 04:50 | If I turn it back on then you can see
the Inner Shadow is attacking that area
| | 04:54 | and turning it all dark.
| | 04:56 | I'm going to go ahead and undo those
brushstrokes and I hit a backstep there by
| | 05:01 | pressing the keyboard shortcut,
| | 05:02 | Ctrl+Alt+Z or Command+Option+Z on
the Mac, to go back several steps.
| | 05:07 | If I want to limit my brushstroke to the
interior of the layer so it doesn't go
| | 05:11 | outside, then I would lock down the
transparent pixels by clicking on this first
| | 05:16 | icon to the right of the word
Lock at the top of the Layers panel.
| | 05:19 | Now if I paint inside the layer, notice that
I am painting exclusively inside the circle.
| | 05:25 | I am going to undo that brushstroke
too and all I want to do, in order to
| | 05:29 | create the highlight that will turn this
circle into a sphere, I just have to click once.
| | 05:33 | So with my mouse, by the way. I'm not
using my drawing tablet this time. All right!
| | 05:38 | Now the sphere is going to
serve as an iris inside the eye.
| | 05:41 | So I added this Inner Glow effect,
which is actually something of a shading
| | 05:44 | effect, all the way around
the perimeter of the circle.
| | 05:48 | The next step is to create a pupil.
| | 05:49 | So I will press Ctrl+Shift+N, Command+
Shift+N on the Mac to make a new layer and
| | 05:53 | I will call it pupil and then click OK.
| | 05:56 | And we are going to make the
pupil using the Brush tool.
| | 05:59 | I will right click inside the image
window to bring up the Brush panel once again.
| | 06:03 | I will change the Size value to
150 and Hardness value to 100%.
| | 06:07 | Press the Enter key to hide the panel.
| | 06:09 | Press the X key in order to switch the
foreground color back to black and I will
| | 06:13 | click any old place.
| | 06:14 | Now that's way off-center, as you can see.
| | 06:16 | I did that on purpose so I can show
you how to align one layer to another.
| | 06:20 | Make sure pupil is selected.
| | 06:21 | Shift+click on sphere to select it as well.
| | 06:24 | Then go ahead and switch to the Move
tool, which gives you access to the Align
| | 06:28 | options up here in the Options bar, and
click on each one of these align centers icons.
| | 06:33 | So first align vertical centers and
then align horizontal centers and we end up
| | 06:37 | with this effect here.
| | 06:38 | Now I want to create a kind of drop
shadow behind the pupil, not because the
| | 06:42 | pupil is casting a drop shadow onto the
iris, that wouldn't make any sense, but
| | 06:46 | rather because I want a little bit
of darkness around the pupil's edge.
| | 06:49 | So select the pupil layer
independently just by clicking on it.
| | 06:52 | Click on the fx icon. Choose Drop Shadow.
| | 06:55 | We are going to move
pretty quickly through this one.
| | 06:57 | Click on the color swatch.
| | 06:58 | I am going to change the Hue to 15
degrees, the Saturation to 100% and the
| | 07:03 | Brightness value to 15%. So 15, 100, 15.
| | 07:06 | Click OK. Multiply is fine.
| | 07:09 | I am going to crank the
Opacity value up to 100%.
| | 07:12 | The Angle should be 135 degrees.
| | 07:14 | A Distance value of 5 pixels is just fine.
| | 07:17 | I will change the Spread value to
30% and the Size value to 50 pixels.
| | 07:22 | Then click OK and that gives me the
darkening effect I see right there.
| | 07:26 | Now I want to add a highlight to the pupil.
| | 07:28 | So I will switch back to my Brush tool
and I'll also go ahead and press the X
| | 07:33 | key to swap the foreground color back to white
and I will right-click inside my image window.
| | 07:38 | Let's change the Size value
to let's say 100 pixels.
| | 07:41 | The Hardness should be 0%.
| | 07:43 | Press the Enter key a couple of times
in order to hide that panel and then make
| | 07:46 | sure that you have got the
tansparency locked down.
| | 07:49 | So go ahead and click on that Lock
Transparent Pixels icon next to the word Lock
| | 07:53 | there in the Layers panel and click in
order to create the highlight. All right!
| | 07:58 | So that finishes off the iris and the pupil.
| | 08:01 | Now you know how to paint with the
Brush tool as well as modify the size and
| | 08:05 | hardness of our brush here inside Photoshop.
| | Collapse this transcript |
| Painting inside a selection outline| 00:00 | In this exercise, I am going to show you
how to paint inside of a selection outline.
| | 00:04 | I'll also show you how to paint in
perfectly straight lines, both of which can
| | 00:09 | prove very useful inside of Photoshop.
| | 00:11 | I've saved my progress as Iris & pupil.psd
found inside the Exercise Files folder.
| | 00:17 | You may recall that we're
ultimately going for this effect here.
| | 00:20 | Now, I painted the outside of the
body using the Brush tool. I was able to
| | 00:24 | achieve these smoothly arching
outlines by painting inside of a selection.
| | 00:29 | Let me show you how that works.
| | 00:31 | I will go ahead and switch
back to my file in progress.
| | 00:34 | Let's create a new layer by pressing
Ctrl+Shift+N, Command+Shift+N on a Mac.
| | 00:38 | I will go ahead and call
this layer eye and click OK.
| | 00:42 | So basically, as you are painting
inside of Photoshop, every time you're
| | 00:46 | painting a different part of your
image, go ahead and create a new layer.
| | 00:51 | Now, I selected the outline of that eye
using the Elliptical Marquee tool and
| | 00:55 | I'm going to show you on a fairly
small scale how I did it and then we will
| | 00:58 | actually load a selection
I've created for you in advance.
| | 01:02 | You draw a one ellipse like so, and
I will go ahead and make it wide but
| | 01:06 | not very tall, and then you press
the Shift and Alt keys or the Shift and
| | 01:10 | Option keys on a Mac, so you get that
little X next to your cursor, and you
| | 01:14 | draw another ellipse.
| | 01:16 | This time I'll move this one to about
here, pressing the Spacebar as well as
| | 01:21 | the Shift and Alt keys, as I work along here.
| | 01:23 | Then as soon as you release, you find
the intersection between one of those
| | 01:27 | ellipses and the other and
you end up creating an eye.
| | 01:31 | Now, this eye isn't perfect.
| | 01:33 | I actually had to zoom way out in order
to get the effect that I wanted to.
| | 01:37 | Just so that you and I get the same result,
| | 01:38 | I'd like you to go ahead and load the
selection that I have created for you by
| | 01:42 | going to the Select menu and choosing
the Load Selection command, and then set
| | 01:47 | that Channel option to Wedge. The
Invert checkbox should be off. You want to
| | 01:51 | create a new selection, in other words
you don't want to add to the existing
| | 01:54 | selection, because we do have a
selection outline out here right now.
| | 01:57 | We just want to get rid of it.
| | 01:59 | Click OK in order to load the
selection I have created for you.
| | 02:02 | Now, at this point you may find it
helpful to go ahead and turn your
| | 02:05 | Background layer back on.
| | 02:06 | I don't think I've mentioned this, but
notice that I can scroll up and down the
| | 02:10 | layers list just by using
the scroll wheel on my mouse.
| | 02:14 | But that only works as long as your
cursor is inside the Layers panel.
| | 02:18 | If you do it while your cursor is
outside the Layers panel, you end up
| | 02:21 | scrolling the image instead.
| | 02:23 | Go ahead and turn on that Background
Layer and then switch to the Brush tool
| | 02:27 | and I am going to right-click inside
of the image window, and I am going to
| | 02:30 | increase the Hardness value to 100%.
| | 02:33 | A Size value of 100
pixels is good enough for now.
| | 02:36 | You can always adjust
that on the fly as you work.
| | 02:38 | Then press the Enter key or the Return
key on the Mac in order to hide that panel.
| | 02:42 | Set your foreground color to black,
which you can do just by pressing the D key
| | 02:46 | to restore your default colors.
| | 02:47 | I am going to go ahead and switch back
to my drawing tablet and I want you to
| | 02:52 | create a stroke that's pretty thick
over here on the upper right-hand side, but
| | 02:56 | notice how I'm getting
these lumps in my brushstroke.
| | 02:59 | That's not acceptable at all.
| | 03:01 | That's a function of an attribute
known as spacing inside of Photoshop.
| | 03:05 | Basically, when you're painting a
brushstroke inside the program, you are not
| | 03:08 | really painting a continuous line;
you're laying down a bunch of circular
| | 03:12 | dollops of paint that are so
tightly packed they look like a line.
| | 03:16 | I'll go ahead, and press Ctrl
+Z or Command+Z on the Mac.
| | 03:19 | I will go up to the Window menu, and
choose the Brush command in order to
| | 03:22 | bring up the Brush panel.
| | 03:24 | Then go ahead and click on Brush Tip
Shape just to make sure it's selected, and
| | 03:28 | note the Spacing value down
here at the bottom of the list.
| | 03:31 | Watch this Brush Preview as well.
| | 03:32 | If I increase the Spacing value,
you can see that I get an even
| | 03:36 | lumpier brushstroke.
| | 03:37 | In fact, those circular dollops are
starting to pull away from each other.
| | 03:40 | Actually, that's the way painting works
inside just about every painting program.
| | 03:44 | In order to get smoother results,
let's take that Spacing value down to 10%,
| | 03:49 | which is going to mean more work for
Photoshop but it's also going to mean
| | 03:52 | better looking artwork for us.
| | 03:54 | Now then let's try it again.
| | 03:55 | I will go ahead and paint a pretty
thick brushstroke in this region right here.
| | 03:59 | I'll reduce the size of my brush and
then paint a thinner brushstroke over here
| | 04:04 | on the upper left-hand side. Do it a
couple of times there just to see if I can
| | 04:08 | smooth out those results.
| | 04:10 | Now, I'll increase the size of my
brush again, create a big thick brushstroke
| | 04:13 | down there in the lower left region,
reduce the size of my cursor, pretty thin
| | 04:18 | brushstroke over here on the lower
right-hand side, and then little bit of a
| | 04:22 | wedge right there, and that should take
care of things pretty nicely. All right!
| | 04:26 | Now, I am going to press Ctrl+D, Command+D
on the Mac, in order to deselect my image.
| | 04:30 | For the eyelashes, I'm going to go
ahead and paint a series of straight
| | 04:34 | lines using my mouse.
| | 04:36 | I will reduce the size of my cursor
and then click and Shift+Click.
| | 04:40 | When you Shift+Click, you connect your
last click point to the next click point.
| | 04:44 | I'll go ahead, and reduce the size of
my brush a little more by pressing that
| | 04:48 | left-bracket key, and I will click and
Shift+Click again, and then just a little
| | 04:53 | more like so, click and Shift+Click.
| | 04:55 | I will increase the size of my
cursor to something thicker and click and
| | 04:59 | Shift+Click down here in the lower
left region, reduce the size of my cursor,
| | 05:03 | click and Shift+Click, and then reduce
the brush size a little more, and click
| | 05:07 | and Shift+Click for that final eyelash.
| | 05:10 | Now, go ahead and scroll up inside the
Layers panel and turn on the tail layer,
| | 05:14 | in order to complete that fisheye effect,
which is one use for painting inside
| | 05:19 | of a selection outline as well as
painting straight lines using the Brush tool
| | 05:23 | here inside Photoshop.
| | Collapse this transcript |
| Adding fills and gradients| 00:00 | In this exercise, I'm going to show you how
to apply fills and gradients inside Photoshop.
| | 00:05 | I've saved my progress as Eye inside fish.psd.
| | 00:09 | Now, there are a couple different
ways to assign fills and gradients.
| | 00:12 | You can either apply them as static
modifications, so you actually permanently
| | 00:16 | change the color of pixels in a layer,
or you can apply them as layer effects.
| | 00:21 | Now, I prefer the second method, but
I'm going to show you both ways to work.
| | 00:24 | I'm going to start by clicking on the
Background layer at the bottom of the Layers panel.
| | 00:29 | Then I'm going to dial in a shade
of blue here inside the Color panel.
| | 00:32 | Now, if you don't see your Color panel
on screen, go to the Window menu and
| | 00:36 | choose the Color command.
| | 00:37 | I'm working with the HSB sliders.
| | 00:39 | If you want to get to them, you can click on
the flyout menu icon and choose HSB Sliders.
| | 00:44 | Notice that the Hue slider shows you
all the colors in the visible spectrum
| | 00:48 | starting with red at 0 degrees and going
all the way to red again at 360 degrees.
| | 00:53 | So the visible spectrum
basically wraps around into a circle.
| | 00:56 | I'm going to move my slider to a shade
of blue over here that lives at 210 degrees.
| | 01:02 | Then I'll go ahead and
increase my Brightness value to 50%.
| | 01:06 | Now, notice that gives me a shade
of gray, which is strange because I just
| | 01:10 | dialed in blue here and I can see
its blue inside the Hue slider bar.
| | 01:14 | But problem is that the Saturation
is cranked all the way down to 0 which
| | 01:18 | always gives you gray.
| | 01:19 | You've got to increase that
Saturation value for more vivid colors.
| | 01:23 | So I'll go ahead and take
it all the way up to 100%.
| | 01:26 | Now let's say I want to fill the
background with this foreground color.
| | 01:30 | I'll go up to the Edit menu and choose
the Fill command and then I could say
| | 01:34 | that I want to use the Foreground Color.
| | 01:36 | Notice you also have the option of
switching to the Background Color.
| | 01:39 | You can select a pattern if you like.
| | 01:42 | I don't want to work this way however,
because there's an easier way to fill an
| | 01:46 | area with a solid color in Photoshop.
| | 01:48 | I am going to cancel out.
| | 01:50 | Now, these keyboard shortcuts all rely
on the Backspace key here on a PC or the
| | 01:54 | Delete key on a Mac.
| | 01:55 | But you can't just press Backspace
or Delete, because when there's no
| | 01:59 | selection active. If I press the
Backspace key, I'll just go ahead and get
| | 02:03 | rid of the Background layer.
| | 02:04 | That's not what I want.
| | 02:05 | So I'll press Ctrl+Z or Command+
Z on a Mac to undo that change.
| | 02:10 | So to fill with a color, you
need to add a modifier key.
| | 02:13 | So you press Alt+Backspace or Option+
Delete on the Mac in order to fill an area
| | 02:18 | with the foreground color.
| | 02:20 | To fill an area with the background
color, you press Ctrl+Backspace or
| | 02:24 | Command+Delete on the Mac.
| | 02:25 | I want the foreground color, so I'll
press Alt+Backspace or Option+Delete.
| | 02:29 | So that gets us a solid color.
| | 02:31 | We saw how we could get to a
pattern there inside the Fill dialog box.
| | 02:34 | What about a gradient?
| | 02:36 | Well, to fill with a gradient, you go
ahead and grab the Gradient tool, which you
| | 02:39 | can get by either clicking on
the tool or pressing the G key.
| | 02:43 | Then you select the gradient that you
want to use from this pop-up menu that's
| | 02:47 | available from the Options bar.
| | 02:49 | I'm going to go ahead and select Foreground
to Background, which is the default setting.
| | 02:52 | Then I'll drag from the top of the
image down to the bottom of the image.
| | 02:56 | I'm pressing the Shift key to constrain the
angle of my drag to exactly vertical and
| | 03:00 | release, and we end up getting this dark
to light fountain of color. All right!
| | 03:05 | So much for the static approach.
| | 03:07 | Let's see how to apply dynamic
fills and gradients using layer effects.
| | 03:11 | I'm going to go ahead and grab my Lasso tool.
| | 03:13 | The reason I'm getting the Lasso is
because I want to be able to fill the area
| | 03:17 | outside the eye and the area inside
the eye independently of each other.
| | 03:22 | So I'm going to define a
selection here by Alt+Clicking.
| | 03:25 | This Alt+Clicking technique, I
should say, it only works when there's
| | 03:28 | no selection active.
| | 03:29 | Go ahead and keep the Alt or Option
key on the Mac down and then click around
| | 03:34 | the interior of this eye like so.
| | 03:36 | Notice that I'm staying well within
the black area so that I have a lot
| | 03:41 | of wiggle room here.
| | 03:42 | Then once I've surrounded the eye, I'll
go ahead and release the Alt key or the
| | 03:46 | Option key on the Mac, and I'll press
Ctrl+J or Command+J on the Mac in order to
| | 03:51 | jump that selection to a new layer.
| | 03:53 | Now I'm going to call that layer inside.
| | 03:55 | Now, I'm going to create another layer
that goes outside that area and I'm going
| | 04:00 | to take advantage of that same selection
I created a moment ago by Ctrl+Clicking
| | 04:04 | or Command+Clicking on the
thumbnail for the inside layer.
| | 04:08 | So that goes ahead and
retrieves that selection outline.
| | 04:10 | This time, as I say I want the area
outside the eye, so I'll go to the Select
| | 04:14 | menu and choose the Inverse command.
| | 04:16 | I'll go back to my Background layer
just so that I have something to jump.
| | 04:20 | And I'll press Ctrl+J or Command+J on the
Mac in order to create a copy of those pixels.
| | 04:25 | I'm going to call this layer Flesh because
it's essentially the flesh outside the eye.
| | 04:30 | I'm going to move it above the Sphere
layer, so that I'm covering up those
| | 04:34 | little extra bits of iris that are showing
through on the outside of the eye. All right!
| | 04:38 | Let's start things off by filling
the inside of the eye with a gradient.
| | 04:42 | Now, it's already filled with a static gradient.
| | 04:44 | I don't really care.
| | 04:45 | It could be filled with anything
because we're going to override that.
| | 04:47 | In fact, let's go ahead and fill this
inside layer with a different color.
| | 04:51 | I'll make it white.
| | 04:52 | Now if I press Ctrl+Backspace, Command+
Delete on the Mac-- in fact I'll go ahead
| | 04:56 | and fill this layer with white
which is my background color.
| | 04:59 | Let me go ahead and turn off the Flesh layer
for a moment so you can see what's going on.
| | 05:04 | If I just press Ctrl+Backspace or
Command+Delete on the Mac, that will fill the
| | 05:08 | entire layer with white like so.
| | 05:11 | That's not what I want.
| | 05:12 | I just want to replace the
existing pixels with white.
| | 05:15 | To do that, go ahead and press Ctrl+Z
or Command+Z on the Mac and then press
| | 05:19 | Ctrl+Shift+Backspace or
Command+Shift+Delete on the Mac.
| | 05:23 | That'll just go ahead and replace those opaque
pixels with the background color. All right!
| | 05:28 | Now, let's go ahead and fill that
area with the gradient by dropping down to
| | 05:32 | the fx icon and choosing Gradient Overlay.
| | 05:35 | Notice that Photoshop goes ahead and
assigns a dynamic gradient automatically.
| | 05:39 | This isn't quite the
color scheme I'm looking for.
| | 05:42 | So I'll click on that gradient bar to
bring up the Gradient Editor and then
| | 05:45 | I'll double-click on this black color stop.
| | 05:47 | That brings up the Color Picker dialog
box and I'm going to dial in that same blue,
| | 05:51 | 210 degrees, and I'll take the
Saturation value up to 25%, so not a lot of
| | 05:58 | saturation going on here.
| | 05:59 | Then I'll increase the Brightness
value to 5%, which is very dark but
| | 06:03 | not altogether black.
| | 06:04 | Then I'll click OK to change the
gradient, click OK again to exit the
| | 06:09 | Gradient Editor dialog box.
| | 06:11 | Now, I could change the angle of the
gradient by dragging this little Angle
| | 06:14 | line around and I'm going to take it all the
way down to -95 degrees, so we have a slight angle.
| | 06:21 | So I'm creating a top to bottom gradient
that has a little bit of an angle to left.
| | 06:26 | Then go ahead and click the OK
button in order to apply that gradient.
| | 06:30 | Now, the wonderful thing about working
this way is that you can change your mind
| | 06:34 | anytime you like just by double-
clicking on the words Gradient Overlay.
| | 06:37 | That brings back up the Layer Style dialog
box complete with your last applied settings.
| | 06:42 | Anyway, I'm going to cancel out.
| | 06:44 | Now, let's see how we can combine a
pattern, a gradient, and a solid color all
| | 06:49 | in one to this Flesh layer.
| | 06:51 | So I'm going to go ahead and turn the Flesh
layer back on, then click on it to make it active.
| | 06:56 | Drop down to the fx icon once
again and choose Pattern Overlay.
| | 07:00 | And that'll go ahead and automatically
fill the layer with these weird bubbles.
| | 07:04 | Go ahead and click the down-pointing
arrowhead to list all the patterns that are
| | 07:07 | available to you, which is only two by default.
| | 07:10 | But you can get to more by clicking on
the right-pointing arrowhead to bring up
| | 07:14 | this menu and then choose Patterns.
| | 07:17 | Photoshop is going to ask you
whether you want to replace the existing
| | 07:21 | patterns or append.
| | 07:22 | Well, the patterns that we're loading
already include these two guys right
| | 07:26 | there, so just go ahead and click OK.
| | 07:28 | Now, we've got all kinds of patterns to
choose from, including this orange one
| | 07:32 | here that's called Rusted Metal.
| | 07:34 | Go ahead and click on it to select it,
then click off that sub-panel to hide it,
| | 07:38 | and increase the Scale value to 250%.
| | 07:42 | Now, I want to add a little bit of
darkness at the top of the image and
| | 07:45 | I'm going to do that using a Gradient
Overlay, so click on the Gradient Overlay option.
| | 07:49 | That goes ahead and completely replaces
the Pattern Fill with the Gradient Fill
| | 07:53 | because the gradient is on top.
| | 07:55 | However, I've got this
Blend Mode option right here.
| | 07:57 | I can change it from Normal to Multiply
and we create an interaction between
| | 08:01 | the gradient and the pattern.
| | 08:03 | I'm also going to reduce the Opacity
value to 50% and I'm going to change the
| | 08:07 | Angle to -90 degrees in order
to produce this effect here.
| | 08:12 | Now, this is a fish and it should
be swimming in water, not in rust.
| | 08:16 | So let's go ahead and recolor this
background by adding a Color Overlay.
| | 08:20 | As soon as I click on Color Overlay, I
completely replace the background with red.
| | 08:25 | That's obviously not what we want.
| | 08:27 | So click on that little color swatch, and
let's dial in that shade of blue we used earlier.
| | 08:31 | That is to say a Hue value of 210,
a Saturation of 100, and then a
| | 08:36 | Brightness value of 50%. Click OK.
| | 08:40 | Now, we still have that problem
where we're replacing the background with blue.
| | 08:43 | Let's go ahead and colorize that
background by switching the blend mode
| | 08:47 | from Normal to Color,
| | 08:49 | second from the bottom of the list,
and we end up getting this effect here.
| | 08:53 | Now, click OK in order to
accept that modification.
| | 08:56 | Finally, to finish off this comp, go
ahead and scroll to the top of the list
| | 09:00 | inside the Layers panel and
turn on the Fish eye layer.
| | 09:03 | Now you know how to fill a selection
or layer using either a solid color, a
| | 09:08 | repeating pattern, or a
gradient here inside Photoshop.
| | Collapse this transcript |
| Using the Pen tool| 00:00 | In this exercise I am going to show
you how to use the Pen tool, which is an
| | 00:04 | incredibly flexible
drawing tool inside Photoshop.
| | 00:07 | It lets you draw any line
or shape one point at a time.
| | 00:11 | Now you can take these path outlines,
which is what you create with the Pen tool,
| | 00:15 | and you can use
them for just about anything.
| | 00:18 | You can fill them with color on an
independent layer. You can place a layer
| | 00:22 | inside of a path outline. You can even
use path outlines to create brushstrokes,
| | 00:27 | which is what I did to create these
white strokes above and below the eye.
| | 00:31 | I am working inside this
file called Pen lines.psd.
| | 00:35 | If you are working along with me let's
go ahead and hide all but the background
| | 00:39 | layer, which you can do by Alt+
clicking or Option+clicking on the eyeball in
| | 00:44 | front of background.
| | 00:45 | To bring back all the layers, you
just Alt+click or Option+click again.
| | 00:49 | As I say, I'm going to Alt+click or
Option+click that eyeball to hide all the
| | 00:53 | layers just so that we don't have all
this clutter on screen, and then I will
| | 00:57 | switch to the Pen tool, which you get by
clicking on this pen or pressing the P key.
| | 01:01 | Now I will start off just by showing
you how the tool works, because if you've
| | 01:06 | never experienced it before,
it requires a little explanation.
| | 01:10 | Two basic ways to use the tool.
| | 01:12 | you can either create freeform
polygons by clicking or you can create smooth
| | 01:16 | continuous outlines by dragging.
| | 01:18 | So if you click in the image, you will
set what's known as an anchor point that
| | 01:22 | anchors down the path outline.
| | 01:25 | Then click again and you will go
ahead and connect those two anchor points.
| | 01:28 | These are known as corner points,
by the way, with a straight segment.
| | 01:32 | So you're creating a kind
of connect the dots puzzle.
| | 01:35 | Then just continue clicking to create
additional straight segments like so.
| | 01:40 | Once you finish, you can close the path
outline by clicking on that very first
| | 01:44 | anchor point and that
will create a closed shape.
| | 01:47 | Now Photoshop houses these
path outlines in the Paths panel.
| | 01:51 | To get to it, go to the Window
menu and choose the Paths command.
| | 01:55 | The Paths penal will appear by default down
here in the lower right region of the screen.
| | 01:59 | Notice that you have these tiny thumbnails.
| | 02:01 | If you want to make them bigger, you
right-click in an empty portion of the
| | 02:04 | panel and choose Large.
| | 02:06 | Notice also that this new path
is listed as work path in italics.
| | 02:10 | That shows you that it's just a
temporary path and you might lose it if
| | 02:13 | you're not careful.
| | 02:15 | To go ahead and save that path along
with the image, double click on it to bring
| | 02:19 | up the Save Path dialog box and call
this path polygon or whatever and click OK.
| | 02:24 | And now you won't lose this path
outline unless you purposely delete it.
| | 02:28 | Let's go and click off the path to
hide it and I will show you the other way
| | 02:32 | to use the Pen tool.
| | 02:33 | Instead of just clicking, you want to
drag and as you drag notice you are
| | 02:38 | creating a couple of things here.
| | 02:39 | Not only do you create the square
anchor point right at the beginning of the drag,
| | 02:42 | but you also create the
circular control handles in either direction.
| | 02:47 | The anchor point anchors down the path
outline so it actually appears on the
| | 02:52 | path outline, where the control handles do not.
| | 02:54 | The control handles tug at the path
outline and that's what gives you the curvature.
| | 02:59 | Now I am going to go ahead and
drag to create another anchor point.
| | 03:03 | This is known as a smooth point incidentally.
| | 03:05 | And notice that I am dragging away
from the path outline, not toward it.
| | 03:10 | That would send the path in the wrong direction.
| | 03:12 | You want to drag away and that will
create a nice continuous arc as you see here.
| | 03:16 | And notice the control handles
are actually tugging at that arc.
| | 03:20 | If you press and hold the Ctrl key or
the Command key on the Mac, you will get a
| | 03:24 | white arrow cursor and then
drag with that white arrow.
| | 03:27 | So keep the Ctrl or Command key down
and that allows you to move that control
| | 03:32 | handle and notice that also
tugs at the curvature of the path.
| | 03:36 | So if you move the control handle toward
that segment, you are going to flatten it out.
| | 03:40 | If you move it away,
you're going to add curvature.
| | 03:42 | You can also move it in the other
direction to create a kind of wave.
| | 03:46 | I am going to drag it back out like
so and then I'm going to continue to
| | 03:49 | create more anchor points.
| | 03:51 | Again, I'm dragging away from the path outline.
| | 03:53 | I will go ahead and create another
smooth point right about there and then I
| | 03:57 | will finish things up by closing the
path outline and again you need to drag on
| | 04:02 | that point as opposed to just clicking on it.
| | 04:04 | If you click on it, you will end up
flattening out that final segment. All right!
| | 04:08 | Let's go ahead and save this path as
well by double-clicking on it and I will
| | 04:12 | call this guy Round path and click OK.
| | 04:16 | Then I will click off the
path outline in order to hide it.
| | 04:20 | Now in our case, we want to create a
couple of simple curving paths and stroke
| | 04:24 | them with the Brush tool.
| | 04:25 | So I am going to switch
back to the Layers panel.
| | 04:27 | Bring back my layer so I can see
what's going on by Alt+clicking or
| | 04:31 | Option+clicking on the eye in
front of the background layer.
| | 04:33 | And I want you to scroll up the
list until you see that pen strokes layer.
| | 04:37 | Let's create another layer on top
of it by pressing Ctrl+Shift+N or
| | 04:41 | Command+Shift+N on the Mac and we will call
this layer new strokes and I will click OK.
| | 04:45 | Now notice how the brushstroke
starts thick and becomes thin.
| | 04:49 | You need to make sure you draw
your path in that same direction.
| | 04:52 | So I will start by creating the first
anchor point right about there and I will
| | 04:56 | drag in order to create some control handles.
| | 04:59 | And now I am going to create another
point right at this location and drag our
| | 05:03 | where to create anchor points as well,
still dragging away from my path outline
| | 05:08 | as you see me doing here.
| | 05:10 | Now that's all I'm going to do.
| | 05:11 | That simple path right there is enough.
| | 05:13 | You don't need to actually
close the path if you don't want to.
| | 05:16 | It can remain open like so.
| | 05:18 | I am going to switch back to my Paths
panel and double-click on this path in
| | 05:22 | order to name it and save it and I'll call
this one white lines and then I will click OK.
| | 05:28 | Now I'll switch back to my Layers panel
so I can better see what I am doing and
| | 05:32 | I want to stroke this path with the
Brush tool, which you do by first selecting
| | 05:37 | the Brush tool. That's very important.
| | 05:39 | So go ahead and click on the Brush tool
here inside the toolbox and then we want
| | 05:43 | the line to be white.
| | 05:44 | So I have got to switch the foreground
color to white by clicking on the little
| | 05:48 | switch icon or pressing the X key.
| | 05:50 | Then I will all right-click inside the
image window so that you can see that the
| | 05:54 | Size of the brush is 20 pixels
and the Hardness is set to 100%.
| | 05:57 | So you're actually going to tell
Photoshop to move the brush, actually
| | 06:02 | paint along this path.
| | 06:04 | So if you are working along with
me, set your values accordingly.
| | 06:07 | Press the Enter key or the Return
key in order to hide that panel.
| | 06:10 | Now I will hide that pen strokes path,
the one that contains my brush strokes.
| | 06:15 | And the way that you stroke the path
outline, all you have to do is you just
| | 06:20 | press the Enter key or the Return key
on the Mac and Photoshop goes ahead and
| | 06:24 | automatically traces the
brush along that path outline.
| | 06:27 | Now notice, we get a white brushstroke
because the foreground color is set to white.
| | 06:32 | However, the brush stroke doesn't taper.
| | 06:34 | It's the same thickness throughout.
| | 06:36 | To get a tapering stroke, we need to
change our setting in the Brushes panel.
| | 06:39 | So press Ctrl+Z or Command+Z on
the Mac to undo that brushstroke.
| | 06:43 | Then go to the Window menu and choose
the Brush command in order bring up that panel
| | 06:48 | and click on Shape Dynamics
over here in the left-hand list.
| | 06:52 | Notice this Size Jitter option?
| | 06:54 | It controls the size of
the brushstroke as you paint.
| | 06:57 | For me it's linked to pen pressure
because I have got my Wacom tablet connected.
| | 07:01 | I am going to go ahead and switch it
to Fade and then notice its value of 25.
| | 07:07 | That's 25 dollops of paint.
| | 07:09 | Now you are going to have to experiment
to see what works for you, for any given
| | 07:13 | path outline that is, but I happen to know for
this one that a value of 300 works very nicely.
| | 07:19 | Assuming, by the way, I am going to go
ahead and switch back to Brush Tip shape,
| | 07:22 | that the Spacing value is set to 10%.
| | 07:25 | That's very important as well.
| | 07:27 | Now I will hide my Brushes panel and I
will press the Enter key or the Return
| | 07:31 | key on the Mac again in order
to stroke that path. All right!
| | 07:34 | Let's go ahead and draw the path above the eye.
| | 07:37 | Once again switch over to the Pen tool
and then I will drag from this location
| | 07:41 | here so that I have an anchor point at
this position on the left-hand side of
| | 07:46 | the image and a control handle up
right from that and I will click and drag to
| | 07:49 | draw another anchor point
with control handles like so.
| | 07:53 | So again I'm dragging
away from that path outline.
| | 07:56 | I will go ahead and leave that path open.
| | 07:58 | By the way Photoshop is automatically
added that path to the white lines group there.
| | 08:03 | Now I'll switch back to the Layers panel
and we need to stroke this path again.
| | 08:07 | But if I press the Enter key or Return
key on the Mac now, all it will do is
| | 08:11 | hide that path outline.
| | 08:12 | So I got to go back to the Paths panel
and click on it again. What went wrong?
| | 08:17 | Well, you need to select the Brush tool.
| | 08:19 | So I will go ahead and grab that
Brush tool and we need to once again
| | 08:22 | adjust that Fade value.
| | 08:23 | So I am going to bring up the Brush
panel, this time by clicking on this little
| | 08:27 | brush icon over in this column of
icons in the right-hand side of the screen.
| | 08:31 | And I'll switch back to Shape Dynamics
and I am going to raise that Fade value
| | 08:36 | to 500, again 500 dollops of paint.
| | 08:39 | I will hide the Brush panel and I will
press the Enter key or the Return key on
| | 08:43 | the Mac to go ahead and stroke that path.
| | 08:46 | I went ahead and stroked
both of the path outlines.
| | 08:49 | That's not what I meant to do.
| | 08:50 | So I have got a double stroke going down below.
| | 08:52 | I will press Ctrl+Z or Command+Z on
the Mac to undo that change and I will go
| | 08:56 | ahead and press and hold the Ctrl key
or the Command key on the Mac and I will
| | 09:00 | click on the top path outline.
| | 09:03 | And now I will press the Enter key or
the Return key on the Mac again and this
| | 09:07 | time I stroke just the selected
path independently of the other one.
| | 09:11 | Let's return to the Paths panel and
click off the path in order to hide it, and
| | 09:15 | that's how you draw with the Pen tool
as well as stroke path outlines using the
| | 09:20 | Brush tool here inside Photoshop.
| | Collapse this transcript |
|
|
6. Working with Layer and Vector MasksUsing a layer mask| 00:00 | In this exercise, I am going to show how
to create and modify a layer mask, which
| | 00:05 | allows you to temporarily erase
portions of a layer, so that you can seamlessly
| | 00:09 | integrate that layer into a larger composition.
| | 00:13 | In our case, we are going to take this
photograph called Young man.jpg, found
| | 00:16 | inside the Exercise Files folder.
| | 00:19 | It comes to us from the Fotolia Image
Library, about which you can learn more
| | 00:21 | at fotolia.com/deke.
| | 00:24 | We are going to move it into this
composition which is called Old paradigm.psd,
| | 00:30 | and we are going to mask the photo
into place so it fades into view.
| | 00:33 | I will switch back to Young man.jpg.
| | 00:36 | First thing we need to do is move it
into the composition by right-clicking in
| | 00:40 | an empty portion of that layer there
inside the Layers panel and choosing the
| | 00:44 | Duplicate Layer command.
| | 00:45 | I will go ahead and name this layer
young man, and then from the Document pop-up
| | 00:50 | menu, I will choose Old paradigm.psd.
| | 00:53 | Then I will click OK.
| | 00:55 | Now, let's go ahead and switch over to
that image and you'll see that he has
| | 00:58 | been moved in the place.
| | 01:00 | Now, he is kind of in the middle of
this layer stack here, which is why he has
| | 01:04 | these lines and this text in front of his face.
| | 01:07 | I need to move him over to the right, so
that essentially I only want to see the
| | 01:11 | left-half of his face.
| | 01:12 | So I am going to move this layer over to
the right by switching to the Move tool.
| | 01:17 | Then I will go ahead and drag this
layer over to the right, and you should feel
| | 01:21 | it snap into place like so.
| | 01:23 | You want to make sure that you're not
seeing any gaps at the top of the image
| | 01:26 | or over here on the left-
hand side or the bottom.
| | 01:29 | Now, of course at this point, he is
covering up everything in the background.
| | 01:33 | So let's go ahead and add a layer mask.
| | 01:35 | You do that by dropping down to the
Add Layer Mask icon here at the bottom
| | 01:40 | of the Layers panel.
| | 01:41 | Now when you first create the
layer mask, it comes in entirely white.
| | 01:45 | White in a layer mask means opacity.
| | 01:48 | Black translates to transparency.
| | 01:51 | So currently we're seeing
everything inside the image.
| | 01:54 | Now I am going to switch over to my Brush
tool, which I can get by pressing the B key.
| | 01:59 | Now, if you were working with me in
the previous chapter, some of your
| | 02:02 | settings are a little messed up, like you
might still have that Fade setting in place.
| | 02:06 | To go ahead and reinstate the default
settings, and this works with any tool by
| | 02:10 | the way. This is a great technique.
| | 02:12 | Go up to the Options bar and
right-click on the tool icon.
| | 02:16 | That brings up this little menu that
says Reset tool or Reset All tools.
| | 02:20 | So you can reset every single tool
inside the toolbox if you want to or
| | 02:23 | just the current one.
| | 02:24 | I will go ahead and choose Reset tool.
| | 02:26 | Now we're back to our
default settings. All right!
| | 02:28 | I am going to press the right-bracket
key a few times in order to increase
| | 02:32 | the size of my brush.
| | 02:34 | The brush is already very soft
by default, which is what we want.
| | 02:37 | Now, go down here to the toolbox and make
sure that the foreground color is set to black.
| | 02:42 | If it isn't, click the little Switch icon.
| | 02:45 | Now, let's paint with black inside
the layer mask and that translates to
| | 02:49 | transparency as you can see here.
| | 02:51 | So we're essentially painting the image away.
| | 02:54 | But we are doing so entirely temporarily.
| | 02:56 | These kinds of temporary
modifications in Photoshop are commonly called
| | 03:00 | nondestructive, because you're not harming
any of the images inside your composition.
| | 03:06 | Now, notice here inside your layer
mask thumbnail that you'll see the left
| | 03:09 | portion of the mask is black, thereby
imparting transparency, and the right area
| | 03:14 | is white, thereby conveying opacity.
| | 03:17 | Now, if you go too far with a brushstroke,
let's say I paint into his eye, which
| | 03:22 | would of course utterly and
completely ruin this image.
| | 03:25 | if this were a static so called
destructive modification, all you'd have to do in
| | 03:30 | order to bring back that portion of the
face is press the X key which is going
| | 03:34 | to switch your foreground color back to
white, and then paint with white inside
| | 03:39 | the layer mask and that
paints that guy back into view.
| | 03:42 | Now, what I'm really looking
for is more of a gradient fade.
| | 03:45 | In other words, I want him to fade
continuously from opacity over here on the
| | 03:49 | right-hand side to
transparency over on the left.
| | 03:52 | So I am going to switch to my Gradient tool.
| | 03:54 | The Gradient tool is awesome for
creating layer masks by the way.
| | 03:58 | You can get to it by pressing the G key.
| | 04:01 | Then go ahead and switch your
foreground colors back to black and white
| | 04:04 | respectively by clicking on this
little switch icon again, and go up to the
| | 04:09 | Options bar, click the down-pointing
arrowhead next to this Gradient bar, and
| | 04:13 | make sure the gradient is set to
Foreground to Background as it is by default.
| | 04:17 | Press the Enter key to hide that panel.
| | 04:19 | You also want to make sure that you're
creating a linear gradient that the mode
| | 04:23 | is set to Normal, Opacity 100%,
Reverse is turned off, and the other two
| | 04:28 | options are turned on.
| | 04:29 | Now, drag with the tool from about here
over to the right and I'm pressing the
| | 04:34 | Shift key as I drag to create a
horizontal gradient, and I will release on the
| | 04:38 | left side of his eye, and we
end up getting this effect here.
| | 04:42 | Now, I want to better integrate him
with this scene and I am going to do that
| | 04:46 | by applying a blend mode.
| | 04:47 | So I'll click on Normal.
| | 04:49 | I want a kind of Contrast mode.
| | 04:51 | That is to say I want the bright
portions of his face to brighten the image, the
| | 04:55 | dark portions to darken the image, so
I will start things off with Overlay.
| | 04:59 | That mode that I was telling you
is the best of the contrast modes.
| | 05:03 | In our case though it
produces a pretty bad effect.
| | 05:06 | This isn't what I am looking for.
| | 05:07 | Now if you run into this situation and
Overlay doesn't work for you, then try
| | 05:11 | out some of the other contrast modes.
| | 05:14 | For example, if I wanted a more subtle
effect I could try out Soft Light, which
| | 05:18 | creates a kind of ghosting effect as
you can see here. If I wanted a stronger
| | 05:23 | effect, I can switch up to Hard Light.
| | 05:25 | That ends up giving me something
closer to the effect I'm looking for.
| | 05:29 | However, notice I also get these garish colors.
| | 05:31 | For example his flesh tones
and his lips are very pink.
| | 05:34 | In fact, what I'd really like to do is
remove all the colors from the image.
| | 05:39 | So I'll go up to the Image menu and
choose the Adjustments command, which gives
| | 05:43 | you access to all your static color
adjustments, and then I want to go ahead
| | 05:47 | and choose Desaturate, which gets rid of all the
color and changes the image to black and white.
| | 05:52 | However, the command is dimmed for me
and the reason that it's dimmed is
| | 05:57 | because the image is already black-
and-white, in so far as Photoshop is
| | 06:00 | concerned, because I've
got the layer mask selected.
| | 06:03 | You have to be very careful about this as
you work with layer masks inside of Photoshop.
| | 06:07 | Notice that the layer mask thumbnail
has a double outline around it that tells
| | 06:12 | you any modifications you
make will be to the layer mask.
| | 06:15 | If you want the image to be active,
click on the image thumbnail and it
| | 06:19 | gets the double outline.
| | 06:20 | Now, I can go back up to the Image menu,
choose the Adjustments command, and
| | 06:25 | choose Desaturate, which is now available to me.
| | 06:28 | That goes ahead and leaches the
color out of the image, turns it
| | 06:31 | black-and-white as you can see here in
the image thumbnail, and delivers the
| | 06:35 | results I am looking for.
| | 06:37 | One last thing. I am a little worried
that my text becomes somewhat illegible
| | 06:41 | over here around the words New again.
| | 06:43 | We just don't have enough contrast.
| | 06:45 | Just because I've started with a gradient
mask doesn't mean I have to stick with it.
| | 06:49 | I can go ahead and modify it on the
fly, using once again the Brush tool.
| | 06:53 | So I'll go ahead and click on the
Brush to select it and then I will just
| | 06:57 | click at this location right there in order
to add a little bit of darkness to that area.
| | 07:02 | But I have added way too
much darkness. What have I done?
| | 07:04 | If you take a look over here at the
Layers panel, you can see that I just
| | 07:08 | painted inside of the layer itself.
| | 07:10 | So once again you have to keep an eye out
for whether the image or the mask is selected.
| | 07:15 | I will press Ctrl+Z or
Command+Z on the Mac to undo that
| | 07:18 | unfortunate modification.
| | 07:20 | I will click on the layer mask
thumbnail to make it active and then I will
| | 07:23 | click inside this area once again.
| | 07:25 | That's a lot closer to what I was hoping for.
| | 07:28 | I might go ahead and paint up his
face a little bit and paint across his
| | 07:31 | shoulder as well in order to
finish off the effect. All right!
| | 07:34 | Let's end things by pressing the F key
a couple of times and zooming in on the
| | 07:38 | final version of the composition.
| | 07:40 | That's how you use layer masks to
temporarily erase and bring back portions of a
| | 07:45 | layer here inside Photoshop.
| | Collapse this transcript |
| Drawing vector shapes| 00:00 | In this exercise I am going to
show you how to draw shape layers.
| | 00:04 | Now shape layers are essentially path
outlines. You may recall them from our
| | 00:08 | discussion of the pen
tool in the previous chapter.
| | 00:11 | They are path outlines that you put on
independent layers and fill with color.
| | 00:15 | Only you don't do it. Photoshop
does it for you automatically.
| | 00:18 | More good news, Photoshop provides you
with a handful of simple shape tools that
| | 00:23 | allow you to draw these shapes
automatically rather than having to lay them
| | 00:27 | down one anchor point at a time,
and finally, just as with text inside
| | 00:32 | Photoshop, these shape layers are
vector based, meaning that you can scale and
| | 00:37 | rotate and otherwise transform
them without any loss in quality.
| | 00:41 | In the end we are going to be creating
this highly graphical icon here with this
| | 00:46 | spiky splash in the background in a
circle in front of it. We will be starting
| | 00:50 | inside of this file which is called
Prefab effects.psd, found inside the
| | 00:54 | exercise files folder.
| | 00:56 | Notice that we have this kind of
template layer in the background. I also have a
| | 01:00 | couple of squares. Those are the
Effects 1 and Effects 2 layers.
| | 01:04 | If you click the down pointing arrow
head next to the effects icon for either of
| | 01:08 | these layers, you will see a list of
effects that I have created for you in
| | 01:11 | advance and we will be copying those
effects to our shape layers as we work
| | 01:15 | through this project.
| | 01:16 | I am going to go ahead and collapse that layer.
| | 01:19 | Let's try drawing a shape by going down
here to what is by default the Rectangle
| | 01:24 | tool, near the bottom of the toolbox.
If you click and hold on the tool, you'll
| | 01:28 | see a list of 6 shape tools in all.
| | 01:30 | Let's start things off by
just drawing a simple rectangle.
| | 01:33 | I will draw that rectangle inside of
the image window and notice that when I
| | 01:37 | release the mouse button,
Photoshop does several things.
| | 01:40 | First it goes ahead and crates a new layer.
| | 01:42 | The layer is filled with black in my case.
| | 01:45 | If you don't like that color, just
go ahead and double-click on the color
| | 01:48 | swatch to bring up the Color Picker dialog box,
then select a different color and click OK.
| | 01:53 | We also have this vector mask thumbnail.
| | 01:56 | Now a vector mask is very similar to
a layer mask, at least in principle.
| | 02:00 | Everything that's inside this white
rectangle is opaque everything outside the
| | 02:04 | rectangle in this gray area is transparent.
| | 02:07 | The big difference is that instead of
working with pixels as you do with the
| | 02:11 | layer mask, we are working with
these vector-based path outlines.
| | 02:15 | Also notice that Photoshop went ahead
and automatically applied a bunch of layer
| | 02:19 | effects. Well what it's done is it's
automatically duplicated the effects that
| | 02:23 | were assigned to the previously selected
layer and you can overwrite that if you
| | 02:27 | want to. I will show
you how in just a moment.
| | 02:29 | First I am going to press the Backspace
key in order to get rid of that new layer.
| | 02:33 | Let's take a look at the other shape
tools that are available to us. There's
| | 02:36 | a Rectangle tool as you saw, the Rounded
Rectangle tool which draws rounded rectangles.
| | 02:41 | We've got the Ellipse tool and the Polygon tool.
| | 02:44 | Now the Polygon tool draws regular
polygons, things like pentagons and hexagons
| | 02:49 | and octagons and so forth.
| | 02:50 | It also allows you to draw stars.
| | 02:53 | So if you go up to the Options bar and
click the down-pointing arrowhead, notice
| | 02:57 | you can turn on this Star option.
| | 02:59 | By default you will go ahead and create a
five pointed star which works just fine.
| | 03:04 | Now I don't want all those
effects applied to it this time.
| | 03:06 | So I am going to go over to the Style
option and Style is Photoshop's word for a
| | 03:10 | collection of layer effects.
| | 03:12 | And I will click the down pointing
arrowhead next to this little gold square,
| | 03:16 | and I will click on the Default style
None. However, if I do that while the
| | 03:20 | Effects 1 layer is selected, then I wipe out
all of its effects. That's no good of course.
| | 03:25 | So I will press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 03:29 | Notice this little link icon.
| | 03:31 | That goes ahead and changes the active
layer and the next layer you create, which
| | 03:36 | is not something we want in this case.
| | 03:37 | So click the chain icon to turn off
the link, then click the down-pointing
| | 03:41 | arrowhead and select the None icon once again,
in order to affect the next shape we draw.
| | 03:46 | Now I am going to draw from the center
of the image window outward because the
| | 03:50 | Polygon tool, whether you're drawing
regular polygons or stars, always draws
| | 03:54 | from the center out.
| | 03:56 | You can take advantage of that same
Spacebar technique. Incidentally that works
| | 03:59 | with the Marquee tools.
| | 04:01 | So if I press and hold the Spacebar,
I can move the star on-the-fly.
| | 04:04 | As soon as I release the Spacebar,
then I go back to changing the size and
| | 04:09 | the angle of the star.
| | 04:10 | Now I will go ahead and release and this
time I get a no effects, black star, nothing more.
| | 04:15 | All right I am going to press the
Backspace key to get rid of it. Let's see the
| | 04:18 | other tools available to us.
| | 04:20 | Notice that once you select a Shape
tool the other ones are available to you up
| | 04:23 | here in the Options bar.
| | 04:24 | If I select the Line tool, not
only can I draw lines and rules inside
| | 04:29 | Photoshop, subject of this Weight value,
which determines the thickness of the lines,
| | 04:33 | but you can also draw arrowheads.
Just click this down pointing arrow
| | 04:37 | and there are your arrowhead options
and you can either draw an arrowhead at
| | 04:40 | the star or at the end and you can
define the size of that arrowhead as a
| | 04:44 | percentage of the weight value.
| | 04:47 | The final Shape tool is my favorite.
| | 04:49 | It's the Custom Shape tool. Go
ahead and click on it to select it.
| | 04:52 | And it allows you to pick from a series of
custom shapes that ship along with Photoshop.
| | 04:57 | To get to those Shapes go over here
to the shape option, click on the down-
| | 05:00 | pointing arrow, and notice that we have a
handful of shapes that are available to
| | 05:05 | us by default. You can draw fleur-de-
lis for example if you like; however,
| | 05:09 | there's many more to choose from.
| | 05:10 | Click the right-pointing arrowhead and you
have got this long list of shape libraries.
| | 05:14 | If you want to load them all up in one
fell swoop, then go ahead and choose All.
| | 05:19 | Now the All library includes the
fleur-de-lis and all the other shapes, so
| | 05:23 | there's no reason to append these
shapes that would just create a bunch of
| | 05:26 | duplicates. Click OK instead.
| | 05:28 | Now we have this whopping big list
of shapes that are available to us.
| | 05:32 | Go ahead and scroll your way down to
this starburst right there. Notice it's
| | 05:36 | called Starburst and it lives between
the big X and the question mark, depending
| | 05:42 | on the width of this panel.
| | 05:43 | I'm going to go ahead and click on
starbursts to select it, then I will press
| | 05:47 | the Enter key or the Return key and the
Mac in order to hide that panel, and now
| | 05:51 | I will draw my starburst.
| | 05:53 | Now incidentally, you can press the
Spacebar in order to position that starburst
| | 05:57 | on-the-fly, and then release the
Spacebar and continue dragging the shape.
| | 06:01 | If you want to constrain the
proportions to the original proportions of that
| | 06:05 | shape, then you press and
hold the Shift key as you drag.
| | 06:08 | I really want to do that. I just want
to draw the starburst more or less like
| | 06:11 | this and then I will go ahead and release.
| | 06:13 | Now this time I forgot to clear out
the style, so I went ahead and lifted all
| | 06:18 | the effects that were assigned to the
Effects 1 layer, which actually turns out
| | 06:21 | to be exactly what I want.
| | 06:23 | I am going to rename this layer
starburst and then press the Enter key or the
| | 06:27 | Return key on a Mac. Notice right
after you draw a shape you can see its path
| | 06:31 | outline and you can modify the path
outlines just as if you drew with the Pen
| | 06:35 | tool and you do so using the arrow tool.
| | 06:38 | You may be seeing the black arrow tool.
| | 06:40 | It selects whole path at a time.
| | 06:42 | I want to switch to the white arrow
tool, the so-called Direct Selection tool
| | 06:46 | that allows you to modify
independent anchor points.
| | 06:49 | I will go ahead and click on that
top anchor point there and move it into
| | 06:52 | alignment with the template and I will do
the same for this one and this one over here.
| | 06:57 | Now you don't have the absolutely
totally match the template if you don't want to,
| | 07:01 | but you are going to get the best
results when all is set and done if you
| | 07:03 | mostly match the template.
| | 07:05 | I am going to go ahead and drag this
point over a little bit as well, this guy
| | 07:09 | down slightly and so forth.
| | 07:11 | This looks pretty good to me.
| | 07:13 | Now bear in mind throughout that this
path outlined here with all of its anchor
| | 07:17 | points and so forth, that's something
that Photoshop is showing you that doesn't
| | 07:21 | actually print along with the artwork.
| | 07:23 | If you want to hide the path outlines,
then go over here to the Layers panel and
| | 07:27 | click on the Vector mask thumbnail in
order to deactivate it and that path
| | 07:31 | outline will go away.
| | 07:33 | All right, I'm going to go ahead and
collapse this layer so that we are not
| | 07:36 | seeing all those layer effects.
| | 07:38 | And now I am going to draw a circle by
switching from the Custom Shape tool to
| | 07:41 | the Ellipse tool, and I will draw a big
circle like so. I will use the Spacebar
| | 07:47 | in order to align it properly and I
will press the Shift key, because I want to
| | 07:50 | constrain the ellipse to an exact circle.
| | 07:52 | This time things are pretty messed up
here. I have got the wrong collection of
| | 07:56 | layer effects for one thing.
The wrong color as well.
| | 07:58 | So I will double click that black color
swatch and I will change the Brightness
| | 08:02 | value to 50%, which gives the gray.
| | 08:04 | That's exactly what I'm looking for.
| | 08:05 | Let's rename this layer Circle, and
then press Enter key, the Return key on the
| | 08:09 | Mac, and I'm going to once
again collapse this layer.
| | 08:12 | Now this time I want to grab all the
layer effects that are associated with the
| | 08:16 | Effects 2 layer, and to do that you
press and hold the Alt key or the Option key
| | 08:20 | on the Mac and drag this fx icon from
Effects 2, that is the Effects 2 layer,
| | 08:26 | and drop it onto the circle layer.
| | 08:28 | And because you have the Alt or
Option key down, you will go ahead and
| | 08:30 | duplicate those effects. Because you
drag the fx icon, you get all of the
| | 08:35 | effects in one operation.
| | 08:38 | And that goes ahead and
transforms a circle into a golden yellow.
| | 08:41 | All right, couple of other layers that
I have created for you in advance. We've
| | 08:45 | got this inner splash layer that adds
a kind of soft glow that we are seeing
| | 08:50 | through the circle theoretically, and
then below that is this text layer.
| | 08:54 | Go ahead and turn it on and
that completes the graphic.
| | 08:57 | And that, ladies and gentlemen, is how
you create Vector based shape layers
| | 09:01 | here inside Photoshop.
| | Collapse this transcript |
| Creating clipping masks| 00:00 | In this exercise we are going to take a
look at clipping masks, which allow you
| | 00:04 | to take the contents of one
layer and mask them with another.
| | 00:08 | We will start off with this image.
| | 00:09 | It's called Winged horse.psd,
found inside the exercise files folder.
| | 00:14 | This is a banner that I was creating
for one of my Deke's Techniques, which is a
| | 00:18 | weekly podcast here lynda.com.
| | 00:20 | Once you become more familiar with
Photoshop, you should definitely check it out.
| | 00:24 | We create all sorts of cool projects
from beginning to end in about 10 minutes.
| | 00:28 | In this case I was showing folks how
to add wings to horse, quite obviously.
| | 00:32 | Now you may look at this and say, hey
Deke, what happened to all the panels on
| | 00:36 | right-hand side of the screen?
| | 00:37 | Well, you can hide and show
panels by pressing Shift+Tab.
| | 00:42 | So Shift+Tab makes them go away.
Shift+Tab makes them come back.
| | 00:46 | You can also press the Tab key by
itself incidentally to get rid of the toolbox
| | 00:50 | over here on the left-hand side of
the screen in addition to the panels.
| | 00:53 | Then to bring everything
back, press the Tab key again.
| | 00:56 | I am going to go ahead and scroll over
here to the right-hand side of the image
| | 01:00 | and notice the Pegasus layer is black
against transparency, and you can confirm
| | 01:05 | that by Alt+Clicking or Option+
Clicking the eyeball in front of that layer.
| | 01:09 | So either every pixel on the layer is
black with some degree of translucency
| | 01:14 | around the main, or it's absolutely
transparent, which is why we are seeing the
| | 01:18 | checkerboard in the background.
| | 01:20 | You have to be using that kind of
layer, that is a layer that contains some
| | 01:23 | transparency, in order to take
advantage of clipping masks.
| | 01:27 | Now we'll go ahead and Alt+Click or
Option+Click on that eyeball again to
| | 01:30 | bring back the other layers and notice that I
have a couple of layers that are turned off.
| | 01:34 | One of them is called Storm.
| | 01:36 | I will go ahead and turn that layer on.
| | 01:38 | This is an image from the Fotolia Image
Library and I would like to go ahead and
| | 01:43 | set the storm inside of the pegasus and
I can do that by clicking on the Storm
| | 01:48 | layer and then you go up to the Layer
menu and choose to Create Clipping Mask
| | 01:52 | command and that goes ahead and places
that layer inside of the layer behind it.
| | 01:58 | So in our case we are masking the
contents of this Storm layer with the Pegasus.
| | 02:03 | And you can see that we've got a
clipping mask, because the Storm layer is inset
| | 02:06 | and it has this little arrow icon
next to it pointing downward at the mask.
| | 02:11 | Now I want to do the same
thing with a Leather layer.
| | 02:14 | I will go ahead and turn it on.
| | 02:15 | The reason everything's looking red
by the way is because I have this Red
| | 02:19 | Gradient layer on top of everything.
| | 02:21 | If you turn that layer off, you will be
able to see the real colors inside this image.
| | 02:25 | That's goes for this Storm also by the way.
| | 02:28 | Anyway, I will turn the Leather layer back
on and I will click on it to make it active.
| | 02:32 | Now I want the Leather to mix with the Storm.
| | 02:35 | So I'm going to apply a blend mode.
Specifically I am going to change the mode
| | 02:38 | from Normal to Multiply, because I
want to burn that Leather texture into the
| | 02:43 | Storm in the background.
| | 02:45 | I also want the Leather to be masked
inside of the Pegasus and you can add as
| | 02:48 | many layers to a clipping mask as you like.
| | 02:51 | Now I showed you one way to add a layer
to a clipping mask by going up to Layer
| | 02:55 | menu and choosing to
Create Clipping Mask command.
| | 02:58 | Even though we've already got an
existing clipping mask, this command would do
| | 03:01 | just what we are hoping for.
| | 03:03 | It would place the Leather inside of Pegasus.
| | 03:05 | However, let me show you another method.
| | 03:07 | I will press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 03:11 | You can also press the Alt key or the
Option key on the Mac and you can move
| | 03:15 | your cursor over the horizontal line
between the two layers, between Leather
| | 03:20 | and Storm in this case, and then click and now we
will add the Leather layer to the clipping mask.
| | 03:25 | If you Alt+Click or Option+Click in
that horizontal line again, it'll take the
| | 03:29 | layer out of the clipping mask.
| | 03:31 | Anyway, I want it in.
| | 03:32 | So I will Alt+Click or Option+Click in
that horizontal line and then to finish
| | 03:35 | things off, I will go ahead and turn
the Red Gradient layer back on and we
| | 03:39 | achieve this effect here.
| | 03:41 | Another great use for clipping masks is to
limit the behavior of an adjustment layer.
| | 03:46 | Let me show you what that looks like.
| | 03:48 | I will go ahead and switch to this
image called Paradigm ad.psd, again found
| | 03:52 | inside the Exercise Files folder.
| | 03:55 | This is that same guy that I layer-masked
into place just a couple of exercises ago.
| | 03:59 | But notice that he still in color.
| | 04:01 | So I haven't taken the color out of the image.
| | 04:03 | Well, let's say that I don't want to
completely get rid of that color, because
| | 04:08 | with this image selected, if I were to
go to the Image menu, choose Adjustments,
| | 04:12 | and then choose Desaturate,
| | 04:14 | that color would be gone for good
because this is a static adjustment.
| | 04:17 | When you use adjustment layers, you're
applying a nondestructive modification.
| | 04:21 | So you can change your mind anytime you like.
| | 04:24 | So drop down to the black/white icon at
the bottom of Layers panel, click on it,
| | 04:29 | and in our case the adjustment layer we
are looking for is black and white, which
| | 04:33 | gives us more control over the
color to grayscale conversion.
| | 04:36 | I will go ahead and choose that command
and that will bring up the Adjustments
| | 04:39 | panel with all these sliders available to me.
| | 04:42 | So in other words what you can do
here is you can change the amount of red
| | 04:46 | contribution or the
amount of yellow and so forth.
| | 04:50 | Now in the case of this image,
reds and yellows are about all that
| | 04:53 | are going to do us any good, because
it's reds and yellows that make up flesh tones.
| | 04:57 | I am going to take the Reds value down
to 80 in this case and I am going to take
| | 05:02 | the Yellows value to 60.
| | 05:03 | Now that gives us a really
great black-and-white blend.
| | 05:07 | Problem is that adjustment layers
affect all of the layers behind them.
| | 05:12 | I'm going to go ahead and collapse the
Adjustments panel so that we have more
| | 05:15 | room for the Layers panel below it and
I am going to do that by double-clicking
| | 05:20 | in this empty region to
the right of the word Mask.
| | 05:23 | Double-clicking in that area both
collapses and expands the panel.
| | 05:26 | I will go ahead and collapse it.
| | 05:28 | Now we have a lot of room for our Layers panel.
| | 05:31 | If I turn off these top three
layers right there, notice that this
| | 05:36 | black-and-white layer, as I was telling
you, goes ahead and converts everything
| | 05:40 | below it to black and white, which
isn't what we want at all, because alter
| | 05:43 | all I've lost all the colors that are
associated with that island and ocean background.
| | 05:48 | If you want a limited adjustment layer
to a single layer, the one below it, then
| | 05:53 | go ahead and press the Alt key or the
Option key on the Mac, hover your cursor
| | 05:57 | over that horizontal line between the
two layers, and click and that goes ahead
| | 06:01 | and creates a clipping mask, and by
virtue of the fact that we are masking the
| | 06:05 | adjustment inside the layer below,
| | 06:07 | yhat's the only layered it affects.
| | 06:10 | Now we can see the greens of the foliage
and the blues of the ocean and so forth.
| | 06:14 | Now I will go ahead and turn back on all
the other layers to complete the composition.
| | 06:18 | That's how you use clipping mask to
both place the contents of one image
| | 06:23 | inside of another as well as limit
the effect of an adjustment layer here inside Photoshop.
| | Collapse this transcript |
|
|
7. Using Smart Objects and FiltersPlacing an image as a Smart Object| 00:00 | In this exercise I am going to show
you how to work with these things called
| | 00:03 | Smart Objects inside of Photoshop.
| | 00:06 | Now Smart Objects are little bit more
advanced that some of the other stuff I was
| | 00:10 | showing you; however, they are
essential for getting good work done inside of
| | 00:14 | Photoshop, because they ensure
this huge degree of flexibility.
| | 00:19 | Basically what a Smart Object is, is a
container that protects an image and once
| | 00:24 | you have the image inside of a Smart
Object you can do anything to that Smart
| | 00:28 | Object you want and the
image will never be harmed.
| | 00:31 | So what we are going to do is we are
going to scale the Smart Object and
| | 00:36 | you'll see that you can scale the image as
much as you want without harming it in the least.
| | 00:40 | I have got opened a file called
DEKE'S TECHNIQUES 034.psd, found inside the
| | 00:46 | exercise files folder, and there
is not much going on right now.
| | 00:49 | We have got a black background and
we've got some white text and that's it,
| | 00:53 | because we're waiting the
image that goes inside of it.
| | 00:57 | That image is also open.
| | 00:58 | It's called Venice panorama.psd and
this is a panoramic image that I captured
| | 01:04 | in 10 parts and then stitched
together using a command called Photo Merge
| | 01:08 | inside of Photoshop.
| | 01:10 | So it's a pretty big file and it's
got all kinds of detail inside of it.
| | 01:14 | If I press Shift+Tab to bring back the
Layers panel, you'll see that there are
| | 01:18 | two layers at work here. One is the
actual image itself on the background and
| | 01:23 | then I have got an adjustment layer and
if you double click on the thumbnail for
| | 01:26 | the adjustment layer, you will
bring up the Adjustments panel.
| | 01:30 | This happens to be a Vibrance layer
and what Vibrance allows you to do is
| | 01:34 | increase the color vibrancy inside the image.
| | 01:36 | I will double-click to the right of
Masks in order to collapse that panel.
| | 01:40 | Now if were working normally, if I
thought you know I want to grab this layer
| | 01:44 | and move it into the other composition,
then I would right-click in an empty
| | 01:48 | area below the word Background and I
would choose Duplicate layer, and then I
| | 01:53 | might go ahead and call this layer
Venice, and I changed the document from
| | 01:57 | Venice panorama to DEKE'S
TECHNIQUE 034 and I click OK.
| | 02:01 | Well, now I am going to go ahead and close
that file because we no longer need it.
| | 02:05 | And that returns me to my
composition in progress.
| | 02:08 | Notice that I brought over that Venice
layer. We can't see all of it because
| | 02:11 | it's too big to fit inside this new image.
| | 02:13 | However all of the information is still
there. You can have a layer that's much
| | 02:17 | bigger than the canvas here inside
Photoshop. But our first big problem here is
| | 02:22 | that we didn't bring over the Vibrance
layer, so we would have to re-create that
| | 02:26 | layer, because I close the file, what
was I thinking, but still that's done.
| | 02:30 | I am going to go ahead and zoom out
here so that we can scale this image into place.
| | 02:35 | I am going to zoom pretty far
out and then I will go up to the Edit menu
| | 02:39 | and will choose the Free Transform
command or press Ctrl+T, Command+T on the Mac,
| | 02:43 | and you can see that this layer is just
whoppingly big. I will go ahead and zoom
| | 02:48 | out another click there and I'll drag
this corner handle while pressing the
| | 02:51 | Shift key in order to
reduce the size proportionally.
| | 02:54 | Now let's go ahead and zoom
in on the image a little bit.
| | 02:58 | Now let's say I decide to do something
sort of crazy here. I will go ahead and
| | 03:01 | reduce the size of the image till
it's way too small, because at this point
| | 03:05 | let's say I'm not sure if I want the
panorama to take up the entire image or if
| | 03:09 | I want to create some kind of
montage of different panoramas or what.
| | 03:14 | So I will just go ahead and apply this
transformation by pressing the Enter key
| | 03:18 | or the Return key on the Mac.
| | 03:19 | And now its very dinky indeed.
We will go ahead and zoom on in.
| | 03:23 | Now a few operations later I look at
this and think I really want this to be
| | 03:28 | bigger, because it's way to tiny.
I am just going use this one image.
| | 03:31 | I'd go back up to the Edit menu and
choose a Free Transform again or press
| | 03:36 | Ctrl+T or Command+T on the Mac.
| | 03:39 | Now you may know this already, but
you're never supposed to scale an image more
| | 03:44 | than once inside of Photoshop,
because each time you do, Photoshop has to
| | 03:48 | rewrite the pixels and you especially
don't want to reduce the size of an image
| | 03:52 | and then increase its size.
| | 03:54 | I will go ahead and press the Shift
key while dragging one of these corner
| | 03:58 | handles and I think you're getting a
sense of why this is such a bad idea.
| | 04:02 | Photoshop lost a lot of pixels during
the first transformation and now it just
| | 04:07 | has to blow up those
pixels during the second one.
| | 04:09 | I will go ahead and press the Enter key
or the Return key on a Mac in order to
| | 04:13 | apply that transformation.
| | 04:15 | It looks a little better but if we
zoom into 100%, you can see that I have
| | 04:19 | pretty well killed the quality of this image.
| | 04:22 | Let's compare that to
working with Smart Objects instead.
| | 04:25 | I will go ahead and press the Backspace
key in order to get rid of that image.
| | 04:29 | Let's zoom out once again and then I
will go up to the File menu and I will
| | 04:33 | choose the Place command.
| | 04:35 | Now the Place command allows me
to place an image from disk into my
| | 04:39 | existing composition.
| | 04:40 | I will go to the exercise files
folder, scroll to the end, and then I will
| | 04:45 | click on Venice panorama.psd and click on the
Place button in order to place it into Photoshop.
| | 04:51 | Now here's something very interesting to note.
| | 04:53 | Photoshop went ahead and not only
brought over the background image, the
| | 04:57 | panoramic photograph, but it's also
brought in that Vibrance adjustment layer.
| | 05:01 | Now when you place an image you get
a chance to go ahead and scale it to
| | 05:04 | whatever size you like. I am going to
scale it down to that dinky size again.
| | 05:08 | In fact, I am going to take it even smaller,
so its just ridiculously tiny like so.
| | 05:13 | And then I will press the Enter key or
the Return key on a Mac in order to place
| | 05:17 | that image inside the composition.
| | 05:20 | Now I want you to take a look at the
Layers panel. First of all Photoshop has
| | 05:23 | automatically named that layer for me.
| | 05:25 | It went ahead and named it after the file name.
| | 05:28 | Now if you know anything about let's
say InDesign, if you place an image into
| | 05:33 | InDesign, then you create a link
between your current file and the image on disk,
| | 05:37 | that does not happen inside of Photoshop.
| | 05:40 | You have gone ahead and
placed the image for real.
| | 05:43 | That is to say, you've embedded this
image inside the larger composition.
| | 05:47 | However, you have embedded the entire
thing. All of the pixel data is still there
| | 05:52 | and you know that because you
see this little icon right there.
| | 05:55 | That indicates that we've got a Smart Object.
| | 05:58 | So the original image is housed inside
of this protective container. Which means
| | 06:03 | now when I look at the image and say
gosh what was I thinking, I want it to be
| | 06:07 | much larger than this, I will go up to
the Edit menu, choose Free Transform or
| | 06:11 | press Ctrl+T, Command+T on the Mac,
let's go ahead and make that image bigger,
| | 06:15 | and you can see it's all there we
have lost nothing in the translation.
| | 06:19 | The Place command by the way, I should say,
automatically create Smart Objects by
| | 06:24 | default inside of Photoshop.
| | 06:26 | So I will go ahead and scale that
image as big as it needs to be and I
| | 06:30 | will press the Enter key or the Return key on
the Mac in order to accept that modification.
| | 06:34 | Now I can apply as many scales as I want.
| | 06:38 | If this still isn't the exact size I
am looking for, I will go up to the Edit
| | 06:41 | menu, choose Free Transform again, and
notice up here in the Options bar I can
| | 06:46 | see how much I have scaled the image.
I can see that I've scaled it to 31.64%.
| | 06:52 | As long as I stay under 100%, I am not
inventing new pixels, so Photoshop should
| | 06:57 | be able to deliver very sharp-looking results.
| | 07:00 | I will click on the chain icon between
the Width and Height values and let's
| | 07:04 | say I decide to take this value up to 64% and
press the Enter key or the Return key on a Mac.
| | 07:10 | Now I'll Ctrl+Drag that image around to
the desired location there and I still
| | 07:15 | end up with a pristine looking image.
| | 07:17 | Now the one drawback is I can't apply
any of the pixel level editing tools.
| | 07:22 | For example, if I were to select the Brush
tool and move my cursor into the image
| | 07:26 | window I would get this little
Ghostbusters icon that's telling me that I can't
| | 07:31 | work inside this image.
| | 07:32 | If that becomes an issue and you
really want to paint inside the image, then
| | 07:36 | just over here to Layers panel and
double-click on the Smart Object thumbnail.
| | 07:41 | You will get an alert message that
tells you how to work with Smart Objects.
| | 07:44 | Go ahead and click OK and then Photoshop
opens that embedded image complete with
| | 07:49 | Background layer and adjustment layer
here inside of an independent window.
| | 07:54 | Now if I like I could go ahead and
paint inside the image. I am still getting
| | 07:57 | that Ghostbusters icon because I'm
working on the wrong layer. You can't paint
| | 08:01 | directly on an adjustment layer, but I
can paint on the Background image if I
| | 08:05 | wanted to. Just apply
whatever modification I like.
| | 08:08 | Now sometime while I was working here,
I managed to reduce the Opacity of my
| | 08:12 | brush to 50%, which is why I am
getting this translucent brushstroke.
| | 08:16 | But now if I wanted to keep that
change, I would just go ahead and close my
| | 08:19 | image by clicking in the close box,
Photoshop would ask me if I want to save my
| | 08:23 | changes, I'd click on the Yes button here
in the PC or the Save button on the Mac,
| | 08:28 | and then Photoshop saves the changes
back inside the larger composition.
| | 08:33 | So it doesn't harm the original image;
it just saves the changes inside this image here.
| | 08:39 | Now if you decide that wasn't the
change you wanted to make, then you just go
| | 08:42 | back up to the Edit menu and choose
the Undo command or press Ctrl+Z or
| | 08:47 | Command+Z on the Mac.
| | 08:48 | And that's how you place and scale a
Smart Object, including any layers that
| | 08:52 | might be associated with the
file, here inside Photoshop.
| | Collapse this transcript |
| Applying a Smart Filter| 00:00 | In this exercise we are going to
take a look at Smart Filters, which are
| | 00:03 | dynamic modifiable filter effects
that you can apply exclusively to Smart
| | 00:09 | Objects inside Photoshop.
| | 00:11 | I'm working inside a file
called Panoramic banner.psd.
| | 00:14 | It's found inside the exercise files
folder and it's a completed version of
| | 00:18 | that DEKE'S TECHNIQUES 034 banner.
| | 00:21 | And it features two different
versions of that finesse photograph.
| | 00:25 | One is found on a layer called
Static, here inside the Layers panel.
| | 00:28 | And you can see that it's not a Smart
Object because there is no little page
| | 00:32 | icon in the lower right corner of the thumbnail.
| | 00:35 | Below that, we have a layer called dynamic.
| | 00:38 | That one is the Smart Object.
| | 00:40 | So in other words the pixels have been
finalized in the Static layer; they are
| | 00:44 | still up for grabs in the Dynamic layer.
| | 00:46 | Now if you ever want to convert a
Smart Object to a standard layer inside of
| | 00:50 | Photoshop, because for example,
there are benefits to a static layer.
| | 00:54 | I can go ahead and grab for example my
brush tool or one of these other pixel
| | 00:58 | level editing tools that's in
the central portion of the toolbox.
| | 01:01 | And then I can paint
directly inside that layer like so.
| | 01:06 | So with that in mind if you ever decide
you don't want a Smart Object anymore,
| | 01:09 | and by the way Smart Objects also take
up more room inside the file and on disk,
| | 01:14 | then you right click on an empty area of
that Smart Object layer and you choose
| | 01:19 | the Rasterize Layer command. Just FYI.
| | 01:22 | All right, I am going to escape out
of there and I'm going to click on the
| | 01:25 | Static layer once again.
| | 01:27 | Switch back to my Rectangular Marquee tool.
| | 01:29 | This is to have my cross cursor. Then
typically, once you get done resizing an
| | 01:33 | image, it's going to require some sharpening.
| | 01:36 | I am going to go ahead and zoom in on
this image, so that we're seeing it at
| | 01:39 | 100% and notice that the detail is
just a little bit soft. And it's not soft
| | 01:45 | because I didn't focus on my camera properly.
| | 01:47 | It's soft because of the interpolation
process that Photoshop uses when you're
| | 01:52 | reducing the size of an image.
| | 01:54 | In order to sharpen that detail, the
best way to work is to go up to the Filter
| | 01:58 | menu, choose the Sharpen command,
and choose the Smart Sharpen Filter.
| | 02:02 | Now I want you to know, the word smart
in this title has nothing to do with
| | 02:07 | Smart Filters or Smart Objects
or any of that kind of smartness.
| | 02:12 | It just means that it's the best of
Photoshop sharpening filters so far.
| | 02:15 | I will go and choose that command.
| | 02:18 | Now by default, the remove option is
set to Gaussian Blur, which is best
| | 02:22 | suited to scanned artwork and
sometimes works well when you reduce a
| | 02:26 | photograph as in our case.
| | 02:28 | But because this is a digital photograph,
we are probably going to have the best
| | 02:32 | luck with Lens Blur.
| | 02:34 | So go ahead and choose Lens Blur and
then just for the sake of demonstration
| | 02:38 | I am going to take the Amount Value up to its
absolute maximum. You wouldn't normally do this.
| | 02:42 | I just want you to see how alter
sharpen image can be, and I'll take the
| | 02:47 | Radius value to 1.0.
| | 02:49 | The Radius value by the way
effects the thickness of the halos that
| | 02:53 | Photoshop draws around the edges in a
photograph in order to increase their
| | 02:57 | perceived sharpness.
| | 02:58 | Now I will go ahead and click OK
in order to accept that effect.
| | 03:02 | Now obviously I've gone way too far.
| | 03:05 | You do have the option of backing off a
static filter like this, because we have
| | 03:10 | just permanently modified
the pixels inside the image.
| | 03:13 | You can back off the effect right
after you apply it by going up to the Edit
| | 03:17 | menu and choosing the Fade command,
and in this case it's going to say Fade
| | 03:21 | Smart Sharpen. And then I could
back off the Opacity of the effect, for
| | 03:26 | example, in order to reduce the over-
sharpening, and then I can click OK in
| | 03:30 | order to accept that effect.
| | 03:32 | I can still get to that command. You can
go to it repeated times right after you
| | 03:36 | apply the filter. So I could choose
the command. I will see that it's sets to
| | 03:40 | 50% Opacity. I can increase
the Opacity value if I wanted to,
| | 03:45 | to increase the level of sharpening. Click OK.
| | 03:47 | However, here's the deal.
| | 03:49 | If I do anything, any significant
operation, like I will just draw a
| | 03:53 | marquee, for example, and then click
off to deselect it, now I go up to the
| | 03:57 | Edit menu, and the Fade command is
dimmed. So you just have that one
| | 04:02 | opportunity to fade a filter.
| | 04:04 | All right that to the behavior of
Smart Filters applied to Smart Objects, I'm
| | 04:09 | going to go ahead and turn off the
Static layer, turn on the Dynamic layer,
| | 04:13 | click on it to make it active.
| | 04:15 | It's that same image by the way.
| | 04:17 | Now I will go up to the Filter menu.
You choose the same command incidentally.
| | 04:21 | You don't have to choose a different command.
| | 04:23 | In fact, I could go ahead and repeat
the last filter I applied by choosing
| | 04:27 | this very first command in the list,
or I can press Ctrl+F, Command+F on a
| | 04:31 | Mac, and because I'm working with a
Smart Object that will bring back up the
| | 04:35 | Smart Sharpen dialog box.
| | 04:36 | I will go ahead and apply those exact same
outrageous values, so the Amount value 500%.
| | 04:42 | That's actually really the outrageous part.
| | 04:44 | A Radius value of 1.0 will suit this
image just fine, and Remove set to Lens Blur.
| | 04:48 | Do not turn on More Accurate for this example.
| | 04:51 | Go ahead and click OK in
order to accept that change.
| | 04:54 | Now if you go up to the Edit menu,
the Fade command is going to be dimmed.
| | 04:58 | Fade only lets you back off
pixel level modifications.
| | 05:01 | For example, if I were to paint inside
the image, I can then choose the Fade
| | 05:04 | command in order to fade that brushstroke.
| | 05:07 | However, in this case
it's not applicable at all.
| | 05:10 | Instead we see Smart Sharpen listed as
a Smart Filter below the layer name here
| | 05:15 | inside Layers panel.
| | 05:16 | You even have a filter mask, so you
can paint with black inside that mask in
| | 05:21 | order to unfilter certain areas of the image.
| | 05:24 | Now I'm not interested in doing that.
What I am interested in doing is
| | 05:27 | changing the settings.
| | 05:28 | I don't have to just back up the
Opacity value. I can revisit the filter by
| | 05:32 | double-clicking on Smart Sharpen.
| | 05:35 | That brings up the Filter dialog box
and let's say I take it down to 250%,
| | 05:39 | which is still way too much, but it's
going to give us something closer to the
| | 05:43 | result we were looking for,
and then I will click OK.
| | 05:46 | You also have the option of changing
the blending settings, so not only the
| | 05:51 | Opacity setting that we saw a moment
ago inside the fade dialog box, but
| | 05:55 | the blend mode as well.
| | 05:57 | And to do so you double-click on this
little double slider icon right there and
| | 06:01 | that will bring up the
Blending Options dialog box.
| | 06:05 | Now at this point I can say, you know
what, I will go ahead and click in the far
| | 06:08 | reach end of the Grand Canal in order
to center that area inside the preview
| | 06:12 | inside the dialog box.
| | 06:14 | And if I zoom in on that preview,
notice the shutters over here, how both the
| | 06:20 | color and the luminance information are
getting sharpened, and as a result what
| | 06:24 | that means, you end up bringing out
color noise and other color artifacts
| | 06:29 | when you sharpen an image.
| | 06:31 | Well, to avoid that, and this is
something you should do every time you sharpen
| | 06:35 | an image by the way.
| | 06:36 | It's a best practice.
| | 06:37 | You should change the mode
from Normal to Luminosity.
| | 06:41 | That way you're just sharpening the
luminance data and if you look very closely,
| | 06:45 | you'll see that we lost that color
artifacting there inside that building.
| | 06:49 | It's a pretty subtle effect, but it can
be awfully meaningful depending on the
| | 06:53 | composition of the image.
| | 06:55 | Then I can go ahead and reduce the
Opacity values say to 50% to further calm
| | 07:00 | down the sharpening of the image.
| | 07:01 | I will go ahead and click OK in order
to accept that modification, and now we
| | 07:06 | can even do a before and after preview.
| | 07:08 | If I click the eyeball in front of
Smart Filters right there to turn off the
| | 07:13 | effect, you may be able to see inside
the video how the image became a little
| | 07:17 | softer and then to see what it looks
like sharpened again, I will press Ctrl+Z
| | 07:22 | or Command+Z on a Mac to
turn the Smart Filter back on.
| | 07:26 | And that's how you apply dynamic
nondestructive Smart Filters and edit their
| | 07:31 | settings anytime you like,
here inside Photoshop.
| | Collapse this transcript |
| Creating a Smart Filter effect| 00:00 | In this exercise I am going to show you
how to combine many filters together in
| | 00:04 | order to create a Smart Filter effect.
| | 00:07 | Specifically, we are going to take
this photograph from the Fotolia Image
| | 00:10 | Library and we are going to convert
it into this ink drawing over here in
| | 00:14 | the right-hand side.
| | 00:15 | This is going to take advantage of a
few things that we've learned so far.
| | 00:19 | So not only are we going to pile on a
total of five Smart Filters, but
| | 00:22 | we are going to create a filter mask
and we are going to take advantage of a
| | 00:26 | clipping mask as well.
| | 00:27 | I am going to start over here on the
left inside this image called Open-mouth
| | 00:31 | guy.psd, found inside the exercise
files folder, and notice that I have already
| | 00:36 | placed the photograph into
the image as a Smart Object.
| | 00:39 | We are going to duplicate this layer.
| | 00:41 | Normally, I would have to press Ctrl+J
or Command+J on a Mac, but here's another
| | 00:45 | shortcut you can add to your list.
| | 00:47 | If you press Ctrl+Alt+J or Command+Option
+J on the Mac, you'll force the display of
| | 00:53 | the New Layer dialog box and that way
you can go ahead and name this layer as
| | 00:57 | you create it. Then click OK.
| | 00:59 | Now let's apply some Smart Filters.
| | 01:02 | Bear in mind, this is one of those
recipes that you just go ahead and
| | 01:05 | follow step by step.
| | 01:06 | I am going to go up to the Filter menu,
choose Blur, and choose Gaussian Blur,
| | 01:12 | which is the main
blurring filter inside Photoshop.
| | 01:15 | Now you may wonder why in the world you
would blur a nicely sharpened photograph?
| | 01:19 | Well, in our case it allows
us to thicken up the edges.
| | 01:22 | I am going to take the Radius value
up to 1 pixel and then I will click OK.
| | 01:27 | Now notice that you'll see Gaussian Blur
listed as a Smart Filter below the layer name.
| | 01:31 | We will see this filter mask.
| | 01:34 | We don't need it and it's
just cluttering up the panel.
| | 01:36 | So go ahead and right-click inside that
white thumbnail and choose Delete Filter Mask.
| | 01:41 | It's not going to harm a thing.
| | 01:42 | If we ever needed it later,
we could add it back in again.
| | 01:45 | The next filter you will need to apply,
under the Filter menu, go back to Blur
| | 01:49 | once again, and this time choose Smart Blur.
| | 01:53 | I want you to enter a Radius value 3.0
and a Threshold of 10. Make sure Quality
| | 01:58 | is set to High and Mode is
set to Normal, then click OK.
| | 02:02 | Now some of these filters might
take a moment or two to apply.
| | 02:05 | Just go ahead and let them run.
| | 02:06 | Then go back to the Filter menu, choose
the Other Command, and choose High Pass.
| | 02:12 | High Pass basically converts all of the
non-edges inside the image to gray and
| | 02:16 | keeps the edges at fairly high contrast.
| | 02:19 | I am going to squeeze these edges
down by entering a Radius value of 2
| | 02:23 | pixels and clicking OK.
| | 02:25 | Now that might seem like we've pretty
much ruined our image at this point, but
| | 02:29 | we are going to trace these remaining
details using a filter called Note Paper.
| | 02:33 | But before you do, you need to make
sure that your foreground and background
| | 02:36 | colors are set to their defaults.
| | 02:38 | That is black for
foreground and white for background.
| | 02:41 | If you don't see those colors,
press the D key for default.
| | 02:44 | Then go up to the Filter menu,
choose Sketch, and choose Note Paper.
| | 02:48 | It's going to bring up the
ginormous Filter Gallery dialog box.
| | 02:52 | Here are the values I want you to apply.
The Image Balance should be 25, the
| | 02:57 | Graininess should be 0, we don't want
any paper grain, and the Relief should be
| | 03:01 | 0 as well, and you end up getting these
grey lines against a white background.
| | 03:06 | Go ahead and click OK in order to
accept that modification and finally we are
| | 03:10 | going to thicken up these lines
using another pass of Gaussian Blur.
| | 03:14 | So go up to the Filter menu, choose
Blur, and choose Gaussian Blur and I want
| | 03:19 | you to apply the exact same value
again, a Radius of 1 pixel. Click OK.
| | 03:24 | Now that might seem like all
we've done is blur things up.
| | 03:27 | We are going to now use that
Smart Filter to darken things up by
| | 03:32 | double-clicking on that little double
slider icon right there next to the top
| | 03:36 | occurrence of Gaussian Blur.
| | 03:38 | That will bring up the Blending
Options dialog box and let's change the mode
| | 03:42 | from Normal to Multiply.
| | 03:44 | Go ahead and click OK and that will
darken things up quite a bit. Not enough
| | 03:48 | however, which is why we need
to add an adjustment layer.
| | 03:51 | Now what I'd like you to do is press
and hold the Alt key or the Option key on
| | 03:55 | the Mac and click this black/white
icon down here at the bottom of the Layers
| | 03:59 | panel and then choose the Levels command.
| | 04:02 | Now because you have the Alt or Option
key down that brings up the New Layer
| | 04:06 | dialog box so you can go ahead
and call this new layer Contrast.
| | 04:10 | I also want you to turn on the
checkbox that says Use Previous Layer To
| | 04:14 | Create Clipping Mask.
| | 04:16 | That way we'll clip this Levels
adjustment inside of our new layer.
| | 04:20 | So we are only increasing the contrast
of this layer and nothing more. Click OK.
| | 04:26 | Now inside the Adjustments panel I want
you to take this black point value up to
| | 04:30 | 125 and notice you will see the value
125 over here in the left-hand side, and I
| | 04:36 | want you to select that middle Gamma
value and press Shift+Down arrow three
| | 04:41 | times in a row, one, two, three, in
order to lower that number to 0.7 and you
| | 04:46 | will end up with these nice black lines.
| | 04:48 | All right, go ahead double-click to
the right of the Masks tab in order to
| | 04:52 | collapse that panel and now click on
the Ink Drawing layer and we are going to
| | 04:56 | change its blend mode to Multiply so
that we drop out the whites and we keep the
| | 05:00 | blacks and we end up
tracing this guy's face like so.
| | 05:04 | Now at this point, I want to be able to
see through this guy's face to the note
| | 05:07 | paper below, just as we are
seeing over here in right-hand side.
| | 05:11 | So I need to mask this base portrait
layer and I am going to do that by turning
| | 05:15 | off the top two layers, both Ink
Drawing and that Levels adjustment layer.
| | 05:20 | If you want to see the name of
the levels adjustment layer, notice
| | 05:23 | currently it's truncated.
| | 05:24 | We are just seeing dot, dot, dot.
| | 05:25 | You can get rid of the layer mask,
| | 05:27 | we are not doing anything with it,
by right-clicking inside of that white
| | 05:31 | thumbnail and choosing Delete Layer Mask.
| | 05:33 | Now you can see the layer name
even though the panel is fairly slim.
| | 05:37 | Now I want you to drop down to the
Portrait layer here and we are going to
| | 05:41 | create a special kind of layer mask
known as a density mask and what that
| | 05:46 | allows us to do is mask away the light
portions of the image and leave the dark
| | 05:51 | portions and here's why. I'm going to
go and turn those layers on for a moment
| | 05:55 | and then I will turn the Portrait layer off.
| | 05:57 | If we didn't have that Portrait
layer, then we wouldn't have any of the
| | 06:00 | blacks inside of the hair, and the pupil,
and the nostrils, and the mouth, and so forth.
| | 06:05 | We need those blacks, which is
why we have this base portrait.
| | 06:08 | However, the blacks are all
we want, just the dark stuff.
| | 06:11 | So turn the Portrait layer on, turn Ink
Drawing and Contrast back off, make sure
| | 06:16 | Portrait is selected, and I am going to
have you enter a panel we haven't been to
| | 06:20 | before, which is the Channel
panel, right next-door to Layers.
| | 06:24 | Notice that we have these tiny
thumbnails. Go ahead and right-click down here
| | 06:28 | in an empty portion of the panel and choose
Large so that we can see each one of these channels.
| | 06:34 | These are the red, green, and blue
channels that make up the composite RGB
| | 06:39 | full-color photograph.
| | 06:41 | Each one of them is a different
grayscale representation of the image, meaning
| | 06:45 | that each one of them is a potential mask.
| | 06:48 | I am going to go ahead and click on red,
which is going to give us the most contrast.
| | 06:52 | That's always the way it is with the
portrait shot as we are red-blooded people.
| | 06:56 | Go ahead and load this channel as a
selection by pressing the Ctrl key on a PC
| | 07:02 | or the Command key on the Mac
and clicking on that thumbnail.
| | 07:07 | So Ctrl+Clicking or Command+Clicking on
the thumbnail for the red channel loads
| | 07:10 | it as a selection outline.
| | 07:12 | Now return to RGB so you
can see the full-color image.
| | 07:15 | I am going to go back to the Layers
panel and when you have a selection outline
| | 07:19 | active and you create a new layer mask,
Photoshop automatically converts the
| | 07:24 | selection to a layer mask like so.
| | 07:27 | So what I've done here is I've turned the red
channel into a layer mask for the entire image.
| | 07:32 | That means we're seeing the bright
stuff and we are not seeing the dark stuff.
| | 07:36 | That's known as the luminance mask, by the way,
but it's exactly the opposite of what we want.
| | 07:42 | The layer mask is selected.
| | 07:43 | You can see that because
it has a double outline.
| | 07:46 | We need to invert the mask by going
up to the Image menu, choosing the
| | 07:50 | Adjustments command, and then choosing
Invert or pressing Ctrl+I or Command+I on
| | 07:55 | the Mac, and that goes ahead and turns
that luminance mask into a density mask.
| | 08:00 | So in other words we are keeping the
dark stuff inside the image, which is the
| | 08:05 | highest ink density information, hence the name.
| | 08:08 | All that matters though is
we are keeping the dark stuff.
| | 08:10 | We are dropping out the lights.
| | 08:12 | Now turn back on the Ink Drawing and
Contrast layers and we now have a digital
| | 08:17 | ink drawing version of the image.
| | 08:19 | I am going to press the F key a
couple times in order to switch to the
| | 08:22 | Full Screen mode and zoom in on the
image and that is the final creative
| | 08:27 | effect, thanks to our ability to
combine multiple Smart Filters with a Smart
| | 08:31 | Object here inside Photoshop.
| | Collapse this transcript |
|
|
8. Saving and PrepressSaving your image| 00:00 | In this exercise I'm going to show
you how to save an image from Photoshop.
| | 00:04 | Now in most programs saving is a
pretty simple operation. You just choose the
| | 00:09 | save command, update the
file on disk, and you're done.
| | 00:12 | But in Photoshop it's a little more
complicated, because there are three main
| | 00:15 | file formats that you need to know
about: the native PSD or Photoshop format,
| | 00:21 | the TIFF format and the JPEG. And
they all serve distinct purposes.
| | 00:26 | I'm working inside of the file
called Coworkers with lightbulb.psd.
| | 00:30 | It's found inside the exercise files folder.
| | 00:33 | And I want you to notice something about
this title tab. This would be the title
| | 00:36 | bar top center on the Mac.
| | 00:39 | Notice that we're seeing this little
copyright symbol. That tells me that
| | 00:42 | portions of the image are copyrighted,
and you can set the copyright information
| | 00:46 | incidentally from the File menu by
going down here to the File Info command.
| | 00:51 | Next we're seeing the name of the file.
Then we see the zoom ratio, which is
| | 00:55 | 100% that's how big the image is on screen.
| | 00:58 | Inside the parentheses, we see the name
of the active layer, which in my case is
| | 01:02 | the Background layer, then we see the
color mode. RGB/8 just means that we're
| | 01:08 | working with 8-bits of data per
channel, which is pretty standard fair.
| | 01:12 | Now the one thing we're
not seeing is an asterisk.
| | 01:15 | That means that this file has been
saved and I haven't made any changes.
| | 01:20 | But let's say I were to turn off the
lines layer, which are those little rays
| | 01:24 | around the lightbulb, and then I'll just
go ahead and turn the layer right back on.
| | 01:28 | Now I see an asterisk, which is
Photoshop's way of saying, hey, you've got
| | 01:32 | some unsaved changes.
| | 01:34 | To update the file, I would just go out
to the File menu and I would choose the
| | 01:37 | Save command, but let's say I want to
save a different version of the image.
| | 01:41 | And I'll go ahead and choose Save As, or
press Ctrl+Shift+S, Command+Shift+S on the Mac.
| | 01:47 | That brings up the Save As dialog box.
| | 01:50 | And then I might go ahead and assign
a new name to my file such as Revised
| | 01:54 | version or something along those lines.
| | 01:56 | And I would now select the file format.
| | 01:58 | Now if I want to save everything that
I've got inside of this file and by that I
| | 02:03 | mean layers including not only
standard image layers, but Smart Objects, and
| | 02:07 | text layers, and shape layers and so
forth, as well as any selections that
| | 02:12 | you've saved using the save selection
command under the select menu, then you
| | 02:16 | want to work with the Photoshop format.
| | 02:18 | In fact, I don't recommend that you
save everything you ever do, at least one
| | 02:23 | copy, in this native PSD format.
| | 02:26 | Make sure that the Layers checkbox is turned
on. You definitely want to save an ICC Profile.
| | 02:31 | This checkbox is turned on by default.
Just leave it alone. That just lets any
| | 02:35 | other applications know what color
standard you are working with and the Lower
| | 02:40 | Case extension is just fine.
| | 02:42 | Then go ahead and click the Save
button in order to save that image.
| | 02:45 | Now I'm not going to do that in this case,
because I want to show you the other two formats.
| | 02:49 | Let's say you want to save a flat
version of the image specifically to send out
| | 02:54 | to a commercial printer, or for
placement inside of InDesign or some other
| | 02:59 | page layout program.
| | 03:01 | Why then, the best format in that case is TIFF.
| | 03:05 | And after selecting the TIFF format
I recommend you turn off the Layers
| | 03:08 | checkbox, because even though TIFF
supports layers, in fact it supports
| | 03:12 | everything you can save with the
PSD format, your printer or page layout
| | 03:16 | program is not going to need the layers and so
that's just going to clutter up the file size.
| | 03:21 | So go ahead and turn off Layers. That will
automatically turn on the As a Copy checkbox.
| | 03:26 | And that's a great thing by the way,
because it means that you're not actually
| | 03:30 | going to loose your layers in the file
that's open inside of Photoshop. You're
| | 03:34 | just creating a copy on disc.
| | 03:36 | And I'll go ahead and call this copy
let's say Print version and then I'll click
| | 03:40 | on the Save button and I'll get this
TIFF Options dialog box right here.
| | 03:44 | Now the only default setting you
need to change is Image Compression.
| | 03:48 | You don't really want it set to
None; you want to set it to LZW.
| | 03:52 | That will apply what's
known as lossless compression.
| | 03:55 | In other words, not a single
pixel inside the image is harmed.
| | 03:59 | However, you are going to end up
with a smaller image file on disc.
| | 04:02 | These other options you want to leave alone.
| | 04:05 | Pixel Order should be set to
Interleave. Definitely don't touch that.
| | 04:08 | Byte Order actually can be set to anything.
| | 04:10 | I'm working on a PC and it's set to Macintosh.
| | 04:13 | It just doesn't matter.
| | 04:15 | Every Mac application that supports
TIFF images supports the PC format.
| | 04:19 | Every PC application that supports TIFF
images supports the Macintosh format.
| | 04:23 | So as I say, it doesn't matter at all.
| | 04:25 | Click OK in order to save that file.
| | 04:28 | Now notice that my file is still
called Coworkers with lightbulb.psd.
| | 04:33 | And insofar as Photoshop is
concerned, I still have unsaved changes.
| | 04:37 | That's because I haven't
updated this file on disc.
| | 04:40 | If I want to save my changes, I'll go to
the File menu, choose the Save command.
| | 04:44 | That would update the PSD file,
not the TIFF file I just created.
| | 04:48 | Now let's say I want to email this
file to somebody. In that case I'd go ahead
| | 04:53 | and choose the Save As command again
and this time I would set the format to
| | 04:58 | JPEG and that's going to
deliver the smallest file possible.
| | 05:02 | However, I am going to apply
what's known as lossy compression.
| | 05:05 | In other words, Photoshop is going to
rewrite the pixels inside the image to
| | 05:10 | make for a smaller, more efficient file on disc.
| | 05:13 | I'll go ahead and call this one Lossy
compression in order to make my point.
| | 05:17 | Notice that you cannot save layers.
That's just not even an option when you're
| | 05:21 | saving a JPEG image. And As a Copy is
automatically turned on. You still want to
| | 05:26 | save your ICC Profile and so forth.
| | 05:28 | By the way, if your image contains path
outlines that you do with the Pen tool,
| | 05:32 | those will be saved along
with the JPEG image as well.
| | 05:36 | Now I'll go ahead and click the Save
button and you'll bring up the JPEG
| | 05:39 | Options dialog box and you'll get
not only a preview of what the JPEG
| | 05:43 | compression will do to the image, but
you also see a preview of the file size
| | 05:48 | of the saved image on disk.
| | 05:50 | Notice I can go ahead and crank this
Quality value down to the smallest file
| | 05:54 | possible and then we'll see that
the file size has dropped like crazy.
| | 05:58 | It was just 1.7 megs a second ago. Now
it's less than tenth of that size, but
| | 06:02 | I'll go ahead and zoom in here and
scroll my image over a little bit and you can
| | 06:06 | see that JPEG really does a number on the image.
| | 06:10 | What it's actually doing is collecting and
kind of ruining the image in 8x8 squares.
| | 06:15 | So you don't want to go with a Quality of 0.
| | 06:17 | That's a terrible setting.
| | 06:18 | What I suggest you do is save the image
with a quality setting of 10 or higher.
| | 06:24 | And for my part I almost always
go with a Quality setting of 12.
| | 06:27 | Now I figure as long as the file is
blow about 3 megabytes, it's safe for
| | 06:32 | emailing. Then go ahead and click OK in
order to save that version of the image.
| | 06:37 | Note that my file is still called
Coworkers with lightbulb.psd, because that was
| | 06:43 | a copy that I just saved.
| | 06:45 | And there you have it, three ways to
save a file from Photoshop, either as a
| | 06:50 | native PSD document with all layers
intact, definitely do that for every
| | 06:54 | composition you create, or to the TIFF
format in case you're creating a flat
| | 06:59 | document for print, or as a JPEG file
in case you want to email the image or
| | 07:04 | share it with somebody who
might not have Photoshop.
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| Preparing your image for print| 00:00 | In this exercise, I'm going to show you how
to prepare an image for commercial output.
| | 00:05 | I'm working inside a file called
Ad for prepress.psd, found inside the
| | 00:09 | Exercise Files folder.
| | 00:11 | Now when I say commercial output, I
mean that you're preparing an image to be
| | 00:15 | placed inside of Illustrator or
InDesign and then that file is going to go to a
| | 00:20 | commercial printer, or you're sending the
image directly to a commercial printer.
| | 00:24 | I do not mean that we're preparing the
image for printing inside your home or office.
| | 00:29 | If you want to do that, just go up to
the File menu and choose the Print command
| | 00:34 | or press Ctrl+P, Command+P on the Mac,
and then go ahead and choose the printer
| | 00:38 | that you want to use.
| | 00:39 | In my case we've got this Ricoh
inside the building that I could print to.
| | 00:43 | And you can decide whether the paper
is Vertical or Landscape by clicking on
| | 00:48 | one of these two icons.
| | 00:49 | You can even scale the image to fit
the page by turning on this checkbox.
| | 00:53 | Typically you're going to let the
printer manage the color process. Then go
| | 00:57 | ahead and click the Print button
in order to print that document.
| | 01:00 | In my case however, I'm just going
to click the Done button, which will
| | 01:04 | save these settings along with my file in
case I want to print the image in the future.
| | 01:09 | If on the other hand you're sending
the image out for commercial reproduction,
| | 01:13 | then you need to check your image
size and most printers prefer that you
| | 01:16 | convert the image from RGB to
CMYK. So let's see how that works.
| | 01:21 | The first step is to go up to the Image
menu and choose the Image Size command
| | 01:26 | or press Ctrl+Alt+I or
Command+Option+I on the Mac.
| | 01:29 | This command is going to allow you to
define how big the image is going to
| | 01:34 | print or how big it's going to place into
InDesign or some other page layout application.
| | 01:40 | Now we do not want to change the
number of pixels inside this image, so you
| | 01:44 | want to turn off the Resample Image
checkbox. This is extremely important.
| | 01:49 | Definitely turn it off.
| | 01:51 | Then go ahead and enter the size at
which you want to print this image.
| | 01:55 | For example, I know I want it to
be 4 inches wide by 3 inches tall.
| | 01:59 | Because I just increased the size of
the image, that's going to automatically
| | 02:03 | lower my Resolution
value to 256 pixels per inch.
| | 02:08 | Now the ideal resolution I'll just
tell you is 300 pixels per inch, but you
| | 02:13 | don't have to exactly adhere to that.
| | 02:15 | In fact, for many kinds of halftoned
output anything beyond 267 pixels per inch
| | 02:21 | is pretty much wasted.
| | 02:23 | However, when I take my Resolution
value to 4 inches I get an even lower
| | 02:28 | resolution of 256 pixels per inch.
| | 02:31 | This is my recommendation. As long as
you don't drop below 240 you're okay;
| | 02:37 | if you drop below 220 you're definitely
not okay, because you're going to start to
| | 02:42 | see the pixels, especially if you
intend to view that output closely.
| | 02:46 | For example, you're going to print it in
the magazine or a newsletter or something
| | 02:50 | else that somebody holds
up to their face and reads.
| | 02:54 | Now what if the image isn't big
enough to support your desired output size?
| | 02:57 | For example, I want to print it at 8 inches.
| | 02:59 | That's going to drop the
resolution to 128 pixels per inch.
| | 03:03 | Then you just don't have enough pixels.
| | 03:06 | Now you could turn on the Resample
Image checkbox and you could say hey, and
| | 03:10 | I'll go ahead and take that Resolution
value up to 300 pixels per inch so all is well.
| | 03:15 | Well actually it's not.
| | 03:16 | If I go ahead and click OK in order to
accept that modification, I'm going to
| | 03:20 | wait a moment for Photoshop to do its thing.
| | 03:23 | Now everything that's text is going to
turn out fine because text is vector-based.
| | 03:28 | It will scale on-the-fly, no problem.
| | 03:31 | Anything that's a vector-based shape
layer will come out fine as well, but
| | 03:35 | anything that's an image-- let's go
ahead and check out this guy over here-- is
| | 03:40 | going to suffer and it's going to
become softer, and that's because Photoshop
| | 03:44 | is trying to make pixels from nothing.
| | 03:46 | Photoshop cannot invent new detail.
| | 03:48 | It's just not smart enough to do that.
| | 03:51 | So increasing the resolution of an
image, which is known as upsampling, rarely
| | 03:55 | serves you any good.
| | 03:57 | I'm going to go ahead and press Ctrl+Z
or Command+Z on the Mac in order to undo
| | 04:01 | that modification, then I'll go back up
to the Image menu, choose the Image Size
| | 04:05 | command, and I'll turn off Resample Image
and change the Width value to 4 inches.
| | 04:11 | That will reduce the Resolution value
to 256 pixels per inch, which is going
| | 04:16 | to work out just fine. I'll click OK.
| | 04:19 | The next step is to make sure you save any
changes to your image to the native PSD format.
| | 04:25 | That is essential before
you convert the image to CMYK.
| | 04:29 | Assuming you've now saved your file, the
final step is to convert it to CMYK.
| | 04:34 | You can do that by going to the Image menu,
choosing Mode, and choosing CMYK Color.
| | 04:39 | Photoshop will ask you if you
want to flatten the image or not.
| | 04:41 | You definitely want to flatten it at this
point because you are just trying to
| | 04:44 | prepare the image for output.
| | 04:46 | Then it's going to tell you, hey,
| | 04:48 | this actually isn't the best way to go.
| | 04:50 | You're going to convert the
image to a default CMYK profile.
| | 04:54 | If you want more control over the
process choose this command instead.
| | 04:58 | That's actually good advice, so
cancel out of this dialog box.
| | 05:02 | And let's try out that command, go
to the Edit menu, and choose Convert to
| | 05:06 | Profile and then change the Destination
Space from sRGB, which is the space we're
| | 05:12 | working in currently, to one of
these CMYK spaces right here.
| | 05:16 | Now I know that's pretty darn
overwhelming to try to sort through these,
| | 05:21 | which is why you go ahead and contact
your commercial printer and find out
| | 05:25 | what they recommend.
| | 05:27 | When in doubt, you will want to go
with US Web Coated SWOP v2, assuming you're
| | 05:31 | working in the States, but the best
idea is to contact your commercial printer.
| | 05:36 | They may even have a
profile that they want you to use.
| | 05:39 | In my case, I'm going to go with the
when in doubt option, US Web Coated, and
| | 05:44 | I'll make sure that the
Engine is set to Adobe (ACE).
| | 05:47 | The Intent is a little bit controversial.
I'll tell you for now just to leave it
| | 05:51 | set to a Relative Colorimetric. And
then finally turn on all three of these
| | 05:55 | checkboxes including Flatten image
to preserve appearance. Then click OK.
| | 06:01 | Now I want you to notice something.
Not only do we have a flat version of the
| | 06:04 | image file but we've lost some
of our color in the transition.
| | 06:07 | So if I press Ctrl+Z or Command+Z on
the Mac, I want you to watch these red,
| | 06:11 | green, and blue swatches.
| | 06:13 | As soon as I undo the conversion
we're back in the RGB color space.
| | 06:17 | Those colors are much brighter, and
that's because, speaking very broadly here,
| | 06:21 | the RGB spectrum is much larger than the
CMYK spectrum, which means that you can
| | 06:27 | see colors on screen that you can't
necessarily reproduce using standard process
| | 06:32 | colors, that is cyan, magenta, yellow,
and black, and that's just a fact of life.
| | 06:37 | And you're not really going notice that
much of a change throughout the rest of
| | 06:41 | this image. Just on those color
swatches there, and the cyan, magenta, and
| | 06:46 | yellow swatches should stay more or
less the same when I press Ctrl+Z or
| | 06:50 | Command+Z again to return to CMYK.
And we can see that we have a CMYK image up
| | 06:56 | here in the title tab.
| | 06:57 | Now the final step is to
of course save this image.
| | 07:00 | You do not want to choose the Save
command and ruin your original. Instead
| | 07:06 | you want to choose Save As or press
Ctrl+Shift+S, Command+Shift+S on the Mac,
| | 07:11 | then go ahead and choose the TIFF
format, which is the best format for
| | 07:15 | commercial printing.
| | 07:17 | And I'll go ahead and call this CMYK for
prepress, and then I'll click on the Save button.
| | 07:23 | Set the Image Compression to LZW, the
other two options leave alone, and then
| | 07:28 | click OK in order to save that CMYK file.
| | 07:32 | Now you're ready to place the image
into InDesign or some other application or
| | 07:37 | hand it off to a commercial printer,
and that's how you prepare an image for
| | 07:41 | CMYK printing here inside Photoshop.
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ConclusionNext steps| 00:00 | With any luck you now have a solid
sense for how to start using and move
| | 00:05 | forward with Photoshop.
| | 00:07 | Welcome to the club!
| | 00:08 | But corny as it may sound,
your journey has just begun.
| | 00:12 | This is one of the most powerful and
beloved applications ever created, so there
| | 00:17 | is lots more to discover.
| | 00:19 | If you're a member of the lynda.com
Online Training Library, I can recommend a
| | 00:24 | few avenues for further exploration.
| | 00:26 | The first is my own Photoshop One-on-
One: Fundamentals, in which I immersed
| | 00:31 | you in the software, so that you emerge with
the sense of not just comfort but fluency.
| | 00:38 | Also check out Photoshop for Designers
by Nigel French, which explores the world
| | 00:43 | of graphic imagery in luxurious detail.
| | 00:46 | And if you have nothing better to do on
any given Tuesday, check out my weekly
| | 00:50 | blog series Deke's Techniques.
| | 00:53 | Wherever you go, thanks for having been here.
| | 00:56 | On behalf of lynda.com, this is Deke
McClelland, and let me end by reminding you
| | 01:02 | of something you obviously already know.
| | 01:05 | There's no better investment than
the time you invest in yourself. Take care!
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