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Adding and deleting interior points

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Adding and deleting interior points

All right, in the previous exercise, I showed you how to add and delete end points, essentially. So that you can carve a hole in the path and then extend the path. In this exercise, I am going to show you how to add and delete interior points, that is, points that are nestled between other points inside of a path. I am still working inside of that exact same, Free-form polygon.psd file, that I opened a couple of exercises ago. That's because we have just been playing around with this free-form polygon path outline right here. Make sure it's active inside the Paths palette. So I go ahead and give it a click. Then make sure that you have your Pen tool. Well actually, you know what? Let's go ahead and Shift+Tab away those palettes right there and let's zoom in. I want to zoom in on this nose and mouth region. Actually, I might be zoomed in a little too far there, on the nose and mouth region because I am not doing a terribly good job of tracing around these areas thus far. So I might as well make a few other modifications to this path outline.

Adding and deleting interior points

All right, in the previous exercise, I showed you how to add and delete end points, essentially. So that you can carve a hole in the path and then extend the path. In this exercise, I am going to show you how to add and delete interior points, that is, points that are nestled between other points inside of a path. I am still working inside of that exact same, Free-form polygon.psd file, that I opened a couple of exercises ago. That's because we have just been playing around with this free-form polygon path outline right here. Make sure it's active inside the Paths palette. So I go ahead and give it a click. Then make sure that you have your Pen tool. Well actually, you know what? Let's go ahead and Shift+Tab away those palettes right there and let's zoom in. I want to zoom in on this nose and mouth region. Actually, I might be zoomed in a little too far there, on the nose and mouth region because I am not doing a terribly good job of tracing around these areas thus far. So I might as well make a few other modifications to this path outline.

All right, so let's go ahead and select the path and my Pen tool is active right now. I could go ahead and grab my Arrow tool instead and click on the path outline to select it but instead, what I am going to do is I am going to press and hold Ctrl key or the Command key on the Mac, and click on that path outline. That, of course, pressing Ctrl here on the PC or Command on the Mac gets you the Arrow tool on the fly. Now I will release that key because I don't need it anymore. Now I am going to click and hold on the Pen tool icon here in order to reveal the entire flyout menu. I was telling you, I love the Pen tool, I think it's great. That's why I left it with the keyboard shortcut. If you loaded my Deke key shortcuts, you will see that P selects a Pen tool and nothing else, it doesn't cycle between tools. The Freeform Pen tool, I spit on you, I don't like that tool. The Add Anchor Point and Delete Anchor Point tools, I actually think they are really great tools but we never need to select them. I will select them and show them to you first and then I will show you, why we never need to select them, actually. Then we have got the Convert Point tool, very useful but advanced tool, we will come to it later.

All right, go ahead and grab the Add Anchor Point tool and right here, I think, this line right here doesn't do justice to this, sort of, curve that's associated with this part of her nose, whatever it's called. So notice, I am going to move my cursor over the path outline and I get a little pen. You can't see it, darn it but let's see if I move it to a different location, if we can see it little better. Yeah, that little plus sign is hard to see. All right, I move it here and we can, kind of, see a little pen with a plus sign next to it. All right? That shows you that that's going to add an anchor point.

So go ahead and click right there to add an anchor point. Notice that it gets a couple little control handles, notice those tiny little circles next it to it, those are control handles. Now, I can move this point in to position and control handles, by the way, we are going to see more of them but what they do is they add curvature to a segment. I am now going to press and hold the Ctrl key or the Command key on the Mac, so that I can keep that Arrow tool selected right there, that white Arrow tool. I am going to drag it over, like so, and we get this curving segment this time, that Photoshop has very obligingly created for me. Actually, it does a pretty good job of selecting that area. Nice work, Photoshop. So we can continue to add other anchor points at will, if we want to. They are going to come in with little bits of curvature associated with them as well, and then we can move these guys in to position as desired, like so. We will go ahead and drag this one down. Of course, you can nudge, don't forget that you can nudge, if you want to.

All right, now I am, kind of, left with this guy who is, kind of, an extra point and I don't want him. So I would go over and get my Delete Anchor Point tool, select it, and I would click on it. Notice, it's now a Pen tool with a minus sign. You can barely see the minus sign but it's there. Click on that point and see that instead of deleting the point and the neighboring segments, it just goes ahead and deletes the point and draws a new segment between the remaining points. Compare that, by the way. I will go ahead and undo the modification, compare that to having an anchor point active, having it selected, and then pressing the Backspace key or the Delete key on the Mac which creates a hole and gets rid of the neighboring segments as well.

All right, but I am going to show you something. I am going to leave it that way because now I am going to draw some new points here. I am going to click here and I am going to click here in order to connect those two points together. I will go ahead. Notice something at this point, I will Ctrl+Click or Command+Click on the path outline. I want to show you how you never need to resort to the Add or Delete Anchor Points tools. Armed with a Pen tool, you can get to them any old time, just by making sure up here in the Options bar that Auto Add/Delete is turned on. It's tuned on by default, just don't turn it off. Then, notice now, if I move my cursor over an existing point and click, it goes ahead and get rid of that point.

The Pen tool automatically turns in to the Delete Anchor Point tool, when I hover it over an existing interior point. If I want to add a point, I just hover over a segment and click. Then it just goes ahead and adds a point at that location. Isn't that great? So you can just add and delete points at will here using the Pen tool. What's amazing is that once upon a time, that wasn't the way it was, you had to actually to resort to other tool but these days, things are much better. Oh, it's been better for years and years now, of course, but there was a dark day when engineers hadn't discovered that they can make the tools way simpler.

All right, anyway, I am going to go ahead and click here in order to create one of those fancy curving points for the shoulder and then I am going to drag down here. These fancy curving points, by the way, are known as smooth points, in case you are interested. This looks pretty good, may be I will add another point at this location moving and that time, we could really see the cursor, that's nice. Of course, now we can't. May be here we could, oh yeah, you can see it has got a plus sign, groovy. You can see there how it's got a minus sign, awesome. Anyway, this looks pretty good. You can keep playing with it, if you want to, but this is not a bad tracing that I have created using the simplest approach.

Really, using the Pen tool to create a free form polygon and then using the Pen tool to add and delete interior points inside that path. In the next exercise, I am going to show you how we actually employ this path in order to mask this photograph of the woman's face.

Show transcript

This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26325 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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