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All right! I'm still working away inside the Straight-sided outline.psd file found inside the 27_pen_tool folder. I have the vector mask selected for the magazine layer, and I can see my path outline. It's also selected. I have one anchor point selected here with the White Arrow tool. I'm now going to continue to edit this path. I'm going to click on this anchor point right there at the corner where the two pages intersect. I'm going to go ahead and nudge it upward a little bit because it was a little low. Thanks to that 75% Density value there in the Masks panel, I can see where the magazine ends and the background starts.
Now, when you're adding points with the Pen tool, it has a propensity to deliver what are called smooth points with control handles. Smooth points are like this guy right here that have two control handles locked into alignment with each other. That ensures that you have a smooth continuous arc inside of your path. So logic dictates that perhaps what I ought to do is delete the existing points along the top edge of this magazine article and add new points and see if they come in as smooth points as well. So that's what I'm going to do.
I'm going to press the P key in order to switch back to the Pen tool, and then I'm going to click on this point right there to delete it, and I'm also going to click on this guy to delete it as well. Then I'll click someplace in the middle of this segment, like right about there. Sure enough, it comes in as a smooth point, and I'll nudge it down from the keyboard, just by pressing the Down Arrow key. I might also go ahead and press the Ctrl key or the Cmd key. Notice, if I press Ctrl or Cmd, I get the White Arrow tool on the fly, and that allows me to go ahead and drag that control handle up just ever so slightly, so that we get a little bit of up curvature going there.
Then I'll release the Ctrl key or the Cmd key on the Mac and I return to the Pen tool. So, this is a very convenient way to work, back and forth between adding and deleting points, and then, of course, modifying them with that white arrow. Now, I'll nudge that point up just a little bit. I'm going to click on this point to delete it, and I'm going to add a new point by clicking. So, all we're doing here is we're getting rid of the corner points, and we're replacing them with smooth points. Now I'm using the Up Arrow key in order to nudge that point up. I'll click on this point in order to delete it, and then I'll click right about there, a little farther over to add my new point and use the Down Arrow key to nudge it downward.
This is working out beautifully I have to say. All right! So now I'm going to go ahead and click at this location to delete this point, add a new point, nudge it upward, and I could press Shift+Up Arrow in order to make a little more progress if I wanted to. I'm going to click at this point to delete it. I might add a new point at that location as well. I'm nudging it using both the Up Arrow and Left Arrow keys. That looks like a pretty good arc right there. I'm not really having to manipulate the control handles, but if need be, you can always do that. In this case, I'm going to Ctrl+Click or Cmd+Click on that anchor point in order to select it and nudge it down a little bit, because it seems to have gotten a little too high.
I'll click on this point to delete it. I'm going to click on this point to delete it as well. You can do a lot of work with smooth points, by the way. You don't need nearly as many of them as you do when you're drawing a straight-sided selection outline. So, notice, I'm going to trace the entire top edge of the right page using just three smooth points. So, I'm going to add one more at this location. I'll nudge it down by pressing the Down Arrow key. That looks like a good match to me. Again, I don't feel like I need to change those control handles. They're coming in where I need them. All right. I'll Ctrl+Click on this point in order to select it.
Now that wants to be a corner. These guys want to remain corners, so I'm not going to change them. I just needed to nudge it to a different location. Now, I'll go down to the bottom edge here. Ctrl+Click on this point, that would be a Cmd+click on the Mac in order to select it, nudge it from the keyboard once again. All right! We've got a misplacement of this point right there at the lowest intersection of the two pages. So, I'll go ahead and Ctrl+Click on that point, Cmd+Click on the Mac, nudge it downward. This guy looks like a point that could use a little bit of curvature. So, I'll click on it to get rid of it, and then I'll click about here to add a new point.
Notice it gets these big long control handles and I'll go ahead and nudge it down. Absolutely impeccable! This is working out beautifully. All right! I'll click on this point to deselect it, and I'll click again to set a point right about there, nudge it down ever so slightly. Finally, I'll click on this point in order to delete it, click again maybe right there. I'm not sure I need a point at this location but might as well have a little bit of extra finesse there. That's actually exactly where I want it to be, so I'll Ctrl+Click on this guy in order to select it, that's a Cmd+ Click on the Mac, nudge it down, Ctrl+Click on this point, nudge it down as well.
That, of course, is a Cmd+Click on the Mac. Now, you could keep switching back and forth between the Pen tool by pressing the P key and the White Arrow tool by pressing the A key, but that gets to be a pain in the neck after a while. That's why I prefer just to press and hold Ctrl, or Cmd on the Mac when I need the White Arrow tool, and when I don't need again, and when I need the Pen tool again, I just release the key. All right, let's see what we've done. I'm going to go ahead and zoom out here and center the view as well like so. Now, I'm going to return to my Masks panel, and I'll go ahead and increase that Density value back up to 100%, so that we're getting rid of the background.
I'll hide the Masks panel and I'm going to click on the vector mask thumbnail in order to hide the path outline. There is the finished tracing of the magazine cover. It looks like it might not be exactly right on, on this upper edge, but otherwise, it looks to me to be absolutely perfect. Thanks to our ability to create straight-sided path outlines with the Pen tool, and then interject some smooth points here and there as we edit the path outline.
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