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Adding a vignette

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Adding a vignette

Our last task in this project is to add a big dark vignette around the entire frame and the image here and we are going to do that by adding a new layer by creating a layer of darkness essentially, a layer of faded blackness and I want to add this layer on the very top of the stack and that gives me the opportunity to show you yet another way that you can switch layers here inside Photoshop. Notice when I have got the Move tool active right here if I were to right click inside of the face that I will see a list of layers that intersect my right click position and if you are working on a Macintosh computer and you don't have a right mouse button then you would Control Click with the Move tool.

Adding a vignette

Our last task in this project is to add a big dark vignette around the entire frame and the image here and we are going to do that by adding a new layer by creating a layer of darkness essentially, a layer of faded blackness and I want to add this layer on the very top of the stack and that gives me the opportunity to show you yet another way that you can switch layers here inside Photoshop. Notice when I have got the Move tool active right here if I were to right click inside of the face that I will see a list of layers that intersect my right click position and if you are working on a Macintosh computer and you don't have a right mouse button then you would Control Click with the Move tool.

If some other tool is active like let's say I have the Brush tool active then you would Ctrl+Right Click here on the PC or Command Right Click on the Mac and if you don't have a right mouse button then you would Command Control Click on the Mac and then choose whichever layer you want to make active so if I choose my face it automatically becomes the active layer. And the great thing about that is you can switch layers very easily, very conveniently just by right clicking with that Move tool or by Control or Command right clicking with some other tool so long as you have taken the time to name your layers because if you don't name your layers then you are not going to know what layer it is that you want to choose from the list because Photoshop is always going to show you multiple layers to choose from, at least one layer in the background layer as it turns out.

And this selects similar layers, it allows you to select for example all pixel based layers or all text layers or all vector shaped layers or all adjustment layers or all smart objects that kind of thing all layers that have a certain functional similarity to them. Anyway in my case I just control right clicked on the picture frame and I will now choose Frame in order to make it active because it's the top layer in the stack. Now I am going to go ahead and grab the elliptical marquee tool because I am going to use this tool in order to create my vignette but as I say I need to create the vignette on an independent layer so I want to add a layer to my composition.

I can do that in a few ways. One is I can click on the Create New Layer icon here right next to the trashcan at the bottom of the Layers palette. If you do that however you are going to create a generically named layer like this one here. It's just going to be called Layer1. I don't want that for the exact reason I just showed you. Now if I press the Control key and right click there is a chance that I am going to see Layer1 listed in the Pop-up menu and I don't want to see Layer1 because I won't know what that means so I want to make sure to name the layers as I make them so I will undo the addition of the generic Layer1 layer and instead if you want to name a layer as you make it you have two options.

One is to Alt Click or Option Click on this little page icon. That brings up the new layer dialog box. The other way is you can take advantage of a keyboard shortcut. This is the way I work anyway. You can press Ctrl+Shift+N or Command+Shift+N on the Mac for the new layer command. Then go ahead and name this layer Vignette and press a Return key or the Enter key in order to create this new Vignette layer. Alright now we are ready to fill the Vignette layer with a Vignette of course.

I am going to Alt Drag or Option Drag from the approximate center of this painting outward and what I want to have happen here I want the arcs, the centers of the arcs of my elliptical marquee to exactly intersect the corners of the interior of the frame. Do you see what I am talking about? So this would be the corner right there, one of the corners that I am trying to intersect and I want to make sure all the corners for that matter intersect the elliptical marquees so that may mean a little bit of spacebar dragging on your part but in any case keep that alt key down or that option key down until you release the mouse button then you can release the alter option key since we are dragging from the center outward.

Alright now we need to create a little bit of a feather here so that we have a soft selection outline and we are going to do that by up out the select menu, choosing modify and choosing the feather command. This is the first time we have gone here in this series and notice inside Photoshop CS3 the Feather command has been tucked into the modify sub-menu used to be loose. Actually it used to be where refine edge is right now and now it's been tucked away so anyway go ahead and choose the Feather command or you can take advantage of that keyboard shortcut there and I am going to use a feather radius value of 30 pixels which I have pre-entered and click OK in order to accept that modification now.

It's not going to look any different on screen because the marching ends can't really represent a soft edge selection outline. Now I want to fill the area outside the selection, not the area inside the selection so I am going to go up to the Select menu and I am going to choose the Inverse command to find the inverse of the current selection so I am reversing the selection, selecting the area outside the marquee. This looks great. I can tell that the right area is selected now because the marching adds around the parameter of the image and I am going to fill the selection with black, with the foreground color and you can do that in one of two ways.

You can go up to the Edit menu and choose the Fill command. This is a really tedious way in my opinion but you can choose the Fill command and then you can say you want to use foreground colors set to normal in 100% opacity. Make sure Preserve Transparency is turned off and then you would click OK in order to fill the selection with a foreground color. Alright that may seem pretty straightforward. I am going to undo that but there is such an easier way to work and here it is. All you got to do is press for the foreground color you press Alt Backspace. For the background color you press Control Backspace.

On the Macintosh side you would press Option Delete for the foreground color or you would press Control Delete for the background color. I am going to go ahead and press Alt Backspace because I am working on Windows here. You Macintosh users press Option Delete in order to fill the selection with the foreground color. We are done my friends. Go ahead and press Ctrl+D or Command+D on the Mac in order to accept that modification. This portrait was later set against a black background on a webpage so it blended in perfectly with that black background.

It worked out just duckily. If that is indeed an authentic adverb and in order to see how wonderful this finished composition looks I am going to change the piece board color to black by switching to the Paint Bucket tool here and with black as my foreground color I am going to Shift Click inside the piece board. Then I am going to tab away my palettetes. I am going to press the F key to switch to the full screen without Menu Bar Mode and I am going to press Ctrl+ a couple of times so that we can take in the image set against the black background.

This is the final composition substituting my face for that of St. Sebastian's I now look officially like I was painted by Rafael. I feel very privileged in that regard. Thanks to the monumental power of layers inside of Photoshop.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39154 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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