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Assembling the base composition

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

Video: Assembling the base composition

Now as I mentioned in the previous exercise, we are working inside of an image called terriblebattle.psd that's found inside the 14 Groups Comps folder and this features an image that I shot in the Denver Museum of Nature & Science and we are going to be building it up into a layered composition or rather fantastical composition that's going look like a still frame from live and developing news coverage of two wicked creatures locked in fierce battle with each other. You know just an absolutely epic struggle covered on you know DNN as it turns out the Dinosaur News Network with little of zipper text along the bottom of the screen.

Assembling the base composition

Now as I mentioned in the previous exercise, we are working inside of an image called terriblebattle.psd that's found inside the 14 Groups Comps folder and this features an image that I shot in the Denver Museum of Nature & Science and we are going to be building it up into a layered composition or rather fantastical composition that's going look like a still frame from live and developing news coverage of two wicked creatures locked in fierce battle with each other. You know just an absolutely epic struggle covered on you know DNN as it turns out the Dinosaur News Network with little of zipper text along the bottom of the screen.

But before we do that we have to build up the base layers, I am going to go ahead and press the F key in order to switch to the Full Screen mode and move my composition over to the left a little bit, so that I leave room for my Layers palette. I will press the F7 key to bring up the Layers palette and here are my base layers that we have to choose from. So there are a lot of layers already going on inside of this composition including, for example the Stretch Layer, if you will go ahead and turn that one on for me. And that's just a stretched version of the Background Layer that's all that's going on with it.

And I made it just by selecting the Background Layer, pressing Ctrl+J or Command-J on the Mac and then with that layer selected that new Jump layer selected, I went up to the Edit menu, I chose the Free Transform command, we will see more from this command later. And once I had entered the Free Transform mode, I just went ahead and drag the side handles associated with the bounding box for this image outward in order to stretch the image horizontally, so not too much going on there. So that's our Stretch Layer.

Now I want to point out something to you very, very briefly, this is just little bit of a side note, you can switch I was telling you this in the previous chapter actually that you can switch between, it turns out between visible layers inside of an image by pressing Alt or Option on the Mac along with the bracket keys. So for example, if I press Alt+Right Bracket over and over, I will just keep cycling between these two visible layers inside of this image. Well what happens if only one layer is visible, I will go ahead and turn off Stretch for a moment so that you can see.

Now if you press Alt+Right Bracket or Option right bracket on the Mac, you will not only select different layers but you will also make them visible by themselves, so this is a way to just check out layers by themselves inside of an image. So here I am pressing Alt+Right Bracket to go up here, I am pressing Alt+Left Bracket to go down. Just a little bit of FYI in case you are interested. Anyway let's turn on Stretch, next I want you to turn on the Dark Blur layer and this is an image, a completely unrelated image that I shot and I blur the heck out of this image, but I am not sure whether it's some grass or whether it's some you know sea green element or whether it's some painting that I put together and then blurred I am really not sure what the history of it is, I just forget as it turns out, because I am addle minded you know.

But what's great about this is I can use it in order to enhance the colors inside the stretch dinosaur image and I am going to do that by going up to the Blend mode menu here in the Layers Palette and switching from Normal to Difference, like so. And what Difference does is it uses the colors inside of the Dark Blur layer in order to invert the colors in the layers below and white anywhere where the Dark Blur Layer is white. It completely inverts all the colors below it and anywhere where it's black, it doesn't invert the colors at all and all the other intermediate colors invert to intermediate degrees.

And as a result I will go ahead and sort of zoom in on some of these elements in the skeleton of the Tyrannosaurus Rex here. You can see that it makes a pretty big difference in terms of what we can see, so this is without the Dark Blur layer and this is with the Dark Blur layer. So it creates this wild highlight inside of the animal. And down here it creates this interesting sort of fountain of colors inside of what turns out to be the shadow on the wall, the shadow that the great creature's skeleton is casting on the wall here, so I think it's pretty nifty.

Anyway I just want to show you how it's working, I will go and zoom back out here to the 50% zoom ratio and move things over a little bit, so that we can see what's going on. Finally at the top of these 4 layers that is finally we have the blur dinos layer I will go ahead and click on it as well as showing it to you. And I created this layer by jumping the background layer and moving it to the top of the stack and applying the Gaussian Blur filter with a radius of 12, so not too much going on there. I want you to change the Blend Mode assigned to the blur dinos layer to lighten, so that we just keep the lighter colors on a channel by channel basis.

And as I say we are going to devote an entire chapter to Blend Modes, come and write up, but for now just go ahead and choose the light mode then press the Esc key if you are working on Windows to make sure that the Lighten option is no longer active. And then I want you to press the 5 key in order to reduce the opacity value to 50% and this assumes that you have one of the selection tools active here. And that's another variation on the Captain Kirk-in love effect I am not sure if he was ever you know, if he ever took a fancy to smell dinosaur's skeletons or not but if he was going to take a fancy to them, this would be the shot that caused him to take a fancy to them.

Anyway so we have got a combination of these 4 Base layers, working mostly together really actually the background layer is being covered up, so it's just these 3 layers working together. In the next exercise, we will add something called an Adjustment layer to heighten the saturation inside of this composition and then we will take our first look at a layer group coming right up.

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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 · 39156 viewers

Deke McClelland
Author

 
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  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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