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Photoshop CS4 One-on-One: Advanced
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Assigning and saving appearance attributes


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Assigning and saving appearance attributes

In this exercise, we're going to create a slightly more involved layer comp, so that you can get a sense of just how wonderful it is, that you can save out appearances, blend modes, and Opacity values and all that jazz, differentlayer effects, using layer comps, it's a very, very powerful feature. I've gone ahead and saved my progress so far. It's the document called Ten little layer comps.psd, and it's so called of course because I do have ten little layer comps. You can see right here that this latest sort of strangely named Layer Comp Talk bubble has indeed been saved along with the file.
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Assigning and saving appearance attributes

In this exercise, we're going to create a slightly more involved layer comp, so that you can get a sense of just how wonderful it is, that you can save out appearances, blend modes, and Opacity values and all that jazz, differentlayer effects, using layer comps, it's a very, very powerful feature. I've gone ahead and saved my progress so far. It's the document called Ten little layer comps.psd, and it's so called of course because I do have ten little layer comps. You can see right here that this latest sort of strangely named Layer Comp Talk bubble has indeed been saved along with the file.

I'm not suggesting that every time you make a layer comp you go ahead and choose the Save As command and save it as a separate image, because that would defeat the purpose. That's what we had to do in the old days before layer comps. If you wanted to save different layered states, then you would have to actually save those as separate files and you would garbage up your hard drive, because layered documents are so ginormous. But thanks to the advent of layer comps, that means that you can save different versions of a single layered composition inside of that single layered composition. So you're really saving multiple variations on your artwork, if you will.

Of course, all of your variations are parametric; no pixel level modifications. We'll discuss some more limitations associated with layer comps in the next ever so helpful exercise. I'm going to make my Layer Comps palette tiny again; I'm going to collapse it there. I'm going to twirl open Emperor Scratch, this group right there, that's very close to the top of the Layers palette, and you'll see that we have duckbill, which, hadrosaurs are informally called duckbill dinosaurs, because they look exactly like ducks after all. Then we also have teeth and hands; these hyper-realistically rendered hands on my part, photo-realistic teeth as well, so it's all highly realistic. Well, not so much. We're going to enhance the realism using some Layer Effects.

So I'm going to start by expanding right here the duckbill. We haven't gone into much detail about Layer Effects yet. We will, as I say, we're going to have an entire chapter devoted to these very, very useful functions. But I've gone ahead and created them in advance. You could create them on the fly, let's say if this was the real world and you were really for real working through a real layered composition in the realm of reality, then you would heap on everyone of these, and you'd probably start off with Bevel and Emboss. I'm just going to click in front of it. So that gives the dinosaur skull some cartoon depth. Also, it kind of makes it look like the screen is bouncing onto him. It's highlighting the dinosaur.

Then I went ahead and added a little bit of a Gradient Overlay in order to darken him up and make him seriously sinister, you can see. Then I wanted him to look like he is being lit sort of greenish by the glow at the ginormous cathode-ray tube or whatever this thing is. I did that by adding this Inner Glow Effect right there, and you can see he is turning slightly green, so that he looks like he is like in his evil laboratory right now. Awesome! Then I'll go ahead and hide the effects so that we have more room to work.

Let's go to the teeth. Right now they don't look very scary; they look like they're cut out of construction paper. So let's add some Bevel and Emboss to give it a nice Bevel. Next, I want to add a little bit of edge shading around the teeth, and I'll do that using an Inner Glow, and you can see how effective that is, that looks very, very nice. He has got some very dangerous teeth going there. Then I'll turn on the Drop Shadow, which I'm not sure his teeth would really cast the shadow onto this big giant green screen, but it looks good, so that's all I care about. I'm going to go ahead and twirl that guy close and then twirl open hands, and then we've got Bevel and Emboss of course, and that adds little bit of highlighting on the hands there.

Let's do an Inner Glow for good measure, sort of darken things up, and Outer Glow so that he has glowing hands. I don't know why. Then Drop Shadows as well, in order to just add some more depth to the hands. I think it's one of those screens where if you touched it, it kind of goes blue, so that's why he's got the Outer Glow effect. All right. We'll twirl that close. If I go back to my Layer Comps palette, notice Talk bubble no longer has a newspaper page in front of it, and if I were to click on it, all of my Layer Effects would go away, because I said to save the appearance, and that appearance involved no layer styles. So I just flattened off my evil hadrosaur.

His level of evilness drops precipitously, thanks to that. So let's go ahead and undo that modification, by pressing Ctrl+Z, Command+Z on the Mac, or always remember that you've got this Last Document State option right there, you can click in front of it in order to regain things. Okay. So I just want -- there's little bit of danger, just watch out for that. Let's go ahead and save of the state. If we really want to be safe, we'd go oh, I almost lost that. Let's go ahead and save it off. I click on the little Page icon and I would name it Dinosaur depth or something along those lines.

Then Visibility is turned on, Appearance is turned on; definitely turn on Appearance or we're going to not pay attention to any of that jazz. Then Comment, which is something like, My goodness, now he is so very scary, or something along those lines. That's good. An exclamation point is better. Then I'm going to go ahead and click on the OK button in order to create that layer comp right there, and now I can switch between them. This is Talk bubble, which doesn't have the effects; this is Dinosaur depth, which does have the effects.

But we've also got this cavernous eyehole right there, and we don't want that. So go over here to Layers palette and turn on the eyeball layer so that inexplicably a skeleton has an eyeball and he is looking, but this isn't his skull, this is his exoskeleton, this is just the way he happens to look. But of course, I have upset Dinosaur depth, its no longer active. It is selected but it's not the active state. So presumably, I could create yet another layer comp, there is no reason really not to except for cluttering up your document, but in my case what I want to do is just update it. So I've gone ahead and added a different layer, fine. Then I would click on that little Update icon in order to make the eyeball part of that layer comp right there.

Now, we just have this wonderful narrative at our disposal here. I'm going to go ahead and collapse my right side palettes like this, so I have a little more room to work. I'll move layer comps over here. I don't want to move them into the stack there, so I'll just move them off to the side. You have to watch where the little blue lines are showing up. Let's just start the whole thing over. This is the Badlands photo at the beginning. This is Ground & sky, and this is the Basic landscape; looking nice. Rapid City photo, doesn't look good at all, it's horrible. Dinosaur elements, oh, my goodness, all of a sudden the realism occurs. Then we go to Rough comp and Final comp; of course we saw that before, and that is a delightful looking photo illustration.

Then we've got Surveillance with the scary factor, just starts going through the roof, and then we have got the Hadrosaur elements, we're introducing our antagonist, which is a good thing to do, that has to happen. Then we'll give them some dialog, also very helpful. Then finally, we'll finish off the composition with some depth. So there you go, that's how to tell a story in Photoshop using layer comps. In the final exercise of this horrifying chapter, I'll tell you what layer comps don't do, which is actually a lot. It's just an FYI that I'll share with you next.

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