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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.
Okay, here we go. We're going to see one of those checkboxes in action. It's the Blend Interior Effects as Group checkbox, for what it's worth. I'm working inside of yummy, yummy juice.psd. What I'm going to do is I'm going to expand my Layers palette a little bit, make it wider, so that I can see everything associated with this Contents layer. Notice that it has a layer mask, it's got a vector mask, it's got everything. It's a Dynamic Fill layer right there. Turn it on, and what it is; let's go ahead and scroll down, it's this thing right there, its the goop inside the glass. Currently, I'm seeing the path outline. I want to turn the path outline off, so I'll Click on the vector mask to make it go away.
So I want this color to be integrated into the glass. Now, you should see the color and the fingers be pretty well aligned with each other; that's a function of making sure that Max is in the right place, that he is actually lined up properly in the first place, and that you snapped him into alignment way, way back when. If you find that he is a little off; like in my case; let me Click on spokesboy here, I'm finding that his fingers seem to be a little low, that they're overlapping into this region right there. So I'll press Ctrl+Up Arrow, I think one time is going to do, I think, that's all I need to do. That would be Command+Up Arrow on the Mac, if you have the same problem. You might have a totally different alignment issue.
But go ahead and make sure he is aligned to the contents of the glass. If you want to work the other way around, you can. You can align the contents to Max, if you prefer. Anyway, doesn't look terribly realistic right now .We can solve that with a blend mode. So make sure this layer is active, then go to the Blend Mode pop-up menu, and change the mode to Overlay. We get this nice sensational drinky drink going here. Now, I want the drink to have a little bit of froth at the top, a little bit of a head. So I'm going to create that head using a Gradient Overlay. So again, this layer should be selected. Go to the FX icon, choose Gradient Overlay. Then what I want you to do is I want you to change the blend mode. We want the default gradient, which is White to Black, or Black to White really I guess here, the other way around. The Angle is 90 degrees. So all this stuff is pretty well right, except for two things.
I want you to change the blend mode to Screen right here, so that we're only keeping the White and we're dropping out the Black. So we get a White froth at the top right there. Then I want you to reduce the Scale value to 50, so that we're reducing the size of the gradient inside of the glass. So in other words, the transitional area is only 50% as big as it was. Then notice my cursor is a little drag cursor. You can actually move a gradient in the image window just by dragging it. I'm going to drag from the bottom of Max's finger up to the top of his finger, just like so. So one finger's width is all we're dragging upward, so that we have just a little bit of froth at the top. I'm no longer dragging.
All right, that's it. Now Click OK. Well, actually, don't Click OK. If you Clicked OK, just go ahead, if you did what I said, then just Double-Click on the word Effects to bring back up the dialog box and you will go into Blending Options right there, which is where we want to be. So notice that, I'll cancel out. When you Double-Click on Effects, right there, on that line, you bring up the Blending Options, something to note. We learned something during this mistake, excellent. All right. But you're looking at this going, Deke, that effect is terrible. It doesn't look any good. That overlay of the orange juice looked okay. I thought you were onto something there, but then you went into that and you disappointed me, I'm done with you. Goodbye.
All right. Well, here is the problem. We're not getting any integration between the screen and the Overlay Effects right now, we want to. I want to see those integrated together, and so you turn on this checkbox right there. Really, here is how it works guys. You get a weird problem like this, you go, oh, I don't know what to do, bang head against table, and then you think, wait a sec, I'll go check out these checkboxes here. I know this middle one is ridiculous. Deke said never to turn it off ever, which is pretty much true. Not pretty much true, why did I say that, it's totally true, never turn that off. What you want to try out when you get this kind of thing, where things aren't interacting properly, then you want to play around with these two checkboxes right here.
So really, it's a matter of hey, I think I'll turn this one off. Hey, it didn't get any better. Hey, I'll turn this one on. Hey, it got better, that's awesome. Hey, what does this do if I turn it back on? Nothing. Okay, so who cares? I want Blend Interior Effects as Group on, nice. Now we get this wonderful interaction, that's sizzling like soda pop at the top thing going. Now you Click OK, so you're done, and that solved the problem. That's because, in case you're wondering why that checkbox made it work; it wasn't magic, it's because what's happening now is you're screening the Gradient Overlay Effect into the orange, and then you're applying Overlay to the Composite Effect, as opposed to applying Overlay to the orange and then screening in the Gradient. So it's going in the different order and that solves our problem.
Having problems understanding, not sure? I'm going to show you another example that involves a signature inside of this file. A really great effect, really great technique, and it's coming right up in the next exercise.
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