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Cloning, flipping, and combining shapes

From: Photoshop CS5 One-on-One: Mastery

Video: Cloning, flipping, and combining shapes

I've saved my progress as Subtracted shapes.psd, found inside the 27_pen_tool folder. In this exercise, we're going to take care of this little problem right here. That's not a screen redraw issue, that's a problem with what I've done. It's my fault. I've got this rectangle riding too high, this central rectangle that's filling out the light bulb. We also need to take this rectangle and circle, which are currently being subtracted from the rest of the shapes, and we need to duplicate them and flip them over to the right-hand side. So, for starters, I'm going to grab this big shape, and I have as selected my Black Arrow tool, and then I'm going to press Ctrl+T or Cmd+T once again, and I'm just going to drag down from this top handle.

Cloning, flipping, and combining shapes

I've saved my progress as Subtracted shapes.psd, found inside the 27_pen_tool folder. In this exercise, we're going to take care of this little problem right here. That's not a screen redraw issue, that's a problem with what I've done. It's my fault. I've got this rectangle riding too high, this central rectangle that's filling out the light bulb. We also need to take this rectangle and circle, which are currently being subtracted from the rest of the shapes, and we need to duplicate them and flip them over to the right-hand side. So, for starters, I'm going to grab this big shape, and I have as selected my Black Arrow tool, and then I'm going to press Ctrl+T or Cmd+T once again, and I'm just going to drag down from this top handle.

This time we don't need to set a transformation origin, because we want to scale with respect to the opposite side of the shape, that is, the bottom of the shape. So, that happens automatically for us. I'll drag down to about there, and that looks like a pretty good match. All right, now I'll press the Enter key or the Return key on the Mac to complete that transformation. I will then, I'll click on the rotated rectangle, and I'll Shift+Click on the big old circle there, and next, I'm going to press Ctrl+T or Cmd+T once again, big surprise there, and I need to grab my transformation origin, where is it, out here, and I'm going to move it to what I believe to be the center of the light bulb.

All right, now I'll right-click anywhere inside the Image window and I'll choose the Flip Horizontal command. That'll go ahead and flip my shapes over there, but I made a mistake, I just flipped the original shapes, I meant to flip a clone. So, I'll go ahead and press the Esc key. What I meant to do is not press Ctrl +T. I meant to press Ctrl+Alt+T or Cmd+Option+T on the Mac, because having the Alt or Option key down allows us to work on copies of these shapes. All right, now I'll drag this transformation origin to a different location, because, obviously, last time when I saw my mistake, I was also too far over to the right.

So let's try cheating this origin point over to the left a little bit, I'll right-click once again, choose Flip Horizontal, and that flips those shapes almost exactly into the right position. They do require a little bit of adjustment. So, I'm using my Right Arrow key in order to move that circle over to where it needs to be. So, I'm trying to match the location of the circle, I will come back to the rectangle in a moment. All right, now I'll press the Enter key or the Return key on the Mac in order to complete my transformation, and I just press the Enter key one too many times, or the Return key on the Mac, it could have been.

What that does, just in case this ever happens to you, because I would imagine it might have by now, when you press the Enter key or the Return key and you don't have anything going on, that is, you're not accepting a transformation, however, you are working inside of a path outline and you have any of your vector tools selected, that's going to deactivate that path outline. So, what you need to do is press the Enter key yet again or the Return key yet again on the Mac, in order to reactivate that path outline. So, the Enter key is a toggle for deactivate and reactivate.

Again, that's the Return key on the Mac. The reason I was groaning just a moment ago when I started telling you that tale, because actually that's a very useful bit of knowledge, is that we are once again experiencing screen redraw problems. Just know that this area here is actually subtracted. The only entity that's not aware of that at the moment is Photoshop. That's okay. We'll make it aware shortly, if it doesn't wake up here. All right, what we need to do is take this rectangle and rotate it outward further, because the side of the glass apparently isn't altogether symmetrical, or more likely actually, I believe this love handle down here doesn't come out far enough.

Whatever may be the case, we need to take this edge out. I'm going to do that by clicking on the rectangle once again in order to select it. Then I'll press Ctrl+T or Cmd+ T on the Mac in order to enter the Free Transform Mode. I will move this transformation origin down to the lower-left corner, like so. Thank you Photoshop! Now, you're aware of what's going on, that's nice. Better late than never! Anyway, and then, oops! In my sassiness I did the wrong thing. I'll go ahead and press Ctrl+Z, Cmd+Z on the Mac.

I didn't move my cursor far enough out, so it still thinks I'm inside of the rectangle area, because there is a big upright bounding box going on here. All right, let me see if I can scroll to a point where I can see what I'm doing, and then I will drag outside of the transformation boundary in order to create this edge right here. Then I'll press the Enter key or the Return key on the Mac, and laugh in my merry way as I notice that Photoshop is not updating the redraw once again. So, if I zoom out far enough that Photoshop will finally figure things out and it did, thank you very much Photoshop.

But when we zoom back in, we are faced with the unpleasant fact that it cannot keep up with the changes, but there is a way to force it, I just need to make a couple more transformations first. Notice this edge comes out farther than I'm giving a credit for, in other words, it comes out into this area here, and I think it might - well, you know what, we can fix that later, never mind. All right, let's take care of the screen redraw problem. How do we address the fact that Photoshop is not giving us our edge back here, and we want to see it? Well, click on one of the other shapes like this big circle, for example, right here, click on it, and go ahead and cut it by going to the Edit menu and choosing the Cut command or pressing Ctrl+X, Cmd+X on the Mac.

This is also how you adjust stacking order where your paths are concerned, who is on top and who's behind, that kind of thing. Now, if I go up to the Edit menu and I choose the Paste command or press Ctrl+V, Cmd+V on the Mac, those of you who have any experience with Illustrator whatsoever, may be familiar with the Paste In Front command, which matches the location of the path and puts it in front of all the other shapes. Well, when you're working with path outlines inside of Photoshop, the Paste command is Paste In Front. It matches the location like so, and it puts it in front of the other paths.

Because we took a shape out and then put it back in, we force Photoshop to completely reevaluate the path outline, and it updated the screen redraw as well. All right, that was tough, but we managed to make it work, and actually it's looking pretty darn fine as you can see here. Now, from here on out, we're going to be drawing a bunch of ellipses down here at the base in the metallic area of the light bulb, and we're going to be filling out this bottom area as well. We're going to be adding a bunch of smaller shapes this time around, mostly ellipses as you'll see.

But it might help us to go ahead and just sort of resolve the path outlines, so that we don't have so many of them floating all over the place. We're going to do that using this Combine button. But before you do, what I recommend is that you set aside your primitives, and your primitives are your shapes that made up the bigger, better path outline, your individual rectangles and ellipses. The way to back them up is to go to the Paths panel, where you'll see a temporary path outline. This is your vector mask, just as you see the pixel-based layer mask inside the Channels panel, you see the vector mask here inside the Paths panel.

So, go ahead and grab it, and then drag it onto the little Page icon to duplicate it. Now you have a permanent path that's just sitting here in the Paths panel and you can come back to it anytime you want. Let's go ahead and rename that guy primitives, like so, and press the Return or Enter key to accept that new name, and then, very important, because we don't want to operate on those paths, they are now selected, by the way. We no longer have the paths from the vector mask selected. we have the paths here inside the Paths panel selected. They look the same because they're identical, but we need to make sure to go back to the vector mask.

So, click on it in order to make it active again. Then go back to the Layers panel and confirm that it has a double outline around it, so we're operating on the right thing. Now, I want to go ahead and select all of these path outlines here. The easiest way to do that is, armed with your Black Arrow tool, go ahead and marquee around them to some extent. Don't do that, don't grab the ellipse and drag it to a different location. That is not the easiest approach. Press Ctrl+Z or Cmd+Z on the Mac if you did that horrible thing. Instead, I'll start here in an empty area where there is no path outline, and I'll drag down like so to make sure that I'm at least partially including everybody in this marquee. Then I'll release.

They all become selected now. I have all the path outlines selected. Again, you want to make sure you're selecting the paths with the Black Arrow tool, and then go up to the Combine button and click on it and you have now combined those paths into a single, more complicated shape outline. Notice that we have one path outline now represented here inside the vector mask thumbnail. That's very important. Go back to the Paths panel, and you'll see that the vector mask has been simplified. So, it's been resolved to a single path outline, and the primitives are still backed up, ready and waiting in case we need to come back to them.

All right, I'm going to return to the Layers panel. All we have left now, or at least all we have left to roughen, is this metallic portion of the light bulb. And I'm going to show you how that works in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43969 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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