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Combining vector-based shapes

From: Photoshop CS5 One-on-One: Advanced

Video: Combining vector-based shapes

I have saved my progress as Vector shape intersection.psd. You may recall, thus far we have drawn the swash layer, which I currently have turned off. So turn it on, if you're working along with me. Then I would like you to take that swash layer. Let's go ahead and reduce the Fill value this time to say 30%, so that we can see it just a little bit, but we'll still see through to the underline layer in the background, which is the layer that we're trying to trace. All right, having done that, go ahead and press the Enter key in order to accept that Fill value. I'm also going to select this Vector Mask by clicking on this gray thumbnail here inside the Layers panel.

Combining vector-based shapes

I have saved my progress as Vector shape intersection.psd. You may recall, thus far we have drawn the swash layer, which I currently have turned off. So turn it on, if you're working along with me. Then I would like you to take that swash layer. Let's go ahead and reduce the Fill value this time to say 30%, so that we can see it just a little bit, but we'll still see through to the underline layer in the background, which is the layer that we're trying to trace. All right, having done that, go ahead and press the Enter key in order to accept that Fill value. I'm also going to select this Vector Mask by clicking on this gray thumbnail here inside the Layers panel.

I should be able to see the outlines for both of my ellipses out there in the pasteboard. Now, it doesn't matter, by the way, that your shape outlines are so dadgum big, and something else to consider is much of what we've been doing throughout this chapter; adding Text layers, adding Shape layers, adding layer Effects, and so on, all of those things, because they're either relying on vector outlines, which is the case with editable text and vector-based shapes, or they're relying on parametric settings like layer Effects. All of these things, because they're not pixels, take up very little room in memory.

So they're computationally easy for Photoshop, and they don't add much to the size of your file on disk. All right, anyway, I'm going to go ahead and zoom in here, so that we can see the composition a little more closely. Let's say that I want to add a new shape without creating a new shape layer. So I don't want to make the mistake that I made in the previous exercise. I don't want to create a new shape layer and then have to cut the shape and paste it into another shape layer and all that stuff. I just want to create my rectangles inside the proper shape layer in the first place. Well, here's how it work.

Go ahead and select the Rectangle tool for starters from the Shape tool flyout menu, and then change your Shape mode in advance up here in the Options bar. So currently notice that the mode is set to this one we didn't see before, which is Create new shape layer. That is the default setting. What we want instead is not add, of course, but rather we want to subtract from the shape area. So go ahead and click on that icon. Notice it does have a keyboard shortcut also. I just assume go up to the Options bar and click on this one. All right, so with minus selected, so we are going to subtract from our existing vector-based shape outline, and we can tell that's the case because we can see a little minus sign next to our cursor.

I'll go ahead and draw a rectangle, like so. That does indeed clip away that edge. Then I'll move over to this location. Then I'll draw another rectangle and use the Spacebar to reposition it slightly, and as soon as I release, I go ahead and clip away that edge as well. All right, so the next thing I want to do is I want to duplicate the layer effect that's already assigned to underline, so I'll go ahead and Alt+drag it, like so, so I'm Alt+dragging the fx icon. This would be an Option+drag in the Mac, drop it into place, and I now have the Drop Shadow applied.

I know I want a 50% Fill ultimately. So I'll just go ahead and change that Fill value to 50%. I'll tuck in my layer effects, and I will turn off underline, because we don't need it anymore. It was just there for the sake of tracing. Now, I'm going to make some modifications, because you know what, what I've done so far is I have visually centered my Pout logo, so that the weight of the P and the T make sense. Nothing about the Pout logo is exactly geographically centered. It's all a visual balance thing on my part.

But what I've done with the swash is I have exactly centered its edges. So this left edge is something like 30 pixels in from the left edge of the composition, and the right edge is at exact same distance from the right edge of the composition, but that doesn't make any sense when we compare the swash to the logo type itself. I think that the swash ought to begin with the Serif at the bottom of the P and end with the Serif at the bottom of the T. So I'm going to do exactly that by grabbing my Black Arrow tool. The Black Arrow tool allows you to modify the position of these vector outlines here inside the shape layer.

So I'll go ahead and click on this rectangle right there to select the entire thing. I'll just drag it over until it seems to snap into alignment with the beginning of Pout right there, which is perfect. This is exactly where I want it. Then I'll click on this rectangle, on the right-hand rectangle, and I'll drag it until it aligns to the end of the Serif at the bottom of the T. That is exactly what I want. To see how things are lining up, I'm going to go ahead and click on that Vector Mask thumbnail to turn off those path outlines and see how my composition is actually going to print.

All right, two more caveats that I want you to know before I wrap up this exercise. First of all, notice when I hover my cursor over the Vector Mask thumbnail, I see those mask outlines momentarily. However, this is what I want to show you. You can go ahead and combine everything. If you're getting confused, if you don't like all of these shapes interacting with each other, then you can click on that Vector Mask there to make it active. Then assuming that your Black Arrow tool is selected, you can go up to the Options bar, and you can click on Combine. That will go ahead and combine all those various path outlines into a single clean path.

Bear in mind though, while that's clean, and that's nice, and that's not going to get in your face. It's not editable either in the same way as it was before. So if you're going to want to make changes, then this is a bad idea. If you're absolutely sure you're done, then it's a great idea. Here's your other option. You can go ahead and convert this vector shape right here two pixels if you want to, which is what I did in order to create that underline layer, by going up to the layer menu and choosing the Rasterize command, and then choosing layer. Notice that I've given you a keyboard shortcut, if you loaded dekeKeys, of Ctrl+Shift+R or Command+Shift+R on the Mac to go ahead and rasterize any layer.

This could be a text layer, which will ensure that nobody has problems with your strange fonts, for example, if they transfer the image to a different system, this could be your shapes as well. However, while that is once again a tempting thing to do, don't do it unless there is a reason, because if you convert that shape layer to pixels, now you can't actually scale the text layer the way you could in the past. So this would be the kind of thing you'd want to do if you're going to start smearing the contents of the layer or applying filters to it or doing something that requires pixels in the first place.

So anyway, I'm going to press Ctrl+Alt+Z twice in a row, because I don't want to do either of those steps, Command+Option+Z twice in a row on the Mac. I just wanted you to know that those are options. I'm going to go ahead and click on a different layer here, like September 2026, so I'm no longer seeing these shape outlines, and I can see my logo exactly the way it will print. In the next exercise, we're going to mask this logo in order to reveal the model's head.

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This video is part of

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

247 video lessons · 32710 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    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 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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