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Copy Merged and Paste in Place

From: Photoshop CS5 One-on-One: Advanced

Video: Copy Merged and Paste in Place

All right, I'm still looking at the Blue skin brown hair.psd file. All I've done is twirl open this group called eyes layers, and then I went ahead and turned on the irises layer down here. Now, the question becomes, not why does it looks so gorgeous, because so far it looks terrible, but rather, how did I get this far? How did I make this irises layer? Well, I went ahead and selected the old irises, not the original irises, just the old ones that haven't been colored yet, but we're liquefied. Then I copied them and I scaled them to size.

Copy Merged and Paste in Place

All right, I'm still looking at the Blue skin brown hair.psd file. All I've done is twirl open this group called eyes layers, and then I went ahead and turned on the irises layer down here. Now, the question becomes, not why does it looks so gorgeous, because so far it looks terrible, but rather, how did I get this far? How did I make this irises layer? Well, I went ahead and selected the old irises, not the original irises, just the old ones that haven't been colored yet, but we're liquefied. Then I copied them and I scaled them to size.

And I'll show you how that works. I'm going to start things off by turning off the irises layer, and then I'm going to click on brow & nose and make that layer active. And I'm going to turn off the blue group right there. And the easiest way to select these irises, I want perfect circles, so I'm going to use the Ellipse tool. So I'll click and hold on the Rectangular Marquee tool and choose the Elliptical Marquee tool, or I can press the M key. And then I'm going to drag around this iris while I press the Shift key, so I get a perfect circle. Notice that I'm also pressing the Spacebar, so I can move this guy around, and align it perfectly with that old iris.

Now, I want to select as much iris as possible, because it needs to get really super big, so the less scaling I can do the better. However, I don't want to go too far outside. I don't want to get any of this darker area here that could end up turning a different color once I start editing it. Anyway, this selection is good, now I'm going to add this other iris to the selection, by pressing and holding the Shift key and then dragging, and that allows me to add one selection to another. I want to make sure it's a perfect circle though.

You can see that I can make it some elliptical form if I want to right now, because it's unconstrained. I'd have to release the Shift key, while I still have my mouse button down. And then I press and hold the Shift key again, and now I'll keep the Shift key down until after I release the mouse button, so that I'm getting a perfect circle out of it. And now I'm using the Spacebar, I still have the Shift key down, I've got both Shift and Spacebar down, so that I can align this ellipse with the iris and then I'll make it bigger so that I select as much of this iris as possible. And this is about as much as I want right there.

So I now have the two irises selected. Now how do I go about copying them? Most likely, in the case of this image, everything is right there in the liquify eyes layer, because we're masking away the brow & nose layer around the eyes. I don't think we're getting any of that. However, we might have a little bit of this edge at the nose that's included in this brow & nose layer. And what I really want to do is copy what I'm seeing onscreen. And anytime you want to copy the effect of all visible layers working together, then you go up to the Edit menu and you choose Copy Merged or you can press Ctrl+Shift+C, Command+Shift+C on the Mac.

Now then, I'm going to click on the irises layer, now that I have those irises in the clipboard. I'm going to click on the old irises layer right there, and I'm going to go up to the Edit menu and I'm going to choose the Paste command, which will paste the irises directly into the selection outline, so everything will be perfectly aligned. And you can do that just by pressing Ctrl+V or Command+V on the Mac. But let's say that I don't have that selection outline anymore. I'll just click off the selections, disappears. If I were to press Ctrl+V now, or Command+V on the Mac, the irises would just appear any old place.

They'll actually be centered inside of the composition. I'm going to undo that. If you want to align them with the point at which they were copied, you go up to the Edit menu and choose Paste Special, and then you choose this new command inside Photoshop CS5, Paste In Place, which has a keyboard shortcut of Ctrl+Shift+V or Command+Shift+V on the Mac, and that goes ahead and paste the irises exactly where they belong. Now, at this point I want to scale the irises, of course, make them bigger. And I want to scale them so they match the old irises layer down here.

So I'll turn that old layer on for a moment. Now, when I first created this layer, obviously I just eyeball things. However, because I've got my old eyeballs to work from, we might as well exactly match them. Now, I'm going to click on this irises layer for a moment. Just so that I can see the difference between the old irises and the new irises, I'm going to fill the old ones with white. And white happens to be my background color. So I can fill one opaque area, I can replace the opaque pixels in any given layer, in the active layer, with a new color by pressing the Shift key along with Backspace.

And in order to get the background color, you add Ctrl. So it's Ctrl+Shift+Backspace here on the PC, it's Command+Shift+Delete on the Mac, to fill just those opaque pixels with the background color. All right, that will just give us something to align to. Now I'm going to switch back to this new irises layer, let's go ahead and call it new irises in fact. And I'm going to scale each one of the irises independently. So I'll switch from the Elliptical Marquee tool to the Rectangular Marquee tool. And the reason I'm doing that is because I'm no longer concerned about the shape, I already have the shape of the iris defined as a perfect circle, now I'm just concerned about selecting general areas.

I'm going to make a big selection like that to include that entire iris there. Then I'm going to go up to the Edit menu and I'm going to choose the Free Transform command. You can also press Ctrl+T or Command+T on the Mac. Then I'm going to go ahead and scale this iris. Now, I want to make sure to scale it proportionally, so I'm going to press the Shift key as I drag a corner handle, like so. And then I'll Shift+Drag this corner handle as well, maybe scoot things over a little bit, until I get this guy aligned. I'm actually nudging it from the keyboard now by pressing the Arrow keys.

Let's go ahead and move that little origin point right there, that target, to what appears to be the center of the iris. And now, in order to scale, not only proportionally, but with respect to that center point, I'm going to press the Shift+Alt keys, like so, as I drag this corner handle, that Shift+Option on the Mac, and then I'll move it out until it appears to more or less exactly match. That looks like a good match to me. And then I'll press the Enter key here on the PC or the Return key on the Mac in order to accept that transformation. Let's go ahead and do the same thing with this iris, go ahead and select a general area, go up to the Edit menu and choose the Free Transform command.

That's Ctrl+T, Command+T on the Mac. Go ahead and begin scaling this by pressing the Shift key of course, as I'm dragging the corner handles, nudge it into a better place, so that it appears to be more or less centered. Get this target to the center, like so, and then Shift+Alt+Drag or Shift+Option+Drag on the Mac in order to match one to the other, scaling with respect of course to that target point there, that transformation origin. And then I'll press the Enter key in order to accept the modification, click off in order to deselect, and we now have two big old irises to work with.

In the next exercise, we're going to begin to refine these irises so they look more at home inside the composition.

Show transcript

This video is part of

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

247 video lessons · 32847 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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