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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, 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 CS5 One-on-One: Fundamentals.
I've saved my progress as The integrated logo.psd, and in the next exercise I'm going to show you how to create a little burst coming off of this woman's necklace, and let me show you what that looks like. If we switch to Pout magazine.psd, you can see this tiny little burst right here, and that's a really great Shape tool trick that I want to share with you. But first I want to show you when I was switching back and forth between these two documents bearing in mind that Pout magazine.psd is the version of the cover that I created before I began recording this chapter.
I noticed that there were a few changes, and so you'll see a few shifts when I change back to The integrated logo.psd for one thing, the top of my image is more extended inside the progress file, and that's because I exaggerated that stretch a little bit just for demonstrational purposes. That doesn't bother me at all. Also, if I switch to the other document, you'll see that that swash underscore changes a little bit. Well, that's bound to happen, because that was a hand draw. But what's bothering me more is the teaser text, Make Him Love You and New Miracle Diet! is spaced more generously inside of my progress file than it is inside of the final cover, and that's something I'd like to change because I like the tighter spacing better, and also in switching out the Kerning, which is what we're about to do here, I end up revealing something of a flaw, something goes wrong as you'll see, and I want to show you how to accommodate such problems.
So, let's go ahead and switch back to The integrated logo.psd, and I want to select the layers inside this teasers group. However, just clicking on the group is not enough because if I now bring up let's say the Character panel and I try to change the Kerning value, right now it's telling me that it's Optical, which is actually not true. Optical has nothing to do with this group here. Optical is now my default setting. So changing it to some other setting is not going to have any effect on the layers inside the group. What I need to do instead is go ahead and twirl the group open and then select the actual text layer.
So I'll click on one, and I'll Shift+Click on the other, and that ends up selecting that entire range of text layers inside the teaser's group, including the one that's currently turned off, and that doesn't matter. Now, I can change the Kerning setting, and I'll actually modify the kerning of my text here inside of the Image window. Now, I want to be able to see what I'm doing, currently I'm covering up this text on the right-hand side. So, I'll go ahead and scroll over a little bit so that we can see New Miracle Diet!, and notice I want you to keep your eye on this text because the text over here on the left-hand side of the screen is going to shift for the worse in just a moment.
So, watch the text that's going to shift for the better. I'll go ahead and change this setting from Metrics to Optical, and before I do, I have to relate something here. In my conversations with the typeface engineers, the guys who are in-charge of creating the huge library of Adobe fonts, these guys are very, very proud of the fact that they spent so much time on their kerning metrics among other things, but there's a lot of care and attention that goes into the design of these fonts. So these guys resent that there is this Optical setting right here because after all you're taking the Metrics, these kerning pair Metrics that have been designed by real human beings on a character by character basis.
They've spent all kinds of time on this process, and you're replacing it with Optical, which is basically robot kerning. You're just putting Adobe in charge of the entire process. So their take on it is Optical is for non-Adobe fonts. It's for those guys who aren't spending nearly as much time and attention on their fonts as the Adobe team is, so use Optical for non-Adobe fonts if you need it, and then use Metrics for the Adobe fonts, but here is the reason I bring this up, when I choose Optical, I think the spacing gets better. So watch New Miracle Diet! and Learn to Eat Without Swallowing, notice how it changes for the better, in my opinion, that text gets tighter.
It looks great for display purposes because it's nice and big. Anyway, totally up to you of course how you decide to approach it, but I just wanted you to see that Optical can make a positive difference for Adobe fonts as well. Anyway, I'm going to go ahead and close that panel because you can see we've got problems over here on the left side of the image. I'm going to go ahead and zoom in. What happened? I'll go ahead and press Ctrl+Z or Command+Z on the Mac so we can see how things look before. We took Make, which was aligned with New over here on the right side of the magazine cover, and just to confirm that's true, I'm going to press Ctrl+R or Command+R on the Mac to bring in my rulers, and then I'm going to press Ctrl+; or Command+; on the Mac, in order to bring up my guidelines, and I can see that I've got a guide right here at the top of Make and at the top of New as well, but, just for the sake of demonstration here I'm going to bring another guideline in that's aligned to the baseline of New and Make.
So you can see that Make and New are definitely aligned with each other, which is important to me. That's why I want it to work. So I'll press Ctrl+R, Command+R in the Mac to get rid of those rulers again. Now, I'm going to have to reapply that Optical kerning option, so I'm going to bring up my Character panel again. I still have my text layers selected, and I'll change the Kerning value from Metrics to Optical, and notice Make jumps up like crazy, Him is now aligned to New, but that's not what I want. So what in the world's going on? Well, let's go ahead and select just the top layer here, Make Him Love You In Less than 5 Minutes, and you can see now that custom path container, and basically what happened is Make got tight enough to fit in this little top crevice up there.
So we need to get rid of that top crevice somehow, and the easiest way to do it is to grab the white arrow tools. So, switch from the Black Arrow tool AKA Path Selection tool, switch down here to the White Arrow tool which is the Direct Selection tool and the difference between these guys is the Black Arrow tool allows you to select entire path outlines at a time and the White Arrow tool allows you to select individual anchor points and control handles and so on, and that's what we want. So, I'm going to switch to the White Arrow tool. Click right there on that anchor point, and that doesn't quite select it, notice that.
So you have to click again and an anchor point is selected when it's filled like that, it's deselected when it's hollow. Then I want you to drop down to this anchor point and Shift+Click on it, so that we're selecting both the top anchor point, the top-left anchor point and the bottom-left anchor point, and now press Shift+Right Arrow just to move that in, and you can move it in farther if you want to. I can press Shift+Right Arrow three times in a row, which is what I ended up doing, and notice that goes ahead and forces Make down on to the next line, so it is now aligned to New, and you can see that that guideline is tracing just above the very base of the letters on both sides. So that's good.
The other thing is it shouldn't be In Less than 5 Minutes; it should be In Less than 5 Minutes. So let's go ahead and change that. I'm going to drop 5 down to the next line. Now, in another program, you would get rid of the space, just like I did, and then you would enter a Line Return, because you wouldn't want to enter a full Paragraph Return here, because it's all part of the same paragraph after all. You would just want to enter a Line Break and you create a Line Break typically by pressing Shift+Enter here on the PC or Shift+Return on the Mac, and it appears to work, but I have to tell you all Photoshop is done has thrown a standard Paragraph Return.
It's not Line Break savvy, and notice if I quadruple-click in this line right there, one, two, three, four. That's a paragraph. So, that's just something to bear in mind as you might as well just enter a return character if you want to break a couple of lines. All right, well that's it. I have now fixed my text issues, I'm going to go ahead and twirl-close my teasers group, and I'm going to press Ctrl+Semicolon or Command+Semicolon on the Mac in order to get rid of those guides. In the next exercise now, I'll switch back to Pout magazine.psd. I'm going to show you how to create this burst that's coming off of the necklace using, once again, a combination of two shape layers.
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