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Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.
In this movie, I'll show you how to create a basic logo inside Photoshop. I'm going to go ahead and zoom out here by pressing Ctrl+0, and then I'll zoom in by pressing Ctrl+, Cmd+ on the Mac. And I'll scroll up so that I can see the very top of my image here. And I've gone ahead and created a word in advance for you, there's not much to it. So if you scroll to the top of the Layers panel, you'll see this folder called logo group. Go ahead and twirl it open and then drag down the eyeball column in order to turn these three layers on. And you'll see that we've got this underlined with the drop shadow that I've painted in advance.
Also, I have the word pout with an arrow pointing to it, just so that you can find it, because it's so tiny. Go ahead and turn the arrow off in layers panel. We don't need it I just wanted to help you locate this item. And click on the pout layer in order to make it active. Assuming that your type tool is selected, which you can get, of course, by just pressing the T key. Then we want to modify a few formatting settings. So press the Enter key in order to highlight the font. And I'm going to dial in min and that's enough actually to get me minion pro. So m-i-n. Then I'll tab over to the style and I'll type in bold and that gives me bold condensed.
Because it's the first of the bold styles. And I'll tab to the type size value, and change it to a whopping 224 points like so. And we end up getting this big, huge word pout. And I also want to fill it with white so I'll tap the D key to establish my default foreground and background colors. And I'll press Ctrl+Backspace, or Cmd+Delete on the Mac. In order to make those letters white. Alright, now let's bring up the character panel by once again clicking on the panel icon up here in the options bar. And I want my text to be all caps, so I'll go ahead and click on the double capital T icon.
And that ends up making my text two big. It should be pretty much exactly centered in the image window. But the spacing is awfully wide as you can see. So, the first thing I'll try out, is what I was suggesting a few movies ago. Go over to the kerning option, click the down pointing arrow head, and switch from Metrics to Optical. And that puts Photoshop in charge of the kerning as you can see, and ends up tightening the spacing of the letters. All right now I'm going to click inside the text to make it active, and I'll press Ctrl+A, or Cmd+A on a Mac, to select that logo.
Then I'll press Ctrl+H or Cmd+H on a Mac to hide the highlight. And I want to reduce the tracking of this text. So I'll press Alt+Left arrow or Option+Left arrow on a Mac to just slightly nudge the letters together. That ends up giving us a tracking value of negative 20. And then finally, after eyeballing this for a while, it seemed to me the space between the O and the U, was a bit wider than that between the U and the T and the p and the O. So I'll go ahead and click between the O and the U and press Alt+Left arrow or Option+Left arrow on the Mac once again.
This time to reduce the kerning value by 20,000 of an m space and that ends up giving us a curning value of negative 61. So presumably it started off as negative 41. Alright, finally, I want these characters to be taller so I'll press Ctrl+A or Cmd+A on the Mac to select them all again and then I'll press Ctrl+H or Cmd+H on the Mac to hide that selection. And this time, I want to increase the vertically scaled value. So, I'll click on its icon, and then I'll press Shift+Up arrow to raise the value to 110%, and I'll press the Enter key on the numerical keypad a couple of times, in order to accept my change.
All right, that's looking pretty darn good, but I want to go ahead and match the styling of the underline. So what I can do. Notice we've got this FX icon next to the underlying layer. And if you click the down-pointing arrowhead, you'll see that there's a drop shadow. If you want to move the drop shadow to a different layer, you can just drag it, or that FX icon, like so, and just drop it on to the new layer. However, as I say, that performs a move, and now we no longer have the drop shadow assigned to the underline. If you want to duplicate instead, I'll do it the other direction this time.
You press the Alt key or the Option key on the Mac and drag that FX icon. You can also have dragged the drop shadow by the way and drop it onto the other layer. And notice you get this little double arrowhead icon and that tells you that you're going to essentially clone that effect. All right, finally we need the letters to be translucent. And I happen to know this underline is set to 50% opacity. So I could just tap the five key in order to reduce the opacity value to 50%. But notice, that not only affects the translucency of the letters but it makes the drop shadow translucent as well.
And that's not what I want. So I'll press Ctrl+Z or Cmd+Z on a Mac to undo that change. Instead what you want to do is reduce the fill value. And what that does, I'll go ahead and highlight the value here, it changes the opacity of the interior of the letters, without affecting the drop shadow, or any other layer effects. So if I reduce it to 50% for example, you can see that we now have an identical effect. This option has a keyboard shortcut, I'll go ahead and mention it. First of all, press the Escape key, in order to deny that value there. As long as one of these bottom tools is selected or one of the selection tools that is anything but this middle group of brushing and pixel modification tools as long as any tool but those is selected, you can press Shift+5 so Shift plus a number key will change the fill value.
And you know as long as we're on the topic of layer affects, we have another modification that we need to make. A little further down here, so I'll press the page down key. In order to scroll down to 365, and let me find that layer there it is, its toward the bottom of the list. I'll go ahead and click on it in order to make it active. And if you scroll all the way down the panel you'll see this item called info. Turn it on and it contains all the layer effects that I want to apply to 365. Now there's a lot going on in this case. If I click the down pointy arrowhead, you can see that I've got a total of five layer effects.
I'm not going to show you how to create them now because we've got a layer effects chapter coming up soon. Instead, we'll just go ahead and duplicate all of them by scrolling up the list again, pressing and holding the Alt key or the Option key on the Mac and dragging that FX icon and then dropping it on 365. And we end up getting this style effect here. Alright. I'm going to go ahead and collapse the layer effects throughout the Layers panel by pressing again the Alt key, or the Option key on the Mac, and this time clicking this up arrowhead. Next to FX and that way we're saving ourselves a little bit of space inside this panel.
Now, 365 should appear below fashion formulas. So, I'm going to go ahead and drag it down the list, like so, to directly above info. You can see that pops it in back of the word, where it belongs, and then I'll turn off info, it's just a place holder. So that we now have our lustrously stylized text. Alright, now I'll press the Page up key in order to return to the logo in progress here. The only problem with it, is that it should be masked in classic magazine style behind the model. And I'm going to show you how that works in the next movie.
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