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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Cropping, adjusting, and merging shapes


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Cropping, adjusting, and merging shapes

In this movie, I'll show you how to use one shape to crop another.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

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.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Cropping, adjusting, and merging shapes

In this movie, I'll show you how to use one shape to crop another. And then I'll also show you how to merge your shapes together, in order to create a new custom shape. Now if you're working along with me, make sure that swash layer is active. And what we're going to do is draw a rectangle around the region that we want to keep. So, I'll go ahead and select the Rectangle tool from the Shape Tool fly out menu. And just to make sure I don't make that same mistake I made last time where I drew a new layer, I'll go up to the Options bar and click on the Path operations icon.

And sure enough, new layer is active. What we want instead, is Intersect Shape Areas. So I'll go ahead and select that option. Notice that my cursor now has an X next to it, showing me that'll keep the intersection of the rectangle and anything behind it. And now I'll go ahead and drag with the rectangle tool like so. And if your alignment isn't spot on then you can use the spacebar to adjust it. Make sure that you totally enclose the top of those two ellipses. And then go ahead and release, in order to create this effect here.

Now, there's one option I haven't showed you yet which is Exclude Overlapping Shapes. And let me give you a sense of how that works. I'll switch to my Back arrow tool. And I'll go ahead and select that rectangle to make it active. And then I'll switch from Intersect Shape Areas to Exclude Overlapping Shapes. And I end up getting an effect that I did not expect at all. And the reason is, because the underlying layers turned on, filling in the hole. So I'll go ahead and turn the underlying layer off for a moment. And sure enough you can see that what were doing is creating holes at the intersection areas, instead of keeping the intersection.

So it's essentially the opposite affect of what we want. All right, so I'll go back up to the Path operations icon, and switch it back to intersect shape areas. Which is what I'm looking for. And now it turns out it's just fine that the underlying layer is hidden, because we don't really need it anymore, except for its effect. So I'm going to drag that fx icon, and drop it on to swash like so. You don't need to duplicate it or anything like that so no need for the Alt or Option keys. Then click on the underlying layer, which is officially dead to us. And press the backspace key and the delete key on the Mac to get rid of it.

Now another fantastic thing about the fact that we've created the shape layer is that in addition to being totally scalable, we can resize it as much as we like. But it's also extremely flexible. For example, I'm going to zoom in here and scroll up as well. Let's say I'm sitting here looking at what I've got, and you can see that I've more or less centered the word pout on the page. That is visually, it's not actually exactly centered, but it has the appearance of being visually centered. Meanwhile the underline is approximately 30 pixels from the left hand edge.

And about the same number of pixels from the right-hand edge. So it is centered, but it shouldn't be. It should really be tucked in, the edge here should be tucked into the bottom of the T, and this left edge should be tucked in to the bottom of the P. Now, if I was working with a pixel based layer, I could use a layer mask and all that good stuff in order to get rid of the edges, or I could just select them, and get rid of them, what have you. However, in this case, all I have to do is change the size of the rectangle. And to do that, I'm going to click and hold on the Black arrow tool, and switch to the White arrow tool, and I'll click off the Path outline to deselect it, and then Ill click on this right-hand edge, for starters, to select it, and I'll drag it to the left while pressing the shift key.

So it's very important that you have the shift key down, so that you're constraining your drag to precisely horizontal. And then, go ahead and do the same thing over here with this left-hand edge. And by the way, you want to press the shift key after you begin the drag, and keep the shift key down until you release the mouse button. And we end up achieving this effect. And the beauty of it is, if I later change my mind, and I want to reveal more of the swash, I can, just by dragging, while pressing the shift key, outward. So I've got all the flexibility in the world. Anyway, I'll undo that last modification.

Now let's say that you want to define this swatch here as a custom shape, so that you can draw swatches inside of your other artwork. Well in that case you'd want to go ahead and merge all these paths into a single, custom path, and you do that by switching back to the Black arrow tool. And I'll partially marquee these three shapes to select them all, and then, I'll go up to the Path Operations icon, once again, and choose this command, Merge Shape Components. And that'll go ahead and give you a single path outline, as you see here.

Then, I'll go up to the Edit menu and choose Define Custom Shape. And I'll go ahead and call this guy swash and then click OK to create it. Now what I'd recommend you do next, is go up to the Edit menu and choose Undo combine path components. Or press Ctrl+Z or Cmd+Z on the Mac. And that'll go ahead and retrieve those three separate shapes. And you might wonder well why in the world did you do that? If you wanted to merge them together, why didn't you just leave them that way? And the reason is this structure is actually more flexible. So its nice to be able to have all three shapes in case I want to modify how this swash works in the future.

But meanwhile, I'll go ahead and press Ctrl+H or Cmd+H on the Mac to hide those outlines. I could draw more swashes inside other files, by selecting the custom shape tool and then setting the shape to that last shape I created at the bottom of the list here, swash. And now I can draw as many swashes as I want. And they can be wider or narrower, like this. So they can be squished in any way you like or you can go ahead and maintain the original proportions. By pressing and holding the shift key.

Alright, I'll go ahead and undo that new shape player by pressing Ctrl+Z or Cmd+Z on a Mac and I'll go ahead and scroll back up to the group here, and shift-click on this layer mask on the hill in order to turn that layer mask back on. And that's how you crop a couple of shapes inside of another one, modify that crop boundary and finally merge everything into a new custom shape.

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