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Photoshop CS6 One-on-One: Advanced
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Customizing a geometric shape


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Customizing a geometric shape

In this movie, I'll show you how to modify a geometric shape to create a custom path outline. And the idea behind this project is we're going to select this droplet -- once again, this photograph comes to us from the Fotolia Image Library -- and we're going to send it to a couple of layers; one that includes the droplet itself, and another one to represent the shadow. I created both of these layers using path outlines, and vector masks. So I'll go ahead and switch over to the original photo. And the first thing we need to do is pop this image onto an independent layer, but I want to keep the background.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Customizing a geometric shape

In this movie, I'll show you how to modify a geometric shape to create a custom path outline. And the idea behind this project is we're going to select this droplet -- once again, this photograph comes to us from the Fotolia Image Library -- and we're going to send it to a couple of layers; one that includes the droplet itself, and another one to represent the shadow. I created both of these layers using path outlines, and vector masks. So I'll go ahead and switch over to the original photo. And the first thing we need to do is pop this image onto an independent layer, but I want to keep the background.

If you check out the final version of the composition, I have an empty background down at the bottom of the stack. So there's two ways to accomplish this by the way. One is tedious, and nonintuitive in my opinion, and then there's a simpler technique that makes more sense. The first way of working, which is the more typical approach, is to convert the background to an independent layer by double-clicking on it, and then you call the layer drops, or what have you, and click OK. So that would be step one. The next step is to create another layer that's going to service the background, and you can just press Control+Shift+N, or Command+Shift+N on the Mac, and click OK.

There's no sense in naming this layer, because it's ultimately going to be named Background. And then the third step is to tap the D key to make sure your background color is white, and then go up to the Layer menu, choose New, and choose Background from Layer, and that goes ahead and converts the layer into a static background. As I say, to me, that doesn't make a heck of a lot of sense, and it's pretty darn and tedious, especially if you're working your way through a lot of images. Here's the better two step approach, and you can do the whole thing from the keyboard. I'll go ahead and press the F12 key in order to reinstate the flat version of the photo.

And the first step is to press Control+A, or Command+A on the Mac, in order to select the entire image. And the next step is to send that selection to an independent layer, and remove the photograph from the background, and you do that by pressing mash your fist J. So that is to say, Control+Shift+Alt+J on the PC, or Command+Shift+Option+J on the Mac. Now, here's the rationale behind that keyboard shortcut: Control+J or Command+J jumps the layer. When you add the Alt key, you force the display of the New Layer dialog box, as we have here.

When you add the Alt or Option key, you force the display of the New Layer dialog box, and when you add the Shift key, you go ahead and transfer the pixels, as opposed to copying them. So I'll call this layer shadow, because that will ultimately be its purpose, and then I'll click OK, and you can see that I've moved the pixels to a new layer, and I've gone ahead and filled the background with the background color, which is white. So just those two steps: Control+A or Command+A, and then mash your fist J, and you get the job done. All right, now I need another copy of the layer; the droplet by itself.

So I'll press Control+Alt+J, or Command+Option+J on the Mac; this time I don't need the Shift key, and I'll go ahead and call this layer drop, and click OK. And then I'll turn off the shadow layer; we'll come back to it later. All right, now let's create a path outline in the form of an ellipse, and you do that by dropping down to the Shape tool icon, click and hold on it, and then select the Ellipse tool from the flyout menu. By default, the Shape tools are set up to create shape layers, of course. We want a path outline, so go up to this first pop-up menu in the options bar, and change it to path.

You'll see that your cursor changes to a cross with a little circle around an X. Now if you drag with the Shape tool, you'll create an empty path outline, as we're seeing here, and you want to just more or less surround this droplet. Obviously, you're not going to exactly match it, and then release to create a path outline. And if you were to switch to the Paths panel, you would see that you have new Work Path. You probably want to take a moment just to go ahead and double-click on it to save that path, and I'll name this guy single droplet, let's say, and click OK. All right.

Now I'll switch back to the Layers panel; I don't need to see that path anymore. Now, assuming that you generally use your Shape tools to create shape layers, you might want to go ahead and reset that pop-up menu in the options bar to Shape. All right, now I am going to drop down to the arrow tool icon, click and hold on it, and select the white arrow tool; that is to say, the Direct Selection tool. And I'll click someplace on this path outline, so that you can see that we have a total of four anchor points, all of which are smooth points, by the way. So I'll click on the one on the left here, and you can see that the control handles are each equidistant from the anchor point, and they're either arranged vertically, as in the case of the side points right here, or they're arranged horizontally, as in the case of the points at the top and the bottom.

But that doesn't mean they have to stay this way. As long as you've got the white arrow tool active, you can go ahead and click on a segment, for example, and then drag the control handles to any position you desire. And you can also drag the anchor points around as well in order to better trace this droplet. And so that's what I'm doing, obviously. I showed you that you can drag directly on a segment in order to change its curvature, but notice that it also affects the curvature of the neighboring segments; both that segment over to the right-hand side, and the segment below are being affected by this drag.

That's not the way it used to be in Photoshop CS5, and earlier. The surrounding segments were not affected, and if you want to restore that behavior, you've got a checkbox up here that says Constrain Path Dragging. If you turn that checkbox on, then you get the old behavior, where the control handles are locked into their previous alignment, and they either get longer, or shorter, but nothing more. So that's totally up to you. I am going to go ahead and turn that checkbox off, because I actually like the new behavior. All right. So that's how you transform what was formerly a geometric shape into a custom path outline.

In the next movie, I'll show you how to properly position the anchor points, and the control handles, and I'll offer a little bit of path drawing advice as well.

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