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Photoshop CS4 One-on-One: Advanced
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Deleting layers and updating comps


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Deleting layers and updating comps

All right, gang of mine, I'm still working inside of Layer Comps project.psd, and I have my Layer Comps palette open. I have switched to the Surveillance Composition by clicking in front of it. In this exercise I'm going to show you how and why layer comps can get grumpy with you. Basically, if you delete a layer, you are going to make at least one layer comp angry with you, or peevish, I should say, and they will bark and complain until you solve their little problems. That's what I want to do, because it can be a little irritating for you, the user, to have to put up with irritated layer comps.
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, 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 CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Deleting layers and updating comps

All right, gang of mine, I'm still working inside of Layer Comps project.psd, and I have my Layer Comps palette open. I have switched to the Surveillance Composition by clicking in front of it. In this exercise I'm going to show you how and why layer comps can get grumpy with you. Basically, if you delete a layer, you are going to make at least one layer comp angry with you, or peevish, I should say, and they will bark and complain until you solve their little problems. That's what I want to do, because it can be a little irritating for you, the user, to have to put up with irritated layer comps.

All right. So let's say I'm looking at this composition here, and we've got these plans right here these very pivotal plans that are tucked away in Bronco, the Plaster Dinosaur's Mitten. They are very important to the antagonists in this story, which is this fellow named; actually he is named up here in this group, his name is Emperor Scratch, and he is that Hadrosaur that we saw in the exercise before last. He envies those plans essentially. So he has got some sort of automatic robotical thing that's going, beep, beep, beep, plans identified, that kind of thing.

All right, that's great, but I'm sitting here looking at this wonderful extraordinary subtle composition and I'm thinking that, plans identified, it's so obvious that we don't need to tell the story that way, we don't need to have this text. So I want to get rid of that layer. Now, I could just turn it off, I could just hide it, but let's say I want to delete it, I just want it to go away. Well, first, I need to find the darn thing. Which layer is it? I was telling you back when we were talking about layers; you can right click on a layer with Move tool. So I could go up here and get my Move tool, and then I could right click on the layer, or if I don't have a right mouse button on the Mac, I could Ctrl+Click, and then inside of a Shortcut menu here, you'll see the name of every layer that has a pixel in it, at that pixel that I clicked on, which is a ton of different layers. We've got Video lines, TV adjustments, green, duotone.

Now, if I've taken the time to name my layers or if I've just gone ahead and accepted-- when you create text layers, as we'll see in the future chapter, Photoshop automatically names that layer whatever the text is, after the text. So I could come down here and see, oh, there is plans identified. But it's still a lot of work to try to sort of move through all this garbage, define the proper layer right there, and then select it. All right. So if you have that problem with some other kind of layer, you're going to have to just sort of play around and try to find the darn thing. But if you have that problem with text, an easier way to just go to that darn layer as opposed to any of the other options I've shown you so far is to go ahead and just grab the Text tool right there, my friends, just get it. Then just click on that text, and it's smart enough; if you move your cursor over the text and click on that text, its going to say oh, I betcha my user there; this is Photoshop talking, wants to work on the Text layer, and then its going to take you right to it.

You go, ha, ha, and then you press the Escape key, because you don't really want to work on a layer, you just want to delete it, and pressing the Escape key goes ahead and deactivates the text, so it's no longer selected with the Type tool. Then you press the Backspace key or the Delete key on the Mac to wipe it out, to get rid of it; new trick inside of Photoshop CS4 that makes deleting layers so very, very dangerously convenient, in my opinion. I'm not sure it's the smartest shortcut, but it is there. Now then, look at the layer comps. Grumpy, grumpy, grumpy layer comps. Now, three of them are grumpy. They've got little warnings right there, and if you hover over the warning, it's going to tell you that it cannot be fully restored. What it's telling you is that some layer went away that it thought was important.

Now, the funny thing about it; let's go ahead and undo that modification there, the deletion of that layer, the funny thing was, we were seeing this composition right there; Rough comp and Surveillance and Hadrosaur elements, They were the ones, you may recall, that had cautionary icons in front of them. Well, Surveillance is tracking that plans identified layer, and Hadrosaur elements, that's tracking that plans identified layer right there, behind these photo realistic teeth that are coming out of a plant eating dinosaur's skeleton. Fancy that! But if I go back to Rough comp, there is no text there. What's Rough comp's problem, why was it getting grumpy? Well, let's go ahead and press the Backspace or Delete key once again to delete that plans identified layer. You can delete it even though it's hidden. Rough comp is indeed grumpy, and the reason it's complaining is because the plans identified layer was extant, meaning it existed when this layer comp was created.

When the other layer comps, the ones that aren't grumping at us, when they were created, that layer didn't even exist, it wasn't even in the stack yet. So how do we make everybody happy is what it comes down to. Well, what you do is this; you click in front of Rough comp, like so, to make it active. Then it does its best to restore everything, and it goes, I couldn't fully restore things because I couldn't find that one layer that you threw away. You're of course like well, I threw it away, I didn't want it, so what do you think you should be doing? But anyway, then you go down here to this little icon, the Update Layer Comp, and you click on it, and it gets over its problem. Then you click here in order to make Surveillance active, and you update it too, to make it stop barking at you.

Now, what you don't want to do is go to Hadrosaur elements without first making it active. If you go to Hadrosaur elements and then update this, you'll make it exactly like Surveillance, so that the two aren't different from each other. If you end up making that mistake, why then fortunately, you can go to the Edit menu and choose Undo Update Layer Comp, or press Ctrl+Z, Command+Z on the Mac. So layer comp activities are undoable. They're also backspaceable from the History palette. So I'll just go ahead and back up, and then it's still grumpy. All right, fine. Click in front of it to reinstate it to the best of Photoshop's ability of course, and then update it, like so. Then you're in good shape.

So that's how you take care of that problem. It's a pretty common problem actually, and pretty simple to take care of. Unfortunately, that's as automated as it gets. You just have to sort of hold Photoshop's hand through that little traumatic process; it's traumatic for Photoshop that is. All right. Anyway, that's it for this exercise. In the next exercise we'll begin to make some modifications to our layered compositions and then save that out as a layer comp. You'll see if you join me.

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