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Enlarging the hand

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Enlarging the hand

Now far be it from me to criticize the painting of a High Renaissance artist like Raphael but it seems to me that this hand is awfully dinky especially by comparison to this big moon pie of a face here and so I am going to make the hand bigger. I figure it's incumbent upon me to do so and you can do the same either by working along with me throughout this exercise or by taking a shortcut and just turning on the second to bottom most layer here inside the Layers palettes so you would scroll all the way down to the bottom of the Layers palette and then just turn on the eyeball belonging to this hand layer that you can see here.

Enlarging the hand

Now far be it from me to criticize the painting of a High Renaissance artist like Raphael but it seems to me that this hand is awfully dinky especially by comparison to this big moon pie of a face here and so I am going to make the hand bigger. I figure it's incumbent upon me to do so and you can do the same either by working along with me throughout this exercise or by taking a shortcut and just turning on the second to bottom most layer here inside the Layers palettes so you would scroll all the way down to the bottom of the Layers palette and then just turn on the eyeball belonging to this hand layer that you can see here.

And that will turn on the manly hand that I have created that has a little bit of garbage at the bottom of the screen as you can see but that ends up getting covered up by the picture frame so it's not an issue. Alright but I am going to show you how I made this layer so I am going to throw this one away rather boldly I think and to throw away a layer here is what you do. You just grab it and drag it to the trash can like so that's one way to work or I will undo that modification. You can also just select the layer and click on the trash can icon but if you do that Photoshop is going to ask you if you really mean to delete the layer or not and you can say Don't Show Again if you want to.

I will show you a different way to work. The other way to work is just to press the Alt key or the Option key on the Mac and click on the trash can icon and that way you don't see the delete layer alert. I am going to switch from the rectangular marquee tool to the elliptical marquee tool and then I am going to Alt drag or Option drag from about this point here outward in order to create an elliptical selection from the center out like so and if I don't have it exactly where I want it to be in place that is I can press the spacebar, press and hold the spacebar in order to move that marquee around.

So I have both the Alt key and the spacebar down right now, on the Macintosh side I would have both the Option key and spacebar down. Anyway once I get the marquee in place I will release the spacebar then I would release the mouse button and then I would release the Alt or Option key and that goes in and selects the hand. Now I am going to go ahead and jump the hand to a new layer. You may recall that there is a few different ways to do that. You can go up to the Layer menu, choose New and choose Layer via Copy if you want. That's the hard way I think or you can press the keyboard shortcut Ctrl J but what if you want to name the new layer as you create it.

Well then you press Ctrl Alt J or Command Option J on the Mac. To bring up the new layer dialog box then we can name this layer ManlyHand like so and then click OK in order to generate the new layer and there it is ManlyHand all ready to go. Now the next thing I want to do is enlarge the hand and I am going to do that using a distortion filter known as Spherize but if I apply the Spherize filter right now it's going to work from the center outward.

It's kind of like that radio blur filter that we saw on the previous chapter where once it worked from the center of the image as a whole as opposed to the center of the active layer. And in order to make it work from the center of the active layer you need to load the selection outline that's associated with this layer and you can do that in a couple of different ways one is you can go up to the select menu and you can choose load selection and then you would say that you want to load the ManlyHand Transparency Mask as your channels so you would select ManlyHand transparency and that's the only one that's available for me and then you would click Okay.

So that's one way to work. I will cancel that because the simpler way to work is just to press the Ctrl key or the Command key on the Mac and click on that layer thumbnail that will load that selection outline as well. Now let's go up to the Filter menu, choose the Distort command and choose the Spherize command and at this point I am just going to go ahead and leave the amount value set to a 100%, I want the mode set to normal, I don't want horizontal only or vertical only so normal is the way to go here. You can check out the preview, the in-dialog box preview if you want to or you could just say to heck with it I am going to click OK because Deke told me to and that's what I want you to do just go ahead and click that OK button and by Spherizing the hand we make it much, much bigger as you can see here more in keeping I think with the face and especially the face that I am going to add my own face which is going to cover up that of Saint Sebastian's.

Alright so that's what it takes to enlarge this hand but if you now press Ctrl D or Command D on the Mac in order to deselect the hand, you will notice that we have a horrible transition between the distorted hand and the rest of Saint Sebastian. We are going to make that transition look much, much better using a layer mask inside the next exercise.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39077 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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