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Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.
Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.
Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.
Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.
In this exercise, we are going to lay down a Base Layer that's going to convey much of the highlight and shadow detail about the glass, so that we can then build on that Base Layer in order to create the final effect. Now, as before, I have opened the starpattern.jpeg image that's found inside the 10 masking folder. I also have from that same folder; I have opened this splashinglass.jpeg image. And I have a little bit of a magic one selection outline going on from the previous exercise.
I don't really need it, we saw how bad it is. But I want to point out something about the Move tool that you might find of interest. Notice the appearance of the cursor when I have the Move tool cursor inside the selection, that looks like a black arrowhead with a pair of scissors next to it, and then indicates that I will move just the selected portion of the image, like so. Alright, I am going to undo that modification and put the glass back. Now, if I move my cursor outside of the selection, then it appears as a black arrowhead with a little four-way arrow cursor thing, like a compass rose or something next to it, and that shows me that I am going to move the entire image.
So I want you to go ahead and do that. I want you to go ahead and drag that entire image, regardless of whether you have a selection outline or not into the star pattern background, then press the Shift key, press and hold that Shift key and drop the glass into place. And notice the entire glass comes over and the selection outline does not come over with it. So you just get the entire glass, and that's all, which is good, we want that entire glass. We do not want that obnoxious magic one selection, it was no good for our purposes. Now, notice that Photoshop has thoughtfully put the glass on an independent layer above the star pattern that appears on the background layer here.
Let's go ahead and double-click on the words Layer One and we will rename this layer something along the line of base glass, and then press the Enter or the Return key in order to accept that modification. Notice the word Normal here inside the Layers pallet, if you click on the word Normal, you are going to reveal a list, a very long list of blend modes. Now, we are going to examine all of these blend modes in glorious detail in a forthcoming chapter, another one of those really exciting topics as it turns out.
But for now, I just want you to blindly select this guy right here Hard Light. And the Hard Light mode is going to retain the highlights and retain the shadows and drop away the midtones to reveal the layer below. Now, it doesn't reveal the ton of the layer below because the image is so very dark, that background is so dark, so we need to reduce the opacity of this layer a little bit. Now, notice that the Hard Light mode remains active here on the PC. So I will press the Escape key in order to make it inactive, on the Macintosh side, you don't have to do that.
Then, I am going to press the 8 key to reduce the opacity value to 80%, you can see that right there. Pressing a number key when anyone of these selection tools is active affects the opacity of the active layer. So I just reduce the opacity of the layer to 80%. It's a little more palatable now. We can see through to the star layer in the background. We can see some night's rich shadows. However, our highlight, it seems to me, are a little bit weak and I am going to go ahead and Shift+tab away those pallets once again, so that we can compare this star pattern composition that I have created so far to the final composition that I am going for, this is the glass-on-pattern image, also found inside the 10 masking folder and you can see how much better those highlights are.
And that's a function of having selected the highlights and move them over again in a separate pass into the star pattern background. And we are going to do exactly that using the Color Range command beginning in the next exercise.
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