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Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Exporting the gridlines to a layer


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Exporting the gridlines to a layer

Alright here's a little throwaway technique that you might find helpful. The Vanishing Point Filter one of its top secret hidden functions is that it allows you to export the planes to a septate layer. So the idea is, it's not going to be like a snapping grid or anything that intelligent, it's just going to be a pixel rendering of all of these planes and that way you can integrate the planes into your layered composition if you so desire. And let me show you how that works. I am going to go ahead and cancel out of the dialog box right now and I am going to make a new layer.
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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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Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

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.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Exporting the gridlines to a layer

Alright here's a little throwaway technique that you might find helpful. The Vanishing Point Filter one of its top secret hidden functions is that it allows you to export the planes to a septate layer. So the idea is, it's not going to be like a snapping grid or anything that intelligent, it's just going to be a pixel rendering of all of these planes and that way you can integrate the planes into your layered composition if you so desire. And let me show you how that works. I am going to go ahead and cancel out of the dialog box right now and I am going to make a new layer.

I am going to go over to the Layers palette I am going to click on the shading layer in order to select the top layer in the stack and then I am going to press Ctrl+Shift+N or Command+Shift+N on the Mac in order to bring up the new layer dialog box and let's go ahead and call this layer planes, why don't we. Make sure use previous layer to create clipping mask is turned off and then click OK. And I will go ahead and bring the Layers palette backup you should see a new Planes Layer at the top of the stack. Now this is very important before you apply any pixel level modification inside the Vanishing Point Filter.

I want you to get in a habit of generating a new layer. Here's why. The Vanishing Point Filter is always basing its edits on the composite rendering of all layers inside of the document but it goes ahead and deposits the results of its modifications to the active layer. So by creating an empty layer in the first place you allow Photoshop (a) to see through that layer to the composite image and (b) you make sure that your edits are as flexible as possible and you can move you perspective modifications around if you so desire or change the blend mode, change the opacity level and so on.

Alright so I have created an independent Planes Layer. I am now going to go up to the Filter menu and choose the Vanishing Point Filter. I should see these planes that I created and saved inside the previous exercise. I am now going to go ahead and export them now inside of Photoshop CS2 inside the first Vanishing Point Filter you used to be able to export the planes by pressing the Alt key or the Option key on the Mac and clicking on the OK button. That no longer works as it turns out at least not in this beta built.

Instead what you do is you go to this new little pop-up menu right there see that, go ahead and click in that right pointing arrowhead you will bring up a little menu and notice right there is this option that says render grids to Photoshop. Go ahead and choose that command and you may have noticed that I sometimes call the planes, planes and sometimes I call them grids well so does Photoshop it turns out. Everybody does. And anyway I am going to go ahead and choose render grids to Photoshop to render out those planes. The deed is done I haven't seen it happen because it's happened in the background.

Now go and click OK in order to accept that modification and there it is, there are my perspective planes rendered in different colors. Notice that I have the walls the edges of each plane rendered in dark blue and I have the interior grid lines rendered in light blue but I can change that if I want to. I will go ahead and bring that Layers palette make sure that it has indeed deposited these planes on the independent Planes Layer and I can confirm that by turning the layer off and then back on sure enough only the active layer was effected and let's say I want to just go ahead and change those grid lines to white.

Well white is currently my background color so all I have to do to fill the gridlines and only the gridlines with the background color is I will press Shift+Ctrl+Backspace or Shift+Command+Delete on the Macintosh side again that's Shift+Ctrl+Backspace or Shift+Command+Delete pressing Control or Command along with Backspace or Delete fills the layer with the background color. Pressing the Shift key as well goes ahead and preserves the transparent portions of the layers so that we are only filling the opaque pixels. Alright so I just changed all the grid lines to white and now I am going to press the 4 key in order to reduce the opacity to 40% and we have this soft overlay of gridlines inside of this composition, kind of a nifty thing.

You may find it useful inside your compositions as well depends on what sort of aesthetic you are going for. Anyway in our case I am just going to go ahead and turn that Planes Layer off, just a little bit of large just wanted to show you how that weird little hidden feature works. In the next exercise we are going to be trying our hands at a little bit of a real world modification inside the Vanishing Point Filter. Specifically we are going to take this guy right here this Lise Gagne image and we are going to duplicate it against the rear wall.

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