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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 get our first taste for how layer comps function inside Photoshop. I am going to start things off by adding the zipper along the bottom of the screen and I am going to do that by clicking on the bar layer that is clicking the eyeball in front of bar layer in order to turn it on so we can see it and clicking in front of the face-off layer as well and it reads DNN Live this is of course Dinosaur National News. That's the ticker that would sort of go by at the bottom of the screen were this a live video feed. Now I like this greenish cast that I have got assigned to the image currently because it invokes a certain sort of retro TV sort of retro computer field as well, has a combination of worst of TV and worst of DOS effect going here.
But then I thought well maybe it would be cool to make it all red like blood. So I added this reddish layer at the top of the stack another hue/saturation layer the idea being that it's just easier to heap on more adjustment layers as opposed to go back and edit the previous ones. And if I feel like the effect at this point is a little hyper saturated thanks to the fact that I added that Boost Sat Layer that saturation booster layer a few exercises ago that I could compensate by double clicking on this thumbnail right here to bring up the hue/saturation dialog box.
Then I click inside that saturation value and press Shift Down arrow a couple of times in order to reduce that saturation to plus 20% as opposed to plus 40%. Now I am going to Click OK in order to accept that modification. Now at this point let's say I am just not sure. I am not sure if I want the composition to look red or green or if I want the zipper to be at the bottom of the screen or at the top of the screen and as it turns out you can save layered states inside of a composition from the layers comps palette, you can save which layers are visible, you can save the blend modes that are assigned to different layers, you can save the opacity values, you can save the layer effects like drop shadows and glows and so on and you can save the position of layers as well.
So I can say whether the zipper is at the bottom of the screen or the top of the screen all using layer comps, they are so great as it turns out and I have already created a few of them in advance for you. I am going to go up to the Window menu and I am going to choose the layer comps command, you can also get to it by pressing Alt F7 or Option F7 on the Mac if you loaded my Deke keys shortcuts. And for me that's going to display the layer comps palette in a new doc here behind the Layers palette and I am going to hide the Layers palette for a moment and sort of mess with the layers comps palette so that it becomes part of this second column of icons.
And I am going to do that by dragging the grey sort of empty title bar above the word layer comps and I am going to drag this item over so that I see a tiny blue horizontal strip right there at the top of the second column and then I am going to release and it goes ahead and adds this little page icon right there that indicates layer comps. Now I am going to go ahead and expand this doc so that we can see all of the palettes at the same time. And I might make the layer comps palette a little taller like this here. Alright so you notice that I have got three layer comps altogether and at their simplest layer comps allow you to save which layers are visible and which layers are turned off.
And if you do nothing more than that with them they are still very powerful tools. Alright I am going to bring the Layers palette back up on screen at the same time here and I am going to scale it down a little bit so that we can still see the layer comps at the same time and I am going to go ahead and twirl open my group so that we can see all these groups toward the bottom of the palette actually I am going to make the palette a little taller so that we can see everybody. Alright let's start with the base layer. Now clicking on one of these layer comps doesn't in an of itself do anything. If you want to switch to a layer comp you have to click in front of it in order to switch the placement of that little page icon.
So I will click in front of base layer and notice that Photoshop goes ahead and turns off every single layer. Some of the layer groups are still turned on but the layers inside of the groups are turned off to some extent or other so that the only layer that's visible is the background layer when we are working with this comp. If you click in front of Stretch, that also turns on the stretch layer down here. And then finally if I click on white type, I will click in front of white type that is, I will go ahead and turn on several layers inside of the composition including the bar layer and the face-off those two layers that represent the zipper at the bottom of the screen.
Some things though are getting a little less. For example remember that boost sat layer, I was referring it to just a moment ago, we created that layer inside of this chapter and if you double click on it you may recall that it boosted the saturation to 30% so it raised the saturation of the entire composition. Well we have created this layer since I created the white type layer comps. So the white type layer comp can't be expected to have any knowledge of this boost sat layer. So here's what I am going to do. Notice that right now the page icon appears in front of white type.
As soon as I turn on boost sat, the page icon moves to last document state showing us that this layer composition has not been saved. So this is an unsaved custom layer state at the present moment in time. If we want to go ahead and save it then I would go ahead and close Layers palette just to get it out of the way here. I would make sure that white type is selected and then I would move to the bottom of the palette to this double arrow going in a circle icon which allows me to update the layer comp.
I would click, nothing happens, it doesn't turn on or off any new layers all it does is it updates white type to represent this layer state including the recently added boost sat adjustment layer.
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