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Introducing layer comps

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

Video: Introducing layer comps

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.

Introducing layer comps

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.

Show transcript

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 · 39155 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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