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Photoshop CS5 One-on-One: Mastery

Isolating an image element


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Isolating an image element

I have opened Water drops.jpg, which is found inside the 27_pen_tool folder, and those of you who've been with me for the long haul may recall this image from the Navigation chapter, back in the Fundamentals portion of this series. The image comes to us from Victor Burnside of the Fotolia Image Library, and what we are going to do is we are going to take one of these beautiful details here, this forward drop, and we are going to isolate it from the rest of the image to produce this file right here, it's called Isolated drop.psd, and it forces us to view this detail basically out of context.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Isolating an image element

I have opened Water drops.jpg, which is found inside the 27_pen_tool folder, and those of you who've been with me for the long haul may recall this image from the Navigation chapter, back in the Fundamentals portion of this series. The image comes to us from Victor Burnside of the Fotolia Image Library, and what we are going to do is we are going to take one of these beautiful details here, this forward drop, and we are going to isolate it from the rest of the image to produce this file right here, it's called Isolated drop.psd, and it forces us to view this detail basically out of context.

Then we could set some type around the image, if we are bringing it into another document and so forth. So it's a fairly simple construction what we have going here. If I turn off the top layer, you can see behind it we have a copy of that same layer with a rather amorphous layer mask assigned to it. It's pretty easy to draw this mask actually. It's all painted in. It's just a hand-painted mask. So nothing all that difficult about it, however the top layer is extremely precise as you can see, and it's been created using a vector mask. So I have very carefully drawn the mask outline around this one drop, and well that may seem like a simple thing to do it actually takes a little bit of effort.

It's only four points. I am going to go ahead and click on this layer mask to make it active and then I will press the A key to switch over to the Black Arrow tool in my case, and I'll click on the path outline, and you can see we have just four anchor points. one on the left, one below, one on the right and one above. So we are going to take two different approaches to this layer mask. First we are going to draw an elliptical shape outline and we're going to modify it because after all an ellipse has four points as well. One on the left, one down below, one on the right and one above, it's just that those four points are locked into alignment with each other, but we can move them and adjust them anyway we see fit.

And then we are also going to take a stab at drawing this outline using the Pen tool. Now in all cases, we will be drawing smooth points, every single one of these is a smooth point so that it's forming a continuous arc around the path outline and the smooth points have two control handles a piece, that are locked into alignment with each other and we'll see how that works. So we are going to be creating the project from scratch. We will start inside Water drops.jpg, and I just want to give you a sense for something here. You know how oftentimes what you want to do is you want to pop the image onto a new layer and then you want to create a new empty background, and you find yourself doing this right? You go ahead and convert the background layer, the existing background layer because this is starting off as a flat image.

You convert it to a floating layer by double-clicking on it and then calling the New Layer droplets, and then pressing the Enter key. Now you've got to create another layer to serve as the background, so you press Ctrl+Shift+N or Cmd+Shift+N on the Mac and then you don't worry about the name, because it doesn't matter. It's going to become a background in just a moment, so you just press the Enter or Return key and then you go up to this labor-intensive command, you have to go to Layer menu, choose New and choose Background from Layer, and then you've created your new layer. Well, there is a simpler way to work. I don't know if you do that very often.

I have found myself doing it an awful lot, it's such a pain in the neck. You could action that, of course you can record that as an action, and we'll be discussing actions at length in the final chapter of this course. But let me show you a different approach. I'll press the F12 key in order to revert the image back to its utter and complete flatness here. You can also press Ctrl+A or Cmd+A on the Mac to select the entire image. Now we are zoomed into the point we can't see the marquee, but I have selected the entire image, and then you could press this big keyboard shortcut, Ctrl+Shift+Alt+J that is mash your fist J, that's Cmd+Shift+Option+J on the Mac, and what that's going to do is a bunch of things.

You are going to jump the image to a new layer of course. That's the Ctrl or Cmd+J part of it. The Alt or Option key part of it is to bring up the New Layer dialog box, so you can name the New Layer, and the shift part of it is, you're going to remove the contents of this image from the background. You are going to extract from the background so you'll have a blank background layer when you're done. So that's Ctrl+Shift+Alt+J on the PC, Cmd+Shift+Option+J on the Mac. I will go ahead and call this new layer droplets and then I will click OK and that's all there is to it. So it's just a two-step operation all of which can be performed from the keyboard.

That's Ctrl or Cmd+A to select everything and then the mash your fist J, to go ahead and jump the contents to a new layer. All right, so having done that, I am going to do it again, because remember how I need two copies of this layer, one is served as the shading in the background with the amorphous layer mask, and then one to house the isolated drop. So I am going to press Ctrl+Alt+J this time, Cmd+Option+J, so we don't want the Shift key and I am going to call this guy single drop and click OK. All right, let's turn droplets Off, we'll come back to it, and we are going to work on the single drops layer and I'm going to assign a vector mask to it by dropping down to the Add layer mask icon and Ctrl+Clicking on it or Cmd+Clicking on it.

That gives us a vector mask. Now I'll select my Ellipse tool, which is already selected in my case down here in the Shape tool fly-out menu, so I will just go ahead and grab it and I will draw an ellipse around the drop. Now it's not going to be accurate, in fact let's go ahead and make it too big for starters here. It's just going to serve as a starting point for my modifications here, and now I'll go to the Mask panel, as usual, bring it up, go ahead and reduce the Density value to 50% so that I can see the other drops in the background, then close the Mask panel.

And now I am going to press the A key a couple of times in order to switch to my White Arrow tool and I'll click on this path outline, so that you can see, sure enough we've got an anchor point on the left-hand side, we've got an anchor point on the right-hand inside, one down below and one up above, and every single one of them is locked into alignment with each other. So the top and bottom are vertically aligned, the side-to-side are horizontally aligned, everybody is equidistant from each other and their control handles are either organized straight up and down or side-to-side, like so. But that doesn't mean they have to remain that way.

We can grab any one of these points and drag it to a new location like that. So this is a completely editable, malleable shape, and we can modify it to our heart's content, and so I shall and you along with me, in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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