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Photoshop CS5 One-on-One: Mastery
Illustration by

Land, sea, and clouds


From:

Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Land, sea, and clouds

I've saved my progress as palette knife on plaster.psd found inside the 30_smart_filters folder. In this final exercise, we're going to transform this image into a kind of bird's-eye view of some strange landscape. And we're going to have absolute control over whether we want to weight the landscape in favor of the sea, at the expense of the land, or vice versa; show more land masses and have the sea move away. Now, I should say something by the way, something that can happen, at least I've seen it happen a few times now.
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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

Land, sea, and clouds

I've saved my progress as palette knife on plaster.psd found inside the 30_smart_filters folder. In this final exercise, we're going to transform this image into a kind of bird's-eye view of some strange landscape. And we're going to have absolute control over whether we want to weight the landscape in favor of the sea, at the expense of the land, or vice versa; show more land masses and have the sea move away. Now, I should say something by the way, something that can happen, at least I've seen it happen a few times now.

When I'm working away with filter gallery filters things like Note Paper for example, when you open this document or one of your own, you might see a little warning icon down here that saying that the filter is not applicable. And yet you might even see the effects of the filter out here in a larger image window. What that means is that you've run into a memory error and you need to quit Photoshop and just restart it, that's all. At least again, in my experience it's a memory problem. All right, but if you don't have that problem, why then let's just work away here. I'm going to revisit that Note Paper filter and most of the filters you can't swap out for another filter, for example, you can't say, you know what I want to just somehow switch Gaussian blur to Unsharp mask.

You would have to apply that the Unsharp mask filter and then turn Gaussian blur off. However, if a filter lives inside the filter gallery, then you can swap it for one of it's filter gallery compatriots and that's true for Note Paper. So if I double-click on Note Paper, that brings up the filter gallery. And you might very well ask well how in a world should you know who is a filter gallery filter and who is not? Well it's mostly just the lame filters in my opinion that are filter gallery filters, that is the guys that live inside the Artistic submenu right there that create the sort of faux artifacts.

And I'm not a big fan of them. I don't think that they're particularly successful. There is also all the filters that live in the Brush Strokes submenu. These are submenus under the Filter menu by the way. There is a few Distort filters; three of them, none of which distort an image. So they're in the wrong place, but there they are. There is a Sketch filters which I quite like actually. They're great. And then we've got one Stylize filter, Glowing Edges, which is whatever, awful. And then we've got a handful of Texture filters which are halfway decent. Anyway, the best, I think, are the Sketch filters right there.

And so Note Paper is currently selected. I just have to click on a different thumbnail to switch it out for a totally different filter. For example, here is Bas Relief very interesting. Here is Chrome, if you want to try that out. You can click on Photocopy, although it isn't going to look like much in this case. Stamp ends up producing a kind of water droplet effect; you may recall how we made our own water droplets that were black-and-white like this, way back when we were looking at layer effects in the previous portion of this series. Here is Reticulation. So that's some kind of crazy hive of activity.

It looks very insect oriented. Finally though, what I am going to land on here for my land masses is Plaster, because we end up getting this kind of a effect here and you can use the Image Balance once again to decide if you're going to have more land masses. And now I'm deciding whatever is dark is the land mass, whatever is light is going to be the sea, or I could reduce the Image Balance command to create more islands essentially. Anyway, something, kind of in-between for now is going to work out well and I'm going with 24 I guess.

And then I'll click OK in order to accept that modification. Now then, I need to somehow colorize the land masses so the land is brownish I would assume, and then the sea is kind of a bluish green and I'm going to achieve that effect using a gradient map layer. So I'll go ahead and turn the color layer off for now, which is that Hue/Saturation Adjustment layer. Then I'll go down to the black-white icon, press and hold the Alt key or the Option key on the Mac, and this I'll choose Gradient Map. And because I have the Alt or Option key down, I end up seeing the New layer dialog box and I'll call this guy land & sea and click OK.

And I'm going to make a very simple gradient by clicking on the gradient bar right here. And let's switch out that dark key color by double-clicking on the color stop. And I'm going to enter a Hue value of 30 degrees let's say, and then a Saturation value 75%, and a Brightness value of 15. So we have some very dark land masses going on, click OK and then let's double-click on the final color stop the white one. And I'll change the Hue value to, let's say, 180, which is cyan of course. And then I'll raise the Saturation value to 50%, and finally set the Brightness to 100%.

And if you want more of a bluish sea, you can go ahead nudge this Hue value up a little bit if you like, but I'm going to leave it set where I had it, 180 degrees, click OK and then click OK inside the gradient editor and then go ahead and close the Adjustments panel. And now, to get a sense of what's going on, just go ahead and zoom out by pressing Ctrl+Minus or Cmd+Minus a couple of times. Currently we're kind of seeing through the land masses to some of the cloud pattern and that's because this Plaster effect is a little bit translucent.

You may recall when it was note paper I reduced its opacity to 75%, so you could restore its 100% Opacity by double -clicking on the Settings icon and that would bring up the Blending Options dialog box and you could take the Opacity value up to 85% or 95% or what have you if you want something darker. Then if you want to turnaround and reinstate some clouds, because let's say we're above the clouds looking down, we are so very high above this world, then click OK and create a new layer.

All you need to do is just press Ctrl+ Shift+N or Cmd+Shift+N on the Mac, and we'll call this guy clouds and then click OK and it's a layer of transparency. Now make that layer of transparency a smart object by going up to the Layers panel flyout menu, clicking on it, and choosing Convert to Smart Object. And now it's just a smart object full of nothing, but clouds doesn't need anything. The Add Noise does. If we try to use the Add Noise filter, it would get mad at us because Add Noise needs pixels to work with. Clouds does not, clouds will just replace anything it comes in the contact with.

So go up to the Filter menu, choose Render, and choose Clouds and notice, bang! All of the sudden we've got this layer of clouds here. We also, by the way, have an empty filter mask we don't need that. Right-click because we don't need anymore clutter inside the panel, Delete Filter Mask, then let's go ahead and drag this above land & sea. So land & sea is affecting the Base layer but not this new clouds layer. And I'm going to set the clouds to, let's say, Screen in order to keep the bright clouds and see through the dark once. That's still too cloudy for my taste.

So I want you to double-click over in this empty area of the clouds layer. Don't double-click on the thumbnail because it'll want you to open up the smart object and there is nothing there. Then go down to the This Layer slider bar there and drag the black slider triangle over to the right in order to reveal areas of the Base layer, which of course represents the land masses and the sea and all that jazz. And then Alt+drag or Option+drag these two halves of the triangle apart. So I'll go ahead and move this guy up and I'll move this guy down like so until I have some partial cloud coverage as we're seeing right there.

You could experiment with the Blend mode being set to Linear Dodge if you wanted brighter clouds. I think that's too much though so I'm going to set that back to Screen. And then that's fine. Click OK in order to accept that change. And then, of course, recall if you want to change your cloud pattern, all you do is you go down here to Clouds, double- click on it, it completely regenerates the clouds. I cannot tell you how much fun it is regenerating clouds. It's just set an easy thing to do, just double-click, and bang! You got different clouds going. All right, and if you want to change your land masses, now that you're reconsidering how things are working together, we'll go down here to Plaster; the Plaster filter that's associated with the Base layer, double-click on the word Plaster there and then, of course, adjust your Image Balance.

So I'm going to raise that Image Balance value if I want more land masses, like so. And if I want more sporadic islands, I would reduce that Image Balance value. That just gives you a sense of the kind of synthetic effects you can create using nothing, nothing whatsoever. This began as an absolutely empty new file to which we applied a series of different smart filters here inside Photoshop.

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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