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Photoshop CS4 One-on-One: Advanced
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Layer groups and the Pass Through mode


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Layer groups and the Pass Through mode

In this exercise we are going to see how we work with blend modes when we are working with groups. We haven't really seen what's going on with groups or layer comps, and we have been employing them throughout this project. We are going to see how both groups and layer comps work in the very next chapter, so stay tuned for that. But anyway, in the mean time, here I'm working inside this image called Near-final composition.psd, and I'm sort of feeling like this texture is little out of control here. It's covering up too much of the image. Right now, it's set to the Linear Light mode.
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Layer groups and the Pass Through mode

In this exercise we are going to see how we work with blend modes when we are working with groups. We haven't really seen what's going on with groups or layer comps, and we have been employing them throughout this project. We are going to see how both groups and layer comps work in the very next chapter, so stay tuned for that. But anyway, in the mean time, here I'm working inside this image called Near-final composition.psd, and I'm sort of feeling like this texture is little out of control here. It's covering up too much of the image. Right now, it's set to the Linear Light mode.

I am going to press Shift+Minus to backup to the Vivid Light mode, which actually produces a much more appealing effect in my estimation here. So I'm going to bring back layer comps, and I want to update this almost done Comp right here, and I'm going to do that by clicking on it, not clicking in front of it, clicking on it, and then clicking on this little Update button like so. The deed is done, yes. All right, so we have made a little modification here, that's nice. Now we have this folder right here called Text elements. I want you to turn it on, or at least make it visible, so that we can see what's going on inside of these layers, and I'll move my composition over a little bit, so that we can see the letters, and of course the blur that's going on underneath there.

Now I want to show you how I accomplish the motion blur, but I don't want to get rid of that motion blur layer, because it will really irritate the layer comps, so I'll all be very sad if we do that. And I'll show you why that is, as I say in the next chapter, but I'm going to turn off motion blur. I'm going to click on the editable text layer, that is Michelangelo right here, and I'm going to press Ctrl+Alt+J or Command+ Option+J on the Mac to jump and name this layer. I'm going to call it Mblur like that, because we are going to be applying motion blur to it, and I'll click OK.

Now let's move Mblur down below Michelangelo, then with Mblur selected, the Mblur layer, go up to the Filter menu, choose Blur and choose Motion Blur. Now at this point you are going to get a warning that's going to ask you if you want to Rasterize the text, because Filters are only applicable to Pixels. Well, not any more. Thanks to Smart Filters. You can convert this text to a smart object, and then apply a light filtering effect if you want to, but for one thing we haven't gotten the Smart Objects yet; for another thing, it's not really worth it in the case of this effect. So we'll just go ahead and Rasterize, which means to convert the text to pixels. Click OK. No longer editable, look they are pixels as represented by this thumbnail right here.

Now if you were to click Cancel, you get your text back, but we don't want our text back, what we want is an angle of 90 degrees, and a distance of 100 pixels, and we are going to get a big warping blur as you see right there. Click OK, and then I pressed Ctrl +Shift+Down arrow. This would be Command+Shift+Down arrow on the Mac. Five times in a row, one, two, three, four, five, and that's all there is to it. So it looks like it's a reflection, but it's really not. All the letters are upright, but it ends up creating a cool little effect there. We are going to get rid of it, press the Backspace key or the Delete key on the Mac, then turn on the motion blur layer once again, because we want to keep the layer comps very happy. Let's go ahead and check them out. They are all happy; there aren't Caution Icons all over the place.

If we got rid of that motion blur layer, look at how unhappy they are. Grumpy Guses, let's go ahead and press Ctrl+Z, Command+Z on a Mac to bring it back. All right, so I wanted to show you that. Now, notice that if I click on a group, the overall group here, that the blend mode and Opacity options are available. Fill Opacity is not, which means we can't take advantage of the special behavior of the Fill Opacity 8, but we do have normal Opacity, and all of our blend modes plus one called Pass Through, and what Pass Through does is it just enables the blend modes that are assigned to each of these layers that are inside the group, to pass through the group itself and interact with the other layers.

By the way, if I choose Normal and press the Escape key, then I can press Shift+Alt+P or Shift+Option+P on a Mac in order to access Pass Through. So that one keyboard shortcut that was otherwise lost to the airbrush for mysterious reasons is now available to us here inside the Layers palette. I'm just going to keep talking like Captain Kirk. Okay, so that's good. Now then, however, you don't always want it to work that way. Let's say we decided to colorize our text, and we are going to colorize the text using an adjustment layer, let's say, being one of the many options available to us, but one of the best also.

So I'll click on Michelangelo, the editable text layer, and I'll press the Alt key or the Option key in the Mac, click the black white icon, and I'm going to choose Hue/Saturation, which is going to bring up the warping big Adjustments palettes. I love this behavior. I'm glad it happened, because I just got a question for a user asking what in the world is going on with the Layers palette disappearing all the time, and so finally you can see it happen along with me, because it is one of the most irritating new features inside of Photoshop CS4. It happens to me when I'm sort of setting up the screen in advance of recording the exercises routinely, it's very irritating. Anyway, I'll just call this Colorize blue, because that's what it's going to do, and we could use the previous layer to create a clipping mask, but that means - of course, you can't see, you are just going to have to imagine.

Well, actually you know what? I think I can solve this problem. I think I can collapse the Color palette, that's what I want to do, and then expand the Layers palette. A-ha, nice, and there is the Michelangelo layer. If I were to use the previous layer to create clipping mask, I would only colorize Michelangelo and not motion blur. I want to colorize them both. All right, so Colorize blue, click OK, and we bring up the Hue/Saturation panel here, and the first thing I'm going to do is turn On the Colorize checkbox, and notice that's colorizing everything inside the image; red, as it just so happens. I'm going to change it to blue by changing the Hue value 210; it's kind of a cobalt blue now. Tab to Saturation, I'm going to raise the Saturation value to a bright 50%, and then I'm also going to increase the Lightness value, because I want to make even the blacks nice and colorful.

So I'm going to take this up to a Lightness value of 30%. Now it's telling you that you don't want to use Lightness normally inside Hue/Saturation, but when colorizing very, very specific layers inside of a composition, you may find it helpful, as I'm finding it helpful now. All right, go away Adjustments palette, you just crushed layers just a moment ago, I hope you are satisfied by that behavior, fairly rude. Now I'm going to click on the Text elements folder. Now I was telling you, I could go ahead and clip Colorize into Michelangelo by Alt+Clicking or Option+Clicking that line between Colorize blue and Michelangelo, and that settles everything down, so we are not colorizing the entire composition. We are just taking care of those letters, but we are not getting the motion blur, so that's not good.

So undo that modification. What I want to do is I want to burn in those letters, burn them in to the background, and why don't we go ahead and scroll over to the right ever so slightly, not quite as much as I did originally. So I can make sure that the adjustment layer does not go outside of this group, by selecting any mode except for Pass Through. So notice, if I go with Normal, it longer exceeds the group. If I go with Dissolve, it no longer exceeds the group, and so on and so on. All right, but what I want to burn it in, so I'm going to go with Linear Burn actually for this effect, and I get this nifty burn effect that we are seeing right now. And now, just for the sake of being Mr. Tidyman, I'm going to go ahead and save off the layer comp by clicking in Layer Comp icon to bring up the Layer Comps palette, and then I'm going to click on this new guy, and I'm going to call it 'We're finally done!' And make sure Visibility and Appearance are turned on, and then I'm going to add a little comment like, Should we do a blend modes series? Because I think it would be really wickedly fun, and we could explore these guys in so much more detail that we have inside this little chapter here, and then I'll click OK, and we have got it.

So this was my previous version of the image, blend mode madness right here, which is interesting, but I think this is one is so much better. We are finally done. It has the look that I'm looking for. I am now going to press the F key a couple of times to get rid of everything, and I'm going to zoom In so that we can take in this image in all of its splendor. This is the final version of the effect. In the next brief chapter we'll take a look at all the organizational stuff you can do with layers, including Groups and layer comps. Stay tuned.

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