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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, 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 CS5 One-on-One: Fundamentals.
I'm still working inside Optimistic publication date.psd. I haven't bothered to create a progress version of this document, because I've essentially recreated the Arrow Effect that was already there. In fact, we don't need the arrows anymore. They're not part of our final composition. They're just there to show us the location of this tiny word Pout that we need to grow into a great big logo. So I'm going to click on arrow and Shift+click on the other arrow layer here inside the Layers panel, and I'm going to press the Backspace key or the Delete key on the Mac in order to get rid of both of them.
All right, now that Pout layer is active, make sure yours is as well, if you're working along with me. Then press the T key in order to switch to your Type tool. I'm going to press the Enter key or the Return key on the Mac to highlight that font name. I'm going to change it Minion Pro by entering min, and then I'll press the Tab key to advance to the Type Style option, and I'll type in "Bol." For some reason that's enough to get me Bold Condensed as opposed to Bold, which is exactly what I want. I want Bold Condense, so that's fine. Then I'll tab over to the Type Size value, and this time we're going to go really big, 224 points, and then press the Enter key or the Return key on the Mac.
We want our text to be Formatted, flush Left. So that's just grand. I'm going to click on that Color Swatch and change the Color value to white, but you know what? I don't need to do that. What am I doing? I'm going to press the Escape key to escape out of the Color Picker. My background color is white currently, so all I have to do to assign the background color to the active layer is press Ctrl+Backspace or Command+Delete on the Mac, and that does just as well. All right, let's go ahead and zoom out a little bit, so that we can see the entire top region of the image.
Actually, I need to zoom out another click here. Why don't I go ahead and select that zoom value and try something like 45% and press Shift+Enter or Shift+Return on the Mac in order to try that value out without deactivating it. Actually that worked out pretty successfully. So now I'll just press the Enter key or the Return key on the Mac and scroll things over ever so slightly, scroll them down as well, so I can see the top of my image. Now, notice the top of the image is transparent. We'll solve that problem shortly, but in the meantime we have some more work to do, to the logo. So I'm going to click inside that logo.
Press Ctrl+A, Command+A on the Mac to select all the text. I'll press Ctrl+H or Command+H, so that I'm hiding the highlight, so that the text looks normal. I'll bring up my Character panel by clicking on the A here in this column of icons. I'm going to go ahead and switch to All Caps once again. And my text needs a little bit of squishing, the letters need to come closer together. So one of the things I'm going to try, by the way, is switching from my Metrics kerning to Optical kerning. So I'll put Photoshop in control of the pair kerning inside of this text, and that actually looks better.
The text is starting to come together quite nicely. Then I'm going to take this Tracking value, and I'm going to set it to -20, like so, or I suppose I could have pressed Alt+Left Arrow or Option+Left Arrow on the Mac. Now, to my eye it looks like the P and O are a good distance from each other, and the U and T are plenty close to each other, but the O and U want to come together a little more closely. So I'm going to click in between those two characters in order to move my Blinking Insertion Marker to that location. I'm going to press Alt+Left Arrow or Option+Left Arrow on the Mac.
That reduces my kerning value to -61, so it moves that text together ever so slightly. I also want my text to be taller, so I'm going to press Ctrl+A once again, Command+A on the Mac. In order to select all the text, press Ctrl+H, Command+H on the Mac in order to hide that highlighting. That's optional, but I want to be able to see what I'm doing better in this. I'm going to change this Vertically scale value to 110. So I'm going to click in this value and press Shift+Up Arrow in order to just raise those letters slightly.
So the text is more condensed than ever, but I really want it to be taller, because I don't want it to grow inward or outward. The horizontal positioning in my text is just fine at this point. All right, the remaining modifications have nothing to do with formatting attributes and everything to do with effects and blending. So I'm going to go ahead and hide my Character panel. I'll press the Enter key on the keypad, or I'd press Ctrl+Enter or Command+Return on the Mac to accept my Text tool modifications. I might as well just go ahead and switch back to my Rectangular Marquee tool here, just so that I don't end up messing up my text at any point.
Now, notice directly below Pout is this layer called underline, and this happens to be a pixel-based layer that we're going to redraw together as a shape layer, because eventually you'll see that a shape layer gives us a lot of advantages over a pixel-based layer here inside of Photoshop, but I'm going to turn that layer on so we can see it. Notice it provides this nice elegant swash that happens to cut through the model's eye. We'll take care of that problem eventually using a layer mask, but for now, I want you to go ahead and grab the layer Effect that's applied to this underline layer and duplicate it to Pout.
So go ahead and press the Alt key or the Option key on the Mac and drag that fx icon here inside the Layers panel upward, like so. You'll get this fx preview on the PC. You don't see it on the Mac, and go ahead and release, and that duplicates all the layer Effects we have for a Drop Shadow. I just don't want to go to the trouble of recreating it. I want to make sure that we exactly match the Drop Shadow effect that's assigned to the underline layer there, and we've done so by duplicating it. Now, there is one additional modification I want to make. I'm going to, just for the sake of tidying things up so that I can see as many layers as possible, I'm going to click this Up pointing arrowhead, so that I collapse my layer Effects.
Notice that the underline layer is translucent, but its Drop Shadow is every bit as dark as the one that's assigned to Pout. Now, it turns out that the Opacity of that underline layer is 50%. However, if I change the Opacity value to 50% and my Rectangular Marquee tool is selected, so I can just press the 5 key in order to reduce the Opacity of those letters to 50%. You can see the letters themselves match the underline right there, the swash. However, the Drop Shadow has reduced in Opacity as well.
So we have a much more translucent Drop Shadow that has only half the impact of the Drop Shadow that's assigned to the underline layer. Well, that's a function of this option that I think drives a lot of people crazy right here, Fill, which when you apply it to a standard everyday average layer seems to do exactly the same as Opacity, but when the layer has a Drop Shadow, it gives you a very different result. So I'm going to press the 0 key to restore the Opacity value to 100%. Then I'm going to change that Fill value to 50% as well.
And notice that changes the Opacity of the letters, that is the Color Fill, the White Fill of the layers, without changing the Opacity of the Drop Shadow, and so the Drop Shadow stays every bit as dark as it was before. Now, there's a keyboard shortcut of course to access the Fill value. If I were to press the Return key or the Enter key so the Fill value is no longer active. It's Shift along with a number key. So if I press Shift+0, then the Fill value increases to 100%.
If I press Shift+5, then the Fill value drops to 50%, and that assumes one of the selection tools is active or any of this third group of tools as well, from the Pen tool, down to the Shape tools. If they are active, you'll also, by pressing Shift with the number key, change the Fill, Opacity associated with the active layer. That's how I manage to achieve the logo effect. The question now is, why in the world is the top of this magazine transparent and what do we do about it? That is the topic of the very next exercise.
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