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Making the TV lines

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

Video: Making the TV lines

Now it's time to make the interlace TV lines, the alternating horizontal lines that identify a television as being a hooky device from the past as it turns out. Anyway notice right here inside the Layers palette, there is a layer called Orig Line that's the original line upon which we are going to base our interlacing lines. I want you to press the Alt key or the Option key on the Mac and click the Eyeball in front of this layer so that we are seeing only this layer and nothing else inside the composition.

Making the TV lines

Now it's time to make the interlace TV lines, the alternating horizontal lines that identify a television as being a hooky device from the past as it turns out. Anyway notice right here inside the Layers palette, there is a layer called Orig Line that's the original line upon which we are going to base our interlacing lines. I want you to press the Alt key or the Option key on the Mac and click the Eyeball in front of this layer so that we are seeing only this layer and nothing else inside the composition.

Then I want you to zoom into this image, quite a bit actually you want to zoom pretty far in. So that we can see this 3 pixel tall line as it turns out, go ahead and get your rectangular marquee tool here. And then start dragging right at the top of the line like this and notice it's 1, 2, 3 pixels tall. So I want you to move your cursor 1, 2, 3 more pixels down so that you get 3 pixels worth of green line and 3 pixels worth of transparency that checkerboard pattern by the way indicates the transparent portion of the layer.

Now don't worry about the fact that I haven't and you don't need to either, I haven't selected the entire width of the line. It's only important that you get just a little bit of it, any width will do as it turns out. The height is the more important element. So as I say you want to make sure that you select all the line height wise and 3 pixels below it and just to confirm that your Selection Outline is exactly 6 pixels tall, I would like you to bring up the Info Palette. And for me I am going to click on this little (i) icon here on the right side of my screen, you could also choose the Info Command from the Window menu or press the F8 key.

And then notice you will see a W and H value, the W value being the width of your selection, you don't care about that as it turns out and height value being the height of the selection, and that should be 6 pixels that's very important. Alright so once you have gotten the selection outline the right size, go ahead and press the F8 key in order to hide the Info Palette. Then I am going to go up to the Edit menu and I am going to choose this command right here Define Pattern which will define the selection as a repeating pattern. And I will call this pattern interlacing and click OK in order to accept it.

Now then let's go ahead and zoom back out or zoom way too far in for this next step as it turns out. Where are we inside this image? Oh it's so easy to get confused. Now then let's go back to the Layers Palette, bring it back up on screen and press the Alter Option key and click on that eyeball again. That's the simplest way to make that line disappear on screen and to make the other items come back on screen then this is very important. Press Ctrl+D or Command+D on the Mac in order to deselect that little tiny selection that you had going there inside of the image.

Now I want you to click on Uber group, on the Uber group, group that you have made Uber group folder and I want you to go down to the black white icon at the bottom of the palette which allows you to choose adjustment layers as well as dynamic fill layers like pattern. Go ahead and choose the pattern layer in this case and I want you to make sure that you have the proper pattern selected. It should go ahead in default to the last pattern you just created but if not go ahead and click on this down pointing arrow head and then click on this guy right here interlacing which will show you that it's something by 6 pixels RGB mode and it's okay to go ahead and scale it to 100% that's actually really good.

Then click OK in order to create those new lines. Finally I recommend you go ahead and throw away this layer mask. It's just cluttering up the palette my pressing the Alt key or the Option key on the Mac and clicking on the trashcan icon. Now let's go ahead and name this layer Interlacing just for the sake of consistency here and then I am going to change the blend mode that's assigned to this interlacing effect to overlay, a good old friend overlay here so click on Normal and choose Overlay from the Blend Mode Pop-Up menu like this and we end up getting this wonderful television effect.

Could that not be more TV like? I don't think so. In our next exercise we are going to add the little zipper text across the bottom of the screen and we will start to get a taste for layercomps inside Photoshop.

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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 · 39119 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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