Start learning with our library of video tutorials taught by experts. Get started
Viewed by members. in countries. members currently watching.
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.
over the course of this chapter, we are going to assemble a single project. We are going take a couple of files that are found inside of the 20_text_shapes folder, and we'll start with this guy, Base layers.psd. That represents the base elements that we'll be building up. And we will ultimately craft this final document called the pout magazine.psd, and my intention here is that we are seeing all the best stuff that Photoshop has to offer, where text and shapes are concerned.
So we have a couple of very interesting shape layers going on. We also have all varieties of Text at our disposal; here we've got point text; that is text on the single line emanating from a specific point. We'll see what that looks like. We've got areas text inside of a rectangle text block. We've got text inside of the custom shape; we've got text on a path as witnessed by September 2026. We have all sorts of layer affects going on, most notably, some drop shadows, but more than that as well. And then we even have text and shapes inside of a pixel-based mask.
Now the reason all this stuff is very interesting is because when you're working with live editable text and/or vector based shapes inside of Photoshop, you're temporarily removing yourself from the world of pixel-based image resolution. You're now working with Resolution Independent layers, which means among other things that you can scale those layers, editable text layers, vector based shape layers to any size you want, and they will always render out at the full resolution of your image.
Not only that, if you're working with a PostScript-based printer, or you're submitting your file for commercial reproduction, then your text layers and your shape layers will output at the full resolution of that PostScript output device, which means that you can go ahead lay out things like magazine covers entirely in Photoshop. There is not really any reason to bring them into Illustrator, or InDesign or some other program and create the text there. In fact, there is a lot of reason to stay right inside Photoshop where you have access to the best of both worlds.
You've got PostScript savvy text and shape layers, and you also have access to truly bonafide layer affects, which comes off as something of a compromise inside of Illustrator and InDesign, and you also have pixel-based Alpha Channels layer masks, that kind of thing. And we'll see what all of that means over the course of this project. Anyway, I am going to switch back to this guy, base layers.psd, and incidentally, if you're opening these files with any luck, you should have these fonts, because there are lot of different ways to buy these CS5 applications and everyone of them comes with a different group of fonts, but so far as I can tell, every one of these batches of fonts includes Minion Pro and Myriad Pro, which we will be using to build up this entire project.
So you shouldn't get any font warnings. With any luck, if you do, you will just have to open your files and use alternative fonts. Now this base layers.psd file actually have some guidelines associated with it. Right now, I have hidden the guidelines. I like you to make sure that you're seeing them at this point by going to the view menu, choosing Show, and make sure that Guides as a check mark in front of it. If it doesn't, choose that command, or you can press Ctrl+; Command+; on a Mac, and you'll see a series of guides. At first, they may be a little confusing, because there are a fair number of them, but they'll prove very useful for alignment purposes.
The next thing I want you to do is check out the Type tool right here. By default, you're going to see the horizontal type tool, assuming that you're working in the Western world. So here in the States, Europe and so on, and in fact, if you loaded D keys, I've made a decision that this is the one and only type tool that you're going to need, so rather than the T key cycling you between the various alternatives, I've set things to the T key, gets you the horizontal type tool, and only the horizontal type tool. Now if you are working in the Asian world or with Asian type primarily, then you may want to go ahead and modify your keyboard shortcuts.
So T gets you the vertical type tool only. The thing I'd like you to avoid is cycling between the horizontal type mass tool or the vertical type mass tool, because you really don't need them. They are laid to create selection outlines in the shape of characters of type. So we could use big text, for example, to select portions of an image and bring them into a different composition, for example. And that may sound great, but bear in mind that you can do that anyway using live type. So, for example, if were to switch over to Pout magazine.psd right here, and I was to expand open this folder right there are 365 Elements, I'll go ahead and twirl it open, and inside at the bottom there is this layer called 365 in that step 365 text right there, and notice that its a live editable text layer, because we are seeing a big T for the thumbnail.
If you press the Control key or the Command key on the Mac and click on that thumbnail, then you convert the text into a selection outline, and then you can switch to the Marquee tool right here, and I could go ahead and switch to the base photograph and even I should mention, by the way, that this photograph comes to us from 5:17_of the Fotolia Image Library. And I'm going to go ahead and Ctrl+Drag or Command+Drag that selection in order to move that text, which is now filled with pixels around.
However, once again this selection outline that just happens to look like a three fold by a six fold by five, is not editable type, so I can switch into different numbers or letters or what have you. I can't edit it, and I can't change the formatting, and all that jazz. However, I can go back to the 365 text layer and modify it and lift a new selection outline from it. Anyway, I'm going to go ahead and undo that modification by pressing the F12 key, just to go and revert that document to its original appearance. And then I'm going to switch back to base layers.psd, and now nearly go ahead and switch to the Type tool either by clicking on its icon or pressing the T key, and we are now ready to create text inside of our base document, just as we will, in the next exercise.
Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced.
Here are the FAQs that matched your search "":
Sorry, there are no matches for your search ""—to search again, type in another word or phrase and click search.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.