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Photoshop CS4 One-on-One: Mastery

Mixing all varieties of parametric effects


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Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Mixing all varieties of parametric effects

In this exercise we are going to add a combination of parametric effects. We are going to add some adjustment layers, we are going to add layer effects, we are going to work with layer masks as well and now we are going to see how they all integrate seamlessly along with our parametric Smart Filters. So I have gone ahead and saved my progress as Photo filters.psd and we are going to start off by turning on this colorize layer right there. And if you turn it on, you will notice that the image turns somewhat blood red and this colorize layer is actually a gradient map layer. You can double-click on it to check out the gradient that I have applied and notice that the blend mode here, I'll go ahead and scroll down my list a little bit because it's such a gargantuan palette. Blend mode is set to Normal and the Opacity and Fill values are both set to 100%, so I'm completely switching out the colors that were formerly inside of this photograph and that's what I want.
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  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.

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

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Mixing all varieties of parametric effects

In this exercise we are going to add a combination of parametric effects. We are going to add some adjustment layers, we are going to add layer effects, we are going to work with layer masks as well and now we are going to see how they all integrate seamlessly along with our parametric Smart Filters. So I have gone ahead and saved my progress as Photo filters.psd and we are going to start off by turning on this colorize layer right there. And if you turn it on, you will notice that the image turns somewhat blood red and this colorize layer is actually a gradient map layer. You can double-click on it to check out the gradient that I have applied and notice that the blend mode here, I'll go ahead and scroll down my list a little bit because it's such a gargantuan palette. Blend mode is set to Normal and the Opacity and Fill values are both set to 100%, so I'm completely switching out the colors that were formerly inside of this photograph and that's what I want.

I want this blood red effect. I was saying I'm employing a gratuitous use of filters to employ the gratuitous violence in my film. So we won't actually be seeing the film here because this is rated G experience but know that in the background, oh my goodness. I'm going to go ahead and hide the Adjustments palette. We've got the colorize layer at work. Next I want to separate out the eyes, because we are losing the model's eyes in this mix here. So I'm going to go ahead and turn on this eyes layer and you can see that it's a Levels adjustment, it's what it is actually and if I were to double-click on Levels in order to bring up the gargantuan Adjustments palette again, the main modification is that I raised the Gamma value to 1.9. So we have really increased the brightness of the midtones.

Now I'm not sure that I've done the image any good, in fact, it looks terrible. But that's because I never intended to modify the entire image this way, just the eyes. But once again, collapse the Adjustments palette and I'm going to Shift-click on the layer mask thumbnail that's associated with the eyes layer in order to turn it back on and now we get this effect right there. Well, that's still not quite what I'm looking for. In fact, I would go so far as to say we are still pretty far off base actually. I want to dig down to the original eyes inside of this image and so I'm going to use this mask right here, this white area to cut a hole in the Smart Filters.

So go up to the eyes adjustment layer and Ctrl-click or Command-click on the Mac on that layer mask thumbnail. Then drop down to the filter mask that's associated with the model layer and then make sure that your background color is set to black which you can do just by pressing the D key, because we are working inside of mask, the default colors are white for foreground and black for background. Then press the Backspace key or the Delete key on the Mac in order to go ahead and mask all of those Smart Filters away and by all of them I mean, Reticulation and Poster Edges.

All right, now I can press Ctrl+D or Command+D on the Mac in order to deselect that region, still not looking the way I want it to look. So go back to the eyes layer and I'm going to change the blend mode here from Normal to Vivid Light in order to create a high impact, high color effect like this one right here. Now it is both too high color and too high impact at this point, so I need to reduce the Opacity value, right. So I'll press the Escape key so that the Blend Mode option is no longer active, not necessary on the Mac and I could reduce the Opacity to 50% by pressing the 5 key but that just reduces the impact of the effect; it just doesn't have the oomph I'm looking for.

So let's restore that Opacity value back to 100%. You may recall that Vivid Light is a member of the Fill Opacity Eight, so it responds differently to Fill than it does to Opacity. So let's press Shift+5 in order to reduce the Fill value to 50% and that's a lot closer to the effect that I want. In fact, it's exactly the effect I want. Now I want to create a little bit of edge on either side of the eyes; above and below the eyes and I'm going to turn on this layer effect that I have created in advance here, by clicking in front of the word Effects in order to turn on what is actually a Drop Shadow.

Now it may look nothing like a drop shadow, and just bear in mind that's one of the wonders of layer effects inside of Photoshop is that they start off with their default settings, they look like shadows and glows and so on but they can be used for a variety of different purposes. And if you want to see how this is put together, just go ahead and double- click on the words Drop Shadow there in order to bring up the Layer Style dialog box and you will see that this all hinges on the fact that we have a low Distance value combined with a high Size value. And as a result, see if I were to make this Distance value larger, we would create a shadow that's going one direction or the other but I want it to more or less centered, just with a little bit of offset here. I have got a big size value in order to distribute that effect either outward or inward, of course and then we have got a lot of spread going on right there.

So it didn't have to look like that, I could take the Spread value all the way down in which case we get something that we normally associate with drop shadows which are very blurry effects, but I want something sharp so that's why I have this set to 80%. But here is the big deal where this specific effect is concerned. I went ahead and created a custom contour that has just all kinds of wacky loops associated with it. To get a sense of how that works, let's try out a different drop shadow that I have also applied to the same composition in advance so that you can turn it on. I'm going to Cancel out of this dialog box to restore the original drop shadow as it looked when I first turned on the effect just a moment ago.

Let's drop down to the model layer right here and turn on its effects and you will see this red down here at the bottom, sort of a double striping of red and a very thin striping of red at the top. Now that red isn't nearly as red as it ought to be. If I were to turn off this colorize gradient map layer right there, you could see that I have some very bright red drop shadow action going on here, some very bright red color striping and it's this colorize gradient map layer that ends up sinking the reds to more of a sort of a brick red which is not what I want. I want blood red.

So I'm going to go ahead and assign the adjustment layer only to the layer itself. So I'm going to clip it by pressing and holding the Alt key here on the PC or the Option key on the Mac and clicking on this horizontal line that divides colorize and model and now you can see I've gone ahead and restored by bright red drop shadow because the effects of gradient map are located just inside of this layer mask right there and they do not extend out to the drop shadow. Now go ahead and double-click on the Drop Shadow if you want to see how it's put together because it's another unusual Drop Shadow with a low Distance value, high Size value, relatively big Spread value as well and then a custom contour. This time it's Ring, it's one of the contours that ships along Photoshop. I have created my custom contour from Ring, I actually clicked inside of this little Contour Preview right there and then I set around and modified these points, just as if I were working with a curves graph inside the Curves dialog box.

All right and you can play with that to your heart's content, get all kinds of different effects out of it. I'm going to Cancel out, because I was happy with what I had and notice that the Angle of both of these drop shadows is 90 degree so that they are going straight down with a little bit of over edge at the top, thanks to the low distance combined with high size. I will go ahead and click Cancel so that I don't modify my settings at all and that is my wonderful combination of various parametric effects. We have got adjustment layers and layer effects and layer masks and Smart Filters working together organically inside of this amazing parametric composition here inside Photoshop.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery.


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Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
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