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Photoshop CS6 One-on-One: Advanced
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Moving, deleting, and adding anchor points


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Moving, deleting, and adding anchor points

In this movie, I will show you how to edit an existing path outline by dragging and nudging points to different locations, as well as deleting anchor points, and adding new ones. Now, your primary method for editing path outlines are your arrow tools. So if I Click and hold on this black arrow, we have got the Path Selection tool, which selects entire paths. I call it the black arrow tool, because that's what it looks like. And we've got the Direct Selection tool, which allows you to select and modify independent anchor points. I call it the white arrow tool, because that's what it looks like, particularly after you select the tool; you can see the cursor appears as a white arrow.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Moving, deleting, and adding anchor points

In this movie, I will show you how to edit an existing path outline by dragging and nudging points to different locations, as well as deleting anchor points, and adding new ones. Now, your primary method for editing path outlines are your arrow tools. So if I Click and hold on this black arrow, we have got the Path Selection tool, which selects entire paths. I call it the black arrow tool, because that's what it looks like. And we've got the Direct Selection tool, which allows you to select and modify independent anchor points. I call it the white arrow tool, because that's what it looks like, particularly after you select the tool; you can see the cursor appears as a white arrow.

And even Adobe thinks of them as being the arrow tools, because it went ahead and assigned the keyboard shortcut of A for arrow. So you can press the A key to select whichever is the last arrow tool you used, or you can switch between the two arrow tools by pressing Shift+A, as you can see here. So Shift+A switches me to the white arrow tool, and then Shift+A switches me back to the black arrow tool. If I click on this path outline here with the black arrow tool, then I am going to select the entire thing, which is great if you want to move the entire path to a different location, or otherwise modify the whole thing at a time, but we need more control than that.

We need to be able to move the anchor points independently. So I am going to press Control+Z, or Command+Z on the Mac, to undo that movement. I am going to go ahead and zoom in here, and I am going to press Shift+A in order to switch over to the white arrow tool. Now, at this juncture, to select an independent point, you are going to have to click off the path outline to deselect it, and then click on the path outline again to make it active. Now that I have access to the independent anchor points, I can go ahead and drag them around, like so, and I can move any of the points I want, of course.

I am going to click on this guy on the center, and nudge him down a little bit by pressing the down arrow key, a couple of times, and then I'll go ahead and toss the image over to this point here, and I will click on this anchor point, maybe nudge it up a little bit, grab this guy, and nudge him up and over, and then select this guy, and nudge him a bit as well. So notice I am cheating into the magazine, because generally speaking, it's better to select too little of an image element than too much, because if you select too much, you'll end up with edge fringing from the old background.

Now when dragging anchor points around, it's important that you drag directly on the point. If you drag a little off, like so, you'll end up dragging the entire segment around, as you see me doing here, which can be useful, by the way. When working with straight-sided paths, you can drag entire segments to different locations, or if you like, you can select a group of points. For example, I will go ahead and marquee all four of these points here, and then I could nudge them as a group by pressing the arrow keys. All right, I am going to go ahead and scroll down here.

I am just interested in taking care of the corners of the magazine at this point. We will come back to those curving edges of the pages in just a moment. All right; that point looks like it's in a good location. This guy wants to come over a little I think. This guy wants to go down to probably about here, and otherwise I think we have got things where we want them. All right, now let's take a look at removing and adding points. Now, if you select an anchor point, like so, and then you press the Backspace key, or the Delete key on the Mac, you will not only delete the point, but you'll delete both of the segments associated with that point, and you'll end up leaving a hole in your path outline.

That's clearly not what I want to do. So I will press Control+Z, or Command+Z on the Mac, to bring that point back. What I would like to do is remove the point without creating a hole, and you can do that using the Delete Anchor Point tool. You don't actually have to select that tool, because its functionality is built into the standard Pen. So I am going to go ahead and select the Pen tool once again. And notice this check box up here in the options bar: Auto Add/Delete, and what that allows you to do is the following; when a path outline is selected, you can hover your cursor over an existing anchor point, and click in order to remove it, without creating a hole in the path outline.

I will go ahead and subtract this one as well, because neither of those points were doing me any particular good. Notice now, if I hover my cursor over a segment, as opposed to an anchor point in a selected path, then I get a little plus sign next to my cursor, and when I click, I go ahead and create a new anchor point. And the great thing about this anchor point is that it's a smooth point; it includes these round control handles on either side, and that means that I can add curvature to this path outline. I will go ahead and click here as well, and then I will press the up arrow key in order to move that point into the proper location, and then I'll press the Control key, or the Command key on the Mac, to temporarily access my white arrow tool, and I will drag this anchor point up, like so. And notice, we now have curvature associated with these segments.

I am not going to modify the control handles right now. I will show you how to do that in the next movie. In the meantime, let's go ahead and take care of the right-hand page. I'll click on each one of these anchor points to subtract them, and then I will click along the segment in order to add a couple of smooth points that are more or less positioned equidistant from eachother. And then I will press the Control key, and drag this anchor point up; that would be the Command key on the Mac, and I will drag this guy up as well, to about there. And again, we will address the curvature of these segments in the next movie.

All right, now I am going to toss down to the bottom of the page here, and I will set a point at this location, and another one right there, and I will press the down arrow key a couple of times in order to nudge that point down, and that pretty much takes care of the bottom of the page. It might need a little maintenance, but not much. And then I will set an anchor point there, and nudge it down a little bit, and then I will set an anchor point at this location, and I'll nudge it up a little bit. That looks to me like I have pretty well taken care of the bottom of the left page. I am going to press Control+0, or Command+0 on the Mac, to go ahead zoom out, and that's how you edit anchor points in an existing path outline.

That is to say, how you move points, how you nudge them, how you remove points that you don't want; how you add new ones as well. In the next movie, I will show you how to modify the curvature of the path outline by adjusting control handles.

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