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Moving a layer a specific number of pixels

From: Photoshop CS4 One-on-One: Advanced

Video: Moving a layer a specific number of pixels

All right gang, in this exercise we are going to do a couple of things. I'm going to introduce you to the project file and show you where we are going with it, and I'm also going to share with you a really great trick that most Photoshop users don't know about, but you are going to be one of those few, so get pysched for that. I have opened before me The escape.psd, which is found inside the 18_advanced_layers folder. I would like you to make sure you have that file opened as well, and it creates a lot of layers as you can see here inside the Layers palette. Make sure you have the Layers palette opened. You can do that by choosing Layers from the Window menu of course, or pressing the F7 key, which is its keyboard shortcut, and we have several layers available to us.

Moving a layer a specific number of pixels

All right gang, in this exercise we are going to do a couple of things. I'm going to introduce you to the project file and show you where we are going with it, and I'm also going to share with you a really great trick that most Photoshop users don't know about, but you are going to be one of those few, so get pysched for that. I have opened before me The escape.psd, which is found inside the 18_advanced_layers folder. I would like you to make sure you have that file opened as well, and it creates a lot of layers as you can see here inside the Layers palette. Make sure you have the Layers palette opened. You can do that by choosing Layers from the Window menu of course, or pressing the F7 key, which is its keyboard shortcut, and we have several layers available to us.

If I turn off this Badlands layer, this is a not so good photograph. That's the wonder of Photoshop is that it can take these not so good elements and turn them into something really special. You have heard the term Garbage In, Garbage Out, I resent that term, because a lot of my sample files involve heaping, helpings of garbage in, and yet we have some very sweet smelling stuff out. So that's the good thing about these techniques. If they can save these kinds of files, they can save anything of course. So anyway, this is this photograph I shot years ago, the sweeping photo of this beautiful part of our great nation, the Badlands in South Dakota. It's just that I had a little Point-and-Shoot camera back in the old days too. This is in the late 1990's, and I was able to capture this beautiful scene here, and in the background we have got some sky, we have got a moon that we'll be using later. I'm going to turn that back off. Turn the Badlands back on.

We have a few other elements as well that we'll be playing with here, and ultimately we'll come up with this final version of the composition, it's called Bronco and me.psd, also found inside the 18_layer_comps folder, and basically, the setup here is that I'm riding the good tyrannosaurus; there is a good tyrannosaurus and a bad tyrannosaurus, we'll see later, and they are like brothers ,bad blood between them or something. And we have some secret plans that are stuffed in Bronco's mitten right here, and we are rushing to the President, and of course, the bad tyrannosaurs minions, evil minions are at our heels. And I have this patriotic message that I'm sharing here. We have got these fireworks going off, and just the epitome of a patriotic composition, don't you think? Especially because it has a dinosaur, a Plaster of Paris dinosaur in it.

All right, back to The escape.psd, here is that special tip and/or trick that I'm going to share with you. Make sure that the Badlands layer is turned on, and what I want to do is I want to scoot it down. If you take a look at the final version of the composition, the Badlands horizon line right there is lower, and so we need to scoot them down so that we have room for the sky, and the moon, and the clouds, and everything else that's going on there. So Ctrl+Tab or Command+~ on the Mac to switch back to The escape.psd. I have the Badlands layer active, and let's say I just know that I want to move this layer down 200 pixels. That's just something I know, for whatever reason, I could of course press Ctrl+Shift or Command+Shift, and then press the Down-arrow key 20 times in a row. I could do that, because every time you press Ctrl+Shift+Down-arrow, or Command+Shift+ Down-arrow on a Mac, you move the layer down 10 pixels. So 10 times 20 gives you 200, or a better way to work, and we'll be investigating this command in more detail later, but a better way to work is to go up to the Edit menu and choose this command right there, Free Transform, or you can press Ctrl+T, Command+T on the Mac. And the great thing about Free Transform is that it provides you access to all the transformation functions, which includes Scaling and Rotating.

So you can scale a layer, make it bigger or smaller, you can rotate it. You can skew it, you can distort it, you can apply a perspective effect. You can warp it, which is amazing, the warping you can do, and that's kind of stuff we'll see in the next chapter. You can do flip horizontal or flip vertical, and so these commands right here under the Transform sub-menu; they break out the various things that you can do inside of Free Transform, but the thing that they don't show is move, and this awesome. Go ahead and choose Free Transform or press Ctrl+T, Command+T on a Mac, and then notice, right here you have got these Placements options, and I'm going to go ahead and turn off this Delta option right there, because it's off by default, and what we are seeing here is that the center, notice that this point right here inside of this matrix, this reference point is located at the center of my layer.

So it's telling me that everything is going to happen with respect to that center point, and a location of that center point is 800 pixels in X, that means in horizontally, from the left side. So 800 points to the right from the upper left corner of the canvas, and 600 pixels Y; 600 pixels means 600 pixels down. So that's where the center point is located. Well, I'm just telling you that even though my response is who cares? I don't care where the center point of my image is. What I care about is I want to move it 200 pixels down, so I'm going to have to add 200 pixels to 600 pixels, to come up with 800 pixels, to figure out where this thing needs to be? No, you just have turn on delta. This little triangle represents the Greek letter Delta, and what that means is Change. So how much do you want to change the position of the graphic, and if you turn it on, then everything becomes 00, all two options when I say everything, and to move something down 200 pixels, you enter a positive value of 200 like so, and then you press Tab, and I'm assuming you are working in pixels, as I instructed way back in the fundamentals part of this series. If not, you are going to have to enter 200 px, like you are seeing right there. px stands for Pixels.

But anyway, that's going to move it down, if you wanted to move something up, you would enter a negative value like so, but we want positive, and then X is going control right or left movement. If I were to say 100 pixels, that would move it 100 pixels to the right. If I wanted to move it to the left, I would say negative like so. Just so as you know, I want it to really be 0 of course, and 200 pixels down and then what do I do? I press the Enter key once to accept that value; that's a Return key on the Mac, and then I press it again, either Enter or Return a second time in order to invoke that movement right there, in order to invoke the transformation.

Now most transformations are destructive, unless you are working with the Smart Object, which we are not, but if you scale an image or you rotate it, you are actually mapping the pixels differently. You are mapping the colors to different pixels, and 9 times out of 10, that's going to be a destructive modification. If you just flip something horizontally or flip it vertically, that's non-destructive. Movement though is also non-destructive. It didn't harm anything, it just moved the layer down, and that's your trick of the day assuming that you don't want to watch anymore of movies today.

If you want to watch more movies, then stay tuned, and I'll share with you many, many more, tricks of the day, coming right up.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23881 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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