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Moving a layer

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

Video: Moving a layer

In this exercise I am going to show you the various ways to move a layer around inside Photoshop assuming that you are working along with me here inside the SaintSebastian.psd image then go to the bottom of the layer stack here inside the Layers palette and you will see a layer called MyFace that is currently turned off. I want you to turn it on by clicking in this eye area here, this eyeball area and that makes it of course visible inside of the image window. Now get the Move tool which allows you to move layers around inside Photoshop and go ahead and drag the face.

Moving a layer

In this exercise I am going to show you the various ways to move a layer around inside Photoshop assuming that you are working along with me here inside the SaintSebastian.psd image then go to the bottom of the layer stack here inside the Layers palette and you will see a layer called MyFace that is currently turned off. I want you to turn it on by clicking in this eye area here, this eyeball area and that makes it of course visible inside of the image window. Now get the Move tool which allows you to move layers around inside Photoshop and go ahead and drag the face.

And what you will probably find is that you are dragging the hand instead which can be a little bit confusing. The reason is that Photoshop is by default moving the active layer. Now by turning the MyFace layer on I didn't make it active, I just made it visible. So I am going to undo that modification there so that I don't move the hand. You need to actually click on the MyFace layer here inside the Layers palette and then drag it or I will undo that modification. If some other layer is active and you want the Move tool to behave in a more intelligent fashion then you can turn on this Auto Select checkbox here in the Options bar and you can also choose whether to automatically select a group or a layer and that would be an individual layer inside of a group.

We don't have any groups inside of this document and I will show you groups a little later inside of this chapter so let's not worry about that for now. But notice the hand layer once again is active and were I to drag the face, Photoshop would go ahead and automatically select the face and move it to a new location. Now that might make you think that that's the best solution is to just go ahead and turn on Auto Select, turns out not really. I don't like this option on by default, I go ahead and turn it off. The reason is that sometimes I want to be able to move an item when my cursor is well outside of the confines of that layer just for alignment purposes or just because I am being sloppy whatever, you get used to working a certain way and it becomes your way of working, isn't that philosophy for you.

Alright so in my case I am going make sure that my face is selected and then I am going to drag it to a new location for example I could put it down here so it looks like Raphael is wearing a very realistic mask in a foreground. We can even make it look like he's got his mask on this little sort of this little mask holder. Alright anyway I will undo that modification. If any other tool is selected for example if I still have the brush tool selected I can press the Control key or the Command key on the Mac in order to get the Move tool temporarily so that I can drag things around so once again that's Control or Command dragging to move a layer when some other tool is selected.

If you want to be able to nudge a layer to a new position then go ahead and select the Move tool once again and either press an arrow key which will move the image in single pixel increments or press Shift along with the arrow key in order to move in 10 pixel increments. Now I prefer the 10 pixel increments because when you press Shift with an arrow key you always get 10 pixel increments regardless of your zoom ratio. If you just press the arrow key then you get 1 screen pixel increment so it varies depending on your zoom ratio which is really weird in my opinion.

Alright let's say you want to nudge a layer around when some other tool is active. I am just trying to show you all your options here folks. Then let's say the brush tool is still active then I would press Ctrl Shift or on the Macintosh side Command Shift along with an arrow key. And what I want you to do is assuming that you are working this way I want you to press Control Shift left arrow four times in a row or Command Shift left arrow four times in a row to move my face 40 pixels to the left from where it was originally located and you will get this nice match of my face with the background.

Now we obviously have a lot of problems, my face isn't colored properly, I don't have enough hair covering up this portion of Saint Sebastian who is showing through in the background. We will of course solve all of those problems in future exercises.

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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 · 39074 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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