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Join Photoshop master Deke McClelland in the fourth and final installment of his popular Photoshop CC One-on-One series. In this course, Deke shares step-by-step tutorials and expert-level insights on the most powerful features, helping you make your own way to true Photoshop mastery.
In this movie, I'll show you how thanks to the fact that we've kept our layer comps nice and flexible and they're not paying attention to the position of the various layers. We can move the monster around without adversely affecting those layer comps. So, you may wonder why, where this composition is concerned, the monster appears so far over to the left hand side of the image. And that's because I wanted to make room for a caption down right. And that caption appears at the very top of the layer stack. To see the caption go ahead and turn on this top text layer.
And you'll see it appear right there. Now the thing is now that I see the caption, it occurs to me that the monster's still too far over to the left. I want to scoot him over to the right, so I'll click on this highlights layer to make it active. And then I'll go ahead and turn on this template group down here near the bottom so I can keep track of the template as I work. And I'll Shift+click on that template group to select that entire range of layers and groups that make up the monster. And then, I'll go ahead and scoot the monster over by pressing the Ctrl+Shift keys, that's Cmd+Shift on the Mac along with the right arrow key and as soon as I do I'll see this alert message that's telling me that some of the layers are locked.
So I'll click OK in order to acknowledge the message and then I'll click on the lock icon near the top of the layers panel in order to turn it off. Now I'll press the control and shift keys again, that's command and shift on the Mac and I'll pres the right arrow key a total of eight times. So one, two, three, four, five, six, seven, eight in order to nudge the monster over a total of 80 pixels. And now I'll turn off the Template layer in order to see the result. And now if I bring up the Layer Comps panel I can cycle between the layer comps just by clicking in this right arrow icon or, if you loaded DKeys, you can press Ctrl+Shift+Alt+F12.
That's Cmd+Shift+Option+F12 on the Mac. And notice, first time I do, I'll switch to the joint sketch comp and you can see that the original pencil sketch is scooted over to the right. And so have all the other versions of these comps, including template, base shapes, facial features, white monster, additional shading and of course, final artwork. So everything's moved into place exactly where it needs to be. And I stress the reason for that is, if I double click on any one of these comps, you can see that the visibility and appearance check boxes are turned on.
But the position check box is turned off. Had it been turned on, then I would have saved the original location of the monster along with each one of the comps and I would have had to of updated every one of these comps independently. Which would have been a pain in the neck. So, turning this check box off actually provides you with a lot of flexibility, unless you have a reason for turning it on. All right. I'll just go ahead and cancel out of this dialog box. Now, of course, for the final version of my composition, I want the caption turned on.
So I'll go ahead and turn on the text layer. At the top of the stack, and with the final artwork layer comp selected, I'll drop down to the bottom of the panel and click on the update icon in order to save off my work. And now that I've done so, I'll go ahead and press the F key a couple of times in order to switch to the full screen mode and zoom in as well. And that's the final version of the artwork. Thanks to some very advanced layer functions, here inside PhotoShop.
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A: Deke updated the course to reflect changes in the 2014 version of Illustrator CC, including changes to the art filters, the Puppet Warp tool, HDR, layers, and actions.
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