11. The Content-Aware CollectionThe best of Photoshop automation| 00:04 | Hello, this is Deke McClelland. Welcome to
Photoshop CS6 One-on-One: Intermediate,
| | 00:11 | part two in a series of four video courses
devoted to your ultimate mastery of the
| | 00:16 | world's most powerful image editing software.
One-on-One is all about project based learning.
| | 00:23 | That is to say, you learn by doing so
that you're better able to create your
| | 00:27 | own projects in the future.
| | 00:29 | In this course, you'll sharpen the
detail in a digital photograph, you'll build
| | 00:34 | a magazine cover using resolution-
independent text and shape layers.
| | 00:39 | You'll create amazing visual
effects, using layer effects and styles.
| | 00:44 | You'll scale and rotate a series of
layers, you'll use the Liquify filter to
| | 00:49 | alter the shape of a person's face, and
you'll turn an unremarkable full-color
| | 00:54 | photo into a black and white work of beauty.
The result is a contextualized learning program.
| | 01:01 | Photoshop's features make sense because
you apply them sometimes independently,
| | 01:07 | other times in concert to a clearly
defined task, and you leave each chapter
| | 01:13 | with a sense of accomplishment.
| | 01:16 | I really hope there are moments when you
feel, "I rule, I did it, and I can do more."
| | 01:22 | I'll start by touring you through
Photoshop's Content Aware features.
| | 01:27 | In addition to Content Aware Fill,
which we saw back in Chapter 10, there's
| | 01:31 | Content Aware Patch, Move, Extend, and Scale.
| | 01:37 | All of them use a kind of artificial intelligence
to read your image and fill in details automatically.
| | 01:44 | Now, as with any automation, they don't
always work perfectly, but when they do,
| | 01:50 | they can be enormous timesavers.
| | 01:52 | And in this chapter I'll show
you how to make the most of them.
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| Introducing the Patch tool| 00:00 | In this movie I'll
introduce you to the Patch tool.
| | 00:02 | Now you find the Patch tool over here
with the Healing Brushes, notice it's the
| | 00:06 | third tool down in the fly-out menu.
| | 00:07 | And here's the idea, whereas the
Healing Brushes are useful for making very
| | 00:12 | specific careful modifications that
you brush into the image, which is great
| | 00:16 | for, for example,
retouching a portrait photograph.
| | 00:20 | The Patch tool is useful for
making big modifications very quickly.
| | 00:24 | So I'll go ahead and select the Patch
tool, and let's say what I want to do is
| | 00:28 | get rid of this trash can right here.
| | 00:30 | Then I would start by selecting it,
and you can use any selection tool you like.
| | 00:35 | You don't have to select using the Patch tool.
| | 00:37 | But if you decide to select using the
Patch tool, you'll find that it works
| | 00:40 | exactly like the Lasso tool.
| | 00:42 | So you can either drag around the
trash can, for example, to create a
| | 00:45 | free-form selection outline, or I'll
go ahead and press Ctrl+D, or Command+D
| | 00:50 | on a Mac to deselect it.
| | 00:51 | You can press and hold the Alt key or
the Option key on the Mac, and click around
| | 00:56 | the trash can in order to create
a polygonal selection outline.
| | 00:58 | So again, where selecting is concerned,
it works just like the standard Lasso.
| | 01:03 | Once you've selected the trash can,
assuming default settings up here in the
| | 01:06 | Options bar, that is Patch is set to
Normal, Source is selected, Transparent
| | 01:10 | is turned off, then you just go ahead
and drag this selection outline to a new
| | 01:15 | location and what you're doing is
specifying the source that will be cloned on
| | 01:20 | top of what was formerly the selected trash can.
| | 01:23 | And so part of what's happening here
is Photoshop is doing a straight clone,
| | 01:28 | and you can see the central area is pretty
much just a direct lift of this area over here.
| | 01:33 | But if I press Ctrl+H, or Command+H on
the Mac to hide the selection outline, you
| | 01:38 | can see that it went ahead and
healed around the edge of this selection.
| | 01:42 | So it's very much as if you had painted
this big huge trash can shaped blob using
| | 01:49 | the Healing Brush over onto the trash can.
So that's one way to work.
| | 01:53 | I'll go ahead and press Ctrl+Z or
Command+Z on a Mac to undo that change, and
| | 01:57 | I'll press Ctrl+H, or Command+H, so we
can see the selection outline again.
| | 02:01 | Let's say instead of hiding the
trash can what I want to do is duplicate it.
| | 02:05 | I want to create a second trash can
over here on the right-hand side.
| | 02:08 | Then I would select Destination instead
after selecting the trash can, and then
| | 02:14 | I would drag it to the new location,
and I want to watch that upper right area
| | 02:20 | of the trash can where I've hidden a
bit of the shadow from the trees there.
| | 02:23 | I'll go ahead and release now, and you
can see that not only is Photoshop going
| | 02:27 | to go ahead and clone the trash can to
this new area, but if I press Ctrl+H or
| | 02:32 | Command+H on a Mac, even though I had
covered up this little bit of shadow,
| | 02:36 | Photoshop goes ahead and ekes the
shadow back into the selection.
| | 02:41 | Once again healing around the edges, and as a
result we get a pretty credible copy of this trash can.
| | 02:46 | It doesn't necessarily make
sense, we have two identical trash cans
| | 02:50 | right next to each other with the very same
shadow angles. However, it looks pretty darn good.
| | 02:55 | All right I am going to press Ctrl+Z, Command+
Z on the Mac, to undo that change once again.
| | 03:00 | Your final options are
Transparent and Use Pattern.
| | 03:02 | You can check out Use Pattern if you
want to, it's just going to use a pattern
| | 03:06 | that you select here in order
to heal over this selection.
| | 03:09 | In my experience, it
rarely produces decent results.
| | 03:12 | But Transparent can be somewhat interesting.
| | 03:14 | I am going to go ahead and turn on that
Transparent check box, and I still have
| | 03:19 | much trash can selected here.
so I'll go ahead and drag it over once again.
| | 03:22 | It's less of a translucency effect, in
other words, it's not really creating a
| | 03:27 | less opaque trash can, it's more of a
Blend mode effect, so we are creating a
| | 03:31 | kind of interaction between the
trash can and the grass in back of it.
| | 03:36 | All right, so those are the
basics of working with the Patch tool.
| | 03:39 | In the next movie I'll
demonstrate Content Aware Patch.
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| Using Content-Aware Patch| 00:00 | In this movie I will demonstrate how to
work with Content Aware Patch, which is
| | 00:04 | a kind of combination of Content Aware
Fill, along with the Patch tool, and its
| | 00:08 | best understood in the
context of those features.
| | 00:11 | So what I am going to do is
demonstrate each feature in kind on this image.
| | 00:16 | So I will start things off by pressing
Ctrl+Alt+J, or Command+Option+J on the Mac
| | 00:20 | to jump this layer and name it, and
I'll call this layer standard patch, and
| | 00:25 | then click OK to create it.
| | 00:26 | Then I will press Ctrl+Alt+J or Command+Option+J
again, and I will name this
| | 00:31 | layers CA patch just so we can keep
track of things, and I will click OK.
| | 00:35 | All right, I am going to turn off
those top two layers, switch back to the
| | 00:38 | Background layer for a moment, and I'm
going to select this general region at
| | 00:42 | the bottom of the image using
the Rectangular Marquee tool.
| | 00:45 | And let's go ahead and apply Content
Aware Fill, and by virtue of the fact that
| | 00:50 | I've selected so much of the image, I
am forcing Photoshop to look to the trees
| | 00:54 | for its source information.
| | 00:56 | So I'll go up to the Edit menu and
choose the Fill command change Use to
| | 01:00 | Content-Aware, the Blending
option should be set to Normal and 100%
| | 01:04 | respectively, and then I will click OK.
| | 01:07 | And what Content-Aware Fill does, as
you may recall from the previous course is
| | 01:11 | it goes ahead and decides for you what
information inside the image ought to be
| | 01:16 | sourced, so it's looking to the trees,
and you can see that it also has a habit
| | 01:21 | of duplicating information, so we are
seeing several occurrences of that upper
| | 01:25 | left-hand tree, and we are also
bringing some grass in from the top, because
| | 01:29 | Content-Aware Fill often wants to
create a kind of transition between the
| | 01:33 | deselected area and the selection.
| | 01:35 | So I will go ahead and press Ctrl+D or
Command+D on the Mac, to deselect the image.
| | 01:40 | Let's compare that to the Standard
Patch tool where you are in charge of
| | 01:43 | the source information.
| | 01:44 | I will go ahead and turn on the
standard patch layer and select it. And I will
| | 01:47 | draw a new smaller selection outline,
still pretty rough of course, around the
| | 01:52 | trash can and its shadow, and then I
will go ahead and switch to the Patch tool.
| | 01:57 | And if you're working along with me,
you would want to make sure to right click
| | 02:01 | on that little Patch icon on the left
side of the Options bar and choose, Reset
| | 02:04 | tool, so that you select a source option
and turn off the Transparent check box.
| | 02:08 | And again, I am going to source the
trees this time around, because even though
| | 02:12 | that's a ridiculous modification
to this image, it's very useful for
| | 02:15 | demonstrating how the tool works.
| | 02:17 | So I'll go ahead and move this
selection outline up in to the right this time.
| | 02:21 | That's going to duplicate that tree
information as we can see right there.
| | 02:25 | However, Photoshop is also going to try
to heal the edges of the selection outline.
| | 02:30 | So if I press Ctrl+H, or Command+H on
the Mac you can see that we get some
| | 02:34 | healing right around the edges here,
and we are bringing in some of the green
| | 02:38 | color of the grass as well, but it's
obvious that we wouldn't source the trees.
| | 02:42 | Well, it's not nearly so obvious
when you use Content-Aware patch.
| | 02:45 | So I am going to go ahead and select
that layer and turn it no as well, and I
| | 02:49 | still have my selection outline, which I can
get by pressing Ctrl+H, or Command+H on the Mac.
| | 02:53 | I'll go ahead and zoom out, and I
will switch that Patch settings from Normal
| | 02:57 | to Content-Aware. And then I will go
ahead and drag the selection up into the
| | 03:01 | trees once again, and this time around
in addition to duplicating the trees, we
| | 03:06 | will see some duplication, we are
also going to bring in a lot of grass
| | 03:11 | information, as you can see, right here.
| | 03:12 | So it's almost like we have a different
healing metaphor, if I press Ctrl+H or
| | 03:16 | Command+H on the Mac, to hide that
selection outline, you can see that we are
| | 03:20 | bringing in a lot of Content-Aware
Fill this time around the edges of the
| | 03:24 | selection and bringing in our
tree right there in the central area.
| | 03:28 | So it's a combination of me sourcing the
information and Photoshop sourcing automatically.
| | 03:33 | Now even through this is a static
tool, meaning it makes pixel level
| | 03:37 | modifications to a layer, you have the
option of changing the behavior of the
| | 03:41 | tool right after using it by
switching this Adaptation setting.
| | 03:45 | So right now, we're
looking at medium Adaptation.
| | 03:48 | If I want to more strictly adhere to
the source information, that is the trees.
| | 03:53 | I could switch this option to Strict, or
Very Strict. And then Photoshop is going
| | 03:57 | to rerun the Patch operation
as you're seeing it do now.
| | 04:01 | And what we are going to see is more
tree information, and less of Photoshop
| | 04:05 | looking elsewhere for the source.
Whereas, if you want Photoshop to bring in
| | 04:10 | more Content-Aware Fill and do less
sourcing from the area you specified, then
| | 04:15 | you can switch to either Loose or Very
Loose, as I'm doing in this case, and
| | 04:19 | that's going to cause Photoshop to
spend a little more time on the operation as
| | 04:23 | well, but you can see that we're doing
a surprisingly good job of matching the
| | 04:28 | area inside the selection.
| | 04:30 | Now obviously this is no way to really
get rid of the trash can. So I will press
| | 04:34 | Ctrl+Z, or Command+Z on the
Mac to undo that operation.
| | 04:37 | I will make sure that the CA patch
layer is still selected, and I will press
| | 04:41 | Ctrl+D, or Command+D on the Mac, to
deselect the trash can, and I'll go ahead and
| | 04:45 | Alt-click around it, this would be an
Option-click over here in the Mac, and I
| | 04:49 | think what I am about the show you
is going to surprise you quite a bit.
| | 04:53 | What you might think you should do using
the Patch tool at this point is just go
| | 04:58 | ahead and after having drawn the
selection obviously just go ahead and drag over
| | 05:03 | here into this grass area.
| | 05:04 | But if you do, we are going to end
up duplicating that weird area of dirt
| | 05:08 | there, instead, I'm just in a move
the selection up into the right just a
| | 05:12 | little bit, like so, and I will go
ahead and release and what I'm doing for
| | 05:17 | all intensive purposes is sourcing
the trash can itself, and yet I just
| | 05:20 | completely got rid of the darn thing.
| | 05:22 | Now I do have some stuff left behind,
if I press Ctrl+D, or Command+D on the Mac
| | 05:27 | you can see that this isn't the most
credible image-editing effect on earth, and I
| | 05:31 | have got these duplicated shadows and
so forth, and that's where you go in and
| | 05:35 | apply some additional healing.
| | 05:36 | So the idea behind these Patch tool variations is
you can get some rough work done very quickly.
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| Retouching with Content-Aware Patch| 00:00 | In this movie we'll provide you with
what I consider to be a more compelling
| | 00:03 | use for Content-Aware Patch.
| | 00:05 | The idea here is this butterfly is
missing some of its wing, and I want to
| | 00:09 | fill that region in.
| | 00:10 | And so I'll start things off by just
grabbing the Lasso tool, which you can get
| | 00:14 | by pressing the L key, and then I'll
draw a pretty broad generalized selection
| | 00:18 | outline, like this. And the reason being,
you don't really have to be that careful
| | 00:22 | when you're working with Content-Aware
Patch, because this region over here in
| | 00:26 | the left-hand side is not going to get
fully filled in, and it's going to give
| | 00:30 | you kind of an organic look as you will see.
| | 00:33 | Then I'll go ahead and switch over to
the Patch tool, which you can get--by the
| | 00:36 | way--by pressing the J key as well.
And I'll make sure that Patch is set to
| | 00:40 | Content-Aware up here in the Options bar,
and then I'll drag up and to the right.
| | 00:44 | And notice that I'm trying to match
the angle of that sort of stripe, right
| | 00:48 | there in the wing. And I end up getting
a pretty bad result, but part of that is
| | 00:53 | because Adaptation is set to Very Loose.
| | 00:55 | So I'll press Ctrl+H, or Command+H, to
hide that selection outline, and then
| | 00:59 | I'll switch the setting to Very Strict
so that we can get rather the opposite
| | 01:04 | effect, and you can see that it does a
pretty darn good job of filling in that region.
| | 01:09 | Now, again, it's not perfect, but
given how little work I am putting into this,
| | 01:13 | I am making great progress.
| | 01:14 | Now I'll press Ctrl+D, or Command+D on
the Mac, in order to deselect the image,
| | 01:19 | and I'll drag around here into the
bottom region of this wing where we still
| | 01:24 | have too much green, and I'll drag it
up into the right, trying to match the
| | 01:28 | angle of that stripe once again, and
then go ahead and release in order to
| | 01:31 | achieve this effect here.
| | 01:33 | So I could spend some more time on it.
I could drag around this guy, because I
| | 01:37 | don't want that repeated detail, and I
could drag it up and to the right as well,
| | 01:41 | then click off the selection in order
to deselect it. And that's really it, and
| | 01:45 | to give you a sense of just how much I
was able to accomplish that quickly--I'll
| | 01:49 | press the F12 key in order to revert
the image--that's how much wing we were
| | 01:53 | missing before, and now if I press Ctrl+Z,
or Command+Z on the Mac, to reinstate
| | 01:58 | my changes, that's the wing we have now, thanks to
our ability to retouch images using Content-Aware Patch.
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| Using the Content-Aware Move tool| 00:00 | Photoshop provides another Content-Aware
tool called the Content-Aware Move tool
| | 00:04 | that does just what you think it'd do.
| | 00:06 | It allows you to move selections, and it
goes ahead and automatically fills in the hole.
| | 00:10 | So let's compare that to the way
standard movements work inside Photoshop.
| | 00:14 | I have saved a selection outline along
with this image and to load it up.
| | 00:18 | I'll go up to the Select menu and choose
the Load Selection command, and if you're
| | 00:22 | working along with me, you should set the
Channel option to lasso selection, and then click OK.
| | 00:26 | Now, if I were to move this selection
like you normally do using Move tool, one
| | 00:31 | of the two things is going to happen.
| | 00:33 | If I am working on the flat background,
as I am, I'll leave a background colored
| | 00:37 | hole and by default, the
background color is white.
| | 00:39 | If I were working on a layer,
then I'd leave a transparent hole.
| | 00:42 | We'll go ahead and press Ctrl+Z or
Command+Z on the Mac, to undo that change.
| | 00:47 | Compare that to this tool right here,
it's available from the same flyout menu
| | 00:50 | as the Patch tool, Content-Aware Move.
| | 00:52 | By default, the mode should be
set to Move, Adaptation is medium.
| | 00:56 | So again, we have got an Adaptation
setting, and I'll go ahead and drag her up
| | 01:00 | to the top portion of the image, like so.
| | 01:03 | And then Photoshop will set to work
doing a couple of things. First, it fills
| | 01:06 | in the background as I said, and
second, it goes ahead and redraws the pixels
| | 01:10 | inside the selection.
| | 01:12 | And in our case, it's done a pretty
poor job, we have a little bit of dress
| | 01:16 | repeated down here in the bottom
portion of the selection, and we are missing
| | 01:19 | some detail on the feet as well.
| | 01:20 | So the first solution you should try in
these cases is to change the Adaptation.
| | 01:25 | If you want to gain back information,
then switch to one of the Strict options
| | 01:28 | here, and again you can change these
settings on the fly, just as you can with a
| | 01:33 | Patch tool, and if that doesn't end up
working out for you, you are seeing too
| | 01:37 | much repeated detail, or the selection
is still a mess, as in our case.
| | 01:41 | Then go ahead and try out one of the Loose options
instead, and of course, see what you come up with.
| | 01:45 | But I've got an even better solution
because this doesn't turn out to really
| | 01:49 | work well for this image either, as
you can see, there goes her head, and we
| | 01:53 | are missing just a ton of this foot
detail and her knee's a mess and so forth.
| | 01:58 | Actually her knee is repeated
down here at the bottom as well.
| | 02:01 | So where I can't speak for all images, but
this one benefited from a different approach.
| | 02:05 | I am going to go ahead and press Ctrl+Z or
Command+Z on the Mac, to undo that change.
| | 02:09 | I am going to switch to the Rectangular
Marquee tool, and I am going to draw a
| | 02:13 | new selection that's much looser
around her, as you can see. I want to make
| | 02:17 | sure to include all the shadow down
here below her dress, and then I'll go
| | 02:20 | ahead and switch over to Content-Aware
Move tool once again. And I will drag
| | 02:25 | her up, but not so far.
| | 02:26 | So I am not going to make that big
modification I made before.
| | 02:31 | I'll just drag her about midway up the image and see
what kind of results I get this time around.
| | 02:34 | It's a little bit unpredictable, sometimes
you have to play around and try to figure
| | 02:37 | out what's going to work, but as you
can see in my case, if I press Ctrl+H or
| | 02:42 | Command+H on the Mac, to hide that
selection outline. It's done a bang up job.
| | 02:46 | We are not missing any details
inside the model this time around, and the
| | 02:49 | background has filled in pretty nicely.
| | 02:51 | Again, it may not make sense that we
have the small dandelions in front of a big one.
| | 02:56 | They are obviously being repeated
from the top area of the image.
| | 02:59 | But given how little work these tools
demand, it's pretty amazing the results you
| | 03:03 | can get out of them. Which is why
these Content-Aware tools are so great,
| | 03:07 | especially if you find
yourself working on a tight deadline.
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| Using Content-Aware Extend| 00:00 | In this movie I'll show you another
use for the Content-Aware Move tool, which
| | 00:03 | is to extend image elements.
| | 00:05 | Let's say, for example, that I want to
take this block of grass, and I want to
| | 00:09 | stretch it, so it more or
less fills my entire image.
| | 00:12 | But I don't want to scale stretch it,
after all if I somehow selected this and
| | 00:17 | went up here to the Edit menu and
chose, for example, the Free Transform
| | 00:21 | command, and I were to
stretch this guy, like so.
| | 00:24 | Then I would increase the width of the blades
of grass and pretty much make a mess of things.
| | 00:29 | So we'll go ahead and press Ctrl+Z or
Command+Z on a Mac to undo that change.
| | 00:33 | Instead what you want to do, is switch
over to the Content-Aware Move tool, once
| | 00:37 | again, and you can use this tool as the
Selection tool just as you can with the
| | 00:40 | Patch tool, works just the same.
| | 00:42 | So you can either drag to create a free-form
selection, or you can press the
| | 00:47 | Alt key or the Option key on the Mac
in order to create a polygonal selection
| | 00:50 | outline, like this one here. And then
I'll go up to the Options bar and switch
| | 00:55 | the mode from Move to Extend.
| | 00:56 | Now at this point what you do is
just drag the selection to a different
| | 01:00 | location, and I'm pressing the Shift key,
by the way, in order to constrain the
| | 01:03 | angle of my drag to exactly horizontal,
and then you wait a few moments to see
| | 01:08 | what Photoshop comes up with, and
in my case it looks pretty good.
| | 01:12 | I'll press Ctrl+H, or Command+H on the Mac
in order to hide that selection outline.
| | 01:17 | Remember, as usual, you can
change that Adaptation setting.
| | 01:20 | if you don't get the desired results.
So in my case, I am looking at medium.
| | 01:25 | Let's go ahead and try Very Strict, to
see if we get better results or not out of it.
| | 01:29 | And this doesn't appear to me to
be better, we've got a kind of divot in
| | 01:33 | the bottom of the grass right there.
| | 01:35 | So I am going to go ahead and
switch this to Very Loose instead.
| | 01:38 | And just bear in mind, you can change
that setting as many times as you like,
| | 01:42 | right after applying the tool, and
this looks pretty darn good to me.
| | 01:46 | We've got a nice solid bottom to this,
we do have a little bit of repetition of
| | 01:50 | detail, because I can see this
blade of grass repeated from over here.
| | 01:53 | That's the kind of thing you are
going to see just about anytime you clone
| | 01:57 | objects inside of Photoshop.
| | 01:58 | So that's how you extend objects, very easily,
as you can see, using the Content-Aware Move tool.
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| The Content-Aware Scale command| 00:00 | In this movie I'll introduce you to the final
Content-Aware feature, which is Content-Aware Scale.
| | 00:05 | And what it allows you to do is
change the proportions of an image without
| | 00:09 | harming the details.
| | 00:10 | So basically you're stretching the background,
and you're leaving the foreground unharmed.
| | 00:15 | So imagine what I want to do with this
image is make it about twice as wide as
| | 00:19 | it is and about half as tall.
| | 00:21 | So big huge modification and were I to
do that using the standard Image Size
| | 00:27 | command, which does let you stretch images.
Then I'd make a pretty big mess of things.
| | 00:31 | We'll turn off Constrain Proportions,
and I'm looking for this image once I'm
| | 00:35 | done to be 2000 pixels wide and just
1000 pixels tall let's say, and then I'll
| | 00:41 | go ahead and click OK, and you can see
that I end up stretching the image, and
| | 00:45 | it looks horribly distorted.
| | 00:47 | So obviously this isn't
the effect I want at all.
| | 00:49 | I'll go ahead and press Ctrl+Z, or Command+
Z on the Mac, in order to undo that change.
| | 00:53 | Instead what we need to do is convert
this flat image to a floating layer, and
| | 00:58 | then we'll give ourselves some
additional canvas size, and then we'll stretch
| | 01:01 | the image using Content-Aware Scale.
| | 01:03 | So I'll double-click in the background
to start things off, and I'll just go
| | 01:06 | ahead and call this layer bay.
| | 01:08 | Then I'll go up to the Image menu
and choose the Canvas Size command, and
| | 01:11 | I'm going to switch from Inches here to Pixels,
you want the Relative check box turned off.
| | 01:16 | I'll go ahead and click on this left-
hand square and change the Width value to
| | 01:21 | 2000 Pixels, we'll take care of the
Height later, and then go ahead and click OK
| | 01:26 | in order to add some canvas to this image.
| | 01:28 | Then I'll go up to the Edit menu and
choose Content-Aware Scale, that will give
| | 01:32 | me this corner and side handles, and
I'll go ahead and drag this top right point
| | 01:37 | all the way down to this location here.
And you should see some guidelines on
| | 01:42 | screen, if not, go ahead and press Ctrl+
Semicolon, or Command+Semicolon on
| | 01:46 | the Mac in order to bring them up,
and you'll have to do that, by the way,
| | 01:50 | before choosing the command.
| | 01:51 | Notice that Photoshop goes ahead and scales
this image without harming the dock, seemingly.
| | 01:57 | I'll go ahead and press the Enter key
or the Return key on the Mac, in order
| | 02:00 | to accept that change.
| | 02:01 | So, so far it looks pretty darn
miraculous, and Photoshop has done a heck of a
| | 02:07 | job given that this is an automated feature.
| | 02:09 | But if you take a close look here,
I'm going to zoom out just a bit.
| | 02:13 | You can see that we have got some
deformed details, like these support beams
| | 02:17 | right here are wiggling and the same
is happening over with these details
| | 02:21 | over there, and we've pretty well
made a mess of this line that's coming
| | 02:24 | down into the water.
So what do we do to avoid that?
| | 02:28 | Well I'll show you a protection option
that's available to you in this movie.
| | 02:31 | And in the next movie, I'll
show my preferred way of working.
| | 02:34 | I'll go ahead and press Ctrl+Z, or Command+
Z on the Mac, in order to undo that stretch.
| | 02:39 | And one option that's available to
you is to select the details that you
| | 02:43 | don't want to see harmed.
| | 02:44 | So I'd just draw, for example, a
Rectangular Marquee around this portion of
| | 02:49 | the dock, and then I'll Shift-drag
around this portion right there in order to
| | 02:53 | select it as well.
| | 02:54 | Then you go up to the Select menu, and
you choose the Save Selection command,
| | 02:59 | and I'll go ahead and call this
selection dock, like so, and then click OK.
| | 03:03 | Now I'll press Ctrl+D, or Command+D on
the Mac to deselect the image, and I'll go
| | 03:08 | ahead and zoom out once again.
| | 03:10 | You go up to the Edit menu and choose
Content-Aware Scale, and then I'll go
| | 03:14 | ahead and drag that corner handle again,
so that I'm making the image the same
| | 03:18 | size it was a moment ago, and then
what you do is you go up to this Protect
| | 03:23 | option, and you select the selection you
just saved a moment ago, so I'll select dock.
| | 03:28 | Now you may find that that helps in
the case of your own images, it does not
| | 03:33 | help at all in the case of this image.
| | 03:35 | So sometimes it's going to work
out for you, sometimes it's not.
| | 03:38 | And by the way, if you're working
along with me you want to make sure that, for
| | 03:41 | now, Protect skin tones is turned off.
We'll come to that one later.
| | 03:45 | Another option that's available
though is to reduce this Amount value.
| | 03:49 | So I'll go ahead and click inside it,
and then I'll press Shift+down arrow a
| | 03:53 | couple of times in order to reduce it to 80%.
| | 03:55 | And what I'm saying here is go ahead
and squish the Dock, even though Photoshop
| | 04:00 | can identify it as a detail, if you
allow it to squish a little bit that might
| | 04:03 | take the distortion out of things.
| | 04:05 | In our case, again, it's not really
providing us with a very good looking effect,
| | 04:09 | and it defeats the purpose if we're
going to squish the dock as well.
| | 04:13 | Anyway, I'll go ahead and press the
Enter key a couple of times in order to
| | 04:15 | accept that modification and
allow Photoshop to do its thing.
| | 04:19 | The question then becomes, if these
protections aren't really working out for
| | 04:23 | us, as they aren't, you can still see these
bending details, then what is the better approach?
| | 04:28 | Well that's exactly what I plan
on showing you in the next movie.
| | Collapse this transcript |
| Scaling in multiple passes| 00:00 | In this movie I will show you how to
achieve better results from Content Aware
| | 00:03 | Scale by applying the
command in multiple passes.
| | 00:06 | Now I don't normally recommend
a destructive workflow like this.
| | 00:10 | However, this sort of approach does
work well, for this particular command.
| | 00:14 | So as you can see, I've gone ahead and
restored the portrait version of the photograph.
| | 00:18 | I'll go up to the Edit menu
and choose Content Aware Scale.
| | 00:21 | I'm going to start things off here by
reducing the height of the graphic all the
| | 00:25 | way down to that horizontal guideline.
| | 00:27 | I'll go ahead and take the right-hand
side over to the first vertical guide, and
| | 00:31 | you can see that at this point, even
though we've applied a ton of scaling here
| | 00:36 | that nothing inside the dock is breaking.
| | 00:38 | This rope looks a little choppy,
but it started a little choppy.
| | 00:42 | So that's just the way that image element looks.
| | 00:44 | However, if I start going much farther
than that, then I do start seeing some
| | 00:48 | breaks in the details.
| | 00:49 | So what I found with this image anyway
was that going this far into first pass
| | 00:54 | was about as much damage as I wanted to do.
| | 00:56 | Then I'll press the Enter key or the
Return key on the Mac, in order to apply
| | 01:00 | the command, and then I'll go up to the Edit
menu and choose that exact same command again.
| | 01:05 | This time around, I'll make it
out to the second vertical guide.
| | 01:09 | You can see that while I'm stretching
the heck out of the water here that the
| | 01:12 | dock is surviving quite nicely, but
if I go all the way to the edge, then I
| | 01:17 | start having breaks and problems again.
| | 01:19 | So we'll just go to that second guide,
then press the Enter key or the Return
| | 01:23 | key on the Mac, in order to apply that
change, and then finally, I'll go up to
| | 01:27 | the Edit menu and choose Content Aware
Scale again, and stretch it all the way
| | 01:32 | to the far right-hand side.
| | 01:33 | Now I'll press the Enter key or the Return
key on the Mac, in order to apply that change.
| | 01:38 | Now if you're working along with me,
you are going to see some weird details up
| | 01:42 | here in the sky, and along the horizon.
| | 01:44 | However, you have to bear in mind
that we just completely transformed the
| | 01:47 | proportions of this image. All right.
| | 01:49 | Now, I want to scale the
canvas to fit the image.
| | 01:52 | So I'll go up to the Image
menu and choose the Trim command.
| | 01:55 | Then make sure that Based On is set
to Transparent Pixels and click OK to
| | 01:59 | automatically trim those guides away,
and then after that, if you want, you can
| | 02:03 | go ahead and choose Clear Guides from the
View menu in order to get rid of those guides.
| | 02:07 | Now I'll press the F key a couple of
times in order to switch to the Full Screen
| | 02:12 | mode and zoom in on the image, and that
is the final transformation, we now have
| | 02:16 | a panorama, thanks to three
independent passes of Content Aware Scale.
| | Collapse this transcript |
| Protecting skin tones| 00:00 | In this movie I'll show you how
to apply Content-Aware Scale while
| | 00:03 | protecting skin tones.
| | 00:05 | This time around I want to take this
horizontal photograph and stretch it to the
| | 00:09 | entire height of the canvas, and
make it much narrower as well.
| | 00:12 | So I'll go up to the Edit menu and
choose Content-Aware Scale, and I'm just
| | 00:16 | going to stretch this thing as high as
it goes, and you can see that, that ends
| | 00:21 | up stretching her arms quite nicely there.
| | 00:24 | Fortunately you've this Protect skin
tones icon up here in the Options bar that
| | 00:28 | will automatically take care
of the problem to an extent.
| | 00:31 | And what Photoshop is doing is
protecting the warm colors, the colors that's
| | 00:35 | fall in that orange spectrum. However, you can see
that her torso is still stretching like crazy.
| | 00:40 | So it turns out we don't really
want to scale it this far right away.
| | 00:44 | So what I'm going to do is click on
this bottom Reference point on the far left
| | 00:47 | side of the Options bar, and I'm going
to go ahead and restore that Height value
| | 00:51 | to 100%, and then press the Enter key.
| | 00:54 | Now what I'm going to do is click
inside the W value, the Width value, and
| | 00:58 | I'm going to press Shift+down arrow,
and I'll try to reduce it as much as I
| | 01:02 | can without getting that effect essentially,
without seeing any distortion in her whatsoever.
| | 01:07 | In my experience was this happened at
about 81%, that was about the threshold
| | 01:12 | before something about
her arm started going wrong.
| | 01:16 | And then I'll tab over to the Height value, and
I'll press Shift+up arrow to take it up to 110%.
| | 01:21 | If I go up to 120, though, I
end up stretching her torso again.
| | 01:25 | So 81 and 110 are the values I came up with.
| | 01:28 | Then I'll press the Enter key or the
Return key on the Mac, a couple of times in
| | 01:31 | order to apply that change.
| | 01:33 | And now I'll just go back to the command
again by bringing up the Edit menu and
| | 01:37 | choosing Content-Aware Scale.
| | 01:38 | I'll select that bottom Reference point
once again, and I'll click inside the W
| | 01:43 | value and press Shift+down arrow a
couple of times, and you can see if I go as
| | 01:48 | low as 80%, I'm cutting off
her shoulder a little bit.
| | 01:51 | So I'll just raise that until she
looks normal which happens at about 87%.
| | 01:55 | And now I'll take the Height value up to 120%.
| | 01:59 | You can see nothing stretching on her
body, but if I take the value to 130%,
| | 02:02 | we're start getting
stretching in the torso once again.
| | 02:05 | So this time, if you're working along
with me the values are W 87% and H 120%,
| | 02:12 | press the Enter key a couple of times
in order to accept that change, and then
| | 02:16 | finally, one more pass, I'll go up
to the Edit menu, choose Content-Aware
| | 02:20 | Scale again, and this time around I
just took the Width value down to 98%,
| | 02:25 | because if you go any farther than
that you've completely lose the sky on the
| | 02:29 | outside of her fingers.
| | 02:30 | Then I'll just go ahead and drag this
top handle until it snaps to the top of
| | 02:34 | the canvas, and we end up transforming
this image significantly. All right.
| | 02:38 | I'll press the Enter key a couple of
times in order to accept that change,
| | 02:42 | and then I'll go to the Image menu and choose
the Trim command to get rid of that extra canvas.
| | 02:47 | Make sure Based On is set to
Transparent Pixels, and then click OK, and you
| | 02:51 | get this effect here.
| | 02:52 | So just by way of comparison, I'll
press the F12 key, that's the original
| | 02:56 | version of the image, and if I press
Ctrl+Z, or Command+Z on the Mac, that's the
| | 03:00 | stretched version, and she survives
extremely nicely, as you can see.
| | 03:05 | Now the grass doesn't do quite as well, we
do have some ragged transitions in there.
| | 03:10 | But it's pretty low contrast stuff.
| | 03:12 | It's the kind of stuff that's
probably going to disappear at a sufficient
| | 03:15 | resolution in print, although you
certainly wouldn't want to show it to somebody
| | 03:19 | at 100% inside Photoshop.
| | 03:21 | But she looks great in a very
differently proportioned image. And that's how you
| | 03:25 | protect skin tones when using Content-Aware
Scale here inside Photoshop.
| | Collapse this transcript |
|
|
12. Adjusting LevelsEditing the histogram| 00:00 | Back in Chapter 7 of my Fundamentals
Course, I introduced you to the concept of
| | 00:05 | Luminance, and I show you how to
use Photoshop for most basic Luminance
| | 00:09 | Enhancement command, Brightness Contrast.
| | 00:12 | In this chapter we kick things up a
notch and take on a more powerful luminance
| | 00:17 | adjustment feature known simply as Levels.
| | 00:21 | Remember the histogram, it's that bar
graph of every luminance level in an
| | 00:26 | image, from black on a far
left to white of the far right.
| | 00:30 | The levels command sets the histogram on
a slider platform with three triangular
| | 00:35 | controls, one black, one white, and one gray.
| | 00:40 | Now if for the sake of demonstration,
I'll stand in as the problem image, as you
| | 00:44 | can see, I'm low contrast and washed out.
Your mission, correct me.
| | 00:51 | You increase my contrast by dragging
the black triangle to the beginning of
| | 00:55 | the mountainous histogram, and the
white triangle to the histograms end, then
| | 01:01 | you drag the gray triangle, known as the gamma
control, to modify the brightness of the Midtones.
| | 01:08 | Drag the gray triangle to the left to
brighten the Midtones, also known as expanding them.
| | 01:14 | Drag that gray triangle to the right to
darken the Midtones which corrects for
| | 01:20 | a washed out image.
| | 01:21 | See, I'm all better. Nice work!
And that's just the beginning.
| | 01:28 | There's an Auto button that
attempts to automatically correct an image.
| | 01:31 | You can preview clipped pixels, and you
can adjust each channel independently to
| | 01:36 | correct color balance.
| | 01:38 | Levels is one of Photoshop's most
powerful features, and it's the kind of
| | 01:43 | command that takes some folks years to master.
You'll have it figured out in a single chapter.
| | Collapse this transcript |
| The new automatic Levels adjustment| 00:00 | In this movie I'll show you how to
automatically correct a photographic image
| | 00:04 | using a Levels Adjustment.
| | 00:05 | Now as you may recall from our
discussion of the Auto Adjustments back in
| | 00:10 | Chapter 7 of the Fundamentals Course.
| | 00:12 | You have three commands available to
you under the Image menu, Auto Tone, Auto
| | 00:15 | Contrast, and Auto Color.
| | 00:17 | Don't really think that much of them,
don't use them on a regular basis, but
| | 00:21 | there's also another one, which is the
Auto button that's included along with
| | 00:25 | Brightness/Contrast, and
it does quite a good job.
| | 00:28 | The Auto function that's included
along with Levels might be even better and
| | 00:32 | is a unique animal.
| | 00:34 | Now you can get to it in a
couple of different ways.
| | 00:36 | You can go to the Adjustments submenu
and choose the Levels command, or you can
| | 00:40 | press Ctrl+L, or Command+L on the Mac.
| | 00:43 | But that's going to apply
a static color adjustment.
| | 00:45 | You're going to permanently modify the
pixels in your image, you are not going
| | 00:49 | to be able to change your settings later.
| | 00:51 | So the better way to work is to
drop down to the Black/White icon at the bottom
| | 00:55 | of the layers panel, click on it and
choose the Levels command which is located
| | 00:59 | directly under Brightness/Contrast.
| | 01:01 | That's going to bring up this wee
version of the Properties panel.
| | 01:04 | I'll recommend you make it larger by
dragging the lower left corner of the panel
| | 01:08 | until the histogram reaches its maximum size.
| | 01:11 | Now the histogram is the essential
character included along with the Levels
| | 01:15 | function, and as you may once again
recall from Chapter 7, the histogram is
| | 01:20 | kind of bar graph of all the
luminance levels inside the image, starting
| | 01:24 | with black over here on the far left side,
and ending with white on the far right side.
| | 01:29 | It doesn't show the distribution of the
colors or where they are located inside
| | 01:32 | the image, it strictly shows their popularity.
| | 01:35 | So in the case of our image, we have
a few blacks in very dark colors, then
| | 01:40 | we've got a whole lot of shadows which
are the dark colors inside the image, and
| | 01:45 | then we've got a ton of midtones which
are the middle colors, and finally, we
| | 01:49 | don't have much of
anything in the way of highlights.
| | 01:52 | Now one way to correct the Luminance of
the image is to click on this Auto button.
| | 01:56 | In Photoshop CS5 and earlier it used to
apply the Auto Tone function, that same
| | 02:02 | Auto Tone that's available from the Image menu.
| | 02:04 | It wasn't a particularly
helpful feature frankly.
| | 02:07 | Now it's a completely different animal,
it's been completely redesigned, and it
| | 02:11 | applies a composite adjustment as
opposed to a channel-by-channel adjustment,
| | 02:15 | that can serve as a great jumping off
point for your own custom adjustment.
| | 02:20 | So what I recommend you do is go
ahead and give it a click in any case and
| | 02:25 | notice how much better the
luminance of that image looks. All right!
| | 02:28 | I'm going to go ahead and close the
Properties panel, because just for the sake
| | 02:31 | of comparison I want you to see how things look,
if we try the same thing with Brightness/Contrast.
| | 02:36 | So I'll go ahead and click on the
Background layer here to make it active, and
| | 02:40 | then I'll right-click inside the Image
window with my Rectangular Marquee tool
| | 02:43 | and choose Duplicate layer.
| | 02:45 | Then I'll set the Document to New and click
OK in order to create a new document here.
| | 02:50 | All right, I'll go head and zoom in,
and I'll drop down to the bottom of the
| | 02:54 | layers panel, click on the Black/White
icon and choose Brightness/Contrast this
| | 02:57 | time around, and then once again back
in the Properties panel I'll click on the
| | 03:03 | Auto button, and notice it
takes a moment longer to apply.
| | 03:05 | So it must be a little more computationally
intensive, however, it tends to
| | 03:10 | produce a higher contrast effect as well. A
little more garish in the case of this image.
| | 03:15 | So this is Auto Brightness/Contrast
compared with this being Auto Levels.
| | 03:20 | And just so you can see how it works
inside of a different image, I'll go ahead
| | 03:24 | and switch over to this one here.
| | 03:26 | This is the uncorrected
version of that portrait shot.
| | 03:28 | Here is what she looks like subject to
Auto Brightness/Contrast and here is how
| | 03:33 | she looks subject to Auto Levels.
| | 03:35 | So lots of a dramatic difference this
time around, but again it's a little more
| | 03:39 | of a nuance modification, not quite
as much contrast is what we've got with
| | 03:44 | automatic brightness contrast. All right.
| | 03:46 | I'm going to switch back to this image
for a moment, and I'll double-click on
| | 03:50 | the thumbnail for my Levels adjustment
to bring back up the Properties panel,
| | 03:53 | and I do want you to see just in case
you want to know, if you want to get to
| | 03:58 | any of the other Auto functions, you
can press the Alt key or the Option key
| | 04:02 | on the Mac, and click on Auto, and that will
bring up your other automatic adjustment options.
| | 04:07 | So for example, Enhance Monochromatic
Contrast, you can see listed in that
| | 04:12 | tooltip, it's the same as Auto Contrast.
| | 04:14 | Enhance Per Channel Contrast is the
same as Auto Tone, and then we've got
| | 04:18 | Enhance Dark & Light Colors,
which is the same as auto Color.
| | 04:22 | However, every single one of
these applies its modifications on a
| | 04:25 | channel-by-channel basis.
| | 04:27 | I recommend you steer clear, but I
just want you to know they are there.
| | 04:31 | You may find them helpful for some
image that you run into one day. All right.
| | 04:36 | I'm going to go ahead and cancel out.
| | 04:38 | In the next movie, I'll show you how we can
customize this adjustment to get even better results.
| | Collapse this transcript |
| Customizing a Levels adjustment| 00:00 | In this movie I'll show you how to
customize your Levels Adjustment to get
| | 00:03 | even better results.
| | 00:04 | I'm currently looking at the
auto-adjusted version of the image.
| | 00:07 | Notice down here below the histogram,
we have three triangles. The first one
| | 00:11 | represents the Black point, the last
one represents the White point, and the
| | 00:16 | middle one, the gray one, is the Gamma value.
| | 00:18 | I'll show you how to modify the Black
and White points in this movie, and then
| | 00:21 | in the next movie, we'll
deal with the Gamma value.
| | 00:24 | Now notice down here at the bottom,
there is this option that allows us to
| | 00:28 | reset the adjustments to their defaults.
| | 00:30 | I'm going to go ahead and click on that,
so that we can see the unadjusted image.
| | 00:34 | Notice these values below the triangles,
they correspond to each one of the points here.
| | 00:40 | So by default, the Black point is 0,
which is the value for Black, and the
| | 00:44 | White point is 255, which is the value for White.
| | 00:48 | I'll go ahead and once again click on
the Auto button, so that you can see
| | 00:51 | those values update.
| | 00:52 | Now we're seeing the White point is set
to 229 and the Black point is set to 4.
| | 00:57 | What this means is anything with the
luminance level of 4 or darker inside the
| | 01:02 | image is now going to be clipped to
black--and that does include a few pixels
| | 01:06 | inside the image--whereas everything
from 229 and brighter is going to be
| | 01:10 | clipped to white, which includes
nothing inside the image so far as the
| | 01:14 | histogram is showing us here.
| | 01:16 | Now if you're ever curious whether
the histogram is accurate or not, you can
| | 01:19 | always update it by clicking on this
little icon, and that will go ahead and
| | 01:23 | give you more accurate histogram.
| | 01:25 | In our case, it didn't really
change the shape of the histogram at all.
| | 01:28 | Now what I'd like to do is move this
white triangle farther to the left so that
| | 01:33 | we're brightening up more of
the highlights inside the image.
| | 01:36 | So at this point, with the value set to
198, anything with the Luminance level
| | 01:40 | of 198 and brighter is now going to be
white, and that does include a few pixels
| | 01:46 | as we can see right there.
| | 01:47 | Now one way to get a sense for the
accuracy of your modification is of course
| | 01:51 | to just subjectively evaluate the image
there in the image window, but an even
| | 01:55 | better way to work is to
bring up the Histogram panel.
| | 01:57 | So I'll go up to the Window menu and
choose the Histogram command, and that
| | 02:02 | brings up the panel, in my case, over
here on the right-hand side of the screen.
| | 02:06 | Now currently it's not as large as
it could be, so I'll go ahead and click
| | 02:10 | on the flyout menu icon and choose
Expanded View in order to get a larger
| | 02:14 | view of this histogram.
It also has some accuracy problems potentially.
| | 02:18 | That's a function of Photoshop
caching the histogram data, which makes it
| | 02:22 | possible to more quickly
display the information.
| | 02:25 | But I'm going to click on this little
Caution icon to update it, like so.
| | 02:28 | I'm also going to switch from Colors
to RGB so that we're seeing analogous
| | 02:33 | information between the Histogram
panel and the Properties panel over here.
| | 02:37 | Now you may wonder why the Properties
panel is showing one histogram and the
| | 02:41 | Histogram panel is showing
something totally different.
| | 02:44 | Well we're seeing the original
version of the histogram over here inside the
| | 02:47 | Levels panel, whereas we're seeing the
new updated version of the histogram over
| | 02:52 | here inside the Histogram panel.
| | 02:55 | Notice that we've got some
breaks between the lines.
| | 02:58 | That tells us that we're
missing luminance at this location.
| | 03:01 | So in other words, look down here at this
level information and the count right below it.
| | 03:06 | If I hover over this pretty big break
right there, you can see that at a Level
| | 03:11 | of 82, our Count is 0, meaning that
we no longer have any pixels with that
| | 03:16 | particular luminance level.
| | 03:18 | Meanwhile, we've got these big spikes
where the luminance levels have been kind
| | 03:21 | of jumbled together.
| | 03:22 | So at 146, for example, we've got
more than 98,000 pixels that have been
| | 03:28 | crammed into that area.
| | 03:30 | So what that means is, we are creating
a kind of destructive modification as
| | 03:35 | we're applying the Levels command or any
other color correction for that matter.
| | 03:39 | The true advantage to working with an
adjustment layer here is that we can
| | 03:43 | change the settings anytime we like.
And I think for my part, I'm going to go
| | 03:46 | ahead and reduce that Black point
value to 0 so that we don't have any black
| | 03:51 | clipping going on at all.
| | 03:53 | But I will tell you this, you can
also click inside these values and raise
| | 03:56 | them from the keyboard.
| | 03:57 | So I could press the up arrow key to
increase that value in increments of 1,
| | 04:01 | or I can press Shift+up arrow
to increase that value in increments of 10.
| | 04:06 | I'm going to go ahead and
take it down by pressing Shift+down arrow
| | 04:09 | to reduce it in increments of 10, of course.
| | 04:11 | Then I'm also going to click inside
the White point value, and take it down a
| | 04:15 | little bit more to 194, which I found
worked really well for this image.
| | 04:20 | You can check to make sure that you're
not clipping too many pixels by clicking
| | 04:24 | on this little Update button in order
to refresh the histogram, and you'll see
| | 04:28 | clipped pixels on the far right side in the
case of anything that's been clipped to white.
| | 04:33 | So we have a little clipping but not too much.
| | 04:35 | Then if there's any clipping going on,
on the black end, then you'll see a
| | 04:39 | little line over here in the far left-
hand side, and we're not really seeing any
| | 04:42 | clipping at all in this case.
| | 04:44 | So that's how you apply a custom
modification using the Black point, and
| | 04:48 | White point values.
| | 04:49 | In the next movie, I'll show you
how to work with the Gamma value.
| | Collapse this transcript |
| Understanding the Gamma value| 00:00 | In this movie I'll show you how to use
the Gamma value to adjust the midtones
| | 00:03 | in an image independently of
the Black and White points.
| | 00:07 | Now in my case, what I want to do is, I want
to darken up the wall inside of this image.
| | 00:12 | It's looking awfully washed out, and the
wall clearly falls inside the midtone range.
| | 00:16 | So what I need to do is drag this Gray
slider around, and notice if I drag it
| | 00:21 | over to the right then I'm
darkening out the image considerably.
| | 00:25 | You can also see what's happening to
the composite histogram over here, all
| | 00:29 | the colors are moving radically over into
the shadow arena, which is not what we want.
| | 00:34 | If I drag the Gray triangle over to the
left, you can see that I'm pitching the
| | 00:37 | histogram over to the right
here into the highlight range.
| | 00:41 | Now this value here is a little bit confusing.
| | 00:44 | It's not a Luminance level like the
Black and White points, instead it's an
| | 00:48 | exponent, and not to get too techy on
you, but that means, that in this case,
| | 00:52 | we're raising the Luminance levels to a
power of 2, that is we're squaring them,
| | 00:57 | and that ends up
brightening the image considerably.
| | 00:59 | I want to show you something that you
need to keep an eye out for, I'm going to
| | 01:02 | click inside of this value, and I'm
going to press Shift+up arrow a few times,
| | 01:07 | and notice that just raises
the value in decimal increments.
| | 01:10 | However, it has a big effect on the image.
| | 01:12 | I'm going to go head and zoom in here
on the Shadow inside of this window and
| | 01:16 | notice how much noise we're bringing
out in that shadow, and that's something
| | 01:20 | that you really need to keep an eye
out for when you're brightening images
| | 01:24 | inside of Photoshop.
| | 01:25 | And those shadows certainly need
brightening but I'll show you a better way to
| | 01:28 | do it in the next movie. All right.
I'm going to zoom back out here.
| | 01:32 | What I want to do instead is lower the
Gamma value, so I'm going to start things
| | 01:36 | off by just resetting it to its
default of 1, which does nothing, because
| | 01:41 | raising the Luminance Levels to a power
of 1 keeps them the same, and then I'll
| | 01:45 | press Shift+down arrow in order to
lower that value to 0.9, and I want you to
| | 01:51 | see over here in the Histogram panel.
| | 01:52 | I'll go head and update the
histogram, we have a very nicely balanced
| | 01:56 | histogram indeed, which is generally
what you're looking for when you're
| | 01:59 | correcting a photographic image. And
that, friends, is how you adjust the Gamma
| | 02:04 | value here inside Photoshop.
| | Collapse this transcript |
| Opening up the shadows| 00:00 | In this movie I'll show you how to
brighten up some of the shadow detail using
| | 00:03 | another application of Levels.
| | 00:05 | I'm going to start by
closing the Properties panel.
| | 00:08 | Note this awning here, it's a little bit dark.
I'd like to breathe some light into it.
| | 00:12 | And you often hear people call
this, opening up the shadows.
| | 00:16 | In order to pull that off, with the
highest degree of control, we need to go
| | 00:19 | ahead and select those shadows first.
| | 00:22 | Now you can try using one of the
selection tools we discussed back in chapter 9.
| | 00:26 | But there is a command that we
haven't seen so far that gives you greater
| | 00:29 | control, it's located under the Select menu,
and it's called the Color Range command.
| | 00:33 | Go ahead and select that command
and notice that you've got this
| | 00:36 | little eyedropper here.
It works a lot like the Magic Wand tool.
| | 00:40 | It allows you to specify key color, and
I'd like you to click just at some dark
| | 00:45 | area underneath this awning here.
| | 00:47 | What we're seeing inside of the Color Range
dialog box is a kind of preview of the selection.
| | 00:52 | Anything that's appearing white will be
selected, and anything that's appearing
| | 00:56 | black will not be selected.
I want to increase the range of the selection.
| | 01:00 | So I'm going to go ahead and take
this Fuzziness value up to 150, and that
| | 01:04 | will give us this soft glow of the
selection, as you can see, right there
| | 01:09 | inside the preview.
| | 01:10 | Then I'll go ahead and click OK in
order to generate a selection outline.
| | 01:14 | Now if you're working along with me,
drop back down to the bottom of the layers
| | 01:18 | panel, and click on the Black/White
icon, and once again choose the Levels
| | 01:22 | command, and that will generate an
adjustment layer and automatically convert
| | 01:26 | the selection outline to a layer mask.
So that we're only affecting that
| | 01:30 | formerly selected region.
| | 01:32 | Now I'm going to go ahead and drag
this White point value way down, like so.
| | 01:37 | So I can just get a sense for the
integrity of my selection, and whether it's
| | 01:41 | going to hold up well, and it's
looking pretty good, obviously my correction
| | 01:45 | is for being so far.
| | 01:46 | So I will go ahead and take that White
point value all the way back to 255, and
| | 01:51 | next, I'll click inside the
Gamma value and press Shift+up arrow
| | 01:54 | three times, and then I'll nudge that
value up by pressing the up arrow key a
| | 01:59 | few times to 135, and then finally,
I'll Shift+Tab back to the Black point
| | 02:03 | value, and I'll press Shift+up arrow
| | 02:05 | again in order to recapture
some of those blacks. All right.
| | 02:09 | Now I will close the Properties panel,
and I'll go ahead and click on this
| | 02:13 | little Update button here
inside the Histogram panel.
| | 02:15 | You can see that we do have a little
bit of black clipping going on over here
| | 02:19 | on the left-hand side, a little bit of
white clipping as well, on the right-hand side.
| | 02:23 | But the image itself is looking great
and the histogram in general looks to be
| | 02:27 | in good shape as well.
| | 02:28 | Just to give you a sense for how this
compares to the auto-correction, well,
| | 02:31 | I've got it open here.
| | 02:33 | So this is what we got with Auto Levels
which looks pretty darn great, I have to
| | 02:38 | say, and this is the even better
correction that we were able to pull off
| | 02:42 | manually using a couple of custom
applications of the Levels command.
| | Collapse this transcript |
| Previewing clipped pixels| 00:00 | In this movie I'll show you a
special hidden trick for previewing exactly
| | 00:03 | which pixels in your image are
clipping to either black or white on a
| | 00:09 | channel-by-channel basis which is another
great way to gauge the quality of your correction.
| | 00:13 | I've gone ahead and broken my Properties
panel off here so that I can see more of
| | 00:18 | my image at a time. And I'm going to
go ahead and click on the first levels
| | 00:22 | adjustment, the one that's called
Levels 1, so that we can see the adjustment
| | 00:26 | that's been applied to the overall image.
| | 00:28 | We know that some of the pixels inside
the image are clipping to white because
| | 00:32 | we can see the clip over here in the
Histogram panel on the far right side, but
| | 00:36 | as to where those pixels are
clipping, we really don't know.
| | 00:40 | But we can find that out by pressing
the Alt key or the Option key on the Mac,
| | 00:45 | and dragging the White slider.
| | 00:47 | And so at this point, I'm seeing a
lot of clipping but here's how you read
| | 00:50 | this, just so you know.
| | 00:52 | Anywhere where you see black means
that there is no clipping going on
| | 00:55 | whatsoever, anywhere where you see
white those are pixels that are clipping
| | 01:00 | in all three channels.
| | 01:01 | That's very dangerous, by the way,
you don't want big regions of white
| | 01:05 | like we're seeing here.
| | 01:07 | Otherwise the colors are showing us
specific channels that are clipping.
| | 01:10 | So for example, if you're seeing red,
that means that pixels are clipping to
| | 01:14 | white in the Red channel, but not
in the Green and Blue channels.
| | 01:18 | If you see blue, like up there in the
sky, those pixels are clipping in the Blue
| | 01:22 | channel, but they're not clipping in Red
or Green, that's a lot less dangerous.
| | 01:26 | And then where you're seeing other
colors that don't have channels, like the
| | 01:29 | yellow in the central portion of the
image, and the cyan up at the top, that
| | 01:33 | tells you that they're clipping in two channels.
| | 01:36 | So yellow tells you you're clipping
in both the Red and Green channels, for
| | 01:39 | example, cyan tells you you're clipping
in both the Green and the Blue channels,
| | 01:44 | and again that is more dangerous.
Which is why this looks to be a pretty darn
| | 01:48 | good correction here at
194, which is where I had it.
| | 01:52 | We've got some clipping going on in the
Red channel, and we've got a little bit
| | 01:56 | of clipping going on in the
Blue channel, but not that much.
| | 01:59 | Now for the most part of the pixels
aren't adjacent, meaning we don't have
| | 02:02 | masses of clipping going on.
| | 02:03 | To see where the pixels are clipping
to black, you press and hold the Alt key
| | 02:07 | once again, and you drag the Black
slider triangle, and notice at this point
| | 02:11 | I'll go ahead and clip a few things here.
| | 02:13 | Anywhere we're seeing white is not
clipping to black, anywhere we're seeing
| | 02:17 | black is clipping to black.
| | 02:19 | Otherwise this one is a little bit
difficult to read because the colors are inverted.
| | 02:23 | So yellow means it's clipping in the
Blue channel, red means it's clipping in
| | 02:27 | both the Green and the Blue channels.
| | 02:29 | So you're basically reading
things in the opposite directions.
| | 02:32 | So red is very dangerous, black is very
dangerous, yellow not so much, but where
| | 02:37 | I had a black point at zero
we're not seeing any clipping at all.
| | 02:41 | However, that's just the clipping
associated with that specific adjustment layer.
| | 02:46 | If you want to test the overall
composite image you're going to have to click on
| | 02:50 | the other adjustment layer and test it
out as well, and this will allow us to
| | 02:54 | see exactly where we're clipping the
black, because this adjustment layer is the
| | 02:57 | one that's doing the clipping.
| | 02:59 | So I'll go ahead and press the Alt key
or the Option key on the Mac, and click
| | 03:03 | and try to hold that
little guy in the same place.
| | 03:06 | And notice that we've got clipping
inside the window, and everywhere
| | 03:09 | that's white is just fine.
| | 03:10 | You may wonder, well what about the
areas that are just in the standard
| | 03:13 | colors they were in?
| | 03:14 | They're not being affected because
they're protected by the layer mask.
| | 03:17 | So just that mass of black pixels
inside the window that's really clipping away
| | 03:22 | and to be perfectly honest with you,
I'm not too concerned about that.
| | 03:25 | I'm happy with the interior of that
window being pretty much jet black.
| | 03:29 | And that's how you go about previewing
the location of clipped pixels.
| | 03:34 | Pixels that are clipping either to black or to white
on a channel-by-channel basis here inside Photoshop.
| | Collapse this transcript |
| Retouching with Output Levels| 00:00 | In this movie I'll show you how the
Output Levels work down here at the bottom
| | 00:03 | of the Properties panel.
| | 00:04 | So for starters here, you've got
this gradient bar with yet another Black
| | 00:08 | triangle and White triangle, and they
correspond to these values down here as well.
| | 00:13 | Black goes with 0, white goes with 255,
and what they're saying is these are the
| | 00:19 | values that Levels is going to output.
| | 00:20 | In other words, the darkest color is
going go from 10 to 0 in this case, and the
| | 00:25 | lightest in this case is going to go
from 255 to 255. It's not going to change.
| | 00:30 | Why don't we go ahead and switch to
Levels 1 here, so you can see that in this
| | 00:34 | case a value of 194 will become 255?
| | 00:38 | Now if you change these values, for
example, if you raise the Black point, then
| | 00:42 | in my case I'm going to
make the darkest color 83.
| | 00:46 | So I'm going to map everything that was
0 to 83, and as a result we're going to
| | 00:50 | lose a ton of shadows, and if I was
to drag this White point like so,
| | 00:55 | I'm now mapping colors that used to be
194 down to 170, which means that I have
| | 01:01 | a really low-contrast, ugly image.
| | 01:03 | So you might wonder why in the
world you would ever use these controls.
| | 01:07 | Well, one more curiosity
just in case you're interested.
| | 01:10 | You can cross the beams here if you
want to, and that's going to go ahead and
| | 01:15 | invert the image as you see, and you can also
control the degree of inversion if you like.
| | 01:21 | But a more practical use is
the common retouching technique.
| | 01:25 | I'll go ahead and switch over to this
image that should be familiar to those of
| | 01:29 | you who have watched Chapter 10.
| | 01:30 | Notice that I got rid of the Blur layer,
so that we're seeing more details, more
| | 01:34 | pores in this woman's face.
| | 01:37 | And the Blur layer involves some masking that
we're not going to have to do this time around.
| | 01:41 | So this is sort of a poor man's technique if
you will for a kind of quick and dirty glow.
| | 01:46 | So the first thing I'll do is select
this retouch layer, and then I'll press
| | 01:50 | Ctrl+Alt+J, or Command+Option+J on the
Mac, to jump it and name it, and I'll call
| | 01:55 | this one blur, and then I'll click OK.
| | 01:58 | Next, you want to go up to the
Filter menu, choose Blur, and then choose
| | 02:02 | Gaussian Blur, and enter a really
whoppingly-big number, like 20 pixels.
| | 02:08 | Or if you're working with a higher resolution
image then you would possibly double that value.
| | 02:12 | Now I'll click OK, and the next
thing you do is you go over here to this
| | 02:16 | Blend mode pop-up menu in the upper
left-hand corner of the layers panel, and
| | 02:20 | you change it from Normal to Overlay, and
you end up getting this kind of Glow effect.
| | 02:25 | Now it's over the top at this point,
and we're compromising the colors
| | 02:30 | terrifically because we have way too
much saturation now. We're losing our
| | 02:34 | shadow and highlight detail.
| | 02:36 | So drop down to the Black/White icon, and
if you want to name an adjustment layer
| | 02:39 | while you create it, you press and hold
the Alt key--or the Option key on the Mac--
| | 02:43 | before you click on the icon, and then
in our case we'll choose Levels, and I'll
| | 02:48 | go ahead and call this one low contrast,
because that's what I'm going to do is
| | 02:52 | reduce the contrast to the image using
those Output Levels, and I'll click OK,
| | 02:56 | and now I'll click inside the first
Output Levels value, the Black point, and
| | 02:59 | I'll press Shift+up arrow five times in
a row in order to increase that value to
| | 03:04 | 50, then I'll tab over to the second
value, the White point, and I'll press
| | 03:08 | Shift+down arrow five times in a
row to reduce that value to 205.
| | 03:12 | Now quite naturally, you might look at
this and still wonder where in the world
| | 03:16 | we're going, why we'd want this kind of effect.
| | 03:18 | Well, what you want to do is relegate
this adjustment to just the blur layer,
| | 03:23 | and you do that by clipping it.
| | 03:24 | So you can see this icon right next to the eye,
it tells you that it's going to clip the layer.
| | 03:29 | Go ahead and click on it, and that goes ahead and
gives us back some of that contrast once again.
| | 03:34 | Now we want to emphasize the Glow
effect a little bit more than this.
| | 03:37 | So I'm going to press the Alt key, or
the Option key on the Mac, and drag this
| | 03:41 | Levels adjustment down like so, in
order to create a copy of it between the
| | 03:46 | retouch layer and the blur layer, and
then let's change the settings here by
| | 03:50 | pressing Shift+down arrow for the
Black Point value, so it's now 20, and then
| | 03:55 | press Shift+up arrow three times in
order to raise the White Point value to 235.
| | 04:01 | We end up getting this effect here. So
just to give you a sense of our progress
| | 04:05 | I'll press the F12 key to revert the image.
| | 04:07 | This is the original version of the
image that has the pores and all that stuff,
| | 04:11 | and then if I press Ctrl+Z, or Command+Z
on the Mac, this is that same image with
| | 04:16 | a little bit of additional glow
provided by blur along with a couple of
| | 04:21 | applications of Output Levels.
| | Collapse this transcript |
| Making channel-by-channel adjustments| 00:00 | In this movie I'll show you how you can
change the color balance of an image by
| | 00:04 | applying levels on a channel-by-channel
basis. So, many of you will recognize this
| | 00:08 | badly balanced version of my
children here from Chapter 8.
| | 00:11 | I'm going to drop down to the Black/White icon,
click on it, and choose the Levels command.
| | 00:16 | And notice that in addition to
correcting the composite image, meaning all
| | 00:21 | channels at the same time, you
can correct each one of the channels
| | 00:25 | independently, and we have keyboard
shortcuts to switch between them as well, of
| | 00:29 | Alt+2 through Alt+5 here in the PC--
that's Option+2 through Option+5 on the Mac.
| | 00:34 | So for example, if I thought there
was too much red in this image I could
| | 00:39 | switch to the Red channel, and I can
go ahead and drag that Gamma triangle to
| | 00:43 | the right, then if I feel like I've got
too much green, then I could switch to
| | 00:47 | the Green channel and drag
its gray triangle as well.
| | 00:49 | The thing is that's kind of a pain
in the neck you have to switch between
| | 00:53 | channels and just make guesses about
what it is you're supposed to do, which is
| | 00:57 | why Photoshop includes these little
eyedroppers here. For example, if you select
| | 01:00 | the Black triangle and click on a dark
detail, it will clip that detail to black
| | 01:06 | on a channel-by-channel basis.
| | 01:08 | So you're making channel-by-channel
modifications, and you can see here in the
| | 01:11 | Green channel the Black Point value
switched to 20, whereas in the Blue
| | 01:15 | channel it switched to 17.
| | 01:17 | You can do the opposite with the white
eyedropper. For example, I could click
| | 01:20 | here on the pillow if I wanted to clip
the heck out of my colors, and you can
| | 01:25 | see that the White Point value is now
174 in the Blue channel, whereas say in the
| | 01:29 | Red channel, it's 220.
I'm not very fond of those two tools.
| | 01:33 | I have to admit I never used them
except for illustration work, so they're not
| | 01:38 | really very useful for correcting photographs.
| | 01:41 | However, this Gray eyedropper will go
ahead and change the gamma value on a
| | 01:45 | channel-by-channel basis. For example,
if I think the wall should be neutral, I
| | 01:49 | could click on it, and now we can see
the Gamma value in the Red channel is
| | 01:53 | 0.72, whereas in the Green channel, it's 0.98.
| | 01:57 | And where that gray eyedropper becomes
helpful is if you have something on the
| | 02:00 | order of a gray card in the photograph.
| | 02:03 | So if I had included a gray card along
with this photo, I could just click on it,
| | 02:08 | and that would go ahead and neutralize
that gray and correct the color cast.
| | 02:12 | The thing is of course, this photograph
does not include a gray card, but I can
| | 02:15 | show you how to fake one in the very next movie.
| | Collapse this transcript |
| Faking a gray card in post| 00:00 | In this movie I'll show you how to
make a kind of fake gray card in post and
| | 00:04 | use it to automatically correct
the color balance of an image.
| | 00:08 | I've gone ahead and restored the original
version of this photograph, so we have no
| | 00:11 | Levels adjustment layer at this point.
| | 00:13 | What I'm going to do is make a copy of
this image and average its colors, and
| | 00:17 | I'll do that by pressing Ctrl+Alt+J or
Command+Option+J on the Mac, and I'll
| | 00:22 | call this gray card, and I'll click OK.
| | 00:25 | Then what you want to do is go up
to the Filter menu, choose Blur, and
| | 00:29 | then choose Average, and that's
going to find the average color
| | 00:33 | throughout that entire photograph.
| | 00:36 | Now then go ahead and select some
region with the Rectangular Marquee tool.
| | 00:40 | I'm Shift-dragging to make a square, and you
want a small region--you don't need very much.
| | 00:45 | Then go up to the Select menu and
choose the Inverse command or press
| | 00:49 | Ctrl+Shift+I, or Command+Shift+I on the
Mac, and press the Backspace key, or the
| | 00:53 | Delete key on the Mac, in order to get
rid of the stuff outside the square.
| | 00:57 | Now I'll press Ctrl+D, or Command+D on
the Mac, in order to deselect the image,
| | 01:01 | and I'm going to Ctrl-drag, or command-drag
the square a little bit out of the
| | 01:06 | way, so I can keep an eye on what's going on.
| | 01:08 | Now click on the Black/White icon at
the bottom of the layers panel and choose
| | 01:12 | the Levels command, and I'll go ahead
and scoot my children over so I can see
| | 01:16 | them better, and then I'll get the Gray Eyedropper
tool, then I'll go ahead and click on the square.
| | 01:21 | Now this is going to go way too far
because we don't really want to completely
| | 01:25 | neutralize the image, we don't want every
bit of color to be just leached out of it.
| | 01:29 | So go ahead and hide the Properties
panel for now, and I'm going to turn off
| | 01:33 | this Levels layer for a moment.
Click on that gray card layer to make it active.
| | 01:37 | We need to leach a little bit of the
saturation out of this card, so go up to
| | 01:42 | the Image menu, choose Adjustments and
choose Hue/Saturation, or you can press
| | 01:45 | Ctrl+U, or Command+U on the Mac.
| | 01:47 | We're just going to make this a static
modification. And the degree to which you
| | 01:51 | need to reduce the Saturation value,
frankly, is going to depend on the image, but
| | 01:55 | a good place to start is at -50.
| | 01:57 | You don't want to go all the way to
-100 because then the gray card will be
| | 02:02 | gray, and there will be nothing to neutralize.
| | 02:05 | So we need a kind of 50/50 split.
At least this is a good place to start.
| | 02:09 | So try -50, then click OK, then I'll go
ahead and click on a Levels Adjustment
| | 02:14 | layer to make it active.
| | 02:15 | I'll turn it back on and double-click on its
thumbnail to bring up the Properties panel.
| | 02:20 | Then I'll go ahead and grab that Gray
Eyedropper, and I'll just click on the
| | 02:24 | card again, and this time it
produces a much better modification.
| | 02:28 | So just to give you a sense of what's
happened here, I'll turn off the gray card
| | 02:32 | for a moment, I'll go ahead and center
my children a little bit, and I'll press
| | 02:36 | the F12 key so we can see the original
version of the image. As you can see, it
| | 02:40 | suffers from an obvious color cast.
| | 02:42 | Then if I press Ctrl+Z, or Command+Z,
we can see the corrected image,
| | 02:46 | thanks to our ability to fake a gray
card in post here inside Photoshop.
| | Collapse this transcript |
| Assigning shortcuts to adjustment layers| 00:00 | This movie is something of a throwaway,
but I want to share with you how to
| | 00:04 | create custom keyboard shortcuts for
the most important forms of Adjustment
| | 00:08 | layers, including Levels, for example.
| | 00:10 | Because whereas everybody that teaches
Photoshop tells everybody who listens to
| | 00:15 | them that Adjustment layers are the
way to go, not a single one of them has a
| | 00:19 | keyboard shortcut by default, whereas
the static adjustments that we're all told
| | 00:23 | to steer clear of, lots of them have
keyboard shortcuts, and I'm not suggesting
| | 00:27 | we get rid of Ctrl+L for Levels, for
example, because Levels can be very useful
| | 00:32 | for editing masks, and you have
to use Static adjustments for that.
| | 00:36 | However, we might as well, add a
few shortcuts for the adjustment layer
| | 00:39 | versions of those commands.
| | 00:40 | So to do so, go up to the Edit menu
and choose Keyboard Shortcuts, and then
| | 00:45 | assuming you're seeing Shortcuts For: Application menus,
go ahead and twirl open Image and scroll down the list here
| | 00:52 | until you find Levels, Curves, and so forth.
| | 00:55 | Now I'm mostly pretty fond of these
keyboard shortcuts except for Color Balance,
| | 00:59 | which I don't use often
enough to have a shortcut for it.
| | 01:03 | So I go ahead and associate Ctrl+B, or Command+B
on the Mac, to Black & White right below it.
| | 01:08 | So you just click on the existing
keyboard shortcut and enter the new one, and
| | 01:12 | then go ahead and click on the Accept
button in order to move on. All right!
| | 01:16 | Now for the Adjustment layers. Go ahead
and click on the shortcuts for pop-up
| | 01:20 | menu and switch it to panel menus, and
then you want to twirl open Adjustments
| | 01:25 | and scroll down this list here
until you find Levels, for example.
| | 01:29 | And what I'm going to do is just add
Shift to the standard keyboard shortcuts.
| | 01:33 | So I'll press Ctrl+Shift+L for Levels,
that's Command+Shift+L on the Mac.
| | 01:38 | Photoshop goes ahead and tells me, hey!
| | 01:40 | You're going to lose the shortcut for
Auto Tone, which I never use, so that's fine.
| | 01:44 | Go ahead and click the Accept button.
| | 01:45 | Then click on the shortcut for Curves,
press Ctrl+Shift+M, Command+Shift+M on
| | 01:50 | the Mac, which amazingly
goes unused in the program.
| | 01:53 | Click the shortcut for Hue/Saturation, press
Ctrl+Shift+U, or Command+Shift+U on the Mac.
| | 01:58 | Now this is the only one you might
disagree with me about, I'm not sure.
| | 02:03 | Basically if you go with this, you'll lose
the keyboard shortcuts for the Desaturate command.
| | 02:08 | Some people use that command in order
to remove the saturation from an image.
| | 02:12 | I don't really recommend that that's the
way you work, you're better off going with
| | 02:16 | an Adjustment layer for it as well.
| | 02:17 | So I'll go ahead and click on Accept,
and then I'll scroll down the list to
| | 02:21 | Black & White, click on its
keyboard shortcut, press Ctrl+Shift+B,
| | 02:25 | Command+Shift+B on the Mac.
| | 02:27 | I'm going to lose the shortcut for Auto Color.
| | 02:29 | Do not care, click on Accept, and now
what you want to do is go to this second
| | 02:34 | icon over that looks like a little
hard drive, it's not a floppy disk anymore
| | 02:37 | with the dot-dot-dot after it, and
you'll be directed automatically to the
| | 02:41 | proper Keyboard Shortcuts folder, and
I'm going to call my keyboard shortcuts
| | 02:44 | dekeKeys, but you can
call them whatever you want.
| | 02:47 | Then click on the Save button, and you'll see
that file name up here next to the word Set.
| | 02:52 | And in the future if you decide to
change some more shortcuts, you can just
| | 02:56 | click on this first hard
drive to update that file.
| | 02:59 | Then go ahead and click OK in order to
accept the changes. And now notice over
| | 03:03 | here in the layers panel, if I press
Ctrl+Shift+L, or Command+Shift+L on the
| | 03:08 | Mac, not only do I create a new
adjustment layer, but I'm also prompted to go
| | 03:12 | ahead and give it a name such as--if
I was working on the previous movie--
| | 03:16 | something like neutralizer, and then
click OK in order to create that layer and
| | 03:22 | move on to the adjustment. And that's how you create
custom keyboard shortcuts to generate Adjustment layers.
| | Collapse this transcript |
|
|
13. Sharpening DetailsHow sharpening works| 00:00 | This chapter is all about sharpening,
that is editing an image to make its
| | 00:05 | details appear more sharply defined.
| | 00:08 | It's important to note that we're not
talking about focus. Photoshop cannot
| | 00:12 | reach back into your camera and adjust
the optical focus of your lens element,
| | 00:17 | nor can it invent detail that does not exist.
| | 00:20 | In other words, if an image was
shot blurry, it will remain blurry.
| | 00:25 | What Photoshop can do is take a well-focused
image and make every detail appear
| | 00:31 | crystal clear, either on screen or in print.
| | 00:35 | Photoshop pulls off this
effect using a kind of parlor trick.
| | 00:39 | It finds the edges in your image
which are areas where neighboring pixels
| | 00:44 | transition rapidly from light to dark--
for example, in this photo the edges are
| | 00:49 | the outline of the butterfly's body
and the patterns inside the wings--
| | 00:54 | then Photoshop traces razor
thin halos around the edges.
| | 00:59 | The halos appear bright on the light
side of the edge and dark on the dark side.
| | 01:05 | This renders the edges in high contrast
which our eyes read as more sharply defined.
| | 01:10 | We'll be focusing most of our
attention on Photoshop's preeminent Sharpening
| | 01:16 | filter, Smart Sharpen, and then
we'll take a look at a couple of less
| | 01:21 | conventional sharpening filters, Emboss
and High Pass, as well as the Sharpen
| | 01:26 | tool which let's you hand paint sharpness.
| | 01:29 | I'll start by showing you how to sharpen
an image dynamically using a Smart Object.
| | 01:35 | Here's how it works.
| | Collapse this transcript |
| Introducing the Smart Sharpen filter| 00:00 | In this movie I'll introduce you to
the Smart Sharpen Filter, and show you how
| | 00:03 | to apply it as a dynamic adjustment.
| | 00:06 | So for starters here, go up to the
Filter menu, you choose Sharpen, and then
| | 00:10 | you choose Smart Sharpen, which is
frankly the most complicated of the
| | 00:14 | Sharpening filters, but it's by far the
most powerful as well, and it gives you
| | 00:18 | the widest range of options.
| | 00:20 | When you choose the command, you
get this whopping big dialog box that
| | 00:23 | includes this preview, and if you
want to center a portion of the image in
| | 00:27 | the preview such as the butterfly's
head, then you just go ahead and click on
| | 00:30 | it, and it switches over.
| | 00:32 | Now the preview is a little bit
repetitive because we're seeing a preview
| | 00:35 | outside the dialog box as well.
It's updating on the fly.
| | 00:38 | However, the advantage here is
that we see two different zoom ratios.
| | 00:42 | So we're seeing the image at
100% inside the dialog box.
| | 00:46 | Obviously, you can change that by
clicking on the Plus and Minus
| | 00:49 | buttons, and we're seeing a reduced view
out here inside the Image window, which
| | 00:53 | you can also change, by the way, by
pressing the Ctrl and spacebar keys or
| | 00:57 | command and spacebar on the Mac,
and clicking to--for example--zoom in.
| | 01:01 | You also have the option of spacebar-
dragging the image in the window.
| | 01:05 | If you want to dismiss the preview
outside the Image window, you can turn off
| | 01:08 | the Preview check box.
| | 01:10 | You also have the option of clicking
and holding inside the dialog box to turn
| | 01:14 | off the preview, and as soon as you
release the preview turns back on.
| | 01:18 | Now it's going to be easier to see if
we adjust the Amount value here, and its
| | 01:22 | purpose is pretty obvious I think.
| | 01:24 | If you want less sharpening you reduce
the amount, if you want more sharpening,
| | 01:28 | you go ahead and crank it up.
| | 01:30 | And for purposes of demonstration here,
I'm going to over-sharpen this image.
| | 01:33 | So it's a little too crunchy by
cranking the Amount value to its maximum of
| | 01:38 | 500%, and now you can see the
difference here inside the video, this is the
| | 01:42 | before version of the butterfly,
and this is the after version.
| | 01:46 | Now at this point I could click OK, but
if I did so I would be applying a static
| | 01:51 | adjustment, meaning I would be
permanently changing the pixels just as if I
| | 01:55 | applied a Color adjustment from the
Image menu, and that's never going to be the
| | 01:58 | way that I recommend you work.
| | 02:00 | So I'll go ahead and
cancel out of this dialog box.
| | 02:03 | If you want to apply Smart Sharpen or
any filter as a dynamic adjustment, then
| | 02:08 | you need to convert the image into
what's known as a Smart Object, and when
| | 02:12 | you're working on a flat photograph
like this one, it's a two-step process.
| | 02:16 | The first thing you want to do is
double-click on the background to convert
| | 02:19 | it to an independent layer, and that gives
you the chance to name the layer as well.
| | 02:23 | I'll call it butterfly and click OK.
| | 02:26 | The next step--assuming that you're
armed with your Rectangular Marquee tool--is
| | 02:30 | to right-click inside the Image window
and choose Convert to Smart Object.
| | 02:35 | And what that does is it places the image
into a kind of protective container.
| | 02:39 | Now it's not going to look all that
different over here inside the layers panel,
| | 02:43 | it's not going to look any
different here in the Image window.
| | 02:46 | You just going to see this tiny little
Page icon that's telling you that you
| | 02:50 | have an image embedded inside of that layer,
and that effectively protects the pixels.
| | 02:54 | So in other words, if I were to
select the Brush tool, I'd see this little
| | 02:58 | Ghostbusters icon which is telling me
that I no longer have direct access to the
| | 03:02 | pixels inside this layer.
| | 03:04 | However, I could now
apply any filter dynamically.
| | 03:07 | So I'll return to the Filter menu,
choose Sharpen and choose Smart Sharpen
| | 03:11 | again, and I'll click on that
butterfly's head in order to center him here
| | 03:15 | inside the dialog box.
| | 03:16 | I'll crank the Amount value up to 500%,
and now let's say you want to retain
| | 03:22 | your default settings, you don't want
to mess them up, then you would go ahead
| | 03:26 | and save out your own setting by
clicking on this little hard drive icon, and
| | 03:29 | I'll call my settings Sharpening
tests because we'll be testing a lot of
| | 03:34 | different settings here, and then I'll click OK.
| | 03:35 | Now the problem is if I were to click
OK at this point in order to apply these
| | 03:40 | settings--which incidentally we're
going to be able to change anytime we like
| | 03:44 | now--I would override the
defaults because Default is selected.
| | 03:48 | So what you have to do is manually
switch over to your Sharpening tests
| | 03:52 | setting, and that way the defaults
will be preserved, then go ahead and click
| | 03:56 | OK to apply the filter. All right!
| | 03:58 | I'm going to zoom in here a little more,
I'm actually going to zoom in to 200%
| | 04:03 | so you can really see this effect on
the video, and now notice that I have this
| | 04:07 | little Smart Sharpen item listed below my
layer, and it's got an eye in front of it.
| | 04:11 | So if I click on the eye, I'll turn the
effect off, if I click where the eye was
| | 04:16 | a moment ago, I'll turn it back on, and
if I ever want to edit the settings, all
| | 04:20 | I have to do is double-click on the word
Smart Sharpen. And that's how you apply
| | 04:25 | Smart Sharpen as a dynamic
adjustment here inside Photoshop.
| | Collapse this transcript |
| Understanding the Radius value| 00:00 | In this movie I'll introduce you to the
Radius value, which goes to the heart of
| | 00:03 | the way sharpening works.
I want to revisit my setting.
| | 00:07 | So, I'll double-click on the word
Smart Sharpen here in the layers panel, and
| | 00:11 | I'm going to spacebar-drag this guy
over here inside the image window.
| | 00:14 | I'll leave him zoomed in to 200%.
That will work fine.
| | 00:17 | Now, notice this Radius value right here, it's
very integral to the way sharpening works.
| | 00:22 | Obviously, Photoshop is not able to reach back
into your camera and adjust the lens element.
| | 00:28 | So instead what it does is it
performs this kind of parlor trick, where it's
| | 00:32 | drawing halos around the image.
| | 00:34 | And in order to see those halos, we'll
take this Radius value up to 10 pixels,
| | 00:39 | which would of course be ludicrous
for the purpose of sharpening but very
| | 00:43 | illustrative for our purposes here.
You can see those halos appear inside the image.
| | 00:48 | So, what Photoshop does is it senses
areas of rapid luminance transition, and
| | 00:53 | those are known as edges.
| | 00:54 | So this area right here, for example,
is an edge, because we go from this green
| | 00:58 | background which is fairly
light to this dark bug interior.
| | 01:02 | Then Photoshop traces halos on either side.
| | 01:05 | So, it traces a light halo on the light side
and a dark halo on the dark side
| | 01:10 | thereby exaggerating the edge, and our eyes detect
that exaggerated edge as heightened sharpness.
| | 01:17 | So, you can use the Radius
value in a couple of different ways.
| | 01:20 | You can crank it up all the way to 64
pixels, and then you can take the Amount
| | 01:25 | value down. Let's say we take it down to 50%.
We're going to get a heightened clarity effect.
| | 01:31 | So if you click and hold inside the
preview there, you'll see that's the
| | 01:34 | original bug, and then I release,
and now we have a clarified bug.
| | 01:39 | In other words, we have more edge
contrast, but we can't really see the halos
| | 01:44 | because they're so defused, because we have a very
low Amount value and a very high Radius value.
| | 01:49 | If you want a traditional sharpening
effect, then you take that Amount value up
| | 01:54 | probably not to 500%--but again for the
sake of demonstration--and you take the
| | 01:59 | Radius value down, and you can
take it way down if you want to.
| | 02:03 | Right now, we've got it at 3 pixels,
I'll press Shift+down arrow in order to
| | 02:07 | take it down to full pixel, Shift+down arrow
again, and then I'll just press
| | 02:11 | the down arrow key a few times to nudge it down
to what is really the minimum value, 0.3 pixel.
| | 02:18 | You can go lower than that, but then you
pretty much altogether lose any sense
| | 02:22 | of sharpening even at a very high Amount value.
| | 02:25 | But now we're going to have a
little more subtle effect going on.
| | 02:28 | If I click and hold on the image, this
is the before version, and if I release,
| | 02:32 | this is the after version.
| | 02:33 | So you see we've got a crunchier
insect, it's more tactile in other words,
| | 02:37 | possess the sharper detail.
| | 02:39 | However, it doesn't look quite as
oversharpened as it did when we had a Radius
| | 02:43 | of 1 pixel as you see there.
| | 02:46 | So while this is all very well and good, you
may wonder what to do with this information?
| | 02:50 | What Sharpening setting should you apply?
And I'll explain how to determine
| | 02:54 | that in the next movie.
| | Collapse this transcript |
| Gauging the best sharpening settings| 00:00 | In this movie I'll explain how to gauge the
best combination of Amount and Radius values.
| | 00:05 | That's going to depend largely
on the destination of your image.
| | 00:09 | So, the question becomes, are you outputting
this image for the screen--that is
| | 00:13 | for example, you're preparing an image
to display on the web--or are you creating
| | 00:18 | an image that you want to print?
| | 00:19 | If you're going to the screen, then you
can use the screen as your output device,
| | 00:24 | because after all, the image will be
displayed on a computer monitor, and it's
| | 00:28 | going to look the way it
does at the 100% view size.
| | 00:31 | I'm going to leave it zoomed in to 200%
out here in the image window so that the
| | 00:35 | sharpening effect survives in the video.
| | 00:37 | So, for starters here, a Radius
value of about 1 pixel works pretty darn
| | 00:41 | nicely for screen work.
| | 00:43 | However, you can take it down,
especially if you're working in a
| | 00:47 | high-noise image like this.
| | 00:48 | You can see this image has a lot of noise,
random variations in the luminance of
| | 00:53 | neighboring pixels that doesn't
really add anything to the scene.
| | 00:56 | So, I'm going to take my Radius value
down to 0.5 pixels, which is generally
| | 01:02 | about the lowest setting I use.
| | 01:04 | Then you want to adjust the Amount
value so that you get the degree of
| | 01:08 | sharpening you're looking for.
| | 01:10 | And in my case, I'm going to take
the Sharpening value down to 200%.
| | 01:14 | You can see here that we still
have a nice degree of sharpening.
| | 01:17 | So if I click and hold inside the image,
it's a little bit softer, if I release,
| | 01:22 | we're seeing it pop.
| | 01:23 | We can see it even better
over here in the image window.
| | 01:25 | I'll turn off the Preview check box,
and you can see it grows a little softer
| | 01:29 | there, turning the Preview check box on
and the bug looks more tactile, and we
| | 01:34 | can better distinguish some of the detail.
| | 01:36 | Now, if you're going to print,
things get a little bit trickier because
| | 01:39 | you can't really use the screen as your
reference device. You can to a certain extent,
| | 01:45 | but you're better off working from the numbers.
| | 01:48 | The first thing you want to do is take
your ideal Radius value that looks good
| | 01:51 | on screen and multiply it times 3.
| | 01:54 | So I would go ahead and take
this value up to 1.5 pixels.
| | 01:58 | Now, why in the world
would you multiply times 3?
| | 02:02 | Well, here is where things get technical.
| | 02:04 | Your typical everyday average screen has
a resolution between 96 pixels per inch
| | 02:10 | and 110 pixels per inch.
| | 02:13 | That's the general range.
So we're talking about 100 pixels per inch.
| | 02:18 | Your typical image for output has a
resolution of say 300 pixels per inch.
| | 02:24 | So that's 3 times as much resolution
in print, so we need 3 times as much
| | 02:30 | radius, because after all the radius
that we're perceiving, the halos we
| | 02:34 | might see at the 100% view size are
going to get scrunched down to a third of
| | 02:38 | their current size.
| | 02:39 | The next thing you want to do is add
about 50% to your ideal Amount value, and
| | 02:45 | that's going to take care of the fact
that there's a little bit of softening
| | 02:48 | associated with the printing process.
| | 02:50 | So, now you can see that we
have what I would perceive to be an
| | 02:54 | oversharpened bug on screen.
| | 02:56 | If I click and hold on the bug, you'll
see it looks pretty good before, and now
| | 03:00 | I release, and it looks just over-the-top sharp.
| | 03:03 | However, we're going to get a better
perception of what that image is going to
| | 03:07 | look like in print if we zoom out
the image here inside the image window.
| | 03:11 | So, I'll go ahead and press Ctrl+Minus,
or Command+Minus, a sufficient number of
| | 03:15 | times to get to the 50% view size,
which is going to be your best bet.
| | 03:20 | Something like 33% would be more accurate.
| | 03:23 | It would be more telling of how the image is
really going to print in terms of its size.
| | 03:28 | The problem is 50% gives you a better
view into your image, especially where
| | 03:33 | gauging edges is concerned.
| | 03:35 | So I'll turn off the Preview check box,
watch the bug in the Image window.
| | 03:39 | I'll turn off the Preview check box.
You can see it's the softer original bug.
| | 03:42 | I'll turn the Preview back on, and
now we've got a nice tactile bug whose
| | 03:47 | sharpened details are going to
survive the printing process. All right!
| | 03:51 | Now, I'll go ahead and click OK in
order to accept that modification.
| | 03:54 | So that's how you go about gauging the
best combination of Amount and Radius
| | 03:59 | values, whether you're sharpening
for the screen or for print.
| | Collapse this transcript |
| Addressing color artifacts and clipping| 00:00 | In this movie I'll show you how to
adjust the Blend Settings associated with
| | 00:03 | your sharpening effect to avoid two
things: we want to avoid sharpening color
| | 00:08 | because we just want to sharpen
luminance detail, and that's it--otherwise we
| | 00:12 | end up with weird aberrant colors all
over the place--and also, we want to avoid
| | 00:17 | clipped highlights and
shadows around the sharpened edges.
| | 00:21 | So, the first thing I'm going to do
here is double-click on Smart Sharpen just
| | 00:25 | so we can see what's up, and I'm going
to increase the Amount value to 500%, so
| | 00:29 | we're sharpening it through the roof,
and I'm going to take the Radius value up
| | 00:34 | to 5 pixels just so that we
can clearly see the halos.
| | 00:38 | Then I'll click OK in
order to accept that change.
| | 00:41 | Now, I'm going to zoom this image in to
the 200% zoom ratio, so we can see all
| | 00:47 | these weird colors that are
showing up all over the place.
| | 00:51 | If I turn off the Smart Sharpen
Effect for a moment here inside the Layers
| | 00:54 | panel, you can see that we've got a
green background, and we've got some
| | 00:58 | black fur--or whatever it is that butterflies
possess--and we've got some blue around the eye.
| | 01:04 | But as soon as I turn Smart Sharpen back
on, we've got all kinds of wacky colors
| | 01:09 | showing up all over the place, and
that's because on its own, Smart Sharpen is
| | 01:13 | indiscriminate about whether
sharpening color or luminance levels or what.
| | 01:19 | And here's the reason: we're working inside of
an RGB image, so Smart Sharpen is sharpening the Red
| | 01:24 | channel, the Green channel, and the
Blue channel independently of each other,
| | 01:29 | which is the way just about
everything works inside Photoshop.
| | 01:32 | So, any discrepancies between those
channels gets exaggerated as we sharpen.
| | 01:37 | The same would hold true inside
of the CMYK image, by the way.
| | 01:41 | So here is how you avoid this, and this
is the kind of thing you should do every
| | 01:45 | time you sharpen an image.
| | 01:47 | You're not going to see it to this
extent, but it's going to be there.
| | 01:50 | So what you want to do is double-click
on this little slider icon right there,
| | 01:55 | see these two triangles, and that will
bring up this Blending options dialog
| | 01:58 | box, and the first step is to change
the mode from Normal to the very last
| | 02:03 | mode in the list, Luminosity. And I want you
to watch the butterfly in the image window.
| | 02:08 | You're going to see all those weird
colors go away, and that's because we're now
| | 02:12 | sharpening just the luminance
information which is the true detail inside the
| | 02:17 | image, and we're leaving the color alone.
| | 02:19 | Second thing I'm going to do
is take the Opacity value down.
| | 02:23 | Now, you may recall, I determined for
print purposes that the ideal Amount value
| | 02:28 | should be 250%, but then I went and
cranked it up to 500% which is twice as
| | 02:33 | much, so I'm going to take the
Opacity level down to 50% which is roughly
| | 02:38 | equivalent to lowering that Amount
value but actually better where the clipped
| | 02:43 | highlights and shadows are concerned.
Let me show you what I mean there.
| | 02:46 | I'll go ahead and click OK, and now
I'll go ahead and duplicate this butterfly
| | 02:50 | layer by pressing Ctrl+J, or Command+J on
the Mac, and I'll double-click on Smart
| | 02:55 | Sharpen in order to bring up my Smart
Sharpen dialog box, and I'll reduce that
| | 02:59 | Opacity value back down to 250% and click OK.
| | 03:03 | Then I'll double-click on little slider
icon to bring up my Blend options, and
| | 03:07 | I'll increase the Opacity
value to 100%, and then click OK.
| | 03:11 | Now, I'm going to zoom in here, and
I'll turn this image off, so the top one is
| | 03:17 | the 250% amount value, I'll turn it off.
| | 03:21 | And did you see a difference there?
It's not a big difference.
| | 03:24 | We still have the same amount of
sharpening going on, but we got rid of some of
| | 03:29 | the clipping that was
occurring inside of the edge details.
| | 03:33 | So if I turn that butterfly back on,
the 250% one, you can see that we have a
| | 03:38 | little bit of clipping right along
the light edge and a little bit of black
| | 03:42 | clipping along the dark edge, whereas
that dissipates if we go with a 2x Amount
| | 03:49 | value, and we reduce the Opacity to 50%.
| | 03:53 | So that, folks, once again pretty
technical stuff, but that's how you avoid
| | 03:57 | sharpening color and clipping highlights and
shadows when sharpening your images in Photoshop.
| | Collapse this transcript |
| Sharpening a digital photograph| 00:00 | All right! Our bug is starting to look like an
oversharpened mask, but he is going to look
| | 00:04 | great by the end of this movie in
which I show you why it's often preferable
| | 00:08 | when working with digital
photographs to adjust the Remove setting.
| | 00:11 | But first, notice that now that we
have a couple of layers going on here.
| | 00:15 | These white filter masks are
starting to clutter up the panel.
| | 00:18 | Now, their purpose is to allow you
to brush a filtering effect away.
| | 00:23 | For example, if I clicked inside this lower
white thumbnail, and I switched over to
| | 00:27 | the Brush tool, then I'll press the
right bracket key a few times in order to
| | 00:31 | make it larger, and you can see that
my foreground and background colors are
| | 00:35 | white and black respectively.
I want them to be the opposite.
| | 00:38 | So, I'll press the X key, and now my
foreground color is black, and that means I
| | 00:43 | can paint away the filtering if I like,
which I might find helpful where the
| | 00:48 | really big halos are concerned--for
example, those along the feelers, they're
| | 00:52 | pretty bad--but we're better
off just fixing those halos.
| | 00:56 | So I'm going to get rid of my Filter
Mask by right-clicking on the thumbnail and
| | 01:00 | choosing Delete Filter Mask.
| | 01:01 | I'll do the same for the other one as
well, just reduce some clutter here.
| | 01:05 | And by the way, it's not like the
filter mask is permanently lost, you can
| | 01:09 | always right-click on the words Smart
Filters and choose Add Filter Mask to
| | 01:14 | bring back a new one.
| | 01:15 | Anyway, I'm going to press the Escape key
here, and zoom out to the 50% view size.
| | 01:19 | We do have a problem with
the halos around these feelers.
| | 01:22 | So, let's go ahead and fix that by
double-clicking on Smart Sharpen once again.
| | 01:26 | And bear in mind, once we're back in
the Smart Sharpen dialog box, the preview
| | 01:31 | changes out here in the image
window to its standard opaque version.
| | 01:35 | So, in other words, we're seeing
the full 500% amount at this point.
| | 01:40 | I'm going to switch Remove, by the
way, from Gaussian Blur to Lens Blur.
| | 01:44 | Now, you may wonder what in
the world is going on here.
| | 01:47 | Obviously, we're not removing Gaussian
Blur, because we never added it in the
| | 01:51 | first place, and we're not reducing
Lens Blur or Motion Blur either, which are
| | 01:55 | other filters that Photoshop offers.
| | 01:57 | What we're really doing is using the
power of those filters to sharpen the image.
| | 02:03 | So part of what's going on under the
hood here is Photoshop is creating those
| | 02:06 | halos by blurring the image, and
it's doing so using Gaussian Blur.
| | 02:12 | We could be creating those halos using
Lens Blur instead, and that turns out to
| | 02:16 | be a better idea when you're working
specifically with digital photographs.
| | 02:20 | Gaussian Blur often works better for
scanned photographs or artwork that
| | 02:24 | has been downsampled.
| | 02:25 | However, Lens Blur, if you're just looking in
a standard digital photo, it's the way to go.
| | 02:30 | And notice that our halos are
going to immediately settle down.
| | 02:34 | Did you see how they
dissipated a little bit there?
| | 02:36 | They're still pretty harsh
over here in the feelers.
| | 02:39 | So let's go ahead and take that Radius
value down to about twice as much as we
| | 02:44 | would have used with Gaussian Blur. And
you may recall that was 1.5 pixels, so
| | 02:49 | I'm going to take the Radius
down to 3 pixels this time around.
| | 02:52 | If you're wondering what's up with Motion Blur,
| | 02:55 | that can be useful for compensating for camera
shake, you know, when you move the camera
| | 02:59 | a little bit and blur the image back and
forth, and we'll see an example of that later.
| | 03:03 | But for now, these turn out to be what
I consider to be the best settings for
| | 03:07 | this particular image--assuming of
course that we'll be printing it.
| | 03:11 | I want you to watch something here.
| | 03:13 | Notice that he is still looking pretty
over-sharpened. We can see those halos
| | 03:17 | around the feelers even at the 50% view size.
| | 03:20 | But as soon as I click OK, Photoshop
goes ahead and reapplies that 50% Opacity
| | 03:26 | as well as that Luminosity Blend mode,
and things settle down considerably, and
| | 03:31 | we have ourselves a very nicely
sharpened photograph. And that's how you sharpen
| | 03:37 | a digital photo by changing
the Remove setting to Lens Blur.
| | Collapse this transcript |
| The More Accurate check box| 00:00 | In this movie I'll explain what's
going on with the More Accurate check box,
| | 00:03 | and I will also show you a special
circumstance under which it becomes useful.
| | 00:07 | So we're still looking at the butterfly here.
| | 00:09 | I'll will go ahead and double-click on
Smart Sharpen in order to bring up the
| | 00:12 | Smart Sharpen dialog box, and I'll
also zoom in on my butterfly in the
| | 00:16 | background by pressing Ctrl+Plus a few times.
| | 00:19 | I'm going to drag this
guy down just a little bit.
| | 00:21 | If you hover over the More Accurate
check box, it will tell you that it's going
| | 00:25 | to produce a more accurate sharpening
effect, which begs the question if that's
| | 00:29 | true--which it's not--then why
isn't it turned on by default?
| | 00:33 | After all, it doesn't really affect
the speed at which the filter works.
| | 00:36 | Well, what it actually does--we'll go
ahead and turn it on--is it applies a kind
| | 00:41 | of micro-sharpening to the image, so
it's going in and finding more edges
| | 00:44 | inside the photograph. And if your
image contains noise like this one does,
| | 00:49 | then it's going to sharpen the heck out
of that noise, and you're even going to
| | 00:52 | see it at the 100% zoom level right here, which
frankly is just making a mess out of this image.
| | 00:58 | So, you don't want to use
it with high-noise images.
| | 01:00 | You also don't want to use it for your
portrait shots because you will end up
| | 01:05 | micro-sharpening the pours on the
person's face, and that's probably not
| | 01:08 | something the subject of your
photograph is interested in.
| | 01:10 | So I'll go ahead and turn off that
check box and cancel out of here as well.
| | 01:15 | That's not to say micro-sharpening
is never something you want.
| | 01:18 | We'll go ahead and switch over to this
low noise image from fellow lynda.com
| | 01:22 | presenter Chris Orwig, and you can see
that this image contains all sorts of
| | 01:26 | wonderful details that we
might want to draw attention to.
| | 01:30 | Now, this is a flat photograph, so I
have to convert it to a smart object.
| | 01:33 | I'll double-click on the background,
and I'll go ahead and name this layer
| | 01:37 | iguana, like so, and I'll click OK.
| | 01:39 | And next, I'll right-click inside the
image window with the Rectangular Marquee
| | 01:43 | tool and choose Convert to Smart Object.
| | 01:46 | Now then notice up here in the Filter
menu that the first command is Smart
| | 01:49 | Sharpen, because you're always going to
see the last filter you applied, and it
| | 01:53 | has a keyboard shortcut of
Ctrl+F, or Command+F on the Mac.
| | 01:57 | If you want to modify those features as
you apply them, so you want to bring up
| | 02:00 | the dialog box, you want to add
the Alt key or the Option key.
| | 02:04 | So I'm going to press Ctrl+Alt+F or
Command+Option+F on the Mac, and you can see
| | 02:09 | that Photoshop has gone ahead and
turned on More Accurate automatically.
| | 02:12 | That's just the function of the
fact I turned it on a moment ago.
| | 02:15 | I'll turn it off so that we can see
what a normal sharpening effect would look
| | 02:19 | like when applied to the iguana, and
I'm going to go ahead and move him over
| | 02:23 | here inside the image window.
| | 02:24 | So, this is your standard sharpening
effect, albeit we've got a very high Amount
| | 02:29 | value, so we're over-sharpening the creature.
| | 02:31 | Then I'll turn on More Accurate, and
you can see how it goes in and basically
| | 02:35 | creates kind of double edges around
each one of these scales, and it sharpens
| | 02:40 | the details inside the scales as well,
which is going to turn out even though
| | 02:44 | I'm over-sharpening the image
at this point to look great.
| | 02:48 | So, now I'll click OK in
order to accept that effect.
| | 02:51 | Now, I'll go ahead and zoom in on this
guy so I can see him at 100%, and let's
| | 02:56 | change the blending settings as well
by double-clicking on the little slider
| | 02:59 | icon down here in the layers panel.
And as usual, I'll change the Blend mode
| | 03:04 | from Normal to Luminosity, so we're just sharpening
the luminance detail and not affecting the shadow.
| | 03:10 | Now, I'm going to take that Opacity
value down so that we're getting rid of some
| | 03:13 | of the clipping, and reducing the
impact of the effect, and in this case, I'm
| | 03:18 | I'm going to take it down to 25%.
| | 03:20 | Then I'll click OK in
order to accept that effect.
| | 03:23 | Now, if I turn off the eyeball for Smart
Sharpen, you can see this is the way it
| | 03:27 | looked before, and now this is the way
it looks after, and this turns out to be
| | 03:32 | just an excellent looking
sharpening effect in my opinion.
| | 03:35 | Now, on a side note, there is one more part
of this dialog box that we haven't discussed.
| | 03:40 | I'll go ahead and double-click
on Smart Sharpen again.
| | 03:43 | Notice these Basic and Advanced controls.
| | 03:46 | If you turn on Advanced, you're going
to get a couple of extra tabs, Shadow and
| | 03:50 | Highlight, and their purpose is to
avoid the clipping--the shadow clipping and
| | 03:55 | highlight clipping--where the edge
details end up going black or white.
| | 03:59 | Problem with these settings
right here are fairly numerous.
| | 04:02 | First of all, they're almost impossible
to understand because you have to deal
| | 04:06 | with yet another Radius value.
| | 04:08 | Secondly, they can mess up the
performance of the filter because if you end up
| | 04:12 | modifying them, then those settings
stick for the next image you sharpen, and
| | 04:16 | you really have to change these
settings differently for each and every image.
| | 04:20 | So they're hard to use, but also that
opacity effect that I showed you ends
| | 04:25 | up doing a better job.
| | 04:26 | So I guess what I'm saying is I don't
really like the controls, and I can't
| | 04:30 | recommend them, so what I do is I just
stick with the Basic option, and use that
| | 04:34 | opacity trick to get rid
of the clipping. All right!
| | 04:37 | I'll go ahead and cancel out of here.
And that, friends, is how More Accurate
| | 04:41 | works and when you might apply it.
| | Collapse this transcript |
| Correcting for camera shake| 00:00 | This time around, we're looking
at an image that has some camera
| | 00:03 | shake associated with it.
| | 00:04 | So, I was facing upward.
| | 00:06 | This is a ceiling carving, a little bit
of an awkward stance, and as a result,
| | 00:10 | there is some vertical
movement associated with the shot.
| | 00:13 | Obviously, that was movement on
my part, not the carving's part.
| | 00:17 | In this movie I'll show you one way to
account for this issue using the Smart
| | 00:21 | Sharpen Filter with Remove set to
Motion Blur, and then in the next movie, I'll
| | 00:25 | show you a different way to work.
| | 00:26 | So, we're once again
working with a flat photograph.
| | 00:29 | I'm going to double-click on the
background and call this layer carving.
| | 00:32 | Then I'll right-click inside the
image with the Rectangle Marquee tool and
| | 00:36 | choose Convert to Smart Object.
| | 00:38 | Then because Smart Sharpen was the last
filter I applied, I'll press Ctrl+Alt+F,
| | 00:42 | or Command+Option+F on the Mac.
| | 00:45 | Obviously, this is not
the effect we want at all.
| | 00:47 | There is a lot of noise in this image,
so we want More Accurate turned off.
| | 00:51 | Then we want to change Remove
from Lens Blur to Motion Blur.
| | 00:56 | The next step is to set the Angle of your shake.
| | 00:59 | So, by default it's set to Horizontal.
| | 01:01 | In my case, the real angle of
the camera shake was up and down.
| | 01:05 | So I'm going to change this Angle
value to 90 degrees, or I could have used
| | 01:09 | this little widget here.
| | 01:10 | Then what I find you want to do is go
ahead and take the Radius value down to 1,
| | 01:15 | and the Radius value is more
analogous in this case to the amount of camera
| | 01:19 | shake that's been rendered inside of the image.
| | 01:22 | So, if you only have 1 pixel of shake,
you're in great shape, but this has more
| | 01:26 | shake than that, and you don't want an
image that has a wild amount of camera
| | 01:30 | shake because you're not going to be
able to really successfully correct it.
| | 01:34 | Then after setting the Radius to 1
pixel, I press Shift+up arrow in order to
| | 01:38 | raise that value a full pixel, and you
can see the image shift around both here
| | 01:44 | inside the image window and in the preview.
| | 01:47 | Then I'll press Shift+up arrow again.
| | 01:48 | We'll see it shifts down this time,
press Shift+up arrow again, it shifts up,
| | 01:52 | and you can keep doing that in order to
sort of shift that image back and forth.
| | 01:57 | Now, I've taken the value way too high.
| | 02:00 | And my experience with this image is
that the Radius value wants to be 4 pixels.
| | 02:04 | Again, I'm going to leave the
Amount value cranked up to 500%.
| | 02:07 | But I don't want to really ruin
my Sharpening tests setting here.
| | 02:11 | So I'm going to click on the hard
drive to create a new setting, and I'm just
| | 02:15 | going to call it Camera shake, and that
way I'll know in the future if I have a
| | 02:19 | camera shake image, I might as
well try out these settings.
| | 02:22 | Click OK, and then change Settings
to Camera shake, so you don't end up
| | 02:26 | overwriting the other settings.
| | 02:28 | Then go ahead and click OK
in order to apply that change.
| | 02:32 | Now, what we're looking at is a
pretty high-noise image, and in fact, this
| | 02:37 | application of Smart Sharpen has
enhanced the noise dramatically.
| | 02:40 | So this is what the image looked like
before, and this is what it looks like now.
| | 02:45 | The detail is obviously in better shape.
| | 02:47 | But we need to back off the effect as
usual by double-clicking on the little
| | 02:51 | slider icon there in the layers panel.
| | 02:53 | I'm going to take the Opacity down to 50%,
and I'll change the mode from Normal
| | 02:58 | to Luminosity, and we end up
achieving this more nuanced effect right here.
| | 03:03 | So again, here is the before version of
the image, here's the after. We can get
| | 03:08 | a better sense of the positive remedy
here if we zoom out a click.
| | 03:13 | So again, before, pretty blurry little image
here, and then here's the after version,
| | 03:18 | thanks to setting the Remove option inside
the Smart Sharpen dialog box to Motion Blur.
| | Collapse this transcript |
| Sharpening with the Emboss filter| 00:00 | In this movie I'll show you another way
to account for camera shake that does a
| | 00:03 | better job of not exaggerating
the noise inside the image.
| | 00:08 | So, in other words, it's a potentially
better way to go if you have a high-noise
| | 00:12 | image like this one.
| | 00:13 | So, first thing I'm going to do is
create a copy of this carving layer by
| | 00:17 | pressing Ctrl+Alt+J, or Command+Option+J
on the Mac, and I'll call this emboss
| | 00:22 | because we're going to end up using a
different filter this time, one that
| | 00:25 | goes by the name emboss.
| | 00:27 | Then click OK in order to create that copy.
| | 00:30 | These are both referencing the
same information, by the way.
| | 00:34 | So, if you ever decided to update the
smart object, you want to change the core
| | 00:38 | image, you would double-click on this
thumbnail to open it in a new window, and
| | 00:43 | any changes you make to that image
would be reflected in both smart objects.
| | 00:47 | Now, you can either turn off this
application the Smart Sharpen here, or you
| | 00:51 | can go ahead and throw it away by right-
clicking on Smart Sharpen and choosing
| | 00:55 | Delete Smart Filter, and that
will go ahead and get rid of that.
| | 00:59 | That returns us to
obviously the original blurry image.
| | 01:02 | Now, I'm going to go up to the Filter
menu, choose Stylize, and choose Emboss,
| | 01:07 | and this command will also be
applied as a Smart Editable Filter.
| | 01:11 | Now, it produces a pretty weird effect.
| | 01:13 | It basically turns the entire image
gray, kind of inverts the image on top of
| | 01:18 | itself, and then just offsets it a little bit.
| | 01:21 | So, it's not the kind of thing you
would think would work for anything unless
| | 01:25 | you're trying to create some
sort of lame carbonite effect.
| | 01:29 | But here's what you do.
| | 01:30 | You go ahead and set the Angle
value to the angle of the shake which we
| | 01:35 | determine to be 90 degrees.
| | 01:36 | But I want a kind of under-lighting
effect, so I'm going to set the Angle to
| | 01:39 | -90, and then I'm going to crank that
Amount value up to 500% ,just so we have a
| | 01:44 | fair comparison here.
| | 01:46 | And my experience with this has been
you set the Height value to about half of
| | 01:51 | what you set the Radius value to
when you are using Smart Sharpen.
| | 01:55 | So, in our case we had a Radius of 4.
I'm going to take this Height value up to 2.
| | 02:00 | You don't have the option of entering
decimal values, by the way, when using
| | 02:04 | Emboss, and that creates a pretty grayish
but aberrantly-colored weird sort of effect.
| | 02:10 | All right! Now go ahead and click OK, and it's
all about adjusting the Blend Settings.
| | 02:15 | So double-click on this little slider
icon right there in order to bring up the
| | 02:20 | Blending options dialog box, and we're
going to change the mode from Normal to
| | 02:25 | one of these contrast modes right here,
and you can go with Overlay, that will
| | 02:30 | drop out the grays, they all do.
| | 02:32 | But you're going to get a lot
of wacky colors with Overlay.
| | 02:36 | So the mode that does the best job of not
blowing out those colors is Linear Light.
| | 02:41 | Problem is it creates a
ridiculous effect by default.
| | 02:45 | You really have to reduce this Opacity
value, and I'm going to take it down to
| | 02:49 | 10% where this image is
concerned, and then click OK.
| | 02:54 | Now, I'll zoom in so that we can
see that we do have a sharper image.
| | 02:58 | I'll go ahead and turn off Emboss for a
moment so that we can see the original
| | 03:02 | image and here is the modification.
| | 03:04 | So, we do have some--not necessarily
sharper detail--but the detail has kind
| | 03:09 | of moved into place.
| | 03:11 | And compare that, if I turn off this
layer to the effect we achieved with
| | 03:15 | Smart Sharpen, which I would readily admit has
a higher degree of sharpness associated with it.
| | 03:21 | But we're also seeing a lot more noise
up here in the neck region, whereas if I
| | 03:25 | turn on Emboss, you can see that,
that noise is not nearly so obvious.
| | 03:30 | So I'll go ahead and zoom out so
that we can take in the entire image.
| | 03:34 | Again, here's the before version,
and here's the after version.
| | 03:37 | It's really a matter of choosing your poison.
| | 03:39 | If you find that you get too much noise
out of Smart Sharpen, try out the Emboss
| | 03:43 | Filter set to Linear
Light at a very low Opacity.
| | Collapse this transcript |
| Sharpening with High Pass| 00:00 | In this final movie I'll show you a
more nuanced but less intuitive way to
| | 00:04 | sharpen images using a filter called
High Pass, and its advantage is that it
| | 00:09 | naturally does a better job of
avoiding clipping where the highlights and
| | 00:13 | shadows are concerned around the
edges, and as a result it tends to be a
| | 00:17 | better technique for portrait shots, even if the
portrait is of a couple of squirrels in love.
| | 00:23 | So I have gone ahead and created a couple of
copies of this image as smart objects.
| | 00:27 | The bottom smart object is turned on,
the top one is turned off for now.
| | 00:31 | Let's go ahead and sharpen the bottom
one the traditional way, by going to the
| | 00:35 | Filter menu and choosing the Sharpen
command and choosing Smart Sharpen, and I
| | 00:40 | am going to switch my settings from
Camera shake back to Sharpening tests, and
| | 00:44 | I have got an Amount value 500%, as you can see
here, Radius of 3 pixels, Remove is set to Lens Blur.
| | 00:51 | You might see that you're more accurate
check box is turned on, which actually
| | 00:54 | doesn't really harm this image that much.
It does a pretty nifty job once we go
| | 00:59 | back and reduce the Opacity value.
Currently the effect is pretty over the top,
| | 01:03 | but it brings out a lot
of noise in the background.
| | 01:06 | So I'd I like to turn it off,
you can go your own way.
| | 01:10 | But what's going to be important here is
the Radius value, remember that it's 3pixels.
| | 01:14 | Then I click OK in order to accept the effect.
| | 01:17 | Obviously, this is way too much.
The image is just crunchy as heck.
| | 01:21 | So I'll double-click on the little
slider icon in order to bring up the Blending
| | 01:25 | Options dialog box. As always when
working with this Filter, you want to change
| | 01:29 | the Blend mode to Luminosity, you'll
see the color is settled down immediately,
| | 01:33 | and then I went ahead and backed off
the Opacity value to 25% in order to
| | 01:38 | produce this much better effect here.
Then I'll click OK to accept that modification.
| | 01:44 | All right, let's compare this to High Pass,
which is a totally different approach.
| | 01:49 | It's going to be a pretty subtle
difference, but it's worth knowing about this one.
| | 01:54 | I'll go ahead and turn on the layer, like so.
| | 01:56 | This is the pre-sharpened version of the
squirrels obviously, and I'll go up to
| | 02:01 | the Filter menu, choose Other, and
choose High Pass, which is probably
| | 02:06 | Photoshop's ugliest filter.
| | 02:08 | It basically turns everything that's
not an edge gray, and then the edges just
| | 02:13 | get kind of grayish, as opposed to full-on gray.
| | 02:17 | What you want to do is set the Radius value to
about half of what we saw in Smart Sharpen.
| | 02:24 | So I am going to set to 1.5, and the
reason is that High Pass uses Gaussian Blur
| | 02:29 | as opposed to Lens Blur.
| | 02:31 | All right than I'll click OK
in order to accept that effect.
| | 02:34 | Now the next step is to double-click on
the slider triangle as usual, and we're
| | 02:39 | going to change the mode to that same
mode we used for Emboss, and that will go
| | 02:43 | ahead and drop out those grays, and we end up
with this highly-sharpened version of the image.
| | 02:49 | This time we only need to back off the
Opacity value about half as much,
| | 02:53 | because you may recall from a moment
ago, when we were in High Pass, the only
| | 02:57 | control we had was Radius.
| | 02:59 | We did not have any form of Amount
control, and High Pass is essentially on its
| | 03:04 | own, equivalent to about 100%.
| | 03:07 | But then Linear Light
heightens the effect like crazy.
| | 03:10 | So we'll take the Opacity down to 50%
this time and click OK. And just to give
| | 03:15 | you a sense of what we've brought here,
I'll turn off the High Pass Filter.
| | 03:19 | You can see this is the before version
of the image, and this is the sharper
| | 03:23 | version of the image, and I'm going
go and zoom on in here, and I want to
| | 03:27 | see the difference between this
version of the sharpening, and this is the
| | 03:32 | Smart Sharpen effect.
| | 03:34 | So we've got kind of drabber colors
going on, because we had to avoid the
| | 03:39 | clipping by reducing the Opacity
value, we're left with less roundness
| | 03:44 | associated with each one of these hairs.
| | 03:47 | Also, notice--let's see if I can find it
here--we'll turn High Pass back on, we've
| | 03:52 | got an area where we have a little bit
of detail, there is--notice that right
| | 03:56 | there we've got a little bit of a
cleft showing up between these two hairs.
| | 04:00 | Whereas, if I turn High Pass off, it
disappears. We don't have nearly that
| | 04:03 | much clarity going on.
| | 04:05 | Now neither of these effects is bad.
| | 04:07 | I am not going to say that you
definitely have to use High Pass instead of Smart
| | 04:12 | Sharpen for all of your portrait
shots, it's nothing of the kind.
| | 04:16 | But you may find that High
Pass delivers more nuanced results.
| | 04:20 | The downside--I will go ahead and turn
it back on--is that you will get a little
| | 04:25 | bit of color exaggeration, because we
can't really leech that little bit of
| | 04:28 | color out of the High Pass Filter.
| | 04:30 | And the Linear Light mode goes
ahead and keeps some of that coloring.
| | 04:33 | So just a final way to sharpen inside
of Photoshop by using High Pass combined
| | 04:39 | along with Linear Light at a low opacity level.
| | Collapse this transcript |
| Painting in sharpness| 00:00 | There is one final way to sharpen
inside of Photoshop that doesn't involve any
| | 00:04 | kind of filter whatsoever. Instead,
you paint with a tool, and it works best
| | 00:08 | for this kind of high detailed stuff
like fur, and it's also perfect when you
| | 00:13 | just want to sharpen part of an image,
and you don't want to sharpen anything
| | 00:17 | else. For example, there's no point in
sharpening this area that's totally out
| | 00:22 | of the Depth of Field here, whereas sharpening
these creatures' faces makes an awful lot of sense.
| | 00:28 | It also, by the way, gives you no
Radius control, so it's really just designed
| | 00:32 | for a Spot Sharpening and Screen Sharpening.
And you will find it down here.
| | 00:38 | Click and hold on the Blur tool or the
Sponge tool, or whatever is showing up
| | 00:42 | here, and select the Sharpen tool.
| | 00:45 | Make sure that you're working on a
pixel-based image layer like I am.
| | 00:48 | In this case, this is as a flat
version of that squirrel file.
| | 00:51 | Then what you want to do is create a new layer so
that you're not applying a destructive modification.
| | 00:57 | So I'm going to press Ctrl+Shift+N, or
Command+Shift+N on the Mac, to bring up
| | 01:01 | the New layer dialog box, and I'll just
call this layer Sharpening, like so,
| | 01:05 | and then I will click OK, and now
we've got this blank layer, and if you just
| | 01:09 | start in painting on the blank layer,
nothing is going to happen, because
| | 01:13 | there's nothing on the layer to sharpen,
which is why you want to go up here
| | 01:16 | and turn on Sample All layers.
| | 01:18 | You also very much want to make
sure Protect Detail is turned on.
| | 01:22 | The only reason this check box exists is to
kind of demonstrate how the tool got enhanced.
| | 01:29 | In the old days, prior to CS5 actually,
when you painted with this tool, you
| | 01:34 | ended up getting this kind of number here.
| | 01:36 | So you just basically started harming
the image immediately. It doesn't look
| | 01:41 | sharp at all, it just looks terrible.
| | 01:43 | So I'll press Ctrl+Alt+Z a couple of times,
Command+Option+Z on a Mac to undo those changes.
| | 01:48 | So as I say, Protect Detail needs to be
turned on--it's on by default--and then
| | 01:53 | you just need to start brushing
in sharpness inside the image.
| | 01:57 | And so, for example, I'm most
interested in brushing in sharpness in these
| | 02:01 | creatures' heads, maybe around the eye
as well. You want to take it easy, you do
| | 02:05 | have a Strength control that you can
modify if you want to if your edits end up
| | 02:10 | being too much too fast.
| | 02:12 | And so I am just going to
brush around this creature's face.
| | 02:15 | You can see that we're getting pretty
great results out of the tool, where this
| | 02:18 | specific image is concerned.
| | 02:20 | And so that's all I want is just to
sharpen their faces and nothing more.
| | 02:24 | Again, don't scrub over the same
region too many times, or you're going to
| | 02:29 | start damaging the image.
| | 02:30 | So I'll press Ctrl+Z, or Command+Z on a
Mac, to undo that change, and then when
| | 02:34 | you're done just press the M key to
switch back to the Rectangular Marquee tool
| | 02:38 | and change the mode for this layer
from Normal to Luminosity, and you will
| | 02:43 | eliminate any chance for having
aberrant colors inside the image.
| | 02:46 | So just to give you a sense of what I've
done, I'll turn off the Sharpening layer.
| | 02:49 | This is the squirrels as they
existed before I sharpened them, this is
| | 02:54 | the squirrels as it exists now,
| | 02:56 | thanks to Enhanced Sharpening
Brush, here inside Photoshop.
| | Collapse this transcript |
|
|
14. Creating and Formatting TextVector-based type| 00:00 | Just as you might expect, Photoshop
provides a Type tool that lets you
| | 00:04 | create layers of Text.
| | 00:06 | You can edit the text anytime you like,
and thanks in part to Adobe's history as
| | 00:11 | the inventor of the Post Script Type
Engine, you have all the formatting
| | 00:15 | controls you could possibly want.
| | 00:17 | What you might not expect is that text
is unlike anything we've witnessed so far.
| | 00:23 | In previous chapters, I've shown you
features that affect pixels, those tiny
| | 00:27 | squares of color that compose a digital image.
| | 00:30 | But while text looks like pixels, complete
with blocky edges at zoom ratios beyond 100%,
| | 00:37 | it is in fact vectors, meaning that
Photoshop defines the outline of each and
| | 00:43 | every character of type mathematically and
renders the outlines to pixels on the fly.
| | 00:49 | The result is that you can scale text to any
size you like, and it'll remain razor sharp.
| | 00:55 | So let's say you increase the
resolution of an image, Photoshop can't add new
| | 01:00 | detail to photograph, it can only
average the existing pixels, but the program
| | 01:05 | can and does redraw all text
layers at the higher resolution.
| | 01:11 | Meanwhile, you can seamlessly
integrate text layers with pixel-based layers,
| | 01:16 | even masking them behind
image elements as we'll see.
| | 01:20 | This means Photoshop is a better
program for synthesizing text and photographic
| | 01:24 | imagery than any other program on the
market, even Illustrator or InDesign.
| | 01:30 | If that interests you, this
chapter is going to blow you away.
| | Collapse this transcript |
| Creating and editing point text| 00:00 | In this movie I will show you how to
create and edit text inside Photoshop.
| | 00:04 | Now what we're seeing is our starter
document over here on the left-hand
| | 00:07 | side, and the final version of the
magazine cover that we we'll be creating
| | 00:12 | over the course of this and the next
chapter, but we will get 90% the way
| | 00:16 | there inside this chapter.
| | 00:17 | Now when you first open this document
over here on the left, you may end up
| | 00:21 | getting this warning that tells you
that you need to update your text layers.
| | 00:24 | If so, just go ahead and click on the
Update button in order to update that
| | 00:28 | text, and that's just a function of
the fact that the text engines are little
| | 00:32 | different on the Mac and the PC, and they
change from one version of the program to the next.
| | 00:37 | Also note that I'm using a couple of
fonts, Myriad and Minion, that are included
| | 00:41 | along with the Create Suite.
| | 00:43 | You should have those fonts; however,
if you don't, you will just need to work
| | 00:47 | with different fonts that are
installed on your system. All right!
| | 00:50 | I don't need to see both of
these documents at the same time.
| | 00:53 | So with Base layers.psd selected, I
will go up to the Window menu, choose
| | 00:57 | Arrange, and then choose Consolidate All,
so I am seeing just that one document.
| | 01:01 | Now I have got a series of guidelines
set up inside of this document, if you're
| | 01:05 | not seeing them as I'm not, then press
Ctrl+Comma or Command+Comma on the Mac, in order
| | 01:10 | to make them visible.
| | 01:11 | Then I will go ahead and zoom in on
the model's shoulder here, and I am going
| | 01:16 | to click on the Fashion Formulas
layer in order to make it active, and that
| | 01:20 | will go ahead and lift those
formatting attributes for the text layer that we
| | 01:24 | are about to create.
| | 01:25 | Now you create a text layer using the
Type tool which is located right here, and
| | 01:29 | you can also get to it, by
the way, by pressing the T key.
| | 01:32 | And notice that Photoshop has
indeed gone ahead and lifted all the
| | 01:35 | attributes associated with the
active text layer, and you can see that up
| | 01:39 | here in the Options bar.
| | 01:41 | So we have got Myriad Pro semibold, the Type
Size is of 76 points, the type is white as well.
| | 01:46 | I am going to click inside of my
image in order to set a blinking insertion
| | 01:51 | marker that's associated with a little
anchor point right there, that square
| | 01:55 | point, and that shows you that you are
creating point text--that is freeform
| | 01:59 | text that doesn't wrap automatically
inside the image. And now I'm going to type
| | 02:04 | 365, and it ends up appearing to the
right of that anchor point right there, and
| | 02:09 | that's because the text that was formerly
selected--Fashion Formulas down here--is
| | 02:14 | aligned right, and you can change
that setting up here in the Options bar.
| | 02:17 | So notice, right now the right align text
icon is active, go ahead and switch it to
| | 02:22 | be Left align text icon instead.
| | 02:24 | You also have keyboard shortcuts
for these various alignment options.
| | 02:28 | And they are the following.
| | 02:30 | If you press Ctrl+Shift+C you'll
center the text on that anchor point, as you
| | 02:34 | can see, and that's Command+Shift+C on a Mac.
| | 02:37 | If you press Ctrl+Shift+R, or Command+Shift+R
on the Mac, then you will align the
| | 02:41 | type to the right, and if you press
Ctrl+Shift+L, or Command+Shift+L on the Mac,
| | 02:46 | then you'll align the text to
the left, which is what we want.
| | 02:49 | Now you can accept your
modifications by clicking on any tool.
| | 02:52 | And notice here that we've created a new
text layer. Right now it's just called
| | 02:55 | layer 1, but as soon as I switch to
let's say the Rectangular Marquee tool by
| | 02:59 | clicking on it in the toolbox, then
not only do I accept my text layer but
| | 03:04 | Photoshop goes ahead and automatically
names it 365, and it continues to update
| | 03:09 | the name every time you
make modifications. All right!
| | 03:12 | So that's one way to work.
| | 03:13 | Let's say now you want to modify your
text, you can switch back to the Text tool
| | 03:17 | manually and then select the text if
you want to, or you can go ahead and
| | 03:23 | double-click on this T icon here inside
the layers panel. And that will do two
| | 03:27 | things: it will not only go ahead and
select all of the text associated with
| | 03:31 | this layer, but it will automatically
switch you to the Type tool as well.
| | 03:35 | So let's say I decide to change that
number to something random here, and I now
| | 03:41 | want to accept my modifications.
| | 03:42 | Well, you can do that by pressing the
Enter key on the numerical keypad, so
| | 03:47 | that's that Enter key in the far bottom
right corner of a standard keyboard, and
| | 03:52 | that will not only accept your modifications,
but it will switch you to the last
| | 03:56 | tool that you had selected, in
my case the Rectangular Marquee.
| | 03:59 | The problem is what if you
don't have a numerical keypad?
| | 04:02 | What if you've got a smaller
keyboard, or you're working on a laptop?
| | 04:06 | Well, I will go ahead and press the T
key to switch back to the Type tool, and I
| | 04:11 | will click inside my text to set the
blinking insertion marker right there.
| | 04:14 | If you press the standard Enter key, or
the Return key on the Mac, then you are
| | 04:18 | going to create a
Carriage return as we see here.
| | 04:21 | So that will knock the
text down to the next line.
| | 04:23 | So I will go ahead and press the
Backspace key or the Delete key on the Mac, in
| | 04:28 | order to get rid of that return.
| | 04:30 | Things become even more
problematic if all of your text is selected.
| | 04:33 | So I just went ahead and double-
clicked inside of my text, which selects the
| | 04:36 | entire word--in this case the string of numbers.
| | 04:38 | If you press the Enter key or the
Return key now, then you are going to wipe
| | 04:43 | out all of your text.
| | 04:44 | Fortunately you have one level of
undo while you're editing your text.
| | 04:47 | So you can press Ctrl+Z, or Command+Z
on the Mac, in order to undo that change.
| | 04:51 | I am going to enter a totally
different string of numbers here.
| | 04:54 | Don't think that what you can do is
press the Escape key as you can in other
| | 04:59 | Creative Suite programs such as
Illustrator, for example, because if you press
| | 05:02 | Escape, then you're not only to exit
the text entry mode, but you will also
| | 05:05 | abandon all of your changes--which to
me makes a lot of sense, but it's just
| | 05:09 | something to bear in mind.
| | 05:11 | I am going to go ahead and double-
click on the T thumbnail here inside the
| | 05:14 | layers panel in order to
switch back to the Text Entry mode.
| | 05:17 | Notice this time, because the Type tool
remain selected after I pressed the Escape
| | 05:21 | key, I just get a Blinking Insertion
Marker at the beginning of my text as
| | 05:24 | opposed to selecting everything.
| | 05:26 | So I'll go ahead and double-click
inside of the text to select it, and I am
| | 05:31 | going to change it back to 365,
because after all, that's what I want.
| | 05:34 | The alternative to pressing the Enter
key on the numerical keyboard is to press
| | 05:39 | Ctrl+Enter here on the PC,
or Command+Return on the Mac.
| | 05:44 | Those of you who are using MacBook Pros, you
can also press Function+Return if you like.
| | 05:49 | So either Command+Return or Function+Return
will work for you, and those are the
| | 05:54 | basics of creating and
editing text here inside Photoshop.
| | Collapse this transcript |
| Font and type style tricks| 00:00 | In this movie I'll show you how to
change the typeface, better known as the
| | 00:03 | font, as well as the type styles, such
as bold or italic, associated with the
| | 00:08 | Type layer, and I will also pass along a few
tips and tricks that will make this job easier.
| | 00:13 | Notice that I still have my Type tool selected.
| | 00:15 | You can change one or more letters
independently of the others inside of a Type
| | 00:20 | layer just by selecting them, and then
you can modify the options up here in
| | 00:24 | the Options bar, as well as others
that are available to you in the Character
| | 00:29 | panel, which you can get to by clicking on
this little panel icon up here in the Options bar.
| | 00:34 | And notice that the Character panel
gives us access to many more options, and
| | 00:39 | I'm going to go ahead and hide
it for now, we'll see it later.
| | 00:42 | However, in my case, I just want to
change the contents of this entire text layer.
| | 00:46 | So I will press the Escape key, and what
that does is it deactivates the text, as
| | 00:50 | you can see, and it also keeps the
Type tool select, that way I have my
| | 00:55 | Formatting options available to me up
here in the Options bar. Because if I were
| | 00:59 | working with some other tool, those
options would disappear. All right!
| | 01:02 | I will go ahead and press the T key
in order to switch back to the Type tool.
| | 01:07 | Now one way to change the font is to
click on this down-pointing arrow head
| | 01:10 | next to the font name.
| | 01:11 | And in addition to all of the fonts
that are installed on your system--and the
| | 01:16 | fonts installed on your system
and mine will differ, by the way.
| | 01:19 | You will also see this little preview
of the font, and if you ask me, these
| | 01:23 | previews are very useful,
but they're not big enough.
| | 01:26 | So if you want to make them bigger, then
go ahead and escape out of that pop-up
| | 01:29 | menu and go up to the new Type menu.
| | 01:32 | Then drop down the Font Preview Size and
notice that you can select different sizes.
| | 01:37 | So I could bump it up to Extra Large
or even Huge, which is what I am going to
| | 01:41 | select, and that's what I recommend as
well, especially if you're working on a
| | 01:45 | larger screen, which you undoubtedly will be.
| | 01:47 | Then go ahead and once again click on
that down-pointing arrow head, and you can
| | 01:50 | see much better previews.
| | 01:51 | Of course, you are not really going to
know how the font looks when assigned to
| | 01:55 | the active layer until
you go ahead and select it.
| | 01:58 | So for my part, I will select Old
English Text here, and that produces this
| | 02:01 | effect, and if you want to get a better
idea of what that text looks like then
| | 02:05 | press Ctrl+1, or Command+1 on the
Mac, in order to zoom to 100%.
| | 02:11 | Now something to bear in mind where
zooming is concerned, text inside Photoshop
| | 02:15 | is vector-based, it's resolution-independent, so you're
not locked down to the resolution of your image.
| | 02:21 | However, if you were to zoom in, you
will see big pixels just like you will with
| | 02:26 | anything inside Photoshop, and that's
just a function of Photoshop's preview.
| | 02:30 | If you zoom in beyond 100%, you are
going to see bigger pixels. That's always the
| | 02:34 | way it is, regardless of whether
you're working with pixel-based layers or
| | 02:37 | vector-based layers such as text.
Anyway, I'm going to zoom back out.
| | 02:41 | Now what I find when I'm trying to
format my text is I just don't always know
| | 02:46 | which font I want to use. I want to
sort of cycle through a few fonts in order
| | 02:50 | to get a sense for how they look when
applied to the active text layer, and I
| | 02:54 | don't always know what fonts
are available on my system.
| | 02:57 | So if you want to cycle through fonts,
what you do is you press the Enter key or
| | 03:01 | the Return key on the Mac, in order to
automatically highlight the first option
| | 03:05 | in the Options bar--this works with any
tool, by the way--inside Photoshop, but
| | 03:09 | it's most useful when working with text.
| | 03:11 | So I have highlighted the Font option,
and now I can press the down arrow key in
| | 03:15 | order to cycle forward in alphabetical
order through my fonts, or I can press
| | 03:21 | the up arrow key in order to cycle
backward, that is in reverse alphabetical
| | 03:25 | order through each and every one
of fonts installed on my system.
| | 03:29 | Now if you choose to work this way--which
is great--you just need to bear in mind
| | 03:33 | that you're cluttering your History
panel, and History is a way of that
| | 03:38 | Photoshop keeps track of multiple undos.
| | 03:41 | So if I go to the Window menu and
choose the History command, you can see that
| | 03:45 | each and every instance of me switching to a
different font has been saved as a unique state.
| | 03:52 | And so what that can end up meaning
is that if you actually did anything
| | 03:57 | significant in the past that you want
to go back to, you may actually lose your
| | 04:02 | ability to reach any state
before you change the font.
| | 04:06 | So just by way of a sidebar here, by
default, Photoshop goes and saves the
| | 04:10 | last 20 History states.
| | 04:12 | If you want to bump up that number, then
press Ctrl+K, or Command+K on the Mac, to
| | 04:17 | bring up the Preferences dialog box.
| | 04:19 | Then click on Performance in the left-
hand list, and notice you have the ability
| | 04:23 | to change the number of History states,
and you can take that number all the way
| | 04:27 | up to 1,000 if you want to.
| | 04:30 | I don't recommend you go that high,
because after all Photoshop has to save all
| | 04:34 | these History states in its RAM, and
that can end up causing performance issues,
| | 04:38 | unless you are the kind of person who
creates web graphics, very small graphics,
| | 04:41 | then this may actually work out for you.
| | 04:43 | But this would be 1,000 History states
per open image, so that's a lot.
| | 04:49 | Now by virtue of the fact I increase
the number of states to 1,000, that
| | 04:52 | doesn't mean it's going to remember
anything it didn't remember before I change
| | 04:56 | this value, it just means it will keep
track of that many states from now on.
| | 05:00 | Anyway, I am going to Cancel out, because
20 is fine for me. Just want you to bear
| | 05:05 | in mind that that's the case there.
Go ahead and close that panel.
| | 05:08 | Another way to work is to press the
Enter key, or the Return key on the Mac, in
| | 05:12 | order to highlight that Font option,
and then if you know the font that you
| | 05:16 | want to work with--for example, I want
to change this text to Minion Pro--then
| | 05:20 | you can type in the first few letters
of that font name. For example, in my
| | 05:24 | case, I just have to type in Min and
Photoshop went ahead and selected Minion
| | 05:28 | Pro, and now if I press the Enter key,
or the Return key on the Mac, in order to
| | 05:33 | accept that change, you can see that
Photoshop has changed the font assigned to
| | 05:36 | this entire text layer.
| | 05:38 | So again, the Type tool needs to be
active in order to access these Font
| | 05:42 | options, but the text doesn't have
to be selected with the Type tool.
| | 05:46 | Next door to the Font
option we have the Type Style.
| | 05:49 | Now notice that Photoshop, as well
as the other Creative Suite programs,
| | 05:53 | they don't have buttons.
| | 05:54 | You are not going to see a bold button
and an italic button, and that kind of
| | 05:59 | thing, and that's because a lot of
fonts out there don't offer bold and italic
| | 06:02 | styles--and not only that, many
fonts offer many more styles.
| | 06:06 | So, instead what you
have is a Style pop-up menu.
| | 06:09 | Click the down-pointing arrow head, and
you can see where Minion is concerned,
| | 06:13 | we've got at least on this system bold
condensed, bold condensed italic, regular
| | 06:17 | and italic, medium and italic, which I believe
are the same as regular and italic in this case.
| | 06:22 | semibold and semibold italic, slightly
bolder, and then full-on bold, and bold italic.
| | 06:27 | So we have access to every single Type
style that the designers sought fit to
| | 06:31 | create for this specific font.
| | 06:33 | Now you can access the Type
styles from the keyboard as well.
| | 06:36 | And to do that just go ahead and press
the Enter key, or the Return key on the
| | 06:39 | Mac, in order to highlight that Font name.
| | 06:42 | Then press the Tab key to move forward
to the Type style option, and then I will
| | 06:46 | press the down arrow key to cycle
forward through each one of the font styles
| | 06:50 | that's available to me, or I can
press the up arrow key to cycle backward.
| | 06:54 | In any case, what I eventually want is bold.
| | 06:57 | So once I see bold in the Type Style
option, I will press the Enter key or the
| | 07:01 | Return key on the Mac, in order to
accept that change. And that's how you modify
| | 07:05 | the font and the Type style of a
text layer with maximum efficiency.
| | Collapse this transcript |
| Type size and color tricks| 00:00 | In this movie I'll show you how to change
the type size and color of a text layer in Photoshop.
| | 00:05 | I still have the Type tool selected,
so I can see my Type size option up here
| | 00:09 | in the Options bar.
| | 00:10 | And one way to change the Type size is
to click the down pointing arrow head and
| | 00:14 | choose one of the presets. For example,
I'll go and select the last one, 72.
| | 00:18 | Or I can just go ahead and click on the
little double T icon in order to select
| | 00:23 | the Type size value, and I can dial
in a value of my own, such as 100.
| | 00:27 | Then I'll press the Enter key, or the Return
key on a Mac, in order to make that change.
| | 00:32 | Now that goes ahead changes the Type
size to 100 points. Problem with that value
| | 00:36 | is it's relative to the resolution of the
image, and let me show you what I mean by that.
| | 00:41 | I'll go up to the image menu, and
I'll choose the Image Size command, or I
| | 00:45 | can press Ctrl+Alt+I, or Command+Option+I
on the Mac, and I'll go ahead and
| | 00:49 | turn Resample Image off, so I don't change
the number of pixels inside this composition.
| | 00:53 | Notice that Resolution
value is set to 240 Pixels/Inch.
| | 00:57 | Let's say I change that value to
72 Pixels/Inch, and then I go ahead and click
| | 01:01 | OK, and just like that, you can see
that the Size value jumps to 333 points,
| | 01:07 | because if you were to work by your
calculator, you'd see that 240 divided by 72 is 3.33.
| | 01:14 | And so again, it's important that you
realize that this value is relative.
| | 01:18 | I'm going to press Ctrl+Z, or Command+Z
on a Mac to undo that Resolution change,
| | 01:23 | and that goes ahead and resets
that Type size value to 100 points.
| | 01:26 | What if you're working on the web and
you want to dial in a specific pixel value?
| | 01:30 | Well, then you could go ahead and
click on that double T icon, and this time
| | 01:34 | let's say I want to be
Type size to be 400 pixels.
| | 01:37 | I dial in 400 px, like so.
| | 01:39 | and press the Enter key, or the Return
key on a Mac, and Photoshop goes ahead and
| | 01:43 | automatically converts that value to 120 points.
What if you always want to work in pixels?
| | 01:49 | Well, then you press Ctrl+K, or Command+K
on the Mac, in order to bring up the
| | 01:54 | Preferences dialog box, and then you
click on Units & Rulers in the left-hand
| | 01:57 | list, and you change these Type
settings from Points to Pixels, which again, as
| | 02:02 | I say, would be especially useful to
those of you who are creating web graphics.
| | 02:07 | I'm going to go ahead and Cancel
out though, and stick with Points.
| | 02:09 | Now at this point I want to go ahead
and move 365 so its snaps in alignment
| | 02:13 | with this guide intersection down
here inside the model's shoulder, so I'll
| | 02:18 | press the Ctrl key, or the Command key on
a Mac, to temporarily access the Move tool.
| | 02:23 | Then I'll go ahead and drag 365 so that the 3
appears to align with that guide intersection.
| | 02:28 | Problem is it's not actually completely
in alignment, if I click inside of the
| | 02:33 | text with my Type tool, I can see that
the point is a few pixels up and to the
| | 02:37 | left of that intersection,
and that's not what I want.
| | 02:41 | I want it to be exactly aligned.
| | 02:43 | Well, here is a weird little trick
that you should definitely know about.
| | 02:46 | If you move your cursor well away
from the Type, you'll notice that without
| | 02:50 | pressing any key is whatsoever, it
changes from the standard I beam to a move
| | 02:55 | cursor, and then if you drag--I'm not
even dragging on the text. If I just go
| | 03:00 | ahead and drag, notice that I can get
the point to snap into alignment with that
| | 03:04 | guide intersection, and I can see that I
have a snap, because my arrow cursor is
| | 03:08 | changed to white, and then I'll go ahead
and release my mouse button. All right!
| | 03:12 | Here's a special trick that
you may find useful as well.
| | 03:15 | If you are just hunting around for a
Type size that looks right inside of your
| | 03:19 | composition, then go ahead and select
your text--and in my case I'm going to
| | 03:23 | double-click to select the entire word
365--and if I scroll down here, it looks
| | 03:27 | as if some of the word Fashion is selected as
well, but really just the letters 365 are selected.
| | 03:32 | Photoshop shows this big margin down
here at the bottom and at the top in order
| | 03:37 | to account for the longest descenders,
and the tallest descenders that are
| | 03:41 | associated with this particular font.
| | 03:44 | Now I want to be able to modify the
size of my letters without seeing that
| | 03:48 | highlight, so I'm going to press Ctrl+H, or
Command+H on the Mac, to hide the highlight.
| | 03:53 | However, the text--bear in mind--remains selected.
| | 03:56 | Now I'll go ahead and scroll to the
right a little bit, and I'm doing this by
| | 04:00 | the way, by using the Scroll Wheel on my mouse.
| | 04:02 | I can't use the spacebar because I'd
replace my text with spaces, and because
| | 04:07 | I'm working on a PC, I'm pressing
the Ctrl key as I'm scrolling down.
| | 04:10 | Now then to incrementally adjust
the Type size in Photoshop, you press
| | 04:14 | Ctrl+Shift+Period, this would be
Command+Shift+Period on the Mac, and each
| | 04:19 | time you press the keyboard shortcut,
you're going to increase the Type size by
| | 04:23 | an increment of two points.
| | 04:25 | And the reason is Ctrl+Shift+Period,
or Command+Shift+Period on the Mac,
| | 04:29 | is because the Period key has a
greater than sign on it, so greater
| | 04:32 | than means increase, therefore,
lesser than sign, which is on the Comma
| | 04:37 | key, would mean decrease, so
you can press Ctrl+Shift+Comma or
| | 04:41 | Command+Shift+Comma on a Mac in order to
reduce the size of the Type in 2-point increments.
| | 04:46 | If you want to increase the size of the
Type in 10-point increments, you press
| | 04:50 | Ctrl+Shift+Alt+Period, like so.
or Command+Shift+Option+Period on the Mac.
| | 04:55 | If you want to reduce the size of
the text from the keyboard, you press
| | 04:58 | Ctrl+Shift+Alt+Comma,
or Command+Shift+Option+Comma, on the Mac.
| | 05:02 | I eventually want a Type size of
192 points, so I'm going to press the
| | 05:06 | combination of those keyboard shortcuts
that's ultimately going to get me there,
| | 05:10 | and this is the size of the
Type in the final document.
| | 05:14 | I'm going to go ahead and actually zoom out a
little bit so that we can better take it in.
| | 05:19 | Now, let's say I want to want
to change the color of the text.
| | 05:22 | Well, one way to change the color is
to click in this little color swatch up
| | 05:26 | here in the Options bar, and that's going to bring
up the Color Picker dialog box, as you can see.
| | 05:31 | You could dial in some custom values if
you like, or if you move your cursor out
| | 05:35 | into the Image Window, you could lift a
color, and the color I want to lift is
| | 05:40 | actually in the model's lips.
| | 05:41 | So I'm going to press Ctrl+0, or Command+0
on a Mac, which takes a little bit too
| | 05:46 | far out there, so I'll go and zoom in little.
| | 05:48 | There are her lips now, and I could
click inside of the lips in order to lift a
| | 05:52 | color and automatically assign it to
the selected type, and you can see how
| | 05:57 | useful it is to have the
highlights hidden at this point.
| | 06:00 | If I click OK in order to accept that
modification and scroll down just a little
| | 06:04 | bit, so I can actually see my text, and
if I were to press Ctrl+H, or Command+H
| | 06:09 | on the Mac, so that I would see the
highlight, I can't gauge the color because
| | 06:13 | it's inverted, which does me no good whatsoever.
| | 06:15 | So whenever you're changing the color of
selected characters, make sure to press
| | 06:18 | Ctrl+H, or Command+H on the Mac.
| | 06:21 | Here's something else that you can do.
You can select the Eyedropper tool, and
| | 06:24 | you want to select that tool from the
toolbox--not by pressing I key, because
| | 06:28 | again, you'd replace the characters with the letter I--
and then you could click in a different color.
| | 06:33 | I'll try something in the face this
time, and then because we change the
| | 06:36 | foreground color, I'll press Alt+Backspace,
or Option+Delete on the Mac, in order
| | 06:40 | to fill those characters with that color.
| | 06:43 | The color I'm looking for though is
a nice highly saturated shade of red,
| | 06:48 | something like what I'm seeing here,
and I actually have some specific HSB
| | 06:52 | values in mind, so assuming you can see
your Color panel, make sure that the HSB
| | 06:56 | sliders are visible, and if you're
working along with me, change the H value to
| | 07:00 | 5, and then the Saturation value to 90,
And finally, I'll change the Brightness
| | 07:05 | value to 75%, and then I'll press
Alt+Backspace, or Option+Delete on the Mac, in
| | 07:10 | order to fill that text with red, and
then I'll press Enter key in the numerical
| | 07:14 | keypad in order to accept my modifications.
| | 07:17 | Those of you who're working on
Laptops, you'd press Ctrl+Enter or
| | 07:21 | Command+Return on the Mac.
| | 07:22 | And those, friends, are the various ways to change
the Type size and Color of selected text.
| | Collapse this transcript |
| Kerning and tracking characters| 00:00 | In this movie I'll show you how to
adjust the amount of space between
| | 00:03 | neighboring characters of type. Using
a couple of formatting attributes known
| | 00:07 | as Kerning--which is spelled K-E-R-N-I-N-G--
and Tracking. And if you aren't
| | 00:13 | familiar with this topic, it's going
to seem pretty nitpicky. However, it
| | 00:17 | becomes extremely important when
working with large text, such as headlines,
| | 00:21 | and in particular logos.
| | 00:23 | So I'm going to start things off by
zooming in on my text here, and you can see
| | 00:27 | that I have the
Rectangular Marquee tool selected.
| | 00:30 | I'm going to go ahead and draw a
rectangle around the 6, like so.
| | 00:35 | and the reason I'm doing this is to
demonstrate how character spacing works
| | 00:38 | inside just about every design program.
| | 00:41 | The idea is that each and every
character is defined by its font outline, as
| | 00:46 | well as some spacing
information known as side bearing.
| | 00:50 | So you've got the left bearing over
here in left-hand side and right bearing
| | 00:54 | over here in the right-hand side.
| | 00:56 | And so the distance between the 3 and
the 6 is determined by the 3's right
| | 01:00 | bearing, along with the 6's left
bearing, and that keeps the characters form
| | 01:05 | knocking together, however, not all
pairs of characters are created the same.
| | 01:10 | I'm going to press Ctrl+D, or Command+D
on a Mac, in order to deselect my text.
| | 01:14 | Then I'll go ahead and zoom out here,
so that we can see pretty much the full
| | 01:18 | width of the image, and I'll press
the T key in order to switch to the Type
| | 01:22 | tool, and I'll click in front of the 3,
in order to set my blinking Insertion
| | 01:26 | Marker, and I'll enter the classic
pair of characters that needs special
| | 01:30 | attention, which is big A, little V, like so.
| | 01:34 | I'll also move my cursor down below the
text, and go ahead and drag it over so
| | 01:39 | that we can see all of the text on this
layer, and I'll press the Enter key on
| | 01:42 | the numerical keypad in order to accept
my modifications, and I'll press the M
| | 01:47 | key in order to once again switch
to the Rectangular Marquee tool.
| | 01:50 | And notice now, if I were to draw
kind of boundary--let's say around this
| | 01:54 | capital A here, in order to indicate
what is roughly its spacing information--
| | 01:59 | that the V is violating the A's right
bearing and the A is violating the V's left
| | 02:04 | bearing and both of the bearings are
violating each other. So what in the world is going on?
| | 02:08 | Well I'll go ahead and press Ctrl+D,
or Command+D on a Mac, in order to
| | 02:11 | deselect the image again.
| | 02:13 | I'll press the T key in order to switch
to the Type tool, and I'll click between
| | 02:16 | the characters, and you can see just
how much violation is going on there, and
| | 02:21 | that's the function of what's known as Kerning.
| | 02:24 | In order to what I'm talking about, I'll
go up here to the Options bar and click
| | 02:28 | on this little panel icon to bring up
the Character panel, or as long as I have
| | 02:32 | some text active--that is I've got
a blinking Insertion Marker or some
| | 02:36 | highlighted text--I can press Ctrl+T,
or Command+T on the Mac, to bring up that
| | 02:40 | same panel, that's T for text, of course.
| | 02:42 | And notice this VA icon right there so
it's the same pair of characters just
| | 02:47 | capitalized and in a different order.
And you can see that it sets the amount
| | 02:51 | Kerning between the characters.
| | 02:52 | Right now, it's set to Metrics, and what
that means is that Photoshop is looking
| | 02:58 | into the font definition and
finding the Kerning information.
| | 03:01 | So every single font out there includes
this table of pairs of characters that
| | 03:07 | need custom spacing.
| | 03:09 | This table is known as a Kerning table
and the pairs are known as Kerning pairs,
| | 03:14 | and Av is one of them.
| | 03:16 | But there may be 100s or even
1000s of pairs depending on the font.
| | 03:20 | And by the way, just to give you a
sense of how important this is I'll go ahead
| | 03:25 | and switch this option from Metrics
to 0, and that's going to go ahead and
| | 03:29 | spread the characters out so that
Photoshop is just accepting the side bearing
| | 03:34 | information, which is pretty small for the
A and actually cuts into the V a little bit.
| | 03:38 | And now I'll press Enter
key on the numerical keypad in order to
| | 03:41 | accept that change. And you can see that
we now have so much space between the A
| | 03:46 | and the V that they almost look like
they're separate words, and that space is
| | 03:49 | optically inconsistent with the amount
of space between the V and the 3, and the
| | 03:53 | 3 and the 6, and the 6 and the 5. All right.
| | 03:56 | Now that you understand what the word
Kerning is, how do you go about customizing it?
| | 04:00 | Because you're not going to always
like what Photoshop or any other design
| | 04:02 | program comes up with.
| | 04:04 | Well I'll go up to the File menu
and choose Revert command in order to
| | 04:08 | reinstate our original text, and now I'm
going to zoom in on it here and center it
| | 04:11 | on the screen, and I'll go ahead and
double-click on 365 with the Type tool in
| | 04:17 | order to select it, and then I'll press
Ctrl+H, or Command+H on the Mac, to hide
| | 04:21 | that highlight there.
| | 04:23 | And for my money, I'm seeing sort of
inconsistencies between the amount of space
| | 04:28 | between the 3 and the 6, and then the
looser space it seems to me between the 6
| | 04:33 | and the 5, and I'd kind of like
to tighten things up in general.
| | 04:36 | Well if you ever run into that, where
the spacing just looks wrong--especially
| | 04:40 | with big type--that's where
you're going to really notice it.
| | 04:43 | Then go ahead and bring up that
Character panel once again, as I say, when the
| | 04:47 | text is selected you can press Ctrl+T, or
Command+T on the Mac, and then click on
| | 04:51 | this down pointing arrow head and try
switching from Metrics, which are based
| | 04:54 | information inside the font definition.
| | 04:57 | Go ahead switch it to Optical instead, which
applies Adobe's Automatic Optical Kerning.
| | 05:02 | So in other words, Photoshop goes
ahead and actually reads the characters and
| | 05:06 | decides how to space them on the fly,
and as a result it's going to customize the
| | 05:10 | spacing between each and every
character of type, regardless of whether it's
| | 05:14 | part of the Kerning table or not.
| | 05:16 | And in our case, we end up getting some
tighter, and I think, better looking spacing.
| | 05:20 | However, I'd like to space these
characters closer still, and if you want to
| | 05:24 | control the spacing of multiple
selected characters, as I have here, as
| | 05:28 | opposed to specific pairs.
| | 05:30 | Then you move to this next value
which is the Tracking value right there.
| | 05:34 | Now you can modify this value, you can
select it and dial in a value, and if you
| | 05:39 | want it to just space characters together,
you would enter a negative value, for
| | 05:43 | example, like -100, if you want to
space them farther apart, then you enter a
| | 05:48 | positive value such as +100.
| | 05:51 | The problem with working from the
numbers like this--I'm going to go ahead and
| | 05:54 | press the Escape key in order to
restore that value to 0--is that it's a little
| | 05:59 | tricky to understand what's going on here.
| | 06:00 | This value is measured in 1000s of an
EM. And an EM, E-M, is as wide as the Type size.
| | 06:08 | So an EM in the case of this text is
192 points, which we already know is a
| | 06:14 | little confusing because how many
pixels is that, you know, it's depended
| | 06:17 | upon the Resolution.
| | 06:19 | So it's hard to know what in world -100
even means, but it is easy to glean
| | 06:25 | whether your text is spaced
correctly or not, just by looking at it.
| | 06:28 | So the better way to work, if you
want to space your text, is to press
| | 06:32 | Alt+right arrow in order to spread the
characters farther apart from each other,
| | 06:35 | that would be Option+right arrow on the Mac.
| | 06:38 | And each time you press the keyboard
shortcut, for what it's worth, you're
| | 06:40 | modifying the Tracking value in 20,000s
of an EM, or you can press
| | 06:45 | Alt+left arrow, or Option+left arrow
on a Mac, in order to scoot the letters
| | 06:49 | together, again, in 20,000s of an EM.
| | 06:52 | If you want to move the characters in
five times that increment, so you really
| | 06:55 | want to spread them apart or move them
together, then you add the Ctrl key, or
| | 06:59 | the Command key on the Mac, so that
would be Ctrl+Alt+right arrow on a PC or
| | 07:03 | Command+Option+right arrow on a Mac.
| | 07:05 | If you want to scoot the letters
way together, then you'll press
| | 07:08 | Ctrl+Alt+left arrow, or
Command+Option+left arrow on the Mac.
| | 07:11 | Anyway, I ultimately want the
characters to look something like this, so I came
| | 07:15 | up with the Tracking value of -20.
| | 07:17 | Finally, it struck me that the space
between the 6 and the 5 appears to be a
| | 07:21 | little wider than the
space between the 3 and the 6.
| | 07:24 | And so if you want to adjust the space
between just two characters, you click
| | 07:28 | between them with the Type tool,
so you don't want to have any letter
| | 07:31 | selected, and then you go ahead and
use those same keyboard shortcuts that I
| | 07:35 | showed you a moment ago.
| | 07:36 | So if want to scoot these two
characters closer, I'd press Alt+left arrow, or
| | 07:40 | Option+left arrow on a Mac, and that ends up
giving me a Kerning value of -43, go figure.
| | 07:47 | Well I decide that was a little bit
too much, so I changed that value to -30
| | 07:52 | instead, then I'll press the Enter key
in order to accept that that change, and
| | 07:56 | then the Enter key on a numerical
keypad in order to escape the text edit mode.
| | 08:00 | And that's how you adjust the amount of
space between neighboring characters of
| | 08:03 | type, using Kerning and Tracking.
| | Collapse this transcript |
| Creating and editing area text| 00:00 | In this movie I'll show you how to
create text inside of a frame, which is known
| | 00:04 | as Area text, throughout
the Creative Suite programs.
| | 00:07 | Photoshop also calls it Paragraph text.
| | 00:10 | So what we have so far--I will just
go ahead and zoom out here a little bit.
| | 00:13 | What we have so far as you
may recall is, Point text.
| | 00:16 | Whenever you're working with Point text,
all the text is going to occur on a
| | 00:19 | single line unless you
tell it to work otherwise.
| | 00:22 | So for example, if I click after the
5 with the Type tool, and then press
| | 00:25 | Ctrl+Shift+C, or Command+Shift+C, to
center that type, and then I enter a whole
| | 00:30 | bunch more numbers, no matter how many
numbers I enter, they are all going to
| | 00:34 | appear on a single line even if that
line exceeds the boundaries of the canvas.
| | 00:39 | I will go ahead and click
between the 5 and the 7 here.
| | 00:41 | Even if I add a space character,
Photoshop is not going to wrap that type.
| | 00:44 | I'd have to actually press the Enter
key, or the Return key on the Mac, in order
| | 00:48 | to create a second line, which is
great for specialty type treatments, like
| | 00:53 | headlines, and logos, and
special effects text, and so on.
| | 00:57 | However, it's not so great when
you're working with paragraphs.
| | 01:00 | When you are creating paragraphs, you need
Photoshop to wrap the text automatically.
| | 01:04 | So I am going to go ahead and press the
Escape key in order to undo that modification.
| | 01:08 | I will show you a couple
of ways to create Area type.
| | 01:11 | I am going to go ahead and scroll up
the layers panel here until I can see the
| | 01:16 | one that says, Make Him Love You.
| | 01:18 | I will go ahead and turn that layer on, and
you can see right there across the model's face.
| | 01:22 | Currently this text is Point Text.
| | 01:24 | Let's say I just happen to have this
text loaded in the clipboard, and I will go
| | 01:28 | ahead and do that by double-clicking
on the T here inside the layers panel in
| | 01:32 | order to select the text, and then I
will go up to the Edit menu and choose the
| | 01:34 | Copy command or press Ctrl+C,
or Command+C on the Mac.
| | 01:38 | Then I will press the Escape key
because I am not going to make any
| | 01:41 | modifications, and I will all press
Backspace to get rid of that layer because
| | 01:43 | we don't need it anymore.
| | 01:45 | If you want to create Area text, rather
than clicking with the Type tool, you go
| | 01:49 | ahead and drag. And I am going to drag
from that upper left guide intersection
| | 01:53 | into the model's bicep to about here, let's say.
| | 01:57 | And then I would enter some text, of course,
but I've already created that text in
| | 02:02 | advance, so I will go ahead and double-click
on this word here to select it,
| | 02:06 | and I will go up to the Edit menu and
choose the Paste command or press Ctrl+V,
| | 02:09 | or Command+V on the Mac, and that
goes ahead and pastes that text into the
| | 02:12 | container, and you can now see that it
automatically wraps onto, in my case, three lines.
| | 02:17 | It doesn't necessarily look good, which is
why we'll format this text in the next movie.
| | 02:22 | All right. Now press the Enter key on the numerical
keypad in order to accept that modification.
| | 02:27 | Then I will scroll over here
to the right side of the image.
| | 02:30 | Another way to create Area text is to
convert Point text into Area text and
| | 02:34 | to resize the frame.
| | 02:36 | And to demonstrate that one, I will turn
on this layer that's called New Miracle
| | 02:39 | Diet, go ahead and turn it on and
click on the layer to select it as well.
| | 02:43 | This text is also Point text.
It exists on a single line right there.
| | 02:47 | To convert it to Area text, you go up
to the Type menu, and you choose this
| | 02:51 | command right there Convert to Paragraph Text.
| | 02:54 | It won't look like anything happened
at first until you click inside the
| | 02:58 | text with the Type tool.
| | 03:00 | Then you'll see that there's a
frame that fits that one line of type.
| | 03:04 | Now what you do is you resize the
frame, and this is a little bit trickier
| | 03:08 | than it ought to be.
| | 03:09 | You've got to get your cursor in an exact
location, if you're a pixel off it doesn't work.
| | 03:14 | But move your cursor over that upper
left-handle there until you see that
| | 03:19 | back and forth cursor, and then
drag to the intersection of these two
| | 03:23 | guidelines right there.
| | 03:24 | Then go ahead and drag the lower-right-handle
until it snaps to this guide
| | 03:28 | intersection just to the right and
above 365, and press the Enter key on the
| | 03:33 | numerical keypad in order to accept that change.
| | 03:36 | Notice, once again, we have text that
wraps onto, in this case, three lines of type.
| | 03:41 | And that, friends, is how you create
and edit Area type inside of Photoshop.
| | 03:46 | In the next movie, I'll show
you how to format paragraphs.
| | Collapse this transcript |
| Selecting and formatting paragraphs| 00:00 | In this movie I will show you how
to format paragraphs of type inside of
| | 00:03 | Photoshop, including how to format
multiple text layers at the same time.
| | 00:08 | So, once again, I am going to zoom out
by pressing Ctrl+0, Command+0 on the Mac,
| | 00:12 | and then zoom in so that I can see both
of these blocks of Area type, and if you
| | 00:17 | want to format multiple text layers at
a time, all you have to do is click on
| | 00:19 | one of the text layers, and then Shift+
Click on the other one if you want to
| | 00:23 | select a range of layers, for example,
or if you wanted to select multiple
| | 00:27 | nonadjacent layers, then you would
press the Ctrl key, or the Command key on the
| | 00:31 | Mac, and click on some portion of the
layer, not the thumbnail because that will
| | 00:36 | generate a selection, but rather over
here on the right-hand side of the layer.
| | 00:40 | So that's a Ctrl-click, or a Command+
Click on the Mac, and then if you want to
| | 00:44 | turn a layer off you Ctrl+Click,
or command-click, on it again.
| | 00:48 | Anyway I just want to see these two
top text layers selected, and now let's
| | 00:51 | make some modifications here.
| | 00:53 | First thing I want to do is make the
text black, and I am going to do that by
| | 00:57 | clicking on the little color swatch up
here in the Options bar, and then I will
| | 01:00 | drag the little circle down to lower-left
corner of the color field and click OK.
| | 01:03 | And you have to do that, by the way,
you can't use that Option+Delete or
| | 01:08 | Alt+Backspace trick on multiple layers.
| | 01:10 | Next I will press the Enter key, or
the Return key on the Mac, in order to
| | 01:13 | highlight the Font option, and I am
going to type in Myriad in order to get
| | 01:17 | Myriad Pro, and M-Y-R should actually be enough.
| | 01:21 | The regular size is just fine, and then
I am going to tab over to the Size value
| | 01:26 | and change it to 19, like so.
| | 01:28 | And notice that all of those modifications
are applied to both of the selected layers.
| | 01:32 | Next I will bring up my Character
panel by clicking on this little panel icon
| | 01:36 | up there in the Options bar.
| | 01:38 | And notice this value right there,
it looks like leading if you've never
| | 01:41 | seen the word before, but it's "ledding," and
it's the amount of space between each baseline.
| | 01:46 | So the baseline is the imaginary line
upon which each character rests and the
| | 01:52 | distance between one baseline
and its neighbor is the leading.
| | 01:56 | By default it's set to Auto,
which is 120% of the type size value.
| | 02:01 | I'm going to go ahead and override that
value by clicking on that little icon,
| | 02:04 | the 1 or the A on top of the A and
changing that value to 21, like so, and
| | 02:10 | then finally, I will click on the New
Miracle Diet layer by itself, and I will
| | 02:14 | go ahead and right-align the text by
clicking on this icon up here in the Options bar.
| | 02:18 | All right!
That takes care of the big modifications.
| | 02:21 | However, I want to organize
this text little differently.
| | 02:24 | If we take a look at the final version
of Pout Magazine, I will zoom in here,
| | 02:28 | you can see that, New Miracle Diet!,
| | 02:30 | is serving as kind of headline, and then,
Learn to Eat Without Swallowing, is a subhead.
| | 02:35 | So we need to format the first three
words differently by setting them inside of
| | 02:38 | an independent paragraph.
| | 02:40 | So I will switch back to our document
at hand, and I will click right there in
| | 02:44 | front of the word Learn, and I will
press the Backspace key, that's the Delete
| | 02:48 | key on the Mac, and then press the
Enter or Return key in order to knock that
| | 02:52 | text onto a new line.
Now I want to select the top paragraph.
| | 02:55 | You may recall, to select an entire word
| | 02:58 | you double-click on it. To select an
entire line of type you triple-click on it.
| | 03:02 | And to select an entire paragraph of type
you click four times, one, two, three, four.
| | 03:09 | I find that it helps to count it out,
And by the way, not click too quickly
| | 03:13 | because otherwise, if you click one,
two, three, four, five times, you end up
| | 03:17 | selecting all the text inside the frame.
| | 03:19 | So again, one, two, three, four to get
that entire paragraph, and now I am going
| | 03:24 | to apply some further modifications.
| | 03:26 | Now because I have text selected, I
can't just press the Enter key in order to
| | 03:30 | select the Font option up
here in the Options bar.
| | 03:33 | So I've got to click, and I'm
actually going to change the type style by
| | 03:37 | clicking on the down-pointing arrow head, and
I will select bold condensed this time around.
| | 03:42 | You may or may not see all these styles, by
the way, but you should see bold condensed.
| | 03:46 | Then I'll press Ctrl+Shift+Alt+Period
a couple of times here, that would be
| | 03:50 | Command+Shift+Option+Period on the Mac,
in order to increase the Type size value
| | 03:55 | to 39 points. And I am going to adjust
the leading from the keyboard by pressing
| | 03:59 | Alt+down arrow, or Option+down arrow on
the Mac, in order to increase the space
| | 04:04 | between the lines of type.
| | 04:06 | If you want to decrease the space, you
press Alt+up arrow, or Option+up arrow on
| | 04:10 | the Mac, and if you want to
apply bigger changes, then you press
| | 04:14 | Ctrl+Alt+down arrow, that's
Command+Option+down arrow on the Mac, or
| | 04:18 | Ctrl+Alt+up arrow, that's Command+
Option+up arrow on the Mac. All right.
| | 04:22 | I am going to press Ctrl+Alt+down arrow,
and then I am going to bring up my
| | 04:26 | Character panel by pressing Ctrl+T or
Command+T on the Mac, and I can see that
| | 04:30 | my Leading value is now
37 points, that's too much.
| | 04:33 | So I will go ahead and select it, and I
will knock that value down to 32 points
| | 04:37 | and press the Enter key on the numerical
keypad a couple of times to accept that change.
| | 04:41 | Now I want to apply that same
exact modification to, Make Him Love You.
| | 04:45 | So I will click in front of the I in "In",
and I will press Backspace, and then Enter.
| | 04:50 | That would be Delete, and then
Return on the Mac, in order to create a new
| | 04:52 | paragraph, and I'll quadruple-click on,
Make Him Love You, to go ahead and select that.
| | 04:57 | Now Photoshop CS6 does include
paragraph styles, and we will discuss them in
| | 05:01 | an upcoming chapter, but for now, I am
just going to go ahead and apply those
| | 05:05 | same modifications manually because,
frankly, this one type treatment isn't
| | 05:09 | worth creating a style.
| | 05:10 | So I'll click on the word regular here
inside the Character panel, and I will
| | 05:14 | just type in bold, and that gives
me bold condensed automatically.
| | 05:16 | Then I will tab to the Type
Size value, change it to 39.
| | 05:20 | I will take that Leading value up to 32
points, and you know what, I'm going to
| | 05:24 | press tab a few times here to advance
to this guy, which is the Horizontally
| | 05:29 | scale value because I want to increase
the width of my characters just a little bit.
| | 05:34 | They are too narrow at this point.
| | 05:35 | So you can stretch the characters if
you want, and I am going to do so by
| | 05:40 | pressing Shift+up arrow, and as you can
see, that makes the text a little wider.
| | 05:42 | If it ends up knocking the text on too
many lines, as in my case, then you can
| | 05:46 | hover over that right-handle until you
see the double Arrow cursor, and just go
| | 05:50 | ahead and drag that frame out until the
text wraps on three lines, and you know
| | 05:53 | what I need to do the same
thing for the other headline.
| | 05:56 | So I will press the Enter key on the
numerical keypad in order to accept that
| | 06:00 | modification, scroll up a little bit,
quadruple-click inside that first
| | 06:04 | paragraph, select that Horizontally
scale value, then go ahead and press
| | 06:07 | Shift+up arrow to take the value up to
110% and press the keypad Enter key a
| | 06:12 | couple of times in order to accept that change,
and we end up with these nicely formatted paragraphs.
| | 06:18 | Now those of you with a discerning eye
will notice that we've got a little bit
| | 06:21 | of a problem here with the
U overrunning her underarm.
| | 06:25 | And on further reflection, I decided I
really wanted to wrap the text, like
| | 06:29 | so, along the contours of that arm, and I'll
show you how to do exactly that in the next movie.
| | Collapse this transcript |
| Setting text inside a custom path| 00:00 | In this movie I'll show you how to
place text inside of a custom container.
| | 00:04 | Because the idea is we want the text to
actually ride along the contours of the model's arm.
| | 00:09 | I still have my Text tool selected.
| | 00:11 | So I'll click inside the word Make in
order to enter that blinking insertion
| | 00:15 | marker, and then I'll select all the
text inside the frame by pressing Ctrl+A, or
| | 00:19 | Command+A on the Mac.
| | 00:21 | Next I'll go up to the Edit menu and
choose the Copy command or press Ctrl+C,
| | 00:25 | or Command+C. Now I'll press the Escape key
in order to escape out of the Text Entry mode.
| | 00:30 | We don't need this layer anymore.
| | 00:32 | So I'll just go ahead and press the
Backspace key, or the Delete key on the
| | 00:35 | Mac, to get rid of it.
| | 00:36 | Now what I'd like you to do is
switch over to the Paths panel, and you can
| | 00:42 | switch to it by clicking on the
Paths tab, by default, here in the layers
| | 00:45 | panel group or if you prefer, you can go up to
the Window menu, and choose the Paths command.
| | 00:49 | Either way, you will see a couple of
paths that I've drawn in advance for you.
| | 00:52 | Go ahead and click on the
container path in order to make it active.
| | 00:56 | Now I'm going to zoom in on my image, like so.
So that we can see it up close and personal.
| | 01:01 | Notice what we have is a path outline.
| | 01:04 | Now I went ahead and drew this outline
using the Pen tool, by the way, and the
| | 01:09 | Pen tool is a very
powerful tool inside of Photoshop.
| | 01:12 | I'll be devoting an entire chapter to that
tool in the advanced course of the series.
| | 01:16 | But for now just know that it's a vector-based
path outline that you can do just
| | 01:20 | about anything with.
| | 01:21 | You can select the image with it, you
can paint a brushstroke around it, and you
| | 01:25 | can create text inside of it as well.
| | 01:27 | So still armed with the Type tool, go
ahead and move your cursor into that path
| | 01:31 | outline, and you'll see an I-beam
surrounded by a dotted circle, and that tells
| | 01:35 | you that you are going to
create text inside of this object.
| | 01:39 | So just go ahead and click inside
of there in order to set the blinking
| | 01:43 | insertion marker--and for me, it's
appearing over here in the right-hand side--
| | 01:47 | and then you can enter text from the
keyboard, and that text is going to
| | 01:50 | automatically appear inside the path outline.
| | 01:52 | Now some of my words are too long to
fit properly if I were to enter space
| | 01:56 | character right about there, and
here as well, then my text would jump
| | 02:00 | upward, as you can see.
I don't want this text of course.
| | 02:03 | So I'll press Ctrl+A, or Command+A
on the Mac, to select it, and then I'll
| | 02:08 | replace it by going up to the Edit
menu and choosing the Paste command, or I
| | 02:12 | could press Ctrl+V, or Command+V on a
Mac, and the text automatically pastes
| | 02:15 | inside of that path outline.
| | 02:18 | Now the reason the word Make is
dropping down to a second line is because it's
| | 02:22 | too big to fit on the first line.
| | 02:24 | If I were to click between the K and
the E and press the spacebar, then you
| | 02:28 | would see that the word Make would go
ahead and wrap up to that top line.
| | 02:32 | Anyway, we don't want it to, we want
it to be where it is so I'll get rid of
| | 02:34 | that space character, and then I'll
press Ctrl+A, or Command+A on the Mac, in
| | 02:39 | order to select all of that text, and
I'll make it flush right by pressing
| | 02:43 | Ctrl+Shift+R, or Command+Shift+R on a
Mac, and that's all there is to it.
| | 02:47 | Now I'll press the Enter key, or the
Return key on a Mac, in order to accept
| | 02:50 | that new text layer.
| | 02:51 | So you can see if we switch over to
layers panel, we do have a new text layer
| | 02:54 | so that text is
reinstated on an independent layer.
| | 02:58 | Meanwhile, as long as that layer is
selected, we can see its outline here inside
| | 03:03 | the Paths panel, and it's indicated by
this guy right there in Italics, which
| | 03:07 | tells us that it's a kind
of temporary path outline.
| | 03:09 | We'll only see it here in the Paths panel
as long as this particular layer is selected.
| | 03:14 | So if at any time you wanted to
modify this custom container, then you would
| | 03:18 | modify this path here, not the original
container path, and you would do so--just
| | 03:23 | so as you know--by switching down to
this Black Arrow tool, the one that
| | 03:27 | Photoshop calls the Path Selection tool.
| | 03:29 | You would click and hold on it, then
switch to the Direct Selection tool, and
| | 03:33 | you would click, for example, on the
segment right here in order to make it
| | 03:36 | active, and then you could drag these
points around if you wanted to, and you
| | 03:40 | could make that top line longer by Shift-dragging
this top handle, like so, and
| | 03:45 | that would allow the word Make to fit.
I don't want to do that however.
| | 03:49 | So I'll press Ctrl+Alt+Z, or Command+
Option+Z on a Mac, a couple of times in a row
| | 03:53 | in order to undo the
movement of those two anchor points.
| | 03:56 | And again, I'll explain in detail how
to work with path outlines in a future
| | 04:01 | chapter, but for now, there is couple of
more modifications I want to make to the text.
| | 04:05 | First of all, I'll press T to
switch back to the Text tool.
| | 04:08 | I want the 5 to wrap down to the next line.
| | 04:11 | So I am going to go ahead and click
and drag over 5 Minutes, like so, in
| | 04:16 | order to select it, and then I'll
press Ctrl+T, or Command+T on a Mac, to bring
| | 04:21 | up the Character panel, and I'll
click on the Flyout menu icon in the
| | 04:24 | upper-right corner, and I'll choose
this command, No Break, and that will go
| | 04:28 | ahead and keep those two words
together while maintaining all of this text
| | 04:31 | here as a single paragraph. All right.
| | 04:34 | Now I'll press the Enter key on the
numerical keypad in order to accept that
| | 04:37 | change, and I am going to go ahead and
zoom out here so that I can see both of
| | 04:42 | my paragraphs of text, and I want
the kerning to be a little different.
| | 04:46 | So I'll switch back to my layers panel,
and I'll Shift-click on, New Miracle Diet,
| | 04:51 | so that both of these paragraphs are
selected and with my Character panel still
| | 04:56 | open, I'll go ahead and click the down-pointing
arrow head next to the word
| | 04:59 | Metrics, and I'll switch it to Optical,
and that gives me--what appears to me at
| | 05:03 | any rate--to be better
character spacing. All right.
| | 05:06 | That takes care of those teasers, and
in fact, I think I'll go ahead and place
| | 05:10 | these two layers in a single group by
pressing Ctrl+G, or Command+G on the Mac, to
| | 05:14 | group those two layers together, and
I'll double-click on the name of the group,
| | 05:18 | and I'll change its name to teasers
because these are, in fact, the teasers that
| | 05:22 | invite you to buy the magazine.
| | 05:23 | So that's how you go about creating
text inside of a custom path container
| | 05:27 | here inside Photoshop.
| | 05:28 | In the next movie, I'll show you
how to create text along a path.
| | Collapse this transcript |
| Creating text along a path| 00:00 | In this movie I'll show you how to
create text along a path, and this could be
| | 00:04 | any path outline, a circle or any
other shape you can draw inside Photoshop.
| | 00:08 | For our part, we're going to
creating text along a slightly arcing line.
| | 00:12 | We're looking at the final version of
the composition, and I'm zoomed into the
| | 00:16 | lower left corner along the model's
glove, and you can see the words are
| | 00:20 | arcing ever so slightly.
| | 00:21 | That is the baseline is arcing.
So let's see how that works.
| | 00:24 | I'll go ahead and switch to our
composition in progress, and I'll zoom in to
| | 00:29 | that lower left corner of the image,
like so, and then I'll switch over to the
| | 00:33 | Paths panel, and you can see that
I've got a second path called down left.
| | 00:37 | Go ahead and click on it to select it.
| | 00:39 | It's a little hard to see here, but it's
this arcing line set between two anchor
| | 00:44 | points, and that's it.
| | 00:45 | So it's pretty simple to draw as we'll
see when we take a look at the Pen tool
| | 00:48 | in the Advanced course.
| | 00:50 | But for now, we'll just take
this path outline for granted.
| | 00:52 | Now before you set about creating
text on a path, which is somewhat of a
| | 00:57 | precarious proposition inside of
Photoshop, you have to create the text
| | 01:01 | along the path directly.
| | 01:02 | You'll want to go ahead and establish
a few baseline formatting attributes.
| | 01:07 | So I've got my Type tool selected,
I'll press the Enter key to select the
| | 01:10 | font, and I'll go ahead and type in
M-I-N-I, which gets me Minion Pro, which is
| | 01:15 | exactly what I want.
| | 01:16 | Then I'll tab over to the style, and
I'll enter Semi, which gives me Semibold,
| | 01:20 | and then I'll press the down arrow
key to switch to Semibold Italic.
| | 01:23 | Even though the name is truncated,
that's the style that I've selected, and then
| | 01:27 | I'll tab over to the type size, and
I'll change it to 12 points, and then
| | 01:32 | finally, you want to click on the Left
align text icon right there in order to
| | 01:35 | make sure that the text aligns to the
left, and we want the text to be white, so
| | 01:39 | click on the color swatch and go ahead
and drag the circle to the upper left
| | 01:43 | corner of the field, and
then click OK. All right.
| | 01:46 | Those are our formatting attributes.
| | 01:47 | Now let's create the text, and you do so by
clicking with the Type tool on the Paths Outline.
| | 01:53 | Notice when I hover my cursor, it
changes to an I-beam with a little dotted
| | 01:57 | line going through it.
| | 01:58 | And so whether we're working with the
closed path outline or an open path like
| | 02:02 | this one, the closed path would be a circle.
| | 02:04 | That is it has no end points, it's
continuous, whereas an open path has end points.
| | 02:08 | It begins at one location and ends at another.
| | 02:11 | Anytime you hover over a path
outline with the Type tool, you'll see this
| | 02:14 | cursor, and what you want to
do is click and enter the text.
| | 02:17 | Well we want our text to start up here,
and then go down, but it's anyone's
| | 02:22 | guess what direction this
path outline actually goes in.
| | 02:26 | Photoshop knows the direction.
| | 02:28 | But if we've got the direction
wrong, it can mess things up.
| | 02:32 | So rather than clicking at an end point,
you're better off clicking some place
| | 02:36 | sort of in the middle of the path
outline just to hedge your bets.
| | 02:40 | So I'm going to click right about there,
and you can see we've got a blinking
| | 02:44 | insertion marker and everything looks to
be good because the tallest portion of
| | 02:48 | the insertion marker is on the top
of the path, which is what we want.
| | 02:52 | That indicates the X height and the descender.
| | 02:55 | And the smaller portion of the
insertion markers along the bottom, that
| | 02:58 | indicates the descenders. All right.
| | 03:00 | Then go ahead and type in the words,
September 2026, like so, and you can see
| | 03:06 | that 2026 just fell off the edge.
| | 03:09 | If I press the Backspace key a couple
of times, in my case, I happen to have
| | 03:13 | room for 20. But as soon as I try to
enter 26, the text falls off, which is
| | 03:17 | great, because I want to show you how
to modify the placement here, and there's
| | 03:20 | a couple ways to do it.
| | 03:22 | One is to use the Arrow tool,
which is the more surefire method.
| | 03:26 | The other way is to press and hold the
Ctrl key, or the Command key on the Mac,
| | 03:30 | but that only works, by the way, as
long as you're in the process of actually
| | 03:34 | creating the text object.
| | 03:35 | Later when you're editing
it, this technique fails.
| | 03:37 | But anyway, if you press the Ctrl
key, or the Command key on the Mac, and
| | 03:41 | hover over that X right there, you'll see your
cursor changes to an I-beam with an arrow head.
| | 03:46 | Then you can go ahead and drag the
text upward along the path, like so,
| | 03:49 | in order to move it to a different location.
| | 03:52 | Or if that fails you just go ahead
and press the Enter key on the numerical
| | 03:56 | keypad in order to accept your new
text object, and then switch to the Arrow
| | 04:01 | tool, and it doesn't matter which one it is.
| | 04:03 | It could be the Direct Selection tool,
it could be the Path Selection tool,
| | 04:07 | either one, and then hover your cursor
over the path outline, and you'll see
| | 04:10 | that I-beam with the arrow head, and
you can go ahead and drag the front of
| | 04:14 | that text, the X, which indicates the point of
alignment there to whatever location you like.
| | 04:20 | Right about here is probably
going to serve our purposes for now.
| | 04:23 | One thing to bear in mind, however
is you want to drag along the path.
| | 04:27 | If you drag to the other side, you'll flip
the text, like so, and that's not what we want.
| | 04:31 | So I'll go ahead and drag back to the right
side to flip it where it needs to be. All right.
| | 04:35 | Now I'm going to press the T key to
switch back to the Type tool, and I'm going
| | 04:39 | to click inside the text in order to
set the blinking insertion marker, and
| | 04:42 | then I'll press Ctrl+A, or Command+A on
the Mac, to select all the type, press
| | 04:47 | Ctrl+H, or Command+H on the Mac, so
I can see what I'm doing without the
| | 04:51 | highlight there, and I'll press Ctrl+T or
Command+T on the Mac, to bring up the Character panel.
| | 04:56 | I want this text to be all caps, and
you might ask me, well if you wanted
| | 04:58 | it all caps, why didn't you press the Caps
Lock key and just enter the text that way?
| | 05:02 | Because if you do that, you limit your
flexibility, whereas if you apply it as a
| | 05:06 | formatting attribute, you can
always change your mind later.
| | 05:10 | So notice that you've got that
little icon there that says All Caps.
| | 05:14 | You also have the keyboard shortcut,
as long as the text is selected, of
| | 05:17 | Ctrl+Shift+K, or Command+Shift+K on the Mac.
| | 05:20 | I'll go ahead and click on that icon in
order to set my text in all caps, like
| | 05:24 | so, and then I'll go ahead and hide the
Character panel, and finally, I'll press
| | 05:28 | the Enter key on the numerical
keypad in order to accept my changes.
| | 05:33 | Once again, notice here in the Paths
panel that we have a new temporary path,
| | 05:36 | we'll only see it as long as
this specific layer is selected.
| | 05:39 | And somehow I've ended up with a work path.
| | 05:41 | If you do as well, you can tidy things up
by just dragging that thing to the trash can.
| | 05:46 | That may make you worry because
our path outline just disappeared.
| | 05:49 | However, if you click on that temporary
item once again, it comes back, and sure
| | 05:54 | enough, that is the text object
that we just created. All right.
| | 05:58 | I'll press Escape this time
since I just highlighted the text.
| | 06:01 | So that's how you create text
along the path inside Photoshop.
| | 06:04 | In the next movie, I'll show you how
to adjust the vertical alignment of the
| | 06:08 | text along that path using baseline shift.
| | Collapse this transcript |
| Adjusting baseline shift| 00:00 | In this movie I'll show you how to use
Baseline Shift to adjust the vertical
| | 00:04 | alignment of text on a path.
| | 00:06 | Now the idea behind baseline shift
is that you're shifting the text above
| | 00:10 | or below the baseline.
Let me show you how it works.
| | 00:14 | I still have the Type tool selected,
and I am going to bring up the Character
| | 00:18 | panel by clicking on the little
panel icon up here in the Options bar.
| | 00:22 | And notice this option right there, if
you hover over it you will see that it
| | 00:26 | sets the Baseline shift.
| | 00:27 | And by the way, all of these values
are scrubbable, so in other words, you can
| | 00:31 | just drag along the icon there.
| | 00:32 | In order to scrub the value up, if you
move your cursor to the right or scrub
| | 00:36 | the value down if you move it to the left.
| | 00:39 | Anyway notice what happens if I
increase the Baseline Shift value, then I raise
| | 00:43 | the text with respect to its curving
baseline, and this could be useful not only
| | 00:48 | for adjusting text on a path--the way we're
doing right now--but also for creating fractions.
| | 00:53 | You would want to raise the
numerator--which is the number on top of
| | 00:57 | the fraction. And you can also use
this for creating ordinals, such as the ND
| | 01:01 | that would follow a 2 for 2nd.
| | 01:04 | If you want to lower the text with
respect to the baseline, then you go ahead
| | 01:07 | and reduce that baseline shift value.
Now that's obviously too much of a modification.
| | 01:12 | So I am going to go ahead and click
on this icon in order to select a value
| | 01:16 | and restore it to 0.
| | 01:17 | Because after all I really don't
know how much baseline shift I want,
| | 01:21 | fortunately, you can change the
baseline shift from the keyboard by clicking
| | 01:24 | inside the text with the Type tool
here in order to set the insertion marker.
| | 01:28 | Now I will press Ctrl+A in order to
select all the text, that's Command+A on the
| | 01:32 | Mac, and then Ctrl+H, or Command+
H, in order to hide the highlight.
| | 01:36 | Now you could press Shift+Alt+up arrow
to raise that text, that would be
| | 01:39 | Shift+Option+up arrow on the Mac, and
this happens in two point increments
| | 01:43 | once again, or Shift+Alt+down arrow,
Shift+Option+down arrow on a Mac, in order
| | 01:47 | to lower that text.
| | 01:49 | You can also go nuts and press all the
keys if you want to, Ctrl+Shift+Alt+up arrow
| | 01:53 | raises the text in 10 points as,
Command+Shift+Option+up arrow on the Mac,
| | 01:58 | and then Ctrl+Shift+Alt+down arrow, or
Command+Shift+Option+down arrow on the Mac,
| | 02:02 | lowers the text in 10 point increments.
| | 02:04 | Anyway starting at a Baseline
Shift value of 0, I am going to press
| | 02:08 | Shift+Alt+down arrow four times in a
row in order to reduce that value to -8
| | 02:14 | points, and I end up with this effect here.
| | 02:16 | All right that's perfect, so I will
press the Enter key, or the Return key on
| | 02:20 | the Mac, in order to accept that change.
| | 02:22 | Now there are a couple of more
adjustments I want to make to this text, neither
| | 02:24 | of which has to do with text formatting.
| | 02:26 | So I will go ahead and hide the
Character panel, and I'll switch over to the
| | 02:29 | layers panel here, and I want
to give the text a drop shadow.
| | 02:33 | So I am going to click on the fx icon
down here at the bottom of layer panel,
| | 02:37 | and I am going to choose Drop Shadow,
the very final effect because it's the
| | 02:41 | last one applied. And then inside of
the Drop Shadow dialog box you should see
| | 02:46 | that most of the options are set the way
I want them, which is to say a Distance
| | 02:50 | value of 5 pixels, Spread value
of 0, and a Size value of 5 pixels.
| | 02:54 | We don't want to change the Angle value.
It should be 120 degrees; however, we do want
| | 02:59 | to raise the Opacity.
| | 03:01 | So I will increase the value to 100%
and instead of just having a black shadow,
| | 03:05 | which looks a little muddy, I want to
better match the scene by clicking inside
| | 03:09 | of that Color Swatch there. And then I
am going to move my cursor out into a
| | 03:14 | dark portion of the model's shoulder
and click in order to lift this color, and
| | 03:18 | I just happened to have nailed the
Hue value, I want a Hue of 30 degrees.
| | 03:22 | However, I want the Saturation to be 50%,
and I want the Brightness to be 20%.
| | 03:28 | Then go ahead and click OK to accept
that very dark brown, and you can see that
| | 03:31 | it does make a difference in
the color of the drop shadow.
| | 03:35 | Leave the Blend mode, by the way, set
the Multiply, and then click OK in order
| | 03:39 | to accept that change.
| | 03:41 | Now then I want to go ahead and
move the text into the model's arm a
| | 03:45 | little better there.
| | 03:46 | And so I will go up to the Edit menu
and choose the Free Transform Path command
| | 03:50 | that's Ctrl+T, or Command+T on the Mac,
and you may scratch your head and
| | 03:55 | wonder, wait a second, haven't we been
using that keyboard shortcut to bring up
| | 03:58 | the Character panel? And its true.
| | 04:00 | Photoshop provides
contextual keyboard shortcuts.
| | 04:02 | So when text is highlighted, then
Ctrl+T, or Command+T, brings up the
| | 04:07 | Character panel when there's no text
highlighted, it takes you to the Free Transform command.
| | 04:11 | So I'll go ahead and choose that
command, and now move your cursor outside of
| | 04:16 | this bounding box here.
| | 04:17 | And drag just a little bit, now I
came up with a value, you can see that
| | 04:22 | heads-up display there, and I came up
with an Angle value of about 3.5 degrees seemed
| | 04:26 | to work pretty well.
| | 04:27 | Notice that we do not see a preview of
the letters changing on the fly, which is
| | 04:33 | a little bit of a problem in my opinion,
because it means we are working blind,
| | 04:37 | but I'm pretty sure this is going to
work, and then press Shift+right arrow to
| | 04:41 | move the path closer to the model's
sleeve. And then when you press the Enter
| | 04:46 | key, or the Return key on a Mac,
Photoshop goes ahead and updates the text.
| | 04:50 | Now notice the S is too close to the
sleeve, so I'll switch to the Arrow tool,
| | 04:54 | which, by the way, you can get by
pressing A for arrow, and then I'll move my
| | 04:59 | cursor over that little X and drag the
text down, this time we do get a preview
| | 05:03 | --which is quite helpful--and I want to
end up with this effect here, which looks
| | 05:07 | to be a little tight to the bottom of
the image here, and I suspect the reason
| | 05:12 | is we have a leftover formatting attribute.
| | 05:13 | So I am going to bring up my Character
panel, by this time going up to the Type
| | 05:18 | menu, choosing panels, and
then choosing Character panel.
| | 05:20 | And sure enough my Horizontally
Scaled value is still set to 110%.
| | 05:24 | So I will click inside that value and
press Shift+down arrow, and then press the
| | 05:28 | Enter key, or the Return key on the Mac,
in order to reset it to 100%, like so.
| | 05:33 | And that, folks, is how you apply
Baseline Shift, as well as a few other
| | 05:37 | adjustments, to text on a path.
| | Collapse this transcript |
| Creating and stylizing a logo| 00:00 | In this movie I'll show you how to
create a basic logo inside Photoshop.
| | 00:03 | I am going to go ahead and zoom out
here by pressing Ctrl+0, and then I'll zoom
| | 00:08 | in by pressing Ctrl+Plus, Command+Plus on
the Mac, and I'll scroll up so that I can
| | 00:12 | see the very top of my image here, and
I have gone ahead and created a word in
| | 00:17 | advance for you, there is not much to it.
| | 00:19 | So if you scroll to the top of layers
panel, you'll see this folder called
| | 00:23 | Logo group, go ahead and twirl it open,
and then drag down the eyeball column
| | 00:27 | in order to turn these three layers on,
and you will see that we've got this
| | 00:31 | underline with the drop shadow that
I've painted in advance, and also I've the
| | 00:34 | word Pout with an arrow pointing to it just
so that you can find it, because it's so tiny.
| | 00:39 | Go ahead and turn the arrow off in
the layers panel, we don't need it.
| | 00:41 | I just wanted to help you locate this
item, and click on the Pout layer in
| | 00:45 | order to make it active.
| | 00:47 | Assuming that your Type tool is
selected, which you can get, of course, by
| | 00:50 | just pressing the T key.
| | 00:52 | Then we want to modify a
few formatting settings.
| | 00:53 | So press the Enter key in order to
highlight the font, and I am going to dial
| | 00:57 | in Min, and that's enough actually to
get me Minion Pro--so M-I-N--then I'll tab
| | 01:03 | over to the Style, and I'll type in
bold, and that gives me Bold Condensed.
| | 01:07 | Because it's the first of the bold
styles, and I'll tab to the Type size value,
| | 01:11 | and change it to a whopping 224 points,
like so, and we end up getting this
| | 01:16 | big huge word Pout.
| | 01:17 | I also want to fill it with white, so
I'll tap the D key to establish my default
| | 01:22 | foreground and background colors,
and I'll press Ctrl+Backspace or
| | 01:25 | Command+Delete on a Mac, in order to
make those letters white. All right.
| | 01:29 | Now let's bring up the Character panel
by once again clicking on the panel icon
| | 01:32 | up here in the Options bar, and I want
my text to be all caps, so I'll go ahead
| | 01:37 | and click on that TT icon, and
that ends up making my text too big.
| | 01:41 | It should be pretty much exactly
centered in the image window, but the spacing
| | 01:45 | is awfully wide, as you can see.
| | 01:48 | So the first thing I'll try out is
what I was suggesting a few movies ago, go
| | 01:52 | over to the Kerning option, click the
down-pointing arrow head and switch from
| | 01:56 | Metrics to Optical, and that puts
Photoshop in-charge of the kerning, as you can
| | 02:00 | see, and ends up tightening the
spacing of the letters. All right.
| | 02:04 | Now I am going to click inside the
text to make it active, and I'll press
| | 02:08 | Ctrl+A, or Command+A on a Mac, to
select that logo, then I'll press Ctrl+H, or
| | 02:12 | Command+H on the Mac, to hide the highlight,
and I want to reduce the tracking of this text.
| | 02:17 | So I'll press Alt+left arrow, or Option+left arrow
on a Mac, to just slightly
| | 02:22 | nudge the letters together.
| | 02:23 | That ends up giving us a tracking
value of -20, and then finally, after
| | 02:28 | eyeballing this for a while, it seemed
to me the space between the O and the U
| | 02:32 | was a bit wider than that between
the U and the T and the P and the O.
| | 02:36 | So I'll go ahead and click between the
O and the U and press Alt+left arrow or
| | 02:41 | Option+left arrow on the Mac, once again,
this time to reduce the Kerning value
| | 02:44 | by 20,000s of an EM space, and that
ends up giving us a Kerning value of -61.
| | 02:50 | So presumably it started off as -41. All right.
Finally, I want these characters to be taller.
| | 02:56 | So I'll press Ctrl+A, or Command+A on
the Mac, to select them all again, and then
| | 03:00 | I'll press Ctrl+H, or Command+H on the
Mac, to hide that selection, and this time
| | 03:04 | I want to increase the Vertically scale value.
| | 03:06 | So I'll click on its icon, and then I'll
press Shift+up arrow to raise the value
| | 03:11 | to 110%, and I'll press the Enter key
on the numerical keypad a couple of times
| | 03:15 | in order to accept my change. All right.
| | 03:17 | That's looking pretty darn good, but I want to
go ahead and match the styling of the underline.
| | 03:22 | So what I can do, notice we've got
this fx icon next to the underline layer,
| | 03:26 | and if you click the down-pointing arrow head,
you will see that there's a drop shadow.
| | 03:30 | If you want to move the drop shadow to a
different a layer, you can just drag it
| | 03:34 | or that fx icon, like so, and
then just drop it onto the new layer.
| | 03:39 | However, as I say, that performs a move,
and now we no longer have the drop
| | 03:42 | shadow assigned to the underline.
| | 03:44 | If you want to duplicate instead,
I'll do it the other direction this time.
| | 03:48 | You press the Alt key, or the Option
key on the Mac, and drag that fx icon, you
| | 03:53 | could also have dragged the drop shadow, by
the way, and drop it on to the other layer.
| | 03:57 | And notice you get this little double
arrow head icon, and that tells you that
| | 04:00 | you're going to essentially
clone that effect. All right.
| | 04:04 | Finally, we need the letters to be
translucent, and I happen to know this
| | 04:07 | underline is set to 50% Opacity, so I
could just tap the 5 key in order to
| | 04:12 | reduce the Opacity value to 50%,
but notice that not only affects the
| | 04:16 | translucency of the letters, but it
makes the drop shadow more translucent as
| | 04:20 | well and that's not what I want.
| | 04:22 | So I'll press Ctrl+Z, or Command+Z
on the Mac, to undo that change.
| | 04:26 | Instead what you want to do is reduce
the Fill value. And what that does--I'll go
| | 04:30 | ahead and highlight the value here--it
changes the opacity of the interior of
| | 04:33 | the letters without affecting the
drop shadow or any other layer effects.
| | 04:37 | So if I reduce it to 50%, for example, you
can see that we now have an identical effect.
| | 04:43 | This option has a keyboard shortcut,
I'll go ahead and mention it, first of all,
| | 04:46 | press the Escape key in
order to deny that value there.
| | 04:50 | As long as one of these bottom tools is
selected or one of the selection tools--
| | 04:54 | that is anything but this middle
group of brushing and pixel modification
| | 04:59 | tools--as long as any tool, but those,
is selected you can press Shift+5.
| | 05:03 | So Shift plus the number key will change
the Fill value. And you know, as long as we
| | 05:07 | are on the topic of layer effects, we
have another modification that we need to
| | 05:12 | make a little farther down here.
| | 05:13 | So I'll press the Page Down key in
order to scroll down to 365--and let me find
| | 05:20 | that layer, there it is it's toward
the bottom of the list--I'll go ahead and
| | 05:23 | click on it in order to make it active,
and if you scroll all the way down the
| | 05:27 | panel, you'll see this item called Info,
turn it on, and it contains all the
| | 05:31 | layer effects that I want to apply to 365.
Now there is a lot going on in this case.
| | 05:35 | If I click the down-pointing arrow head,
you can see I have got a total of five
| | 05:39 | layer effects, I am not going to show
you how to create them now, because we've
| | 05:43 | got a Layer Effects chapter coming up soon.
| | 05:45 | Instead, we'll just go ahead and
duplicate all of them by scrolling up the list
| | 05:49 | again pressing and holding the Alt
key, or the Option key on the Mac, and
| | 05:53 | dragging that fx icon, and then
dropping it on 365, and we end up getting this
| | 05:56 | styled effect here. All right.
| | 05:58 | I am going to go ahead and collapse
the layer effects throughout the layers
| | 06:03 | panel, by pressing again the Alt key, or
the Option key on the Mac, and this time
| | 06:08 | clicking this little up arrow head
next to fx, and that way we are saving
| | 06:12 | ourselves a little bit of
space inside this panel.
| | 06:15 | Now 365 should appear below Fashion
Formulas, so I am going to go ahead and drag
| | 06:19 | it down the list, like so,
| | 06:21 | to directly above Info, and you can see
that pops it in back of the word, where it
| | 06:26 | belongs, and then I'll turn off Info.
| | 06:27 | It's just a placeholder, so that we now
have our lustrously stylized text. All right.
| | 06:33 | Now I'll press the Page Up key in order
to return to the logo in progress here.
| | 06:37 | The only problem with it is that it
should be masked in classic magazine style
| | 06:43 | behind the model, and I'm going to
show you how that works in the next movie.
| | Collapse this transcript |
| Masking text into image elements| 00:00 | In this movie I'll show you how to mask the
logo so it appears behind the model's head.
| | 00:04 | I've created this mask in advance for you,
and you can check it out by switching
| | 00:08 | to the Channels panel, which you can get
by clicking on the Channels tab just to
| | 00:12 | the right of layers, or if you prefer,
you can go to the Window menu and choose
| | 00:16 | the Channels command.
| | 00:17 | Notice in addition to the Red, Green,
and Blue channels that make up the
| | 00:21 | composite RGB image, we also have an
additional so-called Alpha channel called,
| | 00:26 | half mask, and you can go ahead
and click on it to switch to it.
| | 00:30 | I'll explain what's going on here in a
moment, but notice that I lost interest
| | 00:34 | in the mask at a certain point.
| | 00:35 | That's why it's called half mask, and
I really didn't have to go any farther
| | 00:39 | than this because all I needed to do was
mask away the model's hair and her face
| | 00:43 | and her arm and elbow and so forth
because those are the only elements that
| | 00:47 | stick up into the logo.
| | 00:48 | Now I'm not going to document how I
created this mask here because we will be
| | 00:52 | exploring lots of masking techniques in
both the advanced and mastery courses.
| | 00:58 | But for now, just know that wherever
we see black inside of this mask, we're
| | 01:03 | going to conceal the logo, and wherever we
see white, we're going to reveal the logo.
| | 01:08 | So black conceals, white reveals.
| | 01:11 | If you want to get a better sense of
what's going on here, how the mask aligns
| | 01:15 | to the RGB image, for example, then
go ahead and turn that RGB image on by
| | 01:19 | clicking in the Eyeball icon to left of it.
| | 01:22 | Now we're seeing the mask as
a kind of Rubylith overlay.
| | 01:25 | So, wherever we see the ruby, we're
going to cut through the logo and reveal
| | 01:29 | the model below, and wherever we're
not seeing that ruby overlay, then we're
| | 01:34 | going to see the logo. All right.
| | 01:35 | Let's go ahead and load up that Alpha
channel as a selection outline by going to
| | 01:39 | the Select menu, and
choosing the Load Selection command.
| | 01:42 | Then you should see that the document
is the one we're working on which in my
| | 01:46 | case is called Stylized Pout logo.psd.
| | 01:49 | That's the progress document, and
then channel is set to, half mask, which is
| | 01:53 | exactly what we want.
Then click OK to generate that selection.
| | 01:57 | Now you can click on RGB to make the
RGB image active and turn off the Alpha
| | 02:02 | channel by clicking on its eyeball.
| | 02:04 | Then go ahead and switch back to layers
panel, scroll up to the very top of the
| | 02:08 | list, and click on Logo Group to make
it active because we want to mask all of
| | 02:12 | the layers inside that group.
| | 02:14 | Then drop down to this icon at the
bottom of the layers panel, and you'll see it
| | 02:18 | says Add layer mask.
| | 02:19 | Go ahead and click on it, and that
converts the selection outline to a layer mask.
| | 02:24 | And just like that, we've managed to
mask the logo behind the model's head.
| | 02:28 | Now, everything is working out pretty
splendidly, in part, because the model is
| | 02:32 | casting shadows away from
the logo, as you can see here.
| | 02:35 | The shadows are being cast down and to the left.
| | 02:38 | Now, I realize, my drop shadows are going
down and to the right, total artistic license.
| | 02:44 | I don't care if they match.
| | 02:45 | But I do care that the edges look as
good as possible, and there is one problem,
| | 02:50 | if I go ahead and zoom in at this
location right there below her arm, and this
| | 02:55 | is the point at which the underline
layer appears to extend beyond her arm,
| | 02:59 | we've got some problems.
| | 03:00 | First of all, we need a little bit more
of a shadow right there, and we're kind
| | 03:04 | of losing the drop shadow effect.
| | 03:05 | That's because I sort of approached
this mask a little bit incorrectly.
| | 03:09 | You can look at the mask by itself
--the layer mask that is--by Alt-clicking, or
| | 03:13 | Option-clicking, on the layer mask
thumbnail, and you see I went ahead and added
| | 03:17 | a little softness on this arm.
| | 03:19 | So there's a bit of a black blur poking
through, and I did that using the Brush tool.
| | 03:24 | So if you go ahead and select it, I
right-clicked inside the image window, I
| | 03:27 | changed the Size value to about 50
pixels, the Hardness was set to 0%, and
| | 03:32 | then I went ahead and painted in black,
so I'll go ahead and click this little
| | 03:36 | Switcheroo icon right there to make the
foreground color black, and I did this number here.
| | 03:41 | But that was a bad idea.
| | 03:42 | I'm going to press Ctrl+Z, or Command+Z
on the Mac, to undo that change, and I'll
| | 03:46 | Alt-click, or Option-click, on the
Layer Mask thumbnail to return to the RGB
| | 03:50 | image, because rather than--as you see
can here if I paint in some more black--
| | 03:55 | rather than reveal a shadow, even
though she has got a shadow behind her arm,
| | 03:59 | it's actually pretty darn light shadow,
it doesn't match the underline layer,
| | 04:02 | and I get rid of the very dark
drop shadow behind the underline.
| | 04:06 | So I'll once again press Ctrl+Z,
Command+Z on the Mac, to undo that change.
| | 04:10 | So here's how we fix things.
For starters, I'm going to create a new layer.
| | 04:14 | So I'll go ahead and click on the
Pout layer, for example, and I'll press
| | 04:18 | Ctrl+Shift+N, or Command+Shift+N on the Mac,
and I'll call this, shading, and click OK.
| | 04:24 | Then I still have the Brush tool selected.
| | 04:26 | So I'll press the Alt key, or the
Option key on the Mac, in order to get my
| | 04:30 | Eyedropper cursor, and I'll click in
one of these dark shadow colors, like
| | 04:33 | so, in order to lift some dark brown,
doesn't really matter exactly which one,
| | 04:37 | and I'll go ahead and paint
along the model's arm like this.
| | 04:40 | And notice that I'm keeping the center
of my cursor inside of the arm, so that
| | 04:46 | I'm not getting too much shadow.
| | 04:47 | If I did this number, it
looked pretty ridiculous actually.
| | 04:50 | So I will press Ctrl+Z, Command+Z
on the Mac, to undo that change.
| | 04:53 | Then I'm going to switch the Blend mode
for this layer to the ultimate channel
| | 04:57 | mode which is Multiply.
| | 04:59 | So you click on the word Normal in
the upper left-hand corner of the layers
| | 05:02 | panel and change it to Multiply, like
so, and we end up getting this bit of
| | 05:06 | darkness here, but it's still not exactly right.
| | 05:09 | We've got some weirdness going
where the drop shadow is concerned.
| | 05:13 | So go ahead and return to logo group,
click on the layer mask to make it active,
| | 05:17 | and here's where you're just going to
have to sort of take a leap of faith here.
| | 05:21 | Go ahead and click on that Switch icon
in order to make the foreground color
| | 05:25 | white once again, and then you want to
change the mode up here in the Options bar.
| | 05:29 | This is the Brush mode this time, and
we're changing it to Overlay, and that
| | 05:33 | way, we're going to go ahead and
increase the contrast of this edge, so we
| | 05:37 | essentially paint away that little bit
of blackness I had painted in before.
| | 05:42 | And notice as I do, that gives us the
sharper edge and restores that drop shadow detail.
| | 05:47 | All right.
So there we have it.
| | 05:49 | I'm going to go ahead and switch back
to Rectangular Marquee tool, press the F
| | 05:52 | key a couple of times in order
to switch to the full-screen mode.
| | 05:56 | Let's go ahead and zoom out, and then
zoom back in, and I'm going to scroll up
| | 06:00 | until we can see the
entire masked logo, like so.
| | 06:03 | We've managed to do an absolutely brilliant job,
| | 06:07 | thanks to the power of live editable
vector-based text here inside Photoshop.
| | Collapse this transcript |
|
|
15. Drawing ShapesThe other vector-based layer| 00:00 | One way to think of Photoshop is
as a photographic editing program.
| | 00:04 | Another is as a single
page illustration program.
| | 00:09 | In many ways Photoshop is as powerful a drawing
tool as its vector-based counterpart, Illustrator.
| | 00:16 | Take shape layers, for example, like
Illustrator, Photoshop provides tools for
| | 00:21 | drawing primitive shapes, such as
rectangles, ellipses, polygons, and stars.
| | 00:27 | These tools result in vector based
shape layers that you can scale to any size
| | 00:32 | or resolution just as we saw in
the previous chapter with text.
| | 00:37 | In CS6 you can stroke a shape and
even create dashed or dotted outlines.
| | 00:43 | You can also align shapes and
adjust their stacking order.
| | 00:47 | You can apply path operations to
combine multiple path outlines, thereby
| | 00:52 | permitting you to build complex
shapes from very simple primitive ones.
| | 00:57 | You can blur shapes to create things
like highlights and sparkles, you can draw
| | 01:02 | predefined custom shapes like hearts
and floral ornaments in a single drag, as
| | 01:08 | well as define your own, neither
of which you can do in Illustrator.
| | 01:12 | And best of all you can seamlessly integrate
these shapes with photographic images.
| | 01:18 | I'll begin by introducing you to
the various ways to create new shape
| | 01:22 | layers, and then we'll finish up the
magazine cover that we began in the
| | 01:26 | previous chapter, exported as a
resolution independent PDF document for
| | 01:31 | commercial reproduction, and scale
the cover to create a piece of poster
| | 01:36 | art, all with impeccable results.
| | Collapse this transcript |
| Drawing a dashed or dotted border| 00:00 | Let's start things off with a simple
exercise in which we'll surround this text
| | 00:04 | with a dotted border.
| | 00:06 | When you open this file, you
may end up getting a font warning.
| | 00:09 | It's actually not going to affect this
exercise, so just go ahead and click OK.
| | 00:13 | You get to the Shape tools by
clicking and holding on the tool directly
| | 00:16 | below the Arrow tool, and that reveals
the flyout menu that contains a total
| | 00:20 | of six shape tools.
| | 00:21 | They are fairly simple bunch, but there's
a lot you can do with them as you will see.
| | 00:25 | I am going to go ahead and select the
Rounded Rectangle tool, and I want you if
| | 00:30 | you're working along with me to make
sure that this first option up here in the
| | 00:32 | Options bar is set to Shape, so
that we draw a new Shape layer.
| | 00:35 | You also have the option of drawing a
path that will appear in the Paths panel,
| | 00:39 | and you can just draw Pixels as
well, but that's not what we want.
| | 00:43 | So we will stick with Shape, and then I am
going to drag from right about here downward.
| | 00:48 | Now as you're drawing, you can
press and hold the Shift key in order to
| | 00:51 | constrain the shape to a square, I
will go ahead and release that key.
| | 00:54 | You can also press the Alt, or Option
key, in order to draw the shape from
| | 00:57 | the center outward.
| | 00:58 | I will release the key to return the
tool to its standard corner to corner
| | 01:04 | behavior here, and you can also
press and hold the spacebar in order to
| | 01:06 | reposition that shape on the fly. All right.
So I want the shape to be about this big.
| | 01:11 | Now let's say at this point it dawns on
you that your corners aren't round enough.
| | 01:15 | Well even though these Width and Height
values right here are dynamic, in other
| | 01:20 | words, I could go ahead and click on
the W and say, no I want this shape to be
| | 01:25 | 1200 pixels wide instead.
This Radius value is not dynamic.
| | 01:28 | So if I change it to 36 pixels, for
example, which is what I want, nothing
| | 01:33 | happens to my shape.
| | 01:34 | So I've got to set the Radius before I draw
the shape which means I need to redraw it.
| | 01:40 | So I will press the Backspace key in
order to get rid of that Shape layer,
| | 01:44 | and I will draw a new one, like so, and as I
say, I want it to be about this big let's say.
| | 01:49 | Now what I have is a vector-based
shape layer that's filled with black, and
| | 01:52 | that's not what I want at all.
| | 01:55 | I want the Fill to be transparent,
and I want the outline to be dotted.
| | 01:58 | Fortunately, we now have Fill and
Stroke controls up here in the Options bar.
| | 02:02 | So I am going to click on
that little Fill Swatch there.
| | 02:05 | I can fill the shape with a Gradient if
I like, I can fill it with a Pattern as
| | 02:10 | well, and then I'd select the
desired pattern from this list.
| | 02:12 | But what I want is none.
| | 02:14 | So I am going to click on
this No Color icon right there.
| | 02:17 | Then I will click on this Stroke swatch.
| | 02:19 | Notice that you once again have the
option of Flat Gradient or a Pattern.
| | 02:23 | If you select the Gradient, it's not
going to trace around the shape, instead
| | 02:27 | it's going to go ahead and fill the stroke
with that gradient, as you can see here.
| | 02:31 | But I want a flat stroke.
| | 02:32 | So I will click on Solid Color, and then
I will select white from my Swatches list.
| | 02:37 | Now, by default, you can see this
Align Edges check box is turned on.
| | 02:41 | And what that does is it goes ahead
and aligns this vector-based shape to the
| | 02:45 | pixel grid, so that you have as
little anti-aliasing going on as possible.
| | 02:50 | However, where strokes are concerned,
it's only going to work if you specify
| | 02:53 | the line weight as a pixel value, so I am going
to set the Line Weight to 12 pixels, like so.
| | 02:59 | Then I will press the Enter key, or the
Return key, in order to accept that change.
| | 03:03 | All right. Now let's assign
that dotted stroke.
| | 03:05 | Go ahead and click on this icon, the
one that looks like a line, and that
| | 03:09 | will bring up a list of preset dashes,
for example, I might go ahead and
| | 03:13 | apply this dash pattern there.
| | 03:14 | But if you don't find that either one
of these works for you, then go ahead and
| | 03:18 | click on the More Options button
to bring up the Stroke dialog box.
| | 03:22 | I am going to go ahead and change the
Dash value to 0, and then a Gap of 25,
| | 03:27 | let's say, in order to get the results
I am looking for, however, because I am
| | 03:31 | not seeing any dashes at this point.
| | 03:33 | I need to change the Caps style from
Butt to Round, and that will go ahead and
| | 03:37 | draw circles around each one of the dashes.
| | 03:40 | Now the Gaps are way too big, and
that's because I didn't specify the Unit.
| | 03:44 | It needs to be Pixels, like so.
| | 03:46 | So I will change that Gap value to
25 px, and then I will go ahead and
| | 03:51 | change the Alignment from Inside to
Center, so that the dashes are centered
| | 03:55 | along the path outline.
| | 03:56 | Now if you want to save the stroke
off as a preset, all you have to do is
| | 04:00 | click on the Save button.
| | 04:01 | You don't even have to name the stroke,
it's ready to go, and then click OK in
| | 04:05 | order to apply that stroke. All right.
| | 04:07 | I will press the Enter key, or the Return
key on the Mac, in order to close that panel.
| | 04:12 | Now at this point, it's very possible
you will notice some kind of discrepancy
| | 04:15 | going on in your dots.
| | 04:17 | And in my case, it's located
right there, it's pretty subtle.
| | 04:19 | But if I were to press Ctrl+H, or Command+H
on the Mac, and then zoom in to that
| | 04:24 | top-left corner, you can see that I
have two dots that are sort of glomming
| | 04:28 | together right there.
I want it to be a single dot.
| | 04:31 | So in order to get a perfect effect
here, what you want to do is press Ctrl+H
| | 04:36 | again, or Command+H on the Mac, so that
you can see that path outline, and then
| | 04:40 | switch from the Black Arrow tool to the
White Arrow tool--the one that Photoshop
| | 04:44 | calls the Direct Selection tool--and
marquee some portion of the path, like so.
| | 04:49 | That will go ahead and select all four
points that make up the left side of the shape.
| | 04:55 | I will go ahead and zoom in here
so I can better see what I'm doing.
| | 04:59 | Go ahead and use the Arrow tools in
order to nudge those points around.
| | 05:02 | So you either want to press the left arrow key,
which I just did about four times
| | 05:06 | there, and that just made the problem
worse or press the right arrow key in
| | 05:10 | order to nudge those points in the
other direction until you see that that
| | 05:13 | Double Dot effect goes away. All right.
| | 05:15 | Now I will go ahead and zoom back out here
by pressing Ctrl+0, or Command+0 on the Mac.
| | 05:19 | All right. Now at this point, we need to make sure
that our shape is centered inside of the image.
| | 05:24 | So I will go ahead and switch back to
the Black Arrow tool--the Path Selection
| | 05:27 | tool there--and I will click on the
Path Outline in order to select the entire thing.
| | 05:33 | And then what you want to do is
go up to this Path Alignment icon up here
| | 05:35 | in the Options bar, switch it to Align
to Canvas, like so, and then go back up
| | 05:40 | there again and choose Horizontal
Centers in order to make sure that shape is
| | 05:45 | exactly centered inside the image.
| | 05:47 | And in my case, it was
already centered pretty well.
| | 05:50 | Now finally, what I want to do is
mask away the dots that are going through
| | 05:53 | the word WATERDROPS.
| | 05:55 | So I will go up to my Rectangular
Marquee tool and select it, and then I will
| | 05:59 | press Ctrl+H, or Command+H on the Mac,
to hide the Path Outline so I can better
| | 06:02 | see what I am doing. Now I will
draw a selection like this one here.
| | 06:05 | So just a little wider than the text,
make sure you completely enclose the dots
| | 06:11 | that you want to hide, and then finally,
drop down to the Add Layer Mask icon at
| | 06:15 | the bottom of the layers panel and
press the Alt key, or the Option key on the
| | 06:17 | Mac, and click on it.
| | 06:19 | And the reason we pressed Alt, or Option,
is because we wanted to hide that area
| | 06:23 | that we had selected as opposed to
hiding everything outside the selection.
| | 06:28 | And that, friends, is how you draw a
typical shape layer here inside Photoshop.
| | Collapse this transcript |
| Drawing and aligning custom shapes| 00:00 | In this movie I'll show you how to
create a pattern of custom shapes.
| | 00:03 | Specifically we're going to be
drawing this perfect row of scissors below
| | 00:07 | the dotted rectangle.
| | 00:08 | I'll go ahead and turn that Scissors
layer off because we're going to recreate it.
| | 00:12 | And then I'll click on a Rounded
Rectangle layer to make it active, so that
| | 00:16 | we create the new lawyer in front of
it, and I'll click and hold on Rounded
| | 00:20 | Rectangle tool, in my case, to bring up
the fly-out menu and choose the Custom
| | 00:24 | Shape tool from the bottom of the list.
| | 00:26 | Then go up here to the Shape option,
near the right-hand side of the
| | 00:29 | Options bar, and click on the down
pointing arrow head in order to bring up
| | 00:33 | a list of custom shapes.
| | 00:35 | Now these aren't all the shapes that
ship along with Photoshop, these are just
| | 00:39 | the ones that show up by default.
| | 00:41 | If you want to see every single one of
them--which you do, because there's a
| | 00:44 | lot of great shapes here--then click on
this little gear icon in order to bring
| | 00:48 | up this popup menu and choose, All,
which will load up every single shape that
| | 00:53 | ships with the program.
| | 00:55 | Then in response to this
dialog box, go ahead and click OK.
| | 00:58 | You don't have to append them, because the
All library includes these shapes as well.
| | 01:03 | So just click OK, and you'll
see this very long list here.
| | 01:06 | Now the shape that we're looking for is
located about midway down the list here.
| | 01:10 | It's this pair of scissors, Scissors 2.
| | 01:13 | So go ahead and click on it in order
to select it, and then you can press the
| | 01:17 | Enter key, or the Return key on the Mac,
in order to hide that panel, and now I'll
| | 01:21 | draw a shape right about here, like so.
| | 01:23 | And notice that you can
stretch the shape as you draw it.
| | 01:26 | However, if you want to draw it at the
same proportions that it was created in
| | 01:30 | the first place, then you want to press
the Shift key as you create that shape.
| | 01:34 | You can also use the spacebar
to relocate the shape, like so.
| | 01:37 | you can press and hold the Alt key or
the Option key on the Mac, to draw the
| | 01:42 | shape from the center outward and so forth.
| | 01:44 | But in my case I want the shape to be
right about there I think, and then go
| | 01:48 | ahead and release in order to create that shape.
| | 01:51 | Now, in my case, I've got this dotted
boundary around the scissors, which is most
| | 01:54 | definitely not what I want.
| | 01:56 | So I'll click in the Fill swatch up
here in the options bar, and I'll change
| | 02:00 | it to white just by clicking on the
white swatch here in the Swatches panel,
| | 02:03 | and then I'll click on the Stroke swatch
right there, and I'll change it to No Color.
| | 02:08 | All right, that gets rid of that
problem, makes the scissors look great.
| | 02:11 | Now I do have a specific size in mind.
| | 02:13 | I just know that the size
happens to work out well.
| | 02:16 | So up here in the options bar make sure
that the chain icon is selected, so that
| | 02:20 | we're modifying the shape
proportionally, and I'm going to click on the W to
| | 02:24 | select the Width value, and I'll change
it to 161, and then press the Enter key,
| | 02:27 | or the Return key on the
Mac, to make that change.
| | 02:30 | Now let's create some duplicates of
that path by selecting the black arrow tool
| | 02:34 | or if you prefer the Path Selection tool,
and then click on the path outline to
| | 02:38 | select it, and now press the Alt key, or
the Option key on the Mac, and drag the
| | 02:43 | scissors to a different location, and we
want six copies of the scissors in all,
| | 02:49 | really doesn't matter where you put
them all that much as long as you make sure
| | 02:54 | that the last pair of scissors is
located right about there, that will make
| | 02:58 | things work out the way they need to.
| | 03:00 | And at this point can see that my six scissors
are neither aligned nor properly distributed.
| | 03:05 | In order to pull that off you go ahead
and marquee all the shapes, like so,
| | 03:09 | and you just need to partially
marquee them, by the way, you don't have to
| | 03:13 | entirely enclose them.
| | 03:14 | Now go up to the Path alignment icon
up here in the options bar, click on it,
| | 03:18 | and you'll need this option,
Align To Selection turned on.
| | 03:21 | So I'll go ahead and choose it first,
then return to that same icon and choose
| | 03:26 | Vertical Centers in order to
vertically center all six pairs of scissors, and
| | 03:30 | then return to that Alignment icon once
again, and choose Distribute Widths in
| | 03:35 | order to evenly space the scissors, and
now I'm going to press the up arrow key
| | 03:40 | a few times just to nudge those
scissors upward, like so, and we're done.
| | 03:44 | I'll go ahead and press Ctrl+H, or
Command+H on the Mac, to hide those
| | 03:48 | selection outlines. And that is how
you draw, align, and distribute custom
| | 03:51 | shapes, here inside Photoshop.
| | Collapse this transcript |
| Creating your own repeatable custom shape| 00:00 | In this movie I'll show you how to
create your own custom shape so that you can
| | 00:03 | easily redraw it in future compositions.
| | 00:06 | So I'm going to start off here by
selecting the Custom Shape tool, which for me
| | 00:10 | is readily available under the Arrow
tool, but if that's not the tool that's
| | 00:14 | selected for you just go ahead and
click and hold and select the Custom Shape
| | 00:18 | tool from the fly-out menu.
| | 00:19 | Then I'll go up here to the Shape
option and click on it, and you'll notice if
| | 00:23 | you look through this long list of
custom shapes, most of which are really,
| | 00:28 | really great actually, that our
stars needs something to be desired.
| | 00:32 | We've got a couple of different five-pointed
stars to choose from, but neither
| | 00:36 | of them is perfectly aligned.
| | 00:37 | In other words, if I click on five-point
star, and then I press the Enter key or
| | 00:42 | the Return on the Mac, in order to hide
that panel, and I start drawing, notice
| | 00:46 | that even if I press the Shift key
that I've got these sloping sides.
| | 00:50 | What if you want to create your
standard everyday five-pointed American star
| | 00:55 | with exactly aligned sides?
| | 00:57 | Well it's actually fairly tricky to
pull off, and that's why it might be nice
| | 01:00 | to go ahead and save it as a
custom shape once we're done.
| | 01:03 | So I'll show you how it works.
| | 01:05 | I press the Backspace key, or the
Delete key on the Mac, in order to get rid of
| | 01:09 | that Star layer, and then I'll go
ahead and click and hold on the Custom
| | 01:13 | Shape tool and select the Polygon tool instead,
which is the tool that allows you to draw stars.
| | 01:18 | Now, by default, you're going to
draw a pentagon, as you see there.
| | 01:22 | I don't want that, so I'll press
Ctrl+Z, Command+Z on the Mac, to undo.
| | 01:26 | Then you want to go up to this
little gear icon, click on it, and select
| | 01:30 | the Star check box.
| | 01:32 | Now notice this value here,
Indent sides by, which is set to 50%.
| | 01:35 | I really don't have any idea what in
the world that even means so I'll just go
| | 01:41 | ahead and drag to create this star,
and you create the shapes from the center
| | 01:46 | out, so I've got it too high, I'll press and
hold the spacebar as I drag to move it down.
| | 01:51 | And actually I want it to be an up-right
star, so I need to drag directly upward
| | 01:56 | while pressing the Shift key, like so,
and you want to make sure to press the
| | 02:00 | Shift key after you begin dragging, by
the way, and hold it down until you're done.
| | 02:04 | If you press the Shift key before you
start dragging with the star, you'll add
| | 02:07 | it to the Scissors layer,
which is not what we want.
| | 02:10 | All right, I'll go ahead and release,
and notice, if you look very closely here
| | 02:14 | --I'm not sure if it's going to show up
well in the video, so let's go ahead and
| | 02:18 | zoom in to the 100% view size.
| | 02:20 | And notice here that the sides are not
exactly horizontal, they're a little off
| | 02:24 | horizontal in fact, which means I
need to change that Indent by value.
| | 02:28 | So I'll once again press Backspace or
Delete in order to get rid of that shape,
| | 02:32 | and what I found through absolute
trial and error is for a five-pointed star,
| | 02:37 | you want to set the Indent sides by
value to 52.5%, and I'll go ahead and accept
| | 02:43 | that value by pressing the Enter key, or
the Return key on the Mac, and then I'll
| | 02:48 | draw a new star, like so
| | 02:49 | --keep forgetting that it
goes from the center out.
| | 02:51 | So I'll press the spacebar in order to
relocate that shape and also press the Shift
| | 02:56 | key while dragging up in order to ensure
that the stars are exactly upright, and
| | 03:00 | you can see here that we now have
horizontal sides along the top edge of the
| | 03:04 | star, which tells me that the
other side is straight as well.
| | 03:08 | All right, now that I've created the
star I want to save it off, because it was
| | 03:12 | a pain in the neck, right?
| | 03:13 | I had to spend you know several
minutes figuring out what that Indent sides
| | 03:17 | value needed to be, and I'll
never remember that value for sure.
| | 03:20 | So just to make sure I can easily draw
that shape in the future, I'll select
| | 03:24 | my Black Arrow tool, and then I'll
click on the Shape Outline in order to
| | 03:28 | select it, and then I'll go up to
the Edit menu and choose Define Custom
| | 03:31 | Shape, and I'll go ahead and call this
one American star, so that I can tell
| | 03:35 | it apart from the other ones.
| | 03:37 | And click OK in order to
create that custom shape.
| | 03:40 | Now, I'll press the Backspace key again,
Delete key on the Mac, in order to get
| | 03:45 | rid of that Shape layer, and I'll
redraw it down here in the lower right corner
| | 03:49 | of this dotted rectangle just
so you can see how it works.
| | 03:53 | I'll click and hold on the Polygon tool,
and then choose the Custom Shape tool
| | 03:57 | from the fly-out menu.
| | 03:58 | Now I'll click on this little
shape right there, which is the bad
| | 04:01 | five-pointed star, and I'll scroll all
the way down the list, and there is my
| | 04:05 | good old American star.
| | 04:06 | Press the Enter key, or the Return key
on the Mac, in order to hide that panel,
| | 04:10 | and then I can drag from corner to
corner with this tool, while pressing the
| | 04:14 | Shift key in order to draw this shape.
| | 04:16 | And again, you want to press the Shift
key after you begin dragging, so that
| | 04:19 | you create the shape on its own
independent layer, and then I'll go ahead and
| | 04:23 | release the mouse button in order to create
a star that's about as big as you see there.
| | 04:28 | All right, I want to create
another hole here in my Render Rectangle.
| | 04:31 | So I'll click on the layer mask for
Rounded, you can see right there that the
| | 04:35 | layer name is truncated but if you
hover over it, you'll see the entire name,
| | 04:39 | Rounded Rectangle 1.
| | 04:40 | I don't really want it to have that name,
so I'll go ahead and call it, Border,
| | 04:43 | and then I'll press the Enter key, or
the Return key on the Mac, click on the
| | 04:48 | layer mask once again in order to
select it, and I will switch to the
| | 04:51 | Rectangular Marquee tool, and then
I'll select this region, like so, and I
| | 04:55 | might as well Shift-drag around here
just to make sure I'm getting rid of all
| | 04:59 | the dots I need to.
| | 05:00 | And my background color is black, so
I'll press Ctrl+Backspace, or Command+Delete
| | 05:05 | on the Mac, to fill that selection
with black, and then I'll press Ctrl+D, or
| | 05:09 | Command+D on the Mac, to deselect the image.
| | 05:11 | Now notice while the Rounded Rectangle
tool was smart enough to name its layer
| | 05:15 | Rounded Rectangle, the
Custom Shape tool is not so smart.
| | 05:19 | So we've got the Shape 1 layer, which
is the Scissors of course, and then we've
| | 05:23 | got the Shape 2 layer, which is the Star.
| | 05:26 | So in other words, this
might as well tidy things up.
| | 05:29 | All right I'll press Ctrl+0, or Command+
0 on the Mac, in order to zoom out, and
| | 05:33 | I'll press Ctrl+H, or Command+H on the
Mac, to hide the shape outline.
| | 05:37 | And that's how you create your own very useful
custom shape, here inside Photoshop.
| | Collapse this transcript |
| Combining simple shapes to make complex ones| 00:00 | In this movie I'll show you how to
combine a couple of very simple shapes in
| | 00:03 | order to create a more complex one.
| | 00:06 | Specifically, we'll be redrawing this
underline that's part of the Pout Magazine
| | 00:10 | logo from the previous chapter, and
there are two reasons we're doing this.
| | 00:14 | One is, of course, I want to show you
this technique, because it's awesome.
| | 00:18 | And the second reason is that
our current underline is flawed.
| | 00:21 | Let me show you what I mean by that.
| | 00:23 | I'm going to scroll up my layers list
here to the very top item, which is the
| | 00:27 | logo group, and so that I can better
see the underline and trace it, of course,
| | 00:31 | I'm going to turn off the layer mask by
pressing the Shift key and clicking on
| | 00:35 | that layer mask thumbnail right
there at the top of the panel.
| | 00:38 | Then twirl open the logo group, scroll
down, and you'll find this underline layer.
| | 00:44 | Problem with this layer is it's made of
pixels, and there's really no excuse for
| | 00:49 | that, especially when we're trying to
create super-smooth artwork like this.
| | 00:53 | And the reason is that that results in
a less flexible piece of artwork than we
| | 00:57 | might want. For example, let's say at
some point, I want to be able to print
| | 01:01 | this magazine cover as a poster--and we
will actually be making it into a poster
| | 01:06 | by the end of this chapter.
| | 01:07 | Were I to scale the artwork
right now, all of the text would survive
| | 01:11 | beautifully because it's all vector-based.
The text will still look super-sharp.
| | 01:15 | However, the underline will soften if
it's scaled, and of course that's because
| | 01:19 | it's made of pixels.
So let's go ahead and redraw it.
| | 01:22 | Now one way to redraw it would be to
use the Pen tool, because after all, it's
| | 01:27 | obviously a custom shape.
| | 01:28 | The problem with the pen is it my take
more work than I want to put into it and
| | 01:32 | also I can get more precise
results using the geometric shape tools.
| | 01:36 | Because this is a big sloping arc here,
the best shape tool for the purpose
| | 01:41 | is the Ellipse tool.
| | 01:43 | So I'll go ahead and click and hold
the current shape tool and select the
| | 01:47 | Ellipse tool from the flyout menu, and
then I'll press Ctrl+0, or Command+0 on
| | 01:51 | the Mac in order to zoom out, and I
actually need to zoom out even farther.
| | 01:55 | I need a lot of room to work here.
and now I'm going to begin drawing the ellipse.
| | 01:59 | And imagine I want to trace
the top of the underline.
| | 02:02 | Obviously, I've missed it by a mile here.
But that's no problem.
| | 02:05 | You can just press the spacebar in order
to reposition this ellipse, and you may
| | 02:09 | have to press the spacebar a few
times in order to get it exactly right.
| | 02:13 | But I kind of lucked out
there, this looks good to me.
| | 02:16 | So I'll go ahead and release in
order to create that gigantic ellipse.
| | 02:20 | Now I want to fill it with white, and
one way to do that is to click the Fill
| | 02:25 | swatch, and then select
white from the swatches list.
| | 02:27 | But because white is currently my
background color, I can also just press
| | 02:31 | Ctrl+Backspace, or Command+Delete on the
Mac, in order to fill the shape, like so.
| | 02:35 | All right, now the obvious problem
is that I can't see what I'm doing.
| | 02:39 | So I know I want this underline to
have a Fill Opacity value of 50% because
| | 02:43 | that's what the previous underline layer
is set to, as you can see right there.
| | 02:47 | So I'll go ahead and click on this
ellipse layer to make it active, and as long
| | 02:51 | as I'm here, I'm going to rename this
swash, and then I'll press Shift+5 in
| | 02:55 | order to reduce that Fill Opacity and
permit me to see through this ellipse to
| | 03:00 | the artwork I'm trying to trace.
| | 03:01 | All right, now let's draw
another ellipse, like so.
| | 03:04 | And again, you'll need to use the
spacebar in order to get that into alignment,
| | 03:08 | so we're trying to trace the bottom of
the underline this time around, and then
| | 03:11 | once you get the results you like, go
ahead and release the mouse button,
| | 03:15 | and as you can see here, what I've ended
up doing is creating a separate layer.
| | 03:20 | That's not what I wanted to do at all.
| | 03:21 | I need these two ellipses to exist on
the exact same layer so that I can cut
| | 03:26 | one out of the other.
So you may feel like at this point, oh geez!
| | 03:30 | Now we have to go back
and redraw that darn thing.
| | 03:33 | Well, you don't. Once you've drawn a
shape, if you like it, you can keep it.
| | 03:36 | All we need to do is switch to the
Black Arrow tool--so the Path Selection tool
| | 03:41 | there--click on that path outline to
select it, then go up to the Edit menu and
| | 03:45 | choose the Cut command. I will
press Ctrl+X, Command+X on the Mac.
| | 03:48 | That will result in the swash
layer being selected right there.
| | 03:52 | As long as I'm here, I'm going to click
on that swash and nudge it a little bit
| | 03:56 | by pressing the arrow keys,
because it was a little bit off.
| | 03:59 | Then you go up to the Edit menu and
you choose the Paste command, or press
| | 04:03 | Ctrl+V, or Command+V on the Mac.
| | 04:05 | Notice, by the way, that the Paste in
Place command is not available to us and
| | 04:10 | the reason is because pasting shapes
always results in pasting them in place.
| | 04:15 | So you always paste them right at the
location you either cut or copy them from.
| | 04:20 | So anyway, Ctrl+V, Command+V on the Mac,
you'll end up getting this result here.
| | 04:24 | And again, I need to do some
nudging now that I'm zoomed in, and that
| | 04:27 | looks pretty good to me.
| | 04:29 | But we're failing to cut this
new shape out of the old one.
| | 04:32 | Even though they exist on the same layer
now, they're just being added together.
| | 04:35 | So what you want to do with
this interior shape selected,
| | 04:38 | you want to ho up here to
the Path operations icon.
| | 04:41 | Click on it, and notice right now
we're combining the shapes, that is we're
| | 04:44 | adding them together.
| | 04:45 | But you have other options as well, such
as subtracting the front shape, which is
| | 04:50 | exactly what I want to do in this case.
| | 04:52 | So I'll choose that option and notice
that just goes ahead and subtracts the
| | 04:55 | inner ellipse from the outer one.
| | 04:57 | Now notice, by the way, that that
option says Subtract Front Shape.
| | 05:01 | That's very important that we're
subtracting the front shape from the rear one.
| | 05:05 | If you for some reason have the
stacking order wrong--you're not going to, but
| | 05:09 | if you ran into that situation in one
of your own future projects--then you can
| | 05:13 | change the stacking order by
clicking on the path arrangement icon.
| | 05:16 | And notice I could send the shape to
back, but if I do, it ends up subtracting
| | 05:20 | from the rectangular canvas in the
background, and then this guy gets added in
| | 05:25 | the foreground, and as a result we're
covering the entire image with white.
| | 05:29 | But to solve the problem, all you have
to do is click of that interior shape,
| | 05:33 | go back up to the Path arrangement icon, and
choose Bring Shape To Front and the problem is solved.
| | 05:38 | So again, just in case you encounter
such problems in your own artwork.
| | 05:42 | All right, so we've managed to
draw a perfectly arcing shape here,
| | 05:47 | thanks to our ability to
combine a couple of ellipses.
| | 05:49 | But we need to now crop this shape
inside of another one so that we break off
| | 05:54 | these ends, and I'll show you
exactly how that works in the next movie.
| | Collapse this transcript |
| Cropping, adjusting, and merging shapes| 00:00 | In this movie I'll show you how to use one
shape to crop another, and then I'll also
| | 00:04 | show you how to merge your shapes
together in order to create a new custom shape.
| | 00:09 | Now if you're working along with me,
make sure that swash layer is active.
| | 00:13 | And what we're going to do is draw a
rectangle around the region that we want to keep.
| | 00:18 | So I'll go ahead and select a
Rectangle tool from the Shape tool flyout menu.
| | 00:23 | And just to make sure I don't make that
same mistake I made last time where I drew a new
| | 00:26 | layer, I'll go up to the Options bar and click
on the Path operations icon, and sure enough,
| | 00:32 | New Layer is active.
| | 00:33 | What we want to instead is Intersect Shape
Areas, so I'll go ahead and select that option.
| | 00:39 | Notice that my cursor now has an X next to it,
showing me that I'll keep the intersection
| | 00:43 | of the rectangle and anything behind it.
| | 00:46 | And now I'll go ahead and drag
with a Rectangle tool, like so.
| | 00:50 | And if your alignment isn't spot on,
then you can use a spacebar to adjust it.
| | 00:54 | Make sure that you totally enclose the top
of those two ellipses, and then go ahead and
| | 00:59 | release in order to create this effect here.
| | 01:02 | Now there's the one option I haven't shown
you yet, which is Exclude Overlapping Shapes.
| | 01:06 | And let me give you a sense of how that works.
| | 01:08 | I'll switch to my Black Arrow tool, and
I'll go ahead and select that rectangle to make
| | 01:12 | it active, and then I'll switch from
Intersect Shape Areas to Exclude Overlapping Shapes,
| | 01:18 | and I end up getting an effect
that I did not expect at all.
| | 01:22 | And the reason is because the underline
layer is turned on, filling in the holes.
| | 01:27 | So I'll go ahead and turn that
underline layer off for a moment.
| | 01:29 | And sure enough, you can see that what we're
doing is creating holes at the intersection
| | 01:34 | areas instead of keeping the intersection.
| | 01:37 | So it's essentially the opposite
effect of effect of what we want.
| | 01:40 | All right, so I'll go back up to the Path
Operations icon and switch it back to Intersect
| | 01:45 | Shape Areas, which is what I'm looking for.
| | 01:47 | And now it turns out it just fine that the
underline layer is hidden because we don't
| | 01:51 | really need it anymore except for its effect,
so I'm going to drag that fx icon and drop
| | 01:56 | it onto swash, like so.
| | 01:57 | You don't need to duplicate it or anything
like that, so no need for the Alt or Option keys.
| | 02:02 | Then click on the underline layer--which is
officially dead to us--and press Backspace
| | 02:06 | key, or the Delete key on
the Mac, to get rid of it.
| | 02:09 | Now another fantastic thing about the fact
that we've created the Shape layer is that
| | 02:13 | in addition to being totally scalable, we
can resize it as much as we like, but it's
| | 02:18 | also extremely flexible.
| | 02:20 | For example, I'm going to zoom
in here and scroll up as well.
| | 02:24 | Let's say I'm sitting here and looking at
what I've got, and you can see that I've more
| | 02:28 | or less centered the word POUT on the page,
that is visually. It's not actually exactly
| | 02:33 | centered, but it has the
appearance of being visually centered.
| | 02:37 | Meanwhile the underline is approximately 30
pixels for left-hand edge and about the same
| | 02:41 | number of pixels from the right-hand edge,
so it is centered, but it shouldn't be.
| | 02:46 | It should really be tucked in the edge here,
it should be tucked in to the bottom of the
| | 02:49 | T, and this left edge should be
tucked in to the bottom of the P.
| | 02:53 | Now if I was working with a pixel-based layer,
I could use a layer mask and all that good
| | 02:57 | stuff in order to get rid of the edges, or
you could just select them and get rid of
| | 03:00 | them, what have you.
| | 03:02 | However, in this case, all I have to
do is change the size of the rectangle.
| | 03:05 | And to do that, I'm going to click and
hold on the Black Arrow tool and switch to the
| | 03:09 | White Arrow tool, and I'll click off the
path outline to deselect it, and then I'll click
| | 03:13 | on this right-hand edge for starters to select it, and
I'll drag it to the left while pressing the Shift key.
| | 03:20 | So it's very import that you have the Shift
key down so that you are constraining your
| | 03:23 | drag to precisely horizontal, and then go
ahead and do the same thing over here with
| | 03:28 | this left-hand edge.
| | 03:29 | And by the way, you want press the Shift key
after you begin the drag and keep the Shift
| | 03:33 | key down until you release the mouse
button. And we end up achieving this effect.
| | 03:38 | And the beauty of it is if I later change
my mind, and I want to reveal more of the
| | 03:43 | swash, I can just by dragging
while pressing the Shift key outward.
| | 03:47 | So I've got all the flexibility in the world.
Anyway, I'll undo that last modification.
| | 03:52 | Now let's say that you want to define this
swash here as a custom shape so that you can
| | 03:57 | draw swashes inside of your other artwork.
| | 03:59 | Well, in that case, you would want to go ahead and
merge all of these paths in to a single custom path.
| | 04:04 | And you do that by switching back to the
Black Arrow tool, and I'll partially marquee these
| | 04:10 | three shapes to select them all, and then
I'll go up to the Path Operations icon once
| | 04:15 | again and choose this command, Merge Shape
Components, and that will go ahead and give
| | 04:19 | you a single path outline, as you see here.
| | 04:23 | Then I'll go up to the Edit menu and choose
Define Custom Shape, and I'll go ahead and
| | 04:27 | call this guy Swash and
then click OK to create it.
| | 04:32 | Now what I recommend you do next is go up
to the Edit menu and choose Undo Combine Path
| | 04:36 | Components or press Ctrl+Z, or Command+Z on a Mac,
and that'll go and retrieve those three separate shapes.
| | 04:43 | And you might wonder, well, why in the world
did you do that? If you wanted to merge them
| | 04:46 | together, why didn't you just leave them that
way? And the reason is this structure is actually
| | 04:50 | more flexible, so it's nice to be able to
have all three shapes in case I want to modify
| | 04:55 | how this Swash works in the future.
| | 04:58 | But meanwhile, I'll go ahead and press Ctrl+H,
or Command+H on the Mac, to hide those outlines.
| | 05:02 | I can draw more swashes inside other files
by selecting the Custom Shape tool, and then
| | 05:08 | setting the shape to that last shape I
created at the bottom of list here, Swash, and now
| | 05:14 | I can draw as many swashes as I want and
they can be wider or narrower like this, so they
| | 05:20 | can be squished in any way you like.
| | 05:22 | Or you can go ahead and maintain the original
proportions by pressing and holding the Shift key.
| | 05:27 | All right, I'll go ahead and undo that New
Shape layer by pressing Ctrl+Z, or Command+Z
| | 05:32 | on the Mac, and I'll go ahead and scroll
back up to the group and Shift-click on this layer
| | 05:36 | mask thumbnail in order to
turn that layer mask back on.
| | 05:40 | And that's how you crop a couple of shapes
inside of the other one, modify that crop
| | 05:44 | boundary, and finally, merge
everything into a new custom shape.
| | Collapse this transcript |
| Creating a soft, synthetic sparkle| 00:00 | In this movie I'm going to show you how
to create the synthetic sparkle effect
| | 00:03 | that's coming off the
model's synthetic pearl necklace.
| | 00:06 | And even though it's realistically
blurry, it comprises a couple of razor-sharp
| | 00:11 | vector-based shape layers.
Now the effect I was going for is this.
| | 00:15 | I'm going to scroll up my list of
layers here and turn on this layer called
| | 00:19 | specular highlight, and you'll see
this is a true photographic sparkle.
| | 00:22 | And while mine is more clearly defined,
this was ultimately the effect I was
| | 00:26 | going for with these rays
of light in this hot center.
| | 00:29 | So let's see how it works.
| | 00:31 | I'm going to switch over to my image
in progress here and go ahead and scroll
| | 00:35 | down to the model's hand, and I'll zoom
into the 100% zoom ratio like so, and
| | 00:39 | then I'm going to close this logo group,
so that we don't inadvertently create a
| | 00:43 | shape inside of it, and I'm going to
click on the Fashion Formulas layer so that
| | 00:47 | we create our new elements underneath
the teasers, which includes that black
| | 00:51 | text above the hand.
| | 00:53 | Now the first thing that we
need to create is the star.
| | 00:56 | So I'll go ahead and drop down to the
Shape tool, click and hold on it, and
| | 01:00 | select the Polygon tool from the Flyout
menu, and we need more Sides than 5, of course.
| | 01:04 | And you can either change the
Sides value by selecting and dialing in a
| | 01:07 | new value, or I want to
show you a keyboard shortcut.
| | 01:11 | Anytime you have one of these values
associated with the Shape tool, you can
| | 01:14 | change it from the keyboard by
pressing a Square Bracket key.
| | 01:17 | So if you press the right Bracket
key, you increase the value, if you press
| | 01:21 | the Left Bracket key,
you decrease the value.
| | 01:23 | Anyway, I want to take that value up
to 12, like so, and if were to draw the
| | 01:28 | star now, you can see that it's more
of a burst than what we're looking for.
| | 01:33 | So I'll go ahead and press Ctrl+Z,
or Command+Z on the Mac, to undo that.
| | 01:38 | I'll click on this little Gear icon,
and then I'm going to going change this
| | 01:41 | Indent sides value to 90%, and you
want the Star to be turned on of course.
| | 01:46 | Smooth Corners, you want off, because
that would smooth the outside corners, and
| | 01:49 | then if you were to turn on Smooth
Indents, you'd smooth the inside corners.
| | 01:53 | We don't want either of those things.
| | 01:54 | So just go and press the Enter key on
the PC or the Return key on the Mac, in
| | 01:59 | order to hide that panel, and then
drag from the top right corner of this
| | 02:03 | uppermost pearl, and you want to
drag all the way to the top of the M.
| | 02:07 | So I'm between M and the I right there,
and then I'll go ahead and release in
| | 02:11 | order to create that shape.
| | 02:12 | Now obviously, black is a bad color for
a sparkle, so we'll need to change that.
| | 02:16 | The first thing I'm going to do is
double-click on the name of this item,
| | 02:20 | which is Polygon 1, which couldn't
really be less helpful, and then I'll
| | 02:23 | change its layer name to star.
| | 02:25 | And next just so I can get a sense of
how the star is going to look, when I
| | 02:29 | color it properly, I'm going to
change the blend mode from Normal to the
| | 02:33 | ultimate low mode, which is Screen.
Now Screen treats black as invisible.
| | 02:36 | That's why we're seeing through the star now.
| | 02:38 | I want to change the color of the
star to a custom color that I'm going to
| | 02:42 | lift from the image.
| | 02:43 | And the easiest way to do that is to
double-click on the thumbnail for that star
| | 02:47 | layer, and that'll bring up
the Color Picker dialog box.
| | 02:51 | Then move your cursor out into the
image window and click on one of the lighter
| | 02:56 | colors inside that image.
| | 02:57 | Now I ultimately adjust
these values a little bit.
| | 03:00 | I went ahead and changed the Hue
value to 35 degrees just to give the color
| | 03:04 | a little more redness, and I took the
Saturation value down to 35%, and then
| | 03:09 | I cranked the Brightness value up to 100%
in order to come up with this color here.
| | 03:13 | Now it's really a shade of pale orange,
but once it's set to the Screen mode,
| | 03:18 | which gives it more of a glow effect,
then it turns kind of yellowish.
| | 03:22 | Now I'll click OK in
order to accept that change.
| | 03:24 | Next, I want to go ahead and
blur that star a little bit.
| | 03:27 | So the first thing I'm going to do is
press Ctrl+H, or Command+H on the Mac, to
| | 03:32 | hide the shape outline, and then I
want to bring up the Properties panel, and
| | 03:35 | you can do that by going to the Window
menu and choosing the Properties command,
| | 03:39 | and you see that there is this Feather
value that's available to us right there,
| | 03:43 | and that allows us to
soften even vector-based shapes.
| | 03:45 | So I start by clicking inside the
Feather value, and then I press Shift+up arrow
| | 03:49 | a couple of times in order to increase
that Feather value in 1-pixel increments,
| | 03:53 | and then I press the up arrow key a few
times in order to increase that value
| | 03:57 | in decimal increments.
| | 03:58 | And the ultimate value that I came up with
is this one here, 2.5 pixels. All right!
| | 04:03 | Next what we want to do
is add that glowing center.
| | 04:06 | So I'm going to hide the Properties
panel, and then I'll press Ctrl+H,
| | 04:10 | or Command+H on the Mac, in
order to bring back my star.
| | 04:13 | I'm going to create the glow using, of
course, the Ellipse tool because it's
| | 04:16 | circular, and then I'll begin dragging
from the center of the star about right
| | 04:21 | there, and as I drag, I'll press the
Alt key or the Option key on the Mac, so
| | 04:27 | I'm creating the shape from the center
outward, and I'll also press the Shift
| | 04:30 | key in order to constrain the shape to a
perfect circle, like so. And you might
| | 04:34 | need to use the spacebar a little
bit in order to get that shape properly aligned.
| | 04:38 | By the way, you want to press
and hold the Shift and Alt keys, or the
| | 04:42 | Shift and Option keys on the
Mac, after you begin dragging.
| | 04:45 | That's very important.
| | 04:46 | Otherwise, you'll end up adding or
subtracting from the current shape.
| | 04:48 | Once you get a shape that's just a
little bigger than one of the pearls, then
| | 04:52 | go ahead and release the mouse button,
and then release the Shift and Alt or
| | 04:56 | Shift and Option keys, and now I'm
going to rename this layer circle, because
| | 05:00 | after all that's what it is, and it
automatically comes in at the same color as the star.
| | 05:04 | But we lost the blend mode, so I'll
switch it from Normal back to Screen once
| | 05:08 | again in order to achieve this effect.
| | 05:10 | And next I'll press Ctrl+H, Command+H on
the Mac, in order to hide that edge.
| | 05:15 | And I'll once again bring back up the
Properties panel--and here's another way to get
| | 05:18 | to the panel very quickly.
| | 05:20 | If you've got a layer mask available to
you, as we do in the case of logo group,
| | 05:24 | just double-click on its thumbnail, and
that'll bring up the Properties panel.
| | 05:28 | It also switches you to a different layer.
| | 05:30 | Then you want to go ahead and
click on circle to switch back to it.
| | 05:33 | And with any luck, the circle will still
be hidden. If for some reason Ctrl+H or
| | 05:37 | Command+H doesn't work for
you, then add the Shift key.
| | 05:40 | So press Ctrl+Shift+H, or Command+Shift+H
on the Mac. And then I went ahead and
| | 05:44 | clicked in the Feather value again,
and I pressed Shift up arrow a total of
| | 05:48 | eight times in order to raise that
Feather value to 8 pixels, and we end up
| | 05:53 | with this effect here.
Now it looks pretty good.
| | 05:56 | I just felt like it wasn't quite hot
enough, so I went ahead and selected both
| | 06:00 | the circle and the star layer by
clicking on one and Shift-clicking on the
| | 06:05 | other, and then I switched the blend
mode to the brightest of the lightening
| | 06:08 | modes, which is Linear Dodge (Add) in
order to achieve this slightly brighter effect.
| | 06:13 | And that, folks, is how you create
a synthetic sparkle using shape layers
| | 06:18 | combined with the Feather
value inside the Properties panel.
| | Collapse this transcript |
| Saving a resolution-independent PDF file| 00:00 | Now this movie may end up surprising you
and may even change the way you work
| | 00:04 | inside Photoshop and the way
you work with other programs.
| | 00:07 | Because at this point what we
have is effectively a single page
| | 00:11 | resolution-independent design just as if we
have created the file inside, say, Adobe Illustrator.
| | 00:17 | Now, that may surprise you. After all,
if I go up to the Image menu and choose
| | 00:21 | the Image Size command, I will see
that there is a Resolution value of 240
| | 00:25 | Pixels/Inch, not actually that high
of a resolution, in fact. All right!
| | 00:30 | So I'll cancel out.
| | 00:32 | Thing is though that Resolution value
has an impact only on the photographic
| | 00:36 | image and the other pixel-based
elements, such as the pattern overlay here
| | 00:41 | inside the numbers 365 and
any feathered elements as well.
| | 00:45 | However, for the most part the
resolution has no bearing whatsoever on the
| | 00:49 | text or shape layers.
| | 00:51 | So let's say that you want to send this beautiful
design out for a commercial reproduction.
| | 00:55 | You want to ship it off to
a commercial print house.
| | 00:58 | Then what you'd want to do is export
the image as a CMYK PDF file, and so in
| | 01:04 | this movie, I am going to
show you how that works.
| | 01:06 | Go up to the File menu and choose the
Save As command, and then I'll go ahead
| | 01:11 | and call this document CMYK cover, which
may seem like a ridiculous name for the
| | 01:15 | file, given that it is clearly an RGB image.
| | 01:19 | However, we are going to convert it to
CMYK on the fly here, and then I am going
| | 01:23 | to switch the format from native PSD to
Photoshop PDF. And finally, I'll turn off
| | 01:29 | Alpha channels and layers.
| | 01:31 | If you leave those check boxes
on, you are going to create an
| | 01:34 | unnecessarily large document.
In this case, it's going be close to 30 Megs.
| | 01:38 | If you go ahead and forsake the layers,
you are not going to get rid of any
| | 01:42 | information that you need here, then
the document will be about 10 Megs, which
| | 01:46 | of course is preferable. Also, if you
leave those options on, there is a chance
| | 01:50 | you will have
compatibility problems moving forward.
| | 01:53 | So then go ahead and click Save. You
will be saving a copy of your image, so
| | 01:57 | you're not going to do any
damage to the image at hand.
| | 02:00 | So go ahead and click the Save button,
then you will get this curious warning
| | 02:04 | that tells you, well, you know that stuff
you just did in the previous dialog box?
| | 02:07 | Well, it's actually possible to
change that stuff in the next dialog box.
| | 02:11 | So just go ahead and click OK. And then
I am going to reset my Adobe PDF Preset
| | 02:16 | from High Quality Print (Modified)
to the standard High Quality Print.
| | 02:21 | And notice this check box that comes
on here, Preserve Photoshop Editing
| | 02:24 | Capabilities, that's going to go ahead
and put the layers back inside the files,
| | 02:29 | so it's going to save the
PDF file complete with layers.
| | 02:31 | We don't want that, so definitely
turn that check box off if you see it on.
| | 02:36 | Embed Page Thumbnails, we don't need
that, this is a single page design,
| | 02:39 | Optimize for Fast web Preview, doesn't
matter, leave it on. And then finally, we
| | 02:44 | definitely want to view the PDF after
saving it, because that will be highly
| | 02:47 | illuminating as you will see.
| | 02:49 | You will, however, need a PDF reader.
On a Mac you've got Preview.
| | 02:53 | On a PC--unless you have got Acrobat Pro
installed as a function of the version
| | 02:58 | of the Creative Suite you own--then
you'll want to download the free Adobe
| | 03:01 | Reader, which you can get from Adobe's web site.
| | 03:04 | So you just go to adobe.com.
It's right there on the front page.
| | 03:07 | Next come the Compression options.
| | 03:09 | And notice it says For images above 450
Pixels/Inch, they are going to be downsampled.
| | 03:14 | Well, that doesn't affect us, because
our image is 240 Pixels/Inch, and finally,
| | 03:18 | these options have no effect
on the text or shape layers.
| | 03:21 | What you do want to
change is the Output settings.
| | 03:24 | So go ahead and click on Output, and
we'll change Color Conversion from No
| | 03:28 | Conversion to Convert to Destination.
And by default, here in the states, you
| | 03:32 | will see Working CMYK-U.S. Web Coated (SWOP) v2.
| | 03:35 | If you end up talking to your
commercial printer and they recommend a different
| | 03:39 | color destination, then go ahead and
click on this option and select that
| | 03:44 | destination from this list.
| | 03:45 | However, my guess is they will tell
you just to stick with the default.
| | 03:49 | So that's what I am going to do.
| | 03:51 | Just leave it set to Working CMYK,
and we definitely want to include a
| | 03:54 | Destination Profile, and that's it, you don't
need to worry about either Security or Summary.
| | 03:58 | Just go ahead and click Save PDF, and
you'll save a PDF copy of this file.
| | 04:03 | You can see we've got a little save
progress bar down there in the lower left
| | 04:07 | corner, and then eventually the
file will open up in the default reader
| | 04:11 | application, which in my case is Acrobat Pro.
| | 04:14 | So I have gone ahead and selected the
Hand tool, as you can see here. And I am
| | 04:18 | going to zoom in on a few details of
this document, starting with this area of
| | 04:22 | hair, right there. I'll go ahead and
press the Ctrl+spacebar keys--that's
| | 04:26 | Command+spacebar in a Mac--and drag, in
order to zoom in on that detail, and you
| | 04:30 | can see that we've got this pixel-based
hair that's woven into this razor-sharp
| | 04:36 | text--which I believe is letter U at
this point. And then you can see some other
| | 04:41 | hair details coming in to the other
side of the U, I believe, and then we've got
| | 04:45 | these hairs that are
coming into the O and so forth.
| | 04:48 | So everything about the text, super
sharp, everything about the image, you can
| | 04:53 | see the pixels when you start zooming in,
but the text, this smooth text here is
| | 04:58 | going to render at the full
resolution of the output device. All right!
| | 05:03 | So I'll go ahead and zoom back out
here, and let's try out another detail,
| | 05:06 | something like this little bit right
there, go ahead and zoom in on it, and you
| | 05:10 | can see this is that shape layer
that we drew that represents the swash
| | 05:13 | underline, and it's absolutely super-
smooth, transitioning into the arm, which of
| | 05:18 | course has pixels
associated with it. All right!
| | 05:21 | I am going to zoom back out.
Let's take a look at 365 here.
| | 05:24 | I'll go ahead and zoom in on some
portion of the 6 here, doesn't really matter
| | 05:28 | what, and you will see that the text
is again extremely smooth, the stroke
| | 05:33 | outline which is a layer
effect is nice and smooth as well.
| | 05:37 | The only stuff that's turning into
pixels is that pattern overlay I was telling
| | 05:40 | you about and anything soft, so the
Bevel & Emboss effect inside the letters
| | 05:45 | is also rendering out to pixels. All right!
| | 05:48 | One more zoom out. There's one final detail
I want to show you, and that's the sparkle.
| | 05:53 | So I'll go ahead and zoom in on it
as well. And you can see, because we
| | 05:57 | applied a Feather value to those shape layers,
they end up rendering out to pixels as well.
| | 06:03 | So as long as you avoid the feather value,
then you are going to get super-crisp
| | 06:08 | results, like this text up here, but
when you apply feather, it's got to be
| | 06:12 | rendered to pixels,
that's just the way it works.
| | 06:14 | That turns out to be a great thing
though, because it makes the sparkle
| | 06:17 | consistent with the photographic
image in the background. All right!
| | 06:21 | I am going to go ahead and zoom back out
here, maybe scroll up as well.
| | 06:25 | And that, folks, is how you create a professional
quality, resolution-independent CMYK PDF
| | 06:31 | file for commercial reproduction that's every bit as
smooth and sharp as anything you'd get out of Illustrator,
| | 06:38 | InDesign, or any other vector-based program.
| | Collapse this transcript |
| Turning a small image into a huge one| 00:00 | All right now, let's say you want to
take this magazine cover that measures
| | 00:03 | about 8 inches wide by 11 inches tall,
and you want to blow it up to create a
| | 00:08 | piece of poster art that measures more
like 30 inches wide by 40 inches tall.
| | 00:11 | Well, then you upsample the image
using the Image Size command, and that may
| | 00:16 | sound like interesting advice to those of you
who watch Chapter 03 of my Fundamentals course.
| | 00:21 | But here's the thing, while
up-sampling doesn't really do you any good when
| | 00:24 | you're working with pixel-based
photographs, it's great when you're working with
| | 00:28 | resolution-independent text and shape
layers, and as we'll see, we are going to
| | 00:33 | get a better result out of the sparkle as well.
| | 00:36 | So, the first step is to go up to
the Image menu and choose the Duplicate command.
| | 00:40 | And there's two reasons we
are doing this: one is to protect the
| | 00:43 | original image from harm so we don't
end up saving over it, and the other is we
| | 00:48 | want to be able to compare details
back and forth, so we want to make sure
| | 00:50 | nothing goes wrong
during the upsampling process.
| | 00:53 | Make sure Duplicate Merged Layers Only
is turned off. You do not want to merge
| | 00:57 | the layers at this point, and then
I'll go ahead and call this file High-res
| | 01:01 | poster art, let's say, and click
OK in order to create the new file.
| | 01:05 | All right, the next step after I go
ahead and zoom in a little bit here is to
| | 01:10 | go up to the Image menu--and bear in
mind, you need to have all of your layers
| | 01:13 | intact for this to work, so you can't have
flattened any of your text or shape layers.
| | 01:18 | Then you go up to the Image menu, and
you choose the Image Size command, or you
| | 01:22 | can press Ctrl+Alt+I, or
Command+Option+I on the Mac.
| | 01:25 | Next, you want to turn on all three
check boxes at the bottom of the dialog box,
| | 01:29 | we definitely want to resample the
image, we want to generate new pixels.
| | 01:32 | You want the constrain the
proportions of course, and then finally, you
| | 01:35 | definitely want Scale Styles turned
on so that you scale all of the layer
| | 01:39 | effects, including the drop shadows, and
the various effects applied to the numbers 365.
| | 01:44 | Then I'm going to change the Width
value here to 31 Inches, and that's going to
| | 01:49 | automatically change the
Height value to 43 Inches.
| | 01:52 | Then I'll tab my way down to the
Resolution value and increase it to 300 Pixels/Inch.
| | 01:57 | So we are even gaining
resolution as we're going here.
| | 02:01 | Now at this point, you want to know the
percentage by which you are increasing
| | 02:05 | the size of the image.
| | 02:06 | So go up to this Pixels option here,
click on it and choose Percent instead, and
| | 02:11 | you'll see that we're expanding
the size of the image by 500%.
| | 02:14 | Well, actually it's more than that.
| | 02:17 | It's 500% as wide and 500% as tall.
| | 02:20 | So 5x5, that's actually 2500%. You don't actually
multiply the percent values, just the fives.
| | 02:27 | So that means that we are inventing 24 new
pixels for every single pixel inside this image.
| | 02:33 | Now then the interpolation setting down
here, that only affects the pixel-level
| | 02:37 | stuff, specifically pixel-based layers,
that is to say, not feathered items.
| | 02:42 | It won't affect them at all.
| | 02:43 | And so, in other words that's only
going to change how Photoshop interpolates
| | 02:47 | the photographic image, it's not going to
have any effect on the text or shape layers.
| | 02:51 | If your interpolation setting reads
Bicubic Automatic, then Photoshop is going
| | 02:55 | to automatically assign
Bicubic Smoother, which is just fine.
| | 02:59 | So go ahead and click OK in order to
expand the size of the image, and it may
| | 03:03 | take a few moments for this to happen,
because we're increasing the size of the
| | 03:08 | image from almost 70 megabytes to 897
megabytes, so we're verging on a gigabyte
| | 03:15 | image at this point.
| | 03:16 | All right, now we need to
check out some details here.
| | 03:19 | So I'm going to zoom out from my image,
and then I'll zoom in to 365, because
| | 03:24 | that will tell me if Photoshop has
done a decent job of scaling the styles.
| | 03:28 | And what I am going to do is scroll
down my list of layers here inside the
| | 03:33 | layers panel, and I am going to
expand the layer fx for the 365 layer by
| | 03:37 | clicking that down-pointing arrow head,
and I'll go ahead and double-click on
| | 03:40 | Stroke, because that will
tell me if the Stroke got scaled.
| | 03:43 | Previously it was 2 pixels now it's 10 pixels,
so 2 times 5 is 10, that's perfect.
| | 03:47 | If I click on Pattern Overlay, however, notice
that the Scale value is maxed out to 1000%.
| | 03:54 | And what that tells me is I probably
hit the ceiling there at some point, so
| | 03:59 | what I am going to do is Cancel out, and
I'll switch back to the image before it
| | 04:03 | got up-sampled, and you can see that
the Pattern Overlay looks pretty darn
| | 04:06 | different, and if I go ahead and twirl
open those effects and double-click on
| | 04:10 | Pattern Overlay, I'll see that it was
scaled to 400%, 400% times 5 would be
| | 04:16 | 2000%, and that's twice
as far as Photoshop can go.
| | 04:20 | So as a result, we have a half-sized
texture here inside the up-sampled file.
| | 04:25 | But there is nothing we can do about
that unless we decide to re-render the
| | 04:28 | pattern, and I'm not sure it's worth it,
because after all looks pretty darn good.
| | 04:33 | Here is our problem child right there.
I'll go ahead and zoom in on it.
| | 04:37 | Even though Photoshop did in most
cases successfully scale the styles,
| | 04:41 | it doesn't even attempt to scale those
Feather values, so our sparkle looks terrible.
| | 04:45 | All right, so let's fix it.
| | 04:47 | I'll go ahead and click on the star
layer in order to make it active, and I'll
| | 04:50 | press Ctrl+H, or Command+H on the Mac, to
hide those edges, and I'll go ahead and
| | 04:55 | bring up the Properties panel by double-
clicking in the layer mask for the logo
| | 04:59 | group, then I'll click on the star
layer again, and I can see that the Feather
| | 05:02 | value is 2.5 pixels.
| | 05:04 | If I whip out a calculator and do the
math, 2.5 times 5 is 12.5, and that'll
| | 05:10 | go ahead and take care of
the part of the sparkle.
| | 05:12 | Then click on circle to make it active,
and we've got something of a bug going
| | 05:17 | here, this is probably
going to screw stuff up here.
| | 05:19 | I'm going to switch back to my layer
mask and then click on the circle again,
| | 05:24 | and you can see that Photoshop has gone
ahead and for real changed that Feather
| | 05:27 | value to 12.5. It was actually 8,
and that's why we are not seeing this
| | 05:32 | remarkable difference inside the image window.
But that is something to watch out for.
| | 05:36 | Photoshop sometimes takes the last
Feather value and applies it to the
| | 05:39 | next object to click on.
| | 05:41 | But given that it was just few movies
ago, I remember it was 8 pixels and of
| | 05:45 | course I know 8 times 5 is 40, and
that's going to go ahead and establish the
| | 05:50 | relative effect we had before.
| | 05:52 | And just to confirm here, let's go
ahead and switch over to the original image,
| | 05:57 | it's the one that's not upsampled,
and I'll zoom in on that sparkle.
| | 06:00 | So that's the original sparkle and a
100%, and here's the new sparkle at more
| | 06:04 | like 25%, and you can see that
we're achieving an equivalent effect.
| | 06:09 | But the beauty of it here is that this
is a resolution-independent sparkle, not
| | 06:14 | like the choppy one we saw on the PDF
document in a previous movie, but rather
| | 06:18 | super-silky smooth, and then of course,
it goes without saying that all of the
| | 06:24 | text layers are in great shape as well.
And you know what I am going to do?
| | 06:27 | I am going to go ahead and bring up my
Navigator panel by going to the Window menu
| | 06:30 | and choosing the Navigator command,
and I am going to expand the size of this
| | 06:33 | panel a little bit, so that I can see
more of the artwork, and I'm going to move
| | 06:39 | that little red rectangle that
indicates my view of the world over to the hair
| | 06:42 | details, and you can see that now we've
got this kind of gummy hair, that's why
| | 06:47 | I really care for interpolation.
| | 06:50 | But we've got this gummy hair now, set
against, however, this super-smooth letterform.
| | 06:53 | And same with the hairs at the top of
her head and the hairs over here on the
| | 06:57 | left-hand side and so forth.
| | 06:58 | So everything now I believe is
in as good a shape as possible.
| | 07:03 | Once you get to that point, you can
go up to the Layer menu and choose the
| | 07:07 | Flatten Image command because we don't
really need this nearly 900-megabyte file.
| | 07:11 | Go ahead and choose Flatten Image and
click OK to discard the hidden layers,
| | 07:15 | because we don't need them, and then
next switch over to the Channels panel, and
| | 07:19 | I am going to go ahead and hide
the Navigator panel for the moment by
| | 07:23 | double-clicking on the Navigator tab,
and then I'll grab this Alpha channel,
| | 07:26 | which I don't need anymore, and I'll
drag it and drop it into the trash can.
| | 07:30 | All right, now I'll switch back to the
layers panel, let's go ahead and zoom out
| | 07:34 | possibly a little bit here so that we
can see more of the artwork at a time, and
| | 07:38 | then what you want to do is go up to
the File menu and choose the Save command,
| | 07:43 | bearing in mind that this
document has not been saved yet.
| | 07:45 | So you can press Ctrl+S, or Command+S on the Mac.
| | 07:48 | And what I recommend for a file like
this given that it's flat, it doesn't have
| | 07:52 | any alpha channels, it doesn't have
anything special going on is to save it with
| | 07:56 | all of its detail intact as a TIFF image.
| | 07:59 | So go ahead and choose the TIFF format, and
then click on Save in order to save that file.
| | 08:04 | When you see the TIFF options dialog
box, set Image Compression at LZW that
| | 08:08 | lossless compression scheme that makes a
big difference in the size of the file,
| | 08:13 | and leave the other options alone.
| | 08:15 | Then click OK in order to save off
that poster art, and it will take a few
| | 08:20 | moments to save, but in my case it's
already done, and we have a whopping big
| | 08:25 | image that contains 24 new pixels for
every one of the previous pixel, and it is
| | 08:32 | in super-sharp, gorgeous shape with the
exception of course of the interpolated
| | 08:37 | pixel-based photograph. And that, folks,
is the sheer amazing power of resolution-
| | 08:43 | independent text and shape
layers here inside Photoshop.
| | Collapse this transcript |
|
|
16. Layer EffectsDepth, contour, and texture| 00:00 | When you're trying to achieve special effects in
Photoshop, it's tempting to turn to the Filter menu.
| | 00:06 | The Filter Gallery in particular
offers promising options, such as Fresco and
| | 00:11 | Crosshatch, that you would think
might add character to your imagery.
| | 00:15 | I'll show you uses for a few of those
filters in the later course, but as a rule,
| | 00:20 | they tend to provide disappointing results.
Your better tools are layer effects.
| | 00:25 | A typical layer effect traces or fills
the outline of the active layer, that is
| | 00:31 | the edges along which the pixels
transition from opaque to transparent, for
| | 00:36 | example, a drop shadow traces along
the transparent edge outside the layer.
| | 00:40 | While an Inner Shadow traces along the
interior of the layer, both are useful
| | 00:45 | for imparting a sense of
directional lighting and depth.
| | 00:49 | You can combine layer affects to create
contours and textures, and as we'll see,
| | 00:54 | transform letters into Gold.
| | 00:57 | All layer effects are parametric,
meaning that you can modify them any time you
| | 01:02 | like by tweaking a few numerical parameters.
| | 01:05 | They take up next to no room in memory
and in Photoshop CS6, you can apply layer
| | 01:10 | effects to entire groups of layers,
without first combining them in smart
| | 01:15 | objects, as was required in the past.
| | 01:18 | My only problem with Layer Effects is
that there aren't enough of them, even
| | 01:22 | so, there's no end to what you can do with
them, as I'll show you in the following movies.
| | Collapse this transcript |
| Imparting depth with a layer effect| 00:00 | In this movie I'll show you how to
infuse an image with a sense of depth using a
| | 00:04 | typical layer effect, specifically Inner Shadow.
| | 00:08 | Now I'm going to be demonstrating
layer effects as applied to text and shape
| | 00:12 | layers, but don't be thinking
that's all they're good for.
| | 00:15 | You can apply a layer effect to any
layer that has a boundary associated with it.
| | 00:19 | In other words, some portions of the layer
are opaque and other portions are transparent.
| | 00:25 | Take this frame layer, for example, here.
| | 00:26 | I'll go ahead and expand the effects
assigned to it by clicking on that little
| | 00:30 | down-pointing arrow head, and you'll see
that we have three layer effects in all.
| | 00:34 | I'm going to right-click on the fx icon
and choose Clear Layer Style, in order
| | 00:40 | to remove all the layer effects.
| | 00:42 | And incidentally, by the way, a
style is a combination of layer effects
| | 00:46 | and blend settings.
| | 00:47 | So I'll go ahead and choose that command, and you
can see we are left with a boring beige rectangle.
| | 00:53 | That's all that's really going
on where this layer is concerned.
| | 00:56 | However, if I press Ctrl+Z, or Command+Z
on the Mac, to reinstate those effects,
| | 01:02 | they make all the difference in the world.
| | 01:03 | And the effects are clinging to the
boundaries of the layer, as you can see.
| | 01:08 | Now I'll go ahead and
switch back to the carving layer.
| | 01:11 | To apply a layer effect, you drop
down of the fx icon at the bottom of the
| | 01:15 | layers panel and click on it.
| | 01:17 | And those of you who have used
previous versions of Photoshop may notice that
| | 01:21 | the order of the effects has changed.
| | 01:23 | We don't have any new
effects, they're just reordered.
| | 01:25 | And the reason is that this new order
indicates the actual stacking order of the effects.
| | 01:31 | So Drop Shadows are always at the bottom,
and Bevel & Emboss is always at the top.
| | 01:36 | We're going to choose the third one down,
Inner Shadow, in order to bring up the
| | 01:41 | very large and powerful Layer Style dialog box.
| | 01:44 | And notice that we've now
applied an Inner Shadow.
| | 01:47 | What happens is we create a shadow
inside the letters, almost as if we have
| | 01:52 | carved into this wooden frame here and
revealed some sort of flat brown layer below.
| | 01:57 | Now you can modify the Angle value in
order to change the angle of the shadow.
| | 02:02 | For example, if I set it here to 90 degrees,
then the shadow is coming straight down.
| | 02:08 | I can also change the Distance of
which the shadow is cast. For example,
| | 02:12 | I'll take it up to 20 pixels, and you can
see that moves the shadow to a new location.
| | 02:18 | Another way to change both the Angle
and Distance values, and this works when
| | 02:22 | you're working with Inner Shadow or
Drop Shadow is to go ahead and drag the
| | 02:27 | shadow around directly
here inside the Image window.
| | 02:31 | I'm going to go ahead and
reset my values, however.
| | 02:33 | I'll change the Angle value to 135
degrees, and I'll take the Distance value up
| | 02:38 | to 20 pixels, and then I'll take the
Size value up to 20 pixels as well, and
| | 02:43 | we'll come to what Size means in just a moment.
| | 02:46 | But first, I want to
change the color of my shadow.
| | 02:49 | Right now it's black, which
is the default shadow color.
| | 02:53 | I'm not a big fan of black shadows, because they
end up looking murky and muddy and so forth.
| | 02:58 | It's better to go with either a color
that's endemic to the scene or one that's
| | 03:04 | complementary to the scene.
| | 03:05 | So I'm going to click on this black
swatch in order to bring up the Color Picker
| | 03:09 | dialog box, and then I'll click with my
Eyedropper on some representative pixel
| | 03:14 | of wood in order to lift its color.
| | 03:16 | And my experience with this image is
that the Hue should be a little oranger
| | 03:20 | than this so I'm going to take it up to
35 degrees, and you typically want when
| | 03:25 | you're creating a shadow, a very low
Brightness value. For example, let's say
| | 03:29 | 20%, in order to
compensate for that low brightness.
| | 03:33 | If you want to see any color whatsoever,
you want to take that Saturation value
| | 03:38 | up very high, and I typically work
with 100% Saturation, and that way you can
| | 03:43 | actually see a little bit of the color at work.
| | 03:46 | This would be an endemic color, by the
way, because I lifted it from the scene.
| | 03:50 | The other way to work is to
apply a complementary color.
| | 03:53 | And to do that, you want to take
your endemic Hue value and either add or
| | 03:57 | subtract 180 degrees, whichever makes sense.
| | 04:01 | So if the value is bigger than
180 degrees, you subtract 180.
| | 04:05 | If it's smaller than 180
degrees, as in my case, you add 180.
| | 04:08 | 35+180 is 215, and that ends up giving
me a shade of blue that is complementary
| | 04:15 | to the natural orange inside of the wood.
| | 04:19 | Anyway, I'm going to take that value
back down to 35 degree, and I'll click OK
| | 04:23 | in order to accept that change.
| | 04:26 | Now let's take a look at
the Size and Choke values.
| | 04:29 | When you start working with Size, it
seems as if it's actually affecting the
| | 04:33 | blurriness of the shadow. For example,
if I take the Size value down to 4
| | 04:38 | pixels, it's less blurry than it was before.
| | 04:40 | If I take it up to 54 pixels, for
example, it's very blurry indeed, and that is
| | 04:45 | the way Size works initially, that
is when the Choke value is set to 0%.
| | 04:49 | However, if I take the Size value
back down to 20 pixels here, notice as I
| | 04:55 | increase the Choke value, I'm
growing the shadow like so.
| | 04:59 | So I'm filling that shadow in, and I'm
making it sharper, all the way up to
| | 05:05 | 100 degrees, when the shadow
gets very sharp indeed.
| | 05:08 | Now it's rounded at the corners, but it is sharp
in terms of the luminance transitions here.
| | 05:13 | Then when I change the Size value, you'll
see that you're really modifying the size.
| | 05:17 | So if I reduce the value to 0 pixels,
I have a small shadow.
| | 05:21 | If I increase the Size, say, to about 26 pixels,
then we end up getting a very large shadow.
| | 05:30 | I'm looking for these values.
| | 05:31 | I'm going to change the Choke to 30%
and increase the Size value to 55 pixels,
| | 05:37 | so we have a very diffused shadow indeed.
| | 05:39 | I'll leave the Opacity set to 75%, and
I'm going to end up leaving the blend
| | 05:45 | mode set to Multiply, but I do want to
give you a sense of what's going on here.
| | 05:50 | I'll be devoting an entire chapter to blend
modes in the Advanced course in the series.
| | 05:54 | However, for now you should know when
you're trying to create shadows, you have
| | 05:58 | three different modes you can work with.
| | 05:59 | Multiply is your go-to mode.
Generally speaking, that's the mode you'll use.
| | 06:04 | But if you want to amp things up, then
you go with Linear Burn, and you'll end
| | 06:09 | up burning that shadow in even more
deeply and creating richer color saturation.
| | 06:15 | If you're more interested in the
saturation than the burn, then you go with
| | 06:19 | Color Burn instead, and you'll see
that in this case, it gives us this really
| | 06:24 | interesting sort of red look.
| | 06:25 | Now I'm not sure you're going to use
Color Burn very often, but you might
| | 06:29 | want to check it out.
| | 06:30 | I never recommend Darken or
Darker Color for shadows. All right!
| | 06:33 | I'm going to switch this guy back to
Multiply, and then I'll click on Blending
| | 06:37 | options in the left-hand column.
| | 06:39 | And here Photoshop shows me all the
blending settings that are associated with the layer.
| | 06:44 | And by the way, this is
saved along with the style.
| | 06:47 | So I was telling you that style means all
layer effects along with the blend settings.
| | 06:52 | I'm going to move this dialog box
over because these first three blending
| | 06:55 | options are all duplicates of the first three
blending settings up here in the layers panel.
| | 07:00 | So we've got Blend mode and Blend mode,
we have Opacity and Opacity, we've
| | 07:05 | got Fill Opacity which is the same as Fill, and
I'll move this guy back over here for a second.
| | 07:11 | You may recall from previous chapters
that if you reduce the Opacity value,
| | 07:16 | you're reducing not only the opacity
of the layer, but also of any effects
| | 07:21 | assigned to that layer.
| | 07:22 | So I'll go ahead and restore
that Opacity value to 100%.
| | 07:26 | Imagine what I prefer to do instead is
reduce the opacity of the letters and
| | 07:30 | leave the effects alone.
| | 07:32 | In that case, I would change the Fill
Opacity, so you're reducing the opacity of
| | 07:37 | the fill of those letters.
| | 07:39 | And notice if I take it down to 0%, then
all we have is layer effects and nothing more.
| | 07:44 | So I'm going to take that Fill value up
a little bit to 20%, and then I'm going
| | 07:49 | to burn those letters into the
background by changing the blend mode to
| | 07:53 | Multiply, and we end up
achieving this effect here.
| | 07:56 | Now I'll click OK in order to accept the effect,
| | 08:00 | thanks to the fact that this
was all handled as one operation.
| | 08:04 | We can do a before and after comparison just
by pressing Ctrl+Z, or Command+Z on the Mac.
| | 08:10 | So those are our original letters.
| | 08:11 | I also want you to notice down here in
the bottom left corner of the window that
| | 08:16 | the layered image takes up 19.9 megs in RAM.
| | 08:20 | Now I'll go ahead and press Ctrl+Z or
Command+Z again in order to reinstate the
| | 08:25 | effect, and we'll see that the layered
image takes up the exact same amount of
| | 08:29 | room, 19.9 megs, and that's because
not only are layer effects extremely
| | 08:34 | flexible, I could double-click on
Inner Shadow in order to bring up the layer
| | 08:38 | Style dialog box and modify the
settings at will, but they're also extremely
| | 08:43 | efficient as well, and they can be
applied to anything inside of Photoshop.
| | 08:49 | So, for example, this is
still live editable text.
| | 08:52 | I could press the T key in order to
switch to the Type tool, select some of the
| | 08:57 | text, and change it out here, like so,
and then press the Enter key on the
| | 09:00 | numerical keypad in order to accept my
changes. And that's how you impart depth
| | 09:06 | using a layer effect here inside Photoshop.
| | Collapse this transcript |
| The power of the drop shadow| 00:00 | In this movie I am going to try to
instill a little bit of respect for
| | 00:04 | the common drop shadow.
| | 00:05 | Now, in case you're not familiar with
them, a drop shadow is a shadow that's
| | 00:09 | being cast by a layer.
| | 00:10 | So, whereas the inner shadow appears
inside these letters, a drop shadow applied
| | 00:15 | to the same letters would
appear outside the letters.
| | 00:18 | Now, when applied indiscriminately,
which is often the case, a drop shadow could
| | 00:22 | not be a more pedestrian effect.
| | 00:24 | I will show you two applications of
drop shadows that go above and beyond.
| | 00:28 | First of all, I want to take these
letters here and make them appear to really
| | 00:33 | be carved out of this wood.
Currently, they're just too perfect.
| | 00:36 | With the Craving layer selected and
thanks to the fact that we already have
| | 00:40 | a layer effect assigned, there are a few
different ways we can get to the drop shadow.
| | 00:44 | You can double-click on either
Effects or Inner Shadow here, or you can
| | 00:48 | double-click in the fx icon to
bring up the Layer Style dialog box.
| | 00:51 | Then you just go ahead and click on
this last item, Drop Shadow, in order to both
| | 00:56 | select it and turn it on.
| | 00:57 | I am going to cancel out here, so I
can show you the other method which is
| | 01:01 | to drop down to the fx icon at the bottom
of the panel, and then choose Drop Shadow.
| | 01:07 | In any case, you will get a
preview of the default drop shadow.
| | 01:10 | Now, where folks get into trouble with
this command is they apply a Distance
| | 01:14 | value and then duplicate that value for
Size, and that works particularly badly
| | 01:20 | where this layer is concerned because
what's the story at this point?
| | 01:24 | We have letters that are carved into wood,
and then they're leaping off the wood and
| | 01:29 | casting a shadow? That
just doesn't make any sense.
| | 01:32 | What we're going to do instead
is of course change the color.
| | 01:35 | We don't want it to be black.
| | 01:37 | So I will dial in that exact same color
I used last time, that is 35, 100, and
| | 01:41 | 20 for the HSB values, and then I will
click OK, and now I am going to take the
| | 01:47 | Opacity value all the way up to 100%,
and I'm going to tuck the shadow in by
| | 01:52 | reducing the Distance
value to 5 pixels, like so.
| | 01:55 | I'm going to leave the Size at 30 pixels,
and incidentally, Spread is analogous
| | 02:00 | to the Choke option associated with the Inner
Shadow--pretty much the same thing, in fact.
| | 02:05 | Meaning that you can fill the shadow
in by increasing that Spread value.
| | 02:10 | Anyway, I am going to take it down to 0,
because we don't want any spread for
| | 02:14 | this effect, and then I will go
ahead and click OK in order to apply the
| | 02:18 | effect, and it may not look like much
until we do a before and after here, so
| | 02:22 | if I press Ctrl+Z, or Command+Z on the
Mac, to undo the Drop Shadow, you can see
| | 02:27 | these letters aren't credibly carved
out of the wood at all, whereas, if I
| | 02:31 | reinstate the shadow by once again
pressing Ctrl+Z, or Command+Z, then you can
| | 02:34 | see that the shadow doesn't look like a
drop shadow, in other words it doesn't
| | 02:38 | look like a shadow that's being cast by the
letters, rather, it looks like a kind of edge burn.
| | 02:42 | I do want to call your attention to
something before we go to the next example.
| | 02:47 | I am going to double-click on Drop
Shadow in order to bring up the Drop Shadow
| | 02:50 | option, and I was telling you how when
you're working with Inner Shadow or Drop
| | 02:55 | Shadow you can actually drag the
shadow directly inside the image window.
| | 02:59 | But watch what happens if
I do so with the Drop Show.
| | 03:03 | I want you to see how
everything in the scene is changing.
| | 03:07 | So the shadow around the big block of
wood and the shadow inside the letters is
| | 03:13 | changing along with the shadow that's
being cast behind the letters, in this
| | 03:17 | case, because it pretty well ruins the
effect. And that's because of this item
| | 03:22 | right here, Use Global Light, and it
happens to be turned on by default, and it's
| | 03:28 | also turned on for all of the
directional effects that are associated with both
| | 03:32 | the frame and the text layer.
| | 03:35 | And by directional effects, I mean Bevel
& Emboss, Inner Shadow, and Drop Shadow.
| | 03:41 | So you need to take care especially
when you're modifying that Angle value when
| | 03:45 | Use Global Light is turned on, because
you can end up ruining everything, and
| | 03:50 | it becomes such a disaster that your
only option is to either cancel out or
| | 03:54 | press the Alt key, or the Option key on
the Mac, and click on what was formerly
| | 03:58 | the Cancel button and is now Reset, and that
will go ahead and straighten things out again.
| | 04:03 | I am going to cancel out of the
dialog box, because I'm done with this
| | 04:07 | image, and I am going to switch over to that same
image that we started with in the previous movie.
| | 04:12 | Let's say you want to create blurry text,
but you want the text to remain editable.
| | 04:17 | Well, the simplest way to pull that
off is to turn the text into a shadow.
| | 04:23 | With the carving layer selected, I will
drop down to the fx icon and choose Drop
| | 04:27 | Shadow, because it's the only command
that can really pull this one off, and I'm
| | 04:32 | going to start things off by increasing
the Opacity value to 100%, then I will
| | 04:36 | click on the color swatch and change
the HSB values once again to 35, 100, and 20.
| | 04:41 | Click OK in order to accept that color.
| | 04:45 | Then I will take the Distance value
down to 0, so the shadow is actually
| | 04:49 | centered on the text. The Angle no
longer matters, and I will increase the Size
| | 04:54 | value by pressing Shift+up arrow
a couple of times to 25 pixels.
| | 04:59 | Now what you want to do is drop away the text.
| | 05:02 | So, click on Blending options in order
to bring up the Fill Opacity value and go
| | 05:07 | ahead and reduce that value to 0%.
| | 05:09 | We end up getting a
pretty interesting effect here.
| | 05:11 | It looks as if we've
airbrushed some stencils or something.
| | 05:14 | That's not the effect I'm looking for, however.
| | 05:17 | So return to Drop Shadow and notice this check
box right there, Layer Knocks Out Drop Shadow.
| | 05:23 | This is the only layer
effect that offers this option.
| | 05:25 | Go ahead and turn it off and the
layer itself disappears, and all we're
| | 05:30 | left with is the shadow.
| | 05:32 | Now I'll go ahead and click OK in order
to accept that modification, and now you
| | 05:37 | can use the Opacity value to modify
the opacity of your text on the fly.
| | 05:42 | Because I had set the Shadow to 100% opacity,
| | 05:45 | this now is the only Opacity value that
matters, and I am just going to go ahead
| | 05:50 | and tap the 7 key to reduce
that Opacity value to 70%.
| | 05:53 | Now, I want to edit my text a little bit.
| | 05:56 | So I am going to double-click on the T
to select that text, and I will press
| | 06:00 | Ctrl+H, or Command+H on the
Mac, to hide the highlight.
| | 06:03 | Now, I will press Ctrl+Shift+Alt+> or
Command+Shift+Option+> twice in a row in
| | 06:08 | order to increase the size of my text,
and then I will press the Enter key on
| | 06:12 | the numerical keypad in
order to accept the modification.
| | 06:15 | Now, I want to vertically
center my text on the canvas.
| | 06:17 | So I will press Ctrl+A, or Command+A
on the Mac, to select the entire image.
| | 06:22 | I will switch to the Move tool, which
I can get by pressing the V key, and I
| | 06:26 | will go ahead and click on Align
Vertical Centers in order to scoot that
| | 06:30 | text down a little bit.
| | 06:31 | I will press Ctrl+D, or Command+D on
the Mac, and I want to go ahead and skew
| | 06:36 | this text, so it looks like it's being
cast as a kind of shadow onto the wood.
| | 06:40 | So I will go up to the Edit menu,
choose Transform, and then choose Skew, and
| | 06:45 | now at this point, notice that I can
drag these handles in order to skew the
| | 06:49 | text, or--I will go ahead and press Ctrl+Z,
or Command+Z on the Mac, to undo that change--
| | 06:55 | if you press the Alt key or the Option
key on the Mac, and drag a side handle,
| | 07:00 | you'll skew both sides--both the left
and the right side--around the center.
| | 07:04 | I'm also going to Alt-drag or Option-drag
this bottom handle in order to add a
| | 07:09 | little bit of horizontal skew.
| | 07:10 | Then I will press the Enter key, or the
Return key on the Mac, in order to accept
| | 07:14 | that change. And finally, I am going
to change this word entirely by again
| | 07:18 | double-clicking on it, and I will type
in this text instead, and then press the
| | 07:23 | Enter key on the numerical
keypad in order to accept my change.
| | 07:27 | And so with any luck, that gives
you a sense of just how powerful and
| | 07:31 | flexible Drop Shadows can be when used with a
little bit of imagination here inside Photoshop.
| | Collapse this transcript |
| Modifying a layer and its effects| 00:00 | In this movie I hope to give you a sense for
just the monumental flexibility of layer effects.
| | 00:07 | First of all, layer effects are part of
a category of features in Photoshop that
| | 00:11 | are known as parametric effects.
| | 00:13 | And what that means is let's say I
double-click on Inner Shadow in order to
| | 00:18 | bring up its settings.
| | 00:19 | I can adjust these parameters as much as I want.
| | 00:22 | My changes will be reflected inside the
image window, and nothing is ever set in stone.
| | 00:28 | Better still, they take up very
little room in memory, and they apply very
| | 00:32 | quickly to even
extremely high-resolution images.
| | 00:36 | But possibly, the best news of all is that
they constantly update to suit your layer.
| | 00:42 | So if you modify the contents of the
layer, the layer effects update as well,
| | 00:46 | and that's what I'm going to do right now.
| | 00:48 | So I'm going to double-click on the T
for the craving layer, and I'm going to
| | 00:52 | change the font from Myriad Pro here to
Old English Text, which may or may not be
| | 00:57 | installed on your machine.
| | 00:58 | If it isn't, then look for some other
black-letter gothic typeface, and then
| | 01:03 | I'll go ahead and edit my text.
| | 01:05 | I'll press Ctrl+A, or Command+A on the
Mac, to select all that text once again.
| | 01:09 | This time I'm going to press Ctrl+H, or
Command+H on the Mac, so I can better see
| | 01:14 | what I'm doing, and I'll advantage of
that keyboard shortcut that allows me to
| | 01:17 | scale the text in large
increments, which is Ctrl+Shift+Alt+> or
| | 01:21 | Command+Shift+Option+>, and I went
ahead and pressed that shortcut a couple of
| | 01:26 | times in a row, and then I'll press
Alt+left arrow, or Option+left arrow on the
| | 01:30 | Mac, in order to scoot those
letters together. All right!
| | 01:33 | Now I'll press the Enter key on the
numerical keypad to accept my changes.
| | 01:37 | Now I want to center my text in the
canvas, so I'll press Ctrl+A, or Command+A
| | 01:41 | on the Mac, and then I'll switch to
the Move tool, which I can get by pressing
| | 01:46 | the V key, and I'll go up to these alignment
icons and click on each one of the center ones.
| | 01:51 | So I'll start by clicking on Align
vertical centers which scoots the text
| | 01:54 | downward, and then I'll click on align
horizontal centers which moves the text
| | 01:58 | just a couple of pixels to the right.
| | 02:00 | Press Ctrl+D, or Command+D on the
Mac, in order to deselect the text.
| | 02:05 | And here's the thing.
You and I have different fonts on our system.
| | 02:08 | You may not have the font that I'm using
here, but I want you to be able to open
| | 02:13 | this document when I'm done.
| | 02:14 | So I'm going to convert the text to a
shape, and you do that by pressing the T
| | 02:18 | key in order to switch back to the Type
tool, right-click on one of the letters,
| | 02:22 | and choose Convert to Shape.
| | 02:24 | And the beauty of having done this is
that we've converted vector-based type to
| | 02:27 | vector-based shapes.
| | 02:28 | We can't edit the text anymore; however,
we could edit the shape outlines if we
| | 02:33 | wanted to, and the text
remains resolution-independent.
| | 02:37 | Furthermore, I could go ahead and add
shapes to the Shape layer which I'll do
| | 02:41 | by going down to the Shape tool here,
clicking and holding on it, and then
| | 02:44 | choosing the Custom Shape tool, and you can see
that I've already selected a shape in advance.
| | 02:49 | It's called Leaf Ornament 2.
| | 02:52 | If you went ahead and loaded all the
custom shapes back in the previous chapter,
| | 02:55 | then you can find it midway down
the list, right at this location there.
| | 02:59 | Go ahead and press the Escape
key in order to hide that panel.
| | 03:03 | I want to add this shape to the
existing Shape layer, so I'll go up to the Path
| | 03:07 | operations icon, and I could select
Combine Shapes, but you actually I have
| | 03:12 | keyboard shortcuts for both
Combine Shapes and Subtract Front Shape.
| | 03:15 | And let me show you what those are.
| | 03:16 | To combine shapes, all you need
to do is tap the Plus key, and notice
| | 03:21 | you get a little Plus next to your cursor.
| | 03:23 | To subtract a shape, tap the Minus
key, and you get a little Minus
| | 03:27 | next to your cursor.
That's all there is to that one.
| | 03:30 | I'll tap Plus , and then I'm
going to draw a leaf right about there.
| | 03:34 | I'm not really terribly concerned about
its horizontal placement, but I do want
| | 03:37 | it to be more or less vertically
centered inside of that slat of wood.
| | 03:42 | Now, I want to horizontally center it.
| | 03:44 | So I'll press the A key to switch to the
Black Arrow tool, and I'll go ahead and
| | 03:48 | click on the path outline, and then
I'll do something that I couldn't do in
| | 03:52 | previous versions of Photoshop.
| | 03:53 | I'll go up to the Path alignment icon,
click on it, and choose Align To Canvas,
| | 03:58 | and then I will return to that same icon,
and I'll click once again and choose
| | 04:03 | Horizontal Centers, and I end
up exactly centering that leaf.
| | 04:07 | Now what I want to do is duplicate the
leaf, so I'll press the Alt key ,or the
| | 04:11 | Option key on the Mac,
and drag the leaf downward.
| | 04:14 | If you want to constrain the angle of
your drag to exactly vertical, you want
| | 04:18 | to go ahead and press and hold the
Shift key as well during the drag, and then
| | 04:22 | go ahead and release that leaf once
it's more or less vertically centered in
| | 04:26 | the bottom slat. And I might tap the up arrow
key just to nudge it up a little bit there.
| | 04:31 | Then I want to flip it, so I'll go up
to the Edit menu, choose Transform Path,
| | 04:36 | and choose Rotate 180 degrees, and I end
up getting this effect here. All right!
| | 04:42 | Now I'm going to click off
the path outline to deselect it.
| | 04:45 | I'll press Ctrl+H, or Command+H on the Mac,
so I can see my letters without the outlines.
| | 04:49 | So now I've made several modifications
to my layer and the layer effects have
| | 04:53 | done a great job of catching up.
| | 04:56 | However, they're no longer necessarily
imparting the effect I'm looking for.
| | 04:59 | So I'm going to make a few
modifications to both of the effects, starting
| | 05:03 | with the Drop Shadow.
| | 05:04 | So I'll double-click on the Drop
Shadow in order to bring up my settings, and
| | 05:08 | I'll reduce the Opacity value to 70% by
pressing Shift+down arrow a few times,
| | 05:13 | and then I'll take that Distance
value down to 1 so that I'm tucking the
| | 05:18 | shadows still further under the letters,
and then I'll reduce the Size value to
| | 05:22 | 20 pixels, like so.
| | 05:25 | Then I'll go ahead and click on Inner Shadow
in order to gain access to its settings.
| | 05:29 | And I want to open up the shadows
a little bit inside the letters, so
| | 05:34 | I'm going to take the Distance value
down to 10 pixels, and then I'll reduce the
| | 05:38 | Size value to 35 pixels, like so,
which makes a big difference, as you can see.
| | 05:44 | Then I'll click OK in
order to accept that change.
| | 05:47 | Just to give you a sense here, these
are the effects we had a moment ago and
| | 05:51 | these are the modified effects.
| | 05:53 | And to give you a sense of what we've
accomplished over the course of this
| | 05:57 | movie, I'll press the F12 key to go ahead
and revert the image to its original appearance.
| | 06:01 | It's pretty disappointing by
comparison to the image we have now, which I can
| | 06:05 | reinstate the pressing Ctrl+Z, or Command+Z
on the Mac. And that, friends, is how
| | 06:09 | you go about painlessly and altogether
overhauling the contents of a layer and
| | 06:15 | modifying its layer effects in just a
matter of minutes here inside Photoshop.
| | Collapse this transcript |
| Saving custom default settings| 00:00 | In this movie I'll show you how to change
the default settings for any given layer effect.
| | 00:05 | But I will warn you upfront that
this will overwrite Photoshop's factory
| | 00:09 | defaults, and the only way to
restore those factory defaults is to quit
| | 00:13 | Photoshop, and then restart the
program and immediately press and hold the
| | 00:17 | Ctrl+Shift+Alt keys, or the Command+Shift+Option
keys on the Mac, in order to
| | 00:22 | reset the Preferences
throughout the application.
| | 00:25 | You can choose whether to
follow along with me or not.
| | 00:28 | But I will tell you that I'm not a big
fan of the factory default settings, so I
| | 00:33 | really don't see any
problem with replacing them.
| | 00:35 | So let's say, for example, that I
switch back to the shire layer here, and then
| | 00:41 | I'll press Ctrl+H, or Command+H on a Mac,
in order to hide those shape outlines.
| | 00:46 | Imagine that I really like my Inner
Shadow and Drop Shadow effects, and I want
| | 00:49 | to turn those into the Default Settings,
then I double-click on Inner Shadow in
| | 00:54 | order to bring up its settings, and
then I'd click on this button right there
| | 00:58 | Make Default, but again, a little
warning, this works immediately, there's no
| | 01:03 | canceling out of it.
| | 01:04 | Now I'm going to go ahead and click on
that button that overwrites those Inner
| | 01:08 | Shadow Default Settings.
| | 01:10 | Now I'll click on Drop Shadow, and
I'll click Make Default again in order to
| | 01:14 | replace those defaults, and then you
can go ahead and Cancel out, by the way,
| | 01:19 | because the deed is done at this
point. You don't have the click OK.
| | 01:22 | Now then let's say I want to take those default
settings and try them out inside the Previous Document.
| | 01:27 | I'll switch over to my Toasted letters,
and I'll double-click on Inner Shadow in
| | 01:33 | order to bring up a Layer Style dialog
box, and I'm going to move it over so
| | 01:37 | that I can see the image
change in the background.
| | 01:39 | Click on Reset to Default, and that
will go ahead and establish those default
| | 01:44 | settings that I just saved a moment ago.
| | 01:46 | Then I'll click on Drop Shadow in
order to select it, and I'll click Reset to
| | 01:51 | Default for it as well, and this time
I'll click the OK button, because I've
| | 01:55 | made modifications to my image.
| | 01:58 | If I press Ctrl+Z, or Command+Z on a Mac,
to restore the original, and then press
| | 02:03 | Ctrl+Z or Command+Z again to retrieve
the new settings, I find that I like these
| | 02:08 | new settings better.
| | 02:09 | Now there are a few other
defaults that you may want to change.
| | 02:12 | I'm going to drop down to the fx icon,
and I am going to select Outer Glow from
| | 02:17 | the bottom of the list here.
| | 02:19 | And what this does is it creates a glow
around the outside of the letters, and
| | 02:24 | this is a soft glow, but it's very
small, so we can barely see it here.
| | 02:27 | It doesn't look like a glow it all.
| | 02:29 | A Size value 5 is ill-suited
to high-resolution images.
| | 02:34 | So I'm going to crank that guy up to
let's say 25 pixels just as a baseline.
| | 02:38 | I have never been a fan of this yellow
that they use by default, so I'll go
| | 02:44 | ahead and click on this yellow swatch,
and I'll just go ahead and switch that
| | 02:47 | color to white and click OK on that.
Let's say these are the settings that I
| | 02:52 | want to use in the future, then
I'll click to make default button.
| | 02:55 | The same holds true for Inner Glow, by
the way, so I'll go ahead and click on it.
| | 02:59 | It traces a glow inside the letters.
We can't see it at all because
| | 03:03 | again, it's too small.
| | 03:04 | I'll go ahead and turn off Outer Glows,
so that we can at least barely see it,
| | 03:09 | and once again I'll take that Size
value up to 25 pixels, and then I'll switch
| | 03:14 | up the colors as well, by clicking on
that yellow swatch and switching the
| | 03:18 | color to white, then click OK, and I'll drop
down to Make Default button and click on it.
| | 03:23 | We'll go ahead and turn off Inner Glow.
| | 03:27 | Let's say that you do a lot of web
work and use a Stroke effect to stroke
| | 03:31 | Rectangular layers, for example.
| | 03:33 | We'll go ahead and click on Stroke to
make it active, and then I'll go ahead and
| | 03:38 | zoom into the image by clicking on
Actual Pixels up here in the Options bar,
| | 03:43 | and I'll drag the image over as well.
| | 03:45 | And by the way, that's just a plain old
drag, you don't have the press the spacebar.
| | 03:49 | I want this Size value to be 1 pixel.
There's no sense in it being cranked up
| | 03:53 | to 3 pixels on a regular basis, and your position
is best set to Inside as opposed to Outside.
| | 04:00 | Because if you do decide to go with a
higher value, and you're working on a
| | 04:04 | rectangle, for example, you're going to
start rounding off the corners if your
| | 04:08 | position is set to anything but Inside.
| | 04:10 | Then I'll go ahead and click Make
Default button to take care of that effect as
| | 04:15 | Well, and because I don't want to
apply a Stroke to this layer, I'll go ahead
| | 04:20 | and click the Cancel button. But bear in
mind you're default settings are changed.
| | 04:24 | So if I drop down to the fx icon and
click on it and choose Stroke, I can see
| | 04:29 | that yes indeed, my new
default settings have taken hold.
| | 04:32 | And the same holds true for Inner Glow
and Outer Glow as well. And that's how
| | 04:37 | you go about changing the default
settings for any given layer effect so that
| | 04:42 | they better suits your day-to-day needs.
| | Collapse this transcript |
| Creating a custom contour| 00:00 | In this movie I'll show you how to
create a Custom Contour, and here's the idea:
| | 00:05 | the contour function is
associated with any of the soft effects.
| | 00:08 | That includes the two shadows as well as
Inner and Outer Glow and Bevel & Emboss.
| | 00:14 | And what it allows you to do is control the
opacity of the effect on a point-by-point basis.
| | 00:20 | So for example, I am creating this boundary
around the letters using an inverted Drop Shadow.
| | 00:26 | So in other words, it starts off translucent
and becomes more opaque around the
| | 00:30 | edges, which gives us a kind of faux 3D look.
So let's see how that works.
| | 00:34 | I'll go ahead and switch to the
starter file, and I want the Fill value for
| | 00:39 | the letters to be 0%, and you can achieve
that by pressing Shift+0+0, so 0 twice in a row.
| | 00:46 | Next, I'll click on fx and choose
Drop Shadow, and that brown that I
| | 00:50 | established as my default is going to
work out fine, so HSB, 35, 100, and
| | 00:55 | 20, cancel out of there.
| | 00:57 | I'll take the Opacity value up to 100%,
and then I'll take the Distance value up
| | 01:02 | to 5 pixels, and I'll turn off Layer
Knocks Out Drop Shadow, so that we can see
| | 01:07 | the shadow all by itself.
| | 01:09 | Now I want to see the effect in detail,
so I'll go up to the View menu and
| | 01:14 | choose Actual Pixels, and you may say,
Deke, why aren't you using the shortcut?
| | 01:17 | And the reason is it doesn't work when
you're working inside the Layer Style dialog box.
| | 01:21 | If you press Ctrl+1 or Command+1,
you'll select the Drop Shadow, which in our
| | 01:26 | case is already selected.
| | 01:27 | If you press Ctrl+2 or Command+2, you
get Inner Shadow, 3 gets you Outer Glow,
| | 01:32 | 4 gets you Inner Glow, 5 gets you
Bevel & Emboss, 0 gets you Stroke, and you
| | 01:37 | may be wondering, what in the world is
a rhyme or reason? Why are we flitting
| | 01:41 | all over the place?
| | 01:42 | And the thing is the shortcuts
used to be sequential, but then they
| | 01:45 | reordered the list.
| | 01:47 | Anyway, I am going to press Ctrl+1,
or Command+1 in order to select the
| | 01:51 | Drop Shadow once again and drag my image
over so that I can see the first few letters.
| | 01:55 | Now the Noise value is going to
create noise inside of your shadow.
| | 01:58 | You probably don't want a Noise value of
67%, because it looks like a swarm of gnats.
| | 02:04 | But you might take the value down to
let's say 5% to match the natural Noise
| | 02:08 | inside of a digital photograph.
| | 02:10 | I am going to take it back to 0%, and now
that takes us to the Contour graph right here.
| | 02:17 | Imagine it is a graph, the gray area
is a graph itself, the white area is
| | 02:20 | area outside the graph.
| | 02:21 | And the left side is the outer edge of
the effect, and the right side of the
| | 02:27 | graph is the inner edge of the effect,
that is the area inside the letters.
| | 02:31 | Down represents Transparency
and up represents Opacity.
| | 02:36 | So in this case we're saying starting
at the inside of the effect we have an
| | 02:40 | opaque effect, and then going outward we
have increasing levels of translucency.
| | 02:46 | But you can change that.
| | 02:47 | If you click the down-pointing
arrow head and select, for example, Cone--we'll
| | 02:52 | start transparent, then become opaque
there at the top of the cone, and then
| | 02:56 | become transparent again.
| | 02:57 | If you select its next door neighbor,
which is Cone - Inverted, you'll get
| | 03:00 | the opposite effect.
| | 03:02 | We'll start opaque on the right-hand
side, up there at the top, then we'll
| | 03:05 | become transparent right there in the
center, and then toward the outside edge
| | 03:09 | we are opaque again.
| | 03:11 | So you can try out a lot of these guys.
For example, there is Ring - Double,
| | 03:15 | which gives you this wacky effect here.
And if by chance you see some jagged
| | 03:20 | edges showing up inside of your image,
then turn on the Anti-aliased check box
| | 03:25 | to try to smooth them over.
| | 03:26 | But we don't have any. I am just going
to click the down-pointing arrow head and
| | 03:30 | switch over to Linear once again, and
now let's create our own custom contour
| | 03:34 | by clicking on the little graph icon there in
order to bring up the Contour Editor dialog box.
| | 03:39 | And at first it's going to seem a
little imposing, but here is the idea.
| | 03:42 | As I say, the right edge of the graph
represents the interior of the effect, the
| | 03:47 | point at which the effect begins.
| | 03:49 | So if I drag this point down until the
Output level is 70%, what I am saying is
| | 03:53 | starting on the inside
the Opacity will now be 70%.
| | 03:58 | So read Output as opacity.
Therefore we have these translucent letters.
| | 04:04 | Then if I go ahead and drag the outside
point upward to let's say something like
| | 04:09 | 40%, then I'm saying make
the outermost edge 40% opaque.
| | 04:15 | Now we still have a little bit of
softness, and that's because the Spread
| | 04:18 | value is set to 0%.
| | 04:20 | If we wanted to totally get rid of the
softness we'd have to crank that value up to 100%.
| | 04:24 | But what I want to do is just
basically invert the effect.
| | 04:28 | So I am going to drag the first point
all the way up, and I'll drag the second
| | 04:32 | point all the way down, so that the
interior of the effect is transparent and
| | 04:36 | the outside edge is opaque, and then
I'll go ahead and save out a custom preset.
| | 04:40 | Now you don't do that by clicking the Save
button. That will save a file to your hard drive.
| | 04:45 | Instead, you click on New and then go ahead
and give the Preset a name, such as Invert.
| | 04:49 | Click OK, and click OK again,
and then if you click the down-pointing
| | 04:53 | arrow head you'll see a new preset
down here in the lower left corner called
| | 04:57 | Invert, and you can get to it anytime you like.
| | 05:00 | This isn't exactly what I want. I want
a little bit of opacity on the inside.
| | 05:04 | So I'm going to click on that graph icon
and drag that final point there until I
| | 05:09 | have an Output--that is an opacity--of 20%
on the inside of the letters, and then
| | 05:15 | I'll go ahead and click
OK to accept that change.
| | 05:18 | Now let's take the Spread value up,
and I am going to increase that Spread value.
| | 05:22 | Notice that I am moving the effect
outward to 60% as you see here, and
| | 05:27 | then I'll turn on Layer Knocks Out
Drop Shadow, and we end up getting this
| | 05:32 | awesome sort of cutout effect.
| | 05:34 | Now that's a little bit subtle. I want
to emphasize it by going up here to
| | 05:37 | Blend options, and I am going to
increase my Fill Opacity value to 20%, which
| | 05:42 | doesn't really do anything at first,
but I can add a little bit of brightness
| | 05:45 | now by switching to the opposite of
the Multiply mode--which as you know
| | 05:49 | creates shadows--to the Screen mode.
Notice it's second in the brightening list,
| | 05:54 | and it creates glows.
| | 05:56 | So that's going to use the
letters to brighten up the background.
| | 05:59 | All right, now I want to trace the letters,
and I am going to do that using Outer Glow.
| | 06:04 | And even though I saved white as my
default color, I don't want to use it.
| | 06:08 | So I'll click on the white Color
Swatch, and I'm going to dial in that same
| | 06:12 | orange, a Hue value of 35 degrees, I'll
take the Saturation value up to 65% and
| | 06:17 | a Brightness value of 100%
is just fine, click OK.
| | 06:20 | Now let's take this Size value down to
8 pixels, and I'm going to increase the
| | 06:25 | Opacity of this effect to 100%.
| | 06:29 | And finally, I am going
to change the Blend mode.
| | 06:32 | Now I was telling you with shadows, if
Multiply isn't strong enough, you want to
| | 06:35 | drop two down to Linear Burn.
The same is true for glows.
| | 06:39 | If Screen isn't enough for you, you want
to drop two down to Linear Dodge (Add),
| | 06:44 | and that's going to give us
this really hot intense effect.
| | 06:49 | Now I'll click OK in order to accept
my effect, and I'll press Ctrl+0, or
| | 06:54 | Command+0 on the Mac, go
ahead and center my zoom as well.
| | 06:58 | Now let's change the text, we don't
want the word CARVING, so I'll double-click
| | 07:02 | on the T in order to select all that text,
and I'll type in some different text, like so.
| | 07:07 | Then I'll press Ctrl+A, or Command+A on
the Mac, in order to select it all, and I
| | 07:12 | am going to change the Style by
clicking on the Style and then typing in bold
| | 07:16 | again, which should give me bold condensed,
and I'll press the Enter key, or the
| | 07:20 | Return key on the Mac, in
order to accept that change.
| | 07:23 | Next I'll press Ctrl+Shift+Alt+>,
that's Command+Shift+Option+> on the Mac, a
| | 07:27 | few times in order to make that text
big enough to fill up this frame, and then
| | 07:32 | I'll press the Enter key on the
numerical keypad in order to accept my change.
| | 07:36 | And now I want to center BASEBALL
inside the seams, so I am going to use my
| | 07:42 | Rectangular Marquee tool to select this
region right here, and then I'll switch
| | 07:46 | to the Move tool, and I'll click on
Align vertical centers in order to
| | 07:50 | vertically align that text inside
the selection, and I'll press Ctrl+D, or
| | 07:54 | Command+D on the Mac, to deselect the
text. And that is the final effect, thanks
| | 07:59 | to our ability to modify the opacity
of a soft effect using a Custom Contour.
| | Collapse this transcript |
| Introducing Bevel and Emboss| 00:00 | In this movie I'll introduce you to
what is by far the most elaborate and
| | 00:04 | complicated of the layer effects
inside Photoshop, and that's Bevel & Emboss.
| | 00:08 | And I use the Bevel & Emboss
effect to create this kind of lid
| | 00:13 | that's resting behind the letters,
but I think it's best understood in the
| | 00:16 | context of creating a frame.
| | 00:18 | So I am going to switch to this image,
and I am going to click on this frame
| | 00:23 | layer to select it, and then I'll
press the A key to get my Black Arrow tool,
| | 00:27 | and I'll click on the rectangle. In my
case I have to click on it a couple of
| | 00:32 | times in order to select it.
| | 00:33 | Now I want to turn the rectangle into a
hole, so we're filling the area outside
| | 00:37 | the rectangle which will serve
as the frame that we're lighting.
| | 00:41 | And so I'll go up to the Path
Operations icon, click on it, and then choose
| | 00:46 | Subtract Front Shape, and that
will turn that shape into a hole.
| | 00:50 | I could've also just tapped
the Minus key, by the way.
| | 00:52 | All right, now I'll click at the filled
area to deselect the rectangle, and I'll
| | 00:57 | press Ctrl+H, or Command+H on the Mac, to
hide the outline, and now I'll go to the
| | 01:01 | Blend mode popup menu in the upper left
corner of the layers panel and change it
| | 01:05 | from normal to the first of the
contrast modes, which is Overlay, and that'll
| | 01:10 | give us a little bit of
heat inside of that frame.
| | 01:13 | And next I'll press the Escape key
so the Blend mode option is no
| | 01:17 | longer active here on the PC--that's
not necessary on the Mac--and I'll press
| | 01:21 | Shift+5 in order to reduce
the Fill Opacity value to 50%.
| | 01:24 | Now that makes the layer nearly invisible.
| | 01:28 | However, it's going to serve as a
perfect jumping off point for Bevel & Emboss.
| | 01:32 | So drop down to the fx icon and choose
the Bevel & Emboss command which is at
| | 01:37 | the top of the stack.
| | 01:38 | And just so we can see what we are
doing here, I am going to move this dialog
| | 01:42 | box quite a bit over, and I'm going to
increase the Size value to 60 pixels,
| | 01:47 | let's say, and I'm going to reduce the
Altitude value--we'll come back to what
| | 01:51 | this means in a moment--to 30 degrees,
and I'm going to increase the Depth
| | 01:55 | value to let's say 300%.
| | 01:58 | And Depth, by the way,
controls the steepness of the edges.
| | 02:02 | So at this point we've got an Angle
value of 135 degrees. That means the light
| | 02:07 | source is up and to the left, and as a
result is casting shadows in the upper left
| | 02:12 | corner, because after all this edge is
sloping downward, and then this edge is
| | 02:16 | sloping downward as well. The entire
interior of the frame is, and as a result
| | 02:20 | the lower right corner is catching the light.
| | 02:22 | Now I am going to adjust my Highlights
and Shadows, which affect, of course, the
| | 02:27 | shadows and highlights that
we are seeing inside the image.
| | 02:29 | I'm going to start with the Shadow mode.
I want to give it just a little bit of
| | 02:34 | color, so I'm going to
click on that black swatch.
| | 02:36 | I am going to change the Hue value to
the usual 35 degrees, and I'll set both
| | 02:41 | Saturation and Brightness to 15%, so
this time I'm going with a very low
| | 02:44 | saturation dark color, and I am going
to leave the Opacity set to 75%, but I do
| | 02:50 | want to amp up the effect, so I am
going to switch the Blend mode from Multiply
| | 02:54 | to the most radical of the
darkening modes, which is Linear Burn.
| | 02:57 | Then I'm going to do
something similar with the Highlight.
| | 03:00 | I'll click on the white Color Swatch
here, I'll change the Hue value to 35
| | 03:04 | degrees, I'll change the Saturation at
35%, and I'll leave the Brightness
| | 03:08 | set to 100%, then I'll click OK.
| | 03:10 | Then I am going to change the Blend
mode from Screen to the most radical of the
| | 03:15 | brightening modes, which is Linear Dodge,
and we end up with this hot effect down here.
| | 03:20 | Now let's take a look at Style, and I
know I am kind of jumping around here, but
| | 03:25 | I want to work in an
order that makes some sense.
| | 03:27 | By default, the shadows and
highlights are set on the inside of the frame.
| | 03:32 | However, if you wanted to move them
outside the frame, to the interior of that
| | 03:36 | unfilled rectangle, then
you would choose Outer Bevel.
| | 03:39 | And notice now we're casting the
highlights and shadows into the background image.
| | 03:44 | If you want to kind of split the
difference, you can choose Emboss, and that's
| | 03:48 | going to go ahead and center the
shadows and highlights on that frame boundary.
| | 03:53 | If you want to create a kind of carved
effect where the frame goes in and then
| | 03:58 | the interior comes back out, then you go
with Pillow Emboss, and you can see now
| | 04:02 | we've got a shadow immediately
followed by a highlight and another shadow
| | 04:06 | followed by a highlight downright,
and as a result it appears as if the
| | 04:10 | rectangle is kind of carved into the background.
| | 04:13 | This final option, Stroke Emboss,
requires a stroke, so I'd have to turn on the
| | 04:19 | Stroke, make it pretty thick, and then I
could set the Emboss effect inside of it.
| | 04:23 | However, for this effect
what we want is Inner Bevel.
| | 04:26 | So I'll go ahead and switch it back.
| | 04:28 | By default, this Technique option is
set to Smooth, meaning that we have soft
| | 04:33 | highlights and shadows.
| | 04:35 | If you want something a little more emphatic, then
you can switch to one of the Chisel options here.
| | 04:39 | We are not going to see a difference
between them, because in order to see a
| | 04:43 | difference between Chisel Hard and
Chisel Soft, you need a curving edge, and in
| | 04:48 | our case we've got straight sides.
| | 04:50 | But my recommendation is either go
with Smooth or go all the way and
| | 04:54 | select Chisel Hard.
| | 04:56 | And notice that does give us some very
abrupt transitions, as well as these
| | 05:00 | kind of triangle patterns here on the corners.
| | 05:03 | If you want to soften things up
you've got this Soften option right there.
| | 05:06 | So go ahead and click inside that value.
Notice I'll press the up arrow key a
| | 05:10 | few times, and as I do you can see
these triangles blur away. And I've finally--
| | 05:16 | for what it's worth--arrived
at a Soften value of 10 pixels.
| | 05:20 | Now let's check out Altitude. You know how angle
works, that's the direction of the light source.
| | 05:25 | Altitude is the height of
let's imagine the sun in the sky.
| | 05:30 | You can change it by dragging this
guy inward in order to raise the sun or
| | 05:35 | outward in order to send it down to the
horizon, and you can also drag this guy
| | 05:39 | around in order to change the Angle as well.
| | 05:42 | I'm going to go ahead and reset that
Angle value to 135 degrees, and now I've
| | 05:46 | got a very low sun, as you can see
here at 5 degrees in the sky, and that
| | 05:51 | means that we have a very dark shadow
indeed, because it isn't catching much
| | 05:56 | light, and we have a pretty bright highlight
down right because it's really catching the light.
| | 06:02 | Now if I were to click in this value
and press Shift+up arrow in order to raise
| | 06:07 | the sun, let's say as high as 45
degrees here, at this point it's about
| | 06:12 | something like 10:30 a.m., and the sun is starting to
rise pretty high in the sky, and as a result we're
| | 06:18 | starting to lose some of the light on
the bright edge, and we'll start filling
| | 06:22 | in the dark edge shortly.
| | 06:24 | So I'm going to take this value to 50
degrees, which is the default setting,
| | 06:27 | and you can see we are starting to
lose that bright edge, and now I'll press
| | 06:31 | the up arrow key, because it's between 50 and
60 degrees that you really see things changing.
| | 06:36 | And notice we're losing the light like
crazy on the down-right edge, and we're
| | 06:40 | breathing some light into
the upper left edge as well.
| | 06:43 | And a lot of the reason that we're
losing so much light down right is because we
| | 06:48 | have such a high Depth setting.
| | 06:50 | If I were to take that setting down--so
I'm pressing Shift+down arrow to reduce
| | 06:55 | this value to about 150%
works well for this effect--
| | 06:59 | then you can see that that less
steep edge is catching more light.
| | 07:02 | Anyway, you can take the Altitude
value all the way up to 90 degrees at which
| | 07:06 | point it's high noon, light is coming
straight down, it's going to brighten
| | 07:11 | the heck out of the surface of this
layer if we could see it, and we have
| | 07:15 | nothing but shadows left, because
there is nothing really except for the
| | 07:18 | surface catching the light.
| | 07:20 | Anyway, I went ahead and stuck with
the default Altitude of 50 degrees.
| | 07:24 | And one more item that I
haven't mentioned is Direction.
| | 07:28 | Notice that right now the surface
is up and the edges are going down.
| | 07:32 | If you want it to be the other way
around, you want the surface of the frame
| | 07:35 | to be treated as if it's down, and
then the edges are going up, then you
| | 07:39 | switch to the Down option.
| | 07:41 | I of course want Up to remain selected.
And then finally, I took the Size value down.
| | 07:45 | I just wanted it this high
for demonstrational purposes.
| | 07:48 | I ended up taking the Size value down
to 10 pixels to create this slightly
| | 07:52 | sloping frame effect that you see here.
And now I'll move the dialog box over
| | 07:57 | and click the OK button in order to
accept that effect. And that, folks, is how
| | 08:02 | you create a raised framing effect
using Bevel & Emboss here inside Photoshop.
| | Collapse this transcript |
| Multiple effects and multiple layers| 00:00 | In this movie I'll show you how to
apply multiple effects to a layer, and then
| | 00:04 | I'll turn around and show you how to
subject multiple layers to an effect.
| | 00:09 | So the idea here is that this framing
effect so far is a little bit lacking.
| | 00:15 | For example, I totally believe
this lower right corner here.
| | 00:20 | I believe that it's an actual
edge, and it's catching the light.
| | 00:22 | But I don't believe this
upper left corner at all.
| | 00:26 | And maybe it's just me, but the darn
thing needs to not only be catching a
| | 00:29 | shadow but casting a shadow as well,
and I also want to darken up this upper
| | 00:34 | left edge, and ultimately I want
to end up with this effect here.
| | 00:39 | And oftentimes when a single layer
effect doesn't give you the results you are
| | 00:43 | looking for, the solution is to pile
on still more effects, and that's what
| | 00:47 | we're going to be doing.
| | 00:49 | With the frame layer selected, I am
going to drop down to the fx icon and
| | 00:53 | choose Drop Shadow, and that will
give me a chance to establish a shadow
| | 00:57 | coming down from that upper left corner,
and you can see we've already got a
| | 01:01 | shadow right off the bat.
| | 01:03 | Things actually look better
automatically here based on the default settings I
| | 01:07 | created, but we do need
to make some adjustments.
| | 01:09 | So I am going to start off by clicking
on that color swatch, and I'm going to
| | 01:14 | dial-in that same very dark low
saturation orange that we used in the previous
| | 01:18 | movie, that is HSB values of 35,
15, and 15, then I'll click OK.
| | 01:24 | And Opacity of 70% is just fine, but I
am going to take the Distance value up to
| | 01:29 | 25 pixels, and then I'll
raise the Size value to 50 pixels.
| | 01:33 | So we have a very deep shadow, as you see here.
| | 01:36 | Problem is it's not intense enough,
so I'm going to up the intensity by
| | 01:41 | switching from the Multiply mode to
Linear Burn, and then we get a shadow that
| | 01:45 | matches the shadow of the frame.
| | 01:48 | The next step is to darken this
upper left corner, almost as if there is
| | 01:52 | something unseen that is
casting a shadow on to the frame.
| | 01:57 | And the best effect for
that job is Gradient Overlay.
| | 02:00 | Now you won't believe me when I first apply it.
| | 02:02 | I'll go ahead and click on Gradient
Overlay, and you can see it creates this
| | 02:06 | white to black gradient, that's the default.
| | 02:09 | But if we make a few adjustments we can
turn this gradient--this very gradient
| | 02:13 | from black to white--into a shadow.
| | 02:16 | The first step is to reduce the Opacity,
and I am going to take it down to 25%
| | 02:21 | so I can better see what I'm doing.
| | 02:23 | Now I want the dark area to be up
left and the light area to be down right.
| | 02:27 | And so I am going to change this Angle
value to -65 degrees in order to create
| | 02:31 | the effect you see now.
| | 02:33 | I'll go ahead and move the dialog box off
screen so we can better see what we are doing.
| | 02:38 | At this point I have a nice shadow up
left, but down right the whites of the
| | 02:41 | gradient are creating a kind of filmy effect.
| | 02:44 | So I want to drop that brightness out.
| | 02:46 | Anytime you want to keep your shadows
and make white transparent, the Blend mode
| | 02:51 | of choice is Multiply.
| | 02:53 | And what that does is it drops out white,
and it makes all the other colors dark
| | 02:57 | in the scene incrementally.
| | 02:59 | Now one more tip that you should know
about here. I am going to take the Opacity
| | 03:03 | value up to 100% just for
purposes of demonstration here.
| | 03:07 | Notice if I move my cursor outside into
the Image window, I have that same arrow
| | 03:12 | cursor that I see when I'm working with
Drop Shadow and Inner Shadow, and that's
| | 03:16 | because you can drag the gradient around.
| | 03:20 | But I caution you before you start
doing this number and dragging it all over
| | 03:24 | the place, to bear in
mind that there is no undo.
| | 03:27 | If you move the gradient to a new
location, and you don't like where you've
| | 03:31 | moved it to, you can't reset it except
to press the Alt key or the Option key on
| | 03:36 | the Mac, and then click on that Reset button.
| | 03:39 | I'm okay with where I've put it, so I'll
take the Opacity value down to 25%, and
| | 03:43 | I'll click OK in order to accept that effect.
| | 03:47 | Now for the spiders layer. I am going
to go ahead and expand the fx so that we
| | 03:52 | can see that this text includes
an Inner Shadow and a Drop Shadow.
| | 03:55 | I want it to also include the same
Bevel & Emboss effect, but if I were to
| | 03:59 | duplicate the fx onto these fx then I
would add the Gradient Overlay, which I
| | 04:04 | don't need, and I would replace the Drop Shadow.
| | 04:07 | So instead what I want to do is just
duplicate Bevel & Emboss, and you do that
| | 04:11 | by pressing the Alt key or the
Option key on the Mac, and dragging Bevel &
| | 04:15 | Emboss onto that spiders layer, and that goes
ahead and duplicates that one and only one effect.
| | 04:21 | Now let's take a look at this shadow type group.
| | 04:24 | I am going to make it visible and
twirl it open so that we can see that we've
| | 04:28 | got two text objects, one at the top
of the image and one at the bottom.
| | 04:32 | I want to turn both of
these layers into shadow type.
| | 04:36 | Now on Photoshop CS5 and earlier, I
would have had to have applied the layer
| | 04:40 | effect to each one of
these layers independently.
| | 04:43 | But in CS6 you can now apply a
layer effect to an entire group.
| | 04:47 | So let's start things off by
making this text transparent.
| | 04:51 | What I would normally do if I was
working with a layer, I would select the
| | 04:54 | object--in this case the group--and I
would change this Fill value to 0%.
| | 04:58 | Problem is in this specific build of CS5,
you can change the Fill value to 0%,
| | 05:04 | but it doesn't actually stick.
| | 05:06 | When you save out the image and then
reopen it, you'll see that your Fill
| | 05:10 | value resets to 100%.
| | 05:13 | So instead what we are going to do is
this: I'm going to go ahead and select both
| | 05:17 | of the text layers--so click on one,
Shift-click on the other--and then press the
| | 05:22 | T key to switch to the Type tool, and
I'll click on this brown swatch up there
| | 05:27 | in the Options bar to bring up the
Color Picker dialog box, and I'll change the
| | 05:30 | Brightness value to 0% in
order to make the text black.
| | 05:35 | Now I want to make this black text
transparent, so I'll go ahead and click on
| | 05:39 | the shadow type group, and I'll change
its Blend mode, which by default is set
| | 05:43 | to Pass Through, which just goes ahead and
respects the Blend modes assigned to the layers.
| | 05:47 | We'll change that to Screen, and
because Screen treats black as invisible, the
| | 05:53 | layers turn transparent.
| | 05:55 | With this shadow type group still selected,
click on the fx icon and choose Drop Shadow.
| | 06:01 | And our default color is going to work
out fine, 35 degrees, 100%, 20%, and I'll
| | 06:07 | up that Opacity value to 100%, and
then I'll tab down to the Distance value,
| | 06:12 | change it to 0 pixels, and then
increase the Size value to 30 pixels.
| | 06:17 | And finally, you want to turn Layer Knocks
Out Drop Shadow off in order to create
| | 06:23 | this effect here, and then click OK.
| | 06:25 | And the last thing I did was to press the 5
key to reduce the Opacity of the group to 50%.
| | 06:33 | So speaking of multiple layers and multiple effects,
there is one last thing I want to show you.
| | 06:38 | Notice how we're running out of room
inside the layers panel, and we are seeing
| | 06:42 | all these layers and all these layer
effects piled on top of each other.
| | 06:46 | If you want to streamline things, you
can collapse all the layers at once by
| | 06:50 | pressing the Alt key, or the Option key
on a Mac, and clicking the little up arrow
| | 06:54 | next to the fx icon.
| | 06:56 | Now all of my layer effects are collapsed,
including the layer effects for the group.
| | 07:01 | However, the group itself is not
collapsed, which brings up another trick I
| | 07:06 | want to show you, I'll Alt-click or
Option-click this down-pointing arrow head
| | 07:10 | in order to expand all the layers, and
then if you want to collapse the group
| | 07:14 | and all of the effects at the same time--
this is just a wacky trick--you press
| | 07:19 | the Ctrl key or the Command key on a
Mac, and you click on that little twirly
| | 07:23 | triangle and notice that not only
collapses the groups, it also collapses all
| | 07:28 | the layer effects for the layers, but it
doesn't collapse the layer effects for the group.
| | 07:33 | You've got a trade-off there.
| | 07:35 | Anyway, I'll go ahead and manually
collapse the effects for that group.
| | 07:39 | And that, friends, is how you apply multiple effects
to a layer and subject multiple layers to an effect.
| | Collapse this transcript |
| Global Light and rasterizing effects| 00:00 | In this movie we'll take a look at the
inner workings of global light, and I'll
| | 00:04 | show you how to rasterize your layer
effects--that is convert them to pixels--so
| | 00:08 | you can edit them with other tools.
| | 00:10 | Global Light is that unifying force
that ensures that you have a consistent
| | 00:15 | lighting angle inside of your image,
and it applies to the three directional
| | 00:20 | layer effects, which are Drop Shadow,
Inner Shadow, and Bevel & Emboss, and as a
| | 00:25 | function of two options, Angle and Altitude.
| | 00:28 | Now there is only one layer effect
that gives you access to both of those
| | 00:31 | options, and that's Bevel & Emboss.
| | 00:34 | So I'm going to go ahead and expand the
spiders layer and double-click on Bevel
| | 00:38 | & Emboss in order to open the Layer
Style dialog box, and you can see that
| | 00:43 | Use Global Light is turned on.
| | 00:44 | So this effect is part of the
Global Light system, and so are the other
| | 00:49 | directional effects inside of this
image--including, by the way, the Inner
| | 00:53 | Shadow and Drop Shadow effects
that are assigned to this layer.
| | 00:57 | Both of them have Use Global Light turned on.
| | 01:00 | Were I to make any modifications
inside of this little circle, I would change
| | 01:04 | the lighting throughout the image.
Let's say I don't want to do that.
| | 01:08 | Let's say what I want to do is change
the lighting angle for this effect only.
| | 01:14 | Then the first thing you need to
do is turn Use Global Light off.
| | 01:18 | Notice now that my values have changed.
| | 01:20 | Formerly, I was seeing an Angle of 135
and an Altitude of 50, and now if I turn
| | 01:26 | Use Global Light off, I'm seeing an
Angle of 130 and an Altitude of 30 degrees.
| | 01:31 | Those are the default settings, by the
way, which may make you wonder, well,
| | 01:34 | then why the first time when we applied
Bevel & Emboss, did it come up with 135 and 50?
| | 01:41 | And the reason is because those were the Global Light
settings that were at work inside of this image.
| | 01:47 | Global Light is saved as part of the image file.
| | 01:50 | So having said that, I'll go ahead
and drag that little cross around inside
| | 01:55 | of the circle, and you can see I'm changing
this one effect independently of the others.
| | 02:00 | Compare that to what happens if you
turn Use Global Light back on--which goes
| | 02:04 | ahead and snaps those values back into place--
and then you start modifying this setting.
| | 02:09 | In that case, you're going to change the
lighting for every single effect inside
| | 02:14 | of the image subject to Global Light.
| | 02:17 | And so you can see the shadows have
changed their angles, both for the spider
| | 02:21 | layer and for the frame.
| | 02:23 | Now we're not seeing any changes to
the shadow type, and that's because I had
| | 02:26 | set the Distance of the effect to 0
pixels, so there's no possible movement.
| | 02:31 | But if you take a look here, now my
Angle is randomly -146 degrees, my
| | 02:36 | Altitude is 32 degrees.
| | 02:38 | If I switch over to Drop Shadow, its
angle is also -146 and same with Inner Shadow.
| | 02:45 | The other way to work, by the way, is
to switch to either Inner Shadow or Drop
| | 02:49 | Shadow, and then assuming Use Global
Light is turned on, then just go ahead and
| | 02:54 | drag that effect inside of the image
window, and that's going to change all the
| | 02:58 | effects as we're seeing here.
| | 03:01 | Also worth noting, by the way,
Distance is not part of Global Light.
| | 03:05 | This Distance value that I just got
done changing by dragging the shadow around
| | 03:10 | will affect the Drop Shadow and nothing more.
| | 03:13 | Now let's say at some point in time you go
ahead and drag things around, and you decide, oops!
| | 03:18 | You've made a terrible mistake.
These are not the settings you want at all.
| | 03:21 | Remember that you can press the Alt key
or the Option key on the Mac, in order to
| | 03:26 | turn the Cancel button into a Reset
button, and then just go ahead and click on
| | 03:30 | it in order to
reestablish those original settings.
| | 03:32 | But I think I will go ahead and make
some modifications here just by dragging
| | 03:37 | around inside the circle for the Bevel
& Emboss effect, and I end up achieving
| | 03:41 | the under-lighting effect we see here.
| | 03:43 | Then I'll go ahead and click the OK
button in order to accept my modifications.
| | 03:48 | There is one more way to modify Global
Light, and that's to right-click on the
| | 03:53 | fx icon for any of the affected
layers, and then choose the Global Light
| | 03:58 | command, and that gives you access to
those very same values that we saw inside
| | 04:03 | the Layer Style dialog box, and that
way I can go ahead and reestablish the
| | 04:07 | original settings if I want to, of 135
degrees and 50 degrees for the Altitude.
| | 04:12 | Now I'll go ahead and click OK.
| | 04:13 | Now as long as we're looking at that
menu--the right-click on the fx menu, that
| | 04:18 | is to say--I want you to understand
how these other commands down here at the
| | 04:22 | bottom of the menu work.
| | 04:24 | Notice starting at the bottom we have
Scale Effects, and if you choose that
| | 04:27 | command and Enter, for example 200%,
then you'll expand all of your size values
| | 04:33 | associated with the layer
effects by a factor of 2.
| | 04:37 | You'll also increase the
thickness of your strokes.
| | 04:40 | I'll go ahead and Cancel out of there.
| | 04:42 | The next command up, if I right-click
on that fx icon is Hide All Effects.
| | 04:46 | What that's going to do is hide all of
the effects throughout the entire composition.
| | 04:51 | To turn the effects back on, right-click
on that fx icon and choose Show All Effects.
| | 04:57 | If you want to turn off the effects for
a single layer, then you right-click on
| | 05:01 | the fx icon and choose this first
command, Disable Layer Effects. And then if you
| | 05:06 | want to, you can turn it back on by right-
clicking on that icon and choosing the
| | 05:11 | Enable layer effects command, or you
can simply click in front of the word
| | 05:14 | Effects to bring back its eyeball.
| | 05:17 | And finally, we have this command
called Create Layers, which rasterizes the
| | 05:22 | layer effects onto independent layers.
| | 05:25 | Now it's going to succeed as long as
the layer is opaque, but chances are good
| | 05:29 | things are going to fall
apart if there's any translucency.
| | 05:32 | By which I mean incidentally, the fact
that the Fill value for this layer is set
| | 05:36 | to 0% is going to create a problem for us.
Let's try it out anyway.
| | 05:40 | I'll right-click on the fx
icon and choose Create Layers.
| | 05:44 | You'll get this alert message that's
telling you Some aspects of the effects
| | 05:48 | cannot be reproduced with layers!
Now that's not always true.
| | 05:51 | You're going to go see that alert
message just about every time you choose this
| | 05:55 | command, but it doesn't mean
anything is necessarily going to fall apart.
| | 05:58 | In the case of this layer, yes, things are
going go haywire on us as you see right there.
| | 06:04 | But we now do have independent access
to each one of the effects, and you could
| | 06:08 | try to rebuild things or
modify things if you like.
| | 06:11 | Whereas--I'll go ahead and switch over
to this other image--and incidentally
| | 06:15 | this is a Gold letter effect. You can
check out all the layer effects that are
| | 06:19 | assigned to it--it's all layer effects, by
the way--everything that we're seeing here.
| | 06:24 | If I turn off the effects, you can see
that it's just white type underneath.
| | 06:28 | Anyway, I'll go ahead and
turn the effects back on.
| | 06:30 | If you're interested to know how I
created this effect, you can check out my
| | 06:34 | course Deke's Techniques
and look for Episode 005.
| | 06:40 | Anyway, this layer is absolutely opaque.
| | 06:43 | So if we right-click on its fx icon
and go ahead and choose Create Layers, we
| | 06:48 | still get that same alert
message, as you can see right there.
| | 06:51 | However, when I click OK, we're not
seeing any difference in the image.
| | 06:56 | The whole thing is holding up beautifully,
and we now have access to each one of
| | 07:02 | the effects on an independent layer,
and in some cases where Bevel & Emboss is
| | 07:06 | concerned, you'll see two
layers devoted to the effect.
| | 07:10 | This layer below the original
layer right there is the Drop Shadow.
| | 07:14 | I'm going to press Ctrl+Z, or Command+Z
on the Mac, to undo that change.
| | 07:18 | Generally, what I recommend is that
before you go choosing that command you go
| | 07:23 | ahead and press Ctrl+J, or Command+J on
the Mac, to create a copy of the layer.
| | 07:28 | Then go ahead and collapse the
original and turn it off for safe keeping, and
| | 07:33 | that way you can always come back to it.
| | 07:35 | Your final option in CS6 is to rasterize
the effect into the layer; however, we
| | 07:42 | don't see that command in this menu.
Instead, you go up to the Layer menu, and
| | 07:47 | then you choose Rasterize, and you
choose Layer Style, and that will go ahead
| | 07:52 | and fuse the entire thing
together into a single layer.
| | 07:56 | Again, it's going to work best if
the layer itself if fully opaque.
| | 08:00 | And that's how you adjust Global Light as well as
rasterize layer effects here inside Photoshop.
| | Collapse this transcript |
| Gloss and surface contour| 00:00 | In this movie I'm going to introduce
you to gloss and surface contours, both of
| | 00:05 | which affect Bevel & Emboss.
| | 00:07 | And while they're a little tricky
to understand even a little bit of
| | 00:10 | experimentation with these options can
make a big difference in your images.
| | 00:15 | So I've gone ahead and zoomed in on the
word SPIDERS here, and I'm going to expand it.
| | 00:20 | And notice that we've got three
effects, one of which appears behind the
| | 00:23 | letters, Drop Shadow, and two of
which appear inside the letters, Bevel &
| | 00:27 | Emboss and Inner Shadow.
| | 00:29 | We need to turn Inner Shadow off, if
we're going to have any understanding of
| | 00:33 | what's going on here, so that we
can see Bevel & Emboss by itself.
| | 00:37 | Then go ahead and double-click on Bevel
& Emboss in order to bring up the Layer
| | 00:41 | Style dialog box, which as you can see,
I've scooted well over to the right so
| | 00:46 | that we can see what we're doing.
| | 00:47 | There is our Gloss Contour, and rather
than affecting Opacity as the contour does
| | 00:53 | for the Shadow and Glow effects,
Gloss Contour affects luminosity.
| | 00:58 | So I'm going to go ahead and click on
the little graph icon to bring up the
| | 01:02 | Contour Editor dialog box.
| | 01:03 | So just as with the histogram, the
left side of the graph indicates black and
| | 01:07 | the right side indicates white, and
then you're mapping those luminance levels
| | 01:12 | from black at the bottom to white at the top.
| | 01:15 | So currently, black is black over here
in the bottom left corner and white is
| | 01:19 | white, up here in the upper right
corner, and then of course, your midtones
| | 01:23 | would be here in the center.
| | 01:24 | Let's say I want to darken the overall
effect, and I just go ahead and click to
| | 01:28 | set a point in the center here and
then drag it down, and that's going to
| | 01:32 | darken the effect uniformly while
allowing the highlights to survive over here
| | 01:37 | in the upper right corner.
| | 01:39 | Another option is to brighten the
shadows and tone down the midtones.
| | 01:43 | And so what I'm going to do is take
the blacks all the way up to white
| | 01:47 | now, at the top of the graph. Now
that's not really showing us any bright
| | 01:51 | shadows at this point.
| | 01:52 | And the reason is because the shadows
were pretty light in the first place.
| | 01:56 | So I'm going to drag this guy down.
| | 01:57 | And in other words, I need to move
this area up if I'm going to lighten those
| | 02:02 | shadows, and then I'll go ahead and move
this over, and I'll drag this up a little.
| | 02:06 | It's a little tricky working
with the curves sometimes, and I'm going
| | 02:10 | to take this guy up.
| | 02:11 | What I'm trying to avoid is any
flattening like I'm having at the bottom of the
| | 02:15 | graph here, because that will end up
posterizing the effect, by which I mean,
| | 02:19 | you'll change a bunch of
luminance levels to black in this case.
| | 02:23 | You can see that we're going from
bright shadows down to dark midtones and back
| | 02:28 | up to bright highlights.
| | 02:29 | It's unlikely you're really going to
spend that much time inside the Contour
| | 02:33 | Editor when you're mapping a gloss contour.
| | 02:35 | What you might prefer to do instead is
just choose from the presets that ship
| | 02:40 | along with Photoshop, and I'll
give you a great example here.
| | 02:43 | I'm going to Escape out of this dialog
box and switch over to this other image,
| | 02:47 | which is showing us our Gold text,
but it doesn't look Gold at all.
| | 02:50 | It looks like yellow plastic.
| | 02:52 | We can turn this yellow plastic
into Gold in a matter of seconds.
| | 02:57 | I'm going to double-click on Bevel &
Emboss in order to bring up the dialog box
| | 03:01 | here, and I'm going to switch the Gloss
Contour from Linear to Ring-Double, and
| | 03:07 | this is a great use for
Ring-Double, by the way.
| | 03:09 | It's almost as if it was designed for
gloss contours, and then I decided I
| | 03:13 | wanted to reverse the direction of the
light, so I switched the direction from
| | 03:17 | up to down and ended up with this
effect here, and that's all there is to it.
| | 03:23 | A moment ago we were seeing this effect, and
then 10 seconds later we end up with this,
| | 03:29 | thanks to the application of a
preset gloss contour. All right!
| | 03:33 | I'm going to switch back to my SPIDERS image
here, double-click on Bevel & Emboss again.
| | 03:38 | Now let's take a look at the Contour
option, which is inset under Bevel & Emboss.
| | 03:42 | And the reason is it's not
an independent layer effect.
| | 03:46 | Rather, it allows you to apply a surface
contour, that is a contoured volumetric
| | 03:51 | surface on these letters, for
example, to the Bevel & Emboss effect.
| | 03:56 | Now just so we can see what we're doing,
I'm going to open up the Size value.
| | 03:59 | So I'm going to set it to 50 pixels,
which pretty much consumes the entirety of
| | 04:03 | the letters you can see here.
| | 04:05 | So now we're steeping up
and then steeping down.
| | 04:07 | It's almost like each one of
the letters is a kind of pyramid.
| | 04:10 | Now I'll click on Contour in order to
select the function and turn it on, and
| | 04:15 | then I'm going to change my
Contour setting to the Ring preset.
| | 04:19 | And notice now what we get.
| | 04:21 | This very map that we're seeing right
here is the shape of the contour, it's a
| | 04:26 | shape of the surface of these letters.
| | 04:28 | So we're actually mapping
this into the letterforms.
| | 04:32 | So it's as if we're creating a kind of
3D extrusion, and that's the reason, by
| | 04:37 | the way, that Rounded Steps preset even exist.
| | 04:40 | Notice when you select it, you end up
getting these round forms, like so, and
| | 04:45 | then if you want to compress these forms
inside the letters, you can change the Range value.
| | 04:49 | So notice as I take this value down
in 10% increments, we are progressively
| | 04:55 | slipping the contour into those letterforms.
| | 04:58 | I'm going to take this value up to 80%.
| | 05:01 | That looked best to me, and then I'm
going to switch back over to Bevel &
| | 05:05 | Emboss, and I'm going to going to change
the Gloss Contour to another one of the
| | 05:09 | presets, Rolling Slope, and then finally,
I'm going to take the Altitude value
| | 05:14 | down to 40 degrees, and I'll change
the Direction from Up to Down in order to
| | 05:19 | produce this effect.
| | 05:21 | It seemed to me at this point that
the Drop Shadow needed some work.
| | 05:24 | So I'll go ahead and switch to the
Drop Shadow and change its blend mode from
| | 05:28 | Multiply to Linear Burn to give it
some more color, and then I'll take the
| | 05:32 | Opacity value down to 70%, and I'll
press the Enter key, or the Return key on
| | 05:37 | the Mac, in order to accept my change
and then press Ctrl+0, or Command+0 on the
| | 05:42 | Mac, in order to zoom out. And that is
my final effect, and just to give you a
| | 05:48 | sense of what we've been able to
accomplish here, I'll press the F12 key in
| | 05:52 | order to revert the image.
| | 05:53 | So this is the before image,
and this is the after image,
| | 05:58 | thanks to our ability to apply gloss and surface
contours to the Bevel & Emboss effect.
| | Collapse this transcript |
| Adding texture to Bevel and Emboss| 00:01 | In this movie we are going to take the
word SPIDERS, which looks like it might
| | 00:05 | have been carved out of wood, and we are
going to transform it into this kind of
| | 00:09 | chain metal type, and we will do so by
adjusting a few settings of course, as
| | 00:13 | well as adding a texture
to our Bevel & Emboss effect.
| | 00:16 | I will go ahead and switch back to the
image at hand and zoom it on it until we
| | 00:21 | get to the 100% zoom ratio.
| | 00:22 | The first we need to do is imbue
our letters with a little bit of blue.
| | 00:26 | And so I am going drop down to the fx
icon and choose Color Overlay, which
| | 00:31 | allows you to paint a layer with a solid color.
| | 00:34 | By default, its set to paint your
layer red, so it just completely replaces the
| | 00:39 | contents of the layer, which
obviously is not something we want.
| | 00:42 | I will click of the color swatch in order
to bring up the Color Picker dialog box.
| | 00:46 | And the color I came up with is this
one here, a Hue of 215, Saturation 20%, and
| | 00:52 | Brightness 70%, click OK.
| | 00:55 | That's still not what we want, because we don't
want to just whole-hog replace the colors.
| | 00:59 | So I will go up here to the Blend mode
and change it from Normal to Color so
| | 01:04 | that we are colorizing the background,
and then I'm going to reduce the Opacity
| | 01:08 | to 50%, because we just
want a hint of blue like so.
| | 01:13 | Now I am going to drop
down to the drop shadow there.
| | 01:16 | I am going to reset its Blend mode to
Multiply, and I'm going to increase its
| | 01:20 | Opacity value back up to 100%, which
makes it little more consistent with the
| | 01:25 | type that's actually casting the shadow.
Now I will switch to Bevel & Emboss.
| | 01:29 | And these are just some settings I came up
with that seem to work well for this effect.
| | 01:34 | For starters--just so we can keep
track of what we are doing--I am going to
| | 01:38 | switch Gloss Contour back to Linear.
| | 01:40 | We will change it to something else in a
moment, but Linear will work now, and I
| | 01:44 | am going to change the color the
Highlight mode to 215 once again.
| | 01:47 | So if you're working along with me,
you just need to change the Hue value.
| | 01:51 | And same for this Shadow Color. I
will go ahead and change it to 215 as
| | 01:55 | well, and then click OK.
| | 01:56 | I decided to take the Opacity value
for the Highlight mode up to 100%.
| | 02:01 | Next, I will take the Size value down
just a little bit, so I am taking it down
| | 02:06 | to 30, then I am going to take the
Soften value down to 0 for now, and we will
| | 02:10 | get this really, really sharp effect,
as you can see, and then I will go ahead
| | 02:14 | and take the Depth value up to 200%.
| | 02:18 | Now I will click on the Texture
option, to both select it and turn it on.
| | 02:22 | By default, you don't have many patterns to
choose from in order to set your texture.
| | 02:26 | You've got Bubbles, and then
you've got Tie Dye--which is absolutely
| | 02:31 | useless for this purpose--
and a few others as well.
| | 02:35 | This final one, Gray Granite is the
one that initially popped up for me.
| | 02:38 | So, lots of more useful patterns.
| | 02:40 | Go ahead and click on this little gear
icon and choose Patterns from the pop-up
| | 02:44 | menu, and you will to be asked if you
want to append these patterns or just go
| | 02:49 | ahead and replace the ones that are there.
| | 02:51 | You can do either. If you append,
though, you are to repeat some patterns.
| | 02:54 | So I am going to click OK.
| | 02:56 | Now notice some new patterns that we
have, like Cells, and this one is Metallic
| | 03:01 | Snakeskin, Molecular actually
ends up looking pretty darn great.
| | 03:05 | What's happening right now is Photoshop
is lighting the surface as if everything
| | 03:11 | white in the texture is raised
and everything black is sunken.
| | 03:16 | If you want to switch that, then you
can turn on the Invert check box, and
| | 03:19 | you'll end up getting the opposite effect.
| | 03:21 | And actually, now white is forward and
black is sunken, because, back here in
| | 03:27 | the Bevel & Emboss section,
we've got the direction set to Down.
| | 03:30 | So, if you wanted to switch things to
the way they are supposed to be, then you
| | 03:34 | would select Up instead.
| | 03:36 | Anyway, I am going to leave it set to
Down and return back to my Texture and
| | 03:40 | turn off the Invert check box, because
the one I'm really looking for is this
| | 03:45 | guy right there, it's called Strings.
| | 03:47 | So go ahead and select that one, and you'll see
a series of strings being woven through the letters.
| | 03:53 | I wanted it to be bigger, so I am going
to Scale this guy up to 250%, and what I
| | 03:58 | am doing is pressing Shift+up arrow
and previewing how things look on screen,
| | 04:04 | and then I am going to take
that Depth value way down.
| | 04:07 | I will take it down to about 20%.
| | 04:10 | Now I will switch back to Bevel & Emboss,
and this Soften value that I restored
| | 04:14 | to 0 pixels, it not only effects the
chiseled hard edges, but it also affects
| | 04:19 | these edges that are associated with the
pattern, and because we are up-sampling
| | 04:24 | the pattern, we are starting
to get some jagged edges there.
| | 04:26 | So I am going to press the up arrow in
order to raise that value until some of
| | 04:31 | those jagged edges go away. And then
finally, I do want the Gloss Contour,
| | 04:35 | because here's where something like
Gloss Contour really comes in handy.
| | 04:39 | I want this to have more of a metallic
feel to it, and so I want to breathe some
| | 04:44 | life into these shadows and darken up
these middle areas a little bit that is in
| | 04:48 | the surface of the letters.
| | 04:50 | I am going to click on this little
graph icon in order to bring up the Contour
| | 04:54 | Editor, and I'm just going to start
moving some points around here, and then I
| | 04:58 | will show you exactly where the points go.
| | 05:00 | And the idea is I want to make the
shadows bright, I want to make the highlights
| | 05:05 | bright, I want to sink
the midtones a little bit.
| | 05:08 | So we are going to start with this point right
there, and I am just going to dial in some values.
| | 05:13 | You can see that this point is
selected. I just clicked on it.
| | 05:16 | And the Input value is 0%, I am going
to change the Output value to 90%, and
| | 05:21 | then I will press the Plus key to
advance to the next point, and I am going to
| | 05:26 | change the Input value this time to 20%,
and I will change the Output value to
| | 05:30 | 15%, and I am pressing tab to advance
the corner before I press Plus, in order
| | 05:35 | to select the next point, and now been
a change the Input value to 40, and I
| | 05:39 | will change the Output value to 0 to go
ahead and send that point to the bottom
| | 05:43 | of the graph, and I will press Plus key
to advance to the next point, and I will
| | 05:48 | change its Input value to 70, and I
will change its output value to 35, and we
| | 05:53 | end up achieving this effect here.
| | 05:55 | Now if you like this Contour, and you
think you'll be using it a lot, then you
| | 06:00 | could go ahead and click the New
button, and call it something like Valley,
| | 06:03 | because that's the shape of the contour.
It's not always, by the way, going to
| | 06:07 | deliver a metallic effect.
| | 06:09 | Now click OK and click OK again
in order to accept my changes.
| | 06:13 | I'll go ahead and click the OK button in
order to accept my modifications, and I
| | 06:19 | will press Ctrl+0, or Command+0 on a
Mac, in order to zoom out from the image.
| | 06:23 | Now, I'm really liking this effect,
but obviously, it shouldn't be applied to
| | 06:27 | the word SPIDERS, and so I will double-
click on that T in order to select the
| | 06:31 | word, and then replace it with a better
one, and now I will press the Enter key
| | 06:35 | in the numerical keypad in
order except that change.
| | 06:38 | Then I will press the T key in order to
switch to my Type tool, and I will click
| | 06:42 | on the Type size icon and
change it to 152 points.
| | 06:46 | Then grab the Marquee tool and select
between the two seams right there, like so.
| | 06:51 | And switch to the Move tool and
click on the Align Vertical Centers icon.
| | 06:56 | Then press Ctrl+D, or Command+D on the
Mac, in order to deselect the image, press
| | 07:01 | the T key again to switch to the Type
tool, and I will select this word right
| | 07:05 | there and replace it as well, and that
is my final effect, folks. I am going to
| | 07:11 | press Shift+F to switch to Full Screen
mode, and then zoom in. And that, folks, is
| | 07:15 | how you use layer effects to achieve
outstanding imagery here inside Photoshop.
| | Collapse this transcript |
|
|
17. Paragraph, Character, and Layer StylesStyles store settings| 00:00 | The purpose of a style is to allow you
to collect groups of carefully selected
| | 00:04 | settings and apply them to another
layer at a later point in time.
| | 00:10 | For example, after painstakingly formatting a text
layer, you may find that you want to
| | 00:14 | format another Text layer in that very same way.
| | 00:18 | As opposed to having to manually
assign those same formatting attributes a
| | 00:22 | second time, which would be a
monumental waste of time and energy.
| | 00:26 | You can save every attribute from
typeface to leading, alignment to paragraph
| | 00:31 | spacing, as a custom paragraph style,
and then apply that style to another text
| | 00:37 | layer with a single click.
| | 00:39 | The second kind of style--the Character
Style--let's you store and apply as many
| | 00:45 | or as few attributes as you want to
independent letters or words of text.
| | 00:50 | So a character style that makes text
blue will change just the color of the text
| | 00:56 | and leave the other
formatting attributes intact.
| | 00:59 | The third kind of style--the Layer Style--
let's you store and apply layer effects
| | 01:05 | and blending settings, you can combine
multiple styles to create new effects, as
| | 01:10 | well as save style to disk for
transfer to a different machine or platform.
| | 01:16 | For Premium Members of the site, I've
created a few layers styles you can load
| | 01:21 | into your copy of Photoshop.
| | 01:22 | So you can take effects that took me
considerable time and experimentation to
| | 01:27 | come up with, and apply
them in a matter of seconds.
| | 01:31 | Simply put styles ensure consistency
and save you work in the long haul.
| | Collapse this transcript |
| Creating and applying a paragraph style| 00:00 | In this movie I will show you how to
work with Paragraph styles, and then apply
| | 00:04 | those attributes to entire paragraphs at a time.
| | 00:06 | In this example we have got a new teaser
for the magazine, so the first thing we
| | 00:11 | need to do is capture that
formatting as a Paragraph style.
| | 00:14 | So I will press the T key to switch
to the Type tool, and then I will click
| | 00:18 | somewhere inside of this headline text,
and then I will go up to the Type menu,
| | 00:23 | choose panels and choose Paragraph Styles.
| | 00:26 | And in my case, I see it over here
on the right-hand side of the screen.
| | 00:30 | To create a paragraph style just click
on the little page button, and it will
| | 00:33 | come up as Paragraph Style 1, then you
want to rename it by double-clicking on
| | 00:37 | it, selecting the Style Name, and
entering a new name, such as Teaser head, and
| | 00:42 | then I will click OK in
order to create that style.
| | 00:44 | All right now I will click inside the
smaller text and do the exact same thing,
| | 00:50 | click on the little page icon, double-
click on Paragraph Style 1 there, then
| | 00:54 | rename this style, Teaser copy, and click OK.
| | 00:58 | All right, we've got our styles, so I
will go ahead and collapse the Paragraph
| | 01:02 | Styles panel, and now we need to
convert this point text into area text.
| | 01:06 | So I will click on the point text layer,
and then I will go up to the Type menu
| | 01:10 | and choose Convert to Paragraph Text,
and I can see that I've got a little
| | 01:14 | frame, so I will go ahead
and drag the frame into place.
| | 01:17 | And by the way, if all you want to
do is resize the frame, you need to be
| | 01:21 | careful that you don't move your
cursor too far outside, because if you do,
| | 01:26 | you'll end up getting this will rotate
cursor, and that'll allow you to rotate
| | 01:29 | the text object, but unless that's what
you want, you want to keep your cursor
| | 01:33 | tight to the frame boundary.
| | 01:34 | All right, you do have one level of Undo,
so I will press Ctrl+Z, or Command+Z on
| | 01:39 | the Mac there, and then I will press
the Enter key, or the Return key on a Mac,
| | 01:43 | in order to finalize that text object.
| | 01:45 | Now let's style it, and I am going
to do so by clicking on the Paragraph
| | 01:49 | Styles icon right there.
| | 01:50 | Then I am going to drag from an empty
portion right next to the word Character
| | 01:55 | in order to move my panels off to a floating
location, so that I can keep an eye on my text.
| | 02:00 | Now at this point I am just going
to press M key to switch back to the
| | 02:04 | Rectangle Marquee tool, because I want
to demonstrate that the text layer is
| | 02:08 | active, but there isn't any text
selected inside the layer, and that's the
| | 02:12 | safest way to work.
| | 02:13 | Now at this point Photoshop is acting like
the text is already styled with Teaser copy.
| | 02:17 | To clear it, go ahead and click on some
other layer. For example, I will click
| | 02:21 | of this Date layer, and then I'll click
on Buy More Shoes again, and now we can
| | 02:26 | see that we haven't styled this text.
| | 02:30 | Now at this point all of the text is
one paragraph, and I recommend that you
| | 02:34 | start by selecting Teaser copy, because
that's the smaller style, that is it has
| | 02:38 | the smaller type size, and that way you
won't end up overfilling the text frame.
| | 02:42 | So go ahead and click on it initially
to select it, what may happen is that you
| | 02:47 | see a little plus sign which
tells you that you have local overrides.
| | 02:51 | Well, fact of the matter is, everything
is a local override, because Photoshop
| | 02:56 | hasn't really styled the text yet.
| | 02:58 | To clear the override and style that text,
you go ahead and click on this button
| | 03:02 | at the bottom of the panel, and then you
will successfully style that paragraph.
| | 03:07 | Next I am going to press the T key in
order to switch back to the Type tool,
| | 03:12 | and I am going to click in front of
the word Unlike, and then press the
| | 03:16 | Backspace key to get rid of that
extra space and press the Enter key, or the
| | 03:18 | Return key on a Mac, to add a carriage Return.
| | 03:22 | Now I will click in what is now the
first paragraph, in order to select it, and
| | 03:26 | I will click on Teaser head to apply that style.
| | 03:29 | Now I will press the Enter key of
the numerical keypad to finish the job.
| | 03:33 | All right I am also going to go ahead
and move these panels back into place.
| | 03:37 | And that is how you create and apply
Paragraph Styles here inside Photoshop.
| | Collapse this transcript |
| Redefining a style and styling a word| 00:00 | In this movie I'll show you to change
the definition of a Paragraph Style, and I
| | 00:04 | will also show you how to
create and use a Character Style.
| | 00:07 | Now, in the case of this image, I like
the way the word Romance is formatted so
| | 00:12 | I'll go ahead and select the Romance
layer, and then I'll press the T key to switch
| | 00:16 | to the Type tool, and you'll see
that it set my Font to Mistral.
| | 00:20 | Now that may not be installed on your
system, if not try out some other script font.
| | 00:24 | If you know that you not only want to
lift a style from some text, but you also
| | 00:28 | want a style that text so it
updates along with the Style Definition.
| | 00:33 | Then your best approach when
creating the style is to select at least
| | 00:36 | one character of text.
| | 00:38 | Then go ahead and bring up the Paragraph
Styles panel and click on a little page icon.
| | 00:44 | Then double-click on Paragraph Style 1
to bring up the dialog box, and let's go
| | 00:48 | and name this Romance Style.
| | 00:50 | Then I'll click OK in order
to dismiss the dialog box.
| | 00:53 | Notice that this time around we're
seeing Romance style with the plus sign
| | 00:57 | which tells us, sure enough, we've
linked the style successfully to the layer.
| | 01:02 | So to make everything good just drop down
to the Clear Override button and click on it.
| | 01:07 | Now we want to style the in the air layer,
so go ahead and click on it, and then
| | 01:11 | click on Romance style to link it,
and then drop down to the Clear Override
| | 01:15 | button again and click on it.
| | 01:17 | And from this point on we're not
going to have to click that Clear
| | 01:20 | Override button anymore.
| | 01:21 | All right, now let's say that I look at
this text, and I think it doesn't want
| | 01:25 | to be blue, it wants to be red.
| | 01:27 | I need to change the Style definition,
and you can do that by double-clicking on
| | 01:31 | Romance style, however, I recommend
for the best results that you switch away
| | 01:34 | from any text layers when you
perform these kinds of modifications.
| | 01:38 | So just go and select an Image layer,
for example, then double-click on Romance
| | 01:42 | Style, in our case I'll click on the
Color bar there, and then I'll change the Hue
| | 01:46 | value to 0 degrees, click OK, and you can see
that the text is already updated in the
| | 01:51 | background assuming that the Preview check
box is on, then go ahead and click OK again.
| | 01:56 | All right now let's say I want to make
the word air blue, and because it's just
| | 02:00 | a single word as opposed to an entire
paragraph, we need to perform this step
| | 02:05 | using a Character Style.
| | 02:06 | So I'll go ahead and switch to the
Character Styles panel which is just
| | 02:10 | next-door, and then I'll click on a
little page icon to create a new style, and
| | 02:14 | I'll double-click on it
to bring up the dialog box.
| | 02:17 | And notice this time around all of the
settings are empty, even inside of the other panels.
| | 02:23 | Because we want to create
essentially a Context Neutral Style, in other
| | 02:27 | words, this is a style that could turn any
character of type blue regardless of its formatting.
| | 02:33 | So I'll go ahead and
click in this question mark
| | 02:36 | bar right there, and I'll change the
Hue value to 210, I'll change the Saturation
| | 02:41 | value to 100, and I'll change Brightness
value to 75, then I'll click OK, click on
| | 02:46 | Style Name, and call this guy, Just blue,
and then click OK again.
| | 02:50 | Because the background is selected that
doesn't end up affecting any type.
| | 02:54 | So now I'm going to double-click on
the word air and I'll press Ctrl+H,
| | 02:58 | or Command+H on a Mac, to hide that
highlight so I can gauge whether the color works.
| | 03:03 | Then I'll click on, Just blue, and sure
enough just that one word changes and none
| | 03:08 | of the other formatting changes along with it.
| | 03:10 | All right now I'll press the Enter Key on
the keypad in order to accept that change.
| | 03:14 | All right here is another way to
work, I am going to switch back to the
| | 03:18 | Paragraph Styles panel.
| | 03:19 | Let's say I want to directly format some type,
as opposed to working inside the dialog box.
| | 03:24 | Well that's an option all you need to
do is, for example, double-click on the
| | 03:29 | word Romance here, and this time around
I am going to change the Font to Segoe
| | 03:33 | Script--and again that's a Font that's
on my system and may not be on yours--and
| | 03:38 | then I will tab over to the Type size
value because after all the text is too
| | 03:42 | big, and I'll change it to 50 points,
and I'll press the Enter Key one time, the
| | 03:46 | Return on a Mac, in order to
accept the change to that value.
| | 03:49 | Now notice that Romance style has a
little plus sign after it, quite
| | 03:53 | reasonably because there are
local overrides this time around.
| | 03:56 | If you want to redefine the style, which
is what I want to do then drop down to
| | 04:00 | this little check mark and click on it.
| | 04:03 | Now we'll go ahead and not only
redefine the style, but also update both of the
| | 04:08 | text layers and notice that the word
air remains blue even though it is now set
| | 04:13 | in a different font and size.
All right so that's all good.
| | 04:16 | Now before I wrap up I do want to
make you aware of what I consider to be a
| | 04:21 | strange decision on Adobe's part, and
it may be the kind of thing that ends up
| | 04:24 | confusing you as well.
| | 04:25 | I am going to hide the Paragraph
Styles panel, and then I'll go up to the
| | 04:29 | Window menu and choose History in order
to bring up the History panel, and you
| | 04:34 | can see that we've got an awful lot
of states here. Often times when you're
| | 04:38 | applying a Paragraph Style, Photoshop
throws an extra step where it's applying a
| | 04:42 | Character Style as well.
| | 04:43 | But here's the thing I want to make
you aware of, if I go all the way back to
| | 04:48 | the Open State, which returns us to
the very beginning of this movie.
| | 04:51 | Notice now if I bring up the Paragraph
Style panel I still have a Style, and
| | 04:56 | it's called Romance style, and I also
have a Character Style called Just blue.
| | 05:00 | You cannot undo the
creation or modification of styles.
| | 05:05 | So notice if I switch back to Paragraph
Styles and double-click on it, I'll see
| | 05:09 | that I'm still in Segoe Script as opposed
to Mistral and the color is red and so forth.
| | 05:15 | So it's a little bit of a got you
sometimes, you just have to remember nothing
| | 05:18 | you do to styles can be undone, that
said you can throw them away, and if you
| | 05:24 | want to get rid of a style without a
warning then you press the Alt key, or
| | 05:28 | the Option key on the Mac, and click on
that a little Trash icon. And that's how
| | 05:32 | you change the definition of a Paragraph Style and
work with Character Styles here inside Photoshop.
| | Collapse this transcript |
| Creating and styling a placeholder style| 00:00 | In this movie I'll show you how to
build a style from scratch and apply it to
| | 00:03 | some placeholder text.
| | 00:05 | And one more note about the last movie,
in addition to not being able to undo
| | 00:10 | the creation of a style or the
redefinition of a style, you cannot undo the
| | 00:14 | deletion of a style.
| | 00:16 | So after I got done putting my
document back together, I had to recreate
| | 00:20 | this style as well.
| | 00:21 | So what I'm going to do now is press
the T key to return to the Type tool, and
| | 00:26 | I'm going to click on the in the air
layer for a moment just to establish that
| | 00:30 | Segoe Script at 50 points is my default font.
| | 00:34 | Then I'll switch back to the
Background layer because that's the kind of
| | 00:37 | thing that happens.
| | 00:38 | I don't really want it to be, but
that's the kind of stuff that happens
| | 00:40 | routinely in Photoshop. I want to
create a new paragraph by dragging.
| | 00:44 | But if I start dragging here,
I'm going to select some text.
| | 00:47 | So I'll go ahead and press the Escape
key in order to undo that change, and
| | 00:51 | then click on the Background layer again.
| | 00:53 | Notice the difference in the
appearance of the cursor here.
| | 00:56 | When Photoshop is ready for you to
create a new text layer, the cursor has a
| | 01:00 | dotted box around it.
| | 01:01 | When Photoshop thinks you're going to
select an existing text layer, then you
| | 01:05 | just see the I-beam.
| | 01:06 | If you want to be able to start
dragging right here and create a new
| | 01:10 | layer, here's what you do.
| | 01:11 | You press and hold the Shift key,
and then begin dragging, like so.
| | 01:15 | However, you've got to release the Shift
key after you start dragging, otherwise
| | 01:19 | you'll be locked into a square.
| | 01:21 | Anyway, I'm going to create a frame
that descends into the grass here, and then
| | 01:26 | I'll go up to the Type menu, and
choose this new command Paste Lorem Ipsum.
| | 01:30 | We will have this ginormous text, which
for some reason is showing up as black
| | 01:35 | for me, it may show up as red for you, and
this is obviously not what I want at all.
| | 01:40 | In CS5 and earlier, you might have
been tempted just to hit the Escape key
| | 01:45 | and start over again and reset your
formatting attributes before you create a new layer.
| | 01:49 | However, now that we have paragraph
styles, there is an easier way to work.
| | 01:52 | So I'll go ahead and press the Enter
key on the numeric keypad in order to
| | 01:56 | accept that text, flawed as it is, and
then I'll switch to my background image.
| | 02:00 | In order to switch away from the text,
I'll go to the Paragraph Styles panel,
| | 02:05 | and I'll click on the little Page
Icon to create a new style, and then I'll
| | 02:09 | double-click on Paragraph Style 1
in order to open the dialog box.
| | 02:13 | Let's go ahead and call this style
Body Copy right from the beginning here.
| | 02:16 | And then I'm going to set a few attributes.
| | 02:19 | First of all, I'm going to change the
font family, and you have to do this
| | 02:21 | manually, by the way.
| | 02:23 | You can't just type in a few characters
or use the Up and down arrow keys, and
| | 02:28 | I'm going to switch things out to
Adobe Caslon Pro, which does ship along with
| | 02:31 | the Creative Suite and is
alphabetized by Caslon, not Adobe.
| | 02:35 | Next I'm going to change the Type size
to, let's say, 8 points, and I'm going to
| | 02:39 | change the Leading value to 9 points,
and Metrics is fine for the Kerning.
| | 02:43 | I do want the text to be black.
| | 02:45 | I'm now going to switch to Indents
and Spacing, and as opposed to beginning
| | 02:49 | each paragraph with an indent, I'm going to
begin it with let's say 6 points of before spacing.
| | 02:55 | So I'll just type 6 and press the Tab key, and
that's really all the settings I need to change.
| | 03:01 | So I'll go ahead and click OK in
order to create that redefined style.
| | 03:04 | Now let's apply it to the placeholder text
by clicking on the bottommost text layer.
| | 03:08 | I'll go ahead and click on Body Copy to
make it active, and it's telling me that
| | 03:13 | I've got some local overrides even
though everything looks great, but it's
| | 03:16 | always a good idea to click that Clear
Override button if you see the Plus sign.
| | 03:20 | All right now at this point, I want
to edit the text a little.
| | 03:23 | I do not care if this is
Photoshop's version of Lorem Ipsum.
| | 03:27 | I'll go ahead and get rid of that, and then I'll
introduce some carriage returns here, like so.
| | 03:31 | You can put them anywhere you want.
This is after all just placeholder text.
| | 03:36 | And then finally, after I think, yeah
that's enough text, then I'll just select the
| | 03:40 | rest by quadruple-clicking on it, and
press the Backspace key, or the Delete key
| | 03:44 | on the Mac, to get rid of it.
| | 03:46 | Then I'll press the Enter key on the numeric
keypad in order to leave the Text Entry mode.
| | 03:50 | All right now I'm going to press
Command+Shift+down arrow a couple of times in order to
| | 03:55 | nudge this text down, like so.
| | 03:56 | I might take it even a little
further to about right there.
| | 03:59 | Now let's say, you know, I'm thinking
some more about this, and there are some
| | 04:03 | further modifications that I want to make.
| | 04:05 | So I think this time I'll apply
my changes directly to the text.
| | 04:09 | So I'm going to go ahead and quadruple-click
in one of these paragraphs here,
| | 04:13 | and I'll bring up my Character panel by
pressing Ctrl+T, or Command+T on the Mac,
| | 04:17 | and you know what, I think the
Leading value wants to be more like 9.5.
| | 04:21 | We're working with pretty small type, so I
can take advantage of the keyboard shortcut.
| | 04:25 | So I'll just go ahead and enter the
value here, and then I'll switch to
| | 04:29 | the Paragraph panel, which gives me access
to the paragraph level formatting attributes.
| | 04:33 | I'll click on this guy right there Add
space before paragraph to select that 6
| | 04:37 | point value, and I'll
change it to let's say 4 point.
| | 04:40 | Now that value isn't going to make any
difference to this top paragraph because
| | 04:44 | the space appears before it, but it
will make a difference to the definition of
| | 04:47 | our paragraph style as soon as we bring
up the Paragraph Styles panel, and then
| | 04:51 | this time, different way of working,
you can click on the flyout menu icon and
| | 04:55 | choose the Redefine Style command, and
that's going to go ahead and update all
| | 04:59 | three paragraphs of text.
Now one last thing I want to mention.
| | 05:03 | I'm sure some of you are wondering, well
how do I share styles with other people?
| | 05:07 | Well notice here, if I click on the
flyout menu icon again, there is this
| | 05:11 | command Load Paragraph Styles, and if
you choose it, then you'll see that you
| | 05:15 | can open the styles included
in any native PSD document.
| | 05:19 | So just go ahead and click on something
like Formatted teaser if you have access
| | 05:23 | to my files, and click on the Load
button, and you'll go ahead and load two
| | 05:27 | paragraph styles, Teaser head and
Teaser copy from the first movie.
| | 05:32 | Then go ahead and click OK.
| | 05:33 | So that's how you create a
paragraph style from scratch, import and use
| | 05:37 | placeholder text as well as load styles from
another PSD document here inside Photoshop.
| | Collapse this transcript |
| Applying and creating layer styles| 00:00 | In this movie I'll introduce you to a
different kind of style, as opposed to
| | 00:04 | saving formatting attributes, as is the
case with paragraph and character styles.
| | 00:08 | These layer styles allow you to save
layer effects and blending options, and
| | 00:13 | I'll show you how to access, apply,
and create styles in this movie.
| | 00:17 | To get to the Styles panel, go up to the
Window menu and choose the Styles command.
| | 00:21 | You'll see that we have a small
collection of styles, by default, that ship along
| | 00:25 | with Photoshop, and each style
is indicated by a little button.
| | 00:29 | Now, if you have a largest screen, and
you'd like to see bigger buttons, then
| | 00:33 | choose the Large Thumbnail command,
and that will go ahead and show you big
| | 00:37 | versions of each one of these styles.
| | 00:40 | I don't have a big screen, however, so I
am going to switch back to Small Thumbnail.
| | 00:44 | I currently have this Play layer
selected which is layer of text.
| | 00:48 | I'm going to go ahead and try out one of
these styles such as Sunset Sky, and as
| | 00:52 | soon as you click on it, you go ahead
and apply, at the very least, a collection
| | 00:57 | of layer effects as you see here.
| | 01:00 | Now these aren't the only styles that
ships along with Photoshop, there are
| | 01:03 | several other libraries.
| | 01:04 | You can get to them by going to the
panel's flyout menu and choosing any one of
| | 01:09 | these commands from Abstract
Styles all the way down to Web Styles.
| | 01:13 | I'm going to choose Text Effects, and as
soon as I do, Photoshop will ask me. Hey.
| | 01:17 | Do you want to append these effects to
the existing ones? And if you do that,
| | 01:22 | you're going to have duplicates is part
of the problem, and you can always come
| | 01:25 | back to these styles anytime you like.
| | 01:27 | So there's really no sense in doing that
unless you've already created your own styles.
| | 01:31 | Otherwise just go ahead and click OK
in order to swap the default styles out
| | 01:36 | for the text styles.
| | 01:37 | As I say, you can always go back to
the defaults by returning to the flyout
| | 01:41 | menu, and choosing Reset Styles.
| | 01:44 | Given that these are designed
specifically for text, let's check them out here.
| | 01:47 | There is this first one, Blue Gradient,
which applies a pretty garish effect.
| | 01:52 | Interesting. And we've got Brush Metal,
next we have Candy, then there's Chalk,
| | 01:58 | and there's a good reason I'm running
through these, by the way, I am not just
| | 02:01 | trying to waste time here.
| | 02:03 | When I click on Chalk, I notice, you know what,
this effect has potential, but it's tragically ugly.
| | 02:09 | I wonder if I could make it better.
| | 02:11 | Well that's when you check out the
layer effects here inside the layers panel.
| | 02:15 | And I suspect that this sort of chalky
effect here is created using Outer Glow.
| | 02:18 | So I'll go ahead and double-click on it.
| | 02:20 | And sure enough, we've got the Blend
mode set to Dissolve, which is responsible
| | 02:24 | for this pixel action here.
| | 02:27 | Yet we're not using noise at all, which
ends up creating a better effect, and so
| | 02:31 | I am going to switch the Blend mode to Normal.
I am going to increase the Opacity to 100%.
| | 02:37 | And then I'm going to bring on the noise
by clicking in that Noise value, and
| | 02:41 | then pressing Shift+up arrow a few times.
| | 02:43 | And ultimately, I decided
30% looked pretty good.
| | 02:47 | Now let's try switching out the
Contour for Linear, and I think we'll have a
| | 02:51 | softer transition, and then finally,
when you set Technique to Precise, you
| | 02:55 | get very sharp corners out of Outer Glow,
and that's not really the effect I'm
| | 03:00 | looking for either.
| | 03:01 | So I'll go ahead and switch that out
for Softer, and we end up with what, to my
| | 03:05 | eye, looks like a more chalky effect.
So I will go ahead and click OK.
| | 03:10 | And so what you probably want to do at
this point is go ahead and save off your
| | 03:13 | own style, and you can do so by
clicking with this little paint bucket in an
| | 03:18 | empty area of the panel.
| | 03:20 | If you can't find an empty area, if
everything is full up there, then you can
| | 03:23 | click on a little Page Icon.
| | 03:25 | Either way, you'll bring up
this New Style dialog box.
| | 03:27 | I'll just go ahead and call this, My
chalk, and you have the option of
| | 03:32 | including the layer effects, I don't
see any reason why you wouldn't, and
| | 03:36 | including layer Blending options.
Notice it's turned off.
| | 03:39 | It's not turned off by default, it's
turned off because there are no special
| | 03:43 | blending options associated with this
layer, so what's the point of saving
| | 03:47 | them? And I agree with that.
| | 03:49 | So I'll go ahead and click OK
in order to create that new style.
| | 03:52 | Let's check out another one--that's
pretty fun to modify actually--it's this
| | 03:56 | guy right there, and it's called Toy. And
it's ideally suited, by the way, for this type.
| | 04:01 | So go ahead and apply it.
| | 04:03 | Now, again it's awfully garish, that's okay,
because it's supposed to be, you know, a kids' toy.
| | 04:08 | But what's with this weird outline thing?
| | 04:11 | Well that's a function of the Stroke,
right there, and you can set strokes to
| | 04:16 | include patterns as this one does.
| | 04:18 | Notice if I double-click on Stroke,
then I can see that there has been a
| | 04:22 | pattern applied, and it's a pattern that I
believe doesn't otherwise ship along with Photoshop.
| | 04:26 | So, it's good to have because I
think it's pretty cool actually, but I
| | 04:29 | don't want the Stroke.
| | 04:31 | So I am going to cancel out of here for
a moment, and just turn Stroke off, and
| | 04:36 | I think we end up with a much cleaner effect.
| | 04:38 | Now, I think I'd like to check out
what's going on with the Pattern, the Bevel &
| | 04:42 | Emboss is just fine, so is the Drop Shadow.
So I'll go ahead and click on Pattern Overlay.
| | 04:47 | And I can see that the Scale is set to
170%, which means that there's going to
| | 04:51 | be some Interpolation.
| | 04:52 | So I'm going to go ahead and take
that value down to 100%, like so, which I
| | 04:57 | think ends up looking pretty darn good.
| | 04:59 | Then I might drag the pattern around
inside of the image window in order to move
| | 05:04 | it, it's a seamless pattern, so
you can move it anywhere you want.
| | 05:07 | And then I'll click OK, and again
I have my own custom effect.
| | 05:11 | So I'll click here inside an empty
portion of the Styles panel, and I'll go
| | 05:16 | ahead and call this guy, My Toy, and
Then again, I'll include the layer effects,
| | 05:21 | no sense including the
blending options because there are none.
| | 05:23 | We'll see an example of that later.
| | 05:25 | And then I'll click OK in order to generate
that new style, and we end up creating
| | 05:31 | this effect right here, with relatively
little work, thanks to the fact that we
| | 05:35 | were able to start with one of Adobe's
preset styles. And that's how you access,
| | 05:40 | apply, and create layer
styles here inside Photoshop.
| | Collapse this transcript |
| Loading and customizing layer styles| 00:00 | In this movie I'll show you how to
load a library of styles that I've created
| | 00:04 | for you in advance, how to employ
those styles to create cool effects and
| | 00:07 | finally, how to customize one of the
styles to create something truly unique.
| | 00:11 | Now what I have here is a collection
of images that represent techniques that
| | 00:16 | I've demonstrated in my Deke's
Techniques course here at the lynda.com online
| | 00:20 | training library, and you can check
those movies out to find out exactly how
| | 00:25 | these images are put together.
| | 00:27 | But in the meantime we can quickly
assemble these effects using Layer Styles.
| | 00:31 | To load my style library, make sure your
Styles panel is open, and then go to the
| | 00:36 | flyout menu and choose the Load Styles command.
| | 00:39 | Then navigate to the 17_styles
folder and click on Type effects, and then
| | 00:43 | click the Load button.
| | 00:45 | Now there are seven styles in all that
we're going to apply over four images here.
| | 00:49 | I'll start by turning off this border
layer, and you can see that we have this
| | 00:53 | kind of blue grid outline in the background.
| | 00:56 | I'm going to turn it into heavy metal
type by clicking on the outlines, and then
| | 01:00 | clicking on the first of my styles
Heavy metal outlines, and just like that we
| | 01:05 | completely transform the composition
using a collection of three layer effects
| | 01:09 | in all and they're really actually
fairly straightforward. For example, the
| | 01:13 | Bevel & Emboss effect doesn't include
any custom contour or texture or any of
| | 01:17 | that stuff just straight forward embossing.
All right, I'm going to Cancel out of there.
| | 01:22 | Now I'll turn on the border layer, which
is designed to emphasize the border and
| | 01:26 | catch some shadows and highlights, and
I'll now applied my second style Heavy
| | 01:30 | metal border in order to achieve this
type effect here, which I think is pretty
| | 01:35 | impressive given that I
spend about 30 seconds on it.
| | 01:39 | All right I'm going to
switch over to the next image.
| | 01:41 | It's an Ice type effect created
using the wind filter, but it's not going to be
| | 01:44 | finished until we style it.
| | 01:46 | So with the Ice effect layer selected,
I'll move forward to my third style which
| | 01:50 | his Ice type, click on it, and it's done.
| | 01:53 | Now this one does involve a texture,
if you double-click on Bevel & Emboss
| | 01:57 | then you'll see that there is a
texture item right there, and it's that
| | 02:01 | molecular pattern that we checked out
in a previous chapter. So it's a pretty
| | 02:06 | flexible pattern actually.
| | 02:07 | I'll go ahead and click Cancel, and
then I'll move on to my next image.
| | 02:10 | Now this one doesn't look like is
anything going on, but there's actually a text
| | 02:14 | layer as well as this interior layer
which is a rectangle and a larger main
| | 02:19 | rectangle behind it.
| | 02:20 | So I'll start by clicking on the main
rectangle, and then I'll click on my
| | 02:24 | fourth style Brushed copper back
in order to produce that effect.
| | 02:28 | Now you can tell that the interior
rectangle, which I'll turn off for a moment, is
| | 02:32 | that central light rectangle.
| | 02:34 | I'll go ahead and select it, turn it on,
and then apply Brushed copper in, in
| | 02:38 | order to achieve that effect, and
then finally, I'll click on a text layer
| | 02:41 | which is called plate, and I'll apply
Brushed copper type, and this is our most
| | 02:45 | complex style, by the way, it contains a
total of 7 out of the possible 10 layer effects.
| | 02:52 | Finally, let's go ahead and switch
forward to Gold letters, and we can turn
| | 02:55 | these white letters gold by clicking
on the Final style which is called Gold
| | 03:00 | type, and this is that same gold text
effect that we saw in a previous chapter.
| | 03:04 | But let's try our hand at customizing it.
| | 03:07 | If you double-click on Bevel & Emboss,
you may recall that much of the success
| | 03:11 | of the effect relies on this gloss contour.
| | 03:14 | But there is also a Satin effect in
the background, and I haven't showed you
| | 03:17 | Satin yet, so let's go ahead and modify it.
| | 03:20 | I'll turn off Bevel & Emboss for the
moment, and I'll click on Satin to select
| | 03:24 | it, and I'm going to change the color
to a Hue value of 30 degrees, so we can
| | 03:29 | see it a little better and click OK,
and then I'll reduce the Size value to
| | 03:33 | let's say 2, so you can get a sense
of what's going on, and now I'll start
| | 03:37 | dragging inside the image, and you can
see what's happing is that I'm moving the
| | 03:42 | G, you see that I'm moving the yellow
of the G which is caused by color overlay
| | 03:48 | into the sort of orange area.
| | 03:50 | So Satin fills this sort of
brownish orange inside the negative space
| | 03:53 | between the letters.
| | 03:54 | All right, I'm going to go ahead and
put those guys back just a little bit,
| | 03:58 | like so, and as I'm dragging I'm changing
the Angle and Distance values on the fly.
| | 04:02 | Now you can sometimes get better effects if
you try out contours like Ring or Ring-Double.
| | 04:07 | Now you're not going to believe me at
first, because it looks pretty ratty when
| | 04:10 | the Size value is so low, but let's go
ahead and select that value and change
| | 04:15 | it to something like 50, and that blurs up
that effect quite nicely, as you can see.
| | 04:20 | Now I want to try out a different
color overlay, something that's going to go
| | 04:23 | with that differently colored Satin effect.
| | 04:25 | So I'll click on Color Overlay, then
click on that yellow swatch, and let's
| | 04:29 | take the Hue value down to 30 degrees
again and reduce the Saturation to let's
| | 04:33 | say 50%, and click OK, and now I'll
bring back the Bevel & Emboss effect and
| | 04:38 | things get pretty dark, as you can see there.
I'll click OK in order to accept that effect.
| | 04:43 | But I think it's going to look
better if we do a couple of things.
| | 04:47 | First of all, I want to reduce the
Fill value to 70% by pressing Shift+7, and
| | 04:51 | that darkens up those letters even more
because they're starting to blend with
| | 04:55 | the background, and then I'll expand my
layer effects for this black layer, which
| | 04:59 | is black, and you'll see how black it
is when I turn off the Pattern Overlay,
| | 05:03 | and we end up getting this affect here.
| | 05:05 | So let's go ahead and create a new
style by clicking inside this empty area of
| | 05:09 | the Styles panel, and I'll
call this Tarnish, let's say.
| | 05:11 | And notice this time Include Blending
options is turned on because there are
| | 05:16 | blending options to save
namely our new fill value.
| | 05:19 | Now I'll click OK in order to make
that change, I'm going to press Shift+Tab
| | 05:24 | to hide the right side panels, press
the T key to switch to the Type tool, and
| | 05:28 | I'm going to replace those last two
letters, like so. And that is how you load
| | 05:32 | a library of styles created by
another user, employ them effectively inside
| | 05:36 | your own images, and then finally, customize the
style so that it includes blend settings.
| | Collapse this transcript |
| Merging and saving layer styles| 00:00 | In this movie I'll show you how to
merge multiple styles together, and then
| | 00:04 | I'll show you how to save out your own
collection of styles, whether you want to
| | 00:08 | move them to a different machine or a
different platform or share them with
| | 00:12 | another person or even just back them up.
| | 00:15 | So here I am looking at that play
effect that I created a couple of movies
| | 00:18 | back, and you can see, if you look at
the layers panel, that the style comprises
| | 00:22 | three layer effects.
| | 00:23 | Bevel & Emboss, Pattern Overlay and
Drop Shadow. Stroke is turned off.
| | 00:28 | But let's say I decide to select a
different style, for example, I'll go ahead
| | 00:32 | and click on Green Gradient with
Stroke, which is included along with the Text
| | 00:36 | Effects collection that ships with Photoshop.
| | 00:39 | Notice this time we get just two style
Stroke is now turned on and Gradient Overlay.
| | 00:45 | So in other words, there is no overlap,
and if I were to click on the style I
| | 00:49 | created, which is My toy, then you'll
see that the stroke effect because it was
| | 00:54 | turned off, was not even saved.
| | 00:55 | So there is absolutely no overlap
between these styles at all and yet they go
| | 00:59 | ahead and replace each other.
| | 01:01 | So clicking on a style deletes all
effects from a layer and replaces those
| | 01:05 | effects with new ones.
| | 01:07 | What if you want to
combine these effects together?
| | 01:09 | Well, in that case, you go ahead and
press the Shift key and click on a style,
| | 01:14 | and now we've got Bevel & Emboss, Stroke,
Gradient Overlay, Pattern Overlay, and Drop Shadow.
| | 01:19 | Now incidentally, if there had been
any overlay in layer effects, the style
| | 01:24 | that you click on wins.
| | 01:25 | So if Green Gradient with Stroke had
included a Bevel & Emboss effect, then you
| | 01:30 | will replace the Bevel & Emboss effect,
whether you press the Shift key or not.
| | 01:34 | All right now let's make a few modifications.
| | 01:36 | Currently, even though we have both
Gradient Overlay and Pattern Overlay,
| | 01:40 | Gradient Overlay is altogether covering
up the pattern because it's set to 100%
| | 01:46 | Opacity and the Normal Blend mode.
| | 01:48 | So go and turn it back on, and then
double-click on it, and let's swap out its
| | 01:53 | Blend mode so we get some interaction here.
| | 01:55 | I'll change the Blend mode from Normal
to Hue, which allows the saturation and
| | 01:59 | luminance information from the
pattern below to show through.
| | 02:03 | So I'll choose that function,
and you can see that we get an
| | 02:06 | interesting interaction.
Now I want to modify the Stroke.
| | 02:09 | It just seems like we are getting
awful close to a Christmas effect here, and
| | 02:13 | that's not what I am looking for.
| | 02:15 | So I'll click on the Stroke item, and
you can see what's going on is it's a
| | 02:19 | tight Gradient there.
So it goes black to red to black again.
| | 02:22 | And the Style is set to Shape Burst,
so that it traces around the letters.
| | 02:26 | So the first thing I am going to do is
click on this Gradient bar in order to
| | 02:30 | modify the gradient, and I'm going to
click very carefully on this black color
| | 02:34 | swatch because they are right next to
each other, they are only a percentage
| | 02:37 | point away, and you should see a
location of 81%, then press Shift+up arrow in
| | 02:41 | order to scoot that Color Stop to the right.
| | 02:44 | Now click on red Color Stop, and then
click on this color bar right there in
| | 02:48 | order to bring up the Color Picker
dialog box and just change the Hue value,
| | 02:52 | nothing else, to 50 degrees, and then
click OK, and now I'll press Shift+up arrow
| | 02:57 | for it in order to
move it to a Location of 90.
| | 03:01 | Now very carefully select this red Color Stop.
| | 03:04 | So when I say very carefully, I mean
click on the far right edge of it, so you
| | 03:08 | don't get the black Color Stop.
| | 03:10 | Then click on its red bar there, and
we'll change it to a Hue value of 50
| | 03:14 | degrees as well, and then I'll press
Shift+up arrow twice in order to change the
| | 03:18 | Location to 53%, and now I'll click on
the black color swatch, and I'll press
| | 03:23 | Shift+up arrow twice to change it to
a location of 52%. Now I'll click OK.
| | 03:29 | The next thing I want to do is back off
the Size value because notice when the
| | 03:33 | Size value gets sufficiently large
here, we start to get these polygonal
| | 03:37 | transitions and they are
showing up at 20 pixels as well.
| | 03:40 | So I am going to take that value down
to 10 pixels there, and then finally, I
| | 03:45 | want to drop those blacks
out and just keep the yellows.
| | 03:47 | So I am going to change the Blend
mode from Normal to Screen which treats
| | 03:51 | black as invisible, and that way the strokes
are just sort of sitting out here in space.
| | 03:56 | All right now click OK in order to accept that
effect, and of course, by all means we
| | 04:01 | should go ahead and save this as a style.
| | 04:04 | I'm out of empty room, actually I do
have some on the right-hand side here.
| | 04:08 | So I'll just go ahead and click there,
or I could click on the little page
| | 04:11 | icon, and I'll go ahead and call this
style, Green toy, and notice that Include
| | 04:16 | Layer Blending options is turned off
because, again, there aren't any, so no
| | 04:20 | reason to save them, and I'll go ahead and
click OK in order to create that New Style.
| | 04:24 | All right, now let's save out the New Styles that
we've created over the course of these
| | 04:30 | last three movies. And there is a
couple of ways to do that, one is to go up to
| | 04:35 | the Styles panel flyout menu and choose
the Save Styles command, but that's going
| | 04:39 | to save all of the styles,
including those Adobe styles as well, and you
| | 04:42 | probably don't want to do that.
| | 04:44 | The alternative is if you didn't want
to save all the Adobe styles, you could
| | 04:48 | delete them all by pressing the Alt key,
or the Option key on a Mac, and clicking
| | 04:52 | on each one of them. And notice when you
press Alt, or Option, your cursor changes
| | 04:56 | to a pair of scissors.
| | 04:57 | But I don't really recommend you do that either.
So here is the best approach.
| | 05:01 | Go to the Edit menu choose
Presets and choose Preset Manager.
| | 05:06 | This is a kind of hidden command
actually that's very, very useful.
| | 05:11 | Now what it allows you to do is save
any presets that you've created across
| | 05:15 | the board as an independent file, so that
you can load them up either later or elsewhere.
| | 05:20 | So we've got Brushes and Swatches
and Gradients, and then next is Styles.
| | 05:25 | I'll go ahead and choose Styles, and
now I can see all the styles they have
| | 05:29 | currently loaded, and four of them are
styles I just got done creating.
| | 05:33 | There's My chalk, there is also My toy, and then
these last two Tarnish, and then Green toy.
| | 05:38 | So let's say that I want to
select them and move them together.
| | 05:43 | So I would go ahead and click on My
chalk, Shift-click on My toy, and then
| | 05:47 | Ctrl-click, or command-click, on Tarnish
because it's not adjacent to the others.
| | 05:52 | If I Shift clicked I'd select a
range of the styles, and then go ahead and
| | 05:57 | Ctrl-click, or command-click, on Green toy.
And what you want to do is just kind of
| | 06:01 | drag them around, I'll drag these guys
over to this location, and now all four
| | 06:05 | of them are in a row, and I'll click on
the first one, and then Shift-click on
| | 06:10 | the last one in order to select that
full range, and now I can just save those
| | 06:15 | selected items as a set.
| | 06:17 | So I'll click the Save Set button, and
I'll call these guys something like, My
| | 06:21 | new styles, and that way they are safe
and protected, and I can come back to
| | 06:26 | them anytime I like.
| | 06:27 | Once you are finished organizing your
styles and saving them, then go ahead and
| | 06:30 | click the Done button in order to
return to your image. All right.
| | 06:34 | I'll Shift+Tab away my panels. And that,
folks, is how you merge and save layer
| | 06:38 | styles here inside Photoshop.
| | Collapse this transcript |
|
|
18. Scale, Rotate, Skew, and WarpMeet the transformations| 00:00 | Photoshop includes a host of
what I call, secret handshakes.
| | 00:04 | Operations that seem impossible, until you
luck into them or someone shows you the ropes.
| | 00:10 | My favorite example is straightening a
crooked photograph, such a common operation.
| | 00:15 | And yet before you can do it you have
to know that straightening is a secondary
| | 00:20 | feature of the seemingly unrelated Crop tool.
Scale and Rotate are secret handshakes as well.
| | 00:26 | Before you can resize a layer or
change its angle you have to know that Scale
| | 00:31 | and Rotate fall into a category of
features that include Skew, Distort, and Warp.
| | 00:40 | Together they are known as Transformations.
| | 00:43 | Because to transform a layer is to
alter its shape or position without harming
| | 00:48 | its fundamental appearance.
| | 00:50 | Photoshop lists all of it's
transformations under the Edit Transform submenu or
| | 00:55 | better still you can apply any kind of
transformation all in a single operation
| | 01:01 | using a command called Free Transform.
| | 01:04 | This command includes a keyboard
shortcut a secret handshake variation on which
| | 01:09 | is the only way to both transform and
duplicate the layer at the same time.
| | 01:14 | Like filters transformations respond
positively to Smart Objects because most
| | 01:19 | transformations require Photoshop to
rewrite every pixel on the layer each
| | 01:24 | transformation amounts to a
potentially destructive modification.
| | 01:28 | By first converting the layer to
Smart Object, you protect the pixels so no
| | 01:33 | transformation is permanent and all
are applied just once even if you choose
| | 01:39 | Free Transform multiple times in a row.
| | 01:42 | So you might figure you should always
work with Smart Objects but the truth is
| | 01:47 | more nuanced, leading us to still more secret
handshakes, as I will explain in the very next movie.
| | Collapse this transcript |
| Transformation and Smart Objects| 00:00 | In this movie we're going to
discuss the relationship between
| | 00:03 | Transformations and Smart Objects.
| | 00:06 | Even if you're familiar with that
relationship my guess is we're going to find
| | 00:10 | out its more complicated than you
thought, and if you're working along with me,
| | 00:13 | when you open up this file you may end
up getting a font warning, again it's not
| | 00:18 | going to affect your work
through out this chapter.
| | 00:20 | So just go ahead and click OK.
| | 00:22 | Here's the final version of the
artwork that we will be creating, and you can
| | 00:25 | see that I've got this big rotated
martini glass, followed by two incrementally
| | 00:29 | smaller duplicates, and then we've got
his wavy logo in the foreground that's
| | 00:34 | also slanted upward, and we're going
to achieve all of these transformations
| | 00:39 | using a single command.
| | 00:41 | Under the Edit menu it's called Free
Transform, and it has a keyboard shortcut
| | 00:45 | of Ctrl+T, or Command+T on the Mac, and
that's going to become important to us
| | 00:50 | because there's the couple
variation on that shortcut that allow us to
| | 00:54 | expedite the process.
| | 00:56 | You'll also see this Transform submenu
which contains such commands as Scale,
| | 01:01 | Rotate, Skew, Warp all operations that
we will be applying, but the thing is
| | 01:07 | every operation in this menu can
be achieved using Free Transform.
| | 01:11 | All right I'm going to go
ahead and escape out here.
| | 01:14 | Our first task will be to take this martini
glass and introduce it in to this template.
| | 01:20 | So I'm going to go and switch back
to the glass image and armed with my
| | 01:24 | Rectangle Marquee tool, I'll right-click
inside the image and choose the
| | 01:27 | Duplicate layer command, and then I'll
change the layer name to glass, and I'll
| | 01:32 | set the Document to Transformation
template, which is that image we saw just
| | 01:36 | a moment ago, and then I'll click OK.
| | 01:39 | All right now let's switch over to
the template, and I'm going to press the
| | 01:43 | Ctrl key, or the Command key on the
Mac, in order to temporarily access the
| | 01:46 | Move tool, and then I'll drag this
martini glass upward so that we can see
| | 01:50 | more of it. And now I am going to press Shift+Tab
in order to bring up the right side panels.
| | 01:56 | If you know anything about Transformations
in Photoshop you know that before you
| | 02:01 | apply a single scale or rotate or
anything, you should right-click inside the
| | 02:06 | image and choose Convert to Smart Object.
| | 02:08 | That places the image in a protective
container so you can scale and rotate in
| | 02:13 | otherwise transform it in as many
passes as you like, for example, imagine that
| | 02:18 | you would rotate this image
three times in a row, 15 degrees each time.
| | 02:23 | If you did that to a pixel-based layer
then Photoshop would have to rewrite the
| | 02:27 | pixels to total of three times which
would be a destructive modification.
| | 02:32 | Whereas if you did that exact same
thing to a Smart Object and Photoshop
| | 02:36 | would just say, all right, 15 degrees times
3, that's 45 degrees, and it would rewrite the
| | 02:42 | pixels just once, and I've actually
performed a test here so that you can
| | 02:47 | see what that looks like.
| | 02:49 | I'll switch back to Long-stemmed glass
image, and you can this layer call 48
| | 02:52 | rotations, go ahead and turn it on. If
you're zoomed out as far as I am you won't
| | 02:57 | see any differences, but we will in a moment.
| | 03:00 | Let me tell you what I did, I went ahead
and rotated this image 15 degrees each, 48 times
| | 03:06 | in a row, which is enough times to send
the image all the way around twice, so
| | 03:12 | that it's back up right, and let's
now take a look at what that looks like.
| | 03:17 | I've applied this
modification to a pixel-based image.
| | 03:20 | Now I'll zoom in here, and now at 100%
I imagine you can see the problems, but
| | 03:25 | I want you to really see them.
| | 03:26 | So I'll zoom in to 200%, and you can
see that it's just tragic. We have this
| | 03:31 | stair stepping all over the place here,
the image is in terrible shape, it looks
| | 03:37 | worse than JPEG compression even.
| | 03:39 | Now my guess is you're probably never
going to transform a pixel-based image 48
| | 03:45 | times in a row unless you just like to
abuse photographs, but still you get a
| | 03:50 | sense of what's going on.
| | 03:51 | Whereas, were I to rotate a Smart Object
15 degrees each 48 times in a row, then
| | 03:57 | Photoshop would just do the math.
| | 03:59 | And say well, okay 15 degrees times 48, that's
720 degrees that's the same as 0 degrees, in other
| | 04:06 | words ,I don't have to rewrite the pixels at
all and the image would appear in perfect shape.
| | 04:13 | So there's an awfully big difference,
and that might argue in favor of the
| | 04:18 | idea that we should definitely convert this to
Smart Object, before we start transforming it.
| | 04:23 | Well, we will be using Smart Objects
later in this exercise, but not where the
| | 04:29 | martini glass is concerned.
| | 04:31 | And the reason is that we missed out
on two very powerful transformation
| | 04:36 | functions, so if I press Ctrl+T, or Command+T on
the Mac, to enter that Free Transform mode.
| | 04:42 | See this Interpolation option up here in
the Options bar? It's new to CS6, and it
| | 04:47 | affects every single
transformation that you apply.
| | 04:51 | And so it's going to become very
important to us starting in the next movie.
| | 04:55 | Problem is it's not available to
us when we're working with Smart Objects.
| | 04:59 | So that's one problem.
| | 05:01 | The other is that you can't transform
and simultaneously duplicate a Smart
| | 05:06 | Object, which is a big oversight, and as
a result Smart Objects just aren't going
| | 05:10 | to work for our purposes.
| | 05:12 | So I'll go ahead and press the Escape key
in order to leave the Free Transform mode.
| | 05:17 | The good news is we're not doing too
much damage, we're going to rotate the
| | 05:20 | martini glass first, and we're only
going to rotate it once, and then we'll
| | 05:24 | scale the rotated martini glass,
and then we will scale it again.
| | 05:29 | So we are going to be applying three
separate transformations in a row, but if we
| | 05:34 | do it right the glass art is
going to survive quite nicely.
| | 05:37 | So with any luck you have a sense for
when you should and shouldn't combine
| | 05:41 | Transformations with Smart
Objects inside Photoshop.
| | 05:45 | In the next issue we'll take on the
tricky issue of Interpolation.
| | Collapse this transcript |
| Adjusting the interpolation setting| 00:00 | In this movie we'll address
Interpolation and how it affects the transformation
| | 00:05 | of layers inside Photoshop.
| | 00:07 | It's a little bit technical, but it's
really one of those issues where if you
| | 00:10 | don't pay attention to it, it
can come back to haunt you later.
| | 00:14 | So let's imagine that I want to take his
big martini glass and rotate it into place.
| | 00:19 | Then I would press Ctrl+T, or Command+T
on the Mac, to enter the Free Transform
| | 00:24 | mode, and assuming I'm not working with the
Smart Object I'd see this Interpolation option.
| | 00:29 | By default, it set to, Bicubic
Automatic, which means if you reduce the size of
| | 00:34 | the layer Photoshop will
apply by Bicubic Sharper.
| | 00:37 | If you increase the size of the layer
Photoshop will apply Bicubic Smoother,
| | 00:42 | and if you leave the layers set to 100%,
but you rotate it and apply other
| | 00:47 | modifications that don't scale the layer
then Photoshop will apply Bicubic Interpolation.
| | 00:52 | Let's take a look at what that might mean.
| | 00:55 | I'm going to press the Escape key in
order to escape out of the Free Transform
| | 00:59 | mode, and I'm going to switch over
to this image that contains this very
| | 01:03 | graphical type treatment.
This time I will use a Smart Object.
| | 01:07 | So I'll go ahead and click on the
stroke layer and Shift-click on Indiana to
| | 01:11 | select that range of layers.
| | 01:12 | Then I'll right-click inside the image
window and choose Convert to Smart Object.
| | 01:17 | Now if I press Ctrl+T, or Command+T on the Mac,
notice the Interpolation option is not there.
| | 01:23 | That is strictly an oversight.
There's no reason it shouldn't be there.
| | 01:27 | But that means that we've to adjust the
Interpolation Settings from another location.
| | 01:31 | So I'm going to press the Escape key,
and then press Ctrl+K, or Command+K on the
| | 01:37 | Mac, to bring up the Preferences dialog
box, and there it is Image Interpolation
| | 01:41 | set to Bicubic Automatic, and that
will effect the transformation of every
| | 01:45 | single Smart Object.
I'll go and Cancel out.
| | 01:48 | I just wanted you to see
it's set to Bicubic Automatic.
| | 01:51 | With that in mind I will press Ctrl+T,
or Command+T on the Mac, in order to enter
| | 01:55 | the Free Transform mode.
| | 01:56 | I'll click the link between W and H,
and I'll change the W value to, let's say,
| | 02:01 | 46.6%, and then I'll tab over to the
Angle value and change it to like 2.5
| | 02:08 | degrees, and then go ahead and zoom in
to 100% here, and I'll press the Enter
| | 02:12 | key, or the Return key on a Mac,
in order to apply that change.
| | 02:16 | Now if you're working along with me,
you're going see a little bit of ratty
| | 02:21 | edge, and it's up to you whether you
accept that kind of thing or not.
| | 02:26 | This would be, of course, a web graphic
imagine, because it's pretty small.
| | 02:30 | It's not a graphic I'd be comfortable
sending out the door because of the
| | 02:34 | fragility of these edges.
They're just too crunchy.
| | 02:37 | Now if you're only going by the video
it probably looks just fine, and that's
| | 02:41 | because we down-sampled
and compressed these videos.
| | 02:44 | But I'll go and zoom in a bit here so that
we can get a better sense of what's going on.
| | 02:49 | We do have some anti-aliasing evident
here, but we've also got a fair amount of
| | 02:54 | very subtle stair stepping
going on is what I'd say.
| | 02:56 | Just the edge is tactile, and then we
also have some haloing, and you may recall
| | 03:02 | from our sharpening discussions in
Chapter 13 that Photoshop stimulates
| | 03:06 | sharpness by adding halos around the
edges, and that's what it's done here.
| | 03:10 | Now they're very tiny halos so
they're not going to make any difference for
| | 03:15 | print purposes, and you should know that.
| | 03:17 | Bicubic Sharper does not increase the
quality of your printed output one iota.
| | 03:23 | However, you're going to be
able to see these halos on screen.
| | 03:27 | So what you do if you run
into a problem like this?
| | 03:29 | Well if you're working with Smart
Object thankfully you don't have to
| | 03:34 | replay the transformation. You just do this.
| | 03:36 | You press Ctrl+K, or Command+K on the
Mac, to bring up the Preferences dialog box.
| | 03:41 | And in my case, I'm going to change it
Bilinear because that's going to give me the
| | 03:44 | smoothest results, and then I'll
click OK, and now I'll press Ctrl+T, or
| | 03:49 | Command+T on the Mac, to reenter the Free
Transform mode, and you can see all our
| | 03:55 | values are still there.
| | 03:56 | I've got Scale values of 46.6%.
I've got an Angle value of 2.5 degrees.
| | 04:02 | Now if I want to replay the
transformation with the new Interpolation Setting
| | 04:06 | all I have to do is press the Enter key, or
the Return key on the Mac, and it's done.
| | 04:11 | So it's quite convenient with the
exception of the fact that you've to go back
| | 04:15 | to the Preferences dialog box in
order to change that setting as opposed to
| | 04:18 | changing it right here in the Options bar.
So my recommendation is this.
| | 04:22 | For day-to-day transformations the
safest thing to do is to press Ctrl+K, or
| | 04:27 | Command+K on a Mac, and switch Image
Interpolation to Bicubic best for smooth
| | 04:32 | gradients just as it was set in CS5,
and then go ahead and click the OK button.
| | 04:37 | This is also going to work better for
our project because we're going to be
| | 04:41 | transforming that martini glass, not as a
Smart Object, but as a pixel-based layer
| | 04:45 | three times in a row.
| | 04:47 | You can imagine if we use Bicubic
Automatic the incremental damage is going to
| | 04:51 | be greater, whereas with standard
Bicubic we're not going to see any problems.
| | 04:56 | Now I'll go ahead and click the OK
button in order to accept that change.
| | 05:00 | And that's how the Interpolation Setting
affects the transformation of layers
| | 05:04 | whether they're expressed as Smart
Objects or not here inside Photoshop.
| | Collapse this transcript |
| Rotating a layer with Free Transform| 00:00 | In this movie we'll rotate this big
glass layer, so it matches the angle of the
| | 00:05 | largest of the glasses in the background.
| | 00:07 | I am going to go ahead and turn that
Glass layer back on, and then I'll go up to
| | 00:12 | the Edit menu and choose Free
Transform or press that shortcut Ctrl+T,
| | 00:15 | Command+T on the Mac, and I'm going to
zoom out here so that you can see that we
| | 00:21 | are faced with the proposition of a
very large bounding box, one that is much
| | 00:25 | taller than the canvas.
| | 00:27 | So you're probably going to have to zoom out
a few clicks to gain access to the handles.
| | 00:31 | Now if you drag a handle you're going
to go ahead and scale the image, and you
| | 00:36 | can squish it if you want to, like so.
| | 00:38 | If you want to maintain the proportions
then you press the Shift key as you drag
| | 00:42 | a corner handle but you can see here
that I'm now maintaining the squished
| | 00:46 | proportions not the original ones.
| | 00:49 | If you want to rotate the image you
move your cursor outside the bounding
| | 00:52 | box, and then you drag.
| | 00:54 | And notice that throughout, I get that
little heads up display, telling me the
| | 00:58 | skill percentages or in this case the angle.
| | 01:01 | At this point I've pretty well
messed things up very thoroughly here.
| | 01:06 | You do have one level of undo when
you're working inside the Free Transform mode.
| | 01:10 | So I'll press Ctrl+Z, or Command+Z on
the Mac, to take advantage of it, but I
| | 01:15 | can't restore the size by undoing.
| | 01:17 | So instead I'll go up here to the
Options bar, turn on the Chain icon, which
| | 01:22 | suddenly restores the original
proportions, and then I'll click on the W in
| | 01:26 | order to select that width value,
and I'll change the size to 100%.
| | 01:30 | So I don't want to scale this image at
all, but I do want to go ahead and rotate
| | 01:34 | it, so I'm going to drag outside of
the bounding box in order to do that, but
| | 01:39 | now it dawns on me, as is so often the
case, that I can't see what in the world
| | 01:44 | I'm trying to match.
| | 01:45 | So I can't see any context where this
rotation is concerned because after all
| | 01:50 | the image is opaque. And that's a
kind of thing that often times sends you
| | 01:55 | pressing the Escape key because after
all if you press the '5' key at this point
| | 01:59 | you do not reduce the opacity to 50%.
| | 02:02 | However, you can reduce the opacity on-the-fly
manually here inside the layers panel.
| | 02:07 | Notice all three blending
options are available to us.
| | 02:10 | So I could take this Opacity level down,
for example, to 50% if I wanted to but
| | 02:15 | that's not what I want to do.
| | 02:17 | Instead, I want to just drop out the
whites, so I'm going to switch the Blend
| | 02:22 | mode to multiply which
treats white as invisible.
| | 02:24 | Now I'm going to drag the image so that
the top-right corner of the glass that
| | 02:30 | I'm working on meets up with the
top right corner of the glass and the
| | 02:33 | template, and then I'll take this
little target, and move it to that location,
| | 02:38 | and this target represents the center of the
rotation or if you will, the transformation origin.
| | 02:44 | Now move your cursor outside the
bounding box and drag, and you'll see that
| | 02:49 | Photoshop goes ahead and
rotates the glass around that point.
| | 02:53 | Not to give things away but we're
looking for an angle value of -24.0 degrees,
| | 03:00 | and you can see it in that heads up display.
| | 03:02 | Even though it shows up it's 23.99 up
here in the Options bar, I'm going to go
| | 03:06 | ahead and change it to -24, and then
I'll press the Enter key to accept that
| | 03:10 | value, but before you press the Enter
key again to apply the rotation, you want
| | 03:15 | to check the Interpolation setting.
| | 03:16 | So I'm going to click on what is
currently the word Bicubic, and switch it from
| | 03:21 | Bicubic automatic to just regular, good
old Bicubic because we don't want to be
| | 03:26 | heaping on incremental damage, and then
I'll press the Enter key, or the Return
| | 03:30 | key on the Mac, in order to apply that change.
| | 03:33 | Now let's zoom in on the image to 100%
and see if we've got things lined up.
| | 03:39 | It looks pretty good for me but if you
need to nudge your layer around a little
| | 03:42 | bit then you press and hold the Ctrl
key, or the Command key on a Mac, which gets
| | 03:47 | you that Move tool on-the-fly, and
then you press the arrow key in order to
| | 03:51 | nudge that layer around, and I've
completely nudged it out of alignment, was
| | 03:55 | looking pretty good there for a second
until I made a mess of things but I just
| | 03:59 | wanted to show you how it works.
| | 04:01 | At some point you should see
everything just kind of fuse in the place.
| | 04:04 | And what you need to do, you might
want to go ahead and switch from Multiply
| | 04:08 | back to Normal so that you're seeing
just the image that you're working on and
| | 04:13 | nothing more, and then turn it off,
and then turn it back on, and in my case,
| | 04:18 | I saw a little bit of movement I think,
so I'll nudge it again, and then turn
| | 04:22 | it off and back on.
| | 04:23 | It's little high just trying to show
you how you can get things exactly aligned
| | 04:27 | if you want to, and then I'll turn it off, turn
it back on, and it looks like we have alignment.
| | 04:33 | I don't know, looks fine.
| | 04:34 | Anyway I'm going to switch that
Blend mode back, however, from Normal to
| | 04:38 | Multiply because, after all,
let me show you why here.
| | 04:42 | I'll go ahead and press Shift+Tab in
order to hide the right side panels, and
| | 04:46 | then press Ctrl+ 0 to zoom out.
| | 04:49 | And notice that this image is so huge
that it covers just about every shred of
| | 04:54 | the template here, so it's covering
the other two glasses, and it's going to
| | 04:59 | be in front of the other two glasses
covering them up as well after we create them.
| | 05:03 | So press Shift+Tab to bring back those panels.
| | 05:06 | We want the Blend mode to long-term
be set to Multiply, so go ahead and
| | 05:10 | switch it, like so, and we'll be
able to see the image and the template at
| | 05:14 | the same time. And that, folks, is
how you rotate a layer with absolute
| | 05:19 | authority here inside Photoshop.
| | Collapse this transcript |
| Scale, duplicate, and repeat| 00:00 | In this movie we'll scale and duplicate
the glass artwork twice in a row and in
| | 00:05 | doing so we'll take advantage of a
little known step and repeat function that's
| | 00:09 | only available from the keyboard.
| | 00:12 | So first thing you want to do is make
sure the glass layer is selected, as it is
| | 00:17 | in my case here inside the layers panel.
| | 00:19 | Then I'll go ahead and hide the panel again
by pressing Shift+Tab, and notice here
| | 00:23 | under the Edit menu, you got the Free
Transform command Ctrl+T, or Command+T on a Mac.
| | 00:28 | But you don't have any
transform and duplicate function.
| | 00:32 | You got this transform Again function,
which will come in handy in just a
| | 00:35 | moment, but there's no duplicate.
| | 00:37 | Well, this feature is available only
from the keyboard and the idea is you add
| | 00:43 | the Alt key to the Standard keyboard shortcut.
| | 00:46 | So if you want to duplicate a layer as
you transform it, you press Ctrl+Alt+T
| | 00:50 | here on a PC, or Command+Opt+T on a Mac.
And so that's what we're going to do.
| | 00:55 | I'll go and press Ctrl+Alt+T, or Command+Opt+T
on a Mac, and if you have your
| | 01:00 | layers panel up on screen right now,
at first you're not going to get any
| | 01:04 | indication that you're actually creating
a new layer, but then when you drag the
| | 01:08 | image to a new location, it becomes
very evident that, yes indeed, you are
| | 01:12 | creating a new version of the image.
| | 01:14 | Now I'm going move this version of the
image so the front of the glass is in
| | 01:19 | alignment with the front of the glass
in template, and then I am going to move
| | 01:24 | this target into that location, like so.
| | 01:26 | So that's going to be the
center point for our scale operation.
| | 01:30 | Now I'll go up to the Options bar
and click on the chain to lock down the
| | 01:34 | proportions, then click on the W to
select Width value and change it to 68%
| | 01:39 | and press the Enter key, or the Return
key on the Mac, in order except that
| | 01:42 | initial change here. And you should
see something that looks like this, so in
| | 01:47 | another words, the active glass should more or
less align with the template in the background.
| | 01:52 | Make sure Interpolation is set to bicubic,
and then press the Enter Key, or the
| | 01:56 | Return key on the Mac, in
order to accept that change.
| | 01:59 | Now this time I don't want you to spend
a lot of time nudging the glass around
| | 02:03 | in order to fix the alignment.
| | 02:04 | Because we need to immediately create
this next glass, and you can do it in a
| | 02:10 | single keystroke, but I
want to know what's up here.
| | 02:13 | If you go to the Edit menu and choose a
Transform command you'll see that first
| | 02:17 | command that I mentioned a moment ago.
| | 02:19 | Again, so in other words we're going to
Transform > Again, and it has a keyboard
| | 02:24 | shortcut of Ctrl+Shift+T,
or Command+Shift+T on a Mac.
| | 02:27 | Well as you might imagine if you
add the Alt key, then you're going to
| | 02:31 | transform a copy again, that
would be the Option Key on a Mac.
| | 02:35 | So what you do is mash your fist T,
that is Ctrl+Shift+Alt+T on a PC, or
| | 02:40 | Command+Shift+Option+T on the Mac,
and that goes ahead and automatically
| | 02:44 | creates that next glass.
| | 02:46 | Now press Shift+Tab to bring back the
panels, at this point I want to go ahead
| | 02:51 | and reverse the order of these layers.
| | 02:53 | So click on the first glass layer
and Shift-click on a last in order to
| | 02:57 | select that entire range, and then
go up to layer menu choose Arrange and
| | 03:01 | choose the final command Reverse, and that
will go head and reverse the order of the glasses.
| | 03:06 | Than I am going to double-click on the
name of the first glass and change it to
| | 03:10 | glass 1, then I'll press the tab key to
advance to the name of the second glass
| | 03:15 | and change it to glass 2, and then I'll
press tab again to advance the name of
| | 03:19 | the third glass and change it to glass
3. And now what we want to do is clean
| | 03:24 | things up a little bit, we don't want
to see that template in the background.
| | 03:27 | So the easiest way to work, unless you
want to destroy the background art, which
| | 03:31 | I don't recommend, is to press Ctrl+Shift+N,
or Command+Shift+N on a Mac, to create
| | 03:36 | a new layer, call it white, click OK,
and then press Ctrl+Backspace, or
| | 03:40 | Command+Delete on a Mac, in order to
fill that layer with white. And then just
| | 03:44 | make to sure that you've got things
properly aligned, click on the Colors layers
| | 03:48 | and turn it on, and you can see that
we've these big areas of garish color.
| | 03:52 | Go ahead and change the Blend mode for
colors, from Normal, in the upper left
| | 03:56 | corner of the layers panels, to Color,
and you will end up colorizing glasses.
| | 04:01 | And with any luck, everything should
be copacetic, in other words to second
| | 04:06 | glass should be entirely green, the
elements from the third glass should be
| | 04:10 | entirely yellow, and then finally,
all the stuff associated with the first
| | 04:14 | glass should be entirely blue. It looks
like everything is fine for me, so I'll
| | 04:19 | go ahead and zoom out, so we can take
in the entire artwork. And that's how you
| | 04:23 | quickly Scale and Duplicate layers in a kind
of step and repeat fashion, here inside Photoshop.
| | Collapse this transcript |
| Creating a synthetic star field| 00:00 | In this movie I'll show you how to
create this synthetic star field background,
| | 00:04 | and while it's not technically
transformation, it will transform the scene from
| | 00:08 | what we have now, and it's pretty fun.
| | 00:11 | So I'm going to Shift+Tab to bring
back my panels here, and I'm going to turn
| | 00:15 | off that colors layer, and I'm going
to click on the top glass layer and
| | 00:19 | drop down to the Black/White icon right
there, and I'm going to choose the Invert
| | 00:23 | command, and that will go ahead and
create an Invert adjustment layer.
| | 00:28 | Notice it doesn't have any options in the
Properties panel which begs the question.
| | 00:31 | Then why are you showing me this?
But in any case now we have white
| | 00:35 | glasses against the black background
because the Invert adjustment layer is
| | 00:39 | reversing the luminance of
everything below it. All right.
| | 00:42 | Now I'll click in the colors
layers to make it active, and I'll press
| | 00:46 | Ctrl+Shift+N, or Command+Shift+N on the
Mac, to bring up the New Layer dialog box,
| | 00:50 | call the layer, noise, and click OK.
| | 00:52 | Then go ahead and dial in a B value
of 15% for your foreground color, I've
| | 00:58 | already done this in advance, but we
want to color that's almost but not quite black.
| | 01:02 | Then press Alt+Backspace or,
Option+Delete on the Mac, to fill this layer
| | 01:06 | with that very dark gray.
| | 01:08 | Now it creates synthetic stars using a
couple of filters, and I want to apply
| | 01:13 | them as dynamic Smart filters.
| | 01:15 | So I'll right-click on this image and
choose Convert to Smart Object, then go up
| | 01:20 | to the Filter menu, choose
Noise and choose Add Noise.
| | 01:24 | The settings we're looking for are an
Amount value 20%, Distribution set to Gaussian.
| | 01:29 | Monochromatic should definitely be
turned on, otherwise you're going to get
| | 01:33 | very colorful noise.
| | 01:35 | And by the way, in case you're
interested in the function of the Distribution
| | 01:38 | option, Uniform evenly distributes the
luminance of the noise, where Gaussian
| | 01:42 | pushes the noise outward, so you have
more dark and light noise, meaning you
| | 01:46 | have a higher degree of contrast.
Then click OK to add that Smart Filter.
| | 01:51 | Now we're going to have a lot of layers,
so I'm going to right-click inside this
| | 01:55 | empty filter mask, and I'm going to
choose Delete Filter Mask to get rid of it.
| | 01:59 | Next, you want to go up to the Filter
menu, choose Blur and choose Gaussian
| | 02:03 | Blur, and you want to set
the Radius value to 2 pixels.
| | 02:07 | Now I know that doesn't look like
anything you would want in a million
| | 02:10 | years, but as soon as you click OK,
you're actually done with the first
| | 02:14 | phase of the effect.
We're done working on this layer anyway.
| | 02:17 | Now we need to increase the
contrast using a Levels Adjustment layer.
| | 02:21 | So press the Alt key, or the Option key
on the Mac, click the Black/White icon at
| | 02:25 | the bottom of layers panel and choose
the Levels command, and that will go ahead
| | 02:30 | and bring up the New Layer dialog box.
| | 02:32 | Let's call this layer starmaker, and
then turn on the check box Use Previous
| | 02:37 | layer to Create Clipping Mask, and that way
it we'll affect this layer, and this layer only.
| | 02:42 | Now click OK in order to switch over to
the Properties panel, and you may need
| | 02:47 | to adjust these settings a little bit,
but here's what I came up with, and it
| | 02:50 | seems to work pretty consistently.
| | 02:52 | Click in the Black Point value and
change it to 55, and then tab over to the
| | 02:56 | White Point value and change it to 65.
| | 02:59 | That's not enough stars for you, you can
reduce the White point value and reduce
| | 03:03 | the Black point value as well.
| | 03:05 | If you're seeing too many stars then
raise the Black point value, and then raise
| | 03:10 | the White point value in kind.
| | 03:11 | So, anyway, you should see an
effect that looks something like this.
| | 03:15 | Then close the Properties panel.
| | 03:17 | If you take a very close look at the
scene I'm going to zoom in here, you'll see
| | 03:21 | that a lot of the noise is kind of
piled against the edges, so we're seeing all
| | 03:26 | these noise grabs at the top and
around the sides as well, and to solve that
| | 03:31 | problem we need to scale the Smart Object.
So click on the noise layer to make it active.
| | 03:35 | Then I'll press Shift+Tab to hide
those panels, and press Ctrl+0, and then
| | 03:42 | Ctrl+Minus, or Command+Minus, a
couple of times in order to zoom out from
| | 03:46 | the scene, so I've a little room to work,
and I'll press Ctrl+T, or Command+T on
| | 03:51 | the Mac, in order to enter
the Free Transform mode.
| | 03:54 | Now this message right here is
telling you that when you're transforming a
| | 03:59 | Smart Object, its Smart Filters
will be turned off, and so that's just
| | 04:04 | something to bear in mind.
| | 04:05 | In other words, we're going to totally
lose the effect, so click OK, and you're
| | 04:09 | just going to see a layer of blackness
now because that 15% gray has gone black
| | 04:15 | thanks to the Levels Adjustment layer.
| | 04:17 | And what you want to do is click on
the little Link icon up here in the
| | 04:21 | Control panel and increase the Width
value to something like 110 and press
| | 04:27 | the Enter key a couple of times in
order to accept that change, and as soon as
| | 04:31 | you press the Enter key the second
time, Photoshop scales the layer and
| | 04:36 | reapplies the Smart Filters.
| | 04:38 | So you may end up getting a slightly different
effect, I'm going to go ahead and zoom back in.
| | 04:43 | The final thing that we want to do is
drop out these blacks so we can see the
| | 04:46 | martini glasses in the background.
| | 04:48 | So I'll press Shift+Tab in order to
bring back my panels, and I'll change
| | 04:52 | the Blend mode from Normal to Screen, and
we end up getting this fanciful effect here.
| | 04:57 | All right I'm also going to turn on these text
layers right there, and so I'll just drag
| | 05:04 | across that Eyeball column, like so, in
order to turn them on, and so as promise
| | 05:08 | we've managed to entirely transform the
scene by adding a synthetic star field
| | 05:13 | that we created using a combination of
Smart Filters and a Levels Adjustment
| | 05:17 | layer here inside Photoshop.
| | Collapse this transcript |
| Warping a logo with Arc and Flag| 00:00 | In this movie we're going to wave the
logo text by applying a special kind of
| | 00:04 | transformation known as Warp.
| | 00:06 | I am going to switch to my image in
progress, and then press Shift+Tab to bring
| | 00:10 | up the right side panels.
| | 00:12 | Notice this martini hour layer is a
shape layer, meaning, I converted the text
| | 00:16 | to vector-based shapes, and I did
that because I was using a special font.
| | 00:21 | Now if I were to warp text, if this
were actual text, then Photoshop would keep
| | 00:25 | track of my settings and
warp the text temporarily.
| | 00:28 | So I could change my mind later if I
wanted to, but when you're working with the
| | 00:32 | shape layer, even though your
modifications are technically nondestructive
| | 00:36 | because you're working with vectors.
| | 00:38 | So you can scale and rotate and
distort and warp as much as you want.
| | 00:43 | Problem is though, you are going to do
so permanently, which means you're going
| | 00:46 | to permanently modify
the outlines of the shapes.
| | 00:49 | And let me show you what I mean by that.
| | 00:50 | I am going to press Ctrl+H, or Command+H
on a Mac, to hide the outlines, and I'm
| | 00:55 | going to Shift+Tab away the panels.
| | 00:57 | Now there are two ways to get to Warp
mode, and one is to go the Edit menu,
| | 01:01 | choose Transform, and choose Warp,
that will take you directly there.
| | 01:05 | Or if you want to be able switch back
and forth between the Free Transform mode
| | 01:09 | and the Warp mode, then choose Free
Transform or press Ctrl+T, or Command+T on
| | 01:13 | the Mac, and then go ahead and click
on this a little Warp icon in order to
| | 01:17 | switch into the Warp mode.
| | 01:19 | Now let's say I want to apply an Arc,
for example, I'll go ahead and click on
| | 01:23 | this pop up menu, up here in the
Options bar and notice you've a long list of
| | 01:28 | different styles of Warp that you can apply.
| | 01:31 | And the little icons pretty much tell
the story, you can try them out if you
| | 01:35 | like, but I'm going to select Arc, and
now notice were arcing the heck out of
| | 01:39 | this text, so I'll go and zoom out, so
I can take things in from a far here.
| | 01:44 | And in addition to changing this Bend
value, you can drag this handle at the top
| | 01:49 | of the arc and all the styles will warp,
by the way, provide handles, and I'll
| | 01:53 | go ahead and drag this guy down, like so.
| | 01:56 | and take the Bend value to sure -23.5,
I don't really care that much, and now
| | 02:01 | I'm going to drag the text upward, and
I want to go ahead and Bend the bottom
| | 02:07 | outward, so notice we've these H and V
values right there, that's Horizontal and
| | 02:12 | Vertical perspective that you can apply.
And I am going to press Shift+up arrow
| | 02:17 | in order to take that
value up to 16%, that's fine.
| | 02:22 | Now the text is too big, so I need to
scale it, so I'll go ahead and exit the
| | 02:26 | Warp mode, by clicking on the Warp
icon once again, so now we're back to the
| | 02:30 | Standard Free Transform mode, and I'm
going to press the Shift+Alt keys, or the
| | 02:35 | Shift+Option keys on the Mac, and drag a
corner handle, and the reason I have the
| | 02:39 | keys down is that the Shift key
constraints the proportions and the Alt or
| | 02:43 | Option key, lets me scale with
respect to the center, as opposed to from one
| | 02:48 | corner to the opposite corner.
| | 02:50 | Now I'll press Shift+right arrow to
go ahead and center that text there,
| | 02:53 | and I'll press the Enter key, or the Return
key on a Mac, in order to accept my change.
| | 02:57 | All right now let's take a look at our shapes.
| | 03:00 | I'll press Ctrl+H, or Command+H, to bring
back the outlines, and I'll press the A
| | 03:04 | key to get my black arrow tool, and if
I click on this H, which is all loopy
| | 03:09 | now, I can see that it's
been permanently modified.
| | 03:13 | So Photoshop has added some anchor points in
places and really warp the heck out of that path.
| | 03:20 | So what that means is if I click off
the path to deselect it, and then press
| | 03:23 | Ctrl+H, or Command+H again, in order to
hide those outlines and press Ctrl+T, or
| | 03:29 | Command+T on a Mac, in order to enter
the Free Transform mode, and then click
| | 03:34 | on a little Warp icon, we're starting over.
| | 03:36 | It's set to Custom
because we haven't done anything.
| | 03:38 | What I'm saying is I am not a big fan of
this approach, and I don't recommend it.
| | 03:42 | Here's what you should instead.
| | 03:44 | I'm going to backup by pressing Ctrl+Alt+Z,
or Command+Option+Z on a Mac, in order
| | 03:48 | to get back my original text, and then
I'll press Shift+Tab to bring back the
| | 03:52 | layers panel, and I am going to convert
these shapes into a Smart Object, that
| | 03:56 | way Photoshop will
remember any settings I apply.
| | 03:59 | And so I'll do that by pressing the
M key to switch back to the Rectangle
| | 04:03 | Marquee tool and right-clicking inside the
image and choosing Convert to Smart Object.
| | 04:08 | Go ahead and press Shift+Tab
to hide the panels again.
| | 04:11 | And press Ctrl+T, or Command+T on a Mac,
in order to enter the Free Transform mode and
| | 04:16 | click on the Warp icon in order to
enter the Warp mode, let's go and zoom out
| | 04:21 | a click here, and I'm going to
switch from Custom, this time, to Flag, and
| | 04:26 | that'll give me this
flag wave that you see here.
| | 04:29 | Now I'll drag up on this handle,
see it's over here on the left-hand side.
| | 04:34 | I'll go ahead and drag upward until
the wave goes in the opposite direction
| | 04:38 | and ultimately I'm looking for a Bend
value of -15%, and then I'll press the
| | 04:45 | Enter Key, or the Return key on the Mac, a
couple of times in order to accept that change.
| | 04:50 | And just to give you a sense for the
difference here, I'll go and zoom in.
| | 04:54 | I'll press Ctrl+T, or Command+T again,
click on a Warp icon again, and you can
| | 04:59 | see that all of the information is
stored and ready for me to modify.
| | 05:04 | Photoshop remains aware of that warp,
as long as you are wrapping a Smart
| | 05:09 | Object or a Text layer.
| | 05:11 | But if you're wrapping a Shape layer or
a Pixel-Base layer, it does not remain
| | 05:15 | aware of that information.
| | 05:17 | I'm just going to press the Escape key
in order to exit the mode without making
| | 05:21 | any further changes.
| | 05:23 | So that's how you apply a Warp
either to Text or a Shape layer or a Smart
| | 05:28 | Object, here inside Photoshop.
| | 05:30 | In the next movie I'll
show you how to slant and distort.
| | Collapse this transcript |
| Distort, perspective, and skew| 00:00 | In this movie I'll show you to distort
and skew a layer using free transform.
| | 00:05 | So the first thing I'm going to do here
is press Shift+Tab to bring up my right
| | 00:09 | side panels, and I am going to press Ctrl+J,
or Command+J on a Mac, to make a copy
| | 00:15 | of this layer, and then I'll go ahead
and turn off the original. And the reason
| | 00:19 | I'm doing this is because Photoshop
does not numerically track distortions, and
| | 00:25 | as a result, you can't really get back
your original artwork after you distort
| | 00:29 | it unless you create a copy to
keep the original say from harm.
| | 00:34 | Having done that, now I'll press Shift+Tab
in order to hide those panels, and
| | 00:38 | I'll press Ctrl+T, or Command+T on a
Mac, in order to enter the Free Transform
| | 00:42 | mode, and we have seen how if you drag
one of these eight handles that surrounds
| | 00:46 | the boundary, you're going to scale.
| | 00:49 | So if I Shift+Alt, or Shift+Option, drag,
for example, I am just going to scale
| | 00:53 | proportionally with respect to the center.
| | 00:56 | However, there is one key outstanding,
and that is the Ctrl key here on the PC,
| | 01:00 | or the Command key on Mac.
| | 01:02 | So if you Ctrl-drag a handle,
then you're going to move that handle
| | 01:05 | independently of the other ones, and
as a result, you're going to create the
| | 01:09 | style of 4 point distortion.
| | 01:11 | As I say, even though we're seeing
this heads up display that's telling me
| | 01:14 | 27.2 degrees--whatever that means--I mean, I
am dragging a point by itself, so I am not
| | 01:20 | sure what that's in reference
to, some sort of skew value.
| | 01:23 | We do not see that value tracked up here
in the Options bar, that's why too much
| | 01:27 | distortion can be a dangerous thing.
So that's one way to work.
| | 01:31 | I'm going to go ahead and press the
Escape key in order to escape the Free
| | 01:34 | Transform mode without applying my
changes, then I'll press Ctrl+T, or Command+T
| | 01:39 | again, and I'll Shift+Alt, or Shift+
Option-drag, that corner handle in.
| | 01:44 | And might as well actually establish
some settings that I am going to use
| | 01:49 | in the future here.
| | 01:50 | I am going to turn on that Link icon,
and I'm going to change Width value
| | 01:54 | to 94.5 because that ended up being a good
size for this text, after I'm done skewing it.
| | 01:59 | So I'll press the Enter Key, or the
Return Key on the Mac, a couple times in order
| | 02:03 | to apply that change.
| | 02:04 | Now I'll press Ctrl+T, or Command+T, again
you can sort of ladle on the keys as
| | 02:10 | you drag the corners.
| | 02:11 | So if you press Ctrl+Shift at the same
time, that's Command+Shift on the Mac,
| | 02:16 | you're going to constrain
the angle of that distortion.
| | 02:20 | So, in other words, you're going to
drag the point either exclusively
| | 02:23 | horizontally or
exclusively vertically, like so.
| | 02:26 | I'll press Ctrl+Z, or Command+Z
on a Mac, to undo that change.
| | 02:30 | If you press the Ctrl+Alt key, that's
Command+Option on a Mac, and drag a handle,
| | 02:35 | then you'll also move its opposing handle.
| | 02:38 | So you'll skew in this case the logo in both
directions, both horizontally and vertically.
| | 02:43 | I'll undo that change as well, and
then if you press Ctrl+Shift+Alt, or
| | 02:49 | Command+Shift+Option on the Mac, and
drag one of these handles, then you'll
| | 02:53 | create a kind of perspective effect.
Either vertically, like so,
| | 02:58 | or you modify the horizontal
perspective, if you drag up or down.
| | 03:03 | I want to undo that too, because
what I'm interested in doing is skewing.
| | 03:07 | And skewing, you do by Ctrl-dragging, or
command-dragging, either one of the side
| | 03:12 | handles or the top or bottom handle.
| | 03:14 | I want to skew this text vertically, so
I'm going to Ctrl-drag, or command-drag,
| | 03:18 | the right-handle up, like so, and I
also want to constrain the angle of my
| | 03:23 | drag, so I'm going to
press the Shift key as I drag.
| | 03:26 | So I'm Ctrl+Shift-dragging at this point,
that would be Command+Shift-drag on a
| | 03:30 | Mac, and now I am going to add the Alt
key, because that way I'm skewing with
| | 03:36 | respect to the center of this logo.
| | 03:39 | So all keys down at this point,
by the way, Ctrl+Shift+Alt,
| | 03:43 | that's Command+Shift+Option on the Mac,
and I want -1 degrees of skew, and you can see
| | 03:48 | the heads-up display is telling me,
I'm right at -10 degrees, which is perfect.
| | 03:52 | So I'll go ahead and release, and then
I'll press the Enter key, or the Return
| | 03:56 | key on the Mac, in order
to apply that modification.
| | 03:59 | Now I'll press Shift+up arrow a couple of
times in order to nudge that logo up. That's it!
| | 04:04 | We have now managed to successfully
skew the logo by Ctrl+Shift+Alt, or
| | 04:10 | Command+Shift+Option, dragging a
side handle in the Free Transform mode.
| | Collapse this transcript |
| Using transformations to draw and correct| 00:00 | At this point our logo
is pretty fragile looking.
| | 00:03 | I want to bolster it up as
in the case of the final logo.
| | 00:08 | So that's going to mean a couple of things.
| | 00:10 | First of all, we're going to add this
triple underline effect, and we'll do that
| | 00:14 | by using transformations within
transformations, and then we'll add weight to
| | 00:18 | letters using layer effects.
| | 00:21 | So I'll switch back to my image in
progress, press Shift+Tab in order to bring
| | 00:25 | up the right side panels.
| | 00:26 | Now at this point we want to modify
the contents of the Smart Object because
| | 00:30 | that's the easiest way to make sure that
those under lines wave along with the text.
| | 00:34 | And to modify a Smart Object
you double-click on its thumbnail.
| | 00:38 | So I'll double-click on the thumbnail
for the martini hour layer, and you're
| | 00:43 | going to get this big alert message, and
basically what it boils down to is, make
| | 00:46 | sure to save your changes back into
the larger composition, I'll show you how
| | 00:50 | that works, don't use the Save As command.
| | 00:53 | So go ahead and click OK to open that
Smart Object, and now we are going to make
| | 00:58 | the series of three changes to the
canvas size just to make sure that we're
| | 01:02 | getting everything right.
| | 01:03 | So go up to the Image menu and choose
the Canvas Size command, and we are going
| | 01:07 | to start things off in pixels, always
pixels, and I am going to turn on the
| | 01:12 | Relative check box, and I am going to
change the Width value to 100, and then
| | 01:16 | I'll change the Height value to 100 as well.
| | 01:18 | Make sure this center square is
selected, and then click OK, and that adds 50
| | 01:23 | pixels all the way around, 100 in
one direction, and 100 in the other.
| | 01:27 | Now let's do it again by going up to
the Image menu and choosing Canvas Size.
| | 01:32 | And the reason we're re-choosing this
command is because we're trying to control
| | 01:36 | exactly where the new pixels are distributed.
| | 01:39 | So this time I'll change the Height
value to 100, not inches, but rather
| | 01:43 | pixels, very important, and I want the
top center square to be selected, then
| | 01:48 | click OK, that adds 100 pixels at the
bottom of the image, and then finally, we
| | 01:53 | just want to get the right distribution
here--and this was just a trial and
| | 01:57 | error thing on my part.
| | 01:58 | I am going to going to choose Canvas
Size a third time, turn off the Relative
| | 02:02 | check box, make sure to switch to
pixels, change the Height value to 842, and
| | 02:09 | then click the bottom square, so that
we're adding these new pixels to the top
| | 02:13 | of the image, and then click OK.
| | 02:16 | That's going to give us the
room that we need to work.
| | 02:19 | Now let's go ahead and zoom in on the
lower right region of the image near the
| | 02:23 | bottom of R, and we're going to draw a line.
| | 02:26 | So go ahead and select the Line tool
from the Shape tool flyout menu, and you
| | 02:31 | may wonder why the line tool is
organized along with the Shape tools.
| | 02:33 | Well it actually draws very
thin rectangles, is the reason.
| | 02:38 | Now I want you to set your Weight value
up here to 5 pixels, and you may recall
| | 02:42 | that you can do that if you like by
pressing the right square bracket key.
| | 02:46 | In my case, I am pressing Left square bracket
to move it back to where it was, and now I'm
| | 02:50 | going to draw a line, like so, while pressing the
Shift key, and I want it to be directly below the U.
| | 02:56 | See how it touches the U there, and now I'll go ahead
and auto-scroll over to the left-hand side of the screen,
| | 03:03 | there we go, all the way pass the M, like so.
| | 03:07 | Let's go back to where we were here, just
tossing the image around, and I want to
| | 03:11 | make sure that I've gone far enough,
but not too far, so I'll go ahead and get
| | 03:15 | my Lasso tool by pressing the L key,
and I'll Alt-click, like so, down the
| | 03:20 | length of R just to draw a selection
outline that takes me down to the line, and
| | 03:26 | I need to move my line over a little bit.
| | 03:28 | So I'll grab my Path Selection tool,
the black arrow, click on this line
| | 03:32 | to select it and move it so that its
upper right corner point is touching
| | 03:36 | that selection outline.
This looks like a pretty good place to start.
| | 03:39 | Now at this point, I want you to press
Shift+down arrow three times in a row,
| | 03:44 | one, two, three, in order to move that
line down, and now we need to move the
| | 03:49 | line over again, so its upper-right
point aligns to that selection outline.
| | 03:53 | That's a good place to start,
that's our first underline.
| | 03:55 | I'll press Ctrl+D, or Command+D
on a Mac, to deselect the image.
| | 03:59 | Notice I have a new shape layer, I am
going to call it underlines, and then
| | 04:03 | press the Enter key, or the Return key on a Mac.
| | 04:06 | We've got this empty layer, every
once in a while Photoshop throws an empty
| | 04:09 | layer into a Smart Object.
| | 04:10 | I am just going to select and press the
Backspace key, or the Delete key on a Mac.
| | 04:15 | Go back to underlines and make sure
the line is selected with a black arrow.
| | 04:19 | Then let's go ahead and zoom out by
pressing Ctrl+0, or Command+0 on a Mac, and
| | 04:24 | I want you to press Ctrl+Alt+T because we
are going to make a duplicate of this line.
| | 04:28 | That would be Command+Option+T on
the Mac, and you'll see these Placement
| | 04:32 | options up here, notice this little
triangle, if you click on it to make it
| | 04:36 | active, then you can enter
relative values, because that's a delta.
| | 04:40 | So instead of absolute positioning
values, you can enter relative values, for
| | 04:44 | example, I want to move this line 35
pixels down, so I'll enter 35 for the Y
| | 04:50 | value, and 20 pixels to the left, so
I'll enter -20 for the X value, and then
| | 04:56 | I'll press the Enter key, or the Return
key on a Mac, a couple of times in order
| | 05:01 | to apply that change, and because we
press Ctrl+Alt+T, or Command+Option+T on a
| | 05:05 | Mac, we went ahead and
created a duplicate of that line.
| | 05:08 | Now all you need to do to create a
third line is press Ctrl+Shift+Alt+T, or
| | 05:12 | Command+Shift+Option+T on a Mac, and
that goes ahead and power duplicates a
| | 05:16 | third copy, all right that's it, we are done.
| | 05:20 | Here is what that alert
message was talking about.
| | 05:22 | We want to go ahead and close
this image, this is the safest way to
| | 05:25 | work generally speaking.
| | 05:26 | And on a PC you want to click the
Yes button, on a Mac you want to click
| | 05:31 | the Save button, in order to save your
changes not to disk, but rather into
| | 05:35 | the composition itself.
| | 05:37 | Now right off the bat, it's going to
look horrible, that's okay, we can fix this.
| | 05:41 | I'll press Shift+Tab in order to hide
those right side panels, and I'll press
| | 05:46 | the M key to switch back to
the Rectangular Marquee tool.
| | 05:49 | Now you want to press Ctrl+T, or
Command+T on a Mac, in order to enter the
| | 05:54 | Free Transform mode.
| | 05:55 | And here is our problem, right here, our
Width and Height values have changed on us.
| | 05:59 | And the reason is the layer itself is
still the same size, but we increased the
| | 06:03 | size of this shape inside of this Smart
Object, so as a result it's gotten kind
| | 06:07 | of smushed in there.
| | 06:08 | So here is the solution, go ahead and
click on the chain icon to link these
| | 06:12 | values, and then click W and change
that value to 94.5%, and then before you
| | 06:18 | exit the Free Transform mode,
select this top left Reference point.
| | 06:23 | Make sure that the delta is turned off,
click on the X in order to select it
| | 06:28 | and change it to 0, and then tab to
the Y value and change it to -100, and
| | 06:34 | press the Enter key, or the Return on a Mac, a
couple of times in order to accept that change.
| | 06:39 | So that takes care of the underlines,
we created those underlines using
| | 06:43 | transformations, and then when we pop
back up, Photoshop automatically warp
| | 06:48 | the lines as well, along with the type, thereby
creating transformations within transformations.
| | 06:55 | In the next movie, we'll thicken up those
letters by applying some layer effects.
| | Collapse this transcript |
| Bolstering text with layer effects| 00:00 | In this movie we'll thicken up the
letters using layer effects--which is a
| | 00:04 | little bit tricky because of the
degree to which we've distorted these shapes--
| | 00:08 | and also darken up the background a
little bit with the gradient layer.
| | 00:12 | So, if you're working along with me,
bring up your layers panel, make sure the
| | 00:16 | martini hour layer is selected, and
then click on the fx icon and choose Stroke,
| | 00:21 | because that's the easiest way to
thicken up anything in Photoshop.
| | 00:26 | I'm going to raise the Stroke value to
2 points, I want the Position of the
| | 00:30 | Stroke to be Outside for this effect,
and I want the Color not to be black of
| | 00:35 | course, but rather to match the letters.
| | 00:37 | So I'll change it to white, and then I'll click OK,
and suddenly the letters thicken tight up.
| | 00:42 | Problem is they don't thicken up well. If
you go ahead and zoom in on your image,
| | 00:47 | you'll see that we've got a
lot of chop going on here.
| | 00:50 | So we've got some jaggy transitions
that are caused by the Stroke, by the way.
| | 00:54 | If you turn the Stroke off,
everything's nice and smooth. Turn the Stroke on,
| | 00:58 | and we've got problems. All right!
So I'm going to back out to 100%.
| | 01:02 | The solution when that happens, and
it's not necessarily a perfect solution is
| | 01:07 | to go with the Outer Glow effect instead,
so I'm going to go ahead and turn off
| | 01:11 | Stroke, and then turn on Outer Glow.
| | 01:14 | We definitely want the color to be white, and
I'm going to take the Opacity value up to 100.
| | 01:19 | You can set the Blend mode to
Normal actually for this effect.
| | 01:24 | We want the Size value to be quite low just 2
pixels, but we want that Spread to be pretty high.
| | 01:30 | So I'm going to take the Spread value up to 50%.
| | 01:33 | Make sure Technique is set to Softer, and you can
see that we're making a big difference here.
| | 01:37 | This is before, and this is after, so
we're really thickening up those letters.
| | 01:41 | We still have a few tricky areas, but
they're a lot softer thanks to the effect
| | 01:46 | that we're not taking the Spread
value all the way up to 100%.
| | 01:49 | If you take it up to 100, then you're going to
have some jaggy transitions there, so 50% is good.
| | 01:55 | Now I'll click on Drop Shadow to both
select it and make it active as well.
| | 01:59 | I'm going to crank the Opacity value up to 100%.
| | 02:02 | Click on the Color Swatch--it shouldn't
be brown, it wants to be kind of purplish.
| | 02:06 | So I'll change the Hue value to 285 degrees,
I'll reduce the Saturation to 30%,
| | 02:12 | and I'll set the Brightness value to 15%.
| | 02:15 | So we've got a low
saturation, dark purple. Click OK.
| | 02:19 | Now you can leave the Angle value set
to 120 degrees, the Global Light is fine.
| | 02:24 | Raise the Distance value to 14 pixels and then
take the Size value to 16 pixels, and that is it.
| | 02:31 | So go ahead and click OK, and then I'll
press Shift+Tab and zoom out there, and
| | 02:36 | you can see that we have much thicker
letters as a result of these effects.
| | 02:42 | Click on the eyeball to turn the
effects off, very fragile letters at this
| | 02:46 | point, and then turn the effects back
on, and we've got nice meaty letters.
| | 02:51 | Now I'd like the text to pop better from
the background, and mostly we're having
| | 02:55 | problems near at the bottom of the image here.
| | 02:58 | We're going to fix this problem with the
Gradient Fill layer, which you create by
| | 03:02 | first switching to this starmaker layer
so that we create the layer on top of it
| | 03:07 | and behind the text, and then press
the Alt key, or the Option key on the Mac,
| | 03:11 | drop down to the little Black/White
icon, click and hold it, and then choose
| | 03:14 | Gradient, and that will bring up the
New Layer dialog box, and I'll call this
| | 03:19 | guy dark grad, and then click OK, and we
can see here that the Gradient layer is
| | 03:25 | coming out black to transparent by
default, and it's filled with the foreground
| | 03:30 | color which is at 15% brightness.
| | 03:33 | Here's what I want to do, I'm going
to cancel all the way out here because
| | 03:36 | there is a way to expedite this process so we
don't have to create and elaborate gradient.
| | 03:40 | You just need to go and dial in that
same value we entered for the Drop Shadow
| | 03:45 | into the Color panel.
| | 03:46 | So I'll change the Hue value to 285, Saturation 30%,
and then a Brightness value of 15% is just fine.
| | 03:53 | Now rerun that same operation, press
the Alt key, Option key in a Mac, click
| | 03:58 | the Black/White icon, choose Gradient,
call it dark grad, and then finally,
| | 04:03 | click OK, and you'll see this time that we've
changed our colors to this dark shade of purple.
| | 04:10 | And see how there is two
color swatches on either side?
| | 04:13 | Both colors have changed to that dark
purple, which is exactly what we want,
| | 04:16 | because we don't want it fading colors
while it's fading opacity, and the opacity
| | 04:21 | is determined by these top Stops.
| | 04:23 | So we've got 100% opacity on the left
and 0% opacity on the right. All right!
| | 04:28 | Anyway, cancel out of there.
| | 04:29 | I want this Gradient to go pretty much
from the bottom up as it is. However, I
| | 04:33 | want to increase that Angle value just 1
degree, so it's slightly leaning to the
| | 04:37 | left, and then I'm going to go ahead
and drag this Gradient downward to about
| | 04:42 | here so that it starts outside the
scene and ends before we get to the top of
| | 04:47 | the martini glasses, and then click OK.
And then the final thing to do is to go
| | 04:52 | to the Blend mode pop-up menu in the
upper-left corner of the Layers panel and
| | 04:56 | change it from Normal to Multiply in
order to burn in that that Gradient.
| | 05:01 | And then one more thing. I want to change
the opacity of the forward martini glass--
| | 05:05 | this is just clean-up stuff.
| | 05:07 | So I'm going to scroll down the list,
click on glass 1 in order to select it,
| | 05:11 | make sure I've got one of my Selection
tools active, and then pres the 8 key to
| | 05:15 | reduce the Opacity of that layer to 80%.
| | 05:18 | Now I'll press Shift+Tab in order to hide
those panels, and so we've made some progress here.
| | 05:24 | If I press the F12 key, this is what the
composition looked like before, martini
| | 05:28 | hour wasn't terribly legible at that
point, and if I press Ctrl+Z, or Command+Z
| | 05:32 | on the Mac, here's how the composition
looks now thanks to a combination of
| | 05:37 | layer effects and a Gradient Fill layer
working together here inside Photoshop.
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| Adding highlights with Lens Flare| 00:00 | We're almost done with the project.
Just one more ingredient missing here.
| | 00:04 | We need to add some highlights to
the scene, and we're going to do so by
| | 00:08 | applying the Lens Flare
Filter a couple of times.
| | 00:10 | But we're going to apply Lens Flare
inside the context of a real highlight.
| | 00:15 | So let me show you how that works.
| | 00:17 | I'm going to switch over to this image,
and this is a fragment of a photograph
| | 00:23 | that I shot in which I
captured a flash in a mirror.
| | 00:26 | And so basically, we have
just this burst of light.
| | 00:29 | We're going to convert this burst of
light into blackness and then put the lens
| | 00:34 | flares inside that blackness.
| | 00:36 | So just stick with me here,
you'll see how it works.
| | 00:39 | First thing we need to do is convert
everything that's white to a selection
| | 00:43 | outline and deselect everything that's black, and you
do that by switching over to the Channels panel.
| | 00:48 | We'll learn more about this when we
check out masking in a future course,
| | 00:52 | but for now just go ahead and press the
Ctrl key or the Command key on the Mac
| | 00:56 | and click on the thumbnail for RGB.
| | 00:59 | So a simple Ctrl-click, or command-click, is going
to go ahead and select that splash of light.
| | 01:05 | Now switch back to the layers panel and
press Ctrl+Shift+N, or Command+Shift+N on
| | 01:10 | the Mac in order to create a new
layer and call it splash, then click OK.
| | 01:15 | Now I want you to press the D key to
make the foreground color black, and then
| | 01:19 | press Alt+Backspace, or Option+Delete,
to fill the selection with black.
| | 01:23 | Now it's going to look horrible, but it's
not meant to exist like this inside this image.
| | 01:28 | This image is just here to help us get started.
| | 01:30 | Now press Ctrl+D, or Command+D on the
Mac, in order to deselect the image.
| | 01:34 | And armed with Rectangular Marquee,
right-click inside the image and choose
| | 01:38 | Duplicate layer, and then go ahead and
send this layer to your progress file,
| | 01:43 | which in my case is Darkish
scene, and now I'll click OK.
| | 01:46 | I'll press Ctrl+Shift+Tab, or
Command+Shift+Tab on the Mac, in order to
| | 01:50 | switch over to my image at hand, and you can
see that that blackness has turned white on us
| | 01:56 | just as it was in the original
photo there, and that's because the splash
| | 02:00 | layer has fallen behind Invert 1.
We want it to be up here, above starmaker.
| | 02:06 | So I'll go ahead and drag it up the stack,
and I need to reposition it slightly as well.
| | 02:10 | So press Ctrl+T, or Command+T on the
Mac, to enter the Free Transform mode
| | 02:14 | because this is the best way to get
the positioning exactly right, and then
| | 02:18 | turn on that Delta option there and change the X
value to 60, which will send the layer 60 pixels
| | 02:25 | to the right, and then tab to the Y
value and change it to -50, which will send
| | 02:31 | it 50 pixels upward. And that may
seem strange that a negative value moves
| | 02:35 | things upward and a positive value moves them
downward, but that's the way the Y value works.
| | 02:40 | I'll press the Enter key a couple of
times--that would the Return key on the
| | 02:44 | Mac--in order to change
the position of that layer.
| | 02:47 | Now we're going to want to pile on a
couple of applications of Lens Flare, so we
| | 02:51 | might as well, convert this image to a
Smart Object by right-clicking inside the
| | 02:54 | image window and choosing
Convert to Smart Object.
| | 02:57 | Now I'll press Shift+Tab in order to
hide the right side panels, and I'll go up
| | 03:01 | to the Filter menu, choose
Render, and then choose Lens Flare.
| | 03:05 | Now when the Lens Flare dialog box comes
up, I want you to change the Brightness
| | 03:09 | value to 120% as you see here, and then
inside this dinky little preview, I want
| | 03:16 | you to drag this cross to about this location.
| | 03:20 | So near the top right region of the
sort of black blobbiness in the background,
| | 03:26 | and I believe right there is where I want it.
| | 03:29 | Then I'll go ahead and click OK in
order to apply that effect, and you should
| | 03:33 | fill in the upper-right region pretty nicely.
| | 03:35 | Now let's repeat the filter which we
can do by going up to the Filter menu and
| | 03:40 | choosing the first command, Lens Flare.
And because we're working on a Smart
| | 03:44 | Object, that's going to force
the display of the dialog box.
| | 03:47 | We can stick with these same settings,
but we need to move this guy around
| | 03:50 | back to where I had him a moment ago,
which is over here to the extreme
| | 03:54 | left-hand side of this thing.
Notice there's this kind of arm that comes off.
| | 03:58 | We want to go ahead and put the lens
flare more or less in the center of that arm.
| | 04:02 | Then click OK in order to create more highlight.
| | 04:04 | You can see how this is adding
highlight to our scene especially.
| | 04:08 | I'll go ahead and press Shift+Tab to
bring up the right side panels, and I'll
| | 04:12 | also right-click in that empty filter
mask and choose Delete Filter Mask just to
| | 04:15 | keep my layers from being too confusing.
| | 04:17 | We can keep the whites and drop out
the darks by going up to the Blend mode
| | 04:21 | pop-up menu and changing it from
Normal to Screen, and now you notice all we
| | 04:27 | have is highlights, and the highlights
exist inside the confines of that splash layer.
| | 04:32 | I want to change the second
application of Lens Flare.
| | 04:35 | I want to tone it down.
| | 04:37 | So go ahead and double-click on this
top slider icon in order to bring up the
| | 04:41 | Blending options dialog box and take the
Opacity down to 70% and then click OK.
| | 04:47 | Now let's colorize the effect, and we'll
do that with this splash layer selected
| | 04:51 | by dropping down to the fx icon and
choosing Color Overlay, which is a great
| | 04:56 | method for colorizing any layer.
| | 04:58 | Obviously, we don't want to replace all
the colors in the layer with red, so go
| | 05:03 | ahead and click on the color swatch. And
the color I came up with has a Hue value
| | 05:07 | of 270 degrees, a Saturation
of 10%, and a Brightness of 50%.
| | 05:13 | Then click OK, and now change the
Blend mode from Normal to Color in order to
| | 05:18 | achieve this effect.
Now I'm going to click the OK button.
| | 05:23 | And finally, we want to
diminish the light a little bit.
| | 05:26 | We want to take it down, so I want you
to press the Alt or Option key, click the
| | 05:31 | Black/White icon at the bottom of the
panel, and choose Brightness/Contrast, and
| | 05:36 | I'm going to go ahead and call this
layer just plain old darken, and I'll turn
| | 05:39 | on Use Previous layer to Create Clipping
Mask so that we're affecting the splash
| | 05:43 | layer independently of the rest of
the composition, and I'll click OK.
| | 05:47 | I'm going to take the Brightness value
you down to -40, and then I'll take the
| | 05:53 | Contrast value up to +30.
| | 05:54 | Then I'll press the Enter key, or the
Return key on the Mac, in order to accept
| | 05:59 | that change, and that's it. We're done.
| | 06:01 | I'll press Shift+F in order to enter the
Full-screen mode, and I'll go ahead and
| | 06:05 | zoom in a little bit. And that, dear
friends, is how you exploit the power of
| | 06:09 | transformations here inside Photoshop.
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|
|
19. Liquifying an ImageRemoving the weight that the camera adds| 00:00 | They say the camera adds 10 pounds, so
not surprisingly, some of the most common
| | 00:05 | retouching chores involve nipping,
tucking, and otherwise removing weight.
| | 00:11 | In Photoshop the Remove Weight
command goes by the name Liquify.
| | 00:16 | Located in the Filter menu, the
Liquify command brings up an independent
| | 00:20 | utility with its own collection of tools and options.
Using these tools, you paint in distortions.
| | 00:28 | So for example, you might paint away
a flabby detail by pushing it inward.
| | 00:33 | You tuck away a double chin by shrinking it.
You balance a crooked eye by twirling it.
| | 00:39 | In each case, you do so patiently and
lovingly so as not to add stretch marks.
| | 00:44 | After all, you want the subject of
your photograph to appear natural
| | 00:49 | and altogether recognizable, not freakishly
skinny or otherwise obviously Photoshopped.
| | 00:56 | With some time and effort you can
even learn to change a model's stance or
| | 01:00 | posture for a more flattering pose.
This chapter explains how it works.
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| The Warp and Reconstruct tools| 00:00 | In this movie I will introduce you to
the Liquify Filter, and I'll show you how
| | 00:04 | to work with the Warp and Reconstruct tools.
| | 00:06 | Now the first thing you need to know
about Liquify is that it's a static command,
| | 00:11 | in other words, it makes permanent
modifications to the pixels in an image.
| | 00:15 | And even though it's listed here
under the Filter menu, you can not apply
| | 00:19 | Liquify as a Smart Filter to a Smart Object.
| | 00:22 | So what I recommend you do before
applying the filter is go ahead and make a
| | 00:27 | copy of your image by pressing Ctrl+Alt+J,
or Command+Option+J on the Mac, if
| | 00:32 | only so that you can come back to the
original image if necessary. All right!
| | 00:37 | I'll click OK in order to make that
layer, and then I will go up to the Filter
| | 00:41 | menu and choose Liquify. Notice it has
a keyboard shortcut of Ctrl+Shift+X,
| | 00:45 | or Command+Shift+X on the Mac.
| | 00:47 | The next thing you will see
is this massive dialog box.
| | 00:50 | Liquify is really an independent utility
that just happens to run inside Photoshop.
| | 00:56 | Now I am going to go ahead and zoom in,
and you can see at 50% we get a smooth
| | 01:02 | interpolation of the image, at 66.7% we
get a choppy interpolation, and then at
| | 01:08 | 100% everything looks great again.
| | 01:10 | So my recommendation there is that you
work at 25%, 50%, or best of all 100%
| | 01:17 | so you can really gauge the
quality of your modifications.
| | 01:20 | Now just to make sure you and I are on
the same page, you may want to press the
| | 01:25 | Alt key, or the Option key on the Mac,
and click on what was formerly the Cancel
| | 01:29 | button--it's now Reset--and that will
not only go ahead and reset the image--
| | 01:33 | which of course is unnecessary because
we haven't done anything to it--but it
| | 01:36 | goes ahead and resets all the
options inside the dialog box as well.
| | 01:40 | By default, the Forward Warp tool is selected.
There is nothing forward about it.
| | 01:45 | In other words, lurking in the wings
is not a Backward Warp tool, and so I
| | 01:49 | prefer to just think of this as being
the Warp tool, and you can get to it by
| | 01:54 | pressing the W key--which is worth
remembering because this is by far Liquify's
| | 01:57 | most useful tool--and what it
allows you to do is scoot details around.
| | 02:02 | Now before I begin, I need to increase
the size of my brush, which I can do by
| | 02:06 | modifying the Brush Size value here,
or you can change the brush from the
| | 02:09 | keyboard by pressing the Square Bracket
keys, those are the keys to the right of
| | 02:14 | the P as in Paul key on an American keyboard.
| | 02:16 | The right Bracket key makes the brush bigger,
the Left Bracket key makes it smaller.
| | 02:20 | If you want to move very quickly, you
can press and hold the key, like so.
| | 02:25 | So I want the brush to be about yea big,
and then I am going to start scooting
| | 02:29 | her cheek in, like so.
| | 02:30 | and notice that I am working
with very small brush strokes.
| | 02:35 | So you don't want to make modifications
at a time because for one thing
| | 02:39 | they will look ridiculous, but for
another, you will also end up getting
| | 02:42 | stretch marks, which is definitely not
something we want with our cosmetic modifications.
| | 02:47 | So I am going to press Ctrl+Z, or Command+Z
on the Mac, to undo that change.
| | 02:51 | And by the way, you do have multiple undos
inside Liquify, and they work just like
| | 02:55 | they do inside Photoshop proper.
| | 02:57 | So if I press Ctrl+Z, or Command+Z again,
then I go ahead and redo that brush stroke.
| | 03:03 | If you want to step backwards, you press
Ctrl+Alt+Z, or Command+Option+Z on the Mac.
| | 03:07 | If you want to step forward, then you press
Ctrl+Shift+C, or Command+Shift+C on the Mac.
| | 03:12 | Now I am going to tuck in
some more of these details,
| | 03:16 | running the risk, of course, of messing
up the eye, and we will come back to
| | 03:20 | that in just a moment.
I want to tuck her forehead down as well.
| | 03:24 | Again, easy does it. The more slowly
you can make your modifications the better
| | 03:29 | they are going to end up looking.
Small brush strokes are always bigger than
| | 03:33 | big ones, even if you're using a large
brush as I am here, and it's okay if you
| | 03:38 | end up sort of tucking something one
direction, and then you have to come back
| | 03:42 | and reconstruct it later, like I'm
kind of dragging at her collar, as I am
| | 03:46 | moving her jaw line up here, and I
might be working with a little bit too big
| | 03:50 | of a brush, so I will go ahead and
revisit some of these details and pull her
| | 03:54 | jaw in a different direction here, and I will
go ahead and lift this up as well, potentially.
| | 03:59 | I might want to give her a little
hint of a cheekbone right there.
| | 04:02 | Now at this point I'm noticing that
I've messed up the eye, and I could try to
| | 04:07 | work on the eye using the Warp tool, but
I could end up kind of making a mess of
| | 04:11 | things, too, as I have.
| | 04:13 | If ever you want to incrementally undo,
then the tool of choice is this next one down,
| | 04:18 | the Reconstruct tool, which has a
keyboard shortcut of R, and now if I drag over
| | 04:23 | the eye back and forth, I'll
ultimately fully reconstruct it.
| | 04:28 | So in other words, this tool
applies incremental changes. All right!
| | 04:31 | I am going to press W to switch back to
Warp tool now, and I'm going to reduce
| | 04:36 | the Size of my brush a little bit,
paint that little bit of a cheekbone out
| | 04:40 | slightly, like so, and I might also go
ahead and tuck this area in and also tuck
| | 04:48 | in some of the forehead.
| | 04:49 | I want to demonstrate something else you can do,
so I am going to make a bad modification.
| | 04:54 | If you want to get to the Reconstruct
tool on the fly, then press the Alt key,
| | 04:58 | or the Option key on the Mac, while
you're painting with the Warp tool, and that
| | 05:02 | will go ahead and reconstruct those
details as you paint over them, and I am
| | 05:07 | going to do the same thing over here on
her collar as well, to bring that back down.
| | 05:11 | A couple of other ways to reconstruct
the image, one is to click Restore All
| | 05:15 | which is going to completely
restore that original image.
| | 05:18 | The difference between that, by the way,
and pressing the Alt key or the Option
| | 05:21 | key and clicking on the Reset button
is you're not resetting the settings,
| | 05:25 | you're just restoring the image.
| | 05:27 | Naturally, you can undo a restoration by
pressing Ctrl+Z, or Command+Z on the Mac,
| | 05:32 | and that will get things
back to the way I had them.
| | 05:35 | Another way to reconstruct is to
click on the Advanced Mode check box right
| | 05:38 | there, and then click on the Reconstruct button,
and notice that it says Revert Reconstruction.
| | 05:44 | At an Amount valuable of 100%,
you are not doing anything.
| | 05:48 | It's a little bit confusing, if you ask me.
| | 05:50 | So if you want to reconstruct, you
actually have to lower the value, and if you
| | 05:53 | go all the way to zero, then you will
fully reconstruct the image, and you can
| | 05:57 | see how incremental things are and
how you can go back and forth here.
| | 06:02 | Pretty useful actually for getting a
sense of what kind of changes you've made
| | 06:06 | and whether you like what
you've done. All right!
| | 06:08 | I am going to tuck in this part of her
face just a little bit more, taking care
| | 06:12 | that I am not introducing any little puckers.
And once I get to this point here,
| | 06:17 | and I am thinking she looks pretty good,
I will go ahead and click the OK button
| | 06:21 | in order to apply my changes, and we go
from this version of the image, which we
| | 06:26 | saw at the very beginning of the
movie, to this trimmer version right here,
| | 06:30 | thanks to our ability to Warp and
Reconstruct details using Liquify.
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| Brush size, hardness, and opacity| 00:00 | In this movie I'm going to pass along
another trick for changing the size of
| | 00:04 | the brush inside the Liquify dialog box that also
happens to work in the larger world of Photoshop.
| | 00:10 | So for starters, I'll go up to the
Filter menu and choose the Liquify command,
| | 00:15 | and then I'm going to zoom in as before,
and you may notice if you watched the
| | 00:19 | Brush Size value right here.
| | 00:21 | When I press the right Bracket key, I increase
the size of the brush in pretty big
| | 00:25 | increments, especially once I
start getting into the hundreds.
| | 00:29 | I go from 300 to 400 to 500 to 600, and so on.
| | 00:33 | If you want better control than
that, then there's another way to work.
| | 00:36 | Here on the PC you can press the Alt key,
and then press the right-mouse button
| | 00:42 | and drag in order to either reduce or
increase the size of the brush and notice
| | 00:47 | that you have way more control.
| | 00:49 | Keep an eye on that Brush Size value
over there in the upper right-hand corner,
| | 00:53 | and you'll see that I'm changing
the Brush Size in 2-pixel increments.
| | 00:57 | So much finer control here.
| | 00:59 | On the Mac what you'd you do is you
press the Ctrl key, not the Command key,
| | 01:03 | but the Ctrl key along with the Option key,
and you drag, and you'll get that same effect.
| | 01:09 | So this time you don't have to
drag the right-mouse button, you
| | 01:11 | just Ctrl+Option-drag.
This also works outside of Liquify.
| | 01:16 | I'm going to Cancel out here, and I'll
switch to any one of my Paint or Edit tools.
| | 01:22 | So I'll grab the Brush tool, which
I can get by pressing the B key.
| | 01:26 | And notice if I Alt+right-drag to the
left, I'll reduce the size of the brush.
| | 01:31 | If I Alt+right-drag to the right, then
I'll increase the size of the brush.
| | 01:35 | You Macintosh people, this should be a
Ctrl+Option-drag to the left in order
| | 01:40 | to reduce the Brush Size or Ctrl+Option-drag to
the right in order to increase the Brush Size.
| | 01:46 | Notice those other two values there.
| | 01:48 | In addition to Diameter, we
have Hardness, and we have Opacity.
| | 01:51 | If I drag down, either Alt+right-dragging
or by Ctrl+Option-dragging, I'm going
| | 01:58 | to increase the Hardness of the brush.
| | 02:01 | If I drag up, then I'll decrease
the Hardness of the brush.
| | 02:04 | I'm going to go ahead and Alt+right-drag
or Ctrl+Option-drag all the way down.
| | 02:09 | So I'm increasing the Hardness to 100%.
| | 02:12 | What if you prefer rather than changing the
Hardness of the brush to change its Opacity?
| | 02:17 | Well, then press Ctrl+K, or Command+K on
the Mac, and notice this check box right
| | 02:22 | there, Very Round Brush Hardness
based on HUD vertical movement.
| | 02:26 | Go ahead and turn it off, and now you'll
change the Opacity instead of the Hardness.
| | 02:31 | Then click OK, and now notice if I
Alt+right-drag upward, I'll decrease the Opacity.
| | 02:38 | If I Alt+right-drag downward,
I'll increase the Opacity.
| | 02:41 | That would be a Ctrl+Option-drag up on
the Mac to decrease the Opacity and a
| | 02:47 | Ctrl+Option-drag down to increase
the Opacity on the Mac as well.
| | 02:52 | That's how you the change the brush
Size with greater accuracy either inside
| | 02:56 | Liquify or out in the larger world of Photoshop.
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| The Pucker, Bloat, Push, and Twirl tools| 00:00 | In this movie I am going to show you
how to work with Liquify's other editing
| | 00:04 | tools, which are Pucker, Bloat, Push, and Twirl.
| | 00:07 | Now let's say I am looking at this image,
and I'm thinking I'd like to make some
| | 00:11 | additional modifications to it.
| | 00:13 | Because Liquify is technically a
destructive filter, you don't want to apply the
| | 00:18 | filter multiple times in a row.
| | 00:19 | So if you want to make some additional
tweaks, you're better off starting over again.
| | 00:24 | Fortunately, you can load your last settings.
| | 00:27 | So I am going to switch to the
Background layer, turn my liquefied layer off,
| | 00:31 | and then press Ctrl+Alt+J, or Command+Option+J
on a Mac, to create a New copy of
| | 00:36 | this layer, which I'll call
2nd pass, and then click OK.
| | 00:39 | Now I'll go up to the Filter menu, and
once again choose the Liquify command.
| | 00:44 | And just to simplify the experience
here, I am going to turn off the Advanced
| | 00:48 | mode check box, so we have fewer
options to contend with, and now notice this
| | 00:52 | button here, it's new to CS6, Load Last Mesh.
| | 00:56 | It will go ahead and load the
last settings that you applied.
| | 01:00 | Now then here are my additional tools
starting with the Pucker tool, and what
| | 01:04 | the Pucker tool does--I'll go ahead and
increase the size of my cursor a little bit--
| | 01:08 | is it reduces the size of details, like so.
| | 01:11 | Now obviously that's not a modification
that I'm interested in, so I'll press
| | 01:16 | Ctrl+Z, or Command+Z on a Mac,
to undo that change.
| | 01:19 | Where this tool becomes quite
useful is tucking in chins, for example.
| | 01:24 | I can drag underneath the jaw line
here in order to tuck some of that
| | 01:28 | double-chin away, and all it
takes in most cases is a single drag.
| | 01:33 | Then I'll go ahead and switch to the Bloat
tool, which produces the opposite effect.
| | 01:38 | Instead of reducing the size of
details, it increases their size.
| | 01:42 | So for example, I might go ahead and
click on each one of the eyes here, in
| | 01:47 | order to make them slightly larger.
| | 01:49 | If you feel like you go too far with
such an edit, then switch back to the
| | 01:53 | Reconstruct tool, and then go ahead
and click and drag a few times, very
| | 01:58 | delicately here inside of those eyes to
restore them to at least a more normal size.
| | 02:05 | You can switch back and forth between
the Bloat and Pucker tools, depending on
| | 02:09 | which one is selected. For example,
right now I have the Bloat tool selected,
| | 02:12 | let's say I want the Pucker instead.
| | 02:15 | Then you press the Alt key or the Option
key on the Mac, as you click like so,
| | 02:20 | and now you'll reduce the size of the
detail, as opposed to increase its size.
| | 02:24 | I'm also going to tuck in this jaw
line a little further by Alt-clicking or
| | 02:29 | Option-clicking in this region, looks
to me like I've gone too far, and so
| | 02:32 | I'll go ahead and switch back to that
Reconstruct tool and drag down in that area, like so.
| | 02:38 | Next, we've got the Push tool right
here, and it at first is going to seem
| | 02:42 | like an absolutely ridiculous tool.
Truth be told, I don't use it that much,
| | 02:47 | but here's the idea.
| | 02:48 | If you drag down, then you're going to
push the details to the right, despite
| | 02:53 | the fact that the name of the tool is
the Push Left tool, which is why I prefer
| | 02:57 | to think of it as just the Push tool.
| | 02:59 | Of course, I've made this
ridiculous modification.
| | 03:02 | So I'll press Ctrl+Z, or Command+Z on a Mac.
| | 03:05 | If you're going to work with this tool,
you really want to reduce this Brush
| | 03:09 | Pressure value from 100 down to
something like 10 instead, and then try painting
| | 03:14 | with the tool, and in this case, I kind
of missed the detail I wanted to paint,
| | 03:18 | so I'll go ahead and undo and try it
again in order to move those details to
| | 03:22 | the right, and then I am going to get my
Reconstruct tool, and I am going to try
| | 03:28 | to paint that cheek back in.
| | 03:29 | But notice that I'm barely doing anything,
and that's because of my low Brush Pressure.
| | 03:33 | So Brush Pressure affects
different tools differently.
| | 03:35 | I am going to go ahead and take it up
to 100, and then paint over that cheek
| | 03:39 | detail in order to restore it,
not quite that much actually.
| | 03:43 | I'll try again just a little bit of
restoration there, because I forget that I'm
| | 03:47 | going back to my original version of the image.
| | 03:49 | Another way to use this Push tool--I'll
go ahead and select it again and reduce
| | 03:54 | that Brush Pressure value to 10%.
| | 03:56 | If you want to move details to the
left instead of the right, for example, if
| | 04:00 | I brush down at this point, then I will paint
her face outward, which is not the effect I want.
| | 04:05 | If you want to paint things in the
opposite direction, than you press the Alt
| | 04:09 | key or the Option key on the Mac
and paint your brushstroke, like so.
| | 04:12 | So I've made a little bit of a mess of
this area, so I'm going to switch back to
| | 04:17 | my Forward Warp tool, decrease the size
of my brush like so, and just paint a
| | 04:22 | little bit outward at that location.
| | 04:26 | Notice that I have sort of this striation
pattern right there, something's gone wrong.
| | 04:32 | One way to fix that, by the way, if
you start seeing unsmooth details is you
| | 04:35 | can grab the Pucker tool again, reduce
the size of the cursor, and then just
| | 04:39 | paint along the detail like so, and
that's going to smooth up that edge quite nicely.
| | 04:44 | Then I'll go ahead and get my Warp tool
and paint this chin down just a little
| | 04:49 | bit, so again, I'm trying to work
very slowly and deliberately here.
| | 04:53 | Notice, by the way, that I'm working
with a Brush Pressure of 10 still, which
| | 04:58 | means that I'm not getting very far
per brushstroke with the Warp tool.
| | 05:01 | But that's fine. It's working out for me.
| | 05:03 | I am going to zoom back out, and I am
going to increase that Brush Pressure back
| | 05:08 | to 100%, increases the Size of my
brush just a little bit, paint up into the
| | 05:12 | chin just a little bit to tuck that in,
like so, and then I'm feeling like the
| | 05:17 | eyes are at a little bit of an angle.
| | 05:20 | Well, you have one more tool that only
shows up if you turn on the Advanced Mode
| | 05:24 | check box, and that's this guy
right there, the Twirl Clockwise tool.
| | 05:28 | I'll go ahead and select it, increase
the size of my cursor, and you can twirl
| | 05:34 | details clockwise, like so.
| | 05:36 | or if you press and hold the Alt key or
the Option key on the Mac, you'll twirl
| | 05:40 | a detail counterclockwise instead.
| | 05:42 | I just want to go ahead and give it
a little bit of a clockwise twirl for
| | 05:47 | each one of those eyes, like so, and
then I'm going to go ahead and get my
| | 05:51 | Warp tool, increase the size of the
cursor quite a bit and move that eye down
| | 05:56 | a little bit, so that it's more
symmetrical with the eye on the other side,
| | 06:00 | and I'll move some of these details down as well,
maybe tuck the eye down a little will further.
| | 06:05 | When you're modifying eyes, the thing you
really have to watch out for is the iris.
| | 06:09 | If you start deforming the iris then
things are going to look pretty weird.
| | 06:13 | I think we are looking pretty good at
this point. I might tuck up the bottom
| | 06:18 | eyelid just a little bit. And once I
get to something more or less like this--
| | 06:22 | actually I might increase the size of
this cursor and just move the eye over a
| | 06:27 | little bit so that it's closer to the
bridge of the nose. And that looks all right.
| | 06:32 | I think it needs to come up just
a little bit. That looks pretty good.
| | 06:36 | Now I can get a sense of what I've done
by clicking on that reconstruct button
| | 06:39 | once again, and then I can compare the
after version, which I'm seeing now to
| | 06:44 | the before version, and I can do so incrementally
by dragging that slider triangle to the left.
| | 06:50 | So this is the appearance of that original photograph,
and this is how she looks after my modifications.
| | 06:57 | At this point I'll go ahead and click
OK in order to accept my changes.
| | 07:01 | And that's how you work with the Pucker, Bloat,
Push, and Twirl tools included with Liquify.
| | Collapse this transcript |
| Saving and reapplying Liquify settings| 00:00 | In this movie I will show you how you
can save out your Liquify settings in the
| | 00:04 | form of a mesh, so that you can come
back to them anytime you like to make
| | 00:09 | further modifications, and you can
even apply the mesh to a high-resolution
| | 00:12 | version of that same image.
| | 00:13 | So I'm going to turn off 2nd pass and then
click on the Background layer to make it active.
| | 00:19 | This time I'm not going to make a copy of the
image because I'm not going to apply my changes.
| | 00:23 | I will go up to the Filter menu and
choose Liquify once again, and now notice
| | 00:28 | this option Show Mesh, go ahead and
turn it on, and you'll see this even grid
| | 00:33 | inside of the image, and you can change
the Mesh size, by the way, to small if
| | 00:38 | you want to. Now in my case it's going
to make the Mesh disappear because I am
| | 00:42 | zoomed out from the image so I will go
ahead and zoom in like so, to 100%,
| | 00:47 | and I will spacebar-drag it as well,
and now we can see the mesh appear on screen.
| | 00:51 | You can change its color as well.
Instead of having it be gray, for
| | 00:55 | example, we might go with green,
which will show up better on this image.
| | 00:58 | Now as I say, right now we have
regular rows and columns, so horizontal and
| | 01:03 | vertical lines making up our grid.
| | 01:05 | If I click on Load Last Mesh, then
you'll see the shape of the grid changes.
| | 01:09 | So I've pinch the heck out of the image
at this point, and it's useful sometimes
| | 01:13 | to see exactly where the big
modifications are occurring.
| | 01:17 | I am not sure if these are the settings
that I am going to keep, I might want to
| | 01:22 | come back to them later, during a
different session, for example.
| | 01:24 | Then I would click on the Save Mesh
button in order to save my changes--and by
| | 01:29 | the way, you only see that button if
you're working in the Advanced mode.
| | 01:32 | So I will click Save Mesh, and I went ahead
and save my settings as Face work.msh,
| | 01:36 | and because I have saved it in
advance, I will just cancel out.
| | 01:40 | But I want you to see that they're
there, and now I am going to cancel out of
| | 01:45 | the dialog box because I didn't
make any changes to this image.
| | 01:48 | If I press Ctrl+Alt+I, or Command+Option+I
in the Mac, you can see that this
| | 01:52 | version of the image measures 1863
pixels wide by 1242 pixels tall, which is to
| | 01:59 | say it's about 6 inches wide by 4
inches tall at 300 pixels per inch.
| | 02:03 | So it's not a super-high res image.
| | 02:06 | And oftentimes, even though the
Liquify filter has been sped up pretty
| | 02:10 | dramatically inside CS6, there are times
where it's handier and faster to create
| | 02:16 | your settings using a low-resolution
version of an image, and then you can turn
| | 02:20 | around and apply those same
changes to the high-res version.
| | 02:23 | So I will switch to this full-res
version of the portrait, and I press
| | 02:27 | Ctrl+Alt+I, or Command+Option+I, this time
you can see I have a width of more than
| | 02:32 | 3000 pixels, a height of more than 2000.
| | 02:34 | So the image measures 10 by approximately
6 and 2/3-inches wide at that same
| | 02:39 | resolution of 300 pixels per inch.
| | 02:41 | So we've got a lot more
pixels work with. I will Cancel out.
| | 02:44 | Now let's say I want to apply those
same changes I did before, then I press
| | 02:48 | Ctrl+Shift+Z, or Command+Shift+X, in
order to bring up the Liquify window, and
| | 02:53 | then I'll click on my Load Mesh button,
and this would presume of course that
| | 02:57 | Load Last Mesh wasn't going to
give me exactly the same results.
| | 03:00 | But I will click on Load Mesh, grab
that Face work.msh file and open it on up,
| | 03:05 | and you can't see that even though
this is a fundamentally different image.
| | 03:10 | It has a lot more pixels, we are
applying those exact same settings, but they
| | 03:15 | been scaled to fit the image, and now I
will go ahead and click OK in order to
| | 03:20 | Liquify the portrait.
| | 03:21 | Now it's important to note that your settings
will not work in a completely different image.
| | 03:27 | So you're not going to take the
settings from one image and apply them to
| | 03:30 | another, but you can apply the settings
across resolutions. And that's how
| | 03:34 | you save off a set of Liquify settings
and reapply them to an image here inside Photoshop.
| | Collapse this transcript |
| Lifting and slimming details| 00:00 | Over the course of this and the next
couple of movies, we're going to take on a
| | 00:04 | more complicated project, and
you'll get a sense for the whole-scale
| | 00:08 | modifications you can make
to an image using Liquify.
| | 00:11 | So in the case of this photograph,
we've got a good-looking young woman and yet
| | 00:16 | it couldn't be a much frumpier pose.
| | 00:18 | She has got a poof in her tummy out,
her arms look like they're different
| | 00:22 | lengths or something, she has got
really long forearms, and then one shoulder
| | 00:26 | is higher than the other, so she is
kind of slouching over to the left, and her
| | 00:30 | bottom is kind of hanging around this narrow
stool, and then she could use some ankles as well.
| | 00:36 | So I ended up coming up with this
modification here where her legs are slimmer,
| | 00:41 | her hips are slimmer as well, her arms
are a little slimmer, tucked up a little
| | 00:46 | bit, too, so they don't look so ultra-long.
| | 00:48 | She's not slouching anymore,
and her head is upright.
| | 00:51 | So let's see how we might go
about taking on a project like this.
| | 00:55 | I'll go ahead and restore the original
version of the image, and then I'll go up
| | 00:59 | to the Filter menu and
choose the Liquify command.
| | 01:01 | And by the way, even though Liquify is
now the first command at the top of the
| | 01:05 | Filter menu, I do not recommend you
press Ctrl+Alt+F, or Command+Option+F on the
| | 01:10 | Mac, in order to repeat the filter
because if you have the Alt or Option key down
| | 01:14 | when you bring up Liquify, you turn off
the graphics acceleration and Liquify is
| | 01:19 | going to work a lot more slowly.
| | 01:21 | So go ahead and choose the standard
command, and that will as usual, bring up
| | 01:25 | this Liquify window here. And I'm
going to go ahead and zoom in on her arms,
| | 01:30 | and I'll press the right Bracket key a few
times in order to increase the size of my brush.
| | 01:35 | Notice, by the way, that I've got the
Warp tool selected, and I'm going to begin
| | 01:39 | by dragging up on her elbows, like so,
in order to move them to roughly the same
| | 01:46 | height. Because right now it's like she
has got gorilla arms or something, so I
| | 01:49 | want to mitigate that a little bit.
| | 01:51 | I'm also going to bring this shoulder
down a little bit so that it matches the
| | 01:55 | shoulder on the other side.
| | 01:57 | And notice along the way here I've
managed, of course, to introduce new problems
| | 02:02 | into the image. For example,
her arm is now all sort of wiggly.
| | 02:06 | So I'll go ahead and zoom in to 100% and
try to take care of that by dragging up
| | 02:11 | on the arm with the warp tool, and it
might take up some of the details in her
| | 02:16 | hips as well, so that we can
raise the arm that much more.
| | 02:19 | If you wanted to slim the arm, by the way, a
great tool for this purpose is the Push tool.
| | 02:24 | So I'll go ahead and select that tool,
and then I'm going to change the Brush
| | 02:28 | Pressure to 10, and I'll reduce the
size of my cursor a little bit, and I'll
| | 02:32 | click right about there, and
then Shift-click down here.
| | 02:36 | And what that does is it draws a
straight line between the click and the
| | 02:39 | Shift-click points, and I'll do it
again in order to make that arm increasingly
| | 02:44 | slim like so, and then let's go ahead and replay
the same thing over here on the right-hand side.
| | 02:49 | This time I'll click at the bottom and Shift-click
at the top in order to scoot the arm in.
| | 02:54 | And so that way I don't have to take
advantage of that Alt key trick, and I
| | 02:58 | might do that a few times in order to
straighten things out, and now I'm going
| | 03:02 | to do the same thing with the forearm.
| | 03:03 | I'll click here and Shift-click
here in order to taper it up.
| | 03:07 | I might click right about there, and
then Shift-click at this location in order
| | 03:12 | to take the bottom of the arm up a
little bit as well, and now it looks like
| | 03:16 | I've made this area a little bit too
thin, that is her wrist is now too thin.
| | 03:20 | So I'll grab the Warp tool, go ahead
and scroll down a little bit, reduce the
| | 03:24 | size of my cursor, and maybe take
these details out just a little bit so that
| | 03:27 | I'm widening her wrist, and I'm not
getting anywhere, and that's because the
| | 03:31 | Brush Pressure is so low.
| | 03:32 | So I'll go ahead and reinstate that
value to 100%, and now I'll drag down here.
| | 03:37 | I'm going to zoom farther in. And one of
things you're going to notice when you
| | 03:41 | zoom in on an image past 100%--at least
I'm noticing it in this build--is that we
| | 03:48 | are not seeing smooth results.
| | 03:50 | We're seeing all these
jagged results all over the place.
| | 03:53 | Those aren't really there.
| | 03:55 | If you zoom back out to 100%, you'll
see those weird transitions disappear.
| | 04:00 | Just a function of being zoomed in
past 100%, and this is actually a new
| | 04:04 | phenomenon, and I haven't seen
this in Liquify before, but it's just
| | 04:07 | something to be aware of.
| | 04:08 | I'm not going to grab that Push tool. Let
me see, if I click here and Shift-click here.
| | 04:14 | Oh! Nope! Going the wrong direction, and besides, I've
got the Brush Pressure set too high. All right!
| | 04:19 | Now I'll click there and Shift-click there
in order to nudge that wrist farther outward.
| | 04:24 | We don't want her arm to look too
emaciated, and that's starting to look
| | 04:28 | pretty darn good, I think.
| | 04:29 | I might go ahead and grab my Warp tool
again and increase the size of the cursor
| | 04:34 | a little bit and shelve that shoulder out,
once again, after reinstating a Brush
| | 04:38 | Pressure of 100, and that way I can go
ahead and give her more of a shoulder.
| | 04:43 | And by the way, this image is pretty
forgiving because it's set against a white
| | 04:47 | background, and that means we can
stretch the white background into the image,
| | 04:51 | into her shoulder, for example, without
stretching any of the background because
| | 04:55 | there really is no background,
it's just white. All right!
| | 04:58 | Now I'll reduce the size of my cursor
and drag down like so, on the sleeve
| | 05:02 | so that we're straightening the sleeve a
little bit so it doesn't look so bunched up.
| | 05:06 | All right! Now let's take on her hips, and I'm
going to increase the size of my cursor
| | 05:11 | quite a bit here, and then just go
ahead and lift those hips upward, maybe
| | 05:14 | reduce the size of the cursor,
lift that as well, tuck this side in.
| | 05:18 | Again, you don't want to go too far with it.
| | 05:20 | She should still have hips after
we're done, but we just don't want that
| | 05:24 | appearance like she is hanging off the
edge of the stool, because that's not
| | 05:27 | going to be the particularly
attractive shot for anybody.
| | 05:30 | I don't think any of our
bottoms are going to survive that.
| | 05:33 | Anyway, I'll go ahead and tuck this up some
more, and you can see that it's just amazing.
| | 05:37 | This would take you months of work in a
gym in order to achieve these kinds of
| | 05:43 | results, and even though it does take
a little bit of work inside the Liquify
| | 05:47 | filter, it's nowhere near as much
effort as actually exercising. So all right!
| | 05:52 | Now what I want to do is tuck in her
tummy, and I think the best approach here
| | 05:57 | is going to be to mask those arms,
because if I just start working on her
| | 06:02 | stomach, I'll show you.
| | 06:03 | I'll go ahead and grab the Pucker tool
which is pretty great for this purpose,
| | 06:06 | and I'll increase the heck out the
size of my cursor, and I'll just kind of
| | 06:09 | click there, and you notice I've
taken off pounds in just a few seconds.
| | 06:14 | But I'm also running a risk of
harming the arm, and let me see if I did.
| | 06:18 | I did, yeah, I kind of did a number on
this left-hand arm, which might be not be
| | 06:23 | the biggest problem on earth, but the
more work I do on the torso here, the more
| | 06:28 | it's going to come at the expense of the arms.
So you can mask them.
| | 06:31 | I'll go ahead and backstep by pressing Ctrl+Alt+Z,
or Command+Option+Z a couple of times.
| | 06:36 | By grabbing this Freeze Mask tool,
that means you're masking areas away, and
| | 06:41 | then I would reduce the size of my
cursor like so, and paint over the arms,
| | 06:46 | paint into the upper arms as well.
| | 06:48 | It looks like I added a little bit of
auto-scroll there, but that's okay, and
| | 06:52 | I'll paint over the hands to
make sure they're protected.
| | 06:54 | Notice that I'm going a little bit
beyond the hands because otherwise, the flesh
| | 06:58 | tones there are going to get stretched
into the area that I'm trying to pucker,
| | 07:03 | that is the torso area.
| | 07:04 | So you want to mask too much as
opposed to too little, and then go ahead and
| | 07:08 | grab that Pucker tool again, and
let's see if we can do some fairly
| | 07:14 | low-impact modifications here.
| | 07:16 | I don't want to click and
hold as long as I was before.
| | 07:19 | That was just to demonstrate a point.
| | 07:21 | I just want to be able to slim
things a little bit here, and there.
| | 07:25 | Now at this point, and make sure that
you don't have any arm creeping into the
| | 07:29 | torso area because that's what can
happen, then when you get to a point that
| | 07:33 | you're comfortable, then go ahead and
click the None button in order to turn
| | 07:37 | that mask off, and now we need to use
the Warp tool with a smaller cursor in
| | 07:42 | order to tuck these details up, and
I'll just drag along the alarm so that I
| | 07:46 | can move the fabric of the pants into
the arm region like so, and that's
| | 07:52 | going to help create the impression
that she has got a little less of a tummy,
| | 07:57 | and there's more pant action going on.
And now I need to zoom in to this jagged
| | 08:01 | 200% zoom ratio here and adjust these
details a little bit more, maybe take
| | 08:06 | this up the arm again.
| | 08:07 | The unfortunate thing is that I'm kind
of messing up the flower pattern in her
| | 08:12 | shirt, but hopefully, we can
make up for that over time.
| | 08:15 | I'll go ahead and adjust this edge in
as well, maybe reduce the size of my
| | 08:19 | cursor and try dragging up a little bit
here and see what I end up getting. All right!
| | 08:24 | Now let's zoom out and see
what we've managed to do.
| | 08:27 | It looks like I've got a pretty
big mush right there in that detail.
| | 08:32 | Fabric can be very unforgiving, by
the way, especially patterns in fabric.
| | 08:37 | So it's the kind of stuff you've got to
watch out for, and it's also the kind of
| | 08:41 | stuff that may take some effort in
terms of you sort of going back and forth
| | 08:45 | with the Warp tool and so forth. All right!
| | 08:47 | I think this arm could use a little
additional warping back this direction so
| | 08:51 | that we're kind of smoothing it out,
and that looks pretty good for now.
| | 08:55 | So I'm going to go ahead and save off
the mesh by clicking on the Save Mesh
| | 08:59 | button, and I will call this Phase 1,
and then I'll click the Save button in
| | 09:04 | order to save off that file.
| | 09:06 | And finally, I'll click OK
in order to apply my change.
| | 09:09 | So just to give you a sense of what we've done
here, I'll press Ctrl+Z, or Command+Z on the Mac.
| | 09:15 | That's the before version of the image,
and now if I press Ctrl+Z, or Command+Z
| | 09:19 | again, that's the after version.
| | 09:20 | Much slimmer hips, raised arms,
things are looking pretty good.
| | 09:24 | In the next movie, we'll make some
additional modifications to the fabric, and
| | 09:28 | we'll also take on the model's legs.
| | Collapse this transcript |
| Warping legs, arms, and fabric| 00:00 | In this movie we'll take on the model's legs
as well as the patterns in the fabric of her shorts.
| | 00:06 | Now, you'll see that I went ahead and
created a new layer, by the way, and
| | 00:10 | applied my changes to that layer, which is
a step I neglected in the previous movie.
| | 00:14 | I'm going to go ahead and turn off that
layer to reveal the original photograph,
| | 00:19 | and then I'll click on the background
and press Ctrl+Alt+J, or Command+Option+J
| | 00:23 | on a Mac, and I'll call this new
layer legs & fabric and click OK.
| | 00:27 | Then I'll press Ctrl+Shift+X, or
Command+Shift+X on a Mac, to bring up the
| | 00:32 | Liquify dialog box, and I'll click Load Last
Mesh in order to start up where I last left off.
| | 00:37 | Now I'm going to zoom in on the
model's legs, as you can see here, and I'm
| | 00:42 | going to zoom all the way to 100%. And
let's start things off with the Pucker tool.
| | 00:46 | I am going to increase the size of my
cursor by pressing the right Bracket key
| | 00:51 | a few times, and then I'm just
going to click in those legs in order to
| | 00:55 | taper them, and I don't go too far with
my modifications but I do want to give
| | 00:59 | her back some ankles here, and I might
also narrow the foot just a little bit,
| | 01:03 | and then I'll press W to switch back to
the Warp tool, and I'll reduce the size
| | 01:07 | of my cursor, and I might kind of give
her an ankle by dragging out a little
| | 01:11 | bit, and I might add some definition to
the foot as well, by dragging up on it,
| | 01:16 | so she's just got a little
more of a taper going on.
| | 01:19 | And the degree to which you want to do
that kind of stuff is totally up to you.
| | 01:23 | But obviously you don't want to
make it look inauthentic or ridiculous.
| | 01:26 | The Liquify filter is notoriously used to make models
who are already very thin look tragically skinny.
| | 01:31 | But we do want to give her
legs some form and definition.
| | 01:34 | Now I'll switch back to the Pucker
tool, going to increase the size of my
| | 01:38 | cursor, and then click on this ankle
to make it a little narrower, click on
| | 01:41 | the calves as well, and I'm trying to
click for less and less time as I kind
| | 01:46 | of go up the leg there.
And about here, it looks pretty darn good to me.
| | 01:49 | I'm going to scroll up, and I'm doing
that with the scroll wheel, and I might at
| | 01:53 | this point switch to the--let's say the
Bloat tool and try to see how that works
| | 01:58 | on the calf up above, because we might
be able to add a little bit of curvature
| | 02:03 | up there, and possibly some on
this left-hand calf as well.
| | 02:06 | All right, now let's take a look at
the fabric in her jeans. And again, I'm
| | 02:10 | looking at this detail at 200%
so we're getting a jagged preview.
| | 02:14 | I am going to press the W key to switch
back to the Warp tool or reduce the size
| | 02:19 | of my brush here, and I'll just
drag over a little but like so.
| | 02:22 | And the thing is as fabric is
extremely unforgiving, because it's essentially
| | 02:25 | serving as kind of grid of the changes we made.
| | 02:28 | So if it starts slumping inward at a
point that doesn't make any sense, then
| | 02:32 | that's going to be a little suspicious.
| | 02:34 | Now here I think we can get away with it
because after all this would be the hem.
| | 02:37 | But I'm not so sure about these
details over here, this is where we start
| | 02:43 | really running into problems, because her leg
is not going to be shaped kind of like this.
| | 02:47 | I mean, where is this lump coming from?
| | 02:49 | So I'll increase the size of my cursor
so I can take in a fair amount of these
| | 02:53 | details here, and then I'll drag down
like so, from both of these points, and I
| | 02:58 | might reduce the size of the cursor and
take that down as well. And this may do
| | 03:02 | us pretty well. We've got a little bit
of an issue going right there, and I'm
| | 03:07 | kind of wondering if we want
to reconstruct that detail.
| | 03:10 | I misread this when I was
trying to edit the hand.
| | 03:13 | She has got this little bit of a sash
or belt that's wrapping around her hand,
| | 03:18 | and that's a detail that
should probably be left in.
| | 03:20 | However, I can't let the arm do that.
| | 03:23 | So I'll press Ctrl+Z, or Command+Z on a
Mac, to undo that change. Let's go back
| | 03:28 | and get the Forward Warp tool and try
to scoot this detail in a little bit, so
| | 03:32 | that she has a normally shaped arm.
| | 03:34 | Again this scalloping here is just
something we're seeing at the 200% zoom
| | 03:38 | level, it doesn't really exist.
| | 03:40 | I might try to flatten this a little
bit, too, drag down here, and see how that
| | 03:45 | looks by zooming out to 100%.
| | 03:47 | Looks like we still have some non-straightening,
and this is going to be totally
| | 03:51 | up to you how seriously you take this
stuff, because it is not pleasant to try
| | 03:56 | to deal with, and there's really no
great solutions that I can pass along to you
| | 04:00 | except to do incremental warps, and
just to be as patient as humanly possible.
| | 04:05 | That area's stretch is just
something we're going to have to tolerate.
| | 04:09 | It's the price of lifting these details when we
didn't have much to work with in the first place.
| | 04:14 | Now her arm to me is looking a little
bit sort of lumpy, so I'm going to wrap
| | 04:18 | that side in just slightly, and I am
going to warp this side in as well, maybe
| | 04:23 | taper the section of the arm too. And
then let's try taking this little bit of
| | 04:27 | forearm up, so she has a little
more definition associated with that.
| | 04:31 | All right, let's go ahead and
save off this mesh as well.
| | 04:34 | I'll click the Save Mesh button, and
then go ahead and create a new one called
| | 04:38 | Phase 2.msh. And I should say something.
It may seem like I'm going nuts with
| | 04:44 | saving these mesh files, but you'll
never go wrong by saving every single step,
| | 04:48 | especially in a complicated
project like this one.
| | 04:51 | Meanwhile, these files are way
smaller than they used to be.
| | 04:55 | With Photoshop CS5, every one of these
files took up about 24 megabytes, now they
| | 05:01 | take up about 1 & 1/2 megabytes.
| | 05:04 | So my guess is Photoshop has added some
compression to these files, which is great.
| | 05:07 | I'll go ahead and click this Save
button in order to save off that file,
| | 05:11 | then I'll click OK in order to leave Liquify,
and now let's see what we were able to do.
| | 05:15 | I'll go ahead and scroll down to the legs.
| | 05:18 | If I press Ctrl+Z, or Command+Z on a Mac,
that's the original version of the legs
| | 05:22 | and the patterns inside the pants, and
if I press Ctrl+Z, or Command+Z again,
| | 05:26 | that's what she looks like now.
| | 05:28 | In the next movie we will
take on the tilted head. Join me.
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| Improving a model's posture| 00:00 | In this movie we'll tilt the ahead
upright, which is about the most advanced
| | 00:04 | maneuver you can pull off using Liquify,
and we'll do so using a combination of
| | 00:08 | the Twirl and Warp tools.
| | 00:10 | So I'm going to turn off the current
layer, and I'm going to make another copy
| | 00:14 | the background by pressing Ctrl+Alt+J,
or Command+Opt+J on a Mac, and I'll
| | 00:19 | call new layer tilted head,
and then I'll click OK.
| | 00:22 | Now I'll press Ctrl+Shift+X, or
Command+Shift+X on the Mac, in order to bring up a
| | 00:27 | Liquify window, and I'll scroll up
here so that I can see the model's head.
| | 00:30 | Now first thing we want to do is grab
at Twirl tool and increase the size of
| | 00:36 | your cursor to about 600 pixels, and
then click right there in the center of
| | 00:40 | model's face around the nose,
in order to twirl her head.
| | 00:44 | And that gets us probably about 50%
the way there, even though it ends up kind of
| | 00:49 | twisting her head as well,
which is part of the problem.
| | 00:53 | So I am going to switch back to Warp
tool now, and using the same big brush
| | 00:57 | here, I am just going to kind a drag
the model head over to the right in order
| | 01:02 | to shift its position, which causes us further
problems in terms of that bend that we're seeing.
| | 01:08 | So I am going to press Ctrl+Z, or Command+Z
on a Mac, to undo that change.
| | 01:12 | Let's try upping the Brush Density. You can take
it as high as 100, and what that is is
| | 01:17 | essentially the Edge Detail of the brush.
| | 01:19 | So it's analogous to softness
where a standard brush is concerned.
| | 01:22 | I'm using a High Brush Density value you
can pretty much move every thing inside
| | 01:28 | of that brush uniformly.
| | 01:29 | All right, now I am going to zoom in
to the 100% present view ratio so I can
| | 01:33 | better see what I am doing, and we can
try sticking with 100 Brush Density
| | 01:38 | for the other changes we need to make, but it's
probably unwise. We need a little bit softness.
| | 01:43 | So I am going to reduce the Brush
Density back to 50% here, and then I'm
| | 01:47 | going to start dragging these details around and
from here it is altogether a matter of warping.
| | 01:53 | We don't have any skew tools inside of
Liquify. We don't have any other tools
| | 01:57 | that are going to take care
of some of these problems.
| | 02:00 | If I do something like this when I
make an eye too small, then I could
| | 02:04 | try something like the Bloat tool, might as
Well, give that a try and see what happens.
| | 02:08 | But otherwise, I am just going to be spending
a ton of time warping the details around.
| | 02:13 | Now, one of the things I noticed when
I was working inside of this image is
| | 02:18 | that the mouth has a tendency
to get messed up pretty quickly.
| | 02:21 | So you might want to go ahead and grab
the Freeze Mask tool and then paint over
| | 02:26 | the mouth once it gets to a good place.
| | 02:29 | Because otherwise, you might end up
making a lips look too thin or too
| | 02:32 | fat or what have you, and that's going to
really ruin the quality of the image.
| | 02:36 | Now I'm taking her jaw up, as you can
see here, and I am going to increase the
| | 02:41 | size of her cheek as well.
And I can't stress enough how
| | 02:44 | it's just a matter of taking your time
and making judicious small brush strokes
| | 02:49 | and not trying to get anything done too quickly.
| | 02:52 | Anyway, as opposed to watching me paint
forever and ever here--because eventually
| | 02:56 | I'll get some place, but it could
take me a something like 10 minutes--
| | 02:59 | I've gone ahead and saved the mesh
in advance, and you can get to it by
| | 03:03 | clicking on the Load Mesh button,
and then you'll find a File called
| | 03:07 | Head upright.MSH, and then click Open in
order to apply that mesh, and you can see
| | 03:11 | that her head is now upright.
| | 03:13 | All right I am going to get rid of that
mask by grabbing my Thaw Mask tool, which
| | 03:17 | is essentially the mask eraser and
just painting over that area. And then I
| | 03:21 | think I want to reduce the size of this
left eye just a titch, not nearly that much.
| | 03:26 | So now let's press Ctrl+Alt+Z or
Command+Opt+Z. Let's try this instead,
| | 03:31 | I'll grab my Pucker tool, and
I'm going to take the Brush Rate down to
| | 03:35 | let's say 20, and then try to see if
that does a better job for us, and that
| | 03:41 | ends up doing pretty good.
| | 03:42 | That was still little too fast, wasn't it?
| | 03:44 | So I'll undo that change, take the Brush
Rate down to 10 this time and click and
| | 03:49 | basically controls it the speed of
the tool, particularly when you're just
| | 03:53 | clicking as opposed to dragging with the tool.
| | 03:56 | All right I'm going to grab Forward
Warp here, and I'll drag up on the eye just
| | 04:02 | a little bit in order to raise it so
that we're creating the Appearance of a
| | 04:06 | higher eyelid, and I think
that's looking pretty good.
| | 04:08 | Now this point I could save over my
mesh and save over this file, but I don't
| | 04:12 | want to do that in this case because
it could prove confusing if you are
| | 04:16 | trying to follow along.
| | 04:17 | So instead I'll just click OK in order
to apply my changes to the image, and
| | 04:21 | this is the final, folks. This is where
we started, with a basically slouching,
| | 04:24 | she's got her head over to left, and
now this is her with perfect posture, she
| | 04:29 | sitting up right, her shoulders are
at the same level, she looks dynamite,
| | 04:34 | thanks to our ability to retouch
images with impunity using Liquify.
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|
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20. Converting to Black & WhiteShoot in color, convert to black and white| 00:00 | In the old days, if you wanted to capture
a black and white photograph, you shot to
| | 00:04 | black and white film stock, but
that's not the way it works anymore.
| | 00:08 | Nowadays, you shoot in color and
convert to black and white in post.
| | 00:14 | See, the vast majority of digital cameras,
whether Point & Shoots or DSLRs, are
| | 00:19 | outfitted with image sensors that
capture luminance-only information.
| | 00:24 | In other words, they record grayscale images.
| | 00:27 | To calculate colors, the pixels on the
sensors are coated with red, green, or blue resin.
| | 00:34 | The colors of the red, green, and blue
image pixels are then merged together to
| | 00:39 | form the color composite.
| | 00:41 | Given that the image begins as grayscale,
you might figure shooting in black and
| | 00:45 | white makes total sense, but because
the sensor is hard filtered, that is the
| | 00:50 | resin can't be removed, the image
doesn't make sense until it's converted to
| | 00:54 | color, which happens automatically.
| | 00:57 | If you shoot a JPEG image in black and
white, it's converted to color and then to
| | 01:02 | an arbitrary black and white using a preset.
| | 01:05 | If you shoot to your camera's Raw format,
the image is by definition color with
| | 01:11 | a line of temporary black and white
instructions in the metadata, which you can
| | 01:15 | override as you like.
| | 01:17 | The upshot is that the best approach is
to capture an image in color and then
| | 01:22 | convert it to black and white
in Photoshop or Camera Raw.
| | 01:25 | This way you have three channels
of color information to work with.
| | 01:30 | You can blend these channels to form a
variety of black and white alternatives,
| | 01:34 | thereby giving you a wide range of
creative freedom and technical flexibility.
| | 01:39 | Photoshop gives you two ways
to mix black and white images.
| | 01:43 | Channel Mixer and the obviously named
black and white, plus you have Camera Raw.
| | 01:48 | I'll show you how all three works and
how you work with them in this chapter.
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| Three ways to grayscale| 00:00 | In this movie we'll explore the
three most basic ways to create a
| | 00:03 | grayscale image in Photoshop, and as you'll
see, they all end up producing different results.
| | 00:09 | But they all involve the use of this
command: under the Image menu you go to
| | 00:13 | Mode and then Grayscale.
| | 00:15 | Because for purposes of Photoshop
and digital imaging in general for that
| | 00:18 | matter, black and white and grayscale
are synonymous, because the idea is you
| | 00:23 | have black at one end of the spectrum,
white at the other, and then you've got
| | 00:26 | all these shades of gray in between.
| | 00:28 | So I am going to start things off by
creating a couple of duplicates of this image.
| | 00:33 | Go up to the Image menu and choose the
Duplicate command, and I'll call this
| | 00:36 | first one Luminance only, it'll actually
be our last image--you'll see why in a
| | 00:40 | moment--and then I'll create a
duplicate of it by once again choosing the
| | 00:45 | Duplicate command from the Image menu,
and I'll call this one Blue to gray.
| | 00:49 | All right, then I'm going to switch
back to my original image, and I'll go up
| | 00:53 | to the Window menu, choose Arrange, and
then choose 3-up Vertical so that we can
| | 00:57 | see all three images at the same time,
and I'll go ahead and zoom in on this
| | 01:02 | left-hand image and scroll it over as
well, so that we can see the younger
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