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Push, Mirror, and Turbulence


Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Push, Mirror, and Turbulence

In this exercise I'm going to show you how to use the lesser distortion tools inside the Liquify window, which include Push Left and this guy, Mirror tool, and then finally Turbulence. And I was saying that they're not very useful tools and that was actually kind on my part. They're beyond not very useful tools. You may on an occasional basis find use for the Push tool. It can sometimes be useful. The Mirror tool, never. Very weird tool. And then Turbulence, well, you just have to see that one to believe it.
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  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time

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Watch the Online Video Course Photoshop CS5 One-on-One: Advanced
26h 24m Intermediate Aug 13, 2010 Updated Aug 31, 2010

Viewers: in countries Watching now:

Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Push, Mirror, and Turbulence

In this exercise I'm going to show you how to use the lesser distortion tools inside the Liquify window, which include Push Left and this guy, Mirror tool, and then finally Turbulence. And I was saying that they're not very useful tools and that was actually kind on my part. They're beyond not very useful tools. You may on an occasional basis find use for the Push tool. It can sometimes be useful. The Mirror tool, never. Very weird tool. And then Turbulence, well, you just have to see that one to believe it.

It's a-- (Laughs) It's a doozy. Anyway, before we do that though, another note about saving and loading meshes. Here's a really practical reason to do it, in addition everything else I've told you. The mesh I should say is really going to work only for the image that you applied it to. So like you're not going to load up some totally different image and expect to apply the Bobble Head effect and get this result right here. It's just not going to happen. However, you can do this.

You can go ahead and experiment on a low-resolution version of your image. So let's say you've got a really super high resolution image and things are going very slow inside the Liquify window, which can happen, because this is a fairly intense command. If you go ahead and downsample the image, apply your modifications here inside Liquefy, and then save out your mesh, then go get the original version of the image with all of its pixels, load that mesh and apply it, and you should get the same result. As long as you haven't cropped the image differently, as long as it has the same proportions.

Let me show you what I mean. I'm going to cancel out here for a second. And in addition to this image called Head tilted.jpg, which is a fairly low-resolution version of the image. If I press Ctrl+Alt+I or Command+Option+ I on a Mac, you can see that the Pixel Dimensions come to 9 megabytes. The image measures 1452x2184 pixels. All right, I'll cancel out here, and I'll switch to this image. This is the original image that I downloaded from the Fotolia image library. That's why it has this weird name here. Now, I'm not including this image for you. This is just me demonstrating things onscreen.

This is a copyrighted image, so I can't give you the full resolution version, but I will show you that I've got it here. The Pixel Dimensions are 36.3 MB. It's four times as large, and the Width of the image is 2904, the Height is 4368. So again, four times as many pixels inside this image. I'll cancel out. I'll go up to the Filter menu. I'll choose the Liquify command. Ctrl+Shift+X, Command+Shift+X on the Mac. I'll go ahead and load my mesh that I created before, Bobble head.msh.

And I'll click the Open command, and there it is. I get the exact same effect in a much higher resolution. And then I would go ahead and click OK in order to apply that effect. All right, tell you one thing. I'm going to cancel out here, and we're going to switch back to Head tilted.jpg. So those of you who are working along with me can do so. Go back to the Filter menu, choose Liquify, might as well load the old Bobble head right there in order to bring back the effect that I had a moment ago, click the Open button, and then I'll zoom in on this image. And now we can see the wonders of these various tools down here.

Now, Push Left and Mirror they both work similarly, in that they're dependent upon the direction of your drag. So I'll go ahead and grab that Push Left tool. And again, push left, push right. I just prefer to think of this as being the Push tool. But if you drag down, notice I pushed to the right. So right away the tool is misnamed, because when I drag down I get the opposite effect. However, if you want to push things to the left, then you would drag upward like so. And I need to actually drag upward along that arm and I'm already getting a disastrous effect.

Let's go ahead and press Ctrl+Alt+Z or Command+Option+Z a few times in a row. When you drag up with the tool - there we go - you're going to widen the detail. I'll go ahead and undo that modification. When you drag down with the tool, you're going to slim the detail. And let's see how it behaves when you drag left and right. I always forget this. I just have to experiment with this to get a sense of it. Apparently, you push up when you drag to the right. All right, I'll go ahead and undo that modification. And when you drag to left, you push down. You can reverse that behavior though. So here is what I typically do.

I sit here and look at the arm, and I think, you know what? I want to tighten that arm. I want to squish it a little bit so it's not quite so wide. You know, basically a fat trimming technique. And so, I'll start by dragging in some direction. Let's say I drag up, and I go, wow! That's not the right effect. In fact, not only did I make the arm wider, but I also increased the size of this sort of shadow detail, I stretched out the blouse, and it just looks terrible, but I still want to be able to drag up. Dragging up is very important to me. I have no idea why. But if it's important, I'll go ahead to press Ctrl+Z or Command+Z to undo that modification.

And I would press the Alt key or the Option key on the Mac and then drag up and now I slim the detail. Now, you can see that I'm slimming it way too much. So I'd go ahead and press Ctrl+Z, Command+Z on the Mac, and I'd move over here to these options, these numerical options. So we've already seen Brush Size. That controls how big the brush is. Brush Density controls the distribution of the effect. So if you make this value smaller then you're going to centralize the effect at the middle of your brush. And if you make the effect bigger, then you're going to squish the effect outward so that it's happening along the edge of the brush.

Let me show you what I mean really quickly here. I'll go and change this Brush Density value to 10%. Notice if I switch to a different tool, like I'll go ahead and switch to Pucker let's say, that that value persists. So these values exist independently of the tools themselves. That is when you switch tools, the value stay intact. All right, now I'm going to increase the size of my cursor quite a bit here and with this very low brush density value I'll click inside of her face and notice everything is happening right there at the center of the cursor. Very angry look that she has now.

All right, I'm going to go ahead and press Ctrl+Z, Command+Z on the Mac, and now let's compare that to a Brush Density of 100%. And I'll go ahead and click now and notice that the effect is happening more at the outside. So we are gaining the stretching along the radius of the brush, and then we're moving the face inward at the center. And I actually think of both of those effects that we just saw, a very low brush density and a very high brush density, tend to deliver bad results. So typically what you're going to do is leave that value alone. Press Ctrl+Z, Command+Z on the Mac in order to restore her beautiful face.

And I'm going to change that Brush Density value back to its default, which is 50. All right, now let's switch. Notice some of these values are dimmed when you're using different tools. When I switch over here to the Push tool once again, then Brush Pressure happens to be available to me. I'll go ahead and reduce that Brush Pressure value from 100 down to 10 and now when I drag down, let's say, in order to slim that arm, it happens more slowly. And in fact, when I'm really using this tool, which I have to say not very often, sometimes though, when I'm using this tool to slim an arm let say, I'll click at one location and then I'll Shift+Click at another in order to do just a little bit of slimming.

And what I did was I connected the Click and the Shift+Click points with a straight line, a straight line of push. Anyway, I'll do it again. Click and Shift+Click, and that slims the arm just a little bit more. So that's a practical way to use the tool. However, it's a little bit weird, because you know what direction you're working. Again, you got Alt or Option to go the other direction. All right, now let's switch over here to the Mirror tool and by the way, before we go any further, you've got this very low Brush Pressure now. If I switch over to the Warp tool, and I start painting, it's going to be like why am I not getting results? I just painted this huge brush stroke and it did almost nothing.

Well, that's because my Brush Pressure is so low. You'd want to reset the Brush Pressure to 100 before you starting using the Warp tool. Now, you can of course adjust the pressure with Warp tool as well, but it just tends to respond more possibly to a high-pressure value. Anyway, now let's go to the Mirror tool. Same thing, that is to say you drag, down, or up, or left, or right in order to get different effects, but instead of pushing the pixels around you create a reflection. You create a mirror image. So you might think, gosh! This could be useful for you know painting inside of her face in order to reflect the let's the right half of the face onto the left half of the face, if we've got an issue with the left half.

But well that might be really useful in some images, it might respond positively, I don't know. I've never gotten it to work reliably at all. Let say I decide I want to reflect her face and I'll go ahead paint like that, and I get that result right there. And I am by the way, by dragging down, I should reflect this right side over onto left side. So this is the effect I get. Not quite what I'm looking for. I'll go ahead and press Ctrl+Z, Command+Z on the Mac. If I drag up, then I'm reflecting from the other side. I'm reflecting these white pixels over here onto the right-hand area.

And again, if you want to reverse that behavior you can press the Alt or Option key. What I think I'll do is just drag down like so, oops! Can't drag back and forth. That's not going to work. That's going to create weird effects. You just need to drag in one direction. So I undid and I went ahead and dragged again. There we go. I'll create a nice weird reflection over here on the left-hand side and then Alt+Drag or Option+Drag, oops! Wrong. And then I'll drag upward like so, in order to reflect her to the right. And then I'll drag up again, in order to complete that effect a little bit, and for some reason she grows a horn.

You never know with the Reflect tool what exactly it's going to do. Anyway, if you want this kind of stuff, why then the reflect tool is the perfect tool for you? It's called the Mirror tool, but whatever. All right, I'm going to go ahead and undo those changes by pressing Ctrl+Alt+Z a few times. Command+Options+Z on the Mac. And now let's switch to the absolute most amazing tool on the face of the planet. It definitely ranks right up there with the best tools in Photoshop. (Laughs) I think it's about as useful as the old school sharpening tool, but I'm going to go ahead and grab it.

It's the Turbulence tool. And what it does is it introduces an element of randomness to your image. And you can drag with the tool if you want to. It's just going to work like the Warp tool if you start dragging round, except kind of a warp with a little random element to it. What's more interesting to do with this tool, if you want to get a sense of how it works, I'll go ahead and press Ctrl+Z to undo that modification. Jst click and hold. And you'll notice what happens is you just kind of melt that area of the image. So I'll click and hold over here as well to apply some more melting.

And then if you're really just want to melt her face, why then just click and hold inside the face, and that's a -- (Laughs) That's perfect. It looks like an R. Crumb drawing or something. I'm going to go ahead, and let's scroll down to the arms. The arms actually look really great when we start to applying turbulence to them, when they start melting away. So if you want an image to look like you've kind of like rendered it in wax or something along those lines, and it's a warm day, and the image is starting to fall apart. Why then, I would imagine turbulence is perfect.

We also have these masking tools. The Freeze Mask tool allows you to protect certain portions of the image. The Thaw Mask tool allows you to unprotect those areas. So basically the idea is that you're painting in a mask, and then you're painting away a mask. And we'll see how those work in a future exercise. In fact, what we're going to do now is switch away from the experimentation mode, which has been such a fun time, and we're going to try to get some actual real work done.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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