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Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Push, mirror, and turbulence


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Push, mirror, and turbulence

Hey, you are back that's awesome news, because now we are going to be taking a look for starters that this guy right here, the push left tool and what it allows you to do is drag with the cursor in order to push details, in this case I am pushing details to the right. So may wonder why in the world is it called the push left tool and I want to stress by the way, that I have got this low brush pressure setting. If you are working with a brush pressure of a 100% you are going to be moving your pixels a lot more quickly inside of the image. Well, the reason I am pushing the pixels to the right instead of the left is that I am dragging downward with the tool.
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.

Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.

Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.

Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Push, mirror, and turbulence

Hey, you are back that's awesome news, because now we are going to be taking a look for starters that this guy right here, the push left tool and what it allows you to do is drag with the cursor in order to push details, in this case I am pushing details to the right. So may wonder why in the world is it called the push left tool and I want to stress by the way, that I have got this low brush pressure setting. If you are working with a brush pressure of a 100% you are going to be moving your pixels a lot more quickly inside of the image. Well, the reason I am pushing the pixels to the right instead of the left is that I am dragging downward with the tool.

In order to push to the left you have to drag upward with the tool, like so. Also notice, if I drag to the right, I am going to push upward and if I drag to the left I am going to push downward and in my case, I am going to go ahead and push this hat down a little bit. If you want to for whatever reason change that behavior for example, push the pixels to the left as you drag down, then you press and hold the Alt key or the Option key on the Mac. So this is a result of Alt or Option dragging downward, this is the result of Alt or Option dragging upward and I will let you experiment with that tool from this point on.

But where it can be really handy is reducing the size of limbs, for example if you have a heavy arm or a heavy leg, you can make it much slimmer by for example, dragging down with the tool along the left side of the limb or dragging up with the tool along the right side of the limb and so on. Alright, so anyway give it a try. These next guys are a lot less useful. In fact I have yet to come up with a real world application of either of them but they sure are weird, so I will go ahead and select this next guy, which is the mirror tool and notice by the way, I am really mentioning this but everyone of these tools has a keyboard shortcut and that keyboard shortcut is shown in parenthesis.

So if nothing else go ahead and memorize the Warp tool is W, so you can always switch back to that Warp tool. You may also want to keep in mind that the Blow tool is B and perhaps the Pucker tool is S, but you know why bother since you can get to the Pucker tool when you are using the Blow tool on the fly by pressing the Alt or Option key. Anyway I digress, we are talking about the Mirror tool here and I am going to go ahead and increase the brush pressure to 100% so that we can see in a very radical way how the Mirror tool works. If I drag from the right to the left, I go ahead and get rid of the eyeballs in this guy's head.

What I am doing is I am reflecting his cheeks and so he ends up looking quite strange as it turns out. And you might find this to be a useful effect for a strange science fiction book covers, something along those lines. Alright, I am going to undo the modification because you will see now, if I drag in the opposite direction I am going to mirror a different portion of the image, I am going to mirror it downward. So it's a lot like that Push tool except, instead we are mirroring details inside of the image. Now, what I want to do is I want to drag not this direction, let's try dragging the other direction.

I want to mirror those eyeballs if I can, but I am not having much like there we go. Now, I am starting to mirror those eyeballs. Here we go, now we are seeing mirror versions of the eyeballs, which I think are a little more sort of give you a better sense of what's going on with these tool. Alright, but anyway you can mirror whatever portion of the image you want, have a blast with that tool if you dare. The final tool, the Turbulence tool here is just whacky. What it does is it applies random distortions as you drag with the tool.

So notice as I drag around I am just doing completely weird things and if I just click and hold things are just happening, basically inside the image and it is entirely random. So, you know again a fun tool yes, a practical tool I wouldn't think so and you can control by the way the amount of turbulence that's going on by modifying this turbulence jitter value right there. I would say at this point, our best bet is to go back to the reconstruct tool and start dragging like crazy in order to get rid of some of the junk that we have applied so far.

So in the next exercise we will see these final two tools; we don't need to worry about these because we know how the Hand tool and the Zoom tool work. We will see these guys right here though, the Freeze Mask tool and the Thaw Mask tool, which allows us to mask away portions of the image so that they are safe from our bizarre modifications.

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