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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.
The next big step is to take these teeth that we've created, the two rows of six teeth each, and transform them into a smile. And there's two ways to approach this. One is to just get going and do it and apply our transformation directly to these path outlines that are defining the shape layer. And the other approach, which I am going to recommend, and you'll see why, is to go ahead and flatten out the entire effect, including not only the teeth, but also all the layer Effects, so we're working with pixels.
I've saved my changes as Choppers.psd, found inside the 22_warp folder. And I am going to go ahead and take this teeth layer right there, and I am going to turn its Vector Mask off, so that we're no longer haunted by those path outlines. I am going to go ahead and duplicate these teeth by pressing Ctrl+Alt+J or Cmd+Option+J on the Mac, and I am going to call this new layer bad smile, because it's not going to have the look we're hoping for. So I'll click OK in order to create that duplicate layer. I'll turn off the original teeth layer there, and I'll tuck in the layer Effects for now.
Actually, I'll do that with both layers, so that we're taking up less room inside of the Layers panel. So bad smile is selected, the teeth layer is turned off. I am going to turn off the Vector Mask once again for this layer by clicking on the Vector Mask thumbnail there in the Layers panel. And I've got my Marquee tool selected. The reason this is important is because if I want to move these teeth, I can now just Ctrl+drag them or Cmd+drag them, because when the Marquee is active, you invoke the Move tool by pressing Ctrl or Cmd. Compare that to what happens if you have the Black Arrow tool selected or one of the Shape tools selected.
If I go ahead and grab that tool and then I press the Ctrl key or the Cmd key on the Mac. Well notice I get the White Arrow tool on-the-fly instead. If I switch to a Shape tool like the Rectangle tool, and then I press the Ctrl key or the Cmd key on the Mac, I get the Arrow tool, and then if I start dragging, well, I'll just move one tooth in this case, I'll go ahead and undo that; Ctrl+Z, Cmd+Z on the Mac. If I turn off the Vector Mask so I can't see the path outlines, and then I try to Ctrl+drag or Cmd+drag. That just goes ahead and selects the teeth. So basically when you're trying to work with an entire layer as a whole, you're better off switching back to the Marquee tool is my point.
Let's turn off that Vector Mask once again. Even though vector-based path outlines really give, because they are forever editable. They also take away, because there are so many distractions associated with working with them. Anyway, check this out. I am going to go ahead and Ctrl+drag the teeth into place, more or less where they go, inside the robot's head. Obviously, they're way too big. But what I want you to see is that, each and every tooth has its own system of highlights going on. There is a highlight in the upper left- hand corner, although it varies quite naturally from one tooth to another, and there is a highlight down right as well, which varies from one tooth to another.
As soon as I press Ctrl+T or Cmd+T to invoke the Free Transform command and then I go ahead and, let's say, scale the size of my teeth down, notice that they all have one big highlight associated with them. So in other words, there's a highlight up left, just one across all 12 of the teeth, and then there's a big highlight down right that stretches across the entire bottom row of teeth and along the right-hand edge. Now, I just don't want that effect. That isn't the look associated with the wonderfully wicked robot we've come to know and love here.
So from this point on, I can continue to mess around with these teeth, but I already know it's a waste of time. It's all because the layer effect is not getting automatically scaled along with the layer. I could, of course, after having applied this transformation, I could go into my layer Effects and manually manipulate the settings, but that's a big pain in the neck. I am going to press the Escape key. And so here is what I am going to do instead. I am going to take this bad smile here, what was going to be a bad smile anyway, and we are going to turn it into a good smile, and here is how.
First of all, I want to rasterize this layer. So I am expanding the layer, so we can see its effects. But if I do the standard number, where I right-click in an empty portion of the layer there in the Layers panel, and I choose Rasterize layer, or I take advantage of that special dekeKeys shortcut, Ctrl+Shift+R, Cmd+Shift+R on the Mac, then all I do is I rasterize the vectors, so I convert the vectors to pixels, but I don't do anything about the layer Effects, and that's what I really need to rasterize is those layer Effects. Well, I could right-click on that fx icon, and then I could choose Create layers, which will render all of the effects out to layers.
Then I could smush that if I wanted to. But something could go wrong in the process and also, it's a lot of extra steps. Here's what you do instead. Let's go ahead and press Ctrl+Z, Cmd+Z on the Mac, to undo that rasterization, because it's not necessary. I am going to go ahead and twirl close my fx, but first of all, I am going to get rid of the Drop Shadow, because I don't want that big Drop Shadow right there. I am going to apply a different Drop Shadow later when I get the teeth into place. So just go ahead and turn off the Drop Shadow for now.
Go ahead and collapse those layer Effects, and then click on the teeth layer, which as you may recall, that's the original version of those teeth. So they're still safe; the vector-based path outlines, and the layer Effects will be ready and waiting for you if you ever want to come back to them. But with this hidden teeth layer active, I want you to press Ctrl+Shift+N, Cmd+Shift+N on the Mac, and we'll call this guy, good smile. What we are doing here is we are creating an empty layer. So click OK. We've got a new layer. It's a pixel-based layer, totally transparent, that's called good smile.
Now, click on the bad smile layer, go up to the layer menu and choose this command, Merge Down, or press Ctrl+E, Cmd+E on the Mac, and that will go ahead and merge the bad smile with the good smile. It's got all of its layer Effects intact. Note that we are missing the Drop Shadow, but that's because we turned it off. Otherwise, all of the effects have been rendered out to their exact visual equivalents here inside of a pixel-based layer. So just so that you can see that, I am going to press Ctrl+Z, Cmd+Z on the Mac, look at these teeth here inside the image window.
I am going to drag them to a different location down here, in front of the robot's face, and then I will press that keyboard shortcut for the command we just saw, Ctrl+E, Cmd+E on the Mac. The teeth look exactly the same as they did before, but now they're rendered out to pixels, and now we'll be able to work with them better. As soon as I start transforming these teeth, as soon as I scale them, all the effects will scale along with, and they'll rotate along with, and they'll bend along with, and it will look like a much better effect, as you will see in the next exercise.
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