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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I've saved my progress as Big ole path outline.psd found inside the 27_pen_tool folder. Now that we've gone ahead and roughed out the glass portion of the light bulb, and this base to a certain extent as well, and we've combined all the shapes into a single big overarching path outline. Let's go ahead and fill out the details required to render this metallic section. Now notice that it is not symmetrical. The reason of course is, if you've ever worked with a light bulb, that the ridges descend downwards, so that you can screw them into a socket.
So we're going to have lower ridges over here on the left-hand side, and more of them I believe as well. Then, we're going to have possibly fewer, but definitely higher ridges over here on the right-hand side. All right, so these edges are fairly rounded. So I'm going to rough them in using my Ellipse tool. So I'll go ahead and select the Ellipse tool from the Shape tool fly-out menu. Then, I will drag thusly. I'm pressing the Spacebar in order to move my ellipse as I draw it. These guys are not circles. They're just ellipses. So just go ahead and fill them in any way that you see fit.
You know what, let's see here, I'm going to go ahead and fill this out a little bit like so. And oops! I'm subtracting. I forgot about that. I forgot to switch modes. Not a problem. Press the A key to switch back to the Black Arrow tool. It's very important that you have the black Arrow tool selected for this one, because notice, if I have the White Arrow tool selected, I have no options up here in the Options bar, which is absurd. Because there could be some options and they could be very useful. They could be the exact same options that are included along with a Black Arrow tool.
But they don't choose to exist for us. So I'll press the A key to switch back to Black Arrow tool. Now they appear. The guy that I want is not available right now, because I don't have anything selected. I'll go ahead and click on this ellipse in order to select it. Then, I will switch to this option here, Add to shape area, or I could just press the Plus key. That works too. But if I press the A key, and I press the Minus key or the Plus key, that doesn't change the mode. Darn it. Why in the world are these options not available for the White Arrow tool? But I guess I digress.
So I'll go ahead and switch back to the Ellipse tool once again by pressing the U key, so that I can add to the shape. Now I need to confirm that I'm adding. Yes, Photoshop went ahead and thoughtfully switched me back to the Add mode. That's nice. All right, now I'll go ahead and drag around this guy right there to select that region more or less, I'm just trying to rough it in once again. Now I can use this ellipse over and over again. I can just duplicate it from here on out. So I will select my Black Arrow tool. I'll go ahead and click on that shape to select it.
I will Alt+Drag it into a new location like so. You know, I take that back. I'm not so sure that this shape is the greatest match on earth. So, why don't we try something a little smaller first, and then we'll duplicate that? I'll grab my Ellipse tool once again, I will drag in here like so. I think I was trying to select too much at once there. I'll make a smaller ellipse. By the way, we don't have to worry too much about this edge right there, the way that it sculpts inward, because in that light bulb that we saw at the outset of this project, I didn't worry about that at all.
It just has lumps coming off the edges. So we don't really need that degree of attention to detail down in this region, but we can also modify it later if we feel like it. Anyway, for now, I'm going to grab my Black Arrow tool. Click on that newer shape that I just drew. Alt+Drag it, or Option+ Drag it to a new location. When I say Alt+Drag or Option+Drag, because I'm going to do it again, all I do, is I press and hold the Alt key, the Option key on a Mac. Begin dragging, and then I release the key, because all you're doing is right at the outset of the drag, telling Photoshop that you're duplicating the object. All right, I'll Alt+Drag or Option+Drag this guy over.
Let's start down here at the base I guess, nope too big for that base, all right, we'll move it to this location there. Then, I'll Alt+Drag or Option+Drag here. Then, I'll once again tap the Alt key or the Option key. Release it as I'm dragging, is really what I'm doing. Release the Ellipse at this location, and then Alt or Option+Drag once more to create this lumpus over there on the right-hand side. All right, so that fills out things pretty nice. I need one more ellipse down here. The ellipses I had were just too big. So I'll press the U key to switch back to my Ellipse tool, because it's the active Shape tool.
And U is the keyboard shortcut for the Shape tools, because the letter U doesn't appear anywhere in the word Shape, I guess. All right, then I'll go ahead and release after drawing that guy right there. Now then, I need to fill out a couple of edges here. Actually, I've got this edge right there that needs some filling out. I'll do that by switching over to the Rectangle tool. Then, I'll drag from right about there upward like so. That looks pretty good. Although, I may take it in a little bit, pressing the Spacebar, and taking that shape inward, because it's better to select too little where these forms are concerned than too much.
I'll add a shape over here too, in order to fill out that portion of the metal. That looks pretty darn good. Now what about this bottom area? Well, our best bet here is to use the Pen tool, because there is no triangle tool. There is no way we're going to represent this area using a rectangle. And I take that back. I guess we could draw a rectangle, and rotate it into place. But it seems like more work than just using the Pen Too at this point. So I'll grab the Pen tool. Then, I'll go ahead and start clicking down here. Now make sure none of the paths are selected, or at least nothing near where you're going to be clicking, because if you have a selected path, and you go clicking on one of its points, then you're going to delete a point.
I don't have that problem. So what you should see right at the outset of your click, before you start clicking, just notice that your cursor appears as a pen nib with an X next to it, not a Pluls sign. All right, so I'll go ahead and click there in order to add a point right at that corner, because I want exact alignment, or as exact as possible. Then, I'll click there. I'll click like so. Remember, we can always add a point to bring that edge in later. I'll click here. Then, I'm going to click here. You may say, well, why in the world are you just avoiding that entire bottom edge? That's a rounded edge, so clicking to set a point there would just be a point that we'd have to later delete.
So I'll click there at a legitimate corner. Then, I'll click up here. I will click like so to complete the shape. That edge isn't very accurate. It's going outside of the bulb. That's okay, we'll come back to it. Click up here at some overlapping location. Then, click back down there again. That will do us pretty nicely, actually. Now, I'm going to go ahead and back up these shapes as well. So I'll switch back over to the Paths panel. I'll drag bulb vector mask down here onto the Page icon. Go ahead and drop it. Creates a duplicate of all the paths we've drawn so far.
I'll go ahead and rename these metal primitives, because these are the primitive paths around the metallic portion of the light bulb. Press the Return or Enter key in order to accept that name. Click back here on the vector mask to make it active. Watch what happens by the way. If I click on metal primitives, and leave it selected absentmindedly, and don't bother to click back on the vector mask, I'll come back to the Layers panel and I'll see that my vector mask is not active. The thumbnail will not have a double outline around it. So that would be my second warning that things are wrong. I need to click on it to make sure it's active.
Then you go back to the Paths panel, and you'll see, yes indeed, you switched back to the vector mask, just want you to see that. All right, now I'm going to zoom out in order to take in more of the bulb at a time. And I'm going to get my Black Arrow tool once again and I'll drag to partially encompass all of the paths, so all of the paths have to at least partially be inside of this marquee. I'll release in order to select them. I'll go up to the Combine button, and click on it and that combines those paths into a single, much more complicated outline. All right, now our task is to go in here and edit this path outline, so it's a better match, and that's what we'll be doing in the next exercise.
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