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Roughing in non-symmetrical paths


Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Roughing in non-symmetrical paths

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.
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  1. 40m 45s
    1. Welcome
      2m 45s
    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 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 27s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Watch the Online Video Course Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Design Photography
Deke McClelland

Roughing in non-symmetrical paths

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.

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

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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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