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Saving a basic composition

From: Photoshop CS4 One-on-One: Advanced

Video: Saving a basic composition

In this exercise we are going to pile on a couple of more layers and then save that out as a layer comp. Very easy stuff as you will see, not hard at all. And then in the next exercise we'll do something a little bit more advanced, just so you get a sense of what your options are inside of the program. All right so, here I'm working inside still that same document, Layer comps project.psd. I have clicked in front of Hadrosaur elements. That's where we are seeing everything, right here, like so inside of the composition. But there's still a couple of more things, if you go way to the top of the Layers palette, you will see two layers called Text and Backcard. So I'm going to zoom out from my composition, not quite that far, I'm going to change the zoom level to 58%.

Saving a basic composition

In this exercise we are going to pile on a couple of more layers and then save that out as a layer comp. Very easy stuff as you will see, not hard at all. And then in the next exercise we'll do something a little bit more advanced, just so you get a sense of what your options are inside of the program. All right so, here I'm working inside still that same document, Layer comps project.psd. I have clicked in front of Hadrosaur elements. That's where we are seeing everything, right here, like so inside of the composition. But there's still a couple of more things, if you go way to the top of the Layers palette, you will see two layers called Text and Backcard. So I'm going to zoom out from my composition, not quite that far, I'm going to change the zoom level to 58%.

Works pretty well for this image on this screen. Let's go ahead and collapse the Layer Comps palette for a moment. I'm going to turn on the Backcard layer, like so, that's what that looks like. You can check out what's going on. We have got a Multiply assigned to Backcard and we have got a 90% Fill Opacity value, which doesn't have any special effect on Multiply but it does have a special effect on the layer as opposed to its various layer effects right there. So you can see how it's built up. This is what it looks like without those effects, this is what it looks like with these effects.

We'll spend an entire chapter on layer effects later in this series. But anyway you can check them out if you want to, who is contributing what. Inner Glow is doing the real work, it's the one that's creating the darkened edges right there, as you can see if you turn it off. All right, I'm going to turn it back on. Collapse is going right there by clicking on this up arrow icon so that we are just saving a little vertical space inside of the Layers palette. Let's go and twirl close TV adjustments as well. And then I have got some text, some handwritten text right there. Finally it's within my grasp! once I have destroyed him, this world will be mine! So let say for the sake of the narrative don't you know, I want to go ahead and save this out as a layer comp and I'm going to by bringing back my Layer Comps palette and what you do if you are working along with me, and what I'll do even if you are not working along with me is I'm going to go down to this little Page icon and I'm going to click on it.

Now this little Page icon is always making new stuff, right? New layers, new channels, new paths. But this is one of the rare ones that by default brings up a dialog box. And I'm going to go ahead and name this comp something like Talk Bubble, even though strictly speaking it's not a bubble but its close enough to being a talk bubble. And then you have the option of determining whether you want to save Visibility, which is just who's on and who's off. And by default by the way this is what you see, just Visibility is going to get saved. Or whether you want to save Position elements, that is, where the items are located horizontally and vertically.

And by the way the Position is only saved if you have moved an item by either dragging with the Move tool or Ctrl or Command+Dragging it with some other tool, or if you nudged it from the keyboard. If you use that transform trick that I showed at the outset of this chapter, where you grab for example the Badlands and you press Ctrl+T or Command+T on the Mac, or you choose the Free Transform command, what have you. And then you enter a Position value, like 200 pixels is what we entered in order to shift the Badlands down 200 pixels. If you do that then your position will not be tracked. That throws off this option and the reason is because it's considered a transformation, and layer comps do not track transformations. They can't track scaling, they can't track rotation, they can't track any of that jazz. So they also forget to track movement, when you do it that way, its crazy. I would call it a bug, but anyways it's the way it is. But if you want to save the position of items then you would turn on Position.

I am going to tell you something about Position only turn on if you really mean to. Don't go just turning it on arbitrarily because many times you are going to want to take a layer and move it across many different compositions. And if you save Position and then you perform a movement, you are only going to move it inside that one composition, you are not going to move it inside the other compositions. So you just need to bear that in mind. If you leave composition turned off then you can move for example the Hadrosaur to a different location and it will move inside of all the other comps as well.

But the better thing to do is just leave it off by default. When in doubt leave it off. I'm going to leave it off for now here. And then Appearance, I'm going to tell you, for this one which means a lot. Appearance means a ton by the way. I'm going to tell you when in doubt turn it on. Now what it saves, just like I said, so much. It says it saves the layer style, which would be the layer effects like the drop shadow and the glow and all that and that's true. But it also saves the specific numeric settings that are associated with that style. So not only whether the drop shadow is on or off but also what color the drop shadow is, how big the drop shadow is, how blurry it is and so on, are all saved as a part of the appearance. So you can have different drop shadows on the same layer that are saved differently with this Appearance option using different layer comps. Also it saves the opacity, it saves the fill opacity, it saves the blend mode, it saves any of the advanced blending settings. Those Luminance Exclusion slider bars that I was showing you, all that stuff gets saved thanks to Appearance. And it's a mighty powerful, very, very wonderful option.

All right and then you can enter a comment and whatever comment you want is fine with me. I'm just going to say I have no comment because I really don't. I'm coming up with nothing here. But you could put a nicely useful comment in this location so that other people could come along or you of the future could come along and get a sense of why in the world you created this comp in the first place and then of course you click OK. Now it's not your only option. You can always come back and make changes if you want to but I'm going to click OK and there is my new comp and now I can switch between Hadrosaur elements, which doesn't have the talk balloon, and talk bubble, which does have the talk balloon, which is neither a bubble nor a balloon and yet I'm calling it both. After all now you may say Deke that's the dopiest layer comp I have ever seen because all you did was add two layers and that's pretty easy buddy. I mean we don't need a layer comp for that. Aha, but it sets the stage nicely for the next exercise in which I'm going to show you a more useful, a more helpful use of a new layer comp. We are going to be comparing this one to the next one. Stick with me.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23900 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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