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

Saving your own layer comps


Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

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Video: Saving your own layer comps

Alright, now let's go ahead and create a couple of custom layer comps of our own. I am going to go ahead and twirl close these folders that I have got open here, these layer groups, so that we save a little room inside the Layers palette and I am going to turn on the Interlacing layer which conveys those TV lines and I am also going to turn on the Reddish layer so that we have the nice blood red action going here inside the composition. Now, how do we go about saving this as a layer comp? Well. let's hide the Layers palette from view by pressing the F7 key so that I can get to the Layer Comps palette.
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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
      3m 59s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 18s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 24s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 3s
    11. Dodging the highlights
      5m 54s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 20s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 25s
    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 29s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 46s
    4. Unsharp Mask
      5m 16s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 13s
    7. Sharpening the luminance data
      8m 24s
    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
      5m 59s
  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 49s
    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 0s
  4. 45m 24s
    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 27s
    5. Moving a layer
      4m 2s
    6. Combining layers into a clipping mask
      4m 41s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 1s
    9. Adding a vignette
      7m 0s
  5. 42m 23s
    1. Organization: It sounds dull, but it rocks
      1m 7s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 45s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 23s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 16s
    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 3s
    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 37s
    6. Blend mode shortcuts
      5m 51s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 52s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 12s
    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...
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 38s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 41s
    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 31s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 1s
    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 40s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 30s
  8. 1h 18m
    1. Planes and perspective
      1m 6s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 29s
    4. Drawing out perpendicular planes
      6m 53s
    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 47s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 26s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 49s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 34s
  9. 1h 15m
    1. Type: The great imaging exception
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 14s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 37s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 36s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 14s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 12s
    1. See ya for now
      1m 12s

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Watch the Online Video Course 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.
Design Photography
Deke McClelland

Saving your own layer comps

Alright, now let's go ahead and create a couple of custom layer comps of our own. I am going to go ahead and twirl close these folders that I have got open here, these layer groups, so that we save a little room inside the Layers palette and I am going to turn on the Interlacing layer which conveys those TV lines and I am also going to turn on the Reddish layer so that we have the nice blood red action going here inside the composition. Now, how do we go about saving this as a layer comp? Well. let's hide the Layers palette from view by pressing the F7 key so that I can get to the Layer Comps palette.

Notice, of course, that the page icon now appears in front of last document state indicating that we have a custom state that has not been saved yet. And we can save that state by clicking on the little new icon, the little page icon here at the bottom of the Layer Comps palette. Notice, that brings up the New Layer Comp dialog box. So this time around, whereas in order to display a dialog box in the Layer palette, you have to Alt-click or Option-click the little page icon. Here just clicking the little page icon displays the dialog box and allows you to name the new layer comp.

If you were to Alt or Option-click, you would skip this dialog box. It's another one of those cases of when in doubt, press Alt or Option here inside Photoshop, it always changes the behavior of something or other. Anyway, I am going to go ahead and name this layer comp Red Version. Now, I want to direct your attention to these three checkboxes right here. It says apply two layers, visibility position and/or appearance. What this means is you are going to save certain attributes that have been assigned to the layers along with this layer comp and you need to decide which ones you are going to save.

Now, when in doubt, I suggest you turn all of them on and that's what I am going to have you do in this case. But what they mean is this visibility determines which layers are visible and which layers are invisible, so it's all about those eyeballs inside the Layers palette. Position is where the layers are located vertically and horizontally inside of the image. It doesn't have any effect on stacking order. Alright, so none of these options control stacking orders, it turns out, the layers are always stacked the way you last left them. And then finally, we have appearance which is the Blend mode and the opacity value and the layer effects such as drop shadow and glow and so on.

You can also enter a comment, if you want to, just to remind yourself why you made this comp in the first place. I am not going to worry about that in this case, I am just going to click on OK in order in order to create that new comp. And now, I can switch between the comps. I can see the stretch version of the image. I can see the version of the image that appears green and has white type in front of it, and then I can switch to the red version of the image as well. Now, let's say gosh, I am wondering what this composition is going to look like if the zipper text is at the top of the image window.

So let's go ahead and return to the Layers palette here. Here is the face-off text and here is the bar, they go together. Of course now, the first thing I need to do is I am going to click this little down-pointing arrowhead on the right side of the face-off layer in order to twirl it open so that we can see the effects that have been applied to this layer. Now, currently, the effects are hidden, hence it's little dimmed eyeball and no eyeball in front of the word effects. And if I click in front of effects or if I were to click on that dimmed eyeball either way, I would create a dark sort of a dark glow in the background here, even though it's called outer glow and by default, outer glows are sparkly they are light.

They can be dark. Layer effects are quite flexible as it turns out. And I've got a dark glow assigned to this text. And you can see that glow darkening up the background here. Alright, now, I am going to twirl that close down I've turned it on. And I am going to grab the bar layer as well by Ctrl-clicking on it although strictly speaking, that's not necessary because I've already linked these two layers together. Notice that they've got little chain icons next to them. This is an old way of working inside Photoshop as it turns out. Inside Photoshop CS and earlier, you had to link layers together in order to move them together.

Whether or not you weren't linking on is a function of this little link icon down here at the bottom of the Layers palette. I am mostly just telling folks who've used previous versions of Photoshop and have gotten in their habit of using of layer linking, I am wondering where it's gone, it's right here. It's not strictly speaking necessary though as I say and I am going to turn it off because both layers are active. I am now going to press and hold the Ctrl key here on the PC or the Command key on the Mac in order to get my Move tool on the fly here and I am going to drag at this text along with the bar up to the top of the screen, and it should more or less snap into position here.

And by the way, I am also pressing the Shift key in order to ensure that I have an exclusively vertical drag going, so I am moving the text upward only and not to the right or to the left. And I will go ahead and release the Mouse button and then release the Ctrl and Shift keys or the Command and Shift keys on the Mac. Alright, now I am going to click on the bar layer by itself and move it upward a little bit by pressing Ctrl+Shift or Command+Shift up arrow about four times in row. You may need to take it down a little bit from there, something like that. So at any rate, I am just moving this text to the top of the screen as zipper text and it should align nice and tight to the corner up there.

Alright, let's just go ahead and save this out so we can see what its looks like. I will go ahead and close the Layers palette from View here, hide it from View and then I will create yet another new Layer Comp and I will call this one Final Version. And I do want to save visibility position and appearance, all those attributes. A position will save the fact that the texts at the top of the screen as well as the bar of course. Appearance will save the fact that I turned on that outer glow effect that appears behind the text and darkens the top of the screen.

I'll click OK in order to accept that modification. Just to make sure that all my Layer Comps are in order, I am going to move them so I am going to move the Red Version to the top and then Final Version even above that like so because I was creating these Layer Comps in opposite order starting with the oldest one at the bottom and the newest one at the top. Now, check this out, you can use these little arrow icons to flit back and forth between the comps. So I am going to start at Base Layer here, then I am going to click the left arrow to advance to stretch and then to white type and then to Red Version with the text of the bottom of the screen without the layer effect and then to Final Version with the text at the top of the screen and with the layer effect.

It's amazing what you can do with Layer Comps inside of Photoshop. It really will, given time, change the way you work inside Photoshop.

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