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Second hand and shadows

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Second hand and shadows

Alright, babies, it's time to add a secondhand to this ongoing clock composition that goes by the name cardinaletondo.psd. If you have been working along with me, then you should have a minute hand, followed by an hour hand, followed by the frame layer, and the frame layer should be active, so that the secondhand that we are about to move in appears directly in front of the frame layer and directly in back of the hour hand. I am going to press Shift+F to return to the standard window mode. I am now going to bring the clockparts.tiff image from Nicholas Belton to top and I am going to press Ctrl+Alt+Z or Command+Option+Z on the Mac to restore the full selection outline.

Second hand and shadows

Alright, babies, it's time to add a secondhand to this ongoing clock composition that goes by the name cardinaletondo.psd. If you have been working along with me, then you should have a minute hand, followed by an hour hand, followed by the frame layer, and the frame layer should be active, so that the secondhand that we are about to move in appears directly in front of the frame layer and directly in back of the hour hand. I am going to press Shift+F to return to the standard window mode. I am now going to bring the clockparts.tiff image from Nicholas Belton to top and I am going to press Ctrl+Alt+Z or Command+Option+Z on the Mac to restore the full selection outline.

Now, using the rectangular Marquee tool, I am going to Shift+Alt+Drag carefully around the secondhand, that would be Shift+Option+Drag around that secondhand on the Macintosh side of things ,and that is the secondhand down here in the lowerl-eft region of the image. Then, I will press the Ctrl key and I will drag the secondhand into the cardinaletondo.psd image, that would be Command+Drag on the Mac of course. And next, I will press the F key so that we are looking at the image by itself, hiding of the clock parts from view. And I will press Ctrl+T or Command+T in order to enter the Free Transfer mode and then finally, I will press Ctrl+Shift+T or Command+Shift+T on the Mac in order to reload the Last Apply Transformation.

So I am matching the transformation that I apply to the hour hand in the previous exercise. Okay, so far so great as it turns out. Now, let's go ahead and move the secondhand into place and rotate it the way that the secondhand wants to be rotated. And I am nudging the secondhand from the keyboard, notice this, by pressing the arrow keys here and I am going to move this center point, this origin point, down here to the central pin location for the clock hands. And then, I will drag outside of the transform boundary in order to rotate the secondhand, I would say down to this location right here, just shy of the six.

And I want that secondhand to be a little longer and a little bigger so that it covers up even more of that hole in the center of the clock, and I am going to do that by clicking on this link icon between the W and H options in order to make sure those options are linked together, so that I can create a proportional resizing. Then I will click inside the W value and I will nudge it from the keyboard by pressing the Up arrow key. And notice that the secondhand is indeed getting larger, 53% looks pretty good to me. I will press the Enter key or the Return key on the Mac in order to accept that value.

Then, I will nudge my hand into place, which means for me, I need to nudge it up ever so slightly. So I'll press the Up arrow key a couple of times and then I'll press the left arrow key once, for what it's worth because you are going to have to do your own thing there. But this is the effect I am going for, I think this looks actually pretty darn good. So now, I will press the Enter key on the PC here or the Return key on the Mac in order to accept that transformation. Now, at this point, I think our clock hands look pretty darn good. So I will go ahead and rename my clock hand second of course, because this is the secondhand.

I might as well spell it correctly as long as I manage. So there we have minute hand, followed by our hand, followed by secondhand with the frame layer in back. Now, the one thing you might notice is that the frame layer, if you take a look at the interior of this round Tondo frame, you may notice that I have a little bit of a drop shadow, it's just a slight drop shadow to give the clock a little bit of depth. I think the hands want that exact same drop shadow applied to them. So, I am going to go to the frame layer and I am going to click.

Notice, this little FX icon right there, I am going to go ahead and right-click on it in order to bring up this popup menu. On the Macintosh side, if you don't have a Right Mouse button, then go ahead and press the Ctrl key and click on that little FX icon. And then I want you to choose Copy Layer Style. Now, we haven't discussed layer styles yet, we are going to discuss layer styles and all kinds of glorious detail in an upcoming chapter. But for now, just go ahead and choose Copy Layer Style. Then I want you to click on second and Shift-click on Minute in order to select that range of layers right there.

Right-click on any one of them and choose Paste Layer Style in order to paste that drop shadow on each and every one of these hands. Doesn't that look fantastic? Yes, it does if you ask me, and I am the only one here to answer, so I am going to go with a Yes, a resounding yes in fact. And that is our final composition as it turns out. I am going to go ahead and press the Tab key in order to hide my palettes and press the F key a couple of times so that we are filling the screen with the image. So here we have our final high renaissance clock, something that Raphael, Michelangelo, Giotto, Brunelleschi and Ghiberti never experienced but you, not with this cool clock face on it anyway, they didn't experience that, did they, and you can experience that, thanks to the amazing transformation power that's available to you here inside Photoshop.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39076 viewers

Deke McClelland
Author

 
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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
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    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 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    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
      6m 0s
  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 50s
    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 1s
  4. 45m 28s
    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 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    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 4s
    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 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    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...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    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 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    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 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    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 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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