Photoshop CC One-on-One: Advanced
Illustration by John Hersey

Setting anchor points in the pasteboard


Photoshop CC One-on-One: Advanced

with Deke McClelland

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Video: Setting anchor points in the pasteboard

In this movie, we'll finish tracing this guy's head and shoulders by creating a series of anchor points out here inside the paste board, which is entirely acceptable. Your path can be much larger than the physical confines of the canvas. And along the way, I'll show you how to sever off unwanted control handles, as well as how to add control handles to corner points. So, as you can see here, I'm in the middle of drawing this path outline, and I've got the rubber band feature turned on. I'm going to go ahead and turn that feature off for now you can keep it on if you like.
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  1. 2m 0s
    1. Welcome to One-on-One
      2m 0s
  2. 44m 47s
    1. Adding shortcuts and adjusting preferences
    2. Loading my dekeKeys keyboard shortcuts
      4m 36s
    3. Reviewing your new custom keyboard shortcuts
      14m 46s
    4. Remapping your Macintosh OS shortcuts
      3m 4s
    5. Adjusting a few general preferences
      4m 3s
    6. Using the visual HUD color picker
      2m 2s
    7. The interface and performance settings
      7m 28s
    8. Adjusting Photoshop color settings
      8m 2s
  3. 54m 30s
    1. Smart Object means "indestructible"
      1m 38s
    2. Three ways to place a Smart Object
      5m 2s
    3. Copying and pasting from Adobe Illustrator
      4m 9s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 27s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Editing originals; updating clones
      4m 38s
    12. Embedding versus linking (CC 2014)
      7m 22s
    13. Removing people from a scene with Median
      5m 43s
  4. 31m 15s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      5m 55s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  5. 49m 8s
    1. How the Curves graph works
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors; smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 55s
  6. 1h 50m
    1. Photoshop's digital darkroom
      2m 29s
    2. Opening and editing multiple images
      6m 3s
    3. Previewing and applying your changes (CC 2014)
      6m 41s
    4. Correcting white balance
      4m 8s
    5. The revamped Exposure controls
      8m 9s
    6. Working with archival Camera Raw images
      6m 41s
    7. Retouching with the Spot Removal tool
      4m 9s
    8. Using the Graduated Filter tool
      4m 52s
    9. Painting edits with the Adjustment Brush
      7m 53s
    10. Tone curves (and why you don't need them)
      6m 3s
    11. Straighten, crop, and geometric distortions
      5m 26s
    12. Auto-upright and manual lens corrections
      8m 1s
    13. Vignette, chromatic aberration, and fringe
      6m 55s
    14. Selective hue, saturation, and luminance
      8m 19s
    15. Working with JPEG and TIFF images
      6m 36s
    16. Camera Raw Smart Objects
      6m 10s
    17. The Camera Raw filter and Radial Filter tool
      7m 34s
    18. Editing Camera Raw images from Bridge
      4m 24s
  7. 32m 30s
    1. Infusing black and white with color
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  8. 1h 6m
    1. Noise isn't all bad
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 36s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Masking blur and sharpen layers
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  9. 1h 3m
    1. Why blur focuses your attention
      1m 27s
    2. Creating a depth-of-field effect with Field Blur
      4m 46s
    3. Adjusting your Field Blur settings
      5m 0s
    4. Editing and exporting a Field Blur mask
      9m 24s
    5. Adding a synthetic light bokeh
      6m 15s
    6. Using the Selection Bleed option
      6m 42s
    7. Creating a radial blur with Iris Blur
      6m 31s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 54s
    9. Combining multiple Blur Gallery effects
      3m 5s
    10. Adding a slow flash effect with Path Blur (CC 2014)
      9m 30s
    11. Adding elliptical motion with Spin Blur (CC 2014)
      6m 12s
  10. 1h 34m
    1. Blending layers with (basic) math
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  11. 44m 20s
    1. The best automatic selection functions
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  12. 1h 24m
    1. The best automatic selection enhancements
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
    10. Creating a mask with Select > Focus Area (CC 2014)
      8m 10s
    11. Cleaning up a jagged Focus Area mask (CC 2014)
      6m 46s
    12. Real-world compositing (CC 2014)
      10m 2s
  13. 1h 18m
    1. Tracing an image point by point
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 59s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 35s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 51s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s
  14. 57s
    1. Until next time

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Watch the Online Video Course Photoshop CC One-on-One: Advanced
12h 39m Advanced Sep 10, 2013 Updated Sep 19, 2014

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CC One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adding shortcuts and adjusting preferences
  • Placing and blending Smart Objects
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Working with the Curves graph
  • Editing multiple images in Camera Raw
  • Infusing a black-and-white image with color
  • Colorizing with blend modes and opacity
  • Correcting a noisy photo
  • Using blur to focus the viewer's attention
  • Blending inside blend modes
  • Selecting a complex image with Color Range
  • Perfecting a mask with Refine Edge
  • Drawing a straight-sided path outline with the Pen tool
  • Converting path outlines to vector masks
Design Photography
Photoshop Camera Raw
Deke McClelland

Setting anchor points in the pasteboard

In this movie, we'll finish tracing this guy's head and shoulders by creating a series of anchor points out here inside the paste board, which is entirely acceptable. Your path can be much larger than the physical confines of the canvas. And along the way, I'll show you how to sever off unwanted control handles, as well as how to add control handles to corner points. So, as you can see here, I'm in the middle of drawing this path outline, and I've got the rubber band feature turned on. I'm going to go ahead and turn that feature off for now you can keep it on if you like.

By clicking on the gear icon and turning off the rubber band checkbox. And now I'll press Ctrl+0 or Cmd+0 on the Mac in order to zoom out from the image. And take a look at this little thumbnail of the path outline here inside the paz panel. You can see it's a little sliver of a path, filled with white. And what's happening, is were I to go ahead and convert this partial path outline to a vector mask, then Photoshop would treat the two end points. The one up here at the top of the image, and the one down here at the intersection of his chin and his sweater, as being connected by a straight segment.

So we just mask out the side of his face. That's not what I want, so we need to go ahead and completely encircle the guy by creating a series of points over here, beyond the right side of the image. Now, I could drag in order to set some more smooth points, if I just kind of wanted to be sloppy, and that would work just fine, actually, for our purposes. But, let's say I want to be really super neat and tidy. Not because I'm compulsive or anything. I just want to pass along a few more techniques. So I'll press Ctrl+Alt+Z or Cmd+Option+Z a few times to get back to that top point there.

I want to create a straight horizontal line out here inside the paste board. And so I need to sever away this top control handle. And you do that by pressing the Alt key or the Option key on the Mac and clicking on the anchor point. That gets rid of that outgoing control handle, then I can shift-click over here in order to join these two points, not only with a straight segment but an absolutely horizontal one. And then I'll shift-click down around here in order to join those two points with a vertical segment and then I'll click shift way over here in order to join the last two points with another horizontal segment.

Alright, now I am going to go ahead and zoom on in. Now, my last point is a corner point but I have got a curving segment coming up here. So, I need to turn it into a (UNKNOWN), in which case all we have to do is drag from the anchor point like so. So dragging from a corner point gives it a control handle in the direction of your drag. Alright, now I'm going to scroll over just a little bit here, and I'm going to drag from this smooth point, up and to the right like so, inorder to match the position of the control handle opposite my cursor, so the one down and to the left there.

And then once I do, I'll release And I'll press the Ctrl key, or the Cmd key on a Mac, to temporarily access the white arrow tool, and I'll go ahead and drag this control handle back to this closer location right there. And notice as soon as you start getting closer, and closer to the anchor point you have less, and less control. So, you just have to be aware of that. Alright, now I'm going to make a few purposeful mistakes because we'll come back and correct these mistakes in the next movie. I'll just click at the location of this anchor point approximately actually wants to be nudged up and over a little bit.

And, I'll click right there as well. And so, I've set up a couple of corner points. Where there should be a smooth point and a cusp point. And finally, I'm going to go ahead and close this path outline. Now, here's probably the trickiest maneuver where this kind of stuff is concerned. Notice if I hover the pen cursor over that first end point, then I'll see the little circle showing me that I'm going to close the path outline. And actually, this is a point at which the rubber band feature can come in handy. I'm going to click on the gear icon and turn it back on.

So we can see here that as I move my cursor around I have a straight segment until the moment I hover over that endpoint and all of a sudden it curves. And that's because it's showing me what would happen if I click at that point, and I go ahead and accept the control handle that had already been drawn. And so now that I've done that I'll go ahead and control-click or command-click on that segment. So you can see there's the default control handle coming out of that smooth point. That's not what I want at all. So I'll press control Alt+Z or command options+Z on a Mac. To back step and reactivate my path.

Instead what you do is you hover your cursor over that endpoint. And then you press and hold the Alt key or the Option key on a Mac and notice that flattens out the segment. And you drag from that anchor point and you drag in the opposite direction of where you actually want to place the control handle, notice that because if you were to drag in the same direction like that. Then you would curve the path outline up and over that anchor point. And obviously, that's not what we want. But it is a little bit confusing, because there is no control handle whatsoever underneath your cursor. In fact, there's nothing going on.

In fact, you're performing a kind of mirror image maneuver. So that may seem like really wacky UI decision. But what Photoshop is trying to do is maintain consistency in terms of how the pen tool experience works. Alright that, deselects and deactivates the path. So, I'll press the Ctrl key or the Cmd key in the mac and click on that path outline to select it. Actually going to move this point up a little bit because I don't want his chin to go in a different direction. Once it encounters the mask. So I'll drag that anchor point up. And I'm dragging the control handle over into the left.

And by the way, I'm doing all of this while the Ctrl key or the Cmd key on a Mac is down. And now, space bar drag up. And I'll Ctrl or Cmd drag this control handle upward. All right. So, at this point, I've veered away from the template. So I might as well switch back to the Layers panel, and turn the Points and Handles layer off. That completes the path outline more or less. The problem is that I inserted a couple of clunky corner points. I don't want those corner points. I want this first one here to be a smooth point, and then I want this guy to be a cusp.

The question is how do you convert interior points? And the answer is I'll tell you in the next movie.

Find answers to the most frequently asked questions about Photoshop CC One-on-One: Advanced .

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Q: This course was updated on 09/19/2014. What changed?
A: Deke updated the course to reflect changes in the 2014 version of Photoshop CC. The changes affect how you work with Smart Objects, Camera Raw, the Blur Gallery, layer masks, and other features in Photoshop.
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