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Photoshop CS5 One-on-One: Mastery
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Setting points in the pasteboard


From:

Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Setting points in the pasteboard

I've saved my progress as Left- side outline.psd, found inside the 27_pen_tool folder. I want you to notice something about this outline I've drawn so far. I'll go ahead and Zoom out, so that we can take in more of this guy at a time. Notice we started right there. That's the first point in this path outline, and it wraps around his ear, around his cheek, down to the sweater, and out into the pasteboard, which is very important by the way. If you want to contain the entire image, you want your path to extend out into the pasteboard. That's very important.
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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 30s
  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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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
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Setting points in the pasteboard

I've saved my progress as Left- side outline.psd, found inside the 27_pen_tool folder. I want you to notice something about this outline I've drawn so far. I'll go ahead and Zoom out, so that we can take in more of this guy at a time. Notice we started right there. That's the first point in this path outline, and it wraps around his ear, around his cheek, down to the sweater, and out into the pasteboard, which is very important by the way. If you want to contain the entire image, you want your path to extend out into the pasteboard. That's very important.

But notice the shape of this face outline here in the Paths panel. We can see that the filled in area actually occurs over here on the left side of the fellow. So we've essentially selected thus far, we've selected or masked or however you want to think of it, we've done that to the background, not to him. So he is masked away. In fact, if we went over to the Layers panel and selected the man layer, and then I dropped down to the Add Layer Mask icon and I Ctrl+clicked on it, or on the Mac Cmd+clicked on it, then you can see that's what we would have done right there, which is why it's so difficult to trace complex path outlines as vector masks.

Most of the time you're better off doing it inside of the Paths panel and then bringing the completed path, not a half created path, but a fully created path over into a vector mask. All right, so let's undo that modification. We don't want that. Let's go back to the Paths panel. Face outline is still selected. All right, now we need to wrap this path all the way around the guy. Remember that we're moving in a counterclockwise fashion. That might just be me. It might be that I have this propensity as a left-hander or something to move in a counterclockwise direction around images.

I find myself doing that a lot. You may be more comfortable working clockwise. Choose one direction or the other on a path-by-path basis and stick with it. Anyway, this has got to come back around him, around to the right, up along the right hand side, over the top of the gentleman's head, and down in order to complete the path outline. There are a couple of different ways. I could just sit here and drag, like here, outside in the pasteboard. That's entirely acceptable, as long as you make sure that your big floppy segments are well outside of the image.

However, what if you want to be tidy and organized and uptight and you want some nice straight edges going? Well, here's what you do. I'll go ahead and press Ctrl+Z or Ctrl+ Alt+Z a few times there, Cmd+Option+Z a few times in the Mac. I'm going to sever away this control handle. So notice that we have a control handle extending out for the active segment right there and then we have another control handle extending downward for the next segment that we draw. Well, I want my next segment to be absolutely straight. So I don't need, nor do I want, that control handle.

To sever it away, you Alt+click or Option+ click on that existing endpoint right there. That kills the control handle. All right, we still have an active path outline. So I'm going to Shift+click like that. What that does is it ensures that I have an absolutely horizontal line between these two points. It could also be diagonal or vertical, but it's going to be perpendicular ultimately, and then Shift+click again up here, like so, and then Shift+click at this location. So we're more than surrounding the image.

That's very important here. We could even go a little farther down here below, if you wanted to. You could grab this point and this one. So I switched to the White Arrow tool, incidentally, and clicked on one point, Shift+clicked on the other. Then I could drag down while pressing the Shift key or I could nudge these points down if I wanted to by pressing say Shift+Down Arrow. That gives me some more room along the bottom of the image, just to make sure I have more than enough vector mask, because for all I know, there might be some more image and I might want to extend my canvas outward and still have my path outline protect me, that kind of thing.

All right, I'll click off the path outline in order to deselect it. Then I'll click on this point right there, because I ended up dragging this entire edge downward. I'll click on that anchor point. I'll drag while pressing the Shift key over to the left. Again, I could nudge it from the keyboard as well. All right, so let's see about closing this path up here. I'm going to go ahead and Zoom in a fair amount, so that I can see that point. I'll switch to my Pen tool by pressing the P key. Notice, my path outline is no longer active. I can tell that because I have an X next to my cursor.

So I've got to reactivate the path by clicking or dragging on either one of these endpoints. So at this point I could change my direction now, because nothing's active. There is no direction that's established. So I'm going to choose the easiest direction, which is to keep doing what I was doing, not because it's what I was doing, but because it just happens to be the easiest way to work. Actually, I'll show you both ways here. Let's do one and we'll do the other. In this case, I need to draw a curving segment between these two points. So I don't need to add any more anchor points, I just need to connect these two with one curving sort of shallow S of a segment.

That means that I'm going to need control handles coming off of each one of these points, but they're both modified corner points, so they're both cusp points. So from one I'm going to drag, from the top one I would go ahead and drag down like so. I'm pressing the Shift key incidentally to ensure that my lever is absolutely vertical. I might actually press the Right Arrow key once in order to nudge that point over to the right. All right, then I'm going to drop down to this guy. Now, if I drag on this point, I'm going to maintain a smooth point.

As a result, I'm going to have this continuous arc, whereas what I really need is a cusp. So I'll go ahead and undo that closure by pressing Ctrl+Z, Cmd+Z on a Mac. If I click, I'm also going to get a smooth point. Here, I'll show you what it looks like, with the control handle going in this loopy direction here, so that the path outline is cutting into his head. That's no good. So I'll press Ctrl+Alt+Z a couple of times, Cmd+Option+Z a couple of times on the Mac in order to undo that maneuver. What I really want to do is Alt+ drag or Option+drag at that point.

So you Alt+drag or Option+drag downward, and this is the one that I think makes the least sense of all when you are first coming to terms with the Pen tool. There is no control handle under my cursor this time. All there is, is a control handle opposite to my cursor. Because this control handle is already set. I'm not modifying its placement. I'm just modifying the opposite control handle. So basically this is just Photoshop's way of maintaining consistency with the path drawing logic that is already established. Anyway, once you get that control handle in place, opposite of where you are, so your cursor should be down below the anchor point and the control handle that you are modifying is up above, then release, and you'll have completed the path outline.

All right, as I was saying, I'll show you both ways of connecting these points. So that was one way. Let's go ahead and get rid of that segment, not by undoing, what I'm going to instead is grab my White Arrow tool and I'm going to click on that segment, like so, and I'm going to press the Backspace key or the Delete key on the Mac. So you can delete a selected segment. You can delete a selected point by pressing Backspace or Delete. That's going create a hole in your path. So it's going to change from a closed path, like it was before, to an open path with two endpoints that still need to be joined.

Now, you don't absolutely have to join your endpoints. You could leave it open like this, in which case when you convert it to a vector mask, this area will be joined by a straight segment, so that won't look right, his head will be sort of shaved off in an angle. Better is to go ahead and close the path outline manually using the Pen tool. That's what we're going to do. Now, notice that my Pen cursor has an X next to it, showing me that the path outline is no longer active. If this were a smooth point - actually I forgot, I already converted it to a cusp point, so now I can do whatever I want. So you know what, I'm going to press Ctrl+Alt+Z a few times until I get back to where I was, Ctrl+Alt+Z, Ctrl+Alt+Z, until we get rid of that that control handle up above.

All right, this is where we started things out earlier in the exercise. So this guy, if I drag from it, notice I've got an X next to my Pen, so the path outline is not active. If I drag from this point, then it is indeed a smooth point. I can see that. You can drag, by the way, from a point as many times as you want to and it's just going to sit there and remain a smooth point. You're not doing anything to it but wiggling its control handles around, notice that. And that's true, by the way, when you're working on an endpoint with the Pen tool. If you want to convert it to a cusp point, same difference, you just Alt+drag or Option+drag, like so.

Actually, this might be easier, because now the control handle is under my cursor instead of being opposite to it, but it's when you close the path outline that it becomes an issue, as we're just about ready to. So it's going to be the same problem it was before. It's just that we're going to have to go really high to get this opposite control handle really low. Anyway, I'll go ahead and Spacebar drag down. We now have a cusp at his ear. I'm now ready to close this path outline. Now, I don't have to Alt+drag this time around, because this is already a corner point. As soon as I drag from it, like so, it becomes a cusp, because we have a curving segment associated with it.

I don't have to press the Alt key, because there was no smooth point in the first place. So Alt or Option is designed to convert a smooth endpoint to a cusp point. Anyway, I am affecting, because I'm closing the path outline, I am affecting the opposite control handles. So I'm going to drag way up and I'm going to press the Shift key in order to constrain my drag to exactly vertical. As soon as I get that opposite control handle into position, I'll release. That completes the path outline. All right, well, we still have one point that's not quite right.

It's this guy down here. Recall, I created it as a smooth point. It really wants to be a cusp. I'm going to show you how to convert an interior point from one style of point to another, in the very 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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