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Setting sparkles to Screen

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

Video: Setting sparkles to Screen

Alright, drumroll please, it's now time to add our selected sparkles to the star pattern composition. I am going to print Shift+F to restore the multi-window mode here and I am going to press Shift+Tab to hide the palettes on the right-hand side of the screen. We can now see both this splash-in-glass image and the starpattern.jpeg image which has been built into a two-layer composition. I am going to return to the splashinglass.jpeg image. Notice that my Marquee tool is active and it's active for a reason because I want to show you yet another cool trick.

Setting sparkles to Screen

Alright, drumroll please, it's now time to add our selected sparkles to the star pattern composition. I am going to print Shift+F to restore the multi-window mode here and I am going to press Shift+Tab to hide the palettes on the right-hand side of the screen. We can now see both this splash-in-glass image and the starpattern.jpeg image which has been built into a two-layer composition. I am going to return to the splashinglass.jpeg image. Notice that my Marquee tool is active and it's active for a reason because I want to show you yet another cool trick.

Now, I have shown you this in the past. If you just set about dragging the selection with one of the selection tools, you are going to move the selection independently of the pixels and you are going to get sort of this ghost image here. So go ahead and undo that modification, return to this splash-in-glass image. If you want to move the pixels, you have to grab the Move tool or take advantage of this ultra wonderful keyboard trick here, press and hold the Control key on the PC or the Command key on the Mac to get the Move tool temporarily when just about any other tool is active inside of Photoshop, any but these guys right here, so any of the painting or editing tools, any of the selection functions and any of these navigation functions down at the bottom of the toolbox.

Alright, so I still have the Control key down. You Macintosh people, make sure that you still have the Command key down. Then I am going to move my cursor inside of the selected area, so I get a little black arrow with a pair of scissors next to it. I will now drag the selection. I still have the Control key down by the way or the Command key on the Mac. Now, you can release that Control or Command key if you want to, keeping the Mouse button down, press and hold the Shift key, now release your Mouse button and now release Shift. Did you get that? I am just going to review that again because it's so many wacky keyboard things happening, but it really is a useful function, I use this one all the time.

Once you get used to it, you will use it. So I am going to press and hold the Control key again, the Command key on a Mac, move my cursor inside of the selected area. I still have Control or Command down. I am now doing to set about dragging the image into its new home. I still have my Mouse button down at this point. I release the command or control key because I don't need it anymore. Then I press and hold the Shift key. I release my Mouse button and now I release the Shift key. Could it be more simple, I ask you? Is it not absolute child's play? Alright, I will press the F key at this point to restore the Maximize screen mode and I am going to Shift+tab my palettes, bring them back into view.

Now, this isn't necessarily the best integration of my highlights along with the rest of the composition. But you have to admit we have some awfully naturalistic edges going on, some nice soft drop-offs. Now, for the integration, here is how we are going to pull it off. Go to the Layers palette, make sure the Layers palette is up on screen. Let's go ahead and rename this layer Sparkles, if you will. And then I am going to change the blend mode from normal.

Go ahead and click on the word Normal and change it to the screen blend mode, which is going to retain the highlights and merge those highlights into their new home, like so. Is that not awesome? Alright, so I am going to press the Escape key in order to deactivate the word Screen here in the Layers palette. You Macintosh people, don't have to do that, that's a Windows-only thing. Now, I am going to back out so that we can see the final version of the composition. This is what it looked like before we applied the screen mode, this is what it looks like after we have this wonderful integration of the highlights and the shadows and the midtones dropping out in order to reveal the star pattern in the background.

We can see through the glass into this big star. We can see through the water into the tiny little stars back here. It's an amazing composition. I am going to go ahead and tab away my palettes so we can see the entire thing and press the F key a couple of times to switch to the Full Screen mode, an amazing composition. Thanks to the Color Range command, the simple but elegant Color Range command here inside Photoshop.

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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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