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Using the Rubber Band option

From: Photoshop CS5 One-on-One: Mastery

Video: Using the Rubber Band option

I have saved my progress as Modified ellipse.psd found inside the 27_pen_tool folder. In this Exercise, we are going to set aside this Modified ellipse and we are going to redraw this vector mask from scratch using the Pen tool, so this is a different application of the Pen tool that we have seen so far. Before we can draw a new pathway, we have to get rid of the old one which means deleting this path outline. Well, I don't want to delete it forever. So let's just set it aside by going over to the Paths panel, grabbing this vector mask item and dragging and dropping it onto the little page icon to make a duplicate of it and I will go ahead and name this guy modified ellipse so we will forever know, even after I changed the name of this file that this guy was the modified ellipse.

Using the Rubber Band option

I have saved my progress as Modified ellipse.psd found inside the 27_pen_tool folder. In this Exercise, we are going to set aside this Modified ellipse and we are going to redraw this vector mask from scratch using the Pen tool, so this is a different application of the Pen tool that we have seen so far. Before we can draw a new pathway, we have to get rid of the old one which means deleting this path outline. Well, I don't want to delete it forever. So let's just set it aside by going over to the Paths panel, grabbing this vector mask item and dragging and dropping it onto the little page icon to make a duplicate of it and I will go ahead and name this guy modified ellipse so we will forever know, even after I changed the name of this file that this guy was the modified ellipse.

All right let's switch back to the vector mask, very important, go to the Layers panel. make sure you got a double outline around your vector mask. Let's switch to the Black arrow tool which I will get by pressing the A key and I will click on the path outline in order to select it and then I will press the Backspace key or the Delete key on Mac to get rid of it. All right now we are going to whip out the Pen tool and this is how this guy works. Couple of different ways that you might use the Pen tool, one is you might draw directly inside of this vector mask which if you do, here I will just go and show you and I will do it by clicking, so we are doing something that we have seen before.

Notice that I am revealing the droplet on the fly here and of course I am not tracing it very well that goes without saying, but that means that every time, I lay down a point I am going to change what I am seeing and what I am not seeing where this layer is concerned, which is little bit disconcerting so I would need to reduce that density value... So that's a way to work. However, a way that you might prefer working is to go ahead and draw a new working path inside the Paths panel. That way you can see the layer as you work along and then we can convert that path into a vector mask later on down the line.

So why don't we go ahead and do that just for the sake of variety here, I will press the A key in order to switch back to the Black arrow tool and I will click off the path outline to deselect it and now I should be able to, because the vector mask is active here inside the Layers panel, I should be able to press the Backspace key, sure enough the Delete key on Mac, and that got rid of the entire vector mask which is what I wanted. Now let's go back to the Paths panel and a couple of different ways to create a new path inside of Photoshop. One is when we are working with the pen tool, we will automatically create a new path outline because nothing is selected in here, so it will automatically create a new working path but let's say you want to protect the path right from the get go, so it's not a working path that you might forget to save or something along those lines and you want to make sure that whatever you draw appears inside that path so you can be drawing with any of the shape tools not just the pen tool.

Why then go ahead and create a new path just by clicking on the little new icon, little page icon down here at the bottom of the Paths panel, and if you want to name it as you create it, I'll undo that by pressing Ctrl+Z, Cmd+Z, if you want to name it as you create it, then you Alt+Click or you Option+Click on the page icon and I will call this one pen tool path and I will click OK. Now here's how we draw smooth points with the Pen tool, you drag like so, so you drag from an anchor point and notice as you drag that you are emit ing a control handle in two different directions.

So one's going with you, one control handle is directly under your cursor. The beginning of your drag is the anchor point incidentally. The control handle is appearing directly under your cursor, the lever shows the length and angle of your drag and meanwhile there's another control handle along with its lever going in exactly the opposite direction and things start off with the two levers being absolutely symmetrical. That is the same angle and the same length and then when you get that control handle to the right location you release.

Now you might rightly ask how in the world do you know where this anchor point goes? That's hard enough, but how long the control handle should be in absentia of seeing anything inside of this darn image. I mean in other words in absentia of seeing any other points in the path outline, I am working totally blind here. And yes, you are, and so this is one of those things you just come to terms with overtime, frankly. It's fairly difficult to embrace initially here. I will just pass something along. I was watching a couple people use the Pen tool, a while back, and I was alarmed at the way that they were naturally using the Pen tool and I was kind of advising them on the fly and they were tweaking their routine and then about a month later I sat my boys down.

I have got 8, 9 year old boys and I sat them down in front of Illustrator, Adobe Illustrator which has the same Pen tool essentially and they began using the pen tool in this same wrong bizarre way and it was bizarre to me because I hadn't seen people do this before but it might be sort of a natural instinct. Anyway, it was for them and I could not reign them in because they naturally tune me out as their father. But let me hopefully gain your attention little better than that, you don't drag on the control handle, this is what they did they kept dragging on the control handle. They used it as some kind of guide for where they should put their next points like so and they just kept doing this number and creating completely wacky path outlines that had nothing to do with reality, so don't do that, please.

All right so I am going to have to back step a lot here. Press Ctrl+Alt+Z, Cmd+Option+Z several times until I get back to my first point and what you do instead is you just keep dragging in the same direction around your image element and that is not to say you start just dragging as if it's some sort of free form tool because that's not what it is, instead you say okay the next point belongs here and I will drag because I started dragging in a counterclockwise fashion around this droplet, I am going to keep dragging counterclockwise.

So I will drag to this location, that way the opposite control handle goes back to meet the other one and we have a smooth segment between the two because if I do this number, if I say hey I want to drag this direction. Why then I am sending the opposite control handle way back this way and so the segment is bending like crazy to keep up. It's having to go like that and so that would be wrong. Anyway I will just show you quickly here that you keep dragging in a continuous counterclockwise direction and once you get to the very first point you can either drag along it if you want to modify its curvature further, but you would have to drag up and away from the control handle that you are creating or I believe you can just click.

Yes you can, and the reason for my hesitation there is it's different inside of Illustrator, so Photoshop and Illustrator have slightly different behavior. Now I went ahead and closed the path there. and then you would set about adjusting your control handles. But that's kind of a quick overview, let's take a slightly more in-depth view of things here. I am going to go ahead and get rid of that path outline by pressing the A key to switch back to my Black arrow tool. I will click on the path outline and I will press the Backspace or Delete key to get rid of it. Let's take another swing at things because there is something else you should know about as you are working away here.

We got this little special option inside of Photoshop and it's called the Rubber Band, and if you click this down pointing arrowhead, notice there is this Rubber Band checkbox and I know a lot of people who are super fond of it, who love it and what it is, is it's a segment that's drawn on the fly between the last anchor point you created and your cursor. So that as you move your cursor around you have a feel for what the shape of the segment is going to be. So I will go ahead and turn this checkbox on and then I will start things off by dragging it approximately that same location wherever it was and notice that I am dragging a fairly lengthy control handle here from that anchor point and now that I have released I have this segment that's being drawn on the fly, can you see it right there, being drawn on the fly between the anchor point and my control handle and that is the Rubber Band.

Now if you find it helpful, great it's not entirely accurate the reason it's not accurate is it doesn't take into account any control handles that you might apply to the point that you may lay down right here. So for example, this is exactly how this segment would look if I just went ahead and clicked at that point, notice it did not move, however that's not the way that you work with the Pen tool, and this is why. Every segment should have, if it's going to curve, it ought to have two control handles associated with it.

One that's an outgoing control handle that defines how the segment leaves the anchor point and another that's an incoming control handle that defines how the segment enters the next anchor point, and that's just good decorum by the way. That gives you smooth results, otherwise you have this curvature on one side of the segment and a flattening on the other side. So you either have two control handles for every segment, which defines a nice fluid curvature or you have no control handles associated with the segment which defines a straight segment between two points.

All right, so anyway, I am going to go ahead and undo the creation of that last point by pressing Ctrl+Z, Cmd+Z on the Mac. So notice that as soon as I click and begin to drag that the shape of that segment changes. So I will get more curvature associated with that point then I saw with the Rubber Band. All right, this is once again enough for one movie. In the next exercise, we are going to take all of this junk that we have learned and we are going to apply it to the task of selecting this droplet with the Pen tool.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 44101 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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