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Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.
At this point, our logo is pretty fragile looking. I want to bolster it up, as in the case of the final logo. So that's going to mean a couple of things. First of all, we're going to add this triple underline effect, and we'll do that by using transformations within transformations, and then we'll add weight to the letters using layer effects. So I switch back to my image in progress, press Shift+Tab in order to bring up the right side panels. Now at this point we want to modify the contents of the smart object, because that's the easiest way to make sure that those underlines wave along with the text, and to modify a smart object you double click on its thumb nail.
So I'll double click on the thumbnail for the martini hour layer and you're going to get this big alert message. And basically what it boils down to is make sure to save your changes back into the larger composition. I'll show you how that works. Don't use the Save As commands. So go ahead and click OK to open that smart object, and now we're going to make a series of three changes to the canvas size just to make sure that we're getting everything right. So go up to the Image menu and choose the canvas size command. And we're going to start things off in pixels, always pixels.
And I'm going to turn on the relative check box. And I'm going to change the width value to 100. And then I'll change the heigh value to 100 as well, make sure the center square is selected, and then click OK. And that adds 50 pixels all around, 100 in one direction and 100 in the other. Now let's do it again, by going up to the Image menu and choosing canvas size. And the reason we're re-choosing this command is because we're trying to control exactly where the new pixels are distributed. So this time I'll change the height value to 100, not inches but rather pixels, very important.
And I want the top center square to be selected. Then click OK. That adds a 100 pixels to the bottom of the image. And then finally we just want to get the right distribution here. And this was just a trial and error thing on my part. I'm going to choose Canvass Size a third time. Turn off the relative check box. Make sure to switch to pixels. Change the height value to 842. And then click the bottom square, so that we're adding these new pixels to the top of the image, and then click OK.
That's going to give us room that we need to work. Now lets go ahead and zoom in on the lower right region of the image, near the bottom of the arm. And we're going to draw a line, so go ahead and select the line tool from the shape tools flyout menu. And you may wonder why the line tools' organized with the shape tools, well it actually draws very thin rectangles is the reason. Now I want you to set your weight value up here to five pixels, and you may recall that you can do that if you like by pressing the right square bracket key.
In my case I'm pressing left square bracket to move it back to where it was. And now I'm going to draw a line like so while pressing the shift key and I want it to be directly below the U. See how it touches the U there? And now I'll go ahead and auto scroll over to the left hand side of the screen. There we go. All the way past the m, like so. Let's go back to where we were here, just tossing the image around. And I want to make sure that I've gone far enough but not too far, so I'll go ahead and get my lasso tool by pressing the l key.
And I'll Alt+Click like so, down the length of the r, just to draw a selection outline that takes me down to the line, and I need to move my line over a bit. So, I'll grab my Path Selection tool, the black arrow, click on the line to select it, and move it so that its upper right corner point is touching that selection outline. This looks like a pretty good place to start now this point, I want you to press Shift +down arrow three times in a row one two three in order to move that line down and now we need to move the line over again so its upper right point a lines to that selection outline.
That's a good place to start. That's our first underline. I'll press Ctrl+D or Cmd+D on a Mac to deselect the image. Notice I have a new shape layer. I'm going to call it underlines and then press the Enter key or the Return key on a Mac. We've got this empty layer. Every once in a while, Photoshop throws an empty layer into a smart object. I'm just going to select and press the backspace key. Or the Del key on a Mac. Go back to underlines, and make sure the line is selected with the black arrow. Then let's go and zoom out by pressing Ctrl+0 or Cmd+0 on a Mac, and I want you to press Ctrl+Alt+T, because we're going to make a duplicate of this line.
That would be Cmd+Opt+T on a Mac. And you'll see these placement options up here. Notice this little triangle. If you click on it to make it active, then you can enter relative values because that's a delta. So instead of absolute positioning values you can enter relative values. Frr example, I want to move this line 35 pixels down, so enter 35 for the y value. And 20 pixels to the left. So, I'll enter negative 20 for the X value. And then I'll press the Enter key or the Return key on the Mac a couple of times in order to apply that change.
And because we press Ctrl+Alt+T or Cmd+Opt+T on a Mac, we went ahead and created a duplicate of that line. Now, all you need to do to create a third line is press Ctrl+Shift+Alt+T or Cmd+Shift+Opt+T on a Mac and that goes ahead and power duplicates a third copy. All right, that's it, we're done. Here's what that alert message was talking about. You want to go ahead and close this image, this is the safest way to work, generally speaking. And, on the PC, you want to click the Yes button, on the Mac, you want to click the Save button, in order to save your changes, not to disk but rather into the composition itself.
Now right off the bat, its going to look horrible. That's okay, we can fix this. I'll press Shift+Tab in order to hide those right side panels, and I'll press the "m" key to switch back to the rectangular marquee tool. Now you want to press Ctrl+T or Cmd+T on a Mac in order to enter the free transform mode. And here's our problem right here. Our width and height values have changed on us. And the reason is the layer itself is still the same size, but we increased the size of the shape inside of the smart object, so as a result, it's going to kind of smooshed in there.
So here's the solution. Go ahead and click on the Chain icon to link these values. And then click W, and change that value to 94.5%. And then, before you exit the Free Transform mode, select this top-left reference point. Make sure that the delta is turned off. Click on the X in order to select it, and change it to 0. And then tab to the y value and change it to negative 100, and press the Enter key or the Return key on the Mac a couple of times, in order to accept that change.
So that takes care of the underlines. We created those underlines using transformations, and then when we pop back out, Photoshop automatically warped the lines as well, along with the type Thereby creating transformations within transforamtions. In the next movie we'll thicken up those letters by applying some layer effects.
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