New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Start learning with our library of video tutorials taught by experts. Get started

Photoshop CS4 One-on-One: Mastery
Illustration by

Vectors and effects


From:

Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Vectors and effects

I'm going to pass along now another advantage, I was telling you there are four advantages to vectors over pixels inside of Photoshop. Well, this is kind of a fifth advantage, but it's not really an advantage of vectors over pixels in Photoshop, it's an advantage of vectors in Photoshop over vectors in Illustrator. There are lots of great things about vectors in Illustrator, and you can learn all about those great things. If you check out my Illustrator series, I have a series called Illustrator CS4 One-on-One. As I'm talking, I've already filmed the Fundamentals portion of the series, which is tons of videos. I'm going to film before I die; hopefully, I'm going to film an advance series and a mastery series, just like I've done here for Photoshop. So check that out, obviously, I'm so in love with Illustrator, I think it's a great program. But the advantage that Photoshop has over Illustrator where vectors are concerned is that these vectors are fully compatible with layer effects, so that you can use layer effects and vector-based path outlines together. You really don't have layer effects inside of Illustrator.
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
please wait ...
Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Vectors and effects

I'm going to pass along now another advantage, I was telling you there are four advantages to vectors over pixels inside of Photoshop. Well, this is kind of a fifth advantage, but it's not really an advantage of vectors over pixels in Photoshop, it's an advantage of vectors in Photoshop over vectors in Illustrator. There are lots of great things about vectors in Illustrator, and you can learn all about those great things. If you check out my Illustrator series, I have a series called Illustrator CS4 One-on-One. As I'm talking, I've already filmed the Fundamentals portion of the series, which is tons of videos. I'm going to film before I die; hopefully, I'm going to film an advance series and a mastery series, just like I've done here for Photoshop. So check that out, obviously, I'm so in love with Illustrator, I think it's a great program. But the advantage that Photoshop has over Illustrator where vectors are concerned is that these vectors are fully compatible with layer effects, so that you can use layer effects and vector-based path outlines together. You really don't have layer effects inside of Illustrator.

Not the same way, you do have some apparent stuff that's available to you, but you don't have the same degree of control over drop shadows and you don't have inner shadows and bevels and some of these other effects in Illustrator. That's why I had to create this specific illustration inside of Photoshop. So here I'm working inside of Type to vectors.psd. I've gone ahead and reverted it back to its original appearance. This image, of course, is found inside the 24_vector_shapes folder. Then just so that we're filling up the screen a little better, why don't we scale this? Because we can. I'm going to go up to the Image menu, choose the Image Size command, and enough already of this Bicubic Sharper (best for reduction) thing; that's become my default setting because I changed the preference in the previous chapter. Let's cancel out. Fix that. Ctrl+K, Command+K on the Mac, in order to bring up the Preferences dialog box.

Let's change Image Interpolation right there to Bicubic (best for smooth gradients), and then click OK. Then press Ctrl+Alt+I or Command+Option+I for the Image Size command. Now there is our default setting, all three checkboxes on, very important. Let's go ahead and change the Width value to 800 pixels, what the heck, and then we'll have a Height of 800 pixels as well. Make sure Scale Styles is turned on; all of these checkboxes need to be on. Then click OK to see it grow inside of your video. So I'm going to increase the Width here a little bit of my Layers palette so that we can see the names of all my layers, because a few of the layers have both vector-based and pixel-based masks associated with them. We'll see how that works in the next project when we actually build a vector-based photo illustration. But what I want you to see in this exercise is how these layer effects aid in the creation of this wonderful illustration right here.

So I'm going to go over to my Layer Comps palette right there and I'm going to switch to Base layers, first of all, so that you can see that if there were no layer effects associated with them, all of the Base layers are just gray or white, so dark gray, light gray or white. That's it, no color, no depth, no nothing associated with them. Let's start though so that we can build things up here with Spikes only, so that we're just seeing that Spikes layer. Now notice, in addition to the vector- based spikes, well, don't worry, we'll see how to create these things. I just want you to see all of the things that you can do with them first. These vector-based spikes right there are filled with gray, so this solid color swatch shows you the color that's assigned to the vector shape and then I also have a pixel-based layer mask so that I'm cutting a hole. Notice that if I Shift- click on that layer mask to turn it back on, I'm cutting a little bit of a gradient hole in those spikes, and we'll see why that is useful in just a moment as we build this thing up.

Now let's go ahead and twirl-open the effects and you can see that I have a series of layer effects applied. I'm going to turn them on in opposite order, here, starting with the Gradient Overlay, so we've got a little bit of gradient going on. That's nice. There is our color, so we can infuse color into these boring, drab vector objects. Then I can add a Bevel and Emboss. Now so far, we're not really doing that much that we couldn't do in Illustrator. Illustrator does actually let us do everything we're doing so far. You can do Gradients, obviously, you could add color and you can create these kinds of layer masks, they're called Opacity Masks inside of Illustrator.

They are a little harder to create, but they are there, but you don't have a Bevel and Emboss. So you're not going to get something this radically cool. You might get something else radically cool. I don't need to jump on Illustrator. It's a great program. I'm just saying this you ain't going to get. Then this Inner Shadow, which is so awesome. Illustrator, eat my dust! Then I'll go ahead and add a Drop Shadow here, and we get this effect here. So this is kind of unique basically to Photoshop. Awesome! Then I would go ahead and add this circle layer, which is drab and gray and boring and dull, and then I would turn on its layer effects right there, after twirling it open.

In a moment, we'll come back to this circle layer, in the next exercise; we'll show you something else we're going to do with it. But for now just twirl it closed, if you're working along with me. Twirl this guy open, coil. Now I should note, I'll go ahead and turn on the coils, you cannot draw spirals inside of Photoshop. So what did I do? I actually drew them in the Illustrator. Yes I did, I drew it in Illustrator, converted it to path outlines, so that it worked right inside of Photoshop. Then copied and pasted it into Photoshop, something that you can do. I tell you how to transfer vectors between Illustrator and Photoshop in my Illustrator series, or I'll tell you as soon as I finish recording the whole thing.

But for now just note that you can, and it's just a Copy and Paste operation. Then I added these layer effects right there. That's something you can do in Photoshop but you can't do in Illustrator, of course. Then I felt like it was getting too dark in the center, this thing was kind of overwhelming the Tip and it was starting to look like a burner on a stove or something. So I added a little bit of layer mask to the center to kind of wipe that out a little bit. Let's go ahead and twirl that close. Then I went ahead and added this right there and whole idea is that I wanted the spikes to look like they were blurring a little bit. So this is a pixel-based layer because it's blurry.

I went ahead and added a little bit of a layer mask there as well to constrain the appearance of this effect, just inside the circle. So it looks like the circle is sitting on top of the spikes and creating kind of a blur effect, essentially. Then of course, I've have got some layer effects right there that I'll go ahead and turn on. Nice, and finally, I've got the vector-based Tip letters, and I'll go ahead and twirl those open. Now all I went ahead and kept with the drop shadow and a stroke but notice that I have a lot of other layer effects that are turned off right now that I decided not to use.

They're really cool. Notice I got this Inner Shadow right there and I got this Bevel and Emboss effect that will in a moment, you can't see it too well until I put on the Gradient Overlay. There you can really see the effects of Bevel and Emboss. There it is off, there it is on. Nice, and there is the Gradient Overlay for a little bit of depth we're not actually seeing much of it. The Color Overlay has ended up trouncing on top of it. But we could create some kind of interaction if we wanted to. But here's my point, I thought this looked really, really great and it does big, but as soon as you reduce that Tip icon on the page to less than an inch to its printed size, it gummed up the words and you couldn't really read it very well. So, beautiful as it was, I went ahead and turned these guys off, but I did not throw them away, I kept them, so that I could use them in the future if I decided that they were worthy.

Why throw them away, they are not taking up any space in memory or anything; they are not hurting us one iota. Now, the one thing that is hurting us one iota is this circle layer, and the reason is notice that it's set to an Opacity of 100%, Fill Opacity 100% as well. So as a result we're getting this gross interaction, and by gross it mean icky interaction between this gray and the Color Overlay and the other stuff that's going on here. So we're sort of graying out the effect. I want that effect to really pop and sizzle and look super-duper great and integrate better with the rest of the icon.

The way it does here in the final version of the icon, check that out. That's what we're looking for. Let's go back to last document state right there, by clicking in front it, so we have the bad version. I'm going to show you how to get from bad to good, in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery.


Expand all | Collapse all
please wait ...
Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS4 One-on-One: Mastery.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.