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Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Viewing layers and the mesh


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Viewing layers and the mesh

Now, let's take a look at the view setting starting with the Show Backdrop checkbox down here in the lower-right corner of the dialog box. Now, one of the things about working inside of a separate utility like this is that you may feel like you are seeing the layer completely out of context because after all, by default, you are just seeing the layer and not any of the other layers inside the image. The Show Backdrop checkbox seeks to remedy this situation and it does so in half successful manners, it turns out in my opinion. Go ahead and turn it on, and you will see, if I zoom out here, you will see a dimmed version of the layered composition mixed in with the modified version of the current layer.
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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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Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.

Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.

Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.

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

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Viewing layers and the mesh

Now, let's take a look at the view setting starting with the Show Backdrop checkbox down here in the lower-right corner of the dialog box. Now, one of the things about working inside of a separate utility like this is that you may feel like you are seeing the layer completely out of context because after all, by default, you are just seeing the layer and not any of the other layers inside the image. The Show Backdrop checkbox seeks to remedy this situation and it does so in half successful manners, it turns out in my opinion. Go ahead and turn it on, and you will see, if I zoom out here, you will see a dimmed version of the layered composition mixed in with the modified version of the current layer.

That means that you are seeing both the original version of the layer and the modified version of the layer piled on top of each other, which makes for a very, very confusing view of this image in my opinion. Luckily, you can switch things around using these options down here, which include Use, Mode and Opacity. By default, mode is set to In Front, meaning that the layered composition is stacked in front of the modified version of the image. So if you were to raise the opacity value, you would stress the original image.

And if you were to lower the opacity value, you would stress the modified version of the layer. Alright, I am going to take that value back to 50% or so right here, so that I can show you the Behind mode which is a little better in my opinion, because it sets the layered version of the image behind the modified view of the image. That means you can then increase the opacity value to 100% so that you can see just the modified view of the image with the other layers in the background, but you are not having the modified view of the layer compete with the original version of the layers.

So that's a really good thing in my opinion. Or, even a better way to work is pick and choose exactly which layer you want to see here. Alright, so I am going to restore that opacity value to 50% so that we are all starting on the same page here. And I am going to change the used value to frame because I don't really care about, for example, the background layer which is just white or the painting layer which is that Michelangelo Fresco. All I'm really concerned about is how the current layer interacts with the frame that directly surrounds it.

So let's go ahead and choose Frame from the Use option. And let's put the frame in front because that's where it really is, it's really stacked in front of this face layer right here, and let's change the opacity value now to 100% so that we see the two layers interacting with each other in very much the same way that they interact with each other outside in Photoshop. We're not seeing the drop shadow but otherwise it looks pretty darn good. So that's one way to change your view settings here inside the Liquify dialog box.

The other thing you can do is turn on the Show Mesh option right here. And what that does is it turns on this grid, see this little light gray grid, I will go ahead and zoom in on the image so that we can see it even closer. And the grid by default is rectilinear, meaning that it's made up of exactly vertical and horizontal lines. But as soon as you start warping the image or otherwise modifying it, you create sort of roundness inside of the Mesh and you drag the Mesh outward. And it's just helpful for tracking how your distortion is being measured mathematically inside the Liquify dialog box.

So you can turn it on or off to your pleasure, it's up to you. But it's just a way of tracking what's going on. What I typically do is turn it on and then raise this Mesh size so that I am seeing fewer Mesh lines, so that they are not interfering with my view of the image. You can also change the Mesh color if you like, so you can change it to some bright color like yellow, if you prefer. I generally like to keep it gray. Alright, so those are your view settings, you've got Show Backdrop and you've have got Show Mesh available to you so that you can see the image in context, and you can measure the results of your modifications.

In the next exercise, we will see how you can reconstruct an image either incrementally or entirely in order to get rid of undesirable distortions like the ones that we are seeing right here.

There are currently no FAQs about Photoshop CS3 One-on-One: Beyond the Basics.

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