Photoshop CS4 One-on-One: Mastery
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Working with the Filter Gallery


Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Working with the Filter Gallery

Over the course of the next few exercises, we are going to be experimenting with a few creative filters that work inside of this filtering environment known as the Filter Gallery. Now on its own, I'm not that big fan of the gallery. However, there are certain filters that only work inside the Filter Gallery and combined along with smart filters it can be somewhat useful. It has its advantages. I am working inside this image called Kill Jill art.psd. I want you to make sure that you have the Model layer selected right here. It is the Smart Object, and as a result, if I go up to the Filter menu, Convert for Smart Filters is dimmed because it's already been converted for Smart Filters.
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  1. 21m 20s
    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 37s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
    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 24m
    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 34s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 35s
    8. Importing an image into a 3D scene
      5m 46s
    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
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 8s
    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 55s
    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 55s
    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 33s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
    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 42s
    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 52s
    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 39s
    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 43s
    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
    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 51s
    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 52s
    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

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Watch the Online Video Course 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 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
Design Photography
Deke McClelland

Working with the Filter Gallery

Over the course of the next few exercises, we are going to be experimenting with a few creative filters that work inside of this filtering environment known as the Filter Gallery. Now on its own, I'm not that big fan of the gallery. However, there are certain filters that only work inside the Filter Gallery and combined along with smart filters it can be somewhat useful. It has its advantages. I am working inside this image called Kill Jill art.psd. I want you to make sure that you have the Model layer selected right here. It is the Smart Object, and as a result, if I go up to the Filter menu, Convert for Smart Filters is dimmed because it's already been converted for Smart Filters.

All right, we've seen a handful, actually quite a few filters so far, none of which call upon the Filter Gallery. The Filter Gallery is exclusively reserved for a few old-school creative filters that came to us years and years ago via this thing called Gallery Effects that Adobe purchased when they ended up assuming all this, the makers of PageMaker way back in the day. The Gallery Effects filters are somewhat interesting. They are also a little frustrating to use on occasion, but they can produce effects that you are not going to achieve using other filters inside of Photoshop.

Those filters appear mostly in the following menus here. Artistic and then Brush Strokes, and there is also Sketch and then we have Texture down here. So those four sub-menus contain filters that bring up the Filter Gallery, no matter what. So I'm going to go to Artistic and I'm going to choose this command, Cutout, and then we'll see the gianormous Filter Gallery interface that wants to take over your entire screen, and it's rather another one of these independent utilities like Vanishing Point or Liquify, one of those, only not nearly is capable in my opinion.

All right, so I'm going to go ahead and move our image preview over here, just by dragging inside of it. And note that I was telling you that there are those four sub-menus that contain most of the Gallery Effects filters. So there they are, Artistic, and we are seeing the various Artistic filters here represented as thumbnails. So we see what the filter would like if we were applied it to a mobius tube. Then we have Brush Strokes right there, and we have Sketch a couple down, and then right at the bottom we have Texture. Notice that we also have a couple of others. Under the Stylize sub-menu, there is one filter Glowing Edges and then under Distort, there is three more: Diffuse Glow, Glass, and Ocean Ripple.

So those are them. Notice there is no Unsharp Mask, there is no Gaussian Blur, there is no Median, there is no Smart Sharpen, there is no High Pass, there is no Reduce Noise, there is no Shadows/ Highlights, there is no Variations, there is none of the really great core filters in Photoshop. There is just the rinky-dink special effects. I am going to twirl these guys closed. Now, I'm not saying for a second that they are not useful at all. It's just they are the kinds of filters that you are going to refer to every blue moon. Anyway, here is the Cutout effect. I think it's too cutty-outy. We are changing the image too significantly here. So I'm going to modify my settings a little bit here. I'm going to increase the Number of Levels, which is going to give me more levels to work with inside of the image. That is, more colors. Ultimately, we are saying that we are going to have 6 different luminance levels left per color channel.

Then Edge Simplicity needs to be turned way down in my opinion. So that we have less simplicity and more complexity. Then Edge Fidelity is fine at 2. You can increase the fidelity if you want to, but it's not going to do you much good. So I'll keep it at 2 here. One of the many problems with the numerical options that are available to you with these various Gallery Effects filters is that they are really rough and tumble. They totally vary. There is no rhyme or reason to them. One of the interesting things about the Filter Gallery is that it allows you to apply multiple filters at a time, much in a same way as you can apply multiple filters to a single Smart Object using Smart Filters inside the larger world of Photoshop. But it's not handled nearly as well. It all happens just inside of this dialog box.

Let's say I want to go ahead and add another filter. So I would click here to add another effect layer, supposedly these are layers, fine. And I'll go ahead and click on this bottom one and I'll switch it out. Right now I have two applications of Cutout going on, for Underpainting. Then I would be applying this layer of Underpainting underneath the Cutout before I apply Cutout. So Underpainting is first, Cutout second, just as we see with Smart Filters inside the Layers palette. We can change their order too. I could move Underpainting above Cutout in order to create a completely different effect. I can adjust my settings as much as I want.

So why am I denigrating this wonderful utility? Well, it's only happening so long as we are inside of this dialog box. As soon as I click OK, the damage is done, unless I'm working with Smart Filters of course, in which case I can come back. Also, we don't have access to blend modes or opacity modifications here. So we don't have our Blending options. So what I recommend is that you only apply one filter at a time from inside the Filter Gallery and then modify your settings on a filter-by-filter basis there inside the Layers palette and that's what I'm going to do. I'm just going to take this Underpainting filter, which is active right now, and I'm going to click on the Trashcan to get rid of it and I'll be left here with the sort of scarecrow version of this woman's face here, perfect.

Then I'll click OK in order to accept that modification, and now you can see, I do have an application of Smart Filters. I've got the Cutout filter right here, and now I can modify my Blending options. I am going to do so by double-clicking on the little slider icon, to bring up the Blending Options dialog box. I'm going to switch the blend mode to Linear Light, and then I'm going to reduce the Opacity value down and notice as I reduce this Opacity value, that I'm doing a great job of integrating the effect with the original artwork and I'll take it all the way down to 30%.

This variation of Opacity is analogous to Fill Opacity. So when you are working with a Fill Opacity 8, you are going to get some nifty effects out of this Opacity setting right here. And you may recall the Fill Opacity 8 from our discussion of blend modes way, way back when in the Advanced portion of this series. Anyway, I'm going to go ahead and click OK. I have now applied the first Gallery Effects filter to our composition here. In the next exercise, we are going to do some jazz odyssey filter experimentation here inside Photoshop. Stay tuned!

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

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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.
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