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By Kevin Stohlmeyer | Saturday, June 14, 2014

Which Should You Use: A Path or a Mask in Photoshop?

Should I save my selection as a Path or as a Layer Mask in Photoshop? I get this question a lot when it comes to creating a silhouette in Adobe Photoshop. The answer ultimately depends on how you answer the following questions.

By Kristin Ellison | Friday, June 13, 2014

Creating a Wood-Framed Chalkboard

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This week Bert walks us through creating a wood-framed chalkboard.

By Lauren Harmon | Tuesday, June 10, 2014

Blend Two Exposures into One

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Learn how to blend two exposures and get the best of both worlds with Adobe Camera Raw and Photoshop. Today’s free episode of Deke’s Techniques shows you how to take an underexposed landscape photograph and create a lighter, brighter version of it to reveal all its detail—then combine the two images for a third, more dramatic image. As Deke explains, it’s just not possible to get the same effect with the Graduated Filter alone. It’s these two programs together that can help rescue your most extreme exposures.

Find out how to create a lighter version of the image with Camera Raw’s development tools, and combine the bright foreground with the darker sky of the original exposure using Photoshop’s masking capabilities. Deke also shows how to enhance the effect with a graduated filter and add a round of High Pass Sharpening to bring all the details of the final image into sharper relief. Click the free video to learn more.

Members of the lynda.com library can watch the follow-up movie to find out how to create the mask shown in this technique, from scratch. Then come back next week to learn how to create a photographic caricature using Photoshop’s Free Transform and Liquify tools.

By Chris Converse | Sunday, June 08, 2014

Use Photoshop for Web Design Comps

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Creating design comps for responsive and interactive states of a website can be time consuming, regardless of the design app you’re using. Fortunately Photoshop contains a number of production tools that help when creating web design comps—in particular SmartObjects, Text rendering options, and Layer Comps.

By Kristin Ellison | Friday, June 06, 2014

Creating an Animated Theater Curtain (Part 3)

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Last week Bert showed us how to create an animated theater curtain. This week we’ll learn how to add a spotlight to the scene and animate the rising of the curtain to reveal a presentation behind it.

By Kristin Ellison | Friday, May 30, 2014

Creating a Rising Theater Curtain (Part 2)

Creating a Rising Theater Curtain in Photoshop

Last week, Bert showed us how to create a braid pattern and tassel brush that he uses this week on his rising theater curtain illustration. To build the curtain, he selects all but the bottom portion of the screen and fills it with red. Next, he adds the gold braids to the bottom of the curtain by adding a pattern layer and filling it with the braid pattern.

Since he only wants two braids, he selects the top portion of the pattern fill, rasterizes it, and deletes it, leaving the bottom two braids. He then drags them to the proper position on the bottom of the curtain. To create the tassel fringe, he uses the tassel brush and applies an inner glow to give it dimension.

By Lauren Harmon | Tuesday, May 27, 2014

Using the Perspective Crop Tool in Photoshop

Perspective Warp Tool in Photoshop

When you’re forced to shoot in a tight corner or at an awkward angle, your photos are often warped. That’s the case with a photo Deke took of a board game mid-play. Since he couldn’t exactly suspend himself in midair, he took a photo from above while standing slightly beside the table. Luckily, he knew he could fix the image in post. You too can remove warped perspective using a little-known but highly regarded tool in Photoshop: Perspective Crop. Watch the free video to learn how to put your photos back on the straight and narrow.

By Lauren Harmon | Tuesday, May 20, 2014

Using Photoshop Lens Flares for Good (Not Evil)

Using Photoshop Lens Flares for Good

Lens flares have been the butts of cruel jokes for too long. It’s time to salvage the lens flare, to liberate it from heavy-handed users like J.J. Abrams (director of fx-laden movies like Star Trek and Super 8) and put it back in the good graces of photographers and videographers everywhere.

The key is subtle application.

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